This conception of the tragic hero was the subject of considerable discussion in the Renaissance; in fact, the first instance in Italian criticism of the application of Aristotelian ideas to the theory of tragedy is perhaps to be found in the reference of Daniello (1536) to the tragic hero's fate. Daniello, however, understood Aristotle's meaning very incompletely, for he points out that tragedy, in order to imitate most perfectly the miserable and the terrible, should not introduce just and virtuous men fallen into vice and injustice through the adversity of fortune, for this is more wicked than it is miserable and terrible, nor should evil men, on the contrary, be introduced as changed by prosperity into good and just men.[164] Here Daniello conceives of tragedy as representing the change of a man from vice to virtue, or from virtue to vice, through the medium of prosperity or misfortune. This is a curious misconception of Aristotle's meaning. Aristotle refers, not to the ethical effect of tragedy, but to the effect of the emotions of pity and terror upon the mind of the spectator, although of course he does not wish the catastrophe to shock the moral sense or the sense of justice. Giraldi Cintio, some years after Daniello, follows Aristotle more closely in the conception of the tragic hero; and he affirms, moreover, that tragedy may end happily or unhappily so long as it inspires pity and terror. Now, Aristotle has expressly stated his disapprobation of the happy ending of tragedy, for in speaking of tragedies with a double thread and a double catastrophe, that is, tragedies in which the good are ultimately rewarded and the bad punished, he shows that such a conclusion is decidedly against the general tragic effect.[165] Scaliger's conception of the moral function of the tragic poet as rewarding virtue and punishing vice is therefore inconsistent with the Aristotelian conception; for, as Scaliger insists that every tragedy should end unhappily, it follows that only the good must survive and only the bad suffer. Another critic of this time, Capriano (1555), points out that the fatal ending of tragedy is due to the inability of certain illustrious men to conduct themselves with prudence; and this is more in keeping with Aristotle's true meaning.[166]