y actually seek to depict incidents from her
reign under the guise of classical mythology. It is for this reason that
they have been classified under the label of allegory. It is quite
possible, however, to read and enjoy these plays without a suspicion of
any inner meaning; nor does the absence of such suspicion render the
action of the play in any way unintelligible, so skilfully does Lyly
manipulate his story. With a view, therefore, to his position in the
history of Elizabethan drama, and to the lessons which he taught those
who came after him, the superficial interpretation of each play is all
that need engage our attention, and we shall content ourselves with
briefly indicating the actual incident which it symbolizes.

The story of _Sapho and Phao_ is, very shortly, as follows. Phao, a poor
ferryman, is endowed by Venus with the gift of beauty. Sapho, who in
Lyly's hands is stripped of all poetical attributes and becomes simply a
great Queen of Sicily, sees him and instantly falls in love with him.
To conceal her passion, she pretends to her ladies that she has a fever,
at the same time sending for Phao, who is rumoured to have herbs for
such complaints. Meanwhile Venus herself falls a victim to the charms
she has bestowed upon the ferryman. Cupid is therefore called in to
remedy matters on her behalf. The boy, who plays a part which no one can
fail to compare with that of Puck in the _Midsummer Night's Dream_,
succeeds in curing Sapho's passion, but, much to his mother's disgust,
won over by the Queen's attractions, refuses to go further, and even
inspires Phao with a loathing for the goddess. The play ends with Phao's
departure from Sicily in despair, and Cupid's definite rebellion from
the rule of Venus, resulting in his remaining with Sapho. In this story,
which is practically a creation of Lyly's brain, though of course it is
founded upon the classical tale of Sapho's love for Phao, our playwright
presents under the form of allegory the history of Alencon's courtship
of Elizabeth. Sapho, Queen of Sicily, is of course Elizabeth, Queen of
England. The difficulty of Alencon's (that is Phao's) ugliness is
overcome by the device of making it love's task to confer beauty upon
him. Phao like Alencon quits the island and its Queen in despair; while
the play is rounded off by the pretty compliment of representing love as
a willing captive in Elizabeth's Court.

As a play _Sapho and Phao_ shows a distinct advance upon