Scene 1) suggest the most feeling outpourings of Kallimachos and

Nonnos:

And callest thou sweet spring-time The time of rage and enmity, Which breathing now and smiling, Reminds the whole creation, The animal, the human, Of loving! Dost thou see not How all things are enamoured Of this enamourer, rich with joy and health? Observe that turtle-dove, How, toying with his dulcet murmuring, He kisses his companion. Hear that nightingale Who goes from bough to bough Singing with his loud heart, 'I love!' 'I love!'...

The very trees Are loving. See with what affection there, And in how many a clinging turn and twine, The vine holds fast its husband. Fir loves fir, The pine the pine, and ash and willow and beech Each towards the other yearns, and sighs and trembles. That oak tree which appears So rustic and so rough, Even that has something warm in its sound heart; And hadst thou but a spirit and sense of love, Thou hadst found out a meaning for its whispers. Now tell me, would thou be Less than the very plants and have no love?

One seems to hear Sakuntala and her friends talking, or Akontios complaining. So, too, when the unhappy lover laments (Aminta):

In my lamentings I have found A very pity in the pebbly waters, And I have found the trees Return them a kind voice: But never have I found, Nor ever hope to find, Compassion in this hard and beautiful What shall I call her?

Aminta describes to Tirsis how his love grew from boyhood up:

There grew by little and little in my heart, I knew not from what root, But just as the grass grows that sows itself, An unknown something which continually Made me feel anxious to be with her.

Sylvia kisses him:

Never did bee from flower Suck sugar so divine As was the honey that I gathered then From those twin roses fresh.

In Act II. Scene 1, the rejected Satyr, like the rejected Polyphemus or Amaryllis in Theocritus, complains in antitheses which recall Longos:

The woods hide serpents, lions, and bears under their green shade, and in your bosom hatred, disdain, and cruelty dwell.... Alas, when I bring the earliest flowers, you refuse them obstinately, perhaps because lovelier ones bloom on your own face; if I offer beautiful apples, you reject them angrily, perhaps because your beautiful bosom swells with lovelier ones.... and yet I am not to be despised, for I saw myself lately in the clear water, when winds were still and there were no waves.

This is the sentimental pastoral poetry of Hellenism reborn and intensified.

So with the elegiac motive so loved by Alexandrian and Roman poets, praise of a happy past time; the chorus sings in _Aminta_:

O lovely age of gold, Not that the rivers rolled With milk, or that the woods wept honeydew; Not that the ready ground Produced without a wound, Or the mild serpent had no tooth that slew.... But solely that.... the law of gold, That glad and golden law, all free, all fitted, Which Nature's own hand wrote--What pleases is permitted!... Go! let us love, the daylight dies, is born; But unto us the light Dies once for all, and sleep brings on eternal night.

Over thirty pastoral plays can be ascribed to Italy in the last third of the sixteenth century. The most successful imitator of Tasso was Giovanni Battista Guarini (born 1537) in _The True Shepherd (II Pastor Fido)_. One quotation will shew how he outvied _Aminta_. In