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patron, feeding his servants with promises, and ever ready to treat them with the brutality that condemned the author of the Gerusalemme liberata to a mad-See also:

house. Guarini spent his time and See also:

MONEY

money to little purpose, suffered from the spite and See also:

ill-will of two successive secretaries,—Pigna and See also:

MONTECATINI

Montecatini,—quarrelled with his old friend Tasso, and at the end of fourteen years of service found himself See also:

HALF

half-ruined, with a large See also:

FAMILY

family and no prospects. When Tasso was condemned to S.

See also:

Anna, the duke promoted Guarini to the vacant See also:

POST

post of court poet. There is an interesting See also:

LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter extant from the latter to his friend Cornelio See also:

Bentivoglio, describing the efforts he made to fill this See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place appropriately. " I strove to transform myself into another See also:

PERSON, OFFENCES AGAINST THE

person, and, like a player, reassumed the See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, See also:

costume and feelings of my youth. Advanced in manhood, I forced myself to look young; I turned my natural See also:

MELANCHOLY (Gr. µe)tayXotia, from µEtas, black, and Xotii, bile)

melancholy into artificial gaiety, affected loves I did not feel, exchanged See also:

WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

wisdom for folly, and, in a word, passed from a philosopher into a poet." How ill-adapted he See also:

FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt himself to this masquerade life may be gathered from the following See also:

SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence: " I am already in my See also:

FORTY

forty-See also:

FOURTH

fourth See also:

YEAR

year, the See also:

FATHER

father of eight See also:

CHILDREN, LAW RELATING TO

children, two of whom are old enough to be my censors, while my daughters are of an See also:

AGE (Fr. age, through late Lat. aetaticum, from aetas)

age to marry." Abandoning so uncongenial a See also:

STRAIN (through O. Fr. straindre, estraindre, mod. i treindre, from Lat. stringere, to draw tight, related to stress, stretch, string, &c.)

strain upon his faculties, Guarini retired in 1582 to his ancestral See also:

FARM

farm, the See also:

VILLA

Villa Guarina, in the lovely See also:

COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country that lies between the See also:

ADIGE (Ger. Etsch, anc. Athesis)

Adige and Po, where he gave himself up to the cares of his family, the See also:

NURSING

nursing of his dilapidated fortunes and the See also:

composition of the Pastor fido. He was not happy in his domestic See also:

lot; for he had lost his wife young, and quarrelled with his See also:

elder sons about the See also:

DIVISION (from Lat. dividere, to break up into parts, separate)

division of his See also:

ESTATE (through O. Fr. estat, mod. flat, from Lat. status, state, condition, position, stare, to stand)

estate. Litigation seems to have been an inveterate See also:

VICE

vice with Guarini; nor was he ever See also:

FREE

free from legal troubles. After studying his See also:

BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography, the conclusion is forced upon our minds that he was originally a man of robust and virile See also:

INTELLECT (Lat. intellectus, from intelligere, to understand)

intellect, ambitious of greatness, confident in his own See also:

POWERS, HIRAM (1805-1873)

powers, and well qualified for serious affairs, whose energies found no proper See also:

SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope for their exercise. See also:

LITERARY

Literary See also:

WORK

work offered but a poor sphere for such a character, while the enforced inactivity of court life soured a naturally capricious and choleric See also:

TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper. Of poetry he spoke with a certain See also:

TONE, THEOBALD WOLFE (1763-1798)

tone of condescension, professing to practise it only in his leisure moments; nor are his See also:

MISCELLANEOUS

miscellaneous verses of a quality to secure for their author a very lasting reputation. It is therefore not a little remarkable that the See also:

FRUIT (through the French from the Lat. fructus; frui, to enjoy)

fruit of his retirement—a disappointed courtier past the See also:

PRIME, PRIMER AND PRIMING

prime of early manhood—should have been a dramatic masterpiece worthy to be ranked with the See also:

CLASSICS

classics of Italian literature. Deferring a further See also:

account of the Pastor fido for the See also:

PRESENT

present, the remaining incidents of Guarini's restless life may be briefly told. In 1585 he was at See also:

TURIN

Turin superintending the first public performance of his See also:

DRAMA (literally "action," from Gr. Snail, act or do)

drama, whence Alphonso recalled him to Ferrara, and gave him the See also:

OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of secretary of state.

This reconciliation between the poet and his patron did not last See also:

long. Guarini moved to See also:

Florence, then to See also:

Rome, and back again to Florence, where he established himself as the courtier of See also:

Ferdinand de' See also:

Medici. A dishonourable See also:

MARRIAGE

marriage, pressed upon his son Guarino by the See also:

GRAND

grand-duke, roused the natural resentment of Guarini, always scrupulous upon the point of honour. He abandoned the Medicean court, and took See also:

REFUGE

refuge with See also:

Francesco Maria of See also:

URBINO (anc. Urvinum Mataurense)

Urbino, the last See also:

SCION

scion of the Montefeltrodella-Rovere house. Yet he found no See also:

SATISFACTION (Lat. salisfacerc, to satisfy)

satisfaction at Urbino. " The old court is a dead institution," he writes to a friend; " one may see a See also:

SHADOW (0. Eng. Schadewe, sceadu; a form of " shade "; connected with Gr. 6-Ore's, darkness)

shadow of it, but not the substance in See also:

Italy of to-See also:

day. Ours is an age of appearances, and one goes a-masquerading all the year." This was true enough. Those dwindling deadly-lively little See also:

RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence towns of Italian ducal families, whose day of See also:

GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory was over, and who were waiting to be slowly absorbed by the capacious appetite of See also:

Austria, were no See also:

fit places for a man of energy and See also:

independence. Guarini finally took refuge in his native Ferrara, which, since the See also:

DEATH

death of Alphonso, had now devolved to the papal see. Here, and at the Villa Guarina, his last years were passed in study, lawsuits, and polemical disputes with his contemporary critics, until 1612, when he died at See also:

Venice in his seventy-fifth year. The Pastor fido (first published in 1590) is a See also:

PASTORAL (from Lat. pastor, a shepherd)

pastoral drama composed not without reminiscences of Tasso's Aminta. The See also:

SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene is laid in See also:

ARCADIA

Arcadia, where Guarini supposes it to have been the See also:

CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom to See also:

SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice a See also:

MAIDEN, or MAID

maiden yearly to See also:

DIANA

Diana.

But an See also:

ORACLE (Lat. oraculum, from ora' to pray; the corresponding Greek word is uavreiov or Xpnuri7pwov)

oracle has declared that when two scions of divine lineage are See also:

UNITED

united in marriage, and a faithful shepherd has atoned for the See also:

ancient See also:

ERROR (Lat. error, from errare, to wander, to err)

error of a faithless woman, this inhuman rite shall cease. The See also:

plot turns upon the unexpected fulfilment of this prophecy, contrary to all the schemes which had been devised for bringing it to accomplishment, and in despite of apparent improbabilities of See also:

DIVERS

divers kinds. It is extremely elaborate, and, regarded as a piece of cunning mechanism, leaves nothing to be desired. Each See also:

MOTIVE (from Lat. movere, to move)

motive has been carefully prepared, each situation amply See also:

DEVELOPED

developed. Yet, considered as a See also:

PLAY

play, the Pastor fido disappoints a reader trained in the school of See also:

SOPHOCLES (495-406 B.c.)

Sophocles or See also:

SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare. The See also:

ACTION

action itself seems to take place off the See also:

STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, and only the results of action, stationary tableaux representing the See also:

MOVEMENT

movement of the drama, are put before us in the scenes. The See also:

art is lyrical, not merely in See also:

FORM (Lat. forma)

form but in spirit, and in See also:

ADAPTATION (from Lat. adaptare. to fit to)

adaptation to the requirements of See also:

MUSIC

music which demands stationary expressions of emotion for development. The characters have been well considered, and are exhibited with See also:

GREAT

great truth and vividness; the See also:

COLD (in O. Eng. cald and ceald, a word coming ultimately from a root cognate with the Lat. gelu, gelidus, and common in the Teutonic languages, which usually have two distinct forms for the substantive and the adjective, cf. Ger. Kolte, kalt, Dutch koude

cold and eager See also:

hunter Silvio contrasting with the See also:

TENDER

tender and romantic Mirtillo, and Corisca's meretricious arts enhancing the pure See also:

AFFECTION (Lat. ad, and facere, to do something to, sc. a person)

affection of Amarilli. Dorinda presents another type of love so impulsive that it prevails over a maiden's sense of shame, while the courtier Carino brings the corruption of towns into comparison with the innocence of the country. In Carino the poet painted his own experience, and here his See also:

SATIRE (Lat. satira, satura; see below)

satire upon the court of Ferrara is none the less biting because it is gravely measured. In Corisca he delineated a woman vitiated by the same See also:

TOWN

town life, and a very hideous portrait has he See also:

DRAWN

drawn. Though a satirical See also:

ELEMENT (Lat. elementum)

element was thus introduced into the Pastor fido in See also:

order to relieve its ideal picture of Arcadia, the whole play is but a study of contemporary feeling in Italian society.

There is no true rusticity whatever in the drama. This See also:

correspondence with the spirit of the age secured its success during Guarini's lifetime; this made it so dangerously seductive that See also:

CARDINAL (Lat. cardinalis)

Cardinal See also:

BELLARMINE (Ital. Bellarmino), ROBERTO FRANCESCO ROMOLO (1542-1621)

Bellarmine told the poet he had done more harm to Christendom by his blandishments than See also:

LUTHER, MARTIN (1483-1546)

Luther by his See also:

HERESY

heresy. Without anywhere transgressing the limits of decorum, the Pastor fido is steeped in sensuousness; and the immodesty of its pictures is enhanced by rhetorical concealments more provocative than nudity. Moreover, the love described is effeminate and wanton, felt less as See also:

PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion than as lust enveloped in a See also:

VEIL (O.Fr. veile, mod. voile, from Lat. velum, cloth, awning, sail)

veil of sentiment. We divine the coming age of cicisbei and castrati. Of Guarini's See also:

style it would be difficult to speak in terms of too high praise. The thought and experience of a lifetime have been condensed in these five acts, and have found expression in See also:

LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language brilliant, classical, chiselled to perfection. -Here and there the See also:

TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of the 17th century makes itself felt in frigid conceits and forced antitheses; nor does Guarini abstain from sententious See also:

MAXIMS, LEGAL

maxims which reveal the moralist rather than the poet. Yet these are but See also:

minor blemishes in a masterpiece of diction, glittering and faultless like a polished bas-See also:

RELIEF

relief of hard Corinthian See also:

BRONZE

bronze. That a single pastoral should occupy so prominent a place in the See also:

HISTORY

history of literature seems astonishing, until we reflect that Italy, upon the See also:

close of the 16th century, expressed itself in the Pastor fido, and that the See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of this drama was felt through all the art of Europe till the See also:

EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch of the Revolution. It is not a See also:

mere play. The sensual refinement proper to an age of social decadence found in it the most exact embodiment, and made it the See also:

CODE (Lat. codex)

code of gallantry for the next two centuries.

The best edition of the Pastor fido is the loth, published at Venice (Ciotti) in 1602. The most convenient is that of Barbera (Florence, 1866). For Guarini's miscellaneous Rime, the Ferrara edition, in 4 vols., 1737, may be consulted. His polemical writings, Verato primo and secondo, and his See also:

PROSE

prose See also:

COMEDY

comedy called Idropica, were published at Venice, Florence and Rome, between 1588 and 1614. (J. A.

End of Article: GUARINI, GIOVANNI BATTISTA (1537-1612)

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