We have had sufficient peeps behind the court arras to give a pleasantly sub-acid flavour of irony to the effusive accounts of royal receptions contained in official chronicles, or in the semi-official narratives of poets who were anxious to preserve the memory of the verses and devices contributed by themselves.[418] These in their turn enable us to recapture something of whatever rapture the rather artless forms of _mimesis_ employed may have awakened in Renaissance breasts; although of course the few devices of which details have reached us are but a tithe of those on whose fantasy and grace the dust of oblivion has for centuries lain thick. It was naturally at the visits to private houses that the spirit of sheer entertainment had fullest scope, and a glance at the diaries for Kenilworth in 1575 or for Elvetham in 1591 will show the variety of pastime which ministered spectacle to the eyes and flattery to the self-esteem of Oriana on her holidays. The visit to Kenilworth extended over three weeks. The Queen arrived on 9 July and was greeted with speeches by Sibylla, by a porter as Hercules, and by the Lady of the Lake, and that she might not forget that she was a scholar, with a Latin speech by a Poet. July 10 was a Sunday, and after divine service there was a display of fireworks. On 11 July the Queen hunted, and on her return listened to an out-of-door dialogue between a Savage Man--the mediaeval folk-personage known as the 'wodwose'--and the classical Echo. July 12 was a day of rest, and 13 July was again devoted to hunting. On 14 July came a bear-baiting, another display of fireworks, and acrobatic feats by an Italian. After two days' interval, the sports began again on 17 July, with country shows of a bride-ale, a quintain, and the Coventry Hock-Tuesday play.[419] This was followed in the evening by a play and banquet. A mask was held in readiness, but not used. On 18 July, after a hunt, came the principal show, an aquatic one of the Delivery of the Lady of the Lake, with the classical Arion riding on a dolphin; and the Queen held an investiture, and 'touched' poor folk for the 'evil'. On 19 July the Coventry show was repeated, and by this time the weather had broken up, and the royal zest for spectacles was perhaps exhausted. A projected show of Zabeta and a device of an ancient minstrel were laid aside, and the final week was uneventful, until the departure on 27 July after a show in farewell by Silvanus. All this was described, for the benefit of such of the Queen's lieges as had not the fortune to be present, in a printed narrative by George Gascoigne, who shared with William Hunnis of the Chapel Royal the main responsibility for the mimetic devices, and in another, racy and full of vivid detail, by one Robert Laneham, keeper of the council chamber door, who was in attendance as an officer of the household.[420] The entertainment at the much shorter visit to the Earl of Hertford at Elvetham in Hampshire, sixteen years later, was on very similar lines. The house was small, and a temporary 'room of estate' and other buildings had been constructed in the park, near an artificial pond, containing a Ship Isle, a Fort, and a Snail Mount. The Queen was greeted on arrival with a Latin speech by a Poet, and a ditty by the Graces and the Hours. A salute was fired from the pond. After supper there was a concert with a pavane by Thomas Morley. On the second day, after the Countess had made her offering in the morning, there was a great water-show on the pond, with Silvanus and the sea-gods Neptune, Oceanus, Nereus, and Neaera, which served to introduce further gifts. On the third day Elizabeth was awakened with a pastoral song of Phyllida and Corydon. After dinner there was an exhibition game of 'board and cord', which must have been a very close anticipation of lawn-tennis, and in the evening a banquet in the garden and a display of fireworks. On the fourth morning came Aureola, the fairy queen, with a round of dancing fairies, and as the Queen departed there were Nereus and Sylvanus and their companies at the pond, the Hours and Graces weeping, a speech from the Poet dressed in black, and a farewell ditty at the park gate.[421] I have set the Kenilworth and Elvetham entertainments side by side, partly to illustrate the permanence of type, and partly because, if any actual sea-maid and fireworks gave Shakespeare a hint for Oberon's famous speech in _A Midsummer-Night's Dream_, it must surely have been those which were comparatively fresh in the memories of his hearers.[422]