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Faunus, the satyrs, and nymphs, "Sicco Dryades pede Naides udo," are present. The rivers stay their course; the winds are hushed; the oxen forget their pasture; the bee steadies itself on poised wing to listen. An amoebean contest ensues, in which the rivals closely imitate those of Virgil's seventh eclogue, singing against one another in stanzas of four lines.
Then does Cheyne Walk hear the amoebean dialogues of strayed revellers, and knows not whether Battersea or Chelsea best deserves the pipe, the short black pipe, for which the rival swains compete in profanity and slang. In music, too, does this modern Dionysiac procession rejoice, and Kensington echoes like Cithaeron when Pan was keeping his orgies there Pan and the Theban nymphs.
Thrale are made to string in amoebean fashion the most absurd or the most laughable of their respective reminiscences of Johnson into verses which, for lightness and liveliness of burlesque representation, have hardly a superior.
The upshot of this dispute was that after much wrangling the British Commission gave way to the Poles, but made it a condition that the troops should not be employed outside the province. To this the Poles made answer that the massing of so many soldiers on the Rumanian frontier might reasonably be objected to by the Rumanians and so the amoebean word-game went on in the subcommission.
In a certain passage, speaking of Poliziano's Orfeo, Symonds remarks that 'while Arcady became the local dreamland of the new ideal, Orpheus took the place of its hero. Without inquiring too closely how far the writers of the renaissance actually connected the hero of music, as a power of civilization, with their newly discovered country, it is interesting to note that the earliest work in the Italian language containing in however amoebean a state the pastoral ideal opens with an allusion to Orpheus.
Numbering about a dozen, and composed with one exception in the short measures of popular poetry, these dramatic eclogues, or amoebean plays, supply the connecting link between the early popular and religious shows and the regular drama.
The third and seventh are also generally accepted as early experiments in the more realistic forms of amoebean pastoral. Since the fifth, which should be placed early in 41 B.C., actually cites the second and third, we have a terminus ante quem for these two eclogues.
It rather resembles such amoebean productions as we find introduced into the stage plays of the time; and was, no doubt, as the superscription explicitly informs us, but 'Part of an entertainment presented to the Countess Dowager of Darby. Nevertheless it is complete and self-contained, and to speak of it, as Professer Masson does, as 'part, and part only, of a masque, is to give a wholly false impression; for, whatever the rest of the entertainment may have been, there is not the least reason to suppose that it had any connexion or relation with the portion that has survived.
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