(1490?-1546) to make an English compilation for the widening circle of
readers, _The Governour_ (1531, ed. H. S. Croft, London, 1883, 2 vols.).
“I have nowe enterprised,” he says in a proem to Henry VIII, “to describe
in our vulgare tunge the fourme of a juste publike weale, whiche mater I
have gathered as well of the sayenges of moste noble autours (grekes and
latynes) as by myne owne experience.” But the “governour” and the “juste
publike weale” receive no consistent discussion.
The opening chapters, postulating _order_, proceed thence
to _honour_ (i.e., rank), and so to _one sovereign_. Their
review of history is very slight; and from Chapter iv Book I
is occupied rather with the education of a gentleman. Book
II is composed mainly of _exempla_ to illustrate the virtues
appropriate to high position; and Book III adds little more
than further classified aggregation.
With no further design, without even a distinct idea, _The Governour_
has of course no logical progress. Lawyer and something of a diplomat,
Elyot was not a thinker. Reading widely without discrimination, and
sometimes apparently at second hand, he compiled under headings. His
later _Bankette of Sapience_ (second edition? 1542) is a collection
of _sententiae_ arranged alphabetically under abstinence, adversity,
affection, ambition, authoritie, amitie, apparaile, almsdeede,
accusation, arrogance, etc. His _Governour_, though its headings have
more logic, is hardly consecutive. In sources as in topics the book is a
miscellany.
I. vii, viii, for instance, on a gentlemanly, not a
professional knowledge of music, painting, and sculpture,
suggest the _Cortegiano_; xii inquires “why gentilmen in
this present time be not equal in doctryne to the auncient
noblemen”; xiv proposes _exempla_ for law students. After
finding England deficient in the fine arts (140), he returns to
law students with a recommendation of rhetoric, and thereupon
itemizes it (149) under _status_, _inventio_, etc. By the end
of the book he has passed from prudence to chess, archery,
tennis, and bowls.
Elyot’s diction, though he wishes to “augment our Englysshe tongue,”
is Latinized sparingly. _Copie_ in the sense of the Latin _copia_, was
fairly common in his time. He adds, e.g., _allecte_ and _allectyve_,
_coarted_, _fatigate_, _fucate_, _illecebrous_, _infuded_, _propise_, and
_provecte_. His generally unpretentious habit is sometimes concretely
racy.
Jean Bodin’s treatise on historical method (_Methodus ad facilem
historiarum cognitionem_, 1566),[86] giving high praise to Guicciardini,
differs from him in conception. For Bodin, history is less a progress in
time than a thesaurus of _exempla_.
Dividing it into human, natural, and divine, he would have us
begin with a chronological reference table (ii), proceed to a
more detailed survey, such as Funck’s or Melanchthon’s, advance
to the histories of particular nations, Jews, Greeks, Romans,
and then to such smaller communities as Rhodes, Venice, and
Sicily, with constant attention to geography.
In iii, _De locis historiarum recte instituendis_, the topics
are first the commonplaces of encomium: birth, endowments,
achievements, morals, culture. From the family, which for Bodin
is the starting point of history, we are to proceed to the
organization of the state and the developments of the arts.
_De historicorum delectu_ (iv) has many specific and acute
estimates of both ancients and moderns. “Somehow those who
are active in wars and affairs (44) shy at writing; and those
who have given themselves somewhat more to literature are so
possessed with its charms and sweetness as hardly to think in
other terms.” Bodin himself is broad enough to praise both
Plutarch and Tacitus.
_De recto historiarum iudicio_ (v), beginning with geography,
proceeds to regional traits. The approach is suggestive; but
the development is little more than aggregation under those
dubious headings Northern and Southern, Eastern and Western.
At this point (vi) Bodin begins the analysis of the state:
the elemental family, the citizen, the magistrate, the king.
“Macchiavelli, indeed, the first after some twelve hundred
years since the barbarians to write on the state, has won
general currency; but there is no doubt that he would have
written several things more truly and better if he had
added legal tradition (_usus_) to his knowledge of ancient
philosophers and historians” (140). Monarchy is found to be the
ideal form of government. The golden age of primitive peace and
happiness is proved to be a senile fancy (vii). Let us rather,
relying on the science of numbers, _De temporis universi
ratione_ (viii), compute the recurrence of historical “cycles.”
Strange conclusion to so much hard reasoning!
Systematically analytical, the book is easier to consult than to follow;
but its Latin style is of that sincere, capable, unpretentious sort which
had been established for history by the Italians. The political ideas
of the _Methodus_ are carried out by the same systematic analysis in
Bodin’s second book, _Les Six Livres de la république_, 1576.[87] Greek
and Latin political usage is made by a long wall of citations to support,
with other proofs from history, the theory of absolute monarchy.
Such support of the new monarchies by a reasoned theory based on ancient
history did not pass unchallenged. George Buchanan, with more literary
competence in Latin, though with less knowledge of politics, offered for
his little Scotland a theory of monarchy answerable to the people (_De
jure regni apud Scotos dialogus_, 1579).[88] The preface, addressed to
James VI, keeps a tutorial tone, as of one still laying down the law. The
occasion put forth for the Ciceronian dialogue is French reprobation of
Scotch politics. How shall this be met? The method is evident from the
first three points.
To distinguish a king from a tyrant, we must remember that
society is founded not only on utility, but on natural law
implanted by God. A king is typically shepherd, leader,
governor, physician, created not for his own ends, but for the
welfare of his people (1-6).
Kingship, being an _ars_ based on _prudentia_, needs guidance
by laws (8). Objection: who would be king on these terms?
Answer: ancient history and doctrine show motives higher than
lust for power and wealth (9).
These two points being iterated in summary for transition, the
third is the need not only of laws, but of a council (11-14).
The many _exempla_ from ancient and modern history confirming or
challenging the _a priori_ progress of the dialogue do not touch the
recent events that raised the question. Scotch history is used even less
specifically than ancient to confirm the theory of limited monarchy. But
though Buchanan does not prove that recent politics were an application
of his theory, he makes the theory itself interesting and sometimes
persuasive.
The Latin style has more liveliness, expertness, and range than
Bodin’s. But the argument, though urgent as well as scholastically
ingenious, remains unconvincing. After debating general considerations
inconclusively, it falls back at last on the particular customs and needs
of Scotland. These are not applied specifically enough to be determining.
The expertness of the dialogue is rather literary than argumentative.
Brought down to the market place by printing, controversy by the end of
the century was learning the ways of journalism in pamphlets. Meantime
printing had opened such compilation as Elyot’s, samples of learning for
those eager readers who had not gone to school with the Latin manuals of
Erasmus.
The best of these sixteenth-century discussions, the piercing urgency of
Macchiavelli, the charming exposition of Castiglione, the philosophical
survey of More, the systematic analysis of Bodin, the hot attack of
Buchanan, are all essays in that modern sense of the word which applies
it to consecutive exposition involving argument. They show essay-writing
of this kind—which was to move more surely in the seventeenth
century—already on a firm footing. They recognize the Italian tradition
of history in abjuring the decorative dilation which was habitual in
other fields. They show Latin and vernacular side by side, and vernacular
prose gaining point and finish from the Latin commanded by all their
writers. They are a solid literary achievement of the Renaissance.
2. MONTAIGNE
The other kind of essay, the literary form that has kept the original
meaning of attempt, sketch, experiment, had its pace set late in the
sixteenth century by Montaigne. Nothing could be farther removed than his
habit from tidy system or consecutive argument. Devoted to the reading
of history, and eager to share its profits, he had no mind to follow
the Italian tradition of writing history. _Essai_ in his practice is
not the settling of a subject, but the trying. He makes one approach,
then another, suggesting relations that he does not carry out. With many
_exempla_ he invites us to accumulate philosophy of living. If we do not
coöperate, if we do not think them over, his essays remain collections
of items in memorable phrase, without compelling sequence of ideas. For
Montaigne is not the kind of philosopher who integrates a system; he
is a sage. He has the sage’s oral habit. No writing conveys more the
impression of thinking aloud. Again and again he writes as if making up
his mind, not before utterance, but by the very process of utterance.
Macchiavelli, or Bodin, having made up his mind fully and finally, tries
to convince us; Montaigne, as if making up his in our company, throws out
suggestions.
True, some few of his essays are more consecutive developments of what he
has concluded. His early and widely quoted _Education of Children_ (II.
xxvi) has even some logical progress.
But logical sequence is not Montaigne’s habit. His many revisions[89]
show him leaning more and more on the aggregation of separate
suggestions. He changes words, he adds instances, but he does not seek a
stricter order.
But I am going off a little to the left of my theme.... I, who
take more pains with the weight and usefulness of my discourses
than with their order and sequence, need not fear to lodge
here, a little off the track, a fine story (II. xxvii).
This bundling of so many various pieces is made on condition
that I put hand to it only when urged by too lax a leisure, and
only when I am at home (II. xxxvii, opening).
His usual lack of sequence, then, is not careless. The careless fumbling
that comes from muddled thinking he ridicules.
They themselves do not yet know what they mean, and you see
them stammer in bringing it forth, and judge that their labor
is not in childbirth, but in conception, and that they are only
licking what is not yet formed (I. xxvi).
As to sequence he even catechizes himself.
Is it not making bricks without straw, or very like, to build
books without science and without art? The fantasies of music
are conducted by art, mine by chance.
And his answer is very earnest.
At least I have this from my course of study (_discipline_),
that never a man treated a subject that he understood and knew
better than I do the one that I have undertaken, and that in
this subject I am the most learned man alive; secondly, that no
one ever penetrated farther into its material, nor peeled more
sedulously its parts and their consequences, nor reached more
precisely and fully the end that he had proposed for his job.
To accomplish this, I need bring no more than fidelity. That I
have, the most sincere and pure that is to be found (III. ii).
Montaigne’s method, then, is deliberate.[90] If he passes, as in _Des
coches_ (III. vi), from examples of lavish display to the cruelty of
Spanish conquest in Mexico and frankly begins his last paragraph with
_retumbons à nos coches_, that is because he usually prefers to take us
on a journey around his idea. Hundreds of readers have found the talk of
such a guide on the way more winsome than the conclusions of others after
they have come home.
The art of growing an idea by successive additions sets the pace also
for his sentences. Knowing Latin, he tells us, as a native language,
and better than French, he puts aside Cicero for Seneca. This is more
than the rejection of Ciceronianism, more than preference for Seneca’s
philosophy; it is in detail the same aggregative method that he uses for
the composition of a whole essay. That vernacular sentences were commonly
more aggregative than those of Augustan Latin may have been a reason for
his choosing the vernacular. At any rate, he keeps the two languages
quite apart. Instead of applying his Latin to the pointing of his French
sentences, he prefers to let them accumulate as in talk.
(1) They do still worse who keep the revelation of some
intention of hatred toward their neighbor for their last will,
(2) having hid it during their lives,
(3) and show that they care little for their own honor,
(4) irritating the offense by bringing it to mind,
(5) instead of bringing it to conscience,
(6) not knowing how, even in view of death, to let their grudge
die,
(7) and extending its life beyond their own. (I. vii.)
The sentence might easily have been recast in a Latin period; Montaigne
prefers to let it reach its climax by accumulation.
(1) Nature has furnished us, as with feet for walking, so with
foresight to guide our lives,
(2) foresight not so ingenious, robust, and pretentious as the
sort that explores (_invention_),
(3) but as things come, easy, quiet, and healthful,
(4) and doing very well what other people say,
(5) in those who have the knack of using it simply and
regularly,
(6) that is to say, naturally. (III. xiii.)
So his epigrams are comparatively few and simple. His many memorable
sayings are not paraded as _sententiae_.
It is not a soul, not a body, that we are educating; it is a
man (I. xxvi).
Unable to regulate events, I regulate myself, and adjust myself
to them if they do not adjust themselves to me (II. xvii).
The teaching that could not reach their souls has stayed on
their lips (III. iii).
Between ourselves, two things have always seemed to me in
singular accord, supercelestial opinions and subterranean
morals (III. xiii).
For Montaigne’s shrewd summaries prevail less often by balanced sentences
than by concrete diction.
I am seldom seized by these violent passions. My sensibility
is naturally dense; and I encrust and thicken it daily by
discourse (I. ii).
Anybody’s job is worth sounding; a cowherd’s, a mason’s, a
passer-by’s, all should be turned to use, and each lend its
wares; for everything comes handy in the kitchen (I. xxvi).
Such sentences, such diction, are not only his practice; they are part of
his literary theory.
The speech that I like is simple and direct, the same on paper
as on the lips, speech succulent and prompt (_nerveux_), curt
and compact, not so much delicate and smoothed as vehement and
brusque—_Haec demum sapiet dictio quae feriet_—rather tough
than tiresome, shunning affectation, irregular, loose, and
bold, each bit for itself, not pedantic, not scholastic, not
legal, but rather soldierly (I. xxvi).
The urgent metrical sentence of poetry seems to me to soar far
more suddenly and strike with a sharper shock [The figure is of
a falcon] (I. xxvi).
These good people (Vergil and Lucretius) had no need of keen
and subtle antitheses. Their diction is all full, and big with
a natural and constant force. They are all epigram, not only
the tail, but the head, the stomach, and the feet.... It is an
eloquence not merely soft and faultless; it is prompt and firm,
not so much pleasing as filling and quickening the strongest
minds. When I see those brave forms of expression, so vivid, so
deep, I do not call it good speaking; I call it good thinking
(III. v).[91]
So he cannot stomach that Renaissance imitation which ran to borrowing,
nor that display of Latin style for itself which published even private
letters.
Those indiscreet writers of our century who go sowing in their
worthless works whole passages from the ancients to honor
themselves (I. xxvi).
But it surpasses all baseness of heart in persons of their rank
that they have sought to derive a principal part of their fame
from chatter and gossip, even to using the private letters
written to their friends (I. xl).
So he is impatient with the unreality of romance.
Going to war only after having announced it, and often after
having assigned the hour and place of battle (I. v).
Those Lancelots, Amadis, Huons, and such clutter of books to
amuse children (I. xxvi).
Reviewing contemporary criticism of poetry, he says: “We have more poets
than judges and interpreters of poetry; it is easier to make it than to
know it” (I. xxxvii). “You may make a fool of yourself anywhere else,” he
warns, “but not in poetry” (II. xvii). So there is no room for mediocre
poetry.
Popular, purely natural poetry has simplicities and graces
comparable with the eminent beauty of poetry artistically
perfect, as is evident in the Gascon villanelles and in songs
brought to us from illiterate peoples. Mediocre poetry, which
is neither the one nor the other, is disdained, without honor
or even esteem (I. liv).
Dismissing in a scornful phrase “the Spanish and Petrarchist fanciful
elevations” (II. x), he exactly estimates the Latin poets of his
time as “good artisans in that craft” (II. xvii). Perhaps a certain
significance, therefore, attaches to his repeating the current
complacency with regard to French poetry.
I think it has been raised to the highest degree it will ever
attain; and in those directions in which Ronsard and Du Bellay
excel I find them hardly below the ancient perfection (II.
xvii).
Elsewhere, and habitually, Montaigne’s attitude toward the classics was
quite different from the habit of the Renaissance. He sought not so much
the Augustans as Seneca and the Plutarch of Amyot.
Je n’ay dressé commerce avec aucun livre solide sinon Plutarque
et Seneque, où je puyse comme les Danaides, remplissant et
versant sans cesse (I. xxvi).
These, and even Cicero and Vergil, he sought not for style, but for
philosophy and morals. That sounder classicism of composition which,
through the Italian tradition of history, had animated Renaissance
essayists of the stricter sort he put aside. He was not interested in the
ancient rhetoric of composition, nor, to judge from his slight attention
to it, in that field of ancient poetic. He quotes both Dante and Tasso,
but not in that aspect. He is not interested in the growing appreciation
of Aristotle’s _Poetic_. In this disregard of composition, indeed, he
was of the Renaissance; but he rejected and even repudiated Renaissance
pursuit of classicism in style. There he adopted the sound doctrine of
Quintilian and scornfully, to use his own word, abjured borrowed plumes
and decorative dilation. If we use the word classical in its typical
Renaissance connotation, we must call Montaigne, as well as Rabelais,
anti-classical. Unlike as they are otherwise, they agree in satirizing
Renaissance classicism.
The positive aspect of this rejection is Montaigne’s homely concreteness.
Trying to teach his readers, not to dazzle them, he is very carefully
specific. To leave no doubt of his meaning, he will have it not merely
accepted, but felt. Therefore he is more than specific; he is concrete.
Imagery for him is not mythology; it is of native vintage.
“In this last scene between death and us there is no more pretending. We
have to speak French; we have to show how much that is good and clean is
left at the bottom of the pot” (I. xix). Such expression strikes us not
as wit, not as an aristocrat’s catering to the new public, but as the
sincere use of sensory terms to animate ideas. If it reminds us sometimes
of popular preaching, that is because Montaigne was a sage.
FOOTNOTES
[1] In H. Chamard, _Les Origines de la poésie française de la
Renaissance_ (Paris, 1920), p. 256.
[2] Bembo, _Prose_, II. xxi (Venice, 1525).
[3] Allen, _Age of Erasmus_, p. 121.
[4] É. Egger, _L’Hellénisme en France_ (Paris, 1869), pp. 358-359; see
Monnier, II, 134 for modern estimate of Renaissance Greek texts.
[5] _Prose_, I, vi (1525).
[6] Egger, p. 398.
[7] _Ibid._, p. 205.
[8] Edition of Osgood, pp. 119, 193.
[9] Probably the source of Rabelais’s Abbey of Thelème. He had read the
book.
[10] Page references to 1596 edition.
[11] Edited by Louis Humbert, Paris, 1914.
[12] Sir John Cheke, however, spoke as a scholar when he wrote to Hoby:
“I am of opinion that our own tung shold be written cleane and pure,
vnmixt and vnmangeled with borrowing of other tunges.” Quoted in Arber’s
Introduction to Ascham’s _Scholemaster_, p. 5.
[13] Parodied by _Orationes obscurorum virorum_ (before 1515), which was
part of the Reuchlin-Pfefferkorn controversy.
[14] This is the exercise called by the ancients _declamatio_. See ARP
(_Ancient Rhetoric and Poetic_) and a letter of Erasmus, May 1, 1506.
[15] _Bartholomaei Riccii De imitatione libri tres_ (Venice, 1545), folio
38 verso. See below, Chapter III, Sect. 3.
[16] MRP (_Medieval Rhetoric and Poetic_) I and II.
[17] Ep. 221 in Migne’s _Patrologia latina_ (Vol. 199, p. 247), which
dates it 1167; Ep. 223, p. 389, in the collection of the letters of
Gerbert, John of Salisbury, and Stephen of Tournay printed by Ruette
(Paris, 1611). The letter is translated MRP 209.
[18] _Apologia dei dialoghi_, opening; p. 516 of the Venice, 1596,
edition.
[19] For _De oratore_, see ARP.
[20] Minturno, _Arte poetica_, is mere catechism. Perionius hardly
achieves dialogue at all; his interlocutors merely interrupt.
[21] _Analecta hymnica._
[22] For the pattern of the classical rhetoric, see ARP.
[23] MRP.
[24] Paul Spaak, _Jean Lemaire_ (Paris, 1926).
[25] Pierre Villey, _Les Grands Écrivains du xviᵉ siècle_, I, 83-97,
110-148.
[26] _Evvres de Louize Labé, Lionnoize_, revues et corrigées par la dite
dame, à Lion, par Jean de Tournes, MDLVI (dedicatory epistle dated 1555).
[27] Each stanza of the _Epithalamion_ ends with a longer line (6
beats), which is the common refrain. The other lines have generally five
beats, but the sixth and eleventh have only three; and this variation
is occasionally extended. Generally there is a rhyme-shift after the
eleventh line, but not a break (11 lines on 5 rhymes [or 4] plus 7 lines
on 3 rhymes [or 4]). A few stanzas are lengthened to nineteen lines
(11 plus 8). Thus the typical variations in this triumph of metrical
interweaving are as follows, the underlined letters indicating the lines
of three beats:
Stanza I a b a b c _c_ b c b d _d_ / e f f e e g g
II a b a b c _c_ d c d f _f_ / g h h g g h h
IV a b a b c _c_ d c d e _e_ / f g g h _h_ i i
III. & VIII a b a b c _c_ d c d e _e_ / f g g f h _h_ i i
(19 lines)
[28] _Œuvres complètes de P. de Ronsard_, ed. par Paul Laumonier (Paris,
1914-1919), I, 316.
[29] London, Wynkyn de Worde, 1515.
[30] For Petrarch and Boccaccio, see Carrara, _La poesia pastorale_, pp.
88-111.
[31] Edited by M. Scherillo (Torino, 1888).
[32] Written 1573; published 1580; edited by Angelo Solerti (Torino,
1901).
[33] _Le Premier Livre d’Amadis de Gaule_, publié sur l’édition originale
par Hugues Vaganay (Paris, 1918), 2 vols.
[34] For Alamanni, see Henri Hauvette, _Un Exilé florentin ..._ Luigi
Alamanni (Paris, 1903).
[35] Edited by G. B. Weston (Bari, 2 vols.).
[36] So I. iii. 31, 51; v. 13, 56; vi. 54; ix. 36; xi. 46; and throughout
the poem.
[37] I. xxii is _fabliau_; and so, in various degrees, the stories
inserted at I. vi. 22, xiii. 29, xxix. 3; II. i. 22, xiii. 9, xxvi. 22;
III. ii. 47.
[38] E. Donadone, _Torquato Tasso_ (Venice, 1928).
[39] The stanzas are adapted by Spenser, FQ, Book II. xii. 74-75.
[40] Diocletian-giants-Brutus-Hogh-Gormet-Hercules, II. x. 7;
Tristan-nymphs-Latona’s son, VI. ii. 25.
[41] Chapter VII.
[42] For Seneca, see ARP.
[43] _Opera_, II, 2.
[44] “Acta fuit Burdegalae Anno MDXLIII” in the colophon can hardly mean
merely that the play was finished in that year.
[45] On tragicomedy, see H. C. Lancaster, _The French Tragicomedy, Its
Origins and Development from 1552 to 1628_ (Baltimore, 1907).
[46] For Garnier in England, see A. M. Witherspoon, _The Influence of
Robert Garnier on Elizabethan Drama_ (New Haven, 1924).
[47] For Plautus and Terence, see ARP.
[48] “Politian was in 1471, at the request of Cardinal Francesco Gonzaga,
despatched to Mantua by Lorenzo de’ Medici to prepare an entertainment
for the reception of Duke Galeazzo Maria Sforza. The _Orfeo_, a lyric
pastoral in dramatic form, prophetic of so much that was later to come,
was the contribution of the brilliant humanist and poet to the Duke’s
entertainment. It stands close to the fountainhead of European secular
drama.” H. M. Ayres, preface to his translation of the _Orfeo_ in
_Romanic Review_, XX (January, 1929), 1.
[49] See Chapter IV.
[50] Alfred Mortier, _Un Dramaturge populaire ... Ruzzante_. Œuvres
compl. traduites pour la première fois (Paris, 1926).
[51] ARP and MRP.
[52] For Aristotle’s _Poetic_, see ARP.
[53] For discussion of the romances, see Chapter V. For Giraldi’s
_novelle_, see Chapter VIII, 1, c.
[54] ARP.
[55] For Hermogenes, see MRP, pp. 23 ff.
[56] References are to the second edition of 1581. See also F. M.
Padelford, _Select Translations from Scaliger’s Poetics_ (New York, 1905).
[57] See above, Du Bellay, Chapter II, pp. 3, 6.
[58] See H. B. Charlton, _Castelvetro’s Theory of Poetry_ (Manchester,
1913).
[59] Lodge’s feebler _Defence of Poetry_ (1579) has little other interest
than the historical, i.e., as a reply to Gosson’s attack on the stage.
[60] In Smith’s reprint shortened by summary.
[61] Gregory Smith, II, 327-355.
[62] Gregory Smith, II, 356-384; Arthur Colby Sprague, _Samuel Daniel,
Poems and a Defence of Ryme_ (Cambridge, Harvard University Press, 1930).
[63] Patrizzi’s refutation of Tasso, 68, 116, 144/5, 173, 175.
[64] Nevertheless two of his references (V. 116; VI. 125) suggest,
perhaps without his intention, a relation between Plato’s _Symposium_ and
Aristotle’s idea of creative imitation.
[65] Pellissier’s long introduction and valuable notes, though they need
a few corrections by later studies, remain one of the most important
surveys of the French development of poetic in the sixteenth century.
[66] But Vauquelin with Tasso bids poets leave pagan myth for Christian
themes, though perhaps he refers only to subject; and he recognizes the
place of Montemayor’s _Diana_ among pastorals.
[67] For Aristotle’s _imitation_, see ARP, pages 139 ff.
[68] D. L. Clark, _Rhetoric and Poetry in the Renaissance_ (New York,
1922).
[69] Cf. in Chapter VII Giraldi’s theory of the romance.
[70] This is inferred from a commendatory letter of Bartolomeo Cavalcanti
prefixed to this fourth (1580) edition.
[71] For editions and translations, see Louis Berthé de Besaucèle, _J.-B.
Giraldi_ (thesis at the University of Aix-en-Provence, Paris, 1920), pp.
109, 255, 258; for the French translator, Gabriel Chappuys, see p. 261.
[72] See above, p. 198.
[73] For the Gorgian figures, see MRP and Croll’s introduction to his
edition of _Euphues_.
[74] Samuel Lee Wolff, _The Greek Romances in Elizabethan Prose Fiction_
(New York, Columbia University Press, 1912).
[75] _Op. cit._, pp. 173 seq. The quotation is at p. 177.
[76] H. Brown, _Rabelais in English Literature_ (Harvard Press, 1933), p.
19.
[77] _Cf._ Budé, Chapter I, for Renaissance complacency.
[78] Above, Chapter II.
[79] J. Plattard, _François Rabelais_ (Paris, 1932), p. 194.
[80] _Ibid._, p. 140.
[81] _Ibid._, pp. 115 seq.
[82] Plattard, p. 117.
[83] For _narratio_, see ARP.
[84] In the prefatory epistle to Petrus Aegidius about two-thirds of the
first hundred clauses conform to the _cursus_ of the curial _dictamen_
(MRP). These clauses compose about twenty sentences ending: _planus_,
6 (30%); _tardus_, 2 (10%); _velox_, 7 (35%); unconformed, 5 (25%).
Inconclusive, this may be worth further study.
[85] See above, Chapter VIII.
[86] Citations are from Jacobus Stoer’s edition of 1595.
[87] The fourth edition, cited here, by Gabriel Cartier, 1599. Meantime
Bodin had published in 1586 a revised edition in Latin, _De re publica
libri vi_.
[88] Edition cited Edinburgh (Freebairn), 1715, _Opera omnia_, ed. Thomas
Ruddiman, Vol. I.
[89] See F. Strowski, _Montaigne_ (Paris, 1931).
[90] “Qu’il n’est rien si contraire à mon style qu’une narration estendue
(i.e., _narratio_, sustained exposition); je me recouppe si souvent à
fault d’haleine; je n’ay ni composition ny explication qui vaille” (I.
xxi).
[91] This is the doctrine of Quintilian, whom he quotes. ARP.
INDEX
_Abraham and Isaac_, 136
_Accademia della Crusca_, 30
_Achilleis_ (Statius), 185
Achilles Tatius, 79, 87, 188
Acciajuoli, Donato, 214
_Actores octo_, _see_ _Auctores octo_
Adrian, Cardinal Corneto, 24
_Aeneid_, 102, 104, 114, 121, 126, 127, 165, 185
Aeschines, 26
Alain de Lille, 9, 10
Alamanni, Luigi, 13, 67, 96-98
Alberti, Leone Battista, 27
Aldus Manutius, 9, 20
Alexandrian literature, 7, 78, 90
Alexandrianism, 123, 188
Allegory, 123, 130, 133
Alliteration, 87, 129, 199
Alunno, Francesco, 31, 37
_Amadis of Gaul_, 95
_Amants fortunés, Les_, 194
_Ameto_ (Boccaccio), 82, 84
_Aminta_ (Tasso), 87, 147, 153
Amyot, Jacques, 23, 90, 238
Anacreon, 21, 79
_Annales d’Aquitaine_ (Bouchet), 134
_Anthology_, 7, 21, 79, 104
_Antigone_ (Garnier), 142
_Antigone_ (Sophocles), 142
Aphthonius, 21
Apollonius Rhodius, 21, 79, 188
Apuleius, 93, 179, 188
Aquila, Serafino d’, 69
Aquinas, 8, 9
_Arcadia_ (Sannazaro), 83-87
_Arcadia_ (Sidney), 90, 202
Aretino, Leonardo, _see_ Bruni, Leonardo
Ariosto, 9, 11, 24, 30, 67, 91, 96, 101, 104, 111-23, 131, 142, 143,
147, 159, 160, 164, 168, 177, 179, 184, 205
Aristotle, 15, 20, 25, 26, 53, 55, 61, 62, 63, 133, 145, 158, 159,
164, 165, 166, 167, 168, 169, 172, 175, 176, 177, 178, 179,
184, 185, 186, 187, 189, 238
“Ars poetica” (Horace), 10, 15, 133, 155, 158, 161, 163, 164, 165,
171, 186, 188
_Arte of English Poesie_ (Campion), 183
_Arte of English Poesie_ (Puttenham), 182
_Arte poetica_ (Minturno), 44_n_, 168
Arthurian cycle, 96, 98
_Art of rhetorique, The_ (Wilson), 62
_Art poétique, L’_ (Peletier), 163-64
_Art poétique, L’_ (Ronsard), 175
_Art poétique, L’_ (Vauquelin de la Fresnaye), 186
_Arts poétiques_, 15, 127
Ascham, Roger, 37, 38_n_, 183
_Astrophel and Stella_ (Sidney), 77
_As You Like It_ (Shakspere), 146
Athenaeus, 21
_Auctores octo_, 10, 81
Augustan Latin, 18, 44, 58, 65, 234
Aulus Gellius, 10, 188
Aurispa, 20
Ausonius, 10, 79, 188
_Avarchide_ (Alamanni), 96
Ayres, H. M., quoted, 147_n_
Baif, 34
_Balade_, 10
Balsamo-Crivelli, Gustavo, 190
Bandello, Matteo, 190-94, 197, 198-99
_Bankette of Sapience_ (Elyot), 227
_Baptistes_ (Buchanan), 139
_Basia_ (Secundus), 66
Bede, 9
Bellay, Cardinal du, 211
Bellay, Joachim du, 10, 32, 34, 69, 163, 238
Belleau, Remi, 21
Belleforest, 198
Bembo, 9, 15, 22, 26, 28, 30, 31, 36, 87, 170, 179, 188
Beolco, Angelo, _see_ Ruzzante
Berni, 111
Besaucèle, 195_n_
Bessarion, Johannes, 20, 39
Beza, 179
Bibbiena, Cardinal, 179
_Blason_, 118
Boccaccio, 5, 6, 13, 14, 15, 20, 23, 27, 28, 29, 31, 32, 60, 67, 82,
84, 87, 104, 121, 153, 170, 177, 179, 185, 186, 194-96
Bodin, 228, 229, 230, 230_n_, 231, 232
Boece, Hector, 216
Boethius, 9, 25, 37, 85
Boiardo, Matteo Maria, 11, 91, 92, 93, 94, 101-11, 120, 124, 125,
127, 159
Bouchet, Jean, 134
Boulanger, André, 163
_Bradamante_ (Garnier), 142
Brocardo, Jacopo, 63
Brome _Abraham and Isaac_, 136
Brown, H., 202_n_
Browne, Sir Thomas, 52
Bruni, Leonardo, 39, 214-17, 226
Buchanan, George, 17, 137-39, 179, 216, 226, 230, 231
_Bucolics_ (Vergil), 80, 165
_Bucolicum carmen_ (Petrarch), 82
Budé, Guillaume, 4, 22, 34, 207_n_
Bundy, M. W., 162
Caesar, 18, 216
Caesarius, Joannes, 55
Callimachus, 72, 79
Calpurnius, 87
Camillo, Giulio, 50, 55, 56, 170, 171, 188
Campion, Thomas, 183
Capranica, Cardinal, 39
_Carde of Fancie_ (Greene), 201
Carolingian cycle, 100, 101, 124
Cartier, Gabriel, 230_n_
Castelvetro, 176, 185, 189
Castiglione, Baldassare, 12, 30, 43, 53, 67, 114, 177, 223-25, 231
_Cathonet_, 10, 81
Cato, 58, 81
Catullus, 57, 58, 65, 66, 72, 86, 87, 170
Cavalcanti, Bartolomeo, 63, 195_n_
Caviceo, Jacopo, 39, 40
Caxton, William, 37, 96, 98, 130
_Certaine notes of instruction concerning ... verse or rime ..._
(Gascoigne), 180
Cervantes, 132, 213
Chamard, H., 8_n_
Champier, Symphorien, 93
_Chansons de geste_, 124
Chappuys, Gabriel, 195_n_
Charlton, H. B., 176_n_
Châteillon, Sébastien, 52
_Châtelaine de Vergi_, 194
Chaucer, 5, 13, 14, 15, 24, 37, 67, 70, 89, 96, 108, 121, 122, 153,
180, 181, 183, 198
Cheke, Sir John, 38_n_
Chemnicensis, 181
Chivalry, 11, 92, 124, 130, 131
Chronicles, 214
Chrysolaras, Manuel, 20
Cicero, 10, 15, 18, 26, 28, 30, 40, 41, 43-45, 53, 62, 63, 163, 164,
169, 175, 178, 188, 202, 214, 216, 223, 225, 230, 234, 238
Ciceronianism, 44, 45, 48, 49, 51, 53, 57
Cicero thesaurus, 46, 49
Cinthio, Giraldi, 29, 158-61, 188
Clark, D. L., 189_n_
Classicism, 3, 7, 9, 39, 45, 79, 187, 239
Claudian, 10, 72, 79, 87, 160, 174, 188
Colonna, Francesco, 25, 202, 209
Comedy, 133, 134, 146-54
_Comedy of Errors_ (Shakspere), 147
Comes, Natalis, _see_ Conti, Natale
_Compleint d’amour_, 118
_Concorde des deux langages_ (Lemaire), 31, 69
_Conflictus_, 43
Conti, Natale, 23
Cook, Albert S., 178
_Copia_ (Erasmus), 54
Corneille, 53, 145, 154
_Cornélie_ (Garnier), 141
Corpus Christi cycles, 135
_Cortegiano_ (Castiglione), 12, 43, 53, 223, 224
Cortesi, Paolo, 41, 48
Court shows, medieval, 133, 147
Croft, H. S., 227
_Cursus_, 42
Cuspidius, 211
Cyclical romances, 98, 100, 101, 119
_Cyropaedia_ (Xenophon), 93
Daniel, Samuel, 183
Dante, 5, 8, 13, 14, 27, 28, 29, 30, 31, 32, 60, 66, 82, 87, 110,
114, 119, 132, 158, 162, 168, 169, 177, 179, 238
_Daphnis and Chloe_ (Longus), 23, 79, 90
Dati, Agostino, 39
_De arte poetica_ (Vida), 155-58
_Débat_, 42
_Débat de Folie et d’Amour_ (Labé), 71
_De bello italico adversos gothos gesto historia_ (Bruni), 215
_Decameron_ (Boccaccio), 14, 60, 194, 195
_De causis corruptarum artium_ (Vives), 54
_De contemptu mundi_, 10
_De elegantiae linguae latinae_, 8, 19
_Defence of Ryme_ (Daniel), 183
_Defense of Poesy_ (Sidney), 89, 178-80
_Defense of Poetry_ (Lodge), 179_n_
_Deffense et illustration de la langue française_ (Du Bellay), 32
_De imitatione_ (Ricci), 50, 57
_De inventione_ (Cicero), 10, 45
_De jure regni apud Scotos dialogus_ (Buchanan), 230
_De laudibus D. Eusebii_ (Dati), 39
_De linguae gallicae origine_ (Périon), 33
Delivery, 54
Deloney, Thomas, 202
Demosthenes, 21, 26, 28, 63
Denores, Jason, 185
_De oratore_ (Cicero), 15, 43, 44, 45, 53, 225
_De poeta_ (Minturno), 13, 15, 164-67;
excerpt, 4
_De ratione dicendi_ (Vives), 54
_De re publica_ (Bodin), 230_n_
_De senectute_ (Cicero), 208
_De studio literarum_ (Budé), 4
De Tournes, 13
_De tradendis disciplinis_ (Vives), 54
_Dialogo delle lingue_ (Speroni), 26
Dialogues, 6, 39, 42, 225
_Dialogus Ciceronianus_ (Erasmus), 49
_Diana_ (Montemayor), 186_n_
_Dictamen_, 42
Diomedes, 10
Dionysius of Halicarnassus, 158
_Discorsi dell’ arte poetica ..._ (Tasso), 176-78
_Discorsi ... intorno al comporre de i romanzi, delle commedie, e
delle tragedie_ (Cinthio), 158-61;
excerpt, 29
_Discourse of English Poetrie_ (Webbe), 180
_Discussions of Tuscan_ (Tomitano), 59
Discussions on politics and society, 223-32
_Dispositio_, 54, 60, 64, 176
_Divina Commedia_ (Dante), 5, 132, 158, 168
Dolce, Lodovico, 30
Donadone, E., 125
Donati, Edouardo, 180
Donatus, 10
_Don Quixote_ (Cervantes), 132, 213
Dorat, Jean, 72, 163
Drama, 12, 87, 133-154, 190
Dramaturgy, 6, 134, 137
Dryden, 13, 132
Du Bellay, _see_ Bellay
_Due trattati_ (Camillo), 55
Eclogues, 81 ff.
_Education of Children_ (Montaigne), 233
Egger, Émile, 21_n_, 23_n_, 202
_Elizabethan Critical Essays_ (Smith), 180
Elizabethan drama, 12, 133, 144 ff., 152, 190
_Elocutio_, 54
Elyot, Sir Thomas, 227, 231
Empedocles, 184
Encomium, 55, 72, 75, 90, 111, 112, 131, 188
_Endymion_ (Lyly), 152
English language, 36-38
English lyric, 66
_Epithalamion_ (Spenser), 74, 77
Erasmus, 17, 40_n_, 42, 49, 54, 57, 63, 83, 98, 173, 204, 226, 231
_Essay on Satire_ (Dryden), 132
Essays, 223-39
_Estrif_, 42
Étienne (printers), 9
Étienne, Henri, 21, 23, 34
_Etymologiae_ (Isidore of Seville), 10
_Euphues_ (Lyly), 200
Euphuism, 198, 200, 222
Euripides, 53, 61, 138, 139, 144, 165
Euryalus, 157
Eusebius, 39
Everaerts, Jan, _see_ Secundus
_Exempla_, 131, 194, 196, 231, 232
_Exordium_, 60
_Fabliau_, 109, 120, 134, 190, 194, 196
Fabri, Pierre, 68
_Fabrica del mondo, Della_ (Alunno), 31
_Faerie Queene_ (Spenser), 77, 123, 128-32, 152
Fenton, 198
_Fiammetta_ (Boccaccio), 60
Fichet, Guillaume, 7
_Fons Bandusiae_, 72
Fracastoro, Girolamo, 162, 163, 170, 179
_Frame of the World, The_ (Alunno), 31
French language, 31-36
Gaguin, Robert, 7
Gallus, Cornelius, 87
Garnier, Robert, 53, 139-44, 150, 151, 153
Gascoigne, George, 180
_Gawain and the Green Knight_, 96
_Genealogia deorum gentilium_ (Boccaccio), 23
Geoffrey of Monmouth, 9
George of Trebizond, 53
_Georgics_ (Vergil), 165
Gerlandia, Johannes de, 15
_Gerusalemme liberata_ (Tasso), 7, 53, 123, 124-27
_Gestes ensemble la vie du preulx chevalier Bayard_ (Champier), 93
Giovanni di Virgilio, 82
Giraldi Cinthio (Giovan-Battista Giraldi), 195-97
Golden Age, 87, 89
_Golden Ass_ (Apuleius), 93
_Golden Legend_, 9
Googe, 181
_Governour, The_ (Elyot), 227
_Grande et vraie art de pleine rhétorique_ (Fabri), 68
Gray, Thomas, 74
Greek dramaturgy, 6, 134, 137
Greek exiles in Italy, 20
Greek language, revival, 5 ff., 19-27, 35
Greek Literature, 7, 78, 79, 90, 137, 145, 179, 188
Greek oratory, 40
Greene, Robert, 201
Grotesque, 101, 106
Gryphius, 9, 13
Guarini, 148 ff.
Guarino da Verona, 20, 210
Guicciardini, 228
_Gyrone il cortese_ (Luigi Alamanni), 96
Harvey, Gabriel, 183
_Hecatommithi_ (Giraldi Cinthio), 195-97
Heinsius, 138
Heliodorus, 79, 188
_Henry V_ (Shakspere), 146
_Heptameron_ (Marguerite de Navarre), 14, 194
Hermes Trismegistus, 20
Hermogenes, 21, 55, 63, 79, 160, 170, 171, 188
Herodotus, 92, 214
Hesiod, 181
Hippocrates, _Aphorisms_, 211
_Hippolyte_ (Garnier), 141
_Historiarum florentini_ (Bruni), 214-17
History, 213-22
History plays, 144-46
_History of King Richard the Thirde, The_ (More), 217-20, 226
Homer, 7, 20, 22, 58, 96, 156, 157, 160, 165, 168, 173, 184, 185
Hooker, Richard, 52, 220
Horace, 65, 71, 72, 73, 86, 87, 114, 131, 156, 160, 161, 166, 168,
169, 170, 174, 179, 180, 181, 182, 189;
“Ars poetica,” 10, 15, 133, 155, 158, 161, 163, 164, 165, 171, 186,
188
Howard, Henry, Earl of Surrey, 13, 37, 67, 180, 181
Hugh of St. Victor, 9
Humanism, 14, 17-19, 30, 39, 71, 82, 137, 138
Humanistic Latin tragedy, 139
Humbert, Louis, 34_n_
_Hypnerotomachia_ (Colonna), 25, 202, 209
_Idea del theatro, L’_ (Camillo), 56
_Ideas_ (Hermogenes), 55
_Idylls of the King_ (Tennyson), 93
Imaginary addresses, 40
_Imitatio Christi_, 52
Imitation, 19, 39-90, 187
_Imitatione poetica, Della_ (Partenio), 169-71
_Inventio_, 53, 54, 60, 63, 176
Isidore of Seville, 10
_Isocolon_, 200
Isocrates, 21
_Isopet_, 10, 81
_Istorie fiorentine_ (Macchiavelli), 220-22, 224
Italian language, 27-31, 35
Italian orations, 40
_Jardin de plaisance, Le_, 10
Jean d’ Arras, 95
_Jephthes_ (Buchanan), 138, 139
_Jerusalem Delivered_ (Tasso), 7, 53, 123, 124-27
John of Salisbury, 8, 42, 45
Johnson, Samuel, 42, 212
Jonson, Ben, 89
_Juifves, Les_ (Garnier), 143
Junta, 9
Kelso, Ruth, 162
Labé, Louise, 13, 71
Ladislaus, King, 39
Lancaster, H. C., 142_n_
Landriani, Gherardo, 44
Latin language, 6, 7, 14, 17, 26, 27, 46, 155, 216, 232
Latin literature, 5, 17-19, 39, 41, 45, 46, 65, 79, 134, 138, 139
Lemaire, Jean, 31, 65, 68, 69, 71
Letters, 39, 41, 42
Libanius, 21
_Liber Theoduli_, 82
Livy, 21, 63, 213, 214
Lodge, 179_n_
Longueil, Christophe de (Longolius), 46, 50, 57, 59
Longus, 23, 79
Loyola, 210
Lucan, 10, 79, 174
Lucian, 93, 226
Lucretius, 26, 58, 87, 236
Lumby, J. R., 217
Lydgate, John, 67
Lyly, John, 38, 152, 153, 181, 200
Macchiavelli, 10, 12, 178, 213, 216, 220-24, 229, 231, 232
Macrobius, 188
Maggio, Vicentio, 159
Mair, G. H., 62
Malory, Sir Thomas, 11, 36, 37, 91-99, 103, 105, 107, 130
Manilius, 58
Mantuan (Baptista Spagnolo), 82, 88, 89, 180
Manuals, 15, 53
_Marc-Antoine_ (Garnier), 141
Marguerite de Navarre, 14, 194
Marionettes, Carlomagno, 100
Marlowe, Christopher, 137, 146
Marot, Clement, 65, 67, 70, 75, 90
Martial, 70
Martianus Capella, 10
Matthieu de Vendôme, 10
_Medea_ (Euripides), 138, 139
Medici, Cosimo dei, 12
Medici, Lorenzo de’, 147_n_
Melanchthon, 179, 228
Melodrama, 12, 144
_Mélusine_ (Jean d’ Arras), 9, 95
_Memoria_, 54
Menander, 170
_Merchant of Venice_ (Shakspere), 146
_Metamorphoses_ (Ovid), 185
_Methodus ad facilem historiarum cognitionem_ (Bodin), 228
Metric, 180
Michael Angelo, 29
_Midsummer Night’s Dream_ (Shakspere), 153
Migne, 42_n_
_Mignonne_ (Ronsard), 77
Milton, 132, 144
Minturno, 13, 15, 44_n_, 164-69
_Miracle_, 133, 134, 135
Miracle plays, 7
Montaigne, 18, 23, 178, 232-39
Montano, Cola, 222
Montemayor, 186_n_
More, Sir Thomas, 17, 37, 217-20, 226
_Morgante maggiore_ (Pulci), 100-102
_Morte d’Arthur_ (Malory), 92, 98-99
Mortier, Alfred, 152_n_
Muret, Marc Antoine, (Muretus), 41, 50, 179
Muzio, 161-62
_Mystère_, 133, 134, 135
_Mythologiae_ (Conti), 23
Mythology, 23, 77, 87, 147, 198
_Naenia_ (Pontano), 66
_Narratio_, 60, 64, 220
Narrative, prose, 190-222
_Nativity_ (York), 137
Navagero, 67, 170
Nemesianus, 87
Neo-Platonists, 7, 20
Nepos, Cornelius, 93
Nicoli, Nicolao, 12
“Nizolian paper books,” 46
_Novella_, 14
_Novelle_ (Bandello), 190-94, 198-99
_Observations on Petrarch_ (Alunno), 31
_Observations on the Vernacular_ (Dolce), 30
_Ode to Michel de l’Hospital_ (Ronsard), 73
_Ode to the King on the Peace_ (Ronsard), 73
Odes, Pindaric, 72 ff.
_Odyssey_ (Homer), 185
_Old Wives’ Tale_ (Peele), 152
_Oratio in expositione Homeri_ (Poliziano), 22
_Orationes clarorum virorum_, 40
_Orationes obscurorum virorum_, 40_n_
Orations, 39, 40, 41, 61
_Orator_ (Cicero), 44, 45
_Orfeo_ (Poliziano), 147
_Orlando furioso_ (Ariosto), 111-23, 142, 168
_Orlando innamorato_ (Boiardo), 93, 102-11
Ovid, 23, 58, 65, 71, 72, 79, 86, 87, 160, 174, 180, 181, 185
Padelford, F. M., 171_n_
Pagan terms used for Christian religion, 49
Pageantry, 87, 133
_Paladini di Francia, I_, 100
_Pantagruel_ (Rabelais), 207, 211
_Paradise Lost_ (Milton), 132
_Parison_, 200
_Parlement of Foules_ (Chaucer), 70
Parody, in Rabelais, 204
_Paromoion_, 200
Partenio, Bernardino, 169-71, 188
_Partitiones oratoriae_ (Brocardo), 63
Pastoral, 78-90, 146-54
_Pastor fido, Il_ (Guarini), 148 ff.
Patrizzi, Francesco, 61, 184
Peele, 152, 153
Peletier, Jacques, 163-64
Pellissier, Georges, 186
Périon, 33
_Petite Pallace of Pettie His Pleasure, A_ (Pettie), 199
Petrarch, 5, 6, 13, 20, 27, 28, 29, 30, 31, 32, 37, 60, 65, 66, 67,
68, 69, 71, 82, 87, 114, 161, 162, 168, 170, 177, 179, 188,
222, 237
Petrus Comestor, 10
Pettie, William, 199
_Pharmaceutria_, 58, 81
Pico, 170
_Piers Plowman_, 131
_Pilgrim’s Progress_, 52
Pindar, 71, 72, 79, 168, 179
Pindarics, 72 ff.
Plantin, Christophe, 9
Plato, 7, 20, 25, 26, 43, 44, 62, 63, 165, 178, 179, 226
Platonic dialogue, 43, 61
Platonism, 25, 61
Plattard, J., 210_n_, 211_n_, 212_n_
Plautus, 58, 134, 147, 151
Plays, sacred, 134-37
Pléiade, 32, 37, 65, 69, 70, 71, 74, 119, 163, 175, 183, 186, 204
Pliny, 26, 198
Plutarch, 23, 63, 140, 179, 208, 238
_Poema eroico_ (Tasso), 176
Poetic, confusion with rhetoric, 15, 188
_Poetic_ (Aristotle), 15, 25, 158, 164, 176, 189, 238
_Poetica_ (Scaliger), 4, 171-75
_Poetica_ (Trissino), 67, 158
_Poetica dialogus_ (Fracastoro), 162
_Poetica di Francesco Patrici ..._, 184
_Poetica di Jason Denores_, 185
Poetics, sixteenth-century, 155-89
Politics, discussions on, 223-32
Poliziano, 22, 41, 47-49, 50, 57, 87, 166, 226
_Pollio_ (Vergil), 81
Pontano, 58, 66, 72, 170, 179
_Pontus and the Fair Sidoine_, 9, 95
Porcari, Stefano, 221
_Porcie_ (Garnier), 139
_Praelectio_, 41, 47, 50
_Preëminence of the French language_ (Étienne), 34
_Principe_ (Macchiavelli), 223
Printers, 9
Printing, effect on literary progress, 5, 9, 30, 231
Priscian, 10
_Project du livre entitulé De la précellence du langage françois_
(Étienne), 34
_Pronuntiatio_, 54
Propertius, 87
_Prose_ (Bembo), 28
Prose forms, imitation of, 39-64
Prose narrative, 190-222
_Prosopopoeia_, 40
_Prothalamion_ (Spenser), 74
Provençal, 28, 36, 66
_Proverbia_ (Alain de Lille), 10
Publishers, 9, 13
Pulci, Luigi, 100-102, 109
Puttenham, 182, 183
Quintilian, 15, 47, 53, 55, 62, 63, 163, 164, 236_n_, 238
Rabelais, François, 22, 25_n_, 37, 202-13, 239
_Ragionamenti della lingua toscana_ (Tomitano), 59
Raphael, 29
_Ratio studiorum_, 64
Religion, in Tasso and Spenser, 123, 124
_Rerum scoticarum historia_ (Buchanan), 216
_Retorica, Della_ (Patrizzi), 61
_Retorica, La_ (Cavalcanti), 63
Rhetoric, confusion of poetic with, 15;
of Hermogenes, 188;
recovery of Cicero’s works on, 44;
Renaissance preoccupation with, 41
_Rhetoric_ (Aristotle), 62, 63
_Rhetoric_ (Soarez), 64
_Rhetorica_ (Joannes Caesarius), 55
_Rhetorica_ (George of Trebizond), 53
_Rhetorica ad Herennium_, 10, 45, 63
Rhetorics, 53-64
_Rhétoriques_, 68
_Rhétoriqueurs_, 65, 68
Rhythm, English tradition of, 180
Ricci, Bartolomeo, 40, 40_n_, 50, 57
_Richard III_ (More), 217-20, 226
_Richard III_ (Shakspere), 146
_Riches of the Vernacular, The_ (Alunno), 31
_Rime diverse del Mutio Iustinopolitano ..._ (Muzio), 161-62
Robinson, Edwin Arlington, 93
Robinson, Ralph, 226
Romance, 91-132;
Arthurian cycle in Malory, 98;
Carolingian cycle, 100, 101, 124;
Greek, 7, 90, 179, 188;
separate romances, 95-98
_Roman de la Rose_, 70
Romantic contrast, 91-95
Ronsard, Pierre de, 10, 21, 23, 34, 35, 65, 67, 71-75, 77, 113, 119,
163, 175, 179, 188, 238
Round Table stories, 98, 108
Rouville, 13
Ruddiman, Thomas, 230_n_
Ruskin, John, 62
Rustic and pastoral comedy, 146-54
Ruzzante (Angelo Beolco), 150 ff.
Sacred plays, 133-37
_Sacre rappresentazioni_, 134
Sallust, 18, 58
_Samson Agonistes_ (Milton), 144
Sannazaro, Jacopo, 83-87, 165, 170, 179
Sansovino, Francesco, 40
Sappho, 87
Satire, of Rabelais, 207
Scaliger, Joseph, 137, 138, 188, 216
Scaliger, Julius Caesar, 4, 23, 171-75, 179
Scève, Maurice, 13
_Schemata_, 200
Scholars, gentlemen, 187
_Scholemaster_ (Ascham), 38_n_
_Scotorum historiae_ (Boece), 216
_Secunda Pastorum_, 137, 150
Secundus, Joannes, 66, 72
Seneca, 10, 21, 87, 133, 134, 137, 142, 144, 145, 146, 158, 159, 165,
166, 179, 234, 238
_Sententiae_, 221
Shakspere, 145, 146, 147, 150, 153, 196
Shaksperian sonnet, 68
_Shepherd’s Calendar_ (Spenser), 88-90
Sidney, Sir Philip, 46, 77, 89, 90, 178-80, 181, 188, 189, 202
Sidonius, 10, 188
Silius Italicus, 174, 188
_Six Livres de la république, Les_, (Bodin), 230
Skelton, 37, 67, 202
Smith, G. Gregory, 180, 182
Soarez, 64
Solerti, Angelo, 87, 176
Sonnet, 66, 68, 77
Sophistic, 21, 40, 53, 55, 188, 200
Sophocles, 20, 21, 61, 142, 144, 165
Spagnolo, Baptista (Mantuan), 82, 88, 89, 180
_Speculum_ (Vincent of Beauvais), 10
Spenser, 9, 13, 14, 24, 37, 73, 74, 75, 77, 88-91, 111, 123, 127-32,
152, 180, 181, 183
Speroni, Sperone, 26, 43, 59, 60
Sprague, Arthur C., 183_n_
Statius, 10, 47, 87, 142, 174, 185, 188
_Status_, 54
Stephen of Tournay, 42_n_
Stoer, Jacobus, 228
Story-tellers, street, 100, 101
Story-telling, _see_ Tales
Strowski, F., 233_n_
Style, literary preoccupation with, 18, 29, 52, 137
_Suppositi, I_ (Ariosto), 147
Surrey, Henry Howard, Earl of, _see_ Howard, Henry
Tacitus, 41, 50, 213, 214, 223
Tales, 190-202
_Tamburlaine_ (Marlowe), 146
Tasso, 7, 30, 52, 87, 91, 123-27, 148, 150, 153, 176-78, 184, 185,
189, 238
Tatius, _see_ Achilles Tatius
Tennyson, 93
Terence, 58, 134, 147, 170
Theocritus, 58, 79, 81, 86, 87, 88, 173
_Theodulus_, 82
Thesaurus, 46
Three styles, 15, 165, 166, 177
Thucydides, 21, 63, 213, 214
Tibullus, 87
_Timone_ (Boiardo), 93
_Tobias_ (Matthieu de Vendôme), 10
Tolomei, Claudio, 40
Tomitano, Bernardino, 59
Tournes, Jean de, 163
Towneley Plays, _Secunda Pastorum_, 137, 150
Tragedy, 133, 134, 137-45
Tragicomedy, 133, 142, 148
_Trattato della imitatione_ (Camillo), 50
_Trimerone_ (Patrizzi), 184
_Trionfi_ (Petrarch), 168
Trissino, Giovan Giorgio, 67, 158, 159, 177
_Troade, La_ (Garnier), 141
_Troilus and Criseyde_ (Chaucer), 15, 24, 96, 122
Turnebus, 137
Tuscan, 28, 30
Tusser, 181
_Urbium dicta Maximilianum_ (Caviceo), 40
_Utopia_ (More), 226
Valla, Lorenzo, 8, 19
Varro, 58
Vauquelin de la Fresnaye, 186, 188, 189
_Venatio_ (Adrian), 24
Vérard, Antoine, 68
Vergil, 18, 26, 30, 53, 56, 58, 63, 65, 71, 72, 79, 80, 82, 84, 86,
87, 88, 96, 98, 110, 114, 122, 123, 155, 156, 157, 160, 162,
163, 165, 166, 170, 173, 174, 177, 179, 181, 236, 238;
_Aeneid_, 102, 104, 114, 121, 126, 127, 165, 185
Vernaculars, 5, 17, 27-38, 68-78
Verse, English discussion of, 180-84
Verse narrative, medieval, 7, 10, 91, 96
Vespasiano, 12
Vida, Marco Girolamo, 155-58, 163, 170, 172
Villon, 10, 68
Vincent of Beauvais, 10
Vinea, Gabriel, 13
Vittorino, 210
Vives, Juan Luis, 54, 210
Vopiscus, 50
Webbe, William, 180, 183
Weston, G. B., 100_n_
Wiat, Sir Thomas, 13, 67
Wilson, Thomas, 62
Witherspoon, A. M., 144_n_
Wolff, Samuel Lee, 202_n_
Wyatt, Sir Thomas, _see_ Wiat, Sir Thomas
Xenophon, 93
York Plays, _Nativity_, 137