Renaissance revivals Italy Plautus's comment had an arguably excessive impact on Renaissance aesthetic theory, which had largely transformed Aristotle's comments on drama into a rigid theory. For "rule mongers" (the term is Giordano Bruno's), "mixed" works such as those mentioned above, more recent "romances" such as Orlando Furioso, and even The Odyssey were at best puzzles; at worst, mistakes. Two figures helped to elevate tragicomedy to the status of a regular genre, by which is meant one with its own set of rigid rules.  Giovanni Battista Giraldi Cinthio,  in the mid-sixteenth century , both argued that the tragedy-with-comic-ending (tragedia de lieto fin)was most appropriate to modern times and produced his own examples of such plays . Even more important was Giovanni Battista Guarini. Guarini's Il Pastor Fido, published in 1590, provoked a fierce critical debate in which Guarini's spirited defense of generic innovation eventually carried the day. Guarini's tragicomedy offered modulated action that never drifted too far either to comedy or tragedy, mannered characters, and a pastoral setting. All three became staples of continental tragicomedy for a century and more.
Renaissance revivals Italy Plautus's comment had an arguably excessive impact on Renaissance aesthetic theory, which had largely transformed Aristotle's comments on drama into a rigid theory. For "rule mongers" (the term is Giordano Bruno's), "mixed" works such as those mentioned above, more recent "romances" such as Orlando Furioso, and even The Odyssey were at best puzzles; at worst, mistakes. Two figures helped to elevate tragicomedy to the status of a regular genre, by which is meant one with its own set of rigid rules. First was Giovanni Battista Giraldi Cinthio, a dramatist working in the mid-sixteenth century who developed a treatise on drama modeled on Roman comedies and tragedies as opposed to early Greek-based treatises that became the model for Italian dramatists at the time. He argued for a version of tragicomedy where a tragic story was told with a happy or comic ending (tragedia a lieto fine), which he thought were better suited for staged performances as opposed to tragedies with unhappy endings which he thought were better when read.Schironi, F. (2016). The Reception of Ancient Drama in Renaissance Italy. In 1316154068 967100427 B. V. Smit (Ed.), A handbook to the reception of Greek drama (1st ed., pp. 135-136). Chichester, West Sussex, UK: Wiley Blackwell . Even more important was Giovanni Battista Guarini. Guarini's Il Pastor Fido, published in 1590, provoked a fierce critical debate in which Guarini's spirited defense of generic innovation eventually carried the day. Guarini's tragicomedy offered modulated action that never drifted too far either to comedy or tragedy, mannered characters, and a pastoral setting. All three became staples of continental tragicomedy for a century and more.
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First was
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a dramatist working
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, both argued that the tragedy-with-comic-ending (tragedia de lieto fin)was most appropriate to modern times and produced his own examples of such plays
who developed a treatise on drama modeled on Roman comedies and tragedies as opposed to early Greek-based treatises that became the model for Italian dramatists at the time. He argued for a version of tragicomedy where a tragic story was told with a happy or comic ending (tragedia a lieto fine), which he thought were better suited for staged performances as opposed to tragedies with unhappy endings which he thought were better when read.Schironi, F. (2016). The Reception of Ancient Drama in Renaissance Italy. In 1316154068 967100427 B. V. Smit (Ed.), A handbook to the reception of Greek drama (1st ed., pp. 135-136). Chichester, West Sussex, UK: Wiley Blackwell