If you will read the novels of that time, you will find that the heroine faints on the slightest provocation or weeps copiously, like Amelia in Vanity Fair, whenever the situation demands a grain of will-power or of common-sense.

the heroine returns home disguised as a boy to find her lover courting another nymph; in Francesco Contarini's Finta Fiammetta (1610), on the other hand, the plot turns on the courtship of Delfide by her lover Celindo in girl's attire; while in Orazio Serono's Fida Armilla (1610) we have the annual human sacrifice to a monstrous serpentall of which later became familiar themes in pastoral drama and romance.

The richness of her moral and intellectual nature aided largely in this heroine worship, but she impressed herself on other minds because she was so much an individual, because her personality was of a kind to command reverence and devotion.