of Giraldi Cintio’s published from manuscript by Signor Carducci.  Another curious but isolated experiment is Cintio’s Egle, in intent a revival of the ‘satyric’ drama of the Greeks, in substance a dramatization of the motive of Sannazzaro’s Salices.  In one sense these experiments ended in failure; it was not through the elaboration of mythological or superhuman elements, nor through the humour of burlesque or realistic rusticity, nor yet through the violence of unexpected discoveries, that the destined form of the pastoral drama was to be attained.  On the other hand, they undoubtedly served to introduce an elaboration of plot and complexity of dramatic structure which is altogether lacking in the earlier eclogues and masques, but without which the work of Tasso and Guarini could never have occupied the commanding position that it does in the history of literature.  They carry us forward to the point at which the pastoral drama took its shape and being.

Of the elements compounded of pastoral idealism and the graceful purity of classical myth, and combining the scenic attractions of the masque with the reasoned action and human interest of the regular drama, the Arcadian pastoral first achieved definite form in the work of Agostino Beccari.  His Sacrifizio, styled ‘favola pastorale’ on the title-page of the first impression, was acted at the palace of Francesco d’ Este at Ferrara in the presence of Ercole II and his son Luigi, and of the Duchess Renata and her daughters Lucrezia and Leonora, on two occasions in February and March 1554.  The piece was revived more than thirty years later, namely in 1587, when the courtly world was already familiar with Tasso’s masterpiece, and was ringing with the prospective fame of the Pastor fido, and represented both at Sassuolo and Ferrara.

The action involves three pairs of lovers.  Turico loves Stellinia in spite of the fact that she has transferred her affections to Erasto.  Erasto in his turn pays his homage to Callinome, the type of the ‘careless’ shepherdess, a nymph vowed to the service of Diana.  There remains Carpalio, whose love for Melidia is secretly returned; its consummation being prevented by the girl’s brother Pimonio, who refuses to countenance the match, and keeps dragon guard over his sister.  In the meanwhile shepherds and shepherdesses assemble to honour the festival and sacrifice of Pan, which proves the occasion for the unravelling of the amorous tangle.  Stellinia, wishing to rid herself of her rival in Erasto’s love, induces Callinome so far to break her vestal vow as to be present at the forbidden feast.  Here she is promptly detected by the offended goddess and sentenced to do battle against one of the fiercest of the Erymanthian boars.  Erasto comes to her aid with a magic ointment, which has the power of rendering the user invisible, and with the help of which she achieves her task unharmed.  Out of gratitude she rewards her preserver with her love.