But if the noblest ardor of
moral emotion, the most fervent passion of eager and indignant sympathy
with all that is best and abhorrence of all that is worst in women or in
men--if the most absolute and imperial command of all resources and
conquest of all difficulties inherent in the most effective and the most
various instrument ever yet devised for the poetry of the tragic
drama--if the keenest insight and the sublimest impulse that can guide
the perception and animate the expression of a poet whose line of work
is naturally confined to the limits of moral or ethical tragedy--if all
these qualities may be admitted to confer a right to remembrance and a
claim to regard, there can be no fear and no danger of forgetfulness for
the name of Cyril Tourneur.
INDEX
Action, relation to character, 245.
Adventure, subject for drama, 242.
Aeschylus, Shakespeare compared with, 31;
Webster compared with, 52.
Allegory, 102, 168, 170, 179, 180.
Alleyn, 189.
"All Fools" (Chapman), 259.
"All's Lost by Lust," 196.
Amadis, 214.
"Amboyna" (Dryden), 82.
"Amphitruo," the, 217.
"Antipodes, The," 252.
_Antiquary, The_ (Scott), 84.
Pages:
271
272
273
274
275
276
277
278
279
280
281
282
283
284
285
286
287
288
289
290
291
292
293
294
295