188. There is a legend that this scene was placed on the Index. This, anyhow, cannot refer to the Index Librorum Prohibitorum, but only to the Index Expurgatorius, which was at no time an officiai publication. But the whole story appears to be without foundation.
189. In comparing the two pieces, it is worth remembering that, whereas the Aminta contains about 2,000 lines, the Pastor fido runs to close upon 7,000.
190. Storia della letteratura italiana nel secolo XVI, Milano, 1880, pp. 244-7. See Rossi, p. 264. His argument is that it anticipated a revolt against the conventional nature of domestic love, reflecting better than any other dramatic work the ideas that towards the end of the cinquecento were, according to him, leading in the direction of a moral regeneration of Italian Society. It is, however, difficult to reconcile his theory with what we know of Italy in the days of the counter-reformation; while it may at the same time be doubted whether a tone of anaemic sentimentality is, in itself, preferable to one of cynical convention. It should be added that there is little regeneration of domestic love to be found in the partly pathetic and partly sordid tragedy of Guarini's own family.
191. The quotations are from the opening scene of either play. The parallel is that selected by Symonds for quotation, and is among the most striking examples of Guarini's method, but similar instances might be collected from almost every scene.
192. G. B. Manso, Vita di T. Tasso, Venezia, Denchino, 1621, p. 329. Carducci, p. 99.
193. 'Il Pastor Fido Tragicomedia Pastorale di Battista Guarini, Dedicata al Ser'mo. D. Carlo Emanuele Duca di Sauoia, &c. Nelle Reali Nozze di S. A. con la Ser'ma. Infante D. Caterina d'Austria.' The tradition of a performance on this occasion dates from early in the seventeenth century, and is endorsed by the poet's nephew and biographer, Alessandro Guarini. It is in part due to a confusion of words: the play was presentato, but not rappresentato.
194. Guarini, Lettere, Venetia, Ciotti, 1615, p. 174. Rossi, 2287.
195. At least one of these, a worthless production by a certain Niccolo Averara, is extant. That of 1598 was probably spoken by Hymen. Rossi, pp. 232-3.
196. It has sometimes been supposed that the Baldini edition, Ferrara, 1590, was the earlier, but Guarini's letter is conclusive.
197. Of this edition the British Museum possesses a magnificent copy on large and thick paper, bearing on the title-page the inscription: 'Al Sermo. Principe di Vinegia Marin Grimani,' showing that it was the presentation copy to the Doge at the time of publication. Another copy on large but not on thick paper is in my own possession, and has on the title-page the remains of a similar inscription beginning apparently 'All Illmo et Rmo...' I rather suspect it of being the copy presented to the ecclesiastic, whoever he was, who represented the Congregation of the Index at Venice. Innumerable editions followed; I have notes of no less than fifty during the half-century succeeding publication, i.e. 1590-1639.