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Kyd thomas the spanish tragedy6/29/2023 ![]() ![]() ![]() Even in a modern production, for an audience largely ignorant of rhetorical figures and their alienating names, it should be possible for skilful actors to deliver them in such a way that we can appreciate the patterns they make. The pleasure of recognising and relishing the use of stichomythia and psychomachia, anaphora and epistrophe, anadiplosis, anastrophe and polyptoton would have depended on the vocal clarity of the actors, and an acute and educated ear on the part of the auditors. The Spanish Tragedy, with its elaborate rhetoric and extended monologues, certainly seems designed to be heard more than seen. It has become something of a cliché to remind readers and students that in the Elizabethan and Jacobean periods, people spoke more readily of ‘hearing’ than of ‘seeing’ a play. ![]()
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