passions well imitated. Note how Milton reinterprets Aristotle's definition, exchanging "actions well imitated" for "passions well imitated." See Poetics 1449b.

a verse of Euripides. The phrase, "Evil communication corrupts good manners," was a proverbial expression even in Paul's time. Milton attributes it to Euripides and supposes that Paul's use, in 1 Corinthians 15:33, is a conscious borrowing.

Paraeus. David Paraeus (1548-1622) was a German Calvinist whose commentary on Revelations was translated into English 1n 1644. [A commentary upon the divine Revelation of the apostle andevangelist, Iohn by David Pareus ... ; and specially some things upon the 20th chapter are observed by the same authour against the Millenaries ; translated out of the Latine into English, by Elias Arnold. Amsterdam: Printed by C.P., 1644. Microfilm. Ann Arbor, Mich. University Microfilms, 1971. 1 microfilm reel; 35 mm. (Early English books, 1641-1700; 394:23).] Milton cites him frequently in his prose, especially the divorce tracts.

Dionysius the elder. Tyrant of Syracuse (431-367 BCE) was the author of a prizewinning tragedy, The Ransom of Hector, at the Dionysiac festival competition in Athens.

Augustus Cæsar. According to Suetonius, Augustus "began a tragedy with much enthusiasm," but "destroyed it because his style did not satisfy him" (Caesars 2.85).

Seneca. Even in Milton's time, there was some debate about whether the ten dramas attributed to Lucius Annaeus Seneca were composed by the stoic philosopher or by some other person named Seneca.

Gregory Nazianzen. Fourth-century bishop of Constantinople and probably not the author of Christ Suffering.

intermixing Comic stuff with Tragic sadness. Sidney in his Defence of Poesie, discussed mixed genres with some ambivalence: "Now in his parts, kindes, or species, as you list to tearme them, it is to be noted that some Poesies have coupled togither two or three kindes, as the Tragicall and Comicall, whereupon is risen the Tragicomicall, some in the manner have mingled prose and verse, as Sanazara and Boetius; some have mingled matters Heroicall and Pastorall, but that commeth all to one in this question, for if severed they be good, the conjunction cannot be hurtfull." Shakespeare used the buffoon Polonius to make fun of such mixing in Hamlet (2.2.379-84), though Shakespeare himself frequently mixed tragedy and comedy.

vulgar. That is, persons of lower class. In plays, clowns, fools, and buffoons.

Martial. Martial prefaced his first book of Epigrams with Ad Lectorem, and epistle to readers.

Monostrophic, or rather Apolelymenon. That is, a single stanza in a free strophic pattern. In the traditional strict pattern, a strophe was followed by an antistrophe (or answering verse) and an epode.

Allaeostropha. That is, irregular strophes.

œconomy. Milton understood the economy of the plot to refer to the arrangement of episodes in the plot. In Poetics 1450b-1452b, Aristotle defines plots proper to tragedy.

not produc't beyond the fift Act. That is, that no episode in the play represent actions taking place after that depicted in the final act.

verisimilitude. Likeness to reality, or believability.

antient rule. The so-called "unity of time" rule of the neo-classicists dictated that the action represented in a drama ought to correspond fairly closely to what we would call "real time." Horace, in his Ars Poetica, dictated that a play should not represent any action that exceeded a day's time. To represent more than a single day's action was thought to stretch credibility and violate verisimilitude. In Shakespeare's Henry V Prologue.28-34, the Chorus conscientiously apologizes for huge violations of this principle.