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I only wish to draw attention to one point here, namely, that if Guarini's Silvio is a companion portrait to Tasso's Silvia, she in her turn is but the feminine counterpart of Argenti's Silvio.
In 1567 a return was made to the pastoral tradition of Beccari in Agostino Argenti's play Lo Sfortunato. Among the spectators who witnessed the first performance of this piece before Duke Alfonso and his court at Ferrara was a youth of twenty-two, lately attached to the household of the Cardinal Luigi d' Este.
Indeed, until the seal had been set upon that form by the genius of Tasso, it must have been difficult for any one to realize what had been achieved. The form had been discovered, but it remained to prove that it was the right form, and to show its capabilities. In 1567 a return was made to the tradition of Beccari in Agostino Argenti's play Lo Sfortunato.
Beyond these compositions no influence can be traced, except that of a study of the classics in general, and of Theocritus in particular. It is certainly remarkable that the important texts mentioned above, as well as Argenti's Sfortunato and the Aminta itself, should all alike have been written for and produced at the court of the Estensi at Ferrara.
He proceeded therefore to compose a counterblast which he named Il Verato after a well-known comic actor of the time, who, it may be remarked, had had the management of Argenti's Sfortunato in 1567.
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