upon it.  Jonson, indeed, has preserved the tradition that it had been Sir Philip’s intention ’to have transform’d all his Arcadia to the stories of King Arthure[145],’ though how the transformation was to be accomplished he forbore to hint; but the more familiar tradition of Sidney’s having expressed on his death-bed a desire that the romance should be destroyed assorts better with what else we know of his regard for his ‘idle worke.’

For the name of his romance Sidney was no doubt indebted to Sannazzaro, whom he twice mentions as an authority in his Defence of Poesy, but there in all probability his direct obligation ends, since even the rime sdrucciole, which he occasionally affected, may with equal probability be referred to the influence of the Diana.  It was, undoubtedly, Montemayor’s romance which served as a model for, or rather suggested the character of, Sidney’s work[146].  Thus the chivalric element, unknown to Sannazzaro, is with Sidney even more prominent than with Montemayor and his followers.  It is, however, true that, like Greene’s, his heroes are rather of a classical than a medieval stamp, and he also chose to lay the scene of the action in Greece rather than in his native land, as was the habit of Spanish writers.  The source upon which Sidney chiefly drew for incidents was the once famous Amadis of Gaul, but a diligent reading of the other French and Spanish romances of chivalry would probably lengthen the list of recorded creditors.  Heliodorus supplies several episodes, and an acquaintance at least can be traced with both Achilles Tatius and Chariton.

The intricate plot, with its innumerable digressions, episodes, and interruptions, need not here be followed in detail, especially as we shall have ample opportunity of becoming familiar with its general features when we come to discuss the plays founded upon it.  Here it will be sufficient to note one or two points.  In the first place the romance contains no really pastoral characters, the personae being all either shepherds in their disguise only, or else, like Greene’s Doron and Carmela, burlesque characters of the rustic tradition.  Secondly, it may be observed that the amorous confusion is even greater than in Menaphon, Pyrocles disguising himself as an Amazon in order to enjoy the company of his beloved Philoclea, which leads to her father Basilius falling in love with him in his disguise, and endeavouring to use his daughter to forward his suit, while her mother Gynecia likewise falls in love with him, having detected his disguise, and becomes jealous of her daughter, who on her part innocently accepts her lover as bosom companion[147].