It is a play which has received a considerable amount of critical attention. T.S Elliot expressed the view that 'The Changeling' has a moral universality which makes it not simply a play of it's times; he said that 'more than any other play except those of Shakespeare it has a profound and permanent moral value and horror'. Twentieth century audiences have become receptive to Jacobean plays, and there can be many reasons. It may be that contemporary audiences see the predominant sexual interest and the violence of some scenes as being true to life. The events of 'The Changeling' are hardly more lurid and sordid than events reported in some of our more sensational newspapers. The modern audience is aware of the inner life of the individual and of human sexuality. We respond with fascination to a pre-Freudian play which shows such a remarkable intuitive understanding of human psychology. The main interest of twentieth century critics has been in the psychological exploration of the Beatrice - De Flores relationship. Critics have been divided over the interest and artistic integrity of the sub-plot, though many argue a close thematic relation between the main plot and sub-plot, in which the sub plot presents the triumph of virtue whilst the main plot shows the overthrow of vice, sin and temptation.