Remorse is by no means an unalloyed virtue in Enlightenment usage, as
Johnson's definition of it makes
clear. Contemporary literary usage had, indeed, suggested that this was a
tragic passion. Coleridge's Remorse, which was produced in 1813,
represents the passion as a static rankling, and Byron, who had a hand in
bringing that tragedy to the stage at Drury Lane, recasts its essential
situation into the unavailing grief of Manfred.