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Updated: April 30, 2025
The duty of personal vengeance, for example which was at the center of the tragedy-of-blood, ever delightful to Tudor theatergoers has been disestablished by the advance of civilization; and it is therefore no longer acceptable as the dominant motive of a drama of modern life.
They differ in degree only, never in kind. Shakspere early availed himself of the framework of the tragedy-of-blood that Kyd had made popular; and later he borrowed from Beaumont and Fletcher the flexible formula of the dramatic-romance. His genius towered above theirs, but he was content to appropriate their patterns.
In other words, Shakspere was seeking, above all else, to please the contemporary playgoers; and he was prompt to undertake any special type of piece they had shown a liking for; so we can see him borrowing, one after another, the outer form of the chronicle-play from Marlowe, of the tragedy-of-blood from Kyd, of romantic-comedy from Greene, and of dramatic-romance from Beaumont and Fletcher.
The student of the English drama is delighted when he can seize firmly the rise and fall of the tragedy-of-blood for one example, of the comedy-of-humors for another, and of sentimental-comedy for a third; just as the investigator into the annals of fiction is pleased to be able to trace the transformations of the pastoral, of the picaresque romance, and of the later short-story.
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