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Perigot and Amoret come through the trials of the night with their love unshaken, but apparently no nearer its fulfilment; Thenot's love for Clorin is cured for the moment, but is in danger of breaking out anew when he shall discover that she is after all constant to her vow; Cloe recovers from her amorous possession; the vagrant desires of Amarillis and Alexis are dispelled by the 'sage precepts' of the priest and Clorin; Daphnis' innocence is seemingly unstained by the hours he has spent with Cloe in the hollow tree; while the Sullen Shepherd, unregenerate and defiant, is banished the confines of pastoral Thessaly.
In general, two types of love may be traced in the Italian pastoral, namely the honest human desire of such characters as Mirtillo and Amarillis, Dorinda, Aminta, and the more or less close approach to mere sensuality found in Corisca and the satyrs.
Yet, notwithstanding the sterility of the soil, the large white amarillis which grew in such profusion on the alluvial plains of the Macquarie, was also abundant here. But it had lost its dazzling whiteness, and had assumed a sickly yellow colour and its very appearance indicated that it was not in a congenial soil.
But one does not need a knowledge of the Elizabethan lute and viol, and of the precise difference between a "madrigal" and a "catch" or "air" in order to perceive the tunefulness of a typical Elizabethan song: "I care not for these ladies, That must be woode and praide: Give me kind Amarillis, The wanton countrey maide. Nature art disdaineth, Here beautie is her owne.
Complications now arise, for it appears that Cloris has fallen in love with Thirsis, but fears ill success in her suit, supposing him in his turn to be pining for the love of Amarillis.
Amarillis fondles Carinus's dog, and is roughly upbraided by its master in the same manner as her prototype Dorinda in the Pastor fido. Amid much that is commonplace in the verse occur not a few graceful passages, while Daniel is at times rather happy in the introduction of certain sententious utterances in keeping with the conventionality of the pastoral form.
Claius, in his anxiety to make Amarillis reveal her assassin, betrays his own identity, to the joy of his old enemy Pilumnus. Alexis now returns with Laurinda, and upon hearing the letter which Amarillis had written, Damon confesses his crime and declares that henceforth his love is for none but her.
Thus each supplies the elements wanting in the other, and if woven together harmoniously, should have been capable of forming the basis of a well-constructed play. The first of these groups consists of Laurinda, Alexis, Damon, and Amarillis, the last two being really the dramatically important ones, though their fortunes are connected throughout.
The main amorous action centres round Cloris, beloved of Amyntas and Carinus, the latter of whom is in his turn loved by Amarillis. Carinus' hopes are founded on the fact that, in imitation of Tasso's Aminta, he has rescued Cloris from the hands of a satyr, while Amyntas bases his upon certain signs of favour shown him.
Amarillis is genuinely enamoured of Perigot, with a love that bids modesty farewell, and will dare even crime and dishonour for its attainment; Cloe, as already said, is a study in erotic pathology. She is the female counterpart of the Sullen Shepherd, who inherits the traditional nature of the satyr, that monster having been transformed into the gentle minister of the cloistral Clorin.
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