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This spirit, already present in the Aminta, reappeared in an emphasized form in the Pastor fido, and attained its height in the following century in Marino's epic of Adone. We find it infusing the scene of Mirtillo's first meeting with Amarilli, which may be said to set the tone of the rest of the poem.
Marino gave Poussin an apartment in his house at Rome, and as his own health was at that time extremely deranged, he loved to have Poussin by the side of his couch, where he drew or painted, while Marino read aloud to him from some Latin or Italian author, or from his own poems, which Poussin illustrated by beautiful drawings, most of which it is to be feared are lost; although it is believed that there is still existing in the Massimi library, a copy of the Adonis in Marino's hand-writing, with Poussin's drawings interleaved.
He hoped with all his heart that they would be; he would have given a great deal to have seen Christine smiling and radiant once more, as she had been that night when they all had supper at Marino's. He sighed heavily; he looked at the lines he had been so absently scribbling. Christine Christine Christine. Nothing but her name. It stared up at him in all shapes and sizes from the blotter.
At the beginning is a note to the effect that in the place of the prologue Marino's Notte was to be presented a triumph over the death of the centaur. The cast is given, and includes three undergraduates, five bachelors, and five masters. After translation the next process in logical sequence is direct imitation.
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