Seneca's stories .
weren't really written for performance purposes, so if English .
playwrights liked his ideas, they had to figure out a way to make the .
story theatrically workable, relevant and exciting to the Elizabethan .
audience who were very demanding. Seneca's influence formed part of a .
developing tradition of tragedies whose plots hinge on political .
power, forbidden sexuality, family honor and private revenge. "There .
was no author who exercised a wider or deeper influence upon the .
Elizabethan mind or upon the Elizabethan form of tragedy than did .
Seneca." For the dramatists of Renaissance Italy, France and England, .
classical tragedy meant only the ten Latin plays of Seneca and not .
Euripides, Aeschylus and Sophocles. "Hamlet is certainly not much like .
any play of Seneca's one can name, but Seneca is undoubtedly one of .
the effective ingredients in the emotional charge of Hamlet. Hamlet .
without Seneca is inconceivable." .
During the time of Elizabethan theater, plays about tragedy .
and revenge were very common and a regular convention seemed to be .
formed on what aspects should be put into a typical revenge tragedy. .
In all revenge tragedies first and foremost, a crime is committed and .
for various reasons laws and justice cannot punish the crime so the .
individual who is the main character, goes through with the revenge in .
spite of everything. The main character then usually had a period of .
doubt , where he tries to decide whether or not to go through with the .
revenge, which usually involves tough and complex planning. Other .
features that were typical were the appearance of a ghost, to get the .
revenger to go through with the deed. The revenger also usually had a .
very close relationship with the audience through soliloquies and .
asides. The original crime that will eventually be avenged is nearly .
always sexual or violent or both. The crime has been committed against .
a family member of the revenger.