event the sacrifice and its consequences fear since I am not a boy not doesn't require a boy fear i.e. the fear that "Tityrus" (really Galatea) would be chosen as the most beautiful boy ambo both stick scruple honest chaste honor i.e. Virtue deserves praise and honor except unless Love Cupid entertaineth admits entreat treat harshly muse wonder green raw, fresh without on the surface stead came to your aid fancies love-longings martyrdom i.e. unless Cupid is released, Diana's nymphs will suffer continual and violent reprisal from Venus choose cannot choose but chatter, being compulsively loose of tongue well. I, Venus, are honored to be spoken off harshly by Diana in such elegant language. --fancy love --affection desire common shared, general saved is the means of saving Yes Yes I can level aim say I am glad you say Sappho as in Lyly's Sappho and Phao, 1584, where Cupid leaves Venus to dwell with Sappho brands torches broke? These observations may offer clues for staging. not it doesn't matter as so that jars. Their pardon has been obtained not by any merit on your part, but as a consequence of the enmity between Diana and Venus. sex I thought Phillida's male attire assured a male identity fond-found now found to be foolish Love Cupid love Venus Ianthes? When a young woman was given the male name of Iphis to spare her life but was then engaged against her will to marry the beautiful Ianthe, Iphis and her mother prevailed on the goddess Isis to change Iphis's sex to that of a male, whereupon he and Ianthe were able to marry happily. you Understand what I have to say to you play sport amorously fond foolish chance bad luck it the decision door. (The audience is also left to guess, though Galatea, disguised as a boy already as the play begins, is perhaps a logical choice to be the designated male.) malepartly saucily consort we sing well as a trio Basely Poorly; singing the bass part Meanly (1) In mediocre fashion; (2) singing the middle part it. To their two voices I'll add a third, singing the treble part (in a song with which the original presumably concluded). Hymen i.e. sing as invocation, in classical tradition, Io Hymen