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Updated: July 22, 2025
Yet it may be freely admitted that to this device, the substitution namely of narrative for action, we owe most of the finest poetic passages of the play: the description of the youthful loves of Aminta and Silvia and the former's ruse to win a kiss, the picture of Silvia bound to the tree by the pool, Tirsi's account of the court, the description of Silvia at the spring one of the most elaborate in the piece the account of her escape from the wolves, last but not least that description of Silvia finding the unconscious Aminta, so full of subtle and effeminate seduction, prophetic of a later age of morals and of taste: So too the chorus, though awkward enough from a dramatic point of view and in so far as it fulfils any dramatic purpose, offers a sufficient justification for its existence in the magnificent ode on 'honour, that rapturous song of the golden age of love, the poetic supremacy of which has never been questioned, whatever may have been thought of its ethical significance.
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