a princess of arcady, from the title-page of sidney's "arcadia."
Costumes and furniture are of the same style, and accord with such gardens much more than with shepherd life. They are pure Renaissance, half Italian and half English. Musidorus disguised as a shepherd, dresses his hair in such a way as to look much more like one of the Renaissance Roman Emperors at Hampton Court than like a keeper of sheep: we see him while receiving a lesson on the use of the "sheep-hooke," wearing "a garland of laurell mixt with cypres leaves on his head."[199] The glowing descriptions of the private apartments of the heroes suit modern palaces better than Greek cottages; while representations of ladies recumbent on their couches are obvious reminiscences of Tintoretto or Titian, whose newly painted works Sidney had admired in Italy. Here is a description of the beautiful Philoclea, resting in her bedroom; it shows unmistakable signs of Sidney's acquaintance with the Italian painters: "She at that time lay, as the heate of that country did well suffer, upon the top of her bed, having her beauties eclipsed with nothing, but with her faire smocke, wrought all in flames of ash-colour silk and gold; lying so upon her right side, that the left thigh down to the foot, yielded hir delightfull proportion to the full view, which was seene by the helpe of a rich lampe, which thorow the curtaines a little drawne cast forth a light upon her, as the moone doth when it shines into a thinne wood."[200]
Sidney, according to his friend Fulke Greville, Lord Brooke, had the highest moral and political purposes, in writing his "Arcadia": "In all these creatures of his making, his interest and scope was, to turn the barren philosophy precepts into pregnant images of life; and in them, first on the monarchs part, lively to represent the growth, state and declination of princes, changes of government and lawes ... Then again in the subjects case, the state of favour, disfavour, prosperitie, adversity ... and all other moodes of private fortunes or misfortunes, in which traverses, I know, his purpose was to limn out such exact pictures of every posture in the minde, that any man might see how to set a good countenance upon all the discountenances of adversitie."[201] When Greville wrote thus, Sidney was dead, and in his retrospect of his friend's life he was with perfect good faith discovering high, not to say holy motives, for all his actions. Sidney's own explanation suits his work better; he was delivering his "young head" of "many, many fancies," and their main object was not politics, but love. He described it as it was known and practised in his time. Most of the heroes in the "Arcadia," talk like Surrey, Wyatt, Watson, and all the "amourists" of the century, like Sidney himself when he addressed another than Stella. The modesty of their characters is equal to their tenderness; valiant as lions before the enemy, they tremble like the leaf before their mistresses; they feed on smiles and tender glances; when they have to suffer a scarcity of this heavenly food they can only die: "Hee dieth: it is most true, hee dieth; and he in whom you live dieth. Whereof if though hee plaine, hee doth not complaine: for it is a harme but no wrong which hee hath received. He dies, because in wofull language all his senses tell him, that such is your pleasure." Fair Pamela feels deeply moved when reading this, and confesses her harshness; she denied him a look: "Two times I must confess," says she to her sister, not without a pretty touch of humour of a very modern sort, "I was about to take curtesie into mine eyes, but both times the former resolution stopt the entrie of it: so, that hee departed without obtaining any further kindenesse. But he was no sooner out of the doore, but that I looked to the doore kindly!" The poor lover who did not see this change in his lady's countenance went away fainting, "as if he had beene but the coffin that carried himselfe to his sepulchre!"[202]
Happiness produces the same effect on these heroes. Pyrocles-Zelmane when present in his false quality of woman at the bath of his mistress in the Ladon is on the point of swooning with admiration.[203] His friend, Prince Musidorus, in the ecstasies of his passion, falls "downe prostrate," uttering this prayer to the awful god who reigns paramount in Arcady: "O thou, celestiall or infernall spirit of Love, or what other heavenly or hellish title thou list to have (for effects of both I find in my selfe), have compassion of me, and let thy glory be as great in pardoning of them that be submitted to thee as in conquering them that were rebellious."[204]
But Sidney painted also amours of another sort, and one of the great attractions of his book is the variety in the descriptions of this passion. Never had the like been seen before in any English novel, and as for France, it must be remembered, that d'Urfé's "Astrée," which has kept its place in literature for the very same quality, for its inconstant Hylas and its faithful Celadon, for its Astrée and its Madonte, was yet to be written. Sidney has, among several others, created one character which, forgotten as it is now, would be enough to give a permanent interest to this too much neglected romance; it is the Queen Gynecia, who is consumed by a guilty love, and who is the worthy contemporary of the strongly passionate heroes of Marlowe's plays. With her, and for the first time, the dramatic power of English genius leaves the stage and comes to light in the novel; it was destined to pass into it entirely.
Gynecia does not allow herself to be blinded by any subterfuge; love has taken possession of her; the rules of the world, the laws of blood, the precepts of virtue that she has observed all her life, are lost sight of; she is conscious of nothing but that she loves, and is ready, like Phædra of old, to trample everything under foot, to forsake everything, the domestic hearth, child, husband: and it is very interesting to see, about the time of Shakespeare, this purely dramatic character develop itself in a novel.
"O vertue," she cries, in her torment, "where doest thou hide thy selfe? What hideous thing is this which doth eclipse thee? or is it true that thou wert never but a vaine name, and no essentiall thing; which hast thus left thy professed servant, when she had most neede of thy lovely presence? O imperfect proportion of reason, which can too much foresee, and too little prevent: Alas, alas, said she, if there were but one hope for all my paines, or but one excuse for all my faultinesse! But wretch that I am, my torment is beyond all succour, and my evill deserving doth exceed my evill fortune. For nothing else did my husband take this strange resolution to live so solitarily: for nothing else have the winds delivered this strange guest to my countrey: for nothing else have the destinies reserved my life to this time, but that onely I, most wretched I, should become a plague to my selfe and a shame to woman-kind. Yet if my desire, how unjust soever it be, might take effect, though a thousand deaths followed it, and every death were followed with a thousand shames, yet should not my sepulchre receive me without some contentment. But, alas, so sure I am, that Zelmane is such as can answer my love; yet as sure I am, that this disguising must needs come for some foretaken conceit: and then, wretched Gynecia, where canst thou find any small ground plot for hope to dwell upon? No, no, it is Philoclea his heart is set upon, it is my daughter I have borne to supplant me: but if it be so, the life I have given thee, ungratefull Philoclea, I will sooner with these hands bereave thee of, than my birth shall glory she hath bereaved me of my desires."[205]
We see with how little reason the "Arcadia" is sometimes placed in the category of bedizened pastorals, where the reader is reduced to regret the absence of a "little wolf," and whether Gynecia, in spite of the oblivion which has gathered over her, does not deserve a place by the side of the passionate heroines of Marlowe and Webster rather than in a gallery of Lancret-like characters.