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The same composer wrote choruses for Alberto Lollio's pastoral, "Aretusa" and several musical numbers for "Lo Sfortunato" by Agostino Argenti, of Ferrara .

Several pieces of no great interest or importance serve to fill the decade or so following on the production of Beccari's play. Groto, known as the Cieco d' Adria, combined the mythological motive with much of the vulgar obscenity of the Latin comedy. Lollio also produced a hybrid of an earlier type in his Aretusa.

There is also extant in MS. the plot, or prose sketch, of another comedy by Lollio, entitled Galatea, on the same model as the Aretusa, but with somewhat greater complexity of construction. It is evident that, though in the Sacrifizio the final form of the pastoral drama had been attained, the fact was not immediately recognized.

In 1563 a play entitled Aretusa was presented before Alfonso II and his brother the cardinal, by the students of law at Ferrara, at the command, it is said, of Laura Eustoccia d' Este. The verse is blank, diversified by a single sonnet, but the piece is again a hybrid of an earlier type a love-knot solved by the discovery of consanguinity with certain elements of Plautine comedy added.

But all previous pastorals the Sacrifizio of Beccari, the Aretusa of Lollio, the Sfortunato of Argenti were rough and incongruous medleys compared with the finished production of Tasso, which may be said to mark an era in the history of dramatic poetry.