Chapter VII: Masques and General Influence (4)

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.

(α) 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. Pèrcopo. _Geschichte der italienischen Litteratur von den ältesten 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.

(β) 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 über 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.

(γ) 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. Macrì-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 Mā. Pomponii Gaurici.._Florentiae. Philippus de Giunta. 1504. Decimo quinto. Calendas Octobris. Contains the _editio princeps._of Boccaccio's eclogues.

(β) _En habes Lector Bucolicorum Autores XXXVIII. quot quot uidelicet à Vergilij ætate ad nostra usque tempora, eo poëmatis genere usos, sedulò inquirentes nancisci in præsentia licuit: farrago quidem Eclogarum CLVI. mira cùm 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 Beaupré 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 Littérature française._ 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 Nachläufer._ Nürnberg, 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.

Giosuè 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 Beiträge), 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_ àdan 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_ Affò, 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, Nicolò 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 _Arimène_ Ariosto, Lodovico _Arisbas_ Aristotle Arnold, Matthew _Arraignment of Paris_ Arsocchi, Francesco _Art of English Poesy_ _As You Like It_ _Asolani_ _Assetta_ _Astrée_ _Astrological Discourse_ _Astrophel_ _Astrophel and Stella_ _Atalanta_ Atchelow, Thomas _Athenae Oxonienses_ _Athlette_ Aubrey, John _Aucassin et Nicolette_ Ausonius _Auto pastoril castelhano_ Averara, Niccolò 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, Beaupré 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, François de _Bonny Hynd_ _Bonny May_ Bono de Monteferrato, Manfrido Borgia, Lucrezia Boscán 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, Giosuè _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 Châteillon, Sébastien 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, Niccolò 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_ _Daphnaïda_ _Daphne_ _Daphnis and Chloe_ Δάφνις Πολυστέφανος Davenant, Sir William Davies, Sir John Davison, Francis Day, Angel Day, John _Decameron_ _Défense de la langue française_ _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_ _Éclogas_ (Encina) _Éclogue au Roi_ (Marot) _Éclogue Gratulatory_ (Peele) _Éclogue, ou Chant pastoral_(I. D. B.) _Éclogues sacrées_ (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_ Ἐροτοπαίγνιον 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, Cristóbal Suárez 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 François 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 Ginguené, 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 für 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 Macrì-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, Iñigo de _Menina e moça_ 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-Sacré _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 Pèrcopo, Erasmo Percy Society Percy, Thomas Percy, William Pérez, 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, Bartolomé Ponsonby, William Pontana, Accademia Pontano Pope, Alexander Porcacchi, Tommaso _Porta Pietatis_ _Primavera_ _Primelion_ _Prince d'Amour_ _Princesse de Clèves_ _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, René _Rapture_ Reid, J. S. Reinolds, _see_ Reynolds. Reissert, Oswald _Reliques of Ancient English Poetry_ René 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_ Rodrígues 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_) Sâ 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 Schönherr, 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, Jerónimo 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, Honoré 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, François _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 à 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 _Éclogues sacrées_, 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: δέξαι τὰν ἀγαθὰν τύχαν, δέξαι τὰν ὑγίειαν,
ἃν φέρομεν παρὰ τᾶσ θεοῦ, ἃν ἐκαλέσσατο τήνα.]

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 ἀναγνώρισις 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 _Athenæum_, 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 Provençal 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' più 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 Gesù, 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 voluttà 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 Provençal _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 Niccolò da Correggio (_v. post_, ch. iii). Both are printed in the third volume of Calderon's comedies in the 'Biblioteca de autores españoles,' 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.