The action of [Armstrong's Last Goodnight] is framed by the diplomat Lindsay who introduces it and signs it off. He and Armstrong are the main structural pillars. (p. 86)

[The play] registers equally as action drama with the basic appeal of a Western movie, or—given a nodding acquaintance with Middle English and the Border ballads—as recited epic. Beyond that it has [a] coherent political structure…. Lindsay's position in Armstrong's domain is like that of Machiavelli on his mission to Cesare Borgia and Armstrong meets the same fate as the rivals enticed by Borgia to a peace conference…. I'm not sure what's gained except entertainment by having Lindsay and Arm-strong share the same mistress. But the infusion of evangelical religion, as in Musgrave, has Arden's signature on it. Perhaps the lack of it pulls down the temperature of his Magna Carta play a little; though not as much...