I could not count the lines which on reperusal of this great tragic poem I find apt for illustrative quotation, or suggestive of a tributary comment: but enough has already been cited to prove beyond all chance of cavil from any student worthy of the name that the place of Cyril Tourneur is not among minor poets, nor his genius of such a temper as naturally to attract the sympathy or arouse the enthusiasm of their admirers; that among the comrades or the disciples who to us may appear but as retainers or satellites of Shakespeare his rank is high and his credentials to that rank are clear. That an edition more carefully revised and annotated, with a text reduced to something more of coherence and intelligible arrangement, than has yet been vouchsafed to us, would suffice to place his name among theirs of whose eminence the very humblest of their educated countrymen are ashamed to seem ignorant, it would probably be presumptuous to assert. 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. "Antonio and Mellida" (Marston), 30, 116, 117, 122, 124, 145, 148. "Antonio's Revenge" (Marston), 122. "Anything for a Quiet Life" (Middleton), 163. "Appius and Virginia" (Webster), 198. Arbuthnot, 228. Ariosto, 110. Aristophanes, Middleton compared with, 169; caricaturist, 206. Armada, 168, 206. Arnold, Matthew, on Chapman, 107. Asdrubal, speech of (Marston), 118. "Asolani," 209. "Astraea Redux," authorship, 157. Astrophel and Stella, 66. "Atheist's Tragedy, The" (Tourneur), 265; reflects the age, 268, 273. Athens, 169. Audience in Shakespeare's age, 170, 245. "Bachelor's Banquet, The" (Dekker), 97. Bacon, Francis, 68, 256. Balzac, Shakespeare and Marlowe compared with, 33; Dekker compared with, 108. Barkstead, William, 136. Barnfield, 50. "Bartholomew Fair" (Marston), 122. Beaumont, 172; and Fletcher, 182, 225. "Beggars' Bush" (Fletcher), 178.