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After passing through various plights, into which they are led by their love of the careless nymphs, they all have recourse to an oracle, whose predictions are fulfilled through a series of violent metamorphoses. This mixture of mythology and magic is wholly foreign to the spirit of the Arcadian drama, and the Mirzia cannot any more than the Cecaria be regarded as the progenitor of that form.
At least this is how I read the available evidence. Besides the Cecaria, mentioned above, Epicuro de' Marsi also left a manuscript play entitled Mirzia, which he describes as a 'favola boschereccia, being thus the first to make use of the term later adopted by Tasso.
Epicuro's Mirzia tends towards the mythological drama; the Silvia written by one Fileno, which, like the Amaranta, turns on the temporary estrangement of two lovers, introduces considerable elements from the rustic performances; in Cazza's Erbusto the amorous skein is cut by the discovery of consanguinity and an ἀναγνώρισις after the manner of the Latin comedy.
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