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Updated: June 9, 2025
All these compositions, however, are to be submitted to the review and consideration of Signor Scipio Gonzaga, of Signor Domenico Veniero, and of Signor Battista Guarini, who, I persuade myself, will not refuse this trouble, when they consider the zealous friendship I have entertained for themselves.
It is, moreover, genuinely diverting. Here at least we find no endeavour to attain to the importance and solemnity of a classical tragedy as with Guarini, nor a striving after an utterly unreal, unsympathetic and impossible ideal as with Fletcher.
No less a poet and critic than Daniel, regarding the work doubtless with the undiscriminating eye of friendship, asserted that it might even to Guarini himself have vindicated the poetic laurels of England, and yet from the whole long poem it is hardly possible to extract any passage which would do credit to the pen of an average schoolboy.
But I have been able to dwell in their charming out-land or no-land with the shepherds and shepherdesses and nymphs, satyrs, and fauns, of Tasso and Guarini, and I take the finest pleasure in their company, their Dresden china loves and sorrows, their airy raptures, their painless throes, their polite anguish, their tears not the least salt, but flowing as sweet as the purling streams of their enamelled meadows.
The piece is overcharged with mythology and rural painting, is untheatrical, and so far from pourtraying the genuine ideality of a pastoral world, it even contains the greatest vulgarities. We might rather call it an immodest eulogy of chastity. I am willing to hope that Fletcher was unacquainted with the Pastor Fido of Guarini, for otherwise his failure would admit of less justification.
This tendency did not escape Guarini, who, when not led into puerilities by his love of self-laudation, often shows considerable insight.
Among his rivals was Guarini, who afterwards emulated him in pastoral poetry, and who accused him on this occasion of courting two ladies at once. Guarini's accusation has been supposed to refer to the duke's sister Leonora, whose name has become so romantically mixed up with the poet's biography; but the latest inquiries render it probable that the allusion was to Laura Peperara.
Among the more modern writers we find those whose works we have discussed, Petrarch and his friends, Guarini and Perotti, and Valla with his enemy Poggio; among the others we notice Alexander ab Alexandro, a most learned antiquarian from Naples, of whom Erasmus once said: 'He seems to have known everybody, but nobody knows who he is. The chief treasure of the place was a Bible, illuminated in 1478 by a Florentine artist, which the Duke caused to be bound 'in gold brocade most richly adorned with silver. 'Shortly before he went to the siege of Ferrara, says his librarian, 'I compared his catalogue with those that he had procured from other places, such as the lists from the Vatican, Florence, Venice, and Pavia, down to the University of Oxford in England, and I found that all except his own were deficient or contained duplicate volumes. His son, Duke Guidubaldo, was a celebrated Greek scholar; and the eulogies of Bembo and Castiglione on his Duchess, Elizabeth Gonzaga, attest the literary distinction of her Court.
The metre therefore of Metastasio, and before him, of Tasso and Guarini, in their pastoral dramas, seems to me much more agreeable and suitable than the monotonous verse of eleven syllables: they intermingle with it verses of seven syllables, and occasionally, after a number of blank lines, introduce a pair of rhymes, and even insert a rhyme in the middle of a verse.
Moreover, in Amarilli, Guarini created one really dramatic character and devoted to it one really dramatic scene. His heroine is probably the best character to be found in the whole of the pastoral drama, and this simply because there is a reason for her coldness towards the lover, upon her love to whom the plot depends. Unless love is to be mutual the motive force of the drama fails, and consequently, when nymphs insist on parading their inhuman superiority to the dictates of natural affection, they are simply refusing to fulfil their dramatic raison d'être. With Amarilli it is otherwise. She has the right to say: Ama l' onest
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