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Updated: June 21, 2025
While belonging ostensibly to the literary circle of Margaret of Navarre, Marot appears to have combined in his own person a strange number of conflicting tendencies. His patroness followed the pastoral tradition in her imitation of Sannazzaro's Salices and her lament on the death of her brother François I, and rehandled an already favourite theme in her comédie of human and divine love.
He speaks of 'Innocence, Simplicity, and whatever else has been laid down as distinguishing Marks of Pastoral. Again, the reader is informed that 'Whoever can bear these' namely, certain concetti from Tasso and Guarini 'may be assured he hath no Taste for Pastoral. We find the same pedantic and ignorant objections to Sannazzaro's piscatorials as were later advanced by Johnson: 'who can pardon him, loftily queries the censor, 'for his Arbitrary Change of the sweet Manners and pleasing objects of the Country, for what in their own Nature are uncomfortable and dreadful? An afternoon's idling along the cliffs of Sorento or the shore of Posilipo will supply a sufficient answer to such ignorant conceit as this.
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