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Updated: May 26, 2025
It was, undoubtedly, Montemayor's romance which served as a model for, or rather suggested the character of, Sidney's work . Thus the chivalric element, unknown to Sannazzaro, is with Sidney even more prominent than with Montemayor and his followers.
Some two years, however, before Yong's version issued from the press, the first book of Montemayor's portion was again translated by Thomas Wilson, and of this a manuscript yet survives . Passing mention may also be made of Angel Day's translation of Daphnis and Chloe containing the original insertion of the Shepherd's Holiday with the praises of Elizabeth in verse, and of Robert Tofte's Honours Academy , distantly following Ollenix du Mont-Sacré's Bergerie de Juliette, but which, as also John Pyper's version of d'Urfé's Astrée , have received sufficient notice in being recorded in connexion with their originals.
Owing to some disturbance in the assembly, Montemayor's voice did not reach all who were present and, in the interest of the audience, Luis de Leon repeated Montemayor's arguments without lending them any support; his action was misunderstood, and many supposed that he was expressing his personal opinions.
Little would be gained by giving any detailed analysis of the plot developed through the leisurely amplitude of its 10,000 lines, while any attempt to deal, however slightly, with the sources and literary analogues of the work would lead us far beyond the scope of the present chapter . With regard to the latter, it must suffice to note that among the works to which incidents can be directly traced are Tasso's Gerusalemme, Montemayor's Diana, and Fletcher's Faithful Shepherdess, while a more general indebtedness may in particular be observed to Chaucer, Piers Plowman, and the Faery Queen.
He was for as much liberty of thought as was compatible with orthodoxy; he was persuaded that much of the opposition of the Dominicans to Montemayor was due to the fact that the latter was a Jesuit; and no doubt he was quite human enough to be annoyed at the intrusion of Domingo de Guzman as the champion of doctrinal intolerance.... Be this as it may, Luis de Leon took up the cudgels for Montemayor's views which, as he maintained, were perfectly tenable.
Among them mention may be made of Francisco de Figueroa, the Tirsi of Cervantes' Galatea; Pedro de Encinas, who attempted religious eclogues; Lope de Vega; Alonso de Ulloa, the Venetian printer, who is credited with having foisted the Rodrigo episode into Montemayor's Diana; Gaspar Gil Polo, one of the continuators of that work; and Bernardo de Balbuenas, one of its many imitators, who incorporated in his Siglo de Oro a number of eclogues which in their simple and rustic nature appear to be studied from Theocritus rather than Vergil.
His debt consists in translations of two songs from Montemayor's romance, printed among his miscellaneous poems . About a dozen translations from the same source appeared in England's Helicon, the work of Bartholomew Yong. They are for the most part very inferior to the general average of the collection, but the opening of one at least is worth quoting:
In the ensuing discussion his vanquished opponent, Domingo de Guzman, intervened, and with unnecessary acerbity declared that Montemayor's views were heretical. Nothing would have been easier than for Luis de Leon to keep out of the fray, especially as he himself held, and had always taught, opinions opposed to those advanced by Montemayor.
This is imitated, in part closely, from the tale of the shepherdess Felismena in the second book of Montemayor's Diana, the identical story upon which Shakespeare is supposed ultimately to have founded his Two Gentlemen of Verona, though it is difficult at first sight to trace much resemblance between the play and Googe's poem.
There is, however, one notable exception, namely, the rendering by Bartholomew Yong or Young of Montemayor's Diana, together with the continuations of Ferez and Gil Polo. Completed as early as May, 1583, the work remained in manuscript until 1598, when it was published in the form of a handsome folio.
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