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Updated: May 3, 2025
They were always in their first garden, reaping harvests of their golden time, among their Flori and their Spici-legia; in Arcadia still, but kings; the ferule of their sway not much harsher, but of like dignity with that mild sceptre attributed to king Basileus; the Greek and Latin, their stately Pamela and their Philoclea; with the occasional duncery of some untoward Tyro, serving for a refreshing interlude of a Mopsa, or a clown Damætas!
Then there's Effie Deans, she's only got one leg; and Mopsa the Fairy, she's a tiny one made out of china; and Peg of Linkinvaddy, but she don't count, for she's all come to pieces." "What very queer names your children have!" said Elsie, who had come in during the enumeration. "Yes; Uncle Ned named them. He's a very funny uncle, but he's nice. He's always so much interested in my children."
In addition to these causes of disquietude, he has lately lost, in a mysterious manner, his only son, who, he supposes, has fallen a victim to these Satanic outlaws, but who, on the contrary, it appears, has voluntarily become an associate of their band, and is amusing himself, heedless of his noble father's sorrow, by making love, in the disguise of a dancing bear, to a young village coquette of the name of Mopsa.
The disguised lover, in order to allay suspicion, has to feign a return of love to the queen and also to humour the dotage of the king, in the meanwhile revealing himself and his love to Philoclea, whom her father employs to court the affections of the Amazon. Musidorus, on his part, while pretending to court Mopsa, takes the opportunity of addressing his suit to Pamela.
Orpheus, however, does not stand alone. Venus, Phoebus, Mars, Cupid, and finally Jove, are each in turn invoked, to say nothing of the incidental mention of Aeneas, Mirra, and Europa. This love of mythology in and out of season is one of the most prominent features of the work. One of the nymphs describes her youth in the following words: il padre mio .... visse eccellentissimo ne' beni pubblici tra' reggenti, e de' beni degli iddii copioso: me a lui donata da loro, nominò Mopsa, e vedentemi nella giovanetta et
Here they live in company with the 'most arrant dotish clowne' Dametas, his wife Miso and daughter Mopsa, rustic characters which supply a coarsely farcical element in the plot, certainly no less out of place and inharmonious in the play than in the romance.
Courtiers and poets vied with each other in the production of plays and masques at each successive Christmas or Carnival. In 1493, Niccolo da Correggio wrote a pastoral entitled Mopsa e Daphne, which was performed at court that Carnival, and which he afterwards sent to Isabella, promising to explain its allegorical meaning at their next meeting.
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