Thorp looked at fifty dances not entitled 'pastoral' but which used shepherds and shepherdesses: of these thirty-eight were for benefit nights.
First, the refrain word is pronounced by the knight in all stanzas except the last: he controls the shepherdess.
Here, the solitary life of the shepherdess is interrupted by the boy, with whom she falls in love.
She uses her beauty and magical powers (disguising demons as shepherds and shepherdesses, for example) to enchant him.
The catchy little tune reveals she is a nun and not, say, some shepherdess.
Weave garlands and adorn the hair of your beloved shepherdesses.
Nino eventually rebels: he discards his queenly disguise and abandons his kingdom to frolic with a beautiful shepherdess.
Until stanza 12 in which the shepherdess herself speaks the key word 'vilana' and definitively takes control.
