_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
Grítolo 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
littérateur 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.
(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.