The sententious passages, the occurrence of which we previously noted in the Queen's Arcadia, likewise appear. Thus of dreams:
Alas, Medorus, dreames are vapours, which,
Ingendred with day thoughts, fall in the night,
And vanish with the morning;[[260]] (III. ii.)
and of thoughts:
They are the smallest peeces of the minde
That passe this narrow organ of the voyce;
The great remaine behinde in that vast orbe
Of th' apprehension, and are never borne. (III. iv.)
At times these utterances even possess a dramatic value, as where, bending over the seemingly lifeless form of his beloved Silvia, Thirsis exclaims:
And sure the gods but onely sent thee thus
To fetch me, and to take me hence with thee. (IV. v.)
The two plays we have been considering are after all very much what we should expect from their author. A poet of considerable taste, of great sweetness and some real feeling, but deficient in passion, in power of conception and strength of execution, writing for the court in the recognized rôle of court-laureate, and unexposed to the bracing influence of a really critical audience--such is Samuel Daniel as seen in his experiments in the pastoral drama. We learn from his commendatory sonnet on the 'Dymocke' Pastor fido that he had known Guarini personally in Italy, an accident which supplies an interesting link between the dramas of the two countries, and might suggest a specific incentive to the composition of his pastorals, were any such needed. So far, however, from that being the case, the only wonder is that the adventure was not made at an earlier date, a problem the most promising explanation of which may perhaps be sought in the rather conservative taste of the officiai court circle, which tended to lag behind in the general advance during the closing years of Elizabeth's reign. With the accession of James new life as well as a new spirit entered the court, and is quickly found reflected in the literary fashions in vogue. It was in 1605 that Jonson wrote in Volpone:
Here's Pastor Fido ...
... All our English writers,
I meane such, as are happy in th' Italian,
Will deigne to steale out of this author, mainely;
Almost as much, as from Montagnie:
He has so moderne, and facile a veine,
Fitting the time, and catching the court-eare. (1616, III. iv.)
On the whole, perhaps, Daniel's merits as a pastoral writer have been exaggerated. His dependence on Italian models, particularly in his earlier play, is close, both as regards incidents and style; while he usually lacks their felicity. His claims as an original dramatist will not stand examination in view of the concealed shepherds in the Queen's Arcadia, of his careful avoidance of scenes of strong dramatic emotion--a point in which he of course followed his models, while lacking their mastery of narrative as compensation--and of his failure to do justice to such scenes when forced upon him.[[261]] If the atmosphere of certain scenes is purer than is the case with his models, it is in large measure due to his failure to master the style; if his conception of virtue is more wholesome, his picture of it is at times marred by exaggeration, while his sentiment for innocence is of a watery kind, and occasionally a little tawdry. His pathos, as is the case with all weak writers, constantly trembles on the verge of bathos, while his lack of humour betrays him into penning passages of elaborate fatuity. His style is formal and often stilted, his verse often monotonous and at times heavy.[[262]] On the other hand Daniel possesses qualities of no vulgar kind, though some, it is true, may be said to be rather the qualités de ses défauts. The verse is at least smooth; it is courtly and scholarly, and sometimes graceful; the language is pure and refined, and habitually simple. The sentiment, if at times finicking, is always that of a gentleman and a courtier. Moreover, in reckoning his qualifications as a dramatist, we must not forget to credit him with the plot of Hymen's Triumph, which is on the whole original, and is happily conceived, firmly constructed, and executed with considerable ability.
With Daniel begins and ends in English literature the dominant influence of the Italian pastoral drama. No doubt the imitation of Tasso and Guarini is an important element in the subsequent history of pastoralism in this country, and to trace and define that influence will be not the least important task of the ensuing chapters. No doubt it supplied the incentive that induced a man like Fletcher to bid for a hopeless success in such a play as the Faithful Shepherdess, and placed a heavy debt to the account of Thomas Randolph when he composed his Amyntas. But in these cases, as in others, wherever the author availed himself of the tradition imported from the Ferrarese court, he approached it as it were from without, seeking to rival, to acclimatize, rather than to reproduce. Nowhere else do we find the tone and atmosphere, the structure, situations, and characters imitated with that fidelity, or attempt at fidelity, which makes Daniel's plays almost indistinguishable, except for language, from much of the work of the later Italians.[[263]] To minimize with many critics Daniel's dependence on his models, or to emphasize with some that of Fletcher, is, it seems to me, wholly to misapprehend the positions they occupy in the history of literature, and to obscure the actual development of the pastoral ideal in this country.