“The Spanish Tragedy” by Thomas Kyd is a revenge tragedy play written in the late 16th century. While the play does not explicitly employ the concept of terministic screen and linguistic obfuscation as defined by Kenneth Burke, it does contain elements that align with these ideas.
Language deviates in what Kenneth Burke calls “dramatism” due to human nature. Humans, as symbol-using animals, employ linguistic symbols with motives that go beyond mere naming or speaking in distinctive ways (Burke, 1966). These motives stem from man’s innate pursuit of perfection, driven by a principle of hierarchy or order embedded in symbol systems (Burke, 1966). Consequently, individuals are goaded by a permanent desire, leading them to seek terministically directed insights (Burke, 1966).
Within this socio-political order, Burke’s use of the words “variously,” “particular,” and “directed” highlights the instability of terminology. In this context, terms do not solely signify natural existence but rather fluctuate based on individual or group insights and socio-political contexts. In “The Spanish Tragedy,” the meanings attributed to “Spain” and “Portugal” by the Spanish King and Horatio differ significantly. The political connotations associated with these terms vary in subtlety and manipulativeness, reflecting different perspectives shaped by gender, stance, experience, and personal love affairs.
In this socio-political order, language ceases to designate unchangeable elements in the natural order. Instead, it becomes an action that aligns with man’s pursuit of attitudinal or hortatory expressions. This resolution helps to explain the Spanish King’s conflating of “Spain” and “Portugal,” which no longer refers to geographical objectivity but represents his intention to establish mutually interested cooperation. Language becomes a tool for diplomatic purposes, reflecting the reality perceived by the king while deflecting attention from past feuds between the two countries. This deflection is regarded as a variation of the “terministic screen,” directing attention toward specific channels rather than others (Burke, 1966). The Spanish King’s linguistic deflection demonstrates the complex interplay between reflecting and deflecting reality.
The concept of terministic screen and linguistic obfuscation extends beyond individual characters in “The Spanish Tragedy” and is interwoven with broader themes and motifs. The Spanish court’s political landscape exemplifies hidden agendas, power struggles, and veiled language. Characters strategically employ rhetoric and diplomatic language to conceal their true intentions and gain advantages in political maneuverings.
These terministic screens and linguistic obfuscation contribute to the play’s atmosphere of tension and suspense. Audiences are constantly engaged in deciphering hidden meanings behind characters’ words and actions. This uncertainty heightens the play’s dramatic impact and sustains audience involvement throughout the intricate plot.
Ultimately, the terministic screen and linguistic obfuscation in “The Spanish Tragedy” serve as powerful literary devices that enhance themes, characterizations, and dramatic impact. They convey complexity, ambiguity, and moral uncertainty, showcasing Kyd’s craftsmanship and his exploration of human psychology and communication.
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Language deviates in what Kenneth Burke refers to as “dramatism” due to the inherent nature of human beings. As symbol-using animals, humans employ linguistic symbols with motives that go beyond the simple act of naming or speaking in distinctive ways (Burke, 1966). These motives are rooted in man’s pursuit of perfection, driven by an implicit principle of hierarchy or order that exists within symbol systems (Burke, 1966). Consequently, individuals are motivated by a perpetual desire, leading them to seek out terministically directed insights (Burke, 1966).
Within the socio-political order, the use of the words “variously,” “particular,” and “directed” by Burke signifies the instability of terminology. In this context, terms do not solely signify the natural existence of things in the world, such as “tree,” “wind,” or “cosmic,” but rather they attempt to designate things within the realm of what Burke calls the “socio-political order” (Burke, 1966). In this order, terms are not fixed in their meaning but vary according to the specific insights and intentions of individuals or groups, always subject to the socio-political context. For instance, in “The Spanish Tragedy,” the meanings attached to “Spain” and “Portugal” by the Spanish King and Horatio differ significantly. The political connotations associated with these terms are more subtle and manipulative for the former than the latter. Similarly, the term “love” as used by Bel-imperia is distinct from Balthazar’s understanding due to their different genders, perspectives, and personal experiences in matters of love.
In the socio-political order, language no longer serves as a mere designation of unchangeable elements in the natural order. Rather, it becomes an action that aligns with man’s pursuit of attitudinal or hortatory expressions. This understanding helps to resolve the paradox in the Spanish King’s conflating of the terms “Spain” and “Portugal.” These terms no longer refer to the geographically objective existence of the two kingdoms but instead represent the king’s intention to establish mutually beneficial cooperation, whether as an attitudinal hope or as a hortatory command within a diplomatic setting. In his articulation of the relationship between the two kingdoms, the king reflects what he believes to be the “reality” that exists between them, using the terms “Spain” and “Portugal” as though they describe reality itself.
However, regardless of the king’s authority, his way of reflecting reality is only one perspective, a deflection away from the evident conflicts that once existed and still persist between the two countries. Thus, the reflection of reality brings forth a “deflection” that Burke regards as a variation of the “terministic screen,” which refers to the fact that any nomenclature necessarily directs attention into specific channels rather than others (Burke, 1966). For example, a geographer’s terms for Spain and Portugal would differ from those used by the Spanish King. While the former would focus on the geographical features, the king, in his chiastic juxtaposition of the two terms, deflects attention from the geographical differences and the political disharmony, directing attention to the mutual dependency and inextricable interrelations between the two kingdoms. It is precisely due to these different ways of reflecting and deflecting “reality” that a sense of linguistic obfuscation is felt in “The Spanish Tragedy,” particularly in the varied and confusing discourses of the characters. Several critics have noted the diverse narrative versions of the Spain-Portugal battle in the first act, with as many as six characters (the Ghost of Andrea, the General, Horatio, Lorenzo, Balthazar, and Villupo) witnessing and verbalizing their experiences in different ways with different judgments, providing multiple perspectives on the event. This diversity of discourse inevitably leads readers to question the objectivity of reality and whether the past can or should be known objectively (McMillin, 1972). It also raises the issue of whether the correspondence between words and things has lost its effectiveness (Garrido, 2001). However, a closer examination of these narrative “deflections” of the battle reveals that they share a common rhetorical strategy: they are all shaped by a particular speaker’s desire to conform to a certain order of discourse that they perceive as perfect or idealistic.
Furthermore, in “The Spanish Tragedy,” the concepts of the terministic screen and linguistic obfuscation extend beyond individual characters and are interwoven into the broader themes and motifs of the play. The political landscape of the Spanish court, for instance, is fraught with hidden agendas, power struggles, and veiled language. Characters strategically employ rhetoric and diplomatic language to mask their true intentions and gain an upper hand in their political maneuverings.
By utilizing the terministic screen and linguistic obfuscation, Kyd delves into the complexities of human nature and the inherent ambiguity of communication. He explores the idea that words can serve as both a means of connection and a tool of deception, reflecting the intricate web of relationships and power dynamics within the world of the play.
Additionally, the presence of the terministic screen and linguistic obfuscation contributes to the play’s overall atmosphere of tension and suspense. The audience is constantly on edge, attempting to unravel the hidden meanings behind the characters’ words and actions. This heightened sense of uncertainty enhances the dramatic impact of the play and keeps the audience engaged as they navigate the intricacies of the plot.
Ultimately, the use of the terministic screen and linguistic obfuscation in “The Spanish Tragedy” serves as powerful literary devices that enhance the play’s themes, characterizations, and dramatic impact. They create an atmosphere of intrigue, complexity, and moral ambiguity, showcasing Kyd’s skillful craftsmanship and his ability to delve into the depths of human psychology and communication.
In summary, “The Spanish Tragedy” effectively employs the concepts of the terministic screen and linguistic obfuscation to portray characters and their interactions with depth and nuance. These devices contribute to the play’s complexity, ambiguity, and dramatic tension, revealing the multifaceted nature of human communication and the hidden depths beneath the surface of language.
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