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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.
It may, therefore, so far as the subject is concerned, be classed among the mythological plays, but the author has mingled with his main theme much of the vulgar indecency of the Latin comedy as adopted in the cinquecento on to the Italian stage. The piece is composed in sdrucciolo blank verse. With our next author, the orator Alberto Lollio, we return once more to Ferrara.
Several pieces of no great interest or importance serve to fill the decade or so following on the production of Beccari's play. Groto, known as the Cieco d' Adria, combined the mythological motive with much of the vulgar obscenity of the Latin comedy. Lollio also produced a hybrid of an earlier type in his Aretusa.
There is also extant in MS. the plot, or prose sketch, of another comedy by Lollio, entitled Galatea, on the same model as the Aretusa, but with somewhat greater complexity of construction. It is evident that, though in the Sacrifizio the final form of the pastoral drama had been attained, the fact was not immediately recognized.
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