Edwards's device was another experiment in the same direction. Needless to say, alliteration is not called in to reinforce weak sentiments. Possibly attributable to classical influence is the adoption of the serious, half-philosophical tone noticed in _Gorboduc_ and _The Misfortunes of Arthur_. This quality the author judged to be a harmonious element in tragedy, and judged aright, though, as was natural at so early a stage, he tended to exaggerate it. Shakespeare's greatest tragedies abound in passages of deep reflexion upon life, death, and the problems of right and wrong. We may choose to place the origin of this grave spirit in the 'classics', but it may be pointed out, with reason, that the persistent traditions of the Moralities, the pious moralizings retained in such Interludes as _Like Will to Like_, may just as easily have passed over naturally into Edwards's work along with the Vice. In support of this other source may be cited the absence from this play of the long speeches which went hand in hand with the learned reasoning and soliloquies of Sackville and Norton. Quite undeniably of classical influence, however, is the refinement and restraint noticeable throughout the play. These we welcome. They prune the tree of native drama without hacking off its stoutest limbs. Under their control tragedy steps upon the stage in an English dress to prove herself worthy of her Roman sister and ultimately capable of far greater achievements. To select details in proof of the success of _Damon and Pythias_ as a pioneer in tragedy is made difficult by the fact that it ends happily. But attention may be called to the very praiseworthy treatment of the comic characters--notably Stephano and the gruff but kind-hearted hangman, Gronno--and to the humanity which vitalizes the major personages, Carisophus in particular; to the dignity also, maintained throughout the play (the Collier episode alone excepted), and to the admirably dramatic suspense secured just before Damon's return. The following extract is drawn from Pythias's farewell speech at that time, delivered on the scaffold in accordance with the best English customs: But why do I stay any longer, seeing that one man's death May suffice, O king, to pacify thy wrath? O thou minister of justice, do thine office by and by, Let not thy hand tremble, for I tremble not to die. Stephano, the right pattern of true fidelity, Commend me to thy master, my sweet Damon, and of him crave liberty When I am dead, in my name; for thy trusty services Hath well deserved a gift far better than this. O my Damon, farewell now for ever, a true friend, to me most dear; Whiles life doth last, my mouth shall still talk of thee, And when I am dead, my simple ghost, true witness of amity, Shall hover about the place, wheresoever thou be.