Cries out ‘Horatio, where is my Horatio?’
So that with extreme grief and cutting sorrow
There is not left in him one inch of man.”[63:1]
At the conclusion of the scene the distracted father is made to recite some Latin verses, usually attributed to Kyd himself. Hieronimo’s “tragical speeches” do not again reveal a mind unhinged, until the eleventh scene of the third act, where the interpolator is once more busy. This, however, occurring as it does in Kyd’s part of the play, where the Marshal is still sane, must not be mistaken for a sign of madness. He utters the word “son.” In his disordered brain this starts a train of bewildered reasoning. “My son, and what’s a son?”—he debates the question dispassionately until he once more remembers his loss. Then his grief breaks forth: he rants of Nemesis and Furies, murder and confusion, and even in Kyd’s work we now see that “this man is passing lunatic.” From this point onwards Hieronimo pursues his course of revenge with all the dogged
cunning of real madness. His violence surprises the King, who is ignorant of its cause. He digs with his dagger; he would “rip the bowels of the earth.” “Stand from about me,” he cries to the courtiers,
“I’ll make a pickaxe of my poniard
And here surrender up my marshalship;
For I’ll go marshal up the fiends in hell,
To be avenged on you all for this.”[64:1]
The next scene—an interpolation—is the weirdest and perhaps the most effective in the play. Tormented by delusions of spirits, yet hotly denying his madness even while raving on all kinds of topics, Hieronimo is confronted with a painter, Bazardo. Ever mindful of his cruel bereavement, he entreats Bazardo to paint a picture of him with his wife and son, to paint a murderer, “a youth run through and through,” and—if he only could—“to paint a doleful cry.” At the end of this scene Hieronimo is at his greatest, and, although in a more detailed study of the play the manner of his revenge and his death would find due place, we will be content to leave him here: