In the next scene, again modelled on the corresponding one in Tasso’s play, we find Ergasto comforting Mirtillo in his despair at Amarilli’s ‘cruelty.’  Mirtillo has but recently arrived in Arcadia, and is ignorant of its history and customs, which Ergasto explains at length.  The third scene is devoted to a long monologue by Corisca; the fourth to a conversation between Montano and Titiro, who discuss the oracles concerning the approaching marriage and recount portentous dreams.  A monologue by the satyr relating his ill-usage at the hands of Corisca, followed by a chorus, ends the first act.  The next scene contains the history of Mirtillo’s passion as narrated to his confidant.  Ergasto has enlisted the services of Corisca, and the whole paraphernalia of love lead in the next act to an interview between Mirtillo and Amarilli.  The author’s dramatic method whereby he presents us with alternate scenes from the various threads of the plot will by now be evident to the reader, and the remainder may for clearness’ sake be thrown into narrative form.

Corisca, well knowing that it is impossible for Amarilli to show favour to Mirtillo, and hoping to ingratiate herself with him, prevails upon the nymph to grant her lover a hearing, provided the interview be secret and short.  During a game of blind man’s buff the players suddenly retire, leaving Mirtillo and Amarilli alone.  The interview of course comes to nothing, but as soon as Mirtillo has left her Amarilli relieves her feelings in a monologue confessing her love, which is overheard by Corisca[188].  Charged with her weakness, she confesses her dislike of the marriage with Silvio.  Hereupon Corisca conceives a plan for ridding herself at once of her rival in Mirtillo’s affections and of her own affianced lover.  She leads Amarilli to suppose that Silvio is faithless to his betrothal vow.  If Amarilli can prove Silvio guilty she will herself be free, and she agrees to hide in a recess in a cave where Corisca alleges that Silvio has an assignation.  Next Corisca makes an appointment to meet her lover Coridone in the same cave, intending that he and Amarilli shall be surprised together.  Finally, in order to obtain a witness, she accuses Amarilli to Mirtillo of being faithless, and bids him watch the mouth of the cave in which she alleges the nymph has an assignation with Coridone.  This ingenious plan would have succeeded to perfection but for Mirtillo’s precipitancy, for, seeing Amarilli enter the cave, he at once concludes her guilt and follows her forthwith to wreak revenge.  At that moment the satyr appears and, misunderstanding some words of Mirtillo’s, proceeds to bar the entrance to the cave with a huge rock, thinking he is imprisoning Mirtillo and Corisca.  He then goes off to inform the priests of the pollution committed so near their temple.  These enter the cave and apprehend the lovers.  Amarilli is at once condemned to death, but Mirtillo thereupon offers himself in her place and, being accepted by the priests, is kept as a sacrifice, Amarilli being at the same time closely guarded lest she should lay violent hands upon herself.