The Noble Spanish Soldier | Page 3

play was discarded. In this instance, the later circumstance is likely to obtain, especially in view of the gap between writing and publication dates.
ACTION OF THE PLAY
The sub-title given to the text in the Quarto edition is 'A contract Broken, Justly Revenged'. Although this title is likely to have been added by the printers, it does succinctly sum up one aspect the play, the theme of revenge which is reminiscent of Elizabethan revenge plays such as Thomas Kidd's 'The Spanish Tragedy'. Revenge plays however, are generally patterned around a revenger and what may be termed a 'revengee', while the action of NSS revolves around a power struggle between two factions both of whom are concerned with violent intent. In reality, the play reflects the seventeenth century fashion for mixing elements of tragedy and comedy in a style first identified by Sir Philip Sydney in 1579 as being 'mongrel tragicomedy'<4>; thus while death intrudes on the final act, it only strikes unsympathetic characters. There is also regular light relief provided by two comic characters, Cornego and Cockadillio, as well the cameo appearances of Signor No and Medina as a French Doctor.
The two groups of characters at the centre of the play are on one hand, the ruling cabal, that is the King, his Italian Queen and their supporters, including the Italian Malateste and on the other a number of disenchanted Spanish noblemen who are in sympathy with the King's former betrothed lover, Onaelia. This later faction, led by the Duke of Medina, eventually includes the key figure of the patriotic soldier Balthazar, a man who has earned respect for his martial exploits and whose 'nobility', as celebrated in the title to the play, is a tribute earned by action rather than by birth or inheritance. He is thus differentiated from the King, whose nobility of birth is cancelled out by the dishonesty of his character.
Nevertheless, Balthazar is something of a problematic figure and in many ways an unconvincing hero for a play with ostensibly, a strong moral theme. His basic character is presented as that of an honest uncomplicated soldier; in his first appearance(2.1), he has already been slighted by the Dons, and presents an unkempt appearance and rails against the 'pied-winged butterflies' of the effete court who put appearance before patriotic duty. Nevertheless, subterfuge seems to come too readily to him as we see in 2.2 when he makes a false offer to assassinate the King to test Onaelia, again in 3.3 when he pretends to agree to murder Sebastian and Onaelia in order to placate the Queen and finally in 5.1 when he tells the King that the murder has been carried out. Scene 3.3 shows a further unedifying side of Balthazar when he bursts in on the King and stabs a servant and refuses to express remorse as the servant is a mere groom. On a different note, the character is also used to comic effect, especially in 4.2 when he acts out bawdy dialogue with Cornego. His last significant act is to dissuade the faction from attempting to assassinate the King, before being reduced to a minor role in the closing scene where he only has five short speeches and plays no significant part in the denouement. The character then, is something of a patchwork affair, playing different roles as the play progresses before being effectively jettisoned at the conclusion.
The King by contrast maintains a degree of consistency,?notwithstanding his formulaic deathbed renunciation of evil. As we have seen, his Queen is Italian, but he may be associated with Italy by more reasons than his marriage. In Act 5 Scene 2, Daenia says that 'There's in his breast / Both fox and lion, and both those beasts can bite' This is an direct reference to the works of the Italian courtier Niccol? Machiavelli who wrote in his work on statecraft 'The Prince': 'A Prince must know how to make good use of the beasts; he should choose from among the beasts the fox and the lion; for the lion cannot defend itself from traps and the fox cannot protect itself from wolves.' <5>. Although the book from which this extract was taken, 'The Prince', had yet to be published in English, the ideas it contained (or at least a caricature of them) had been in circulation for many years following its initial publication in Italy in 1531. These were often treated with profound suspicion by the English who saw the advocacy of the use of manipulation and deception in order to maintain power as being the idea of a disreputable foreign country. Indeed, Machiavelli was seen as a satanic figure who was known as 'Old Nick', a still-used reference to the devil, and the machiavel became a stock figure on the early modern stage, a tradition which the