Jonson then, as it seems to me, setting aside a few points of minor importance, successfully combined what he found suited to his purpose in previous pastoral tradition, with what was most romantic and attractive in popular legend and a genuine idealization from actual types, to produce a veritable English pastoral, which failed of success only in that it remained unfinished at the death of its author.
In 1783 F. G. Waldron published his continuation of Jonson's fragment. This work, while betraying throughout the date of its composition, and falling in every respect short of the original, yet catches some measure of its glamour and charm, and has received deserved, if somewhat qualified, praise at the hands of Jonson's critics. The chief faults of the piece are the writer's anxiety to marry every good character and convert every bad one, and the manner in which the dramatic climax by which Aeglamour and Earine should be brought together is frittered away. The shepherdess is duly released from the hands of the lewd Lorel, but only to find that her lover has drowned himself. The hermit is, of course, introduced to revive the Sad Shepherd and restore his wits, and so all ends happily. The only original passage of any particular merit is the hunter's dirge over the drowned Aeglamour, which is perhaps worth quoting[[290]]:
The chase is o'er, the hart is slain!
The gentlest hart that grac'd the plain;
With breath of bugles sound his knell,
Then lay him low in Death's drear dell!Nor beauteous form, nor dappled hide,
Nor branchy head will long abide;
Nor fleetest foot that scuds the heath,
Can 'scape the fleeter huntsman, Death.The hart is slain! his faithful deer,
In spite of hounds or huntsman near,
Despising Death, and all his train,
Laments her hart untimely slain!The chase is o'er, the hart is slain!
The gentlest hart that grac'd the plain;
Blow soft your bugles, sound his knell,
Then lay him low in Death's drear dell!(Act IV.)
Chapter VI.
The English Pastoral Drama
I
We have seen in an earlier chapter what had been achieved within the limits of the mythological drama proper, and also how it had fared with the attempts to introduce the Italian pastoral into England either by way of translation or of direct imitation. We have also seen how, in three notable compositions, three different and variously gifted artists had endeavoured to produce a form of pastoral drama suited to the requirements of the English stage, and how they had each in turn fallen short of complete success. We have now to consider a series of plays, less distinguished on the whole, though varying greatly in individual merit, which, amid the luxuriant growth of the romantic drama, tended, in a more spontaneous and less purposeful manner, towards the creation of something of a pastoral tradition. We shall find in thèse plays a considerable traditional influence, a groundwork, as it were, borrowed from the Arcadian drama of Italy, together with frequent elements owing their origin to plays of the mythological type. But in the great majority of cases we shall also find another influence, which will serve to differentiate these plays from those we have been hitherto concerned with. This is the influence of the so-called pastoral romances of the Spanish type, which manifests itself in the introduction of characters and incidents, warlike, courtly, or adventurous, borrowed more or less directly from the works of writers such as Sidney, Greene, and Lodge. Their influence was extended and enduring, and survived until, towards the middle of the seventeenth century, the fashionable tradition of the Astrée was introduced from France[[291]]. It was evinced both in a general manner and likewise in direct dramatic adaptation. Since the romances thus dramatized lay claim to a pastoral character, it will be necessary for us to examine as briefly as may be these stage versions, however little of the pastoral element may survive, as a preliminary to considering other plays in which the debt is less specific.
There are extant at least seven plays founded upon Sidney's Arcadia.[[292]] Since these appear to be wholly independent of one another, it will be convenient to disregard chronology, and to consider first those which have for subject the main story of the romance, four in number, and then the remaining three founded upon various incidents. First, then, and most important, Shirley's play bearing the same title as the romance will claim our attention as the most full and faithful stage-rendering of Sidney's work. Although not printed till 1640 the play was, according to Mr. Fleay's plausible conjecture, performed on the king's birthdayas early as 1632. It cannot exactly be pronounced a good play, but the dramatization is effected in a manner which does justice to the very great abilities of the author, and the same measure of success would probably not have been attained by any other dramatist of the time.
At the opening of the play we find that Basilius, king of Arcadia, has, in consequence of a threatening oracle, committed the government of his kingdom into the hands of a nobleman Philanax, and retired into a rural 'desert' along with his wife Gynecia and his daughters Philoclea and Pamela. Here they live in company with the 'most arrant dotish clowne' Dametas, his wife Miso and daughter Mopsa, rustic characters which supply a coarsely farcical element in the plot, certainly no less out of place and inharmonious in the play than in the romance. There are also the cousins Pyrocles and Musidorus, son and nephew respectively to Euarchus, king of Thessaly, who have arrived in quest of the princesses' loves, and have obtained positions near the objects of their affection, the one disguised as an Amazon under the name of Zelmane, the other seeking service under Dametas and assuming the name of Dorus. Complications, moreover, have already arisen, Basilius falling in love with the supposed Amazon, while Gynecia sees through the disguise and falls in love with the concealed Pyrocles. The disguised lover, in order to allay suspicion, has to feign a return of love to the queen and also to humour the dotage of the king, in the meanwhile revealing himself and his love to Philoclea, whom her father employs to court the affections of the Amazon. Musidorus, on his part, while pretending to court Mopsa, takes the opportunity of addressing his suit to Pamela. At length all is arranged, the princesses consenting to accompany their lovers in flight, and the various guardians being cleverly duped. Pyrocles gives rendezvous both to Basilius and Gynecia in a dark and lonely cave, Dametas is sent to dig for hidden treasure, Miso to seek her maligned husband in the house of one of her female neighbours, and Mopsa to await the coming of Apollo in the wishing-tree. Musidorus and Pamela make for the coast, while Pyrocles goes to fetch his mistress Philoclea. While, however, he is endeavouring to persuade her to take the final and irrevocable step, they are both overcome by a strange drowsiness and are discovered by Dametas, who, disappointed of his treasure, has missed his charge Pamela and comes to give the alarm. Musidorus and his mistress on their side have been captured by outlaws, who, discovering their identity, bring them back, hoping thereby to secure their own pardons. In the meantime, in the cave Gynecia has given Basilius by mistake for Zelmane a love potion, which turns out apparently to be a strong narcotic, for the king at once falls into a death-like trance, and the queen, discovering her mistake and overcome by shame and remorse, accuses herself publicly of having poisoned her husband, and is consequently put under guard. At this juncture Euarchus happens to arrive in search of his son and nephew, and consents to act as judge in the case. The princes, who for no apparent reason assume false names, are brought up for judgement and sentenced to death by Euarchus, whom, unaccountably enough, they fail to recognize. They are about to be led off to execution when Basilius, who is lying on a bier in the judgement hall, suddenly rises, the potion having spent its force. Explanations and recognitions of course follow, the oracle is satisfactorily expounded, and all ends to the sound of marriage bells.