Guarini teases our sense of mental vision by particularizing pine and beech and myrtle.

The same is true of Linco's speech in general when compared with Dafne's on the ruling power of love in earth and heaven.
Of imagination in the true sense of the term Guarini had none.

Of fancy, dwelling gracefully, ingeniously, suggestively, upon externals he had plenty.

The minute care with which he worked out each vein of thought and spun each thread of sentiment, was that of the rhetorician rather than the poet.

Tasso had made Aminta say: La semplicetta Silvia Pietosa del mio male, S'offri di dar aita Alla finta ferita, ahi lassole fece Piu cupa, e piu mortale La mia piaga verace, Quando le labbra sue Giunse alle labbra mie.
Ne l'api d'alcun fiore Colgan si dolce il sugo, Come fa dolce il mel, ch'allora io colsi Da quelle fresche rose.
Now listen to Guarini's Mirtillo: Amor si stava, Ergasto, Com'ape suol, nelle due fresche rose Di quelle labbra ascoso; E mentre ella si stette Con la baciata bocca Al baciar della mia Immobile e ristretta, La dolcezza del mel sola gustai; Ma poiche mi s'offerse anch'ella, e porse L'una e l'altra dolcissima sua rosa....
This is enough to illustrate Guarini's laborious method of adding touch to touch without augmenting th force of the picture.[184] We find already here the transition from Tasso's measured art to the fantastic prolixity of Marino.