This article records tradition as it has been passed down and reported. Its sources are not yet part of the atlas's verified catalogue.
Battista Guarini spent a good part of his career defending one play. Il Pastor Fido provoked a pamphlet war the moment it appeared in 1590, Italian critics arguing that mixing tragedy and comedy broke Aristotle's own categories and produced neither. Guarini's answer was structural rather than defensive: borrow tragedy's gravity, its danger, its threatened deaths, its public stakes, but withhold the deaths themselves, so the audience feels tragedy's full weight of fear without ever paying tragedy's price. John Fletcher, writing in England a generation later, distilled the same idea into one sentence in his preface to The Faithful Shepherdess: a tragicomedy wants deaths, which keeps it from being a tragedy, yet comes near enough to some that it cannot pass for a comedy either. The genre, on this account, is not a blend of two moods but a single mood, danger, held right up to the line and then not crossed.