[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. Tasso, 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] To expand this definition, tragedy, in common with all other forms of poetry, is the imitation of an action; but the action of tragedy is distinguished from that of comedy in being grave and serious. The action is complete, in so far as it possesses perfect unity; and in length it must be of the proper magnitude. By embellished language, Aristotle means language into which rhythm, harmony, and song enter; and by the remark that the several kinds are to be found in separate parts of the play, he means that some parts of tragedy are rendered through the medium of verse alone, while others receive the aid of song. Moreover, tragedy is distinguished from epic poetry by being in the form of action instead of that of narration. The last portion of Aristotle's definition describes the peculiar function of tragic performance. I. _The Subject of Tragedy_