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.

“Bellman of London, The,” (Dekker), 101.

Bembo, Pietro, 209.

Bible, Hebrew, influence of, 281.

Biographer’s Manual, 278.

Biographical Chronicle of the English Drama (Fleay), 205.

Bishop Hall, 163.

Blake, William, Dekker compared to, 72;
  “Jerusalem,” 279.

Blank verse, 1, 2, 224.

“Blind Beggar of Alexandria, The” (Chapman), 193.

Boccaccio, Dekker compared with, 108.

Boswell, 162.

“Brazen Age, The,” 218.