[252] Dramatic prologues occur in some of the later Italian pastorals (see p. 185, note).  That to Hymen’s Triumph recalls the dialogue between Comedy and Envy prefixed to Mucedorus.

[253] Alexis is one of those characters whose appearance, while not essential to the plot, lends life to the romantic drama, and whose conspicuous absence in the neo-classic type is ill compensated by the prodigal introduction of superfluous confidants.

[254] It is just possible that Daniel took a hint for this episode from Dickenson’s romance, Arisbas (1594), meutioned above, p. 147.

[255] The similarity between Silvia and Shakespeare’s Viola and Beaumont’s Euphrasia-Bellario is too obvious to need comment.  It may, however, be remarked that in Noci’s Cintia (1594) the heroine returns home disguised as a boy, to find her lover courting another nymph.  See p. 212.

[256] This narrative has been much admired, notably by Lamb and Coleridge, critics from whom it is not good to differ; but I must nevertheless confess that, to my taste, Daniel’s sentiment, here as elsewhere, is inclined to verge upon the fulsome and the ludicrous.

[257] It is evident that this pompous inflation of style damaged the piece upon the stage, for on Feb. 10, 1613-4, John Chamberlain, writing to Sir Dudley Carleton, described the performance as ‘solemn and dull.’

[258] The corresponding passage in the Aminta (I. ii.) is marred by a series of rather artificial conceits.

[259] Architecture or building.  A very rare use not recognized by the New English Dictionary, though it is also found in Browne’s Britannia’s Pastorals (I. iv. 405): 

  To find an house ybuilt for holy deed,
  With goodly architect, and cloisters wide.

[260] Guarini had already called dreams (Pastor fido, I. iv): 

  Immagini del di, guaste e corrotte
  Dall’ ombre della notte.

[261] Saintsbury, in his Elizabethan Literature, insists, not unnaturally, on Daniel’s lack of strength.  Upon this Grosart commented in his edition (iv. p. xliv.):  ’This seems to me exceptionally uncritical....  One special quality of Samuel Daniel is the inevitableness with which he rises when any “strong” appeal is made to ... his imagination.’  The partiality of an editor could surely go no further.

[262] The prodigality of Oh’s and Ah’s is an obvious characteristic of his verse, which may possibly have been in Jonson’s mind when, in the prologue to the Sad Shepherd, he wrote: 

  But that no stile for Pastorall should goe
  Current, but what is stamp’d with Ah, and O;
  Who judgeth so, may singularly erre.