play's opening scene immediately places the audience in the realm of legend and fairy tale. The heroine, Eurymine, is accompanied into the forest by two courtiers. Their conversation reveals that the courtiers have been ordered to murder her. The local Duke, Telemachus, is incensed at his son Ascanio's devotion to the low-born Eurymine and his refusal of all the advantageous matches the father has tried to arrange. Telemachus had decided on the radical solution to the problem. The courtiers, however, take pity on Eurymine's youth, beauty, and innocence; they allow her to escape into the forest, if she agrees never to return to Telemachus's domain. They plan to fool their lord with the heart of a young goat and Eurymine's bloodstained veil. In the forest, Eurymine meets a shepherd, Gemulo, and a forester, Silvio, both of whom are smitten with her and compete for her favours. Eurymine occupies a cottage supplied by Silvio, and maintains herself by herding some of Gemulo's sheep. Ascanio, accompanied by his fool Joculo, is meanwhile searching for Eurymine; tired and frustrated, Ascanio pauses to nap beneath a tree. As he sleeps, the goddesses Juno and Iris appear. Juno is irritated with Venus's popularity among the gods, and is determined to frustrate Venus by confounding lovers – like the handy Ascanio and Eurymine. Iris summons Somnus from his cave; Somnus and his son Morpheus provide Acanio with a deceptive dream, which sends him searching for Eurymine in the wrong direction. A comedy scene that follows provides for an appearance of singing and dancing fairies, and for the type of bawdy humor typical of Elizabethan drama. Apollo, accompanied by the Charites (Graces), is mourning the death of Hyacinth – but he is distracted when he sees Eurymine and falls in love with her. Apollo pursues her, though Eurymine, loyal to Ascanio, spurns his advances. Questioning his claimed status as a god, she challenges him to prove his deity by transforming her into a boy – and Apollo obliges. Joculo and other comic characters have an encounter with Aramanthus, a wise hermit (a figure common in pastorals) who can foretell the future and reveal hidden things. Ascanio and Joculo have an echo scene, in which the echo seems to supply commentary and guidance on their situation. (This is another common feature of the pastoral form, and seen in other plays of the era, like John Day's Law Tricks,