Alike in age, in generous birth alike
    And mutual desires,

gather in love the fruits which they have sown in weeping.

It is worth while quoting the final chorus in witness of the spirit of half bantering humour in which the whole was conceived even by the serious Tasso, a spirit we unfortunately too often seek in vain among his followers.

    Non so se il molto amaro
    Che provato ha costui servendo, amando,
    Piangendo e disperando,
    Raddolcito esser puote pienamente
    D’ alcun dolce presente: 
    Ma, se piu caro viene
    E piu si gusta dopo ’l male il bene,
    Io non ti chieggio, Amore,
    Questa beatitudine maggiore: 
    Bea pur gli altri in tal guisa;
    Me la mia ninfa accoglia
    Dopo brevi preghiere e servir breve: 
    E siano i condimenti
    Delle nostre dolcezze
    Non si gravi tormenti,
    Ma soavi disdegni,
    E soavi ripulse,
    Risse e guerre a cui segua,
    Reintegrando i cori, o pace o tregua.

It is with these words that the author leaves his graceful fantasy; and such, we have perhaps the right to assume, was the spirit in which the whole was composed.  Were any one to object to our seeking to analyse the quality of the piece, arguing that to do so were to break a butterfly upon the wheel, much might reasonably be said in support of his view.  Nevertheless, when a work of art, however delicate and slender, has received the homage of generations, and influenced cultivated taste for centuries, and in widely different countries, we have a right to inquire whereon its supremacy is based, and what the nature of its influence has been.

With the sources from which Tasso drew the various elements of his plot we need have little to do.  The child-love of Silvia and Aminta is of the stuff of Daphnis and Chloe; the ruse by which the kiss is obtained is borrowed from Achilles Tatius; the compliment to the court of the Estensi is after the manner of Vergil, or of Castiglione, or of Ariosto, or of any other of the allegorical eclogists of whom Vergil was the first; the germ of the golden-age chorus is to be found in the elegies of Tibullus (II. iii); the character of the satyr belongs to tradition; the rent veil of Silvia reminds us of that of Ovid’s Thisbe (Met. IV. 55).  The language too is reminiscent.  The finest lines in the play—­

    Amiam:  che ’l sol si muore, e poi rinasce;
      A noi sua breve luce
      S’ asconde, e ’l sonno eterna notte adduce—­(Coro I.)

belong to Catullus: 

Viuamus, mea Lesbia, atque amemus;... soles occidere et redire possunt; nobis cum semel occidit breuis lux, nox est perpetua una dormienda. (Carm. V.)

The words in which Amore describes himself in the prologue—­

              non mica un dio
    Selvaggio, o della plebe degli dei,
    Ma tra’ grandi celesti il piu possente—­