He falleth well, that falling fells his foe.
Small manhood were to turn my back to chance.
I bear no breast so unprepar'd for harms.
Even that I hold the kingliest point of all,
To brook afflictions well: and by how much
The more his state and tottering empire sags,
To fix so much the faster foot on ground.
No fear but doth forejudge, and many fall
Into their fate, whiles they do fear their fate.
Where courage quails, the fear exceeds the harm:
Yea, worse than war itself is fear of war.

From the brief list of other tragedies preserved from this period of
development, and including such plays as _Tancred and Gismunda_ (1568)
and Whetstone's _Promos and Cassandra_ (printed 1578)--the latter
chiefly interesting on account of the criticism of contemporary drama
contained in its Dedication--we select _Damon and Pythias_ (before 1567)
by Richard Edwards as an example of native tragedy influenced but not
subjugated by classical models. To be exact, it is a tragi-comedy, but
it is very improbable that the method of presentment would have been
different had it ended tragically; therefore it will suit our purpose.
Of importance is the date, some three or four years later than
_Gorboduc_ and seventy years earlier than _The Misfortunes of Arthur_.
When we call to mind the form finally adopted for tragedy by
Shakespeare, we shall find this play an illuminating beacon, lighting
the first steps along the right path. The author was well acquainted
with classical drama, as may be seen in his use of stichomythia, amongst
other things, and possibly in his preference for a Grecian story. He
probably knew _Gorboduc_ quite well, and learned much from its faults.