If the texts that have survived are somewhat scanty, there is good reason to believe that they form but a small portion of the eclogues actually represented at the end of the fifteenth and beginning of the sixteenth centuries. Thus we find a show, of the nature of which it is not altogether easy to judge, recorded in a letter by a certain Floriano Dulfo, written from Bologna in July, 1496[382]. It appears to have been a composition of some length, pastoral only in part, supernatural in others, but belonging on the whole rather to the cycle of chivalresque romance than of classical mythology. In Act I an astrologer announces the birth of a giant, who in Act II is represented as persecuting the shepherds. Acts III and IV are occupied by various complaints on his account In Act V, called by Dulfo 'la ultima comedia, overo egloga,' the giant carries off a nymph while she is gathering flowers; the shepherds, however, come to her rescue and restore her to her lover. This incident, reminiscent possibly of the rape of Proserpine, tends to connect the piece with the mythological tradition. So far as can be gathered, the verse appears to have been ottava rima with the introduction of lyrical passages. Again, we know that the representation of eclogues formed part of the festivities at the marriage of Lucrezia Borgia with Giovanni Sforza in 1493, and again in 1502, when she espoused Alfonzo d' Este. In 1508 the carnival shows at Ferrara included three eclogues, the work respectively of Ercolo Pio, Antonio dall' Ongano. and Antonio Tebaldeo[383]. At Venice we have note of similar performances, and even find ecloghe mentioned among the forms of dramatic spectacle recognized by the laws of the state. I may also call attention in this connexion, and as illustrating the habituai introduction of acted eclogues in all forms of festival, to the occurrence of such a performance in a chivalrous romance by Cassio da Narni, entitled La morte del Danese[384]. The piece is, however, of the most primitive form, and must not be taken as typical of its date, just as the masques introduced into the plays of the Elizabethan drama are commonly of a far simpler order than actually represented at court. It may also not improbably have been influenced by the more popular form of rustic shows, as its description as a 'festa in atti rusticali' would seem to indicate.

Meanwhile the rustic eclogue was developing upon lines of its own, though rather in arrear of the courtly variety. In 1508 we find a piece in terza rima, exhibiting traces of Paduan dialect, composed or transcribed by one Cesare Nappi of Bologna, in which no less than fourteen 'villani' appear with their sweethearts to honour the feast of San Pancrazio[385]. Eating and dancing form the mainstay of the composition, and since the female characters are described but do not speak, it may be questioned whether the piece was intended for representation. Not till five years later have we any evidence of a rustic eclogue forming part of an actual show. In 1513, Giuliano de' Medici was at Rome, and in the entertainment provided at the Capitol on the occasion of his receiving the freedom of the city was included an eclogue by a certain 'Blosio,' otherwise Biagio Pallai delia Sabina, of the Roman Academy. The argument alone has come down to us. A rustic, who has first suffered at the hands of the foreign soldiers then overrunning Italy, and has afterwards been plundered by the sharper citizens of Rome, meets a friend with whom it has fared similarly, and the two determine to seek justice of the Conservators, as a last chance before retiring to live among the Turks, since a man may not abide in peace in a Christian land. They find the Capitol en fete, and the piece ends with a song in praise of Giuliano and Leo X[386]. Of the same year is the 'Egloga pastorale di Justitia,' the earliest extant specimen of the rustic dramatic eclogue proper. It is a satirical piece concerning a countryman, who fails to obtain justice because he is poor. He at last appeals to the king himself, but is again repulsed because he is accompanied by Truth in place of Adulation[387]. This form of composition, recalling as it does the allegories of Langland and other satirists of the middle ages, differs widely from that usually found in the courtly eclogues, nor is it typical of rustic representations. Again, to the same year, 1513, belongs an eclogue in rustic speech and Bellunese dialect, by Bartolommeo Cavassico, which like the Roman show turns upon the horrors of the war which had been devastating the country since 1508. Recollections of the 'tagliata di Cadore[388]' blend incongruously with fauns, nymphs, bears, pelicans, and wild men of the woods, to form a whole which appears to be of a decidedly burlesque character. The distribution, however, of these rustic eclogues never appears to have been very wide, and in later times they were chiefly confined to the representations of the famous Congrega dei Rozzi at Siena, though the activity of this society extended, it is true, far beyond the limits of its Tuscan home. Most of these representations, at any rate in the earlier years with which we are concerned, were short realistic farces of low life composed in dialectal verse. Some of the cleverest are by Francesco Berni, better known for his obscene capitoli and his rifacimento of Boiardo's Orlando, and appeared between 1537 and 1567; while in later days the kind attained its highest perfection in the work of Michelangelo Buonarroti the younger, whose Tancia originally appeared in 1612[389].

It may be questioned to what extent these rustic shows influenced the development of the pastoral eclogue. Their recognition as a dramatic form was subsequent to that of the ecloga rappresentativa, and no element traceable to their influence can be shown to exist in the dramatic pastoral as finally evolved. On the other hand, we do undoubtedly meet with incidents and characters in the courtly shows which appear to belong to the style of the popular burlesque. A point of contact between the two traditions may be found in the commedie maggiaiuole, a sort of May-day shows also represented by the Rozzi, but of a more idealized character than the rustic drama proper. They may, indeed, be regarded as to some extent at least a parody of the two kinds—the courtly and the popular pastoral—since by combining the two each was made the foil and criticism of the other. Nymphs and shepherds appear as in the pastoral eclogues, but their loves are interrupted by the incursion of boisterous rustics, who substitute the unchastened instincts and brute force of half-savage boors for the delicate wooing and sentimentality of their rivals.

* * * * *

We return to the development of the dramatic eclogue in a work of some importance as marking an advance both in dramatic construction and versification. I due pellegrini[390], written not later than 1528, when the author, Luigi Tansillo, was a youth of sixteen or seventeen, was doubtless produced on some occasion before the court of the Orsini, at Nola, near Naples. It was revived with great pomp ten years later at Messina, when Don Garcia de Toledo, commander of the Neapolitan fleet, entertained Antonia Cardona, daughter of the Count of Colisano, for whose hand he was a suitor[391]. Two shepherds, pilgrims of love, bereft of the objects of their affection, the one through death, the other through inconstancy, meet in a forest and reason of the comparative hardness of their lots. Unable to decide the question, they each resolve to bear the strongest possible witness to the depth of their affliction by putting an end to their lives. At this moment, however, the voice of the dead mistress is heard from a neighbouring tree, persuading them to relinquish their intentions, reconciling them once more with the world and life, and directing them to join the festivities in the city of Nola. Here for the first time we meet with a pastoral composition of some length pretending to a dramatic solution, and contrasting with the stationary character of most of the eclogues we have been examining in that the change of purpose among the actors constitutes a sort of [Greek: peripe/teia], or rivolgimento. The piece is likewise important from a metrical point of view, since it not only contains a free intermixture of ottava and terza rima, and hendecasyllables with rimalmezzo, a favourite verse form in certain kinds of composition[392], but likewise foreshadows, in its mingling of freely riming hendecasyllables with settenari, the peculiar measures of the pastoral drama proper. I due pellegrini was not, however, an altogether original composition. In 1525 had appeared a work by the Neapolitan Marco Antonio Epicuro de' Marsi, styled in the original edition 'dialogo di tre ciechi,' and in later reprints 'tragi-commedia intitulata Cecaria[393].' In this three blind men, one blind with love, another with jealousy, the third with gazing too intently on the sun-like beauty of his mistress, meet and determine to die together. They fall in, however, with a priest of Amor, who sends them back to their respective loves to be cured. It was this theme that Tansillo arranged in pastoral form, borrowing even the metres of the original, but it was just the element which justifies our including it here that he added, and it is useless to seek in Epicuro's work the origin of the form with which it was thus only accidentally associated.

A composition of some importance, dating from a period about two years later than Tansillo's piece, is an 'ecloga pastorale' by the 'mestissimo giovane' Luca di Lorenzo of Siena.[394] Two nymphs, by name Euridice and Diversa, respectively seek and shun the delights of love. They meet a citto—that is a bambino in Sienese dialect—who proves to be none other than Cupid himself, and rewards them according to their deserts, Euridice obtaining the love of the courtly shepherd Orindio, while Diversa is condemned to follow the rude and loveless Fantasia. The piece is written in a mixture of ottava and terza rima, with a variety of lyrics introduced. The contrast between the loving and the careless nymphs, and the episode of the latter being bound to a tree, appear to anticipate the later pastoral; while the introduction of Cupid as a dramatis persona carries one back to the mythological drama, and the rustic characters connect the piece with the plays of the Rozzi. Another composition of Tuscan origin is the Lilia, first printed in 1538, and composed throughout in polished octaves.[395] It merely relates how the shepherd Fileno courted the fair Lilia, a certain rustic element being introduced in the persons of the herdsmen Crotolo and Tirso.

With the Amaranta of Casalio we have been sufficiently concerned in the text (p. 172). It was printed at Venice in 1538,[396] having probably been written some years earlier. It is composed in ottava and terza rima, with the introduction of a canzonet, and marks an important advance on previous work, not only in the nature of the plot, but in being divided into acts and scenes. Sixteen years elapsed between the publication of Amaranta and the appearance of the regular pastoral drama in Beccari's Sacrifizio. Some time ago Stiefel pointed out a considerable hiatus at this point in Rossi's account, and mentioned certain works which might be expected to fill it. These and others have since been examined by Carducci, with the result that it is possible, at least partially, to bridge the gap. The period proves to be one less of gradual evolution than of conscious experiment. At least this is how I read the available evidence.

Besides the Cecaria, mentioned above, Epicuro de' Marsi also left a manuscript play entitled Mirzia, which he describes as a 'favola boschereccia,' being thus the first to make use of the term later adopted by Tasso.[397] The piece, which was written some ten years before the author's death in 1555, leads us off into one of the numerous by-paths into which the pastorals of this period were for ever wandering. Two despised lovers, together with their friend Ottimo, witness unseen the dances of Diana and the nymphs, on which occasion Ottimo falls in love with the goddess herself. After passing through various plights, into which they are led by their love of the careless nymphs, they all have recourse to an oracle, whose predictions are fulfilled through a series of violent metamorphoses. This mixture of mythology and magic is wholly foreign to the spirit of the Arcadian drama, and the Mirzia cannot any more than the Cecaria be regarded as the progenitor of that form. I may mention incidentally that among the characters is a good-natured satyr, who consoles Ottimo in his hopeless passion for Diana.

Another attempt at mingling the pastoral with the mythological drama, and one which likewise exhibits a tendency to borrow from the rustic compositions, is the Florentine 'commedia pastorale' first printed in 1545 under the title of Silvia.[398] The author calls himself Fileno Addiacciato, from which it would appear that he was a member of the pastoral academy of the Addiaccio, founded at Prato in 1539 by Agnolo Firenzuola. The prologue relates how the first archimandrita of the academy, the title assumed by the president, here called Silvano, was driven out by his followers because of certain innovations he made, 'Alzando i Rozzi e deprimendo i buoni.' This would seem to imply that the head of the Addiacciati was expelled for evincing too particular an interest in the Sienese society, a piece of literary gossip fairly borne out by the little we know of the events which led up to Firenzuola's departure from Prato. The prologue, indeed, speaks of Silvano as already dead, which would appear to necessitate the placing of Firenzuola's death earlier by three years than the accepted date. The inference, however, is not necessary, since the expelled president might in his pastoral character be represented as dead though still alive in the flesh. The play itself, which is in five acts, and contains characters alike Olympian, Arcadian, and rustic, besides a hermit and a slave, is composed in a variety of metres—terza rima, octaves both sdrucciole and piane, and in the style alike of Poliziano and Lorenzo, hendecasyllables both blank and with rimalmezzo, and lyrical stanzas. The plot itself is of the simplest, and resembles that of the Amaranta. Through the sovereign will of Venus and Cupid, Silvia and Panfilo love. A temporary estrangement, brought about by the mischievous rustic Murrone and his burlesque courting of Silvia, is set right by an opportune appearance of Cupid just as the girl has determined on suicide, and the lovers are united according to the Christian rite by the hermit, in the presence of Cupid and Venus. What could be more complete?

The following year, 1546, saw the appearance in type of two eclogues, Erbusto and Filena, by a certain Giovanni Agostino Cazza or Caccia, the founder of a pastoral academy at Novara, for whose diversion the pieces were presumably composed.[399] The first of these, Erbusto, is in three acts, and terza rima. The elderly Erbusto is the rival of Ameto in the love of a shepherdess named Flora. The girl's affections are set on the younger suitor, and after some complications she is discovered to be Erbusto's own daughter, stolen as a baby during the war in Piedmont. Similar recognitions, imitated from the Roman comedy, are of frequent occurrence in the regular Italian drama, and are not uncommonly connected, as here, with some actual event in contemporary history. The second piece, Filena, runs to four acts, and has lyrical songs introduced into the terza rima. It appears to be a sufficiently shameless and somewhat formless farce, which, being quite alien from the spirit of the regular pastoral, need not be examined in detail.

To the next few years belong a series of 'giocose moderne e facetissime ecloghe pastorali,' by the Venetian Andrea Calmo, composed in endecasillabi sdruccioli sciolti, and published in 1553.[400] They introduce a number of dialects, suited to various personages; Arcadian shepherds like Lucido, Silvano, and the rest; rustics with names such as Gritolo di Burano, mythological figures, and a satiro villan who speaks Dalmatian. An advance in dramatization may perhaps be seen in the introduction of a second pair of lovers, while the writer goes even further than Beccari in the introduction of oracles (a point in which, however, he had been anticipated by the author of Mirzia), and an echo scene, a device of which Calmo's example is certainly of an elementary character.

The most important, however, of the writers between Casalio and Beccari is the well-known Ferrarese novelist Giovanbattista Giraldi, surnamed Cintio, the author of the Ecatommiti, and of a number of tragedies on the classical model. The first piece of his which claims our attention is a satira entitled Egle, which was privately performed at the author's house in February, 1545, and again the following month in the presence of Duke Ercole and his brother, the Cardinal Ippolito d' Este.[401] The play is an avowed and solitary attempt to revive the 'satyric' drama of the Greeks, a kind of which the Cyclops of Euripides is the only extant example. The action is simple. The rural demigods, fauns, satyrs, and the like, having long sought the love of the nymphs of Diana in vain, enter, at the suggestion of Egle the mistress of Silenus, upon a plan whereby they may have the careless maidens in their power. They make a show of leaving Arcadia in high dudgeon, abandoning their families of little fauns and satyrs. On these the unwary maids take pity, and begin forthwith to dance and play with them in the woods. The deceitful divinities, however, have only hidden for a while, and when opportunity serves are placed by Egle where they may surprise the nymphs at sport. They suddenly break cover, follow and seize the flying girls, and are on the point of enjoying the success of their plot when Diana intervenes, transforming her outraged followers into trees, streams, and so forth. The metamorphosis is related by Pan himself, who returns bearing in his hand a reed, all that is left of his beloved Syrinx. Thus the piece may be regarded as a dramatization of Sannazzaro's Salices, expanded by the free introduction of mythological characters, and bears no connexion with the real nature of pastoral, the life-blood of which, whether in the idyls of Theocritus, the Arcadia of Sannazzaro, or the Aminta of Tasso, is primarily and essentially human.

The other work of Cintio with which we are here concerned, a fragment which remained in MS. till published by Carducci in 1896 as an appendix to his essays on the Aminta, may be at once pronounced the most important attempt at writing a really pastoral drama previous to Beccari's Sacrifizio. It is found with the heading 'Favola pastorale' in an autograph MS., along with several other works of the author, including Egle, but with no indication of the date of composition. The author survived till 1573, but we may reasonably suppose that the piece was written before his departure from Ferrara in 1558. It consists of what are apparently intended for two acts, headed respectively Parte prima and Parte quinta, each consisting of several scenes, though these are not distinguished. The first two form a sort of introduction, in which Cupid and Diana mutually defy one another on account of the nymph Irinda, whom the boy-god has wounded with love for Filicio. The shepherd returns her love, but finds a rival in Viaste, whose blind passion, though unreturned, will admit no discourse of reason. It is, however, ultimately discovered that Irinda and Viaste are cousins, a fact which is regarded as a sufficient reason for the infatuated swain to free himself wholly and immediately from his passion, and accept the love of the faithful Frodignisa, who has followed him throughout.[402] The story, which resembles that of Cazza's Erlusto, is thus of a simple order, and it is chiefly in the composition that the likeness of the play to the regular pastoral is seen. What the author intended for the middle three acts it is hard to say, since the action at the opening of the fifth is precisely at the point at which the first left it. Probably they were never written, and the author may even have abandoned his work owing to the difficulty of filling the hiatus. In both Cintio's pieces the metre is blank verse (hendecasyllabic), diversified in the case of the Egle with a rimed chorus.[403]

One point becomes, I think, apparent from the foregoing examination; namely, that while the fully developed pastoral owes its origin to the evolution of the eclogue as a dramatic kind, its final form was arrived at, not merely by a natural and inevitable process of growth, but as the result of direct experimenting on certain lines. The evolution, that is, was at the last conscious, not spontaneous. While up to a certain point the dramatic germs latent in the eclogue develop upon a natural line of growth, each advance being the reasonable resuit of the action of surrounding conditions upon a previous stage of evolution, there comes a time when authors seem to have felt that the form was in a state of unstable equilibrium, that it was advancing towards a final expression, which it had so far failed to find, but which each individual writer sought to realize in his work. The supposition of a theoretic preoccupation on the part of these writers is reasonable enough, considering the critical atmosphere in which the pastoral developed, and the heated controversy which soon centred round the accomplished form; and it serves at the same time to explain the liabilities of writers before Tasso to run metaphorically into blind alleys. The conscious endeavour after a stable and adequate form appears to me a determining factor in the work of Casalio, Cintio, and finally Beccari.

Of the Sacrifizio of Agostino Beccari[404] have already spoken at some length in the text (p. 174). From the account there given it will be seen that the plot, though from its threefold character it attains a certain degree of complexity, is in reality little more than the scenic combination of three distinct stories, each of which might well have formed the subject of an eclogue, and the whole play is thus closely connected with the dramatic simplicity of its origin.[405] The verse, which is blank, interspersed with lyrical passages, shows, like Cintio's, the influence of the regular drama. For the satyr we need seek no individual source; he was already as much a recognized character of the Italian pastoral as the Vice was of the English interlude. The magical element is doubtless ultimately traceable to a romantic source; it is one which almost entirely drops out of the later pastoral drama, in which the more distinctively classical oracle gradually won for itself a place. Finally, I may remark that Beccari's claim to be considered the originator of the pastoral drama was made in spite of his being perfectly well acquainted with Cintio's Egle, as a passage in the first scene of Act III testifies. There is, indeed, no reason to suppose that any writer before Carducci ever considered Cintio's play as belonging to the realm of pastoral.

Beccari's immediate successors were of no great interest in themselves, and contributed little to the development of the form. In 1556 appeared a 'comedia pastorale,' by the Piedmontese Bartolommeo Braida, a hybrid composition in octave rime, written possibly for representation at the court of Claudio of Savoy, governor of Provence and Marseilles, to whose wife it is dedicated.[406] This piece resembles Poliziano's play, not only in metrical structure, but in having a prologue spoken by Mercury, while by its general character it connects itself with such old-fashioned productions as Cavassico's Bellunese eclogue of 1513, and the representation reported from Bologna by Dulfo in 1496. On the other hand, the introduction of three pairs of lovers, and the incident of the nymph being bound to a tree, suggest that Braida may at least have heard of the Ferrarese Sacrifizio. The whole is a strange medley of various and incongruous elements—mythological in Mercury and Somnus; pastoral in the shepherds, Tindaro, Ruffo, Alpardo, and their loves; rustic in the clown Basso, who speaks Piedmontese in shorter measure; satirical in the wanton hermit; allegorical in the figure of Disdain; romantic in the wild man of the woods and the magic herb. Thus on the whole Braida's work represents a decided retrogression in the development of pastoral; or perhaps it may be more accurate to say that it renects the tradition of an outlying district in which that development had been retarded.

To this period likewise, if we are to believe the author, belongs a 'nova favola pastorale' entitled Calisto, by Luigi Groto, the blind litterateur of Adria, whose preposterous pastoral, Il pentimento amoroso, was produced between the Aminta and the Pastor fido. According to a note in the original edition, the piece was first represented at Adria in 1561, revived and rewritten in 1582, and first printed the following year.[407] It is founded on the well-known tale of the love of Zeus for Calisto, a nymph of Artemis, who by him became the mother of the Arcadians, as related by Ovid in the second book of the Metamorphoses (ll. 401, &c.). It may, therefore, so far as the subject is concerned, be classed among the mythological plays, but the author has mingled with his main theme much of the vulgar indecency of the Latin comedy as adopted in the cinquecento on to the Italian stage. The piece is composed in sdrucciolo blank verse.

With our next author, the orator Alberto Lollio, we return once more to Ferrara. In 1563 a play entitled Aretusa[408] was presented before Alfonso II and his brother the cardinal, by the students of law at Ferrara, at the command, it is said, of Laura Eustoccia d' Este. The verse is blank, diversified by a single sonnet, but the piece is again a hybrid of an earlier type—a love-knot solved by the discovery of consanguinity—with certain elements of Plautine comedy added. There is also extant in MS. the plot, or prose sketch, of another comedy by Lollio, entitled Galatea, on the same model as the Aretusa, but with somewhat greater complexity of construction.[409]

It is evident that, though in the Sacrifizio the final form of the pastoral drama had been attained, the fact was not immediately recognized. Indeed, until the seal had been set upon that form by the genius of Tasso, it must have been difficult for any one to realize what had been achieved. The form had been discovered, but it remained to prove that it was the right form, and to show its capabilities. In 1567 a return was made to the tradition of Beccari in Agostino Argenti's play Lo Sfortunato.[410] With this piece also, composed in blank verse with a couple of lyric songs, we have already been sufficiently concerned (p. 175). I only wish to draw attention to one point here, namely, that if Guarini's Silvio is a companion portrait to Tasso's Silvia, she in her turn is but the feminine counterpart of Argenti's Silvio. The Sfortunato stands on the threshold of the Aminta, and its performance may have suggested to Tasso the composition of his pastoral masterpiece, but it contributed little either to the evolution of the form, or to the poetic supremacy of its successor.

We have arrived at the end of the catalogue, and it is for the reader to decide whether or not I have succeeded in establishing a formal continuity between the eclogue and the pastoral drama, and so answering the most serious of Carducci's objections.



Appendix II

Bibliography



Any attempt at an adequate bibliography of pastoral literature would require space far greater than that at present at my disposal. In the case of all the more important works considered in the foregoing inquiry, I have been careful to mention the edition from which my quotations are taken whenever this was not the original. Nor do I propose to mention in this place every book or article which I have consulted in the course of my study. Where some particular authority has been followed on some particular point the reference has been given in the form of a footnote. There are, however, two classes of books which require special mention. The first of these consists of those works to which I have had cause constantly to refer, and which I have therefore quoted by abbreviated titles; and second, of certain works which I have constantly consulted and followed, but to which I have had no occasion to make specific reference in the notes. A list of the works coming under one or other of these heads will give a very fair survey of the critical literature of the subject, and may therefore not only be convenient to readers of my work, but may prove useful as a guide to any who may wish to make an independent study. I have, of course, derived much help from the critical apparatus accompanying many of the texts cited, but these I have not, as a rule, thought it necessary to recapitulate here. Where, however, I have used critical matter in editions other than those quoted for the text, they have been duly recorded. Ordinary works of reference need no specific notice.



A. General.

([Greek: a]) Works on General Literature. These chiefly refer to Italian and English literature.

(i) Italian. J. A. Symonds. Renaissance in Italy. Vols. IV and V. Italian Literature. To the whole of this work, but especially to the section dealing with literature and to that on the Catholic reaction mentioned below (B. vi), my indebtedness is far more than any specific acknowledgement can express. My references are to the new edition (7 vols., London, 1897-8), which has the advantages of being obtainable, and of having a full though not very accurate index to the whole work, but which is unfortunately very carelessly printed.

B. Weise and E. Percopo. Geschichte der italienischen Litteratur von den aeltesten Zeiten bis zur Gegenwart. Leipzig und Wien, 1899. I have often found this of considerable use as summarizing the latest work on the subject. It is, however, not invariably accurate, and the literary appreciations, whether original or borrowed, are seldom enlightening. Had the space occupied by these been devoted to giving references to special works, the value of the book would have been enormously increased.

A. D'Ancona and O. Bacci. Manuale della letteratura italiana. 5 vols. Firenze, 1897-1900. I have fonnd the biographical and bibliographical notes to this collection of the greatest use.

(ii) English. W. J. Courthope. A History of English Poetry. 5 vols, published. London, 1895-1905. Vols, ii and iii contain accounts of English poets of the sixteenth and early seventeenth centuries.

A. W. Ward. A History of English Dramatic Literature to the Death of Queen Anne. New and revised edition. 3 vols. London, 1899.

F. G. Fleay. A Biographical Chronicle of the English Drama. 2 vols. London, 1891.

([Greek: b]) General Works on Pastoral. Of these some refer chiefly to pastoral poetry, some mainly to the English drama.

(i) Poetry. E. W. Gosse. An Essay on English Pastoral Poetry. A. B. Grosart, Rider on Mr. Gosse's Essay. In Grosart's edition of Spenser, vol. iii, 1882, pp. ix-lxxi.

H. O. Sommer. Erster Versuch ueber die englische Hirtendichtung. Marburg, 1888. A useful sketch of the eclogue in English literature from 1510 to 1805, though superficial and not always accurate.

Katharina Windscheid. Die englische Hirtendichtung von.1579-1625. Halle, 1895. This contains a good deal of original investigation, and I have found it of considerable use. In questions of literary judgement, however, the author is not always happy.

C. H. Herford. Spenser. Shepheards Calender, edited with introduction and notes. London, 1897. The Introduction contains an admirable sketch of pastoral poetry in general.

E. K. Chambers. English Pastorals, with an introduction. London, 1895. A collection of lyrics, eclogues, and scenes, with a useful introduction.

(ii) English Drama. Homer Smith. Pastoral Influence in the English Drama. Publications of the Modern Language Association of America, vol. xii (1897), pp. 355-460. This has been constantly cited in my notes. As the first serious attempt to investigate the English pastoral drama it deserves credit; but in detail it is often inaccurate, while I generally disagree with the author on all matters on which divergence of opinion is possible.

Josephine Laidler. A History of Pastoral Drama in England until 1700. Englische Studien, July, 1905, xxxv (2). pp. 193-259. This appeared while my work vas passing through the press, and though I have read it carefully, I think that the reference to Mahaffy's not very accurate account of Arcadia (see p. 51, note) is the total extent of my indebtedness. The article adds little to Homer Smith's work for the period with which we are concerned, while it is at the same time both incomplete and inaccurate.

A. H. Thorndike. The Pastoral Element in the English Drama before 1605. Modern Language Notes, vol. xiv. cols. 228-246 (1899). A careful and interesting article, which I also only read while my book was in the press. Though it did not contain much that was new, I was particularly glad to find myself in agreement with the author as regards the importance of the pre-Italian tradition in English pastoral.

([Greek: g]) I ought also to mention: J. C. Dunlop. History of Prose Fiction. A new edition by H. Wilson..2 vols. London, 1888. The fact that this work consists chiefly of summaries of plots and stories makes it of great value for tracing sources.



B. Special.

(i) Classical (Chap. I, sect. ii). J. A. Symonds. Studies of the Greek Poets. Third edition. 2 vols. London, 1893. Chap. XXI deals with 'The Idyllists.'

Andrew Lang. Theocritus, Bion, and Moschus rendered info English Prose, with an introductory essay. London, 1889. The introduction contains a very interesting account of the conditions of Alexandrian poetry.

Joseph Jacobs. Daphnis and Chloe: the Elizabethan version from Amyot's Translation by Angel Day. London, 1890. The introduction contains an account of Longus and his translators.

(ii) Medieval and Humanistic (Chap. I, sect. iv). F. Macri-Leone. La Bucolica latina nella letteratura italiana del secolo XIV, con una introduzione sulla bucolica latina nel medioevo. Parte I (all published). Torino, 1889.

P. H. Wicksteed and E. G. Gardner. Dante and Giovanni del Virgilio, including a critical edition of the text of Dante's 'Eclogae Latinae' and of the poelic remains of Giovanni del Virgilio. Westminster, 1902.

Attilio Hortis, Scritti inediti di Francesco Petrarca pubblicati ed illustrati..Trieste, 1874.

Luigi Ruberto. Le Egloghe del Petrarca. Il Propugnatore, xi (2). p. 244, xii (1). p. 83, (2). p. 153. Bologna, 1878-9.

Attilio Hortis. Studl sulle opere latine del Boccaccio con particolare riguardo alla storia delia erudizione nel medio evo e alle letterature straniere. Trieste, 1879.

Marcus Landau. Giovanni Boccaccio, sua vita e sue opere. Traduzione di Camillo Antona-Traversi approvata e ampliata dall' autore. Napoli, 1881. Greatly enlarged from the original German edition. Stuttgart, 1877.

[Bucolic Collections.] (a) Eclogae Vergilii. Calphurnii. Nemesiani. Frcisci. Pe. Ioannis Boc. Ioanbap Ma. Pomponii Gaurici..Florentiae. Philippus de Giunta. 1504. Decimo quinto. Calendas Octobris. Contains the editio princeps.of Boccaccio's eclogues.

([Greek: b]) En habes Lector Bucolicorum Autores XXXVIII. quot quot uidelicet a Vergilij aetate ad nostra usque tempora, eo poematis genere usos, sedulo inquirentes nancisci in praesentia licuit: farrago quidem Eclogarum CLVI. mira cum elegantia tum uarietate referta, nuncque primum in studiosorum iuuenum gratiam atque usum collecta. Basel. Ioannes Oporinus. 1546. Mense Martio.

[Sannazzaro.] I may note here, what I was unaware of when writing my account of Sannazzaro's Latin poems, that the Salices.was translated into English under the title of The Osiers. by Beaupre Bell, about 1724. The MS. is in the library of Trinity College, Cambridge; see M. R. James' Catalogue of the Western MSS., ii. p. 102.

(iii) Spanish (Chap. I, sect. vii). George Ticknor. History of Spanish Literature. Sixth American edition. 3 vols. Cambridge (Mass.), 1888.

J. Fitzmaurice-Kelly, A History of Spanish Literature. London, 1898.

H. A. Rennert. The Spanish Pastoral Romances. Publications of the Modern Language Association of America, vol. vii (3). pp. 1-119, (1892). An elaborate study, which, however, I only discovered when my work was in the press.

Francesco Torraca. Gl' imitatori stranieri di Jacopo Sannazaro. Seconda edizione accresciuta. Roma, 1882. A study which I have found very useful both in relation to Spanish and French pastoralism.

(iv) French (Chap. I, sect. viii). L. Petit de Julleville. Histoire de la Langue et de la Litterature francaise. 8 vols. Paris, 1896-1899.

(v) English Poetry (Chap. II). J. G. Underhill. Spanish Literature in the England of the Tudors. New York (Columbia University Studies in Literature), 1899. A valuable study, particularly in connexion with Montemayor, with useful bibliography.

A. W. Pollard. The Castell of Labour, translated from the French of Pierre Gringore by Alexander Barclay. Edinburgh (Roxburghe Club), 1905. Whatever can be said for Barclay as a poet is admirably said in the Introduction to this work.

F. W. Moorman. William, Browne. His Britannia's Pastorals and the pastoral poetry of the Elizabethan age. Strassburg (Quellen und Forschungen), 1897.

Walter Raleigh. The English Novel. Second edition. London, 1895. To this brilliant study, and in particular to the treatment of Euphuism and Arcadianism, I am deeply indebted.

J. J. Jusserand. The English Novel in the Time of Shakespeare, translated from the French by Elisabeth Lee. Revised and enlarged by the author. London, 1890.

K. Brunhuber. Sir Philip Sidneys Arcadia und ihre Nachlaeufer. Nuernberg, 1903. Though not always accurate, the first part, dealing chiefly with the sources, possesses original value; the same cannot be said of the second, dealing with the dramatizations, which is superficial.

(vi) Italian Drama (Chap. III). J. L. Klein. Geschichte des Dramas. Vol. V. Das italienische Drama. Zweiter Band. Leipzig, 1867.

Wilhelm Creizenach. Geschichte des neueren Dramas. Zweiter Band. Renaissance und Reformation. Erster Theil. Halle, 1901.

Alessandro D'Ancona. Origini del teatro italiano. 2 vols. Torino, 1891. Very much enlarged from the original edition, 2 vols., Firenze, 1877.

Curzio Mazzi. La Congrega dei Rozzi di Siena nel secolo XVI. 2 vols. Firenze, 1882.

Vittorio Rossi. Battista Guarini ed il Pastor Fido. Studio biografico-critico con documenti inediti. Torino, 1886.

Giosue Carducci. Su l'Aminta di T. Tassa, saggi tre. Con una pastorale inedita di G. B. Giraldi Cinthio. Firenze, 1899.

J. A. Symonds. Renaissance in Italy. Vols. VI and VII. The Catholic Reaction. (See above, A. a. i.) Chapters VII and XI contain admirable criticisms of the pastoral work of Tasso and Guarini.

(vii) English Masques (Chap. VII). Rudolf Brotanek. Die englischen Maskenspiele. Wien und Leipzig (Wiener Beitraege), 1902.

David Masson. The Poetical Works of John Milton, edited with memoir, introduction, notes, and an essay on Milton's English and versification. 3 vols. London, 1890.

M. W. Sampson. The Lyric and Dramatic Poems of John Milton, edited, with an introduction and notes. New York, 1901.



Index



[In cases where a name occurs several times, the main reference or references, if any, are distinguished by bold-face type.]

Abbot, Sir Maurice, Lord Mayor Abbruzzese, A. Abuses Stript and Whipt Accademia tusculana Achelly, Thomas Achilles Tatius Actaeon and Diana adan de le Hale, or le Bochu Addiaccio, academy at Prato Admiral, Lord (Charles, Lord Howard) Adone Adrasta Aeneas Silvius, see Pius II. Aeneid Aethiopica Affectionate Shepherd Affo, Ireneo Ages Agincourt Alba Alberti, Leo Battista Albion's England Albumazar Alceo Alchemist Alcon Alcuin Aldus Manutius, the elder Aldus Manutius, the younger Alexander VI, Pope Alexander, Sir William (Earl of Stirling) Alexis Allacci, Leone Allegro Almerici, Tiburio Alva, Duke of Amadis of Gaul Amaranta Amarilli Ambra (Lorenzo de' Medici) Ambra (Poliziano) Ambrogini, Angelo, see Poliziano. Ameto Aminta Aminta (Tasso), English translations: Fraunce Reynolds Dancer Oldmixon, du Bois, Ayre, Stoekdale, Leigh Hunt, anon. Aminta bagnato Aminta difeso Amintae Gaudia Amphrissa Amore cortese Amore fuggitivo Amores (Ovid) Amorosi sospiri Amorous War Amyntas (Randolph) Amyntas (Watson) Amyot, Jacques Anacreon Ancona, Alessandro D' Andria Andromana Angeli, Nicolo degli Anglia Anne of Denmark Annunzio, Gabriele d' Anthology (Greek) Antona-Traversi, Camillo Antonius Apollo and Daphne Apologia contre l'autor del Verato Apology for Poetry Apuleius Aquilano, Serafino Arber, Edward Arcades Arcadia, Academy of the Arcadia (Sannazzaro) Arcadia (Shirley) Arcadia (Sidney) Arcadia (Vega, drama) Arcadia (Vega, romance) Arcadia in Brenta Arcadia Reformed Arcadian Lovers Arcadian Princess Arcadian Virgin Archer, Edward Archivio storico per le provincie napolitane Aretusa Argalus and Parthenia (Glapthorne) Argalus and Parthenia (Quarles) Argenti, Agostino Arimene Ariosto, Lodovico Arisbas Aristotle Arnold, Matthew Arraignment of Paris Arsocchi, Francesco Art of English Poesy As You Like It Asolani Assetta Astree Astrological Discourse Astrophel Astrophel and Stella Atalanta Atchelow, Thomas Athenae Oxonienses Athlette Aubrey, John Aucassin et Nicolette Ausonius Auto pastoril castelhano Averara, Niccolo Ayre, William

B., I. D. Babylonica Bacchus and Ariadne Bacci, Orazio Baglione family Balbuenas, Bernardo de Baldi, Bernardino Baldini, Vittorio Baldinucci, Filippo Baldovini, Francesco Ballad Society Bandello, Matteo Bang, W. Barclay, Alexander Barclay, John Bariola, Felice Barksted, William Barnes, Barnabe Barnfield, Richard Baron, Robert Bartoli, Adolfo Bartoli, Clementi Basse, William Bastiano di Francesco (linaiuolo) Bathurst, Theodore Baylie, Richard Beaumont, Francis Beautiful Shepherdess of Arcadia Beca di Dicomano Beccari, Agostino Bede Beeching, H. C. Belcari, Feo Beling, Richard Bell, Beaupre Bellarmino, Roberto, Cardinal Bellay, Joachim du Belleau, Remi Bellessa, the Shepherd's Queen Bellincione, Bernardo Bembo, Pietro Bendidio, Lucrezia Beni, Paolo Benivieni, Girolamo Bentivogli, Annibale Benvoglienti, Uberto Bergerie (Belleau) Bergerie de Juliette Berni, Francesco Bertini, Romolo Biographia Dramatica Bion Blake, William Blosio, see Pallai delia Sabina, Biagio. Boccaccio, Giovanni Bodoni, Giambattista Boethius Boiardo, Matteo Maria Bois, P. B. Du Boleyn, Anne Bonarelli della Rovere, Guidubaldo Bond, R. W. Bonfadino, Giovanbattista Boni, Giovanni de Bonifacia, Carmosina Boninsegni, Fiorino Bonnivard, Francois de Bonny Hynd Bonny May Bono de Monteferrato, Manfrido Borgia, Lucrezia Boscan Almogaver, Juan Botticelli, Alessandro Brabine, Thomas Brackley, Viscount, see Egerton Braga, Teofilo Braida, Bartolommeo Brandt, Sebastian. Brathwaite, Richard Breton, Nicholas Bridgewater, Earl of, see Egerton. Brief Discourse about Baptism Britannia's Pastorals Brome, Richard Brooke, Dr. Brooke, Christopher Brooke, Samuel Brookes, Mr. Broom of Cowdenknows Brotanek, Rudolf Browne, William Brunhuber, K. Bruni, Lionardo Bryskett, Lodovic Buc, Sir George Buchanan Buck, George, Gent. Bucolica Quirinalium Bucolicorum Autores XXXVIII Bucolics (Vergil) Bulifon, Antonio Bullen, A. H. Buonarroti, Michelangelo, the younger Burd Helen Byse, Fanny

C., H. Caccia, G. A., see Cazza, G. A. Caccia col falcone Caccia d' amore Calderon de la Barca, Pedro Calendar of Shepherds Calisto Callimachus Calmo, Andrea Calpurnius Calvin, Jean Campori, G. Canace Canello, Ugo Angelo Canterbury Tales Canzoniere (Petrarca) Camoens, Luis de Caperano, Alessandro Capitolo pastorale (Machiavelli) Cardona, Antonia Carducci, Giosue Careless Shepherdess Carew, Thomas Caride Carlton, Sir Dudley Carlo emanuele, Duke of Savoy Carmen bucolicum (Endelechius) Caro, Annibale Carretto, Galeotto Del Carte du Tendre Casalio, Giambattista Cassio da Narni Castalio Castelletti, Cristoforo Castelvetri, Giacopo Castiglione, Baldassarre Castle of Labour Catharine of Austria Catherine of Siena, Saint Catullus Cavassico, Bartolommeo Cavendish, George Cazza, Giovanni Agostino Cecaria Cecco di Mileto Cefalo Cefalo y Pocris Celos aun del aire matan Cent Nouvelles nouvelles Cervantes Saavedra, Miguel de Cesana, Gasparo Chaloner, Thomas Chamberlain, John Chambers, E. K. Chandos, Lord Chapman, George Chariton Charles I Charles II Chateillon, Sebastien Chaucer, Geoffrey Chester mysteries Chettle, Henry Chetwood, W. R. Child, F. J. Child Waters Chloridia Chloris Chloris and Ergasto Cicro Cid Cintia Ciotti, Giovanbattista Claudio of Savoy Clio Clorys and Orgasto Ciacco dell'Anguillaja Citizen and Uplondishman Clement VI, Pope Coello, Antonio Coelum Britannicum Coleridge, S. T. Colin Clout's come home again Colisano, Count of Colleoni, Bartolommeo Collier, J. P. Colonna, Giovanni, Cardinal (at Avignon) Colonna, Giovanni, Cardinal (at Rome) Columbia University Studies in Literature Compani, A. Compendio della poesia tragicomica Complete Angler Comus Conflictus veris et hiemis Conington, John Constable, Henry Contarini, Francisco Converted Robber Copa Coplas de Mingo Revulgo Corazzini, Francesco Corneille, Pierre Cornhill Magazine Corrado, Gregorio Correggio, Niccolo da Cortegiano Count Palatine (Frederick V, Elector Palatine) Courthope, W. J. Coventry mysteries Cowdenknows, see Broom of Cowdenknows. Cowley, Abraham Cox, Robert Coxeter, Thomas Creizenach, Wilhelm Cresci, Pietro Crescimbeni, G. M. Croce, B. Crusca, Accademia della Cuchetti, Giovanni Donato Cuestion de amor Cunningham, Peter Cupid and Psyche Cupid's Revenge Cyclops Cynthia (Barnfield) Cynthia (Dyer)

D., D. D., E. Dancer, John Daniel, Samuel Dante Alighieri Danza di Venere Daphnaida Daphne Daphnis and Chloe [Greek: Da/phnis Polyste/phanos] Davenant, Sir William Davies, Sir John Davison, Francis Day, Angel Day, John Decameron Defense de la langue francaise Defence of Poesy Defence of Rime Deighton, Kenneth Dekker, Thomas Delaval, Lady Elizabeth Delia Denny, Sir William Denham, Sir John Denores, Giasone, see Nores, Giasone de. Deorum Dona De Remedio Amoris Derby, Countess Dowager of Dering, Sir E. Descensus Astraeae Devonshire, Duke of De Vulgari Eloquio Dialogo di tre ciechi Dialogue at Wilton Dialogue in Praise of Astrea Dialogues and Dramas Diana Diane Diane de Poitiers Dickenson, John Dictionary of National Biography Dido Digby, Sir Kenelm Digby, Lady Venetia Dionisio, Alessandro Dionisio, Scipione Discorso intorno alla commedia Discourse of English Poetry Discourse on Pastoral Discoveries Dispraise of a Courtly Life Divina Commedia Dodsley's Old Plays Dodus Dolce, Lodovico Donald of the Isles Donati, Alesso Donne, John Don Quixote Dorastus and Fawnia Dorset, Earl of Dossi, Dosso Dove, John Drake, Sir Francis Drayton, Michael Driadeo d'amore Drummond, Jean Drummond, William Dryden, John Du Bartas, Seigneur (Guillaume de Salluste) Due pellegrini Dunlop, J. C. Dulfo, Floriano Dyce, Alexander Dyer, Sir Edward Dymocke, Mr. Dymocke, Charles Dymocke, Sir Edward Dymocke, John

Earl Lithgow Earl Richard Early English Text Society Ebsworth, J. W. Ecatommiti Ecloga di amicizia Ecloga di justizia Ecloga duarum sanctimonialium Ecloga Theoduli Eclogas (Encina) Eclogue au Roi (Marot) Eclogue Gratulatory (Peele) Eclogue, ou Chant pastoral(I. D. B.) Eclogues sacrees (Belleau) Edward IV, King of England Edward V, King of England Edward VI, King of England Egerton, Lady Alice Egerton, John (first Earl of Bridgewater) Egerton, John (third Viscount Brackley and second Earl of Bridgewater) Egerton, Sir Thomas (Baron Ellesmere and first Viscount Brackley) Egerton, Thomas (son of John, first Earl of Bridgewater) Egle Elizabeth, Queen of England Elizabeth, Duchess of Urbino, see Gonzaga, Elizabeta. Elpine Encina, Juan del Encinas, Pedro de Endelechius, Severus Sanctus England's Helicon England's Mourning Garment England's Parnassus Englische Studien English Grammar (Jonson) English Miscellany Enrique IV, King of Spain Entertainment at Althorp Entertainment at Elvetham Entertainment at Kenilworth Entertainment at Richmond Epicuro de' Marsi Epithalamium (Spenser) Erasmus, Desiderius Erbusto [Greek: E)rotopai/gnion] Erythraeus, Janus Nicius Essex, Earl of Este, House of (Estensi) Este, Alfonso d' (Alfonso I), Duke of Ferrara Este, Alfonso d' (Alfonso II), Duke of Ferrara Este, Ercole d' (Ercole I), Duke of Ferrara Este, Ercole d'(Ercole II), Duke of Ferrara Este, Francesco d' Este, Ippolito d', Cardinal Este, Laura Eustoccia d' Este, Leonora d' Este, Lucrezia d' (wife of Annibale Bentivogli) Este, Lucrezia d' (daughter of Ercole II) Este, Luigi d', Cardinal (son of Ercole II) Este, Renata d' (wife of Ercole II, and daughter of Louis XII of France) Euphormus Euripides

Faery Queen Fairfax, Edward Fairy Pastoral Faithful Shepherdess Falkland, Viscount Fancy's Theatre Fanfani, P. Fanshawe, Sir Richard Faunus Faustus, Dr. Feast of Adonis Ferdinand I, King of Naples Ferrario, Giulio Ferraby, George FF. Anglo-Britannus (pseud.) Fiammella Fickle Shepherdess Fida Armilla Fida ninfa Fida pastora Fidus Pastor Field, Nathan Fig for Momus Figlia di Iorio Figliuoli di Aminta e Silvia e di Mirtillo ed Amarilli Figueroa, Cristobal Suarez de Figueroa, Francisco de Filena Fileno Addiacciato Filide Filleul, Nicolas Filli di Sciro Filli di Sciro (Bonarelli), English translations: Sidnam Talbot [Latin] (Scyros) Finta Fiammetta Firenzuola, Agnolo Fischerin Fisherman's Tale Fitzmaurice-Kelly, James Five Plays in One Flamini, F. Fleay, F. G. Fleming, Abraham Fletcher, Giles, the elder Fletcher, John Fletcher, Phineas Florimene Flower of Fidelity Folengo, Teofilo Fontanini, Giusto Fontenelle, Bernard le Bovier de Forbonius and Prisceria Forde, Thomas Fortini, Pietro Francois I, King of France. Frati, L. Fratti, Giovanni Fraunce, Abraham Frederick of Aragon, King of Naples Frezzi, Frederigo Frutti d'amore Furness, H. H.

G., T. Galatea (Cervantes) Galatea (Lollio) Galizia Gallathea Gammer Gurton's Needle Garcia de Toledo Garcilaso de la Vega Gardner, E. G. Gascoigne, George Gaudeamus! Gauricus, Pomponius Gentle Shepherd Georgics Gerusalemme liberata Gesta Romanorum Gifford, William Ginguene, P. L. Giornale storico della letteratura italiana Giostra Giovanni del Virgilio Giraldi Cintio, Giovanni Battista Giunta, Filippo di Glapthorne, Henry Glasgow Peggie God's Revenge against Murder Goethe, Johann Wolfgang Goffe, Thomas Golden Age (Graham) Golden Age (Heywood) Golden Fleece Golding, Arthur Gollancz, Israel Gomersall, Robert Gonzaga, Cesare Gonzaga, Elisabetta (wife of Guidubaldo II of Urbino) Gonzaga, Francesco Gonzaga, Gianvincenzo, Cardinal Gonzaga, Isabella Gonzaga, Scipione Gonzaga, Vincenzo Goodere, Anne Goodwin, Gordon Googe, Barnabe Gosse, E. W. Gosson, Stephen Gower, Lady Gower, John Gozze, Gauges de Graham, Kenneth Grateful Servant Gravina, Gian Vincenzo Great Plantagenet Greene, Robert Gregory XI, Pope Greville, Dorothy Greville, Fulke (Lord Brooke) Grimaldi, Bartolommeo Ceva, Duke of Telese Grimani, Marin, Doge Gringore, Pierre Gripus and Hegio Grosart, A. B. Groto, Luigi Guardian Guarini, Alessandro Guarini, Battista Guerrini, O. Guidubaldo I, see Montefeltro, G. Guidubaldo II, see Rovere, G. della. Gustavus Adolphus, King of Sweden

H., I. Hall, Edward Hall, Joseph Halliwell-Phillipps, J. O. Hardy, Thomas Harmony of the Church Harpelus' Complaint Harvey, Gabriel Harvey, Richard Harvey, Thomas Havelok the Dane Hawes, Stephen Hazlewood, Joseph Hazlitt, W. C Heber, Richard Hecatompathia Heliodorus Henneman, J. B. Henrietta Maria Henry VI Henry VIII, King of England Henryson, Robert Henslowe, Philip Heptameron Herbert, Sir Henry Herd, David Herford, C. H. Hermophus Herrick, Robert Hewlett, Maurice Heywood, John Heywood, Thomas Hiero of Syracuse Histoire des satyres et nymphes de Diane Homer Honour's Academy Horace Hortis, Attilio Hospital of Lovers House of Fame Howard, Douglas Howard, Sir Edward Hunt, Leigh Hunting of Cupid Hymen's Triumph Hymn to Pan Hymns in honour of Love and Beauty

Idea Idropica Idyllia (Ausonius) Idyls (Theocritus) Immerito (pseud.) Index, Congregation of the Index Expurgatorius Index Librorum Prohibitorum Inedited Poetical Miscellany Ingegneri, Angelo Inner Temple Masque Innocent VIII, Pope Intricati Intrichi d' amore Intronati, academy at Siena Iphis and Ianthe Isauro, Fileno di (pseud.) Isle of Dogs Isle of Gulls Ivychurch

Jackson, Henry Jacobs, James James I, King of England James, M. R. James, William Jauregui, Juan de Jealous Lovers Jeanne de Laval Jennaro, Pietro Jacopo de John, King John of Bologna, see Giovanni del Virgilio. Johnie Faa Johnson, Samuel Jones, Inigo Jones, John Jones, Richard Jones, Stephen Jonson, Benjamin Jonsonus Verbius Julius Caesar Jupiter and Io Jusserand, J. J. Juvenal, 6.

K., E. Ker, Robert (Earl of Roxburgh) Ker, W. P. King, Edward Kipling, Rudyard Kirke, Edward Kirkman, Francis Klein, J. L. Kluge, Friedrich Knave in Grain Knevet, Ralph Knight and the Shepherd's Daughter Knight of the Burning Pestle Koeppel, Emil Kynder, Philip

Lady of May Lady Pecunia La Fayette, Comtesse de Lagrime di San Pietro Laidler, Josephine Lamb, Charles Lamentations of Amyntas Lamenta di Cecco da Varlungo Landau, Marcus Lang, Andrew Langland, William Languet, Hubert Laud, William Laune des Verliebten Laura Lauro, Cristoforo Lawes, Henry Lawyer's Logic Lear, King Lee, Elizabeth Lee, Honoria Lee, Margaret L. Lee, S. L. Lee, William Lee Priory Press Legacci dello Stricca, Piero Antonio Legge, Cantrell Leicester, Earl of Leir, King Lenore Leo X, Pope L'Estrange, Sir Roger Lettere memorabili Licia Ligurino Lilia Literaturblatt fuer germanische und romanische Philologie Lizie Baillie Lizie Lindsay Lodge, Thomas Lodovick Sforza Logan, W. H. Lollio, Alberto Longus Love Crowns the End Love in its Ecstasy Love-Sick Court Love Tricks Love's Changelings' Change Love's Labour's Lost Love's Labyrinth Love's Metamorphosis Love's Mistress, 407. Love's Riddle Loves Victory Loyse de Savoye Luca di Lorenzo Lucian Lucretius Lungo, Isidore del Lusus Pastorales Luther, Martin Lydgate, John Lycidas Lyly, John

Macaulay, Lord Machiavelli, Niccolo Machiavelli, Paolo Machin, Lewis Macri-Leone, F. Madan, Falconer Mahaffy, J. P. Maidment, James Maid's Metamorphosis Maid's Revenge Malacreta, Giovan Pietro Man in the Moon Mancina, Faustina Mandragola Mangora Manso, Giovanni Battista Mantegna, Andrea Mantuanus Manuscripts quoted:— Bodleian:— Ashmole Douce Rawl. Poet. British Museum:— Addit. 10,444 " 11,743 " 14,047 " 18,638 " 29,493 Egerton, 1994 Harl. 6924 " 7044 Lansd. 1171 Sloane, 836 " 857 Caius College, Cambridge Cambridge University Library Emmanuel College, Cambridge Trinity College, Cambridge Manwood, Sir Peter Manwood, Thomas Marchesa, Cassandra Margaret of Navarre Marini, Giovanbattista Marlowe, Christopher Marot, Clement Marsi, E., see Epicuro de' Marsi. Marston, John Martin Mar-prelate (pseud.) Martino da Signa Mason, I. M. Masson, David Materialien zur Kunde des alteren Englischen Dramas Mauriziano May Lord Mazzi, Curzio Mazzoni, G. McKerrow, R. B. Medici, Eleonora de' Medici, Ferdinando de' (Ferdinando I), Grand Duke of Florence Medici, Giuliano de' (brother of Lorenzo) Medici, Giuliano de' (son of Lorenzo) Medici, Lorenzo de', Il Magnifico Melanthe Meliboeus Menagio, Egidio Menaphon Mendoza, Inigo de Menina e moca Menzini, Benedetto Meres, Francis Merry Wives of Windsor Metamorphoses Metellus Meung, Jean de Meyers, Ernest Midsummer Night's Dream Milton, John Mirari, Alessandro Mirrha Mirror for Magistrates Mirzia Modern Language Association of America, Publications of the Modern Language Notes Modern Language Quarterly Modern Language Review Molza, Francesco Maria Montagu, Walter Montefeltro, Guidubaldo (Guidubaldo I), Duke of Urbino Montemayor, Jorge de Moore, Thomas Moore, Sir Thomas Moorman, F. W. Moraldi, Giannantonio Moretum Morte del Danese Morte della Nencia Moschus Mother Bombie Mother Hubberd's Tale Mourning Garment Mucedorus Munday, Anthony Muses' Elizium Muses' Looking Glass Mussato, Albertino Mutability Mydas

Nappi, Cesare Narcissus Narcissus' Change Nashe, Thomas Nemesianus Nencia da Barberino Nettleship, Henry Never too Late New English Dictionary Nichols, John Nicolas de Montreux Nigella Ninfa tiberina Ninfale fiesolano Noci, Carlo Nores, Giasone de Norris of Rycote, Baron Northampton, Earl of Northumberland, Earl of Notker the German Novelle de Novizi Numerianus Nuova Antologia Nut-brown Maid

Oberon Occleve, Thomas Octavianus Old-fashioned Love Old Fortunatus Old Law Oldmixon, John Old Wives' Tale Ollenix du Mont-Sacre Ombres Omphale Ongaro, Antonio Oporinus, Joannes Orfeo Orlando furioso Orlando innamorato Orphei Tragoedia Orsini family Osiers Otranto, Castle of Ovid

P., G. Paglia, Francesco Baldassare Palladis Tamia Pallai delia Sabina, Biagio Palmers Ode Palmerini, I. Pan his Syrinx Pandosto Pan's Anniversary Pan's Pipe Paradise Lost Paradiso Parsons, Philip Parthenia Parthenophil and Parthenope Pasqualigo, Luigi (Alvisi) Passionate Pilgrim Passionate Shepherd Passionate Shepherd to his Love Paston, Edward Paston, Sir William Pastor fido Pastor fido (Guarini), English translations: 'Dymock,' Sidnam Fanshawe Settle [Latin] Grove, Clapperton Pastor lobo Pastor vedovo Pastoral ending in a Tragedy Pastores de Balue Pastoureau crestien Patrizi, Francesco Paul et Virginie Pausanias Pazzia Peaps, William Pearl Pearson, John Peele, George Pelliciari, Ercole Pembroke, Countess of Pembroke's Arcadia, Countess of, see Arcadia (Sidney). Pembroke's Ivychurch, Countess of, see Ivychurch. Penseroso Pentimento amoroso Pepys, Samuel Percopo, Erasmo Percy Society Percy, Thomas Percy, William Perez, Alonzo Perimedes the Blacksmith Perth, Earl of Perugino (Pietro Vespucci) Pescatoria amorosa Pescetti, Orlando Petit de Julleville, L. Petowe, Henry Petrarca, Francesco Petrarca, Gherardo Phanocles Philaster Philetas Phillida and Corin Phillida and Corydon Phillida flouts me Phillips, Edward Phillis Phillis of Scyros, see Filli di Sciro. Piccolomini, Aeneas Silvius, see Pius II. Pico delia Mirandola, Giovanni Piers Plowman Pigna, Giovanbattista Pilgrim Pinacoteca Pinturicchio, Bernardo Pio, Ercole Pius II, Pope Plato Podere Poems Lyric and Pastoral Poetical Diversions Poetical Rhapsody Poetics (Aristotle) Poet's Willow Poimenologia Poliziano (Angelo Ambrogini) Pollard, A. W. Pollio Polo, Gaspar Gil Polybius Polyolbion Ponce, Bartolome Ponsonby, William Pontana, Accademia Pontano Pope, Alexander Porcacchi, Tommaso Porta Pietatis Primavera Primelion Prince d'Amour Princesse de Cleves Propugnatore Prova amorosa Prynne, William Ptolemy Philadelphus Pulci, Bernardo Pulci, Luca Pulci, Luigi Pulicane Purgatorio Purple Island Puteanus (Hendrik van der Putten) Puttenham, (George?) Pynson, Richard Pyper, John

Quadriregio Quaritch, Bernard Quarles, Francis Queen's Arcadia Quetten und Forschungen

R., J. Raleigh, Walter Raleigh, Sir Walter Rambler Ramsay, Allan Randolph, Thomas Rapin, Rene Rapture Reid, J. S. Reinolds, see Reynolds. Reissert, Oswald Reliques of Ancient English Poetry Rene of Anjou Renier, R. Rennert, H. A. Retrospective Review Reynolds, Henry Reynolds, John: Fellow of New College of Exeter author of God's Revenge translator Reynolds, Sir John, Colonel Rhodon and Iris Ribeiro, Bernardim Rinaldo Risposta al Malacreta Robene and Makyne Robert of Sicily Robin Hood and Little John Robins et Marion Rodrigues de Lobo, Francisco Rollinson, Anthony Roman de la Rose Romeo and Juliet Rondinelli, Dionisio Ronsard, Pierre de Rosalynde Rossi, Bartolommeo Rossi, Giovanni Vittorio Rossi, Vittorio Rota, Bernardino Rovere, Francesco Maria delia Rovere, Guidubaldo delia (Guidubaldo II), Duke of Urbino Rowley, William Roxburghe Club Royden, Matthew Royster Doyster Rozzi, Congrega dei Ruberto, Luigi Rural Sports of the Nymph Oenone Russell, Lady Rutter, Joseph

S., E. S., H. J. (translater of the Filli di Sciro) S., J. (author of Andromana) Sa de Miranda, Francisco de Sabie, Francis Sacchetti, Franco Sackville, Edward Sacrifizio (Beccari) Sacrifizio (Intronati masque) Sacrifizio pastorale Sad Shepherd Sagredo, Giovanni Saint-Pierre, Jacques Henri Bernardin de Saintsbury, George Salices Salviati, Lionardo Samson, M. W. Sand, George Sandys, J. E. Sannazzaro, Jacopo Sansovino, F. San vitale, Gualtiero Sappho Saturday Review Savio, Giovanni Schlegel, A. W. von Schoenherr, J. G. Schucking, L. L. Scilla's Metamorphosis Scott, Mary A. Scott, Sir Walter Scyros, see Filli di Sciro Seneca Selva d' amore Selva sin amor Serassi, Pierantonio Serono, Orazio Session of the Poets Settle, Elkanah Seward, Thomas Seyffert, Oskar Sfortunato Sforza, Giovanni Sforza, Lodovico Shadow of Sannazar Shakespeare, William Shakespeare Society Shepherd Tony (pseud.) Shepherd's Calendar Shepherd's Complaint Shepherd's Content Shepherds' Holiday (Angel Day) Shepherds' Holiday (Denny) Shepherds' Holiday (Rutter) Shepherd's Hunting Shepherds' Masque Shepherd's Ode Shepherd's Oracle Shepherd's Oracles Shepherds' Paradise Shepherd's Pipe Shepherds' Sirena Shepherd's Taies Shepherd's Wife's Song Sherburne, Sir Edward Sherley, James Ship of Fools Shuckburgh, E. S. Sicelides Sidnam, Jonathan Sidney, Lady Sidney, Sir Philip Siglo de Oro Signorelli, Luca Silesio, Mariano Silvanus Silver Age Silvia (Fileno) Silvia (Kynder) Sincerus, Actius, see Sannazzaro, Jacopo. Sir Clyomon and Sir Clamydes Sirena, see Shepherds' Sirena. Skeat, W. W. Skelton, John Smith, G. C. M. Smith, Homer Smith, William, 124. Solerti, Angelo Solisy Rivadeneira, Antonio de Sommer, H. O. Somnium Puteani (Cornus, sive Phagesiposia Cimeria) Song of Solomon Sophocles Sophy Southampton, Earl of Speeches at Bisham, &c. Speed, John Spencer, Sir John Spenser, Edmund Speroni, Sperone Spinelli, A. G. Stanley, Ferdinando (Lord Strange) Steel Glass Steele, Sir Richard Stesichorus Stevenson, R. L. Stiefel, A. L. Stockdale, Percival Stonehenge Strange, Lord, see Stanley, F. Stultifera Navis Suckling, Sir Thomas Suidas Summer's Last Will and Testament Summo, Faustino Surrey, Earl of (Henry Howard) Sweet Sobs and Amorous Complaints Swinburne, A. C. Symonds, J. A.

T., I. Taccone, Baldassare Talbot, Sir George Tale of Troy Tancia Tansillo, Luigi Tarlton's News out of Purgatory Tasso, Torquato Tatham, John Taylor, John Taylor's Pastoral Tears of the Muses Tebaldeo, Antonio Tempest Texeda, Jeronimo de Theatrum Poetarum Theocritus Thomason, George Thorndike, A. H. Thracian Wonder Thynne, William Tibullus Ticknor, George Timone Tiraboschi, Girolamo Tirena Tirsi Titirus and Galathea Tofte, Robert Tottel's Miscellany Townley mysteries Triumph of Beauty Triumph of Peace Triumph of Virtue Torraca, Francesco Turberville, George Turnbull, W. B. Twelfth Night Tivo Gentlemen of Verona Two Noble Kinsmen

Ugolino, Braccio Ulloa, Alonzo de Under der linden Underhill, J. G. Uniti, Accademia degli Urceo Urfe, Honore d'

Valle tenebrosa (Vallis Opaca) Valle, Cesare della Valois, House of Vega, Lope de Vendemmiatore Venus and Adonis Verato Verato secondo Vergil Vergna, Maria della, see La Fayette, Comtesse de Vicente, Gil Vida, Marco Girolamo Villon, Francois Volpone Vuelta de Egypto

W., A. Waldron, F. G. Walsingham, Sir Francis Walther von der Vogelweide Walton, Isaac War without Blows and Love without Suit (? Strife) Ward, A. W. Warner, William Warton, Thomas Waterson, Simon Watson, Thomas, III Web, William, Lord Mayor Webbe, William Weber, H. W. Webster, John Webster, William Weinberg, Gustav Weise, Berthold White, Edward Wicksteed, P. H. Wilcox, Thomas Wilde, George Wilson, H. Wilson, Thomas Wily Beguiled Windscheid, Katharina Winstanley, William Winter's Tale Wither, George Wolfe, John Wolsey, Thomas, Cardinal Woman in the Moon Wonder of Women Wood, Anthony a Wotton, Sir John Wotton, Sir Henry Wyatt, Sir Thomas, the elder Wynkyn de Worde

Yong (or Young), Bartholomew

Zanitonella Zinano, Gabriele Zola, Emil Zurla, Lodovico



Oxford: Horace Hart, Printer to the University.



Footnotes



[1] The often cited pastoralism of the Song of Solomon resolves itself on investigation into an occasional simile. These argue familiarity with the scenes of pastoral life, but equally reveal the existence of the contrast in the mind of the writer. It was on the orthodox interpretation of this love-song that Remi Belleau founded his Eclogues sacrees, but they contain little or nothing of a pastoral nature. The same may be said of Drayton's paraphrase, included in his Harmony of the Church in 1591, which is chiefly remarkable for the evident and honest pleasure with which he rendered the unsophisticated meaning of the original. It is, however, just possible that the Hebrew poem may have had some influence on pastoral poetry in Italy. There is a monograph on the subject by A. Abbruzzese, Il Cantico dei Cantici in alcune parafrasi poetiche italiane: contributo alla storia del dramma pastorale, which, however, I have not seen. With regard to possible Greek predecessors of Theocritus, it must be borne in mind that there were singing contests between shepherds at the Sicilian festival of Artemis, and it is possible that the competitors may have been sufficiently influenced by other orders of civilization to have given a definitely pastoral colouring to their songs. Little is known of their nature beyond the fact that they probably contained the motive of the lament for Daphnis, which appears to be as old as Stesichorus. They have perished all but two lines which are found prefixed by way of motto to the Idyls:

[Greek: de/xai ta
a)gatha
ty/chan, de/xai ta
y(gi/eian a(
phe/romen para ta~s theoy~, a(
e)kale/ssato te/na]

What I have wished to emphasize above is the fact that because shepherds sang songs we have no reason to assume that these were distinctively pastoral. In later times the pastoral generally acknowledged a theoretical dependence on rustic song, and the popular compositions did actually now and again affect literary tradition. But this was rare.

[2] Details concerning the conception of the golden age will be found in Moorman's William Browne, p. 59.

[3] The tendency to form an ideal picture of his own youth is common both to mankind and man. The romance of childhood is the dream with which age consoles itself for the disillusionments of life. This it is that gives a peculiar appropriateness to the title of Mr. Graham's pictures of childhood in The Golden Age, a work of the profoundest insight and genius, as delightful as it is unique. I am not aware that there has ever been another author in English who could have written thus intimately of children without once striking a false note.

[4] There is some truth in the charge. Even Symonds wrote of Theocritus, possibly with Fontenelle's words in his mind: 'As it is, we find enough of rustic grossness on his pages, and may even complain that his cowherds and goatherds savour too strongly of their stables.' (Greek Poets, ii. p. 246.)

[5] Landscapes as decoration may be seen on the walls of the so-called Casa Nuova at Pompeii. It should be remarked that one idyl is addressed to Hiero, ruler of Syracuse, and it is quite possible that Theocritus may have been a frequent visitor there.

[6] Theocritus flourished in the first half of the third century B.C. Some authorities place the younger poets more than a hundred years later.

[7] Familiar to English readers through Matthew Arnold's translation.

[8] Suidas says that Moschus came from Sicily, and some authorities speak of him as a Syracusan. But in his 'Lament' he alludes to his 'Ausonian' song, apparently as distinguished from that of Theocritus 'of Syracuse.' The passage, however, is rendered obscure by an hiatus. Another tradition made Theocritus a native of the island of Cos. More probably it was between the time of his leaving Syracuse and that of his settling at Alexandria that he was the pupil of the Coan poet and critic, Philetas.

[9] Ernest Myers' version from Andrew Lang's delightful volume in the Golden Treasury Series.

[10] Placing the romance, that is, in the third century A.D. Authorities assign it to various dates from the second to the sixth centuries, according as they regard it as a model or an imitation of Heliodorus' work.

[11] A similar use of [Greek: a)nagno/risis] is very frequent in the Italian pastoral drama, where, however, it is more probably derived from Latin comedy.

[12] This was not the first Italian version of Longus. Daphnis and Chloe had been translated directly from the Greek by Annibale Caro in the previous century.

[13] Two poems, written in close imitation of Theocritus' natural manner, and entitled respectively Moretum and Copa, have sometimes, but wrongly, been attributed to Vergil.

[14] Greek Poets, ii. p. 265.

[15] Symonds speaks strongly on the point. 'Virgil not only lacks his [Theocritus'] vigour and enthusiasm for the open-air life of the country, but, with Roman bad taste, he commits the capital crime of allegorising.' (Greek Poets, ii. p. 247.)

[16] Seyffert's classical dictionary, as revised by Nettleship and Sandys (1899), definitely assigns Calpurnius to the middle of the first century. In that case the amphitheatre mentioned was no doubt the wooden structure that preceded the Colosseum.

[17] See, in Conington and Nettleship's Virgil, 1881, the essay on 'The Later Bucolic Poets of Rome,' in which will be found a detailed account of this very intricate controversy.

[18] It would appear that the two founders of the renaissance eclogue deliberately chose the Vergilian form as that best suited to their purpose. Petrarch calls attention to the advantages offered by the pastoral for covert reference to men and events of the day, since it is characteristic of the form to let its meaning only partially appear. He was therefore perfectly aware of the allegorical nature of the Vergilian eclogue, and adopted it for definite purposes of utility. Boccaccio is even more explicit, and I cannot do better than transcribe the very interesting summary of the history of pastoral verse down to his day, given in a letter addressed by him to Martino da Signa, which I shall again have occasion to mention in dealing with his own contributions to the kind. He writes: 'Theocritus Syracusanus Poeta, ut ab antiquis accepimus, primus fuit, qui Graeco Carmine Buccolicum escogitavit stylum, verum nil sensit, praeter quod cortex verborum demonstrat. Post hunc Latine scripsit Virgilius, sed sub cortice nonnullos abscondit sensus, esto non semper voluerit sub nominibus colloquentium aliquid sentiremus. Post hunc autem scripserunt et alii, sed ignobiles, de quibus nil curandum est, excepto inclyto Praeceptore meo Francisco Petrarca qui stylum praeter solitum paululum sublimavit et secundum Eclogarum suarum materias continue collocutorum nomina aliquid significantia posuit. Ex his ego Virgilium secutus sum quapropter non curavi in omnibus colloquentium nominibus sensum abscondere.' Lettere di G. Boccaccio, ed. Corazzini, 1877, p. 267.

[19] Line 1228. See Skeat's note in the Athenaeum, March 1, 1902.

[20] On all points connected with these compositions see the elaborate monograph by Wicksteed and Gardner.

[21] Dante's poems do not stand altogether isolated in this respect. It would be possible to cite eclogues formerly ascribed to Mussato, as also some from the pens of Giovanni de Boni of Arezzo and Cecco di Mileto, in support of the above remarks. It is significant of their independence of medieval pastoralism, that Giovanni del Virgilio repeatedly speaks of Dante as the first to write bucolic poetry since Vergil, thus ignoring the whole production from Calpurnius to Metellus.

[22] Boccaccio was of course acquainted with Dante's eclogues, and in his life of the poet he allows them considerable beauty. It seems never to have occurred to him, however, to regard them as serious contributions to pastoral literature, for, as we have already seen, he stigmatizes all bucolic writers between Vergil and Petrarch as ignobiles. I do not think this attitude was due to the influence of Petrarch having lessened his admiration of Dante, as maintained by Wicksteed and Gardner, but simply to his recognition of the absolute unimportance of the poems in question from the historical point of view.

[23] In this connexion it will be remembered that Dante places Brutus and Cassius, the betrayers of Julius, in company with Judas, the betrayer of Christ, as arch-traitors in the innermost circle of hell (Inferno, xxxiv). He was no doubt influenced in this by his philosophical Ghibelline tendencies.

[24] The evolution of this idea, suggested of course by John X. II, can be clearly traced in the mosaics at Ravenna.

[25] So Hortis (Scritti inediti di F. Petrarca, pp. 221, &c.), who combats A. W. von Schlegel's view that the Epy of Eclogue VII stands for Avignon.

[26] This spelling was current for some centuries, Spenser among others adopting it. Indeed, egloghe is still the prevalent form among Italian scholars.

[27] One other was discovered and published from MS. by Hortis, in his Studi sulle opere latini, p. 351.

[28] It is not impossible that Boccaccio may have begun composing eclogues before his acquaintance with Petrarch, since the influence of the poems sent by Dante to Giovanni del Virgilio has been traced in the eclogue printed by Hortis, and in an early version of the Faunus, as well as in the work of Boccaccio's correspondent, Cecco di Mileto.

[29] So Aeneas Sylvius, in his De Remedio Amoris, after a particularly virulent tirade against women, explained: 'De his loquor mulieribus quae turpes admittunt amores.'

[30] 'Syncerius' is the form used, but there can be little doubt who was intended.

[31] In the days when it was fashionable for men of learning to discuss the laws of pastoral composition, a certain northern giant fell foul of the Neapolitan's piscatory eclogues on somewhat theoretical grounds. Having never seen the blue smile of the bay of Naples, he suggested that the sea was an object of terror; forgetful of the monotonous setting of pastoral verse, he complained that the piscatory life offered little variety; finally, he contended that the technicalities of the craft were unfamiliar to readers—but are we to suppose that the learned author of the Rambler was competent to tend a flock?

[32] They were at least the first to appear in print. The contributors were Girolamo Benivieni, of Florence, and Francesco Arsocchi and Fiorino Boninsegni, of Siena. The first possibly deserves mention as having introduced Pico della Mirandola as a character in his eclogues: some of the poems of the last are noteworthy as having been composed as early as 1468. There exists a poem by Luca Pulci on the story of Polyphemus and Galatea in the form of an eclogue. Luca died in 1470. Leo Battista Alberti, the famous architect, who died in 1472, also left a poem, which was published from MS. in 1850, with the heading 'Egloga.' This, however, proves not to be strictly pastoral. Among other early ventures were ten Italian eclogues in terza rima, by Boiardo. These, and also his ten Latin eclogues, will be found printed from MS. in his Poesie volgari e latine (ed. A. Solerti, Bologna, 1894), while full accounts of both will be found in the essays contributed by G. Mazzoni and A. Campani to the Studi su M. M. Boiardo, edited by N. Campanini (Bologna, 1894). There can be no doubt that the court of Lorenzo was full of pastoral experiments in the vernacular for some time before the publication mentioned above.

[33] Having regard to the general character of the Ameto, I am not sure that it might not be possible to find some hidden meaning in the poem in question, if one were challenged to do so. The allegory is, however, mostly of the abstract kind, and the eclogue can hardly conceal allusions to any actual events.

[34] A very useful and representative, though of course by no means complete, collection is that by G. Ferrario, in the 'Classici italiani.'

[35] Castiglione also figured among the Latin eclogists of his day, and the influence of his Alcon is even traced by Saintsbury in Lycidas (Earlier Renaissance, p. 34).

[36] It is said to have been by way of penance for having written the Vendemmiatore that he later undertook the composition of the Lagrime di San Pietro, a lengthy religious poem, which remained unfinished at his death in 1568.

[37] La Beca is ascribed by mistake to Luca Pulci in the first edition of Symonds' Renaissance.

[38] The best imitation is said to be the Lamento di Cecco da Varlungo by Francesco Baldovini (1643-1700), which is graceful, though rather more satiric in tone than its model.

[39] It differs, however, from most poems of the sort, in that the langnage of the fisher craft in Italy was capable of the same wantonly double meaning as was suggested to English writers by the name and terms of the noble art of venery. This serves to differentiate it from the style of pastoral, and suggests that we should rather class it along with such works as Berni's Caccia d'amore.

[40] It is occasionally traceable in the French pastourelles, but that form of courtly composition never became popular south of the Alps. Its vogue passed completely with the decline of Provencal tradition. D'Ancona quotes one Italian example of the thirteenth century, the work of a Florentine, Ciacco dell' Anguillaja. It begins gracefully enough:

O gemma leziosa, Adorna villanella, Che se' piu virtudiosa Che non se ne favella, Per la virtude ch' hai Per grazia del Signore, Aiutami, che sai Che son tuo servo, amore.

[41] Further evidence of the popularity of this poem will be found in the existence of a religious parody beginning:

O vaghe di Gesu, o verginelle, Dove n' andate si leggiadre e belle?

(Laude spirituali di Feo Belcari, &c., Firenze, 1863, p. 105.) It is founded on the fourteenth ceutury, not on the popular, version.

[42] The foregoing remarks follow very closely Symonds' treatment in the third chapter of his Italian Literature. In point of fact, I lit on Donati's poem quite accidentally, before reading the chapter in question, but I have made no scruple of availing myself of his guidance wherever it was to be had.

[43] Symonds has some very severe strictures on these songs from the moral point of view. Judging from the actual songs themselves his remarks would appear somewhat exaggerated, but if we take into consideration the historical circumstances they are probably amply justified.

[44] It is perhaps worth putting in a word of warning against the possible confusion of this poem with Politian's Latin composition bearing the same title. Ambra was a rustic resort in the neighbourhood of Florence, to which Lorenzo was much attached. By the lover Lauro the author seems to have meant himself. At least this is rendered probable by some lines near the end of Politian's poem, in which the villa is again personified as a nymph:

Et nos ergo illi grata pietate dicamus Hanc de Pierio contextam flore coronam, Quam mihi Caianas inter pulcherrima nymphas Ambra dedit patriae lectam de gramine ripae: Ambra mei Laurentis amor, quam corniger Vmbro, Vmbro senex genuit domino gratissimus Arno: Vmbro suo tandem non erupturus ab alneo. (Opera, Basel, 1553, p. 581.)

[45] He was born at Montepulciano in 1454, and died, at the age of forty, two years after Lorenzo.

[46] Symonds, Renaissance, iv. p. 232, note 3.

[47] It has been sometimes thought that the description of Mars in the lap of Venus, in stanzas 122-3, suggested Botticelli's picture in the National Gallery; but, though the lines are worthy of having inspired even a more successful example of the painter's art, the resemblance is in this case too general to warrant any such conclusion.

[48] A favourite phrase of his. 'What has been well called la volutta idillica—the sensuous sensibility to beauty, finding fit expression in the Idyll—formed a marked characteristic of Renaissance art and literature.' Renaissance, v. p. 170.

[49] The similar alternation of verse and prose found in the French and Provencal cante-fables, notably in Aucassin et Nicolette, is of a different nature, for in them the prose served properly to explain and connect the verse-passages which contained the actual story, and it probably formed no part of the original composition.

[50] I quote from the handy edition of Boccaccio's Opere minori in the 'Biblioteca classica economica.' The passages cited above will be found on pp. 246 and 250, or in the Opere volgari, 1827-34. xv. pp. 186 and 194.

[51] It is probably no accident that, like Dante's poem, Boccaccio's romance is styled a 'comedy.' Both represent, in allegorical form, the ascent of the human soul from sin, through purgation, to the presence of God.

[52] It has been suggested that there is a gradual spiritualization in the motives of the tales; but this would appear to be a somewhat fanciful view.

[53] Proemio, Opere minori, p. 145; Opere volgari, xv. p. 4.

[54] Opere minori, p. 176, Opere volgari, xv. p. 60.

[55] While greatly shortening the passage, and taking considerable liberties in the way of paraphrase, I have endeavoured, as far as possible, to preserve the style and diction of the original. This will be found in the Opere minori, pp. 213, &c., Opere volgari, xv. pp. 126, &c.

[56] The description of the spring is from Ovid, Metamorphoses, III, 407, &c. No doubt a great deal more could be traced to Latin sources.

[57] For details concerning tree-lists see Moorman's William Brown, p. 154.

[58] Dunlop's notion of the verse being the important part, and the prose only written to connect the varions eclogues, is clearly wrong. Verse started by being subordinate in Boccaccio's romance, and remained so in all subsequent examples.

[59] Prosa VIII. The whole passage was versified in Spanish by Garcilaso, whence a portion found its way into Googe's eclogues. Among other ingenions devices Sannazzaro mentions that of pinning down a crow by the extremity of its wings and waiting for it to entangle its fellows in its claws. If any reader should be tempted to imagine that the author has been drawing on a fertile imagination, let him turn to the adventures of one Morrowbie Jukes, as related by Mr. Rudyard Kipling, for a description of this identical method of crow-catching as practised on the banks of an Indian stream.

[60] It may be well to point out that at times, as in Carino's invocation to the Dryads, Symonds has infused into his version a beauty of diction of which Sannazzaro appears to be innocent.

[61] The Arcadia must have been extant in its original form as early as 1481, when it served as model for the eclogues of Pietro Jacopo de Jennaro. The earliest known MS. dates from 1489, and contains the first ten Prose and Ecloghe. In this form it was surreptitiously printed in 1502; the complete work first appeared in 1504. The earliest commentary, that of Tommaso Porcacchi, appeared in 1558, and went through several editions. An elaborate variorum edition was printed at Padua in 1723. I have followed the text in the 'Classici italiani.'

[62] Arcadia had been called 'the mother of flocks' in the Homeric Hymn to Pan, and Polybius had described the softening effects of music upon its rude inhabitants. See some interesting remarks on the snbject by J. E. Sandys, in his lectures on the Revival of Learning, Cambridge, 1905; also J. P. Mahaffy, Rambles and Studies, ch. xii.

[63] Having had occasion in the course of the following pages to call attention to certain inaccuracies of Ticknor's, I should like in this place to record my indebtedness to what still remains the standard history of Spanish literature. I have likewise made free use of Fitzmaurice-Kelly's admirable monograph.

[64] Don Quixote, pt. ii. ch. 62.

[65] Calderon wrote an early play on the tale of Cephalus and Procris, which met, it is said, with success. It was entitled Celos aun del aire matan, and was styled a 'fiesta cantada.' Later in life he parodied it in the 'comedia burlesca' entitled Cefalo y Pocris (sic). Neither play appears to have any connexion with the Cefalo of Niccolo da Correggio (v. post, ch. iii). Both are printed in the third volume of Calderon's comedies in the 'Biblioteca de autores espanoles,' 1848-50. The Pastor fido will be found in vol. iv.

[66] Mr. Gosse has protested against the use of such terms as 'exotic' in connexion with products of literary art, and no doubt the word has been not a little abused. I employ it in its strict sense of 'introduced from abroad, not indigenons,' and without implying any critical censure.

[67] Though a Portuguese, and one of the most notable poets in his own dialect, much of his poetical work is in Castillan.

[68] So, at least, Theophilo Braga interprets what he calls 'o drama amoroso das Eclogas,' in his monograph on Bernardim Ribeiro e o bucolismo. Porto, 1897.

[69] Ticknor is responsible for an unfortunate error, and much consequent confusion, respecting this date. Some one had cited an imaginary edition of 1545. Of this Ticknor confessed ignorance, but stated that he had in his possession a copy consisting of 112 quarto leaves, printed at Valencia in 1542. This description applies exactly to the earliest edition extant in the British Museum, except in the matter of the date. There can be no doubt that this is a mistake. The date 1542 is intrinsically impossible. Fitzmaurice-Kelly, who himself dates the work 1558-9, points out that one of the songs refers to events which took place in 1554. The sudden crop of reprints, dated 1561 and 1562, proves the Diana to have been then a new book, and inclines me to place the actual publication somewhat after the date suggested by Kelly. I may mention that Ticknor is also in error over the date of Ribeiro's work, which he assigns to 1557.

[70] See the collection of Latin student songs, Gaudeamus! Carmina uagorum selecta in usum laetitiae, Leipzig, 1879, p. 124.

[71] The novels alluded to will be found in the Ecatommiti, I. i, Cent Nouvelles nouvelles, No. 82, and Novelle de' Novizi, No. 12.

[72] Knight of the Burning Pestle, II. viii. (Dyce, ii. p. 172), and The Pilgrim, IV. ii. (Dyce, viii. p. 66).

[73] B. M., Roxburghe, III. 160, also II. 30.

[74] References are best given to F. J. Child's monumental collection, in five volumes, where all variants are printed. Cowdenknows and the Bonny May are No. 217; The Knight and the Shepherd's Daughter 110, the Bonny Ilynd 50, Child Waters 63, The Laird of Drum 236, Lizie Lindsay 226, Lizie Baillie 227, Glasgow Peggie 228, and Johnie Faa 200. No doubt further examples might be collected.

[75] Similar shepherd-scenes are found not only in French but even in Italian miracle plays. The tendency they indicate, however, is not traceable in later pastoral, as it is with us. That such representations as those of the Sienese 'Rozzi' formed no exception to this general statement I shall have to show later.

[76] For the literary history of the Wakefield cycle, see A. W. Pollard's admirable introduction to the edition published by the Early English Text Society.