The medley of Kenilworth and Elvetham repeats itself elsewhere; nor is the imaginative range a very wide one. Classical, romantic, pastoral, and folk-lore elements blend in quite sufficient congruity. The pagan divinities called upon are the out-of-door ones, Pan and Ceres at Bisham, Apollo and Daphne at Sudeley; and these, with the Nymphs (Orpington, Cowdray, Harefield) and Satyrs (Harefield, Althorp), may make easy acknowledgement of fundamental kinship with Aureola or Queen Mab and the native fairies (Woodstock, Norwich, Hengrave, Althorp) and woodwoses (Cowdray, Bisham). So, too, the rustic revelry of morris or country dance (Warwick, Cowdray, Althorp, Wells) or the choosing of the Cotswold Queen (Sudeley) passes readily enough into the manner of the formal pastoral, as we find it in Sidney's _Lady of the May_ (Wanstead) or his sister's later dialogue of _Thenot and Piers_; which in turn have their affinities to the mediaeval _débat_, surviving in the dialogue of Constancy and Inconstancy (Woodstock), and in the 'contentions' of Sir John Davies between a Gentleman Usher and a Poet, and a Maid, a Wife, and a Widow.[423] To a modern taste, perhaps the most attractive entertainments are the simple ones in which the Gardener and the Mole-catcher or the Bailiff and the Dairymaid offer the naïve welcome of the rustic folk, or those to which the circumstances of place and time give something of a personal touch; as at Theobalds, where the hermit's cell typifies the temporary retirement of Burghley from public life, or at Rycote, where messengers bring in letters and jewels from sons and daughters of the house in Ireland, Flanders, France, and Jersey. Only fragments are preserved of the Harefield entertainment in 1602, but here a delicate fancy must have governed the devices, suggesting, for example, the presentation of a robe of rainbows on behalf of St. Swithin, and the personification of Harefield itself as Place 'in a partie-colored robe, like the brick house', accompanied by Time 'with yeollow haire, and in a green roabe, with an hower glasse, stopped, not runninge'. Here, too, was repeated the pretty notion of Elvetham, and at the royal departure there was Place again 'attyred in black mourning aparell', to bid farewell. In many instances the _mimesis_ is so contrived as to lead to the introduction of the gift, which we may gather from the Hicks correspondence to have been looked upon as an obligatory rite of hospitality. The frugal and ostentatious soul of Elizabeth loved gifts; but James is said, at any rate on his first coming, to have thought it the more kingly part to decline them.[424] The mimetic entertainment itself, indeed, seems to have lost something of its vogue with the change of reign; possibly the King was less tolerant than his predecessor of pedantries other than his own. There are, of course, the three Sibyls at Oxford in 1605, which are said to have given a hint for _Macbeth_, and the amazing Queen of Sheba show in 1606, which has been preserved for us by the wicked wit of Sir John Harington.[425] And there are three examples from the pen of Ben Jonson, to whose ingenuity and learning the _genre_ made a natural appeal, and who had the art to give dramatic life and point even to such trifles. These are the _Satyr_, with which Lord Spencer welcomed Anne and Henry at Althorp in 1603, the _Penates_, written when James, like Elizabeth before him, went a-Maying with Sir William Cornwallis at Highgate in 1604, and the graceful Theobalds entertainment, in which the Genius of the house, first weeping for the loss of his master, and then consoled by Mercury, Good Event, and the Parcae, made symbolical delivery of it to the Queen on its exchange by Lord Salisbury with James for Hatfield in 1607.