[64] Fracastoro, i. 335 _sq._

[65] _Cf._ Castelvetro, _Poetica_, p. 27 _sq._

[66] _Rhet._ i. 11.

[67] _Cf._ A. Segni, 1581, cap. i.

[68] Varchi, p. 227 _sq._

[69] Capriano, cap. ii.

[70] Lionardi, p. 43 _sq._

[71] _Lettere_, ii. 525.

[72] Scaliger, _Poet._ i. 2.

[73] _Defense_, pp. 10, 11.

[74] _De Poeta_, p. 53 _sq._

[75] Castelvetro, _Poetica_, p. 23 _sq._

[76] _Ibid._ p. 190.

[77] _Cf._ T. Ta.s.so, xi. 51.

[78] _Poetica_, p. 158.

[79] _Poetica_, p. 191.

[80] _Ars Poet._ 333.

[81] Butcher, p. 185.

[82] Daniello, p. 25.

[83] _Ibid._ p. 40.

[84] Fracastoro, i. 363.

[85] Scaliger, _Poet._ vi. ii. 2.

[86] _De Poeta_, p. 102. _Cf._ Scaliger, _Poet._ iii. 96.

[87] _De Poeta_, p. 11.

[88] _Essay of Dramatic Poesy_, p. 104.

[89] _De Poeta_, p. 79.

[90] _Oeuvres_, vii. 318.

[91] _Works_, i. 333.

[92] _Prose Works_, iii. 118.

[93] _Characteristicks_, 1711, i. 207.

[94] H. C. Robinson, _Diary_, May 29, 1812, "Coleridge talked of the impossibility of being a good poet without being a good man."

[95] _Defence of Poetry_, p. 42.

[96] Minturno plainly says as much, _De Poeta_, p. 105.

[97] _Geog._ i. ii. 5, as cited by Shaftesbury.

[98] _Lettere_, ii. 195.

[99] _Essay of Dramatic Poesy_, p. 104.

[100] _Cf._ Piccolomini, p. 369.

[101] Castelvetro, _Poetica_, p. 505. _Cf._ Twining, ii. 449, 450.

[102] _Poetica_, p. 29.

[103] Posnett, cited by Cook, p. 247.

[104] _Opere_, viii. 26 _sq._

[105] _Ibid._ ix. 123.

[106] _Ibid._ xii. 13.

[107] _Ibid._ xi. 50.

[108] _Ibid._ xii. 212.

CHAPTER III

THE THEORY OF THE DRAMA

ARISTOTLE'S definition of tragedy is the basis of the Renaissance theory of tragedy. That definition is as follows: "Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narration; through pity and fear effecting the proper _katharsis_ or purgation of these emotions."[109]