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He threw himself on his knees, saying, 'Pardon me, Sire; and, above all, have me searched: He instantly emptied his pockets himself; he pulled off his coat in the greatest agitation and terror: at last he told me that he was cook to , and a friend of Beccari, whom he came to visit; that he had mistaken the staircase, and, finding all the doors open, he had wandered into the room in which I found him, and which he would have instantly left: I rang; Guimard came, and was astonished enough at finding me tete-a-tete with a man in his shirt.
He threw himself on his knees, saying, 'Pardon me, Sire; and, above all, have me searched: He instantly emptied his pockets himself; he pulled off his coat in the greatest agitation and terror: at last he told me that he was cook to , and a friend of Beccari, whom he came to visit; that he had mistaken the staircase, and, finding all the doors open, he had wandered into the room in which I found him, and which he would have instantly left: I rang; Guimard came, and was astonished enough at finding me tete-a-tete with a man in his shirt.
But all previous pastorals the Sacrifizio of Beccari, the Aretusa of Lollio, the Sfortunato of Argenti were rough and incongruous medleys compared with the finished production of Tasso, which may be said to mark an era in the history of dramatic poetry.
The Italian traveller Beccari, in 1876, speaks of them as "Karonis," and states that they occupy a chain of mountains parallel to the north coast of the north-west peninsular of the island. D'Albertis, Lawes, and other travellers have seen and described individuals of the pygmy race of the mountains of New Guinea.
In 1567 a return was made to the pastoral tradition of Beccari in Agostino Argenti's play Lo Sfortunato. Among the spectators who witnessed the first performance of this piece before Duke Alfonso and his court at Ferrara was a youth of twenty-two, lately attached to the household of the Cardinal Luigi d' Este.
The two fifteenth-century plays constitute a distinct species which has attained to a high degree of differentiation if not of dramatic evolution, and critics who would see in them the origin of the later pastoral drama have to explain the strange phenomenon of the species lying dormant for nearly three-quarters of a century, and then suddenly developing into an equally individualized but very dissimilar form . It should, moreover, be borne in mind that contemporary critics never regarded the Arcadian pastoral as in any way connected with the mythological drama, and that the writers of pastoral themselves claimed no kinship with Poliziano or Correggio, but always ranked themselves as the followers of Beccari alone in the line of dramatic development.
Indeed, until the seal had been set upon that form by the genius of Tasso, it must have been difficult for any one to realize what had been achieved. The form had been discovered, but it remained to prove that it was the right form, and to show its capabilities. In 1567 a return was made to the tradition of Beccari in Agostino Argenti's play Lo Sfortunato.
Lastly, I shall have to say a few words concerning the early pastoral plays by Beccari and others before turning to the masterpieces of Tasso and Guarini, the consideration of which will occupy the chief part of this chapter .
This curious subject deserves further investigation. See Dictamnus. The ceasing to shine of this plant after twilight might induce one to conceive, that it absorbed and emitted light, like the Bolognian Phosphorus, or calcined oyster-shells, so well explained by Mr. B. Wilson, and by T. B. Beccari. Exper. on Phosphori, by B. Wilson. Dodsley.
Jaws, throat, breast, back, shoulders, forearms, thighs, calf of leg, ankles, feet and backs of hands. Obsolete. Sign of bravery and experience in war, symbol of maturity. Forearms, wrist, metacarpals. None. Ornament. ALmost every part of the body, except the face. None. Ornament. Breasts and calves of legs. None. Ornament. Bibliography. Beccari, Dr.
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