[218] Lyly may very possibly have known the story of Hesione cited by R. W. Bond (ii. 421), but it presents no particular points of similarity, and the outline of the legend was of course common property.  A similar sacrifice forms an episode in Orlando furioso, VIII. 52, &c.; the sacrifice of a youth to an orribile serpe also forms the central incident in Orazio Serono’s Fida Armilla, 1610; while the motive of the annual sacrifice occurs of course in the Pastor fido.

[219] There can be little doubt as to the identity of the ’Commoedie of Titirus and Galathea,’ entered on the Stationers’ Register under date April 1, 1585; and now that, thanks to Bond’s researches, it is evident that the reference to Octogesimus octavus mirabilis annus (see III. iii) was no ex post facto prophecy, but borrowed from Richard Harvey’s Astrological Discourse of 1583, there is no reason to suppose a double date.

[220] Bond argues in favour of the extant text being mutilated, and representing a late revival about 1600.  I am not prepared, and in the present place certainly not concerned, to dispute his hypothesis; whatever the cause, the literary result is unsatisfactory, and from his remarks concerning its dramatic merits I must emphatically dissent.

[221] Bond’s emendation, undoubtedly correct, for nip of the quarto.

[222] This story, strangely characterized as ‘extremely attractive’ by Bond, is elaborated from that given by Ovid in the eighth book of the Metamorphoses.  I have elsewhere alluded to the theory of Italian pastoral influence in Lyly.  I had in mind L. L. Schiicking’s monograph on Die stofflichen Beziehungen der englischen Komodie zur italienischen bis Lilly, Halle, 1901, but must here state that to my mind he has completely failed to prove his thesis.  I need not enter into details in this place, but may refer to Bond’s discussion in his ’Note on Italian influence in Lyly’s plays’ (ii. p. 473).  There is, however, one passage in Love’s Metamorphosis (not mentioned by Schucking) which suggests a reminiscence of the Aminta; Cupid, namely, describes himself (V. i.) as ’such a god that maketh thunder fall out of Joves hand, by throwing thoughts into his heart.’  Compare the lines in Tasso’s Prologue: 

            un dio... 
  Che fa spesso cader di mano a Marte
  La sanguinosa spada... 
  E le folgori eterne al sommo Giove.

I give the parallel for what it is worth.  So far as I am aware it is the only one which can claim the least plausibility, and alone it is clearly insufficient to prove any borrowing on the part of the English playwright.

[223] Bond adduces some fairly strong reasons for supposing it later than 1590.  A. W. Ward was evidently unable to make up his mind upon the question, and treats the play at the head of the list of Lyly’s works, in which it seems to me that he hardly does justice to his critical powers.