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Revenge ‘was both spectator and participant, present as a dapper pageboy in white who spoke most of the servants’ lines and magically dropped in every letter needed to draw the characters towards their nemesis. He was also, of course, the boy with the empty box. […] Even the epilogue was crueller than Kyd, perhaps. Revenge did not conduct the victims to eternal pleasure or pain; their ghosts rose and slank off, no doubt to watch revenge plays of their own. Andrea’s ghost was left alone, still shackled to the gallows, which uncaring soldiers swept the stage.’  

Tony Howard, ‘Renaissance Drama Productions: Kyd – The Spanish Tragedy 1978, Research Opportunities in Renaissance Drama, 21 (1978), 64-6 (65)