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[64] Fracastoro, i. 335 _sq._
[65] _Cf._ Castelvetro, _Poetica_, p. 27 _sq._
[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. Ta.s.so, 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]
