Bloody Handkerchief
The handkerchief (also referred to as a scarf) is the most prominent symbol in The Spanish Tragedy. The object passes (literally) through a number of hands over the course of the play, and as such develops numerous symbolic meanings. At first, the handkerchief is a symbol of memory and love, given to Andrea from Bel-Imperia as a token of her affection and later plucked from Don Andrea by Horatio in remembrance of his deceased friend. The handkerchief is also, of course, a symbol of violence and death, as it is besmeared with blood (first Andrea's, and then Horatio's). Finally, when Hieronimo finds the handkerchief on Horatio after his murder, he vows never to part from it until his revenge has come to fruition, rendering the handkerchief a symbol of revenge as well.
The Arbor
The arbor where Horatio is eventually hanged is another important and changing symbol in the play. In the beginning, it symbolizes seclusion and the birth of new love (recalling the Christian concept of the Garden of Eden in the book of Genesis), as Horatio invites Bel-Imperia there for privacy. That idyllic setting is later destroyed by Lorenzo and his companions when they brutally murder Horatio and hang him in the garden, making the former symbol of paradise into one of death and destruction. Finally, Isabella returns to the arbor in her lunacy, cutting it down branch by branch in order to obliterate its life-giving ability, therefore rendering the arbor a symbol of her own barrenness after the loss of her son.
The Box
After Pedringano is imprisoned for the murder of Serberine, Lorenzo sends a page to Hieronimo with a box that allegedly contains Pedringano's pardon. The page – who swore not to open the box – becomes curious and opens the box, only to find it completely empty. The box therefore symbolizes betrayal and empty promises, as Pedringano, thinking his pardon is simply sitting in the page's lap, is eventually hanged so Lorenzo can preserve his secret.
Revenge
Revenge is both a major theme and a major motif in the play, especially considering that it appears in personified form on the stage. Each time the performance pans to Don Andrea and Revenge, Andrea appears more and more impatient with his new companion. Revenge, however, continues to assure him that his work – and the serving of justice – is slow, but sure. This repeated interaction creates a motif around revenge as something that, when done successfully, takes careful thought, consideration, and time.
Meta-Theatricality
Critics often turn to The Spanish Tragedy as one of the earliest examples of revenge plays in the early modern period. Indeed, many attribute various elements of Shakespeare's Hamlet to Kyd's earlier portrayal of revenge on stage. One aspect of The Spanish Tragedy that might stand out to readers is the explicit meta-theatricality – meaning the direct commentary by Revenge and Don Andrea on the events of the play, and the acknowledgment that the events unfolding are part of a performance. Critics often compare this explicit meta-theatrical structure of The Spanish Tragedy to more subtle meta-theatrical commentary of later performances, suggesting that because of its novelty on the stage, The Spanish Tragedy had to help orient its audience to the genre in a direct and accessible way.
