Locate and Explain
1.Then know, Andrea, that thou art arriv'd
Where thou shalt see the author of thy death,
Don Balthazar, the prince of Portingal,
Depriv'd of life by Bellimperia.
In this extract from *The Spanish Tragedy* by Thomas Kyd, revenge addresses Andrea, who
has died earlier in the play. The lines describe Andrea's arrival in the afterlife, where he will
witness the death of Don Balthazar, the man responsible for killing him in battle. Balthazar,
the prince of Portugal, is to be killed by Bellimperia, a central character who seeks revenge
for the death of her lover, Andrea.
Here's a breakdown of the key elements:
1. **Andrea's Arrival**: Andrea, the ghost, has entered a place where he can observe events
from the afterlife.
2. **"Author of thy death"**: This refers to Don Balthazar, who is responsible for Andrea's
death.
3. **Balthazar's Fate**: Balthazar will be killed, and the one to carry out this act is Bellimperia.
4. **Bellimperia's Role**: Bellimperia is motivated by revenge, as she loved Andrea and
wants to avenge his death by killing Balthazar.
The passage emphasizes the theme of revenge that runs throughout the play, as characters
seek justice for wrongs done to them, often through violent means.
2.Ay, go, Horatio, leave me here alone;
For solitude best fits my cheerless mood.
In this extract from *The Spanish Tragedy* by Thomas Kyd, Bellimperia is expressing a deep
sense of grief and sorrow. Here's a breakdown of the lines:
- **"Ay, go, Horatio, leave me here alone;"**
The speaker, likely a character consumed by sadness, is addressing Horatio, asking him to
leave so that they can be alone. The use of "Ay" (meaning "yes") suggests that the speaker is
agreeing to Horatio's departure or accepting the need for solitude. The request to be left
alone signals emotional distress or a desire for isolation.
- **"For solitude best fits my cheerless mood."**
The speaker explains that solitude (being alone) is most suitable for their "cheerless mood"
(deep sadness or despair). The word "cheerless" emphasizes that the speaker is in a state of
depression or hopelessness, and they believe that being alone is the best way to cope with it.
Overall, the lines reflect the speaker's overwhelming sorrow and their belief that solitude is
the most appropriate way to deal with their emotional state. This type of melancholic
reflection is characteristic of the tragic tone found throughout *The Spanish Tragedy*.
3. But how can love find harbour in my breast,
Till I revenge the death of my belov'd?
Yes, second love shall further my revenge!
In *The Spanish Tragedy* by Thomas Kyd, this extract comes from the character of Belimperia, who is expressing a deep internal conflict between her emotions of love and her
desire for revenge. Let's break it down:
1. **"But how can love find harbour in my breast, / Till I revenge the death of my belov'd?"**
- Bel-imperia is questioning how she can allow herself to feel love again when her heart is
still consumed by grief and the need for revenge for the death of her former lover, Don
Andrea. The idea of love "finding harbour" suggests that her heart is not at peace or open to
love until she achieves justice.
2. **"Yes, second love shall further my revenge!"**
- Here, she resolves to use her "second love," meaning her new relationship or affection (for
Horatio), to aid in achieving her revenge. She sees this new love not just as an emotional
experience but as a strategic tool to help her fulfill her desire for vengeance.
In this passage, Bel-imperia reveals her emotional turmoil and the fusion of her love with her
thirst for revenge. She acknowledges that she cannot move forward emotionally until she has
avenged the death of her beloved, and she views her new love as a means to further that aim.
This highlights the central themes of *The Spanish Tragedy*—revenge, love, and justice.
4. Glad, that I know on whom to be revenged;
Sad, that she'll fly me, if I take revenge.
Yet must I take revenge, or die myself,
For love resisted grows impatient.
This extract is from *The Spanish Tragedy* by Thomas Kyd, a seminal work in English
Renaissance drama, often considered one of the first revenge tragedies. Balthazar in this
passage, presumably caught in a dilemma, is expressing the internal conflict of wanting
revenge and its emotional consequences.
Let's break it down:
- **"Glad, that I know on whom to be revenged;"**
The speaker feels a sense of satisfaction or relief because they have identified the person or
people on whom they want to exact revenge.
- **"Sad, that she'll fly me, if I take revenge."**
Despite the satisfaction of having a target, the speaker is also saddened by the realization
that if they pursue revenge, the woman they love ("she") will avoid or flee from them. The act
of revenge will drive her away.
- **"Yet must I take revenge, or die myself,"**
The speaker feels compelled to take revenge. There's an intense pressure here, suggesting
that revenge is necessary for their survival, perhaps emotionally or even physically. Without
it, they feel they would be destroyed or undone.
- **"For love resisted grows impatient."**
This line conveys that unfulfilled or resisted love creates frustration. The speaker's love,
when not reciprocated or blocked, becomes unbearable, intensifying their emotions and
making the situation more desperate. This impatience could lead to reckless actions, such as
seeking revenge.
Overall, the speaker is trapped between their desire for revenge and the fear of losing the
person they love, creating a dramatic tension that reflects the complex motivations often
found in revenge tragedies like *The Spanish Tragedy*. The lines capture the torment of a
character driven by both love and vengeance.
5. The heav'ns are just; murder cannot be hid:
Time is the author both of truth and right,
And time will bring this treachery to light.
This extract from *The Spanish Tragedy* by Thomas Kyd Isabella expresses a theme of
inevitable justice. Let's break it down:
- **"The heav'ns are just; murder cannot be hid"**: This line suggests that divine forces (the
heavens) ensure justice. No matter how much someone tries to conceal a crime like murder,
it cannot remain hidden forever.
- **"Time is the author both of truth and right"**: Time is portrayed as a force that reveals
both the truth and what is morally right. This implies that, over time, the true nature of events
and people will come to light, and justice will prevail.
- **"And time will bring this treachery to light"**: This line reinforces the idea that, although
treachery (betrayal or crime) might be hidden for a while, time will eventually expose it.
Overall, the speaker is expressing confidence that no matter how much one tries to cover up
wrongdoing, time and divine justice will eventually reveal the truth. It reflects the Renaissance
belief in cosmic justice and the inevitability of moral retribution.
6. Thus must we toil in other men's extremes,
That know not how to remedy our own;
And do them justice, when unjustly we,
For all our wrongs, can compass no redress.
This passage from *The Spanish Tragedy* by Thomas Kyd reflects Hieronimo’s frustration and
sense of powerlessness. The lines express a bitter irony in having to solve other people's
problems while being unable to address one's own.
Here's a breakdown:
- **"Thus must we toil in other men's extremes,"**
The speaker laments that they are forced to labor or struggle to resolve the extreme
situations or hardships of others.
- **"That know not how to remedy our own;"**
Despite helping others, they do not know how to fix or address their own personal troubles.
- **"And do them justice, when unjustly we,"**
They provide justice to others, even though they themselves are treated unfairly or unjustly.
- **"For all our wrongs, can compass no redress."**
Despite the injustices they have suffered, they are unable to secure any remedy or
compensation for their own grievances.
The speaker feels trapped in an unjust system where they can provide justice for others but
are powerless to correct the injustices they face personally. It highlights a deep frustration
with the imbalance between their responsibilities and their own lack of agency.
7. Peace, impudent; for thou shall find it so:
For blood with blood shall, while I sit as judge,
Be satisfied, and the law discharged.
And though myself cannot receive the like,
Yet will I see that others have their right
This passage from *The Spanish Tragedy* by Thomas Kyd reflects a theme of justice,
vengeance, and Hieronimo’s role as a judge. Let's break it down:
1. **"Peace, impudent; for thou shall find it so:"**
The speaker demands silence, addressing someone (perhaps someone who is protesting or
questioning the speaker's authority). "Impudent" suggests that the person is being
disrespectful or bold. The speaker assures that they will see that justice is served.
2. **"For blood with blood shall, while I sit as judge, be satisfied, and the law discharged."**
This is an assertion that justice will be achieved through revenge or retribution. "Blood with
blood" implies that a crime, particularly murder, will be avenged with the spilling of the
offender's blood. The speaker is declaring that, as long as they hold the power of judgment,
this form of justice will be fulfilled, and the law will be satisfied by this retributive act.
3. **"And though myself cannot receive the like, yet will I see that others have their right."**
Here, the speaker acknowledges that even though they themselves may not receive the
same form of justice—perhaps because they have been wronged in a way that cannot be
rectified—they are determined to ensure that others receive the justice they are owed.
### Overall Meaning:
The speaker, likely Hieronimo (the protagonist who seeks revenge for the murder of his son),
expresses a determination to ensure that justice is met through bloodshed, even if it doesn't
personally benefit him. This reflects the play's larger themes of revenge and the cycle of
violence as a form of justice in the absence of legal redress.
8. What a rare punishment is avarice to itself!
In this line from Ben Jonson's *Volpone*, "What a rare punishment is avarice to itself!"
highlights the self-destructive nature of greed. Volpone reflects on how avarice (extreme
greed) doesn't need any external punishment because it inherently punishes the person who
succumbs to it. Avarice is depicted as a trap that causes suffering, stress, and moral decay,
making the person obsessed with wealth miserable, despite accumulating riches. The irony is
that in their pursuit of more wealth, greedy individuals end up harming themselves
emotionally and spiritually.
This idea fits well within *Volpone*, where the main characters—driven by greed—ultimately
suffer from their own actions. Volpone, in particular, embodies this theme as his scheming to
gain wealth leads to his downfall.
9. I muse, the mystery was not made a science,
It is so liberally professed!
Almost All the wise world is little else, in nature,
But parasites, or sub-parasites.
In this extract from *Volpone* by Ben Jonson, the character Mosca is reflecting on the nature
of human behavior, particularly focusing on the idea of parasitism, or living off the wealth,
resources, or favor of others.
Here's a breakdown of the passage:
1. **"I muse, the mystery was not made a science"** – The speaker is surprised ("muses")
that the art of parasitism ("the mystery") hasn't been formalized into a "science" or discipline.
He's being ironic, suggesting that parasitism is so widespread and practiced that it might as
well be taught formally.
2. **"It is so liberally professed!"** – Parasitism, according to the speaker, is so widely
practiced ("liberally professed") that it's almost as if it’s a common profession or skill that
people are openly proud of.
3. **"Almost all the wise world is little else, in nature, But parasites, or sub-parasites."** –
The speaker claims that most of the so-called "wise" people in the world are essentially
parasites. They either live off others directly, or they are "sub-parasites," meaning they
depend on the primary parasites for their survival. This emphasizes the corrupt, self-serving
nature of much of society.
In essence, the speaker is critiquing society by observing that many people survive through
manipulation, flattery, or living off the success of others rather than through their own merits
or honest work. This passage reflects one of the major themes in *Volpone*—the greed and
corruption that pervades human interactions.
10. Oh, God and his good angels!
Whither, whither Is shame fled human breasts?
That with such ease,
Men dare put off your honours and their own?
In this extract from Ben Jonson's play *Volpone*, Celia is expressing outrage and disbelief at
the ease with which people abandon their principles and honor. The character is invoking God
and His angels to emphasize the gravity of the situation, questioning where shame has gone
and how people can so readily discard their personal integrity and social status. The passage
reflects a deep disillusionment with the moral decay and corruption observed in society,
highlighting a dramatic contrast between traditional values of honor and the contemporary
reality of deceit and opportunism.
11. I would I could forget I were a creature.
In Ben Jonson's play *Volpone*, the line "I would I could forget I were a creature" reflects a
deep sense of existential frustration and disillusionment. Celia who speaks this line is
grappling with the realization of his own humanity and the inherent limitations and sufferings
that come with it.
To "forget [one] were a creature" suggests a desire to escape from the burdens and
imperfections of human existence. This line captures a moment of intense self-awareness and
longing for transcendence, where the speaker wishes they could transcend their human
condition and its accompanying struggles.
Jonson's use of this line highlights themes of human frailty and the desire for something
beyond the mundane realities of life, which are central to the play’s exploration of human
nature and vice.
12. I'll bury him, or gain by him: I am his heir.
In Ben Jonson's play *Volpone*, the character Mosca says, "I'll bury him, or gain by him: I am
his heir." This line reflects Mosca's cunning and opportunistic nature. Mosca is a scheming
servant who manipulates others to benefit himself. In this extract, he's referring to his master,
Volpone, who pretends to be on his deathbed to trick others into giving him valuable gifts.
The line illustrates Mosca's dual intentions: if Volpone dies, Mosca stands to inherit his
wealth, so he would "bury" him to gain his fortune. Alternatively, if Volpone lives, Mosca still
plans to benefit from the situation by continuing his schemes and manipulating others.
Essentially, Mosca sees every situation as an opportunity for personal gain, whether it results
in Volpone's death or not.
13. Let all that see these vices thus rewarded
Take heart, and love to study 'em.
Mischiefs feed Like beasts.
Till they be fat, and then they bleed.
This extract from Ben Jonson's play *Volpone* reflects the play's satirical and moralistic
themes. In these lines, Avocatori is suggesting that those who witness the vices and corrupt
actions being rewarded should find encouragement in the idea that these misdeeds will
ultimately lead to their own downfall. Here's a breakdown of the extract:
- **"Let all that see these vices thus rewarded"**: The speaker is addressing the audience or
those observing the play's events, noting that they are witnessing how vice (immoral
behavior) is being rewarded.
- **"Take heart, and love to study 'em."**: The speaker advises the audience to be
encouraged and to pay close attention to these vices. This might seem ironic, as studying vices
might lead one to embrace them, but it also suggests that understanding and recognizing vice
is important.
- **"Mischiefs feed Like beasts."**: The speaker compares misdeeds to beasts that need to
be fed. This implies that vices grow stronger and more dangerous the more they are indulged.
- **"Till they be fat, and then they bleed."**: Eventually, these vices will become so bloated
with their own indulgence that they will eventually cause harm to their perpetrators. The
imagery of bleeding suggests that the consequences of their misdeeds will be severe and
painful.
Overall, the extract emphasizes that while vice may seem rewarding in the short term, it will
eventually lead to its own undoing and suffering. It serves as a warning about the eventual
consequences of immoral behavior.
14. I fear I shall begin to grow in love with my
dear self.
In the play *Volpone* by Ben Jonson, the character Mosca who speaks this line is expressing
a concern about becoming overly enamored with himself. The character, Volpone, is a
wealthy con artist who is known for his vanity and self-absorption. This line reflects his
growing self-love and obsession with his own image and success.
Volpone is notorious for his duplicitous behavior and his manipulative schemes, and this line
is a moment of self-reflection where he recognizes that his vanity might be escalating. It's a
commentary on the dangers of excessive self-love and narcissism, suggesting that his selfadmiration could lead to even more selfish and reckless behavior.
15. This is true physic, this your sacred
medicine;
No talk of opiates to this great elixir!
In this extract from Ben Jonson's play *Volpone*, the character Mosca is emphasizing the
power and effectiveness of a particular remedy or treatment. The phrase "true physic" refers
to genuine medicine or a cure, while "sacred medicine" suggests that it is exceptionally
valuable or revered.
By saying, "No talk of opiates to this great elixir!" the character is implying that this remedy is
far superior to opiates or any other known treatments. In other words, this "great elixir" is so
potent and miraculous that no other medicinal remedies can compare to its efficacy.
The passage highlights the character’s belief in the unparalleled value of this specific remedy,
underscoring its importance and perhaps hinting at its dramatic or symbolic role in the play.