THE IIBRAIY
VICTORIA UNIVERSITY
Toronto 5, Caa(la
THE LIBRARY
of
VICTORIA UNIVERSITY
Toronto
COPYRIGHT 116 BY MARY AUGUSTA SCOTT
ALL RIGHTS RESERVED
Published ruly gOtO
dAN 5 IIIE
PUBLISHED IN HONOR OF THE
FIFTIETH ANNIVERSARY
OF THE
OPENING OF VASSAR COLLEGE
1865-1915
TO
J. J. JUSSERAND
_French ,4mbassador to the United tates
WHOSE SCHOLARSHIP IN ENGL%SH HA6 RENE'ED THE
ANCIENT BOND8 BETWEEN FRANCE AND ENGLAND
WHOE DIPLOMACY HA RENGTHENED THE HISTORIC
RNDHIP BEEN FRCE A E UNITED TAE
DEDICATE THIS BOOK
PREFACE
DwtnG the winter of 1891-9, I made a list of all English
dramas produced between the accession of Edward VI, in 1549,
and the dosing of the theatres by the Parliamentarians, in
164. My list showed that some fifteen hundred plays belong
to the period of the great drama of the reigns of Elizabeth and
James I, of which about one-half are extant. Of extant Eliza-
bethan dramas it set apart about one-third as Italianate; they
are Italian in source, or plot, or scene, or general tone. Much
has been written about Italian influences in Elizabethan litera-
ture, and lies scattered throughout English criticism of the last
three hundred years. The subject from the Italian side is not
so well known.
In the spring of 189, I was preparing to go to Europe to
study for the doctor's degree. At that time, the University of
Ztlrich was the only European university that admitted vomen
to the degree of doctor of philosophy. Nor did the wise liber-
ality of the Swiss university require that candidates should
study in Ziirich; a woman could work wherever she could carry
on her studies to the best advantage, and the University of
Ziirich would admit her to the degree, provided she passed the
required examinations. I had just arranged to study the
Romance languages and literatures in France and Italy, and
to be examined by the University of Ziirich, when Yale opened
its doors to graduate women. That enlargement of opportu-
nity in the higher education of women was of great interest to
me as a college woman, and my own problem was simplified
when I was appointed the first woman fellow of Yale University.
At Yale I was fortunate in being able to study under the
direction of Professor Thomas R. Lounsbury. I have always
regarded Professor Lounsbury's attitude towards graduate
work as a model. He accepted my proposal to write a thesis on
x PREFACE
the Italianization of the Elizabethan drama, and was interested
in what I thought I could do with it during the two years of
required residence for the degree. He borrowed my list of
Elizabethan plays, and kept it during the greater part of the
first year. When the bibliography came back, I found that he
had increased its value by adding many details from the re-
sources of his great scholarship in English. But after establish-
ing friendly relations, Professor Lounsbury left me to my own
devices. We met now and then at his house or mine and ex-
changed ideas, plentifully seasoned in true Elizabethan fashion
with jest and repartee. When my thesis was completed, Pro-
fessor Lounsbury read it and saw to it that it met all university
regulations. In 1894, I was admitted to the degree of doctor of
philosophy, on examination and the presentation of a thesis,
on The Elizabethan Drama, especially in Its Relation to the
Italians of the Renaissance.
Between 1895 and 1899, I published four studies on Eliza.
belhan Translations from the Italian. The monographs were a
development of my Yale thesis, and were published in the
Publications of the Modern Language Association of America.
Part I, on Romances in Prose, was printed in the Publications,
Vol. x, No. , April, 1895; Part II, on Translations of Poetry,
Plays, and Metrical Romances, was published in Vol. xI, No. 4,
December, 1896; Part III, Miscellaneous Translations on Reli-
gion and Theology, Science and the Arts, Grammars and Diction-
aries, and Proverbs, was published in Vol. xIII, No. 1, January,
1898; and Part IV, Miscellaneous Translations on Voyages and
Discovery, History and Politics, Manners and Morals, and
Italian and Latin Publications in England, was published in
Vol. xr, No. 4, December, 1899.
Altogether the four preliminary studies made a collection
of 34 Elizabethan Translations from the Italian and 53 Italian
and Latin Publications in England. The value of the work in
the history of English literature was at once recognized, and
the four studies brought to me much suggestive and useful
criticism from Elizabethan scholars, both American and for-
PREFACE xv
social mystery of Loues Martyr there has been added, for me,
the insoluble pathos of my possession of its Victorian reprint.
But the friendly spirit of scholarship transcends the person-
ality of individuals and the accidents of time. I make this
acknowledgment to scholars of 1916 in memory of one of us
whose torch was extinguished in 1899.
The Italianization of Elizabethan literature is a large field,
and all Elizabethan books are rare, only to be found in the
British Museum or at Bodley's, or in unique private collections,
like the Ellcsmere. In all cases where it was possible, I have
personally verified my statements, from exemplars, from re-
prints, and from historical and critical literature. I have tried
to avoid errors, but the circumstances make it practically im-
possible that I have succeeded wholly.
I do not list the many authorities that have helped me to
annotate these Elizabethan Translations from the Italian. All
sources of information are given in the notes, and the notes are
carefully indexed. It is intended that the index should serve
as a bibliography of sources.
In course of time, I hope to publish my researches on the
Italianate English plays. That was my original quest, and it
has gone on pari passu with this study which now sees the light.
MARY AUGUSTA SCOTT.
SMITH COLLEGE,
June 1, 1916.
68
69
70
71
7
73
74
75
76
77
78
79
8O
81
8
83
85
86
87
88
89
90
91
9
93
94
95
96
97
98
99
100
101
INDEX
1630
163
163
1635
1655
1635
1640
1647
165
1653
1654
1660
OF TITLES, WITH
Wit and Mirth
The Fortunate, the Deceived, and the
Unfortunate Lovers
Eromena
Donzella desterrada
Coralbo
The Arcadian Princesse
The Sack-Full of News
The Divell a married man
Choice Novels and Amorous Tales
Nissens
Dianea
Arnaldo, or the Injur'd Lover
TRANSLATORS xxi
John Taylor, the Water Poet
James Hayward
James Hayward
A.G.
Richard Brathwaite
Sir Aston Cokayne
T.S.
1560
[15657l
1567
1576
[1581]
1585
1586
1587
1588
1590
1591
1591
1591
159
1594
1594
1595
1595
1596
1597
1597
1597
1597
1597
II. POETRY
The Zodyake of Lyre
The Tryumphes of Petrarch
The
The
The
turie of Love
Amyntas
Albion's England
The Lamentations of Amyntas
Musica Transalpina
Italian Madrigalls
Orlando Furioso
Barnabe Googe
Henry Parker, Lord Morley and Mount-Eagle
Eglogs [of Baptist Mantuan] George Turberville
Schoolemaster Thomas Twyne
Hecatompathia or Passionate Cen-
Thomas Watson
Thomas Watson
William Warner
Abraham Fraunce
Nicholas Yonge
Thomas Watson
Sir John Harington
The Countess of Pembroke's Ivyehurch
Complaints
Amintae Gaudia
Godfrey of Bulloigne
Madrigalles to four Voyces
The First Booke of Balletts
The First Booke of Canzonets
Diella
Canzonets
Laura. The Toyes of a Traueller
Madrigals to three, four, five or six
Voyces
Two Tales
Certaine Worthye Manuscript Poems
Abraham Fraunce
Edmund Spenser
Thomas Watson
Richard Carew
Thomas Morley
Thomas Morley
Thomas Morley
Richard Lynche
Thomas Morley
Robert Torte
Thomas Weelkes
Robert Torte
J.S.
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
INDEX OF TITLES, WITH TRANSLATORS
[15897] Freewyl
1602 I1 Pastor Fido
1610 Honours Academie
1615 Albumazar
16.8 Aminta
1630 Ignoramus
1632 Roxana
1636 Lahyrinthus
1637 Pleasant Dialogues
1647-48 Ii Pastor Fido
1655 Filli di Sciro
1658 Trappolin Suppos'd a Prince
1658 La Fida Pastora
1660 Aminta
1897-98 The Buggbears
1906 Victoria
1909 Hymenus
1910 Laelia
ooo
Henry Cheke
. . Dymock
Robert Torte
Thomas Tomkis. or Tomkys
Henry Reynold
George Ruggle
William Alabaster
Walter Hawkesworth
Thomas Heywood
Sir Richard Fanhawe
Sir Aston Cokayne
Sir Richard Fanshawe
John Dancer
Johannes Jeffere
Abraham Fraunee
159
160
161
163
164
165
166
167
168
169
170
171
17
IV. lV ETRICAL ROMANCES
1555
1562
1562
1565
Dares
Romeus and Juliet
Titus and Gisippus
The Historie of John Lord Mandozze
[1565-6671 Ario&nto and Jeneura
1569
[15707|
1157071
1570
1576
1576
1609
1639
1640
Nastagio and Traversari
The Crueltie of a Wydowe
Cymon and Iphigenia
Gaulfrido and Irnardo
Violenta and Didaeo
Tragical Tales
The Italian Taylor and his Boy
Arnalte and Lueenda
Patient Grisel
John Lydgate
Arthur Broke
Edward Lewicke
Thomas de la Peend
Peter Beverley
Christopher Tye
John Goubourne
T.C.
John Drout
Thonms Achelley
George Turberville
Leonard Lawrence
173
174
175
1547
1548
1549
V. RELIGION AND THEOLOGY
Five Sermons by Bernardino Ochino
Sermons of the ryght famous Master
Bernardine Ochine
A Tragedie or Dialoge of the Primacie
of the Bishop of Rome
John Ponet (Poynet)
xxiv
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
INDEX OF TITLES, WITH
[1550 ]
[15507]
[1550 ]
1550
1550
1550
1564
[1566]
1568
1568
1569
1576
1576
1576
1576
[1580 ]
1580
1583
1584
1585
[160071
1606
1606
1606
1608
TRANSLATORS
A discourse or traictise of Peter Martyr
Vermill
Certayne Sermons by Bernardino Ochino
Fouretene Sermons by Bernardino
Ochino
The A]caron of the Barefote Friers
An Epistle [from Peter Martyr to the
Duke of Somerset]
An Epistle of the famous Doctour Ma-
thewe Gribalde
Most fruitful] and learned Commenta-
ries [on the Book of Judges]
Nicholas Udall
Anne Cooke
Thomas Norton
Edward Aglionby
Pasquine in a Traunee William Phiston (Fiston)
The Fearful] Fansies of the Florentine
Couper William Barker (Bercher)
Most learned and fruitful] Cornmelta.
ries [on the Romans] Henri Bullinger
Most Godly Prayers Charles Glemhan
The Droomme of Doomes Day George Gascoigne
The Mirror of Mans Lyre Henry Kerton
An Epistle for the godly Bringing up of
Children W.L.P.
A brief Exposition of the XII Articles
of our Fayth T.P.
A brief Treatise concerning the use and
abuse of Dauncing I.K. or T. K.
Certaine Godly and very profitable ser-
mons William Phiston (Fiston)
The Common Places of Doctor Peter
Martyr Anthony Martin
The contempte of the world and the
vanitie thereof G.C.
A Letter lately written from Rome, etc. John Florio
How to meditate the Misteries of the
Rosarie
A full and satisfactorie answer [to Pope
Paul V]
A Declaration of the Variance [between
Pope Paul V and the Venetians]
Meditations uppon the Passion
A true copie of the Sentence of lhe high
Councell of tenne
Newes from Italy of a second Moses
John Fenn
01 1608 William Crashaw
xxviii INDEX OF TITLES, WITH TRANSLATORS
288 1642
289 1659
290 1660
291 1666
Select Italian Proverbs Giovanni Torriano
Proverbs English, French, Dutch, Ital-
ian, and Spanish N.R.
Choice Proverbs and Dialogues in Ital-
ian and English P.P.
Piazza Universale di Proverbi Italiani:
Or a Common Place of Italian Pro-
verbs
Giovanni Torriano
292
293
296
97
298
299
300
301
305
303
304
305
306
307
308
309
310
Sll
IX. VOYAGES AND DISCOVERY
1555 The [three] Decades of the newe worlde
or west India
1577 History of Tranayle in the West and
East Indies
1577 Of theViages of... S[ebastian] C.[abot]
1577 Certaine reportes of the province of
China
1577 The Travels of Lewes Vertomannus
1612 De Nouo Ore, or The Historie of the
west Indies
1580 A Shorte and briefe narration of the Two
Navigations
1585 Divers voyages touching the discoverie
of America
1582 Discoverie of the isles of Frisland
1585 Relation of J. Verrazano of the land
discovered by him
1588 The Voyage and Travaile of M. C.
Frederick
1589 Principall Navigations, Voiages and Dis-
coverie of the English nation
1597 A Reporte of the Kingdome of Congo
1600 A Geographical Historie of Africa
1601 The Travellers Breviat
1603 The Ottoman of Lazaro Soranzo
1608 Relations of the most famous Kingdoms
and Commonweales
1625 Purchas his Pilgrimes
1625 Indian Observations gathered out of the
letters of N. P. [Nicolb Pimenta]
1625 The first Booke of... M. P. [Marco
Polo]... his Voyages
Richard Eden
Richard Willes
Richard Eden
Michael Lok
John Florio
Richard Hakluyt
Thomas Hickock
Richard Hakluyt
Abraham Hartwell
John Pory
Robert Johnson
Abraham Hartwell
Robert Johnson
Samuel Purchas
INDEX OF TITLES, WITH TRANSLATORS xxxi
369
370
371
1663
1664
1664
1676
History of the Wars of Italy
Henry Carey, Earl of Monmouth
A new Relation of Rome
Rome exactly described
The History of France
Giovanni Torriano
Giovanni Torriano
William Brent
372
373
374
375
376
877
378
$79
380
381
882
383
384
885
386
387
388
389
390
391
392
393
394
1561
[15651
1570
1573
1575
1576
1616
1663
1577
1579
1585
1586
1586
1595
1598
1600
1603
1605
1606
[1606]
1607
1637
1904-05
XI. MANNERS AND MORALS
The Courtyer of Count Baldessar Cas-
tilio
The boke of Wisdome
The Morall Philosophie of Doni
Cardanus Comforte
Golden Epistles
Galteo of Maister John dell Casa
The Rich Cabinet
The Refin'd Courtier
The Court of Civil] Courtesie
Physicke against Fortune
The Worthy Tract of Paulus Iovius
The ciui]e Conversation of M. Stephen
Guazzo
A choice of Emblemes
Nennio, Or A Treatise of Nobility
Hecatonphila. The Arte of Loue
The Hospitall of Incurable Fooles
A Dialogue full of pithe and pleasure
The Dumbe Divine Speaker
A discourse of Civill Life
Problemes of Beautie
Ars Aulica or the Courtiers Arte
Curiosities: or the Cabinet ot Nature
The Nobility of Women
Sir Thomas Hoby
John Larke
Sir Thomas North
Thomas BedingfieM
Sir Geoffrey Fenton
Robert Peterson
Thomas Twyne
Samuel Daniel
Bartholomew Young
Geffrey ,Vhitney
WiLliam Jones
Edward Bldunt
Nicholas Breton
A.M.
Lodowick Bryskett
Samson Lennard
Edward Blount
R. Basset
William Barker (Bercher)
395
396
397
398
1566
[15807]
ITALIAN AND LATIN PUBLICATIONS IN
ENGLAND
ITALL (155ft-1645)
I1 Pellegrino Inglese William Thomas
Cathechismo Michael Angelo F]orio
Espositione... sopra un libro intitolato
Apocalypsis, etc. Giovanni Battista AgnelIo
Una essortazione al Timor di Dio lacopo Aconcio (Concio)
460
461
4,63
465
466
INDEX OF TITLES, WITH TRANSLATORS
M. A. de Dominis.,. suae Profectionis
1616
Consilium exponit.
1617-58 Re Republica Ecc]esiastica
1619 Apologia Equitis Lodovico
contra Calumniatores suos
1620 Historiae Concilii Tridentini llbri octo Sir Adam Newton
1626
1629
1631
Marco Antonio de Dominis
Petrucci
Petruccio Ubaldini
William Bedell
Pietro Sarpi
Alberieo Gentili
Famiano Strada
Emmanuele Te, suro
1637
lnterdicti Veneti Historia
De Ludis Scenic/s EpLstolae Duae
F. Stradae Romani... Prolusiones
Academicae
1t. P. E, Thesauri.,, Caesares
THE ITALIAN RENAISSANCE IN ENGLAND
THE ITALIAN RENAISSANCE IN ENGLAND
I
IN 1569, Edmund Spenser, just leaving the Merchant
Taylors' school, published anonymously Petrarches Visions.
It iu a significant illustration of the general interest in Italian
literature during the reign of Queen Elizabeth that a schoolboy
in his seventeenth year should try his 'prentice hand' by trans-
lating an Italian poet. A little more than a score of years
before, Elizabeth herself, a studious girl of twelve years, trans-
lated from English into Latin, French, and Italian, a collection
of Prayers and Meditations, and dedicated them to her royal
father, Henry VIII. The young prineess's Italian exercise-
book, neatly written on fine vellttrn, and an Italian letter to
Queen Catherine Parr, dated 81 July, 1544, confirm the state-
ment of Pietro Bizari, the historian and poet, that she was well
taught,- "She is a perfect mistress of our Italian tongue, in
the learning of which signior Castiglioni was her principal
master."
Various anecdotes show that Queen Elizabeth retained the
'perfect readiness in Italian as well as Latin, French, and
Spanish' to which Roger Aseham testifies in The Soholemaster.
Allinga, envoy of the Duke of Wiirttemberg, sent to negotiate
a marriage between Elizabeth and the Archduke Charles,
reports a conversation he had with the coveted bride. The
Queen demurred to the marriage on account of difference of
manners. The envoy sought to minimize her objection by
asserting that 'the Archduke could not be other than the pink
of courtesy, because the Wilrttembergers modelled themselves
somewhat on Italy'!
"That," said Elizabeth, "is charming. I love the manners
and ways of Italy; I am half Italian myself (me semble que je
ITALIAN RENAISSANCE IN ENGLAND xli
the middle ages. Painter introduced to Englishmen, Boccaccio,
still the best teller of shot stories the world has ever known,
together with Boccaccio's greatest imitators, Queen Margaret
and Bandello. The novelle of Ser Giovanni, Masuccio, and
Straparola were almost as well known. Indeed, just as in Italy
the Decameron was followed by imitations from every impor-
tant Italian press, so from the Englishmen of Elizabeth's day,
alive to new impressions of all sorts, and eager for stories like
children, the demand for novels was excessive. Translations of
stories from the Italian and French poured forth from the busy
printers. Ascham says they were "sold in every shop in Lon-
don," and deplores their effect in the marring of manners. A
flourishing trade in "best sellers" naturally produced imitators,
of whom the most successful were Robert Greene and Emmanuel
Ford. Greene's novels were all modelled on the Italian, and
they were so popular that Thomas Nash says of them, "glad
was that printer that might bee so blest to pay him deare for
the very dregs of his wit." Boccaccio, by Greene's time, had
become so familiar to the Elizabethans that in 1587 Archbishop
Whitgift authorized an Italian edition of I1 Decamerone, and
the bishop of London a translation of L'Amorosa Fiammetta.
Watson's Passionate Centurie of Love is interesting as a con-
scious study of Petrarch and the Petrarchists by a clever poet,
but the century of sonnets are not sonnets at all, and of
Petrarch, excepting these and other individual sonnets, it is
only the Septem Psalmi Poenitentiales and the Trionfi that get
translated. Sannazaro was much better liked by the trans-
lators han Petrarch. Sannazaro's Arcadia, the prototype of
Sir Philip Sidney's Arcadia, Greene's Perimides the Blacke-
Smith, and like collective romances, was reprinted more than
sixty times during the sixteenth century. It is a cantefable,
or prose-poetical romance, a literary form that appealed at
once to the almost unerring nstinct of the Elizabethans in
recognizing a story wherever found, and to their extraordinary
lyrical gift, which Shakspere shared with more than three
hundred lesser poets.
xlii ITALIAN RENAISSANCE IN ENGLAND
Petrarch sheds a glowing light upon the Renaissance, but as
a poet he belongs to the company of Dante. When the Italian
Renaissance reached Elizabeth's England, it was Boccaccio
who led the way and Ariosto who was its poet. To put it in
another way, although the sixteenth century in English litera-
ture corresponds in a sense to the thirteenth of the Italian, yet
it is the Italian writers from Boccaccio to Tasso who produced
the most profound impression on the Elizabethans. Italian
novelle, rich in story and song, precede the Elizabethan drama and
are embedded in it. Some of the playwrights, like Greene and
Munday, were men of travel, "Italianated" Englishrnen, who
returned home with their heads full of the ideas and culture of
the south. Ford and Marston do not hesitate to introduce
Italian dialogue into their plays, for many of the dramatists
were university men, and the Italian language was studied at
Oxford and Cambridge along with Latin and Greek. The
scholarly Ascham, inveighing against the Italian leanings of his
countrymen, in The 8cholemaster, yet confesses, -- " not be-
cause I do contemne either the knowledge of strange and
diverse tonges, and namelie the Italian tonge, which nexte the
Greeke and Latin tonge I like and love above all others."
Spenser, in his dedicatory epistle to Sir Walter Ralegh pre-
fixed to The Faerie Queene, ranks Ariosto and Tasso with
Homer and Vergil. Marlowe was remembered, even by Shaks-
pere, not as the author of The Tragical tstory of Doctor Faustus
and Edward II, but of Hero and Leander, a poem written in the
most perfervid Italian manner. Shakspere's own Venus and
Adonis was more popular in its day and generation than
Hamlet, if we may judge by the evidence of editions.
Protests against Italianization were frequent and were
penned both by the Italianate travellers, who may be supposed
to have written from experience, and by the stay-at-homes who
were yet unable to escape the infection they tried to avoid.
Stephen Gosson, moved to write a Puritan tract against the
stage, entitled it, with wholly unconscious humor, Plays Con-
futed in Five Actions. Gosson's opinion of plays is roundly put,
xlvi ITALIAN RENAISSANCE IN ENGLAND
The effect of the translations was two-fold, on language and
in literature, both of which were influenced for all time. Just
how the translations of Elizabeth's lifetime affected the Eng-
lish language that produced Shakspere's greatest plays, Bacon's
Essays, and the Authorized Version of the Bible during the
reign of her successor, cannot be entered upon here. That they
did affect it profoundly no one can doubt who is familiar with
Elizabethan English, its fluency and fluidity, its interest in
words, in comparison of ways of saying things in different great
languages, its trying out of expression, its turn for phraseology,
its phrasing, which in Shakspere's case no one has ever been
able to imitate. From the point of view of language, Richard
Hakluyt's The Principall Navigations, Voiages and Discoveries
of the English Nation, has been aptly described as "the great
Elizabethan bible of adventure." The language of the trans-
lators is the English the Elizabethan navigators carried around
the world. English as a world language began with Drake and
Ralegh.
Again, the number and the general average of excellence of
the Elizabethan translations had the happy effect of fixing
English prose and English poetry. Much of the prose of the
translators is uncertain in touch and rugged in quality, but
some of it is of the very highest quality the English language
is capable of. This was written by Thomas :North, Thomas
Danett, Philemon Holland, William Adlington, and Thomas
Underdown, who established a tradition of distinguished prose.
They are the forerunners in English of the simplicity and dig-
nity and august severity of the prose of the Authorized Versizn
of the Bible.
So far as poetry fulls the definition of Keats,-
The great end
Of poesy, that it should be a friend.
To soothe the cares and lift the thought of man,
the translations more than satisfy the test. In English poetry,
they stretch away out before the Elizabethans and long after
them. They recall Chaucer and Gower and Gascoigne and
ITALIAN RENAISSANCE IN ENGLAND xlvii
Turberville and Watson and Fairfax and Fletcher and Spenser
and Shakspere and Dryden and Pope and Goldsmith and
Byron and Keats and Tennyson, most of them seated with the
immortals and all of them poets who have 'lifted the thoughts
of man.'
The translators are a characteristic Elizabethan group.
Some of them were gentlemen of birth who were educated at
Oxford or Cambridge. A considerable number, which includes
Crashaw, Daniel, Greene, Drummond, Gascoigne, Howell, and
Milton, were 'Italianated' travellers, whose literary work re-
flects a personal "knowledge of foreign lands. Queen Elizabeth's
liking for men in her service, who had 'learned the languages'
and knew at first hand the foreign countries she had to deal
with, and never herself saw, is well-known. William Painter
held the important post of clerk of the ordinance and armory;
/lohn Astley was master and treasurer of the Queen's jewels
and plate; Edward Hellowes, translator of Guevara, was groom
of the leash; Anthony Martin, long in service, was successively,
gentleman sewer of the Queen's chamber, keeper of the royal
library, and cupbearer; Thomas Bedingfield, an industrious
translator, had privilege but not much money, as a gentleman
pensioner of the Queen. Other translators were employed in
diplomatic service. Spenser was in exile and unhappy in Ire-
land, but Sir Geoffrey Fenton spent all his life in the turbulent
island, and, next to Sir Henry Sidney, was the best Irish admin-
istrator Elizabeth had. Sir Thomas Hoby was ambassador to
France, while Sir Henry Wotton was probably the ablest
diplomat of the Elizabethan age.
Nathan Drake, in Shakespeare and His Times, gives a list of
two hundred and thirty-three English poets who were Shak-
spere's contemporaries, dividing them into forty major and one
hundred and ninety-three minor poets. The list, large as it is,
may be extended from the song-books, ballads, and prose-
ITALIAN RENAISSANCE IN ENGLAND liii
English, the most imaginative age of the English people. All
over Elizabethan society- in dress, speech, manners, amuse-
ments, pageants, masques, and plays, imagination played and
glowed. Poetry to the Elizabethans was simply the transfer-
ence into language of the common facts of life. Charles Lamb
called it "visible poetry."
In Elizabethan phraseology color and melody and distinc-
tion flash out in the most unexpected places. The flash is not
directly due to imagery, although it may be influenced by it.
The distinctiveness of Elizabethan phrase looks simple, it is in
fact perfect art in putting words together. Sir Thomas M:ore's
domestic consolation, put in words so unexpected and so fine,
may be matched by many a jewel of speech in Bacon's Essays,
great thought, faultlessly expressed, like God Almighty first
planted a garden. Bacon's imagination rarely soars; it hovers
near earth, well within the range of practical experience. Even
the obscure Elizabethan does not use words as counters, one as
good as another. Rather, as he would say, he writes our Eng-
lish speech "with a difference." When Claudius Holyband
dedicates The Italian Schoole-maister "To the most vertuous
and well given Gentleman :Maister 3hon Smith," the very
spelling' Jhon,' with the displaced 'h' struggling for life, seems
to confer distinction on plain lohn Smith.
Another characteristic of Elizabethan phraseology is its turn
for sweet names. A romance is called A Posie of Gilloflawers;
an anonymous sermon appeals to the unwary as, A Dh, ine Herb-
all, or The Prayse of Fertility. A grammar is correctly said to
be The Enemie of Idlenesse, and chess is described as The pleas-
aunt and wittie playe of the Cheasts, which it just is.
The English love of gardens is reflected by Robert lones, who
calls a song-book, The Muses' Garden of Delighls. A yres or
Phantasticke Spirites arrests attention, but hardly suggests a
collection of madrigals. Alliteration, more or less musical, was
often employed in fetching titles, sometimes with startling
effect. Dyers Dry Dinner is a good name for a temperance
cookery-book, but Fioravanti's I1 Reggimento della Peste, 'regi-
liv ITALIAN RENAISSANCE IN ENGLAND
men against the plague,' suffered a sea-change indeed, when
John Hester, a distinguished Elizabethan chemist, gave it the
merry title of A Joyfull Jewell. One musical title, "linked
sweetness long drawn out" in alliteration and assonance occu-
pies a distinguished niche by itself. William Hunnis was one
of the minor poets, who had twelve pieces of verse in The
Paradyse o.f Daynty Devises and two in England's Helicon.
About 1583, he made a metrical version of the penitential
Psalms, and named it Seven Sobs of a Sorrowfull Soule for Sinne.
The Seven Sobs became a classic, and went through numerous
editions. The book sold so well throughout three generations
that a century after its first appearance the stationers pre-
served the copyright by winning a lawsuit against the Univer-
sity of Oxford.
Sha -kspere's phrasing baffles imitation, but it is not inexplica-
ble. Felicity in the choice of words was a literary gift he shared
with his fellow-poets, the difference, the immense difference,
was that with Shakspere felicity of expression and range of
thought were one whole, and that whole transcendent genius.
The Elizabethan way of saying things was the inheritance of
Italy, and in Italy it goes back to the word pictures of Dante.
Dante's style leaves an indelible impress on the mind by its
union of two Dantean qualities, observation so keen and so
intense that it seems to see the very heart of things, and austere
economy in the use of words, every word contributing its just
proportion to the artistic effect intended.
Compare for a moment Dante's beautiful description of eve-
ning which opens the second canto of the Inferno, with the
Elizabethan touch of Shakspere,-
Lo giorno se n'andava, e l'aer bruno
Toglieva gli animai, che sono in terra,
Dalle fatiche loro; ed io sol uno.
Macbeth says,-
Light thickens, and the crow
Makes wing to the rooky wood.
I L" Inferno, r, 1-S. Macbeth, m, .
ITALIAN RENAISSANCE IN ENGLAND Iv
In the eighteenth, century, so finished a poet as Gray re-
quired four lines to express the idea of gathering darkness
and the home-coming of man and beast,-
The curfew tolls the knell of parting day,
The lowing herd wind slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me. t
Gray's thought is precisely Dante's, only set in an English
landscape and charged with brooding reflection.
Compare also Dante's frosty February morning,-
In quella parte del giovinetto anno,
Che "l Sole; crin sotto rAquario ternpra,
with Shakspere's
It is a npping and an eager air a
of the ghost scene on the platform at Elsinore.
Embedded in Dante's bitter thought of the Holy Land
negleeted by worldly popes and cardinals, we eome aeross an
exquisite description of the annuneiation at
Naarette,
L dove Gabriello aperse l'ali, 4
whieh touehes the heartstrings like Hamlet's
Absent thee from felicity awhile,
And in this harsh world draw thy breath in pain,"
To tell my story. 6
Dante, Petrarch, Boccaccio, Ariosto, Tasso, all the great
Italian poets are full of scenes whose artistic effect depend not
only upon choice of words, but also upon rhythm, assonance,
subtle modulation of sound. Hear the pounding of hoofs in
Qual esce olwma volta di galoppo
Lo cavalier di schiera che cavalchi 6
The Elizabethan poets were fond of such onomatopoetic effects.
Describing the tossings of sleeplessness, Shakspere pours out
Elegy written in a Country Churchyard, 1-4.
L" Inferno, xxxv, 1-2. Hamlet, x, 4.
ll Paradiso, xx, 137-38. Hamlet, v, 2.
II Purgatorio, xxav, 94-95. "
ITALIAN RENAISSANCE IN ENGLAND lix
James 1. Under royal favor, and without the consent of
Father Paul, he published the Historia del Concilio Tridentino
(London, 1619), with editorial notes of his own. In 16% De
Dominis retracted in London all that he had written against
the old religion, and in November of the same year he recanted
Protestantism in Rome. The recantation was Englished, ap-
parently at Douay, in 168, and was retranslated as late as
1827, with the title, My Motives for renouncing the Protestant
Religion. Contemporary English opinion of De Dominis is
expressed in Bishop Neile's book of 164 called, M. A. De
Dorninis, Archbishop of Spalatro, h-is Shift.ings in Religion. A
Man for Many Masters. Thomas Middleton ridiculed him in
his allegorical play of the same year, A Game at Chess, as the
"Fat Bishop," the "balloon ball of the churches."
The most distinguished Italian Protestant was Pietro
hlartire Vermigli who had been an Augustine friar. Peter
Martyr occupies a large space in the early history of the Eng-
lish Church. He wrote commentaries on some of the principal
books of the Bible, and several treatises on dogmatic theology,
and at one time ranked next to Calvin as an expounder of
Protestant doctrine. Archbishop Cranmer made him professor
of ecclesiastical law at Oxford, and some of the ablest Anglican
divines learned theology at his feet, among them Archbishop
Grindal, Bishops Jewel and Ponet, and Dean Nowell.
Like Vermigli, Alberico Gentili came of an ancient and noble
Italian family. Having become a Protestant, Gentili went to
England, and was entered at New Inn Hall, Oxford, in 1580.
He seems to have been a man whose social qualities were as
brilliant as his learning was profound. He was the friend of
Sir Francis Walsingham, Sir Philip Sidney, Sir Henry Wotton,
Sir Thomas Bodley, and other great Elizabethans, and was
patronized by both the Earl of Leicester and the Earl of Essex.
In 1587, Queen Elizabeth made him professor of civil law at
Oord. His writings, which are in Latin, constitute the earli-
est systematic digest of international law that exists.
Two Italian sceptics, Giulio Cesare Vanlni, who had been a
ITALIAN RENAISSANCE IN ENGLAND
Carmelite friar, and Giordano Bruno, took refuge in England
from religious bigotry, and leaving there both became martyrs
to the cause of freedom of belief and speech. Among the Italian
works published in London are seven books, which were writ-
ten by Bruno between 158:3 and 1585, while he was living in
the household of :Michel de Castelnau de la Mauvissi6re,
French ambassador to England. They are all philosophical
books, for Bruno, who had been a Dominican friar, had at last
found at Elizabeth's court what he had sought for in vain at
Geneva, philosophical liberty, 'libertas philosophica,' to use his
own words. Bruno was the greatest Italian thinker of the
Renaissance, and as such he had attracted Sir Philip Sidney,
who met him during his travels in Italy, probably in Milan.
In the house of the cultivated French ambassador, Bruno re-
newed the acquaintance, and came to know the group of famous
Englishmen who moved in Sidney's scholarly circle, Fulke
Greville, Sir Edward Dyer, Spenser, Gabriel Harvey. La Cena
de le Ceneri is an Ash Wednesday conversation, dedicated to
the French ambassador. It is an account of the evening of 18
February, 1584, when Bruno was invited by Fulke Greville to
meet Sidney and other friends in order that they might hear
'the reasons of his belief that the earth moves.'
The discussion was followed by others, for the company seems
to have resolved itself into a philosophical club. "We met,"
Bruno says, "'in a chamber in the house of Mr. Fulke Greville,
to discuss moral, metaphysical, and natural speculations."
VH
In science, the Italians led in medicine, especially in anatomy,
as is shown in these translations by George Baker's edition of
Giovanni da Vigo's Practica in arte chirurgica and John Hall's
Chirurgia parva Lanfranci, Lanfranke of Mylayne his briefe.
Nicholas Ferrar's Hygiasticon: or, the right course of presen, ing
Life and Health unto extream old Age, translates Luigi Cornaro's
lxii ITALIAN RENAISSANCE IN ENGLAND
similar institutions in Italy and was drawn up by Linacre, who
became first president and held that office until his death.
Chambre became censor of the College of Physicians in
A medical adviser of both Queens lIary and Elizabeth was
Cesare Adelmare, father of Sir Julius Caesar, judge of the
admiralty court, long a faithful, ill-paid servant of the crown.
Like Linacre, Adelmare was a graduate both in arts and in
medicine of Padua. He became naturalized, and after five years'
practice in London was elected censor of the College of Physi-
cians. '
Giulio Borgarucci, one of Elizabeth's court physicians, was
brother to Prospero Borgarucci, professor of anatomy in the
University of Padua. He is first heard of as a member of the
Italian branch of the "Strangers' church" in London under
the ministry of Girolamo/lerlito. In 1563, Borgarucci treated
the plague by bleeding, it is said successfully. A device of
his against the plague was the pomo, or ball compounded of
balsamic substances to be carried in the hand and squeezed to
ward off the effects of foul air. In 157, Borgarucci was incor-
porated M.D. in the University of Cambridge, and in the fol-
lowing year he was made physician to the royal household for
life. Borgarucci was also physician to the Earl of Leicester,
who was accused of using his physician's knowledge of poisons
on persons who obstructed his way.
Dr. Jasper Despotine was a Venetian physician, who, be-
coming a Protestant, was encouraged to go to England by
William Bedell, chaplain to Sir Henry Wotton. Bedell helped
to settle Dr. Despotine in Bury St. F_xlmunds, where he prac-
tised medicine.
A distinguished Italian physician who visited England dur-
ing the reign of Edward VI was Girolamo Cardano, whose De
Consolatione was translated by Thomas Bedingfield as Carda-
nus Comforte, "And published by Commaundement of the
Right Hon. the Earl of Oxford." Cardano is most celebrated
for his discoveries in algebra, and especially by "Cardan's
formula" for solving equations of the third degree (which it
lxiv ITALIAN RENAISSANCE IN ENGLAND
The Alchemist had once for all satirized that Elizabethan rogue
out of court.
Military tactics the Elizabethans called an art, and they
learned it from Machiavelli, Tartaglia, and Cataneo. Federico
Grisone and Claudio Corte taught them horsemanship, an
important part of a gentleman's education. Vincentio Saviolo,
who suggested to Sha-kspere the immortal Touchstone, con-
ducted a fencing-school in London, "which he called his col-
ledge, for he thought it great disgrace for him to keep a fence-
schoole, he being then thought to be the only famous maister
of the arte of armes in the whole world."
Epulario or The Italian Banquet is a Venetian cookery-book.
Etrulario contains a diverting recipe that illustrates the nursery-
rime of "Sing a song of sixpence." Fancy the romantic Eliza-
bethans being instructed from Venice how "to make Pies that
the Birds may be alive in them, and fly out when it is cut
up["
Fynes Moryson in his Itinerary (1617) agrees with Montaigne
in praise of Italian abstinence in eating and of the daintiness
with which the Italians served food. Coryat picked up the
information that the Guelf laid his plate with the knife, fork,
and spoon to right, while the Ghibelline wished to find his spoon
at the top of his plate. Ben Jonson on Italian table manners is
satirical, --
Then you must learn the use
And handling of your silver fork at meals,
The metal of your glass; (these are main matters with your Italian.) t
The Jerusalem artichoke is an Italian vegetable that was
distributed over Europe, after 1617, from the Farnese garden
in Rome. It has nothing to do with Jerusalem, but is the arti-
choke that 'turns with the sun,' girasole articiocco, blany Ital-
ian gardens served as receiving stations for foreign plants and
flowers in the process of European acclimatization. The coin-
cidences between passages in The lnter's Tale and Bacon's
essay Of Gardens may be explained by the fact that both Shak-
t Volpone, or The Fox, rv, 1.
ITALIAN RENMSSANCE IN ENGLAND lxv
spere and Bacon could have known some flowers then newly
imported, such as the crown imperial, only in the Strand gar-
dens of the great nobles of Elizabethan London.
VIII
The English had everything to learn from the Italians in the
fine arts, and during the long peace brought about and main-
tained by three able Tudor sovereigns, architecture, sculpture,
and painting flourished. Sir Henry Wotton, twice English
ambassador to Venice, was an early lover and collector of
works of art; in his will, he bequeathed pictures, his viola da
gamba, and Italian locks and screws. But the "Father of Vertu
in England," as Horace Walpole named him, was Thomas
Howard, second Earl of Arundel, in whose house at Highgate
Bacon died. Howard began his career as an art collector on his
first visit to Italy in 1609. He is credited with having first dis-
covered the talent of Inigo Jones, who had been sent to travel
"over Italy and the politer parts of Europe" at the expense of
William Herbert, third End of Pembroke. Both Herbert and
Howard employed Jones to buy works of art for them, and
Howard's collection of pictures, marbles, gems, and other art
objects, brought together at Arundel House, London, was the
first large art gallery in England. Inigo Jones had gone to Italy
to study architecture, and while there he became interested in
the elaborate Italian dramatic performances, which demanded
the skill of painter and sculptor as well as of playwright and
musician. This form of entertainment passed into France,
where it was called le ballet d'action. In London, Jones associ-
ated himself with Ben Jonson, and in the hands of these two
masters the ballet d'action developed into the masque with
shifting scenery. In so far as the masque was pageantry, more
or less loosely supplied with words, it did not survive the
Elizabethan age, but the use of shifting scenery has become so
great that a modern play as mere spectacle is likely to be more
plcasing to the eye than satisfactory to the intclligence.
lxvi ITALIAN RENAISSANCE IN ENGLAND
The first Italian of note to carry his art into England was
Pietro Torregiano, the sculptor who broke Michelangelo's nose.
"Peter Torresany" went to England with some Florentine
merchants and entered the service of Henry VII. His English
masterpiece is the beautiful tomb of Henry VII in Westminster
Abbey, which Bacon described as "one of the stateliest and
daintiest monuments of Europe." Other Itahan artists who
were employed by Henry VIII, and whose taste exerted great
influence upon architecture and upon the apphcation of sculp-
ture and painting to architecture were Trevisano and Antonio
Toto. Girolamo di Pier Maria Pennacchi, called Girolamo da
Treviso, or Trevisano, was an architect and engineer who is
said to have introduced terra-cotta or moulded brick-work for
ornaments. Antonio Toto, son of Toto del Nunziata, and Barto-
lommeo Penni were painters, and all three of these artists were
pupils or of the school of Raphael. Vasari says that Toto del
Nunziata worked on the King's "principal palace," probably
Nonsuch Palace, near Cheam, in Surrey. Benedetto da Rovez-
zano, an able Florentine sculptor, began a tomb for Cardinal
Wolsey in St. George's Chapel, Windsor, which Henry VIII
quietly appropriated for himself after the fall of Wolsey, and
then employed Rovezzano and Giovanni da Majano to finish
it. The famous terra-cotta medallions of the Caesars at
Hampton Court were made by Giovanni da Majano.
The old manor-house of Sutton Place, Guildford, and Layer
Marney Hall, Essex, built by Sir Henry Marney, captain of
the guard to Henry VIII, are fine examples of Itahan Tudor
architecture. Its characteristics are decorative details in terra-
cotta or moulded brick-work, bass-reliefs fixed upon walls,
plasterwork laid over brick walls (sometimes painted), and
square bricks of two colors, highly glazed and placed in diagonal
lines as at Layer Marney.
The Italian artists employed Englishmen to work out their
designs, and Elizabethan architecture shows that while English
craftsmen never acquired skill in the Italian arts of design, they
were very clever in adapting Italian ideas to Enghsh building
Ixviii ITALIAN RENAISSANCE IN ENGLAND
When Bohover's hit frame shall tead
Like Oldcoates to its destined end,
When Chatsworth knows no Candish bounties.
Let fame forget this costly countess.
Walpole attributes Bess of Hardwick's zeal in building to a
prediction that she should not die so long as she was building.
She lived to be ninety, and died 13 February, 1607/08, "in a
hard frost while her builders could not work." Her estates
were estimated at sixty thousand pounds a year, an income
she herself acquired, partly by her business ability and partly
by her skill in match-making. Sir William Cavendish, her
second husband, was the father of her children. Her second
son founded the dukedom of Devonshire, and her third son,
the dukedom of Newcastle, while she married her daughter,
Elizabeth Cavendish, to Charles Darnley. Through this match
Bess of Hardwick became grandmother to Arabella Stuart.
It is one of the tragedies of art that there is no great portrait
of any great Elizabethan. Paolo Veronese painted a portrait of
Sir Philip Sidney, in 1574, for Hubert Languet, and we know
that Languet thought the expression of the young man of
twenty "too sad and thoughtful." Veronese's portrait of Sid-
ney is unfortunately lost, and of extant pictorial art all the
portraiture of Elizabeth's time falls below the fine work done
by Holbein for HemT VIII and the beautiful pictures in which
Van Dyek makes us see again the people of "the Warres,"
cavaliers with dark careworn faces and the delicate proud
ladies who mated with them.
The best known portrait painter of the period was Federigo
Zuccaro, an Italian refugee, who went to England in 1574 and
remained four years. Zueearo painted historical and decorative
subjects in the facile Italian style that followed the great tradi-
tions of Raphael and Michelangelo. He was not a portrait
painter by profession, nor was he attached to the court, nor
did he stay in England long enough to paint all the portraits
that are attributed to him. Zuccaro painted several portraits
of Queen Elizabeth. The 'Rainbow' portrait of Elizabeth at
ITALIAN RENAISSANCE IN ENGLAND lxix
Hat=field is attributed to him. The full-length portrait of Sir
Walter Ralegh at the age of thirty-four now in the National
Portrait Gallery is by Zuccaro. The Marquis of Bath owns a
Zuccaro portrait of the Earl of Leicester, and a portrait of Sir
Francis .Walsingham by Zuccaro was at Strawberry Hill until
its sale in 18. The Zuccaro portrait of Sir Philip Sidney is
dated 1577. Twenty-one portraits, said to be by Zuccaro, were
brought together in 1866, but in the Illustrated Catalogue of a
Loan Collection of Portraits of English Historical Personages
who died prior to the year 1625, exhibited at Oxford in 1904,
Zuccaro was represented by three portraits only, a portrait of
the Earl of Leicester, owned by University College, and two of
Queen Elizabeth, the one the property of Bodley's Library and
the other belonging to lesus College.
Elizabethan portraits are not distinguished. They are dis-
tinguishable by their wooden faces, stiff figures, and rich cos-
tumes. The wooden faces are explained by the painters' prac-
tice of the time. It was the custom for the painter to make a
drawing from the subject, probably at one sitting only, to-
gether with notes of the coslume and accessories. Then the
portrait was completed on panel in the painter's studio; when
done it could be repeated as often as desired, or even varied by
the painter or his assistants. - .
Elizabethan artists were largely Netherlandish, and it is
clear that they were much more interested in painting the elab-
orate costumes of the personages they portrayed, than in get-
ting at the soul of "the spacious times," which must have been
reflected in their faces. Dress is always more or less indicative
of mental states, and there never has been a time before or since
when there was such sympathy between clothes and the lives
of the people wearing them as during the forty-five years of
the reign of Queen Elizabeth. The picturesque dress of the
Elizabethans is the outward and visible symbol of the romance
in which they lived. This is particularly true of the dress of
men, which was even gayer than that of women. Brightness
of color and smartness in cut came out of Italy, and were criti-
ITALIAN RENAISSANCE IN ENGLANrD lxxl
Ornaments of their Closets. One would think by the Effects,
that it was a proper Way of Educating them, since there are no
Accounts in History of so many truly great Women in any one
Age, as are to be found between the Years 1500 and 1600."
This judgment of the education of women during the Renais-
sance is that of William Wotton, in his Reflections upon Ancient
and Modern Learning (1694). It voices the soundest and the
most far-reaching idea of the sixteenth century, one whose
end is by no means yet, that the new birth was the enlighten-
ment of the human spirit. The great men of the Renaissance
recognized the human spirit in girls as well as boys; they gave
to their sons and daughters the same intellectual training.
What the Renaissance idea of the education of women was, in
theory, we see in the third book of I1 Cortegiano, where Giuliano
de' Medici undertakes to fashion the gentlewoman of the court.
He does it so liberally, imagining such a bright, sweet, brave
creature, possessing "the knowledge of all things in the world,"
together with "the virtues that so seldom times are seen in
men," that one of the interlocutors, Gaspare Pallavicino, won-
ders why he will not have women to rule cities, to make laws,
and to lead armies, while men stand spinning in the kitchen.
Giuliano answers smiling, -- "Perhaps this too were not amiss.
Do you not know that Plato, 'hich was not very friendly to
women, giveth them the overseeing of cities ?"
In practice, organized education of the sixteenth century
was aristocratic and masculine, accessible to the few only and
to men only. Still Elizabethan schools m the universities and
the colleges within them -- by massing teaching and reducing
its cost, did enable some commoners, in favorable circumstances,
to get an education. But all institutions, both of secondary
and higher education, barred their doors to women. That made
the education of women even more aristocratic than that of
men, for only noblemen and families of considerable-means
could afford to employ tutors for girls. The learned ladies of
Elizabeth's time, without exception, were the daughters of
great nobles or of gentlemen of distinguished social position.
ITALIAN RENAISSANCE IN ENGLAND lxxv
In her literary and social influence, the career of the Countess
of Derby in Elizabethan England most nearly reflects that of
Isabella d' Este, Marchioness of 5Iantua, in Renaissance Italy.
A series of most interesting dedications and literary memora-
bilia attest the interest in letters of the Countess of Derby
and her daughters and grandchildren. They also make it clear
that Alice Spencer was a discerning patron of literature, attract-
ing to her men of real genius and holding their allegiance as
long as she lived. In her train, we find Spenser, Milton, Lyly,
Ben Jonson, ]YIarston, John Davies of Hereford, Carew, Henry
Lawes, Inigo Jones, Jeremy Taylor, and Lord Herbert of
Cherbury. Comus was written for the inauguration of her son-
in-law, the Earl of Bridgewater, as President of Wales, and
the original actors were her grandchildren. The foundations
of the great library of Bridgewater House were laid by her
second husband, Lord Chancellor Ellesmere. This library is
still in existence and some of its choicest treasures are the books
personally presented to the Countess of Derby by the Eliza-
bethan men of letters she befriended. In art, one of the most
famous portraits of Shakspere, the Chandos portrait, was
finally preserved for posterity by the family of Alice Spencer.
After a checkered career, this celebrated portrait came into
the hands of James Brydges, third Duke of Chandos, through
whose daughter it passed to her husband, the Duke of Buckg-
ham; the Earl of Ellesmere bought it of the estate of the Duke
of Buckingham, and presented it to the English nation, in 1848.
The Duke of Chandos was a descendant of the Countess of
Derby's third daughter, and the Earl of Ellesmere, of her
second daughter.
Curiously enough, the Countess of Derby's estate of Hare-
field Manor is indissolubly connected with English literature
through the Newdigate Prize for poetry at Oxford University.
Harefield Manor had been in possession of the Newdigate
family or their forebears from time immemorial, when, in 1585,
;lohn Newdigate sold it to Sir Edmund Anderson. In 1601, Sir
Edmund Anderson conveyed Harefield to the Lord Keeper,
lxxvi ITALIAN RENMSSANCE IN ENGLAND
Sir Thomas Egerton, to his wife, Alice, Countess of Derby, and
to her daughters after her. The Newdigates bought the manor
back from the estate of the Countess of Derby's grandson,
Lord Chandos, in 1675. In 1805, Sir Roger Newdigate, fifth
Baronet of Harefield, left a thousand pounds by will to Oxford
University to establish an annual prize for poetry. The Newdi-
gate Prize has been awarded more than a hundred times, and
many of the prizemen have achieved distinction in English let-
ters, John Wilson (" Christopher North"), Dean Milman, Dean
Stanley, John Ruskin, Sir Edwin Arnold. Two of the Newdi-
gates have filled the chair of poetry at Oxford--lIatthew
Arnold and John Campbell Shairp. In 191, the Newdigate
Prize crossed the Atlantic ocean and was won by a Rhodes
scholar from Massachusetts, for a poem on King Richard the
First before Jerusalem. Indirectly the American Newdigate
links the prosaic world we live in to the great poetry of the
Elizabethan age.
The most learned lady of the Russell family was Lucy
Harington, first cousin once removed to Sir John Harington,
and wife of Edward Russell, third Earl of Bedford. Lucy
Harington's patronage of literature began in her girlhood,
when, in 1583, Claudius Holyband, probably her tutor in lan-
guages, dedicated to her his polyglot grammar, Campo di Fior:
or else The Flowrie Field of Foore Languages (Latin, French,
Italian, and English). Ten years later as Countess of Bedford,
she was ' Idea,'
Great Lady, essence o| my chiefest good,
Of the most pure and finest tempred spirit,
who inspired 3Iichael Drayton's Idea: The Shepheards Garland
(159S) and Ideas Mirrour (1594). Drayton was but one of
the many poets, wits, and courtiers who met in her salon at
Twickenham. At the court of James I the Countess of Bedford
was the "cynosure of courtly eyes," her popularity and her
good offices to men of letters continuing unabated during two
reigns. The best writers of her day vie with one another in
singing her praises. Apart from conventional flattery, their
ITALIAN RENAISSANCE IN ENGLAND lxx
teeture the churches of Appleby, Skipton, and Bongate and the
chapels of Brougham, Ninekirks, Mallerstang, and Barden are
of her construction.
Horace Walpole contributed to the World, 5 April, 1753, an
anecdote of Anne Clifford of right Elizabethan ring. When
Sir Joseph Williamson, secretary of state to Charles II, wrote
to her naming a candidate for her pocket borough of Appleby,
Anne Clifford replied,-
"I have been bullied by an usurper, I have been neglected
by a court, I will not be dictated to by a subject; your man
shan't stand.
"Ar DORSET, PEMBROKE AND MONTGOMERY."
A remarkable Elizabethan lady was Dorothy Wadham,
founder of Vadham College, Oxford. She was born Dorothy
letre, eldest daughter of Sir William Petre, whose able diplo-
macy, "smooth, reserved, resolved, yet obliging," served the
English crown through the four reigns of Henry, Edward, Mary
and Elizabeth. After the death of her husband, Nicholas
Wadham, in 1609, Dorothy Wadham, at the age of seventy-
five, determined to found a college in Oxford as a joint memorial
of her husband and herself. By 1613, when Dorothy Wadham
was seventy-nine years old, Wadham College was built and
opened. Dorothy Wadham herself never saw Wadham College,
but from its foundation until her death, in 1618, at the ripe
age of eighty-four, she most effectually controlled the col-
lege.
She retained all power and patronage in her own hands.
Once a year she re-appointed the college offleers, causing all
posts, except that of sub-warden, to rotate. The sub-warden
was a permanent officer, but he was a man of her own choosing
and acted merely as her steward. Through him she distributed
scholarships to her friends and retainers, engaged servants,
and managed Wadham College precisely as if it were a piece
of her personal property, as in fact it was. The letters of
lxxx ITALIAN RENAISSANCE IN ENGLAND
Dorothy Wadham, from 1609 to 1618, are of unusual inter-
est, from the insight they give into Elizabethan domestic
economy. 1
X
The Italian Renaissance was made known to the Elizabe-
thans by more than two hundred and forty English translators,
including directly or indirectly, every considerable writer of
the period. Bacon is not here in English, but his friend, Sir
Tobie Matthew, the most' Italianated' Englishman of his time,
translates the Moral Essays into Italian, and dedicates them
to Cosimo II de' Medici, Grand Duke of Tuscany, eulogizing
his lifelong friend for "having all the thoughts of that large
heart of his set upon adorning the age in which he lived, and
benefitting as far as possible the whole human race." Shak-
spere is not here, but Shakspere is the soul of the romantic
drama, and the English romantic drama not only went to
Italian literature for subjects and ideas, but it borrowed from
the Italian drama much of its machinery,- the chorus, the
echo, the play within the play, the dumb show, the ghosts of
great men as prologue, apparatus in general, and physical hor-
rors ad terrorem. The stories of fourteen Shaksperean dramas
are found in Italian fiction, and several other plays contain
suggestions from it.
The Italian authors translated were practically every nota-
ble Italian author of the Renaissance, on all sorts of subjects.
In discovery and commerce, Columbus was merely the last of
a long line of Italian navigators, who, in the serice of the
western nations, sailed into distant and unknown seas. In
history, translations of the great vernacular Italian historians,
Machiavelli, Guicciardini, and Cardinal Bentivoglio, prepared
the way for the English Hall, Grafton, Stow, and Holinshed.
In politics, Sir Geoffrey Fenton, the Earl of Monmouth, and
The Letters of Dorothy Wadham. 1609-1618. Edited by Rev. Robert
Barlow Gardiner, with Notes and All)endices, 1904.
ITALIAN RENAISSANCE IN ENGLAND Ixxxi
James Howell follow in the footsteps of Pietro Sarpi, Malvezzi,
Botero, and Paruta. Philosophy, through the intrepid spirit of
Bruno, cast off forever the shackles of scholasticism to enter
upon its inheritance from Italy, and it was the England of
Elizabeth that gave freedom of speech to Bruno. The Italian
astronomers reveal the secrets of the skies, and lIilton travel-
ling in Italy, seeks out and visits, at Arcetri, the greatest of
them, "" the famous Galileo, grown old, a prisoner to the Inqui-
sition, for thinking in astronomy otherwise than the Franciscan
and Dominican licensers thought." Teofilo Folengo, Trajano
Boccalini, Paolo Giovio, and Poggio-Bracciolini helped at least
to make known to the more sombre English the sunny smile of
humor and the rapier thrust of wit. In manners, the Italians
of the sixteenth century had all Europe for their pupils. Della
Casa's Galateo is a graceful and intelligent guide to good be-
havior to this day, and II Cortegiano is a classic, the best book
on manners that has ever been written.
Of the foreign influences that contributed to Enghsh thought
during
The spacious times of great Elizabeth,
unquestionably the Italian was the strongest, the keenest, and
the most far-reacking.
ELIZABETHAN TRANSLATIONS
FROM THE ITALIAN
I
ROMANCES
IN PROSE
ELIZABETHAN TRANSLATIONS
Edited, in 1815, by Mr. Samuel Weller Singer. Conybeare
discovered it in the covers of another book, where it had served
as a binder to form the boards. A perfect copy, 28 leaves, folio,
black letter, and dated Nov. , 156, has been found in the
Royal Library, GiSttingen, and was reprinted in 1866, by Dr.
Oesterley.
The allusion in Fletcher is plainly to a jest-book, and Bea-
trice's words are,- "that I had my good wit out of the 'Hun-
dred Merry Tales.' Well, this was Signior Benedict that said
,,
SO.
3. La Fontaine's Le cocu, battu et content. Decameron, v11, 7.
See The Decameron (160).
No. 5, of A C. Mery Talys, the story of the husband who
gained a ring by his judgment, is found in the Ducento Novelle of
Cello Malespini, Part I, Novella 2, printed at Venice, 1609, 4to.
It was used by Webster and Dekker in Northward Hoe (I, 1).
A C. mery Talys is the earliest, and the best, jest-book in
English.
See Certaine Conceyts and Ieasts, and The merry Tales of the
Mad Men of Gottam.
2
[1549.] Tales and quicke answeres, very mery, amt pleasant to
rede.
[Colophon.] Imprinted at London in Flete-strete, in the
house of Thomas Berthelet, nere to the Cundite, at the sygne
of Lucrece. Cum priuilegio. [About 1549.] 4to. Black letter.
4 leaves. Henry Huth owned the only copy known.
Mery Tales, Wittie Questions, and Quicke Answeres. Very
pleasant to be Readde.
Imprinted at London in Fleete street by H. Wykes. 1567.
lOmo. Harleian Catalogue. 140 anecdotes.
Reprinted in the Shakespeare Jest-Books. Vol. I. London.
1864. 8vo. Ed. W. Carew Hazlitt.
The original was printed by Thomas Berthelet,
date (about 1535), 4to and contained 114 anecdotes.
without
ROMANCES IN PROSE
These anecdotes are English, classical, and Italian or French.
I give a list of those manifestly of Italian origin.
23. Of Kynge Lowes of France and the husbandman, which is
taken from Domenichi, "Facezie, Motti, e Burle, di
Diuersi Signori, of Lodoico undecimo re di Francia.
Giraldi. Gli Hecatommithi, vI, 9, tells the story of Fran-
cesco Valesi, primo re di Francia di tal home.
"Lewis the eleventh (of that name) King of France
took notice, and bountifully rewarded a decayed gar-
dener, who presented him with a bunch of carrats."
(John Day, Introduction to The Parliament of Bees,
printed 1641.)
82. The oration of the ambassadour sent to Pope Urban.
37. Of the friere that gave scrowes (scrolls) agaynst the pesti-
lence. Scene, Tivoli.
Poggio, Facetiae, ccxxxIii. De "Brevi" contra pestem
ad collum suspendendo.
38. Of the phisition that used to write bylles older eve.
An Italian physician wrote out his prescriptions before-
hand, and kept a supply by him in a bag. SVhen a
patient came, he would draw one out, and say,-
Prega Dio te la mahdi bona,
"Pray God to send thee a good one."
40.
51.
Poggio, Faeetiae, ccI. Facetu.m medici qui sorte mede-
las dabat.
Of the hermite of Padowe.
Poggio, Facetiae, CXLXX. De eremita qui multas mulieres
in coneubitu habuit.
Of the inholders wife and her ii lovers. Scene, Florence.
Poggio, Facetiae, CCLXVXX. Callida consilia Floren-
tinae foeminae in faeinore deprehensae. Decameron,
vii, 6.
Of hym that healed franticke men. Scene, Italy.
Girolamo Morlino, Novella LXxwI. De Medico qui
eurabat mente captos.
ROMANCES IN PROSE 7
Landi, also, in his Varii Componimenti. Venice. 1552.
8vo. It is a sort of Lear story.
1. Of the Italian friar that should preach before the B. of
Rzne and his cardinals.
The witty friar was Roberto Caraccioli-Caraccioli,
Bishop of Aquino, called Robert Liciens, born 1495.
140. What an ltalyan fryer dyd in his preachyng.
Another anecdote of Robert Liciens.
3
[1550.] The goodli history of the... Ladye Lucres of Scene in
Tuskane, and of her lover Eurialus, etc. [Translated from the
Latin of Pope Pius II.]
[London. W. Copland? 1550 ?] 4to. Black letter. British
jrl/SeUTZ o
The goodly History of the moste noble and beautul Ladye
Lucres of Siene in Tuskan, & of her lover Eurialus, verye pleas-
ant and delectable unto the reder.
Impr. by John Kynge. 1560. 8vo. Black letter. Also, 1547.
12mo. 1669. 1741.
The goodli history of the moste noble and beautifull Ladye
Lucres of Siene in Tuskan, and of her lover Eurialus, verye pleas-
aunt and delectable unto the reder. Anno Domini M.D. tXVXL
Imprynted at London in Louthbury by me Wyllyam Cop-
land. lmo. Black letter. 6leaves. Pepysian.
A boke of ij lovers Euryalus and Lucressie pleasaunte and
Dilectable.
Entered to T. Norton. 1569. Stationers' Register, A.
4
The m[ost] excell[e]n[t] Historie of Euryalus and Lueresia.
[Translated from the Latin of Pope Pius II, by William
Braunche.]
T. Creede . . . solde by W. Barley, London, 1596. 4to.
British Museum.
ROMANCES IN PROSE 9
amusing description. Three English translations were pub-
lished, one before 1550.
"It is a tale of unlawful love, and tells how Lucrece, a mar-
ried lady of Sienna, fell in love with Eurialus, a knight of the
court of the Emperor Sigismond. It is, we are told, a story
of real life, under fictitious names." (Jusserand, The English
Novel in tl Time of Shakespeare, p. 81.) The novel is said to be
founded on a love adventure at Siena, of Kaspar Schlick, chan-
cellor of the Emperor Frederick III.
In Robert Laneham's quaint account of the Kenilworth fes-
tivities, 1575, he tells how an acquaintance of his, one Captain
Cox, a mason by trade, had in his possession "Kyng Arthurz
book, Huon of Burdeaus, The foour suns of Aymon, Bevis of
Hampton, and" -- mason as he was, this same Italian novel --
"' Lucres and Eurialus." Captain Cox, Laneham observes, had
"great oversight in matters of storie."
6
1556. The Historic of Aurelio and of Isabell, doughter of the
kinge of Schotlande, nyewley translatede In route langagies,
Frenche, Italien, Spanishe, and Inglishe. Cum gratia & priui-
legio. [Colophon.]
Impressa en la muy noble villa de Anuers, en casa de Juan
Steelsio, Ano de t.D,LVi. Sin. 8vo. British Museum. Bru-
xelles. 1608. 8vo, also in four languages. British Museum.
Dedicated to Margaret Volschaten, of whom a woodcut por-
trait is on the back of the title.
Historia di A. et Isabdla figliuola del re di Scotia. Histoire d'A.
& d'Isabd Translated into Italian from the Spanish of J. de Flores
by Ldio Aletifilo, and into French by Gilles Corrozet. ltal. and Ft.
G. Corrozet. Paris. 1546. 16too. British Museum.
Historia di A. et Isabella, nella quale si disputa : che pi dia
occasione di peccare, l'huomo alla donna, o la donna a l" huomo.
Di lingua Spagnola [of J. de Flores] tradota da Lelio Aletiphilo.
Gabriel Giolito de' Ferrari. Vinegia. 1548. 8vo. British
Museum.
16 ELIZABETHAN TRANSLATIONS
37.
2. 25.
39.
2. 27.
39. a.
40. b.
2. 28.
Goulart, Histoires Admirables. 1600. Beard, Tho-
atre of God's Judgements, ch. 22. 1597. The romance
is mentioned in The Forrest of Fancy (1579); in rhet-
stone's Heptameron of Civill Discourses. The rift Daies
Exercise (1582); and in Greene's Gwydonius the Carde
of Fancie (1584). It is also the subject of a Spanish
play, Lope de Vega's Comedia famosa del mayordomo
de la duguesa de A malfi.
The Duchess of Malfi. 1623. 4to. John Webster.
The Countess of Celant. Bandello, I, 4. Belleforest.
1565. No. 20.
Fenton, Certaine Tragicall Discourses, vm het-
stone.
Rocke of Regard (Castle of Delight).
The Insatiate Countess (Barksted's Tragedy). 1613.
4to. John Marston.
Romeo and Juliet. Masuccio. ll Novellino, 33. Luigi
da Porto. Bandello, II, 9.
Romeo and Juliet. 1597. 4to. Shakspere.
Two Ladies of Venice. Bandello, I, 15. Belleforest,
III, 58.
The Insatiate Countess (Barksted's Tragedy). 1613.
4to. John Marston (underplot).
The Lord of Virle. Bandello, IIi, 17. Belleforest, I, 13
(f. 289, in Jacobs).
Fenton, Certaine Tragicall Discourses, x.
The Dumb Knight. 1608. 4to. Gervase Mark-
ham and Lewis Machin.
The Queen, or The Excellency of her Sex. 1653.
Anonymous.
Lady of Bohemia. Bandello, , 21.
Whetstone. Rocke of Regard (Arbour of Vertue).
The Picture. 1630. 4to. Philip h,Iassinger.
Salimbene and Angelica. Ilicino. Bandello, I, 49.
Fenton, Certaine Tragicall Discourses, I. (Angelica
[ontanini and Anselmo Salimbeni.)
ROMANCES IN PROSE 17
42. A Woman Killed with Kindness. 1607. 4to. Thomas
Heywood (underplot).
2. 34. Sultan 8olvman.
43. A Latin tragedy called Solyman was acted at one of
the Universities in 1581. Fleay, Historg of the Stage,
421.
See Virgidemiarum Sixe Bookes, 1597, and The De-
cameron, 1620.
9
[1567.] A Pleasant disport of diuers Noble Personages: IVrit-
ten in Italian by M. John Bocace Florentine and Poet Laureate:
in his Boke which is entituled Philocopo. And howe Englished by
H.G.
Imprinted at London, in Pater Noster Rowe, at the signe of
the Marmayd [by H. Bynneman for Richard Smith and Nicho-
las England. Anno Domini. 1567]. 4to. 58 leaves. Black
letter. British Museum (title-page mutilated).
Dedicated to the "right worshipfull M. William Rice Es-
quire."
Thirteene most pleasaunt and delectable questions, entituled A
disport of diuers noble personages written in Italian by M. John
Boeaee, Florentine and Poet Laureate, in his Booke named Philo-
copo. Englished by H. G.
These bookes are to be solde at the Corner shoppe, at the
North-weast dote of Paules. [Colophon.] Imprinted at Lon-
don, by Henry Bynneman for Rycharde Smyth. Anno. 1571.
8vo. Black letter. 88 leaves. Bodleian. Also, 1587. 8vo. 88
leaves. Capell Collection. British Museum.
The Huth Library Catalogue states that there were four edi-
tions of Philocopo between 1567 (15667) and 1587.
H. G. is commonly supposed to be Humphrey Gifford, author
of A Posie of Gilloflowers, 1580, but it has been suggested that
the initials may stand for Henry Granthan, translator of Scipio
Lentulo's Italian Grammer, 1575.
Philocopo (Filocopo) is a remodelling, in prose, of the old
ELIZABETHAN TRANSLATIONS
11.
The Lady of Chabrye. Bandello, II, 33. Belief.rest, 16.
Luchyn is Longe in Love wyth a Simple Mayde. Bandello,
ii, 26. Belief.rest, 34.
The Crueltie of a Wydowe. Bandello, iii, 17. Belief.r-
est, 13. Painter, II, 27.
The incident of the lady swearing her lover to be dumb
for three years, in Fenton's story, occurs in two Eliza-
bethan dramas; -- The Dumb Ix'night, 1613, 4to, by Ger-
vase 5Iar "kham and Lewis M:achin, and the anonymous
tragi-comedy, The Queen, or The Excellency of her Sex,
which Alexander Gough edited in 1653, as discovered
by a "person of Honor."
Perillo and Carmosyna. Bandello, I, 14. Belief.rest, 27.
Dora Diego and Genivera La Blonde. Bandello, I, 27.
Belief.rest, 18. Painter, ii, 29.
This tale was versified by Richard Lynche in Diella.
Certain Sonnets, adioyned to the amorous Poeme of Dora
Diego and Gineura. By R. L. Gentleman.
Benballa, h chi fortuna suona. (London, 1596.) The
poem entitled The Loue of Dora Diego and Gyneura is re-
printed, edited by A. B. Grosart, in Occasional Issues,
Vol. xlx. 1877.
Fenton translated the tales from Boaistuau-Belleforest's
Histoires Tragiques, which is a French translation of
Bandello. The work was finished in Paris, and was pub-
lished by the author as the first fruits of his travels.
11
1568. A briefe and pleasant Discourse of Duties in Mariage,
called the Flower of Friendshippe.
Imprinted at London by Henrie Denham, dwelling in Pater
noster Rowe at the Signe of the Starre. Ann. 1568. 8vo. 40
leaves. Two editions within a year, one in British Museum.
Also, 1571. 8vo. Black letter. Bodleian. 1577. 16mo. Bod-
leian .
The dedication to Queen Elizabeth is signed, "Your Viaisties
ROMANCES IN PROSE
Arthur makes war upon them both. Finally, Meliadus is taken
prisoner and the war concludes, in the one hundred and sixth
chapter, with the surrender of his capital and the restoration of
the Scottish Queen to her husband. Meliadus amuses himself
in prison by composing songs to the harp, particularly a lay,
called Dueil sur Dueil, which the romance states was the second
ever written. Arthur eventually sets him free in order to avail
himself of his help.
Rusticien's Meliadus, Chevalier de la Croix, was translated
into Italian, and published at Venice, in 1559-60, in two vol-
umes. 8vo.
16
1573. The Garden of Pleasure: Contayninge most pleasante
Tales, worthy deeds and witty sayings of noble Princes & learned
Philosophers, moralized. No lesse delectable, than profitable.
Done out of Italian into English, by lames Sanforde, Gent.
iVherein are also set forth diuers Verses and Sentences in Italian,
with the Englishe to the same, for the benefit of stuteqts in both
tongs.
Imprinted at London, by Henry Bynneman. Anno 1573.
8vo. 116 leaves. Black letter. Capell Collection (imperfect).
British Museum.
Dedicated to "Lord Robert Dudley, Earle of Leycester."
Houres of Recreation or Afterdinners, which may aptly be
called the Garden of Pleasure: Containing most pleasant Tales,
worthy deeds & witty sayings of noble Princes & learned Philoso-
phers, with their Morals, &c. Done first out of Italian into Eng-
lishe, by J. S. Gent., and now by him newly perused, corrected,
and enlarged.
Imprinted at London by Henry Bynneman, &c. 1576.
16mo. 18 leaves. Black letter. British Museum.
At the end of Houres of Recreation are "Certayne Poems
dedicated to the Queenes moste excellent Majestic, by James
Sanforde Gent."
In the dedication of Houres of Recreation, to Sir Christopher
S ELIZABETHAN TRANSLATIONS
ttatton, Sandford repeats some prognostications of disaster for
1588.
17
1574. A right exelen! and pleasaunt Dialogue betweene Mer-
curic and an English Souldier, contayning his Supplication to
Mars: beautified with sundry Worthy Histories, rare Invetions
and politike Devises. [By Barnabe Rich.]
London. 1574. 8vo. Black letter.
Dedicated to Ambrose Dudley, Earl of Warwick, lfaster of
the Ordinance.
The second part supplies, quite inappropriately, a fanciful
account of the Court of Venus, and rehearses the story of the
lady of Chabry, which Rich says he derived from Bandello
(Infortunato et infausto Amore di Madama di Cabrio Prouenzale
con un suo procuratore, e morte di molti, xx, 83). Geoffrey
Fenton had already translated the tale, in Certaine Tragicall
Discourses. 1567. No. 9. The Lady of Chabrye.
18
1575. The Prelie and willie Historic of Arnalt & Lucenda:
With cerlen Rules and Dialogues set foorth for the learner of th'
Italian tong: And Dedicated unto the Worshipfll, Sir Hierom
Bowes Knight. By Claudius Hollyband Scholemaz'ter, teaching
in Poules Churchyarde at the Signe of the Lucrece. Dum spiro,
spero.
Imprinted at London by Thomas Purfoote. 1575. lmo.
pp. 366. Black letter. British Museum. Also, appended to
The Italian Schoole-maister, 1597, 8vo, and 1608, 8vo; I find
also, in Register C, a license to the two Purfootes, dated Aug.
19, 1598.
In verse, A Small Treatise betwixt Arnalte and Lucenda, by
Leonard Lawrence. 1659. 4to.
Translated from Bartolommeo hlaraffi's Italian version of
the Greek original, and including this Italian version. The
British Museum copy has the autograph of Horace Walpole,
Earl of Orford, on the flyleaf.
ROMANCES IN PROSE 29
The Argument of this present Work
A noble Grecian, who riding to doe his business being oute of
his way, came to a solitarie place, where a most valiant Knight
of Thebes, named Arnalt, having buylded a darke and sadde
palace, with many his servantes, as an Heremite did dwell in
continuall sighes, lamentations, and mourning. Of whom he
being courteously receaved and feasted, was fully informed of
all his wofull and pitiful mishappe: and instantly prayed, that
for the honor of gracious, mercifull, and honest women, and the
profite of unwearie and too bolde youth, he should write it, and
make it come foorth into the cleare lighte and Knowledge of the
worlde. The which spedelie without delay was by him done in
the Greeke tong, without his proper name unto it. It was after
translated into the Spanish tong: and by the excellent Iaster
Nicholas Herberai a Frenchman was turned into the French
tongue: and as a thing worthy to be read in every tongue, was
by Bartholomew Marraffi Florentine, translated into the Thus-
can tong: and howe out of the same tongue by Claudius Holly-
bande translated into Englishe. Harken therefore diligently to
this author, whiche doubtlesse shah make your harts to mollifie
and weepe.
19
[1576.] A Petite Pallace of Petrie his pleasure: Contayning many
pretie Hystories by him set foorth in comely colours, and most de-
lightfully discoursed. [Edited by R.B.] Omne tulit puncture qui
miscuit utile dulci.
[Colophon.] Printed at London by R.[ichard] W.[at-kins.l
n. d. [1576]. 4to. Black letter. 88 leaves. British Museum.
Bodleian. Also, n. d. [1576]. 4to. Black letter. 88 leaves;
another edition, n. d. by R.[ichard] W.[atldns] [15867]. 4to.
Blackletter. 116 leaves. British Museum. R.S. Turner, Esq.;
R.[ichard] W.[at-kins] [15907]. 4to. Black letter. British
Museum; by James Roberts, 1598. 4to. Black letter; by
George Eld, 1608. to. Black letter. 95 leaves. Bodleian. Brit-
ish Museum; by George Eld, 1613. 4to. 95 leaves. Bodleian.
ROMANCES IN PROSE
Part II. The Garden of Unthriflinesse, wherein is reported the
dolorous Discourse of Dom Diego, a Spaniard, together with his
Triumphe. Wherein are divers other flowers (or fancies) of honest
love. Being the inventions and collection of George Whetstone,
Gent. Formae nulla tides.
The "dolorous discourse of Dom Diego" is Fenton's thir-
teenth tale, Painter, xx, 29, from Bandello, x, 27; it occupies
seven pages, and is followed by thirty-two "fancies," or ama-
tory poems.
Part III. The Arbour of Vertue. A Worke conteining the
chaste and honourable life of a Bohemian Ladle: to the which is
adjoyned, the complaint of two Hungarian Barons, that wagerd
the spoile of her Chastitie. Wherein are the severall prayses of
certaine English Ladies and Gentlewomen; being the translation,
collection, and invention of George Whetstons, Gent. Formae nulla
tides. 128 pp.
Dedicated" to the right honourable and vertuous Lady, Jana
Sibilla Greye, now of Wilton," second wife of Lord Grey de
Wilton.
1. The Discourse of Lady Barbara's vertuous behaviours.
Thirteen pages of Alexandrine verse.
2. The Complaint of the Lorde Alberto and Udissas [Uladis-
lag], the two Hungarian barons that unadvisedly wagered
their land, to winne the ladie Barbara to wantonnesse : who
having the foyle (besides the losse of their livings) for their
slaunderous opinions, were condemned to perpetuall exile.
In thirteen seven-line stanzas.
This tale is The Lady of Boeme, Painter, n, 9.8, from Ban-
dello, x, 21. It is the subject of Massinger's tragi-comedy, The
Picture, acted in 169, printed 1630. 4to.
Numbers three to ten are the "severall prayses."
The Ortchard of Repentance. Wherein is reported, the miseries
of dice, the mischiefes of quarreling, and the fall of prodigalitie;
wherein is discovered, the deceits of all sorts of people; wherein is
reported, the souden endes of route notable cousiners. With divers
other discourses, necessarie for all sortes of men. The whole worke
ELIZABETHAN TRANSLATIONS
the invention and collection of George Whetstons, Gent. Formae
nulla tides. 11 pp.
This concluding part is inscribed to the "Right Worshipfull
Sir Thomas Cicill, Knt."
The Ortchard of Repentance consists of twenty pieces in prose
and verse, including five epitaphs.
21
1577. Foure Straunge, lamentable, and Tragicall Hystories.
Translated out of French into Englishe by R. S. Anno 1577.
Imprinted at London, in Fleete-streate, beneath the Con-
duite, at the Signe of S. John Euangelist, by Hugh Jackson.
4to. Black letter. 59 leaves. Bodleian.
Dedicated "To the right Worshipfull, Mayster Henry Ver-
non of Stoke, in the Countye of Salop, & Mayster Iohn Vernon
of Sudbury, in the Countye of Darby, Esquyer," by T.[homas]
N.[ewton], who dates his inscription "At Butley, this xxx. of
October, 1577." The dedication is followed by Newton's Ad-
dress to the Reader: "T. N. to the curteous, friendlye, and in-
different Reader."
No. 1 is Bandello, III, 5. Gian Maria Vesconte, secondo duca
di Milano, fa interrare un parrocchiano vivo, che non ,'oleva sep-
pelire un suo popolano, se non era de la moglie di quello pagato.
No. 3 is Bandello, , 5. Bellissima vendetta che fece un
Schiavo de la tootle del suo Soldono contra un malvaggio figliuolo
di quello.
No. 4 is Bandello, I, 44. II Marquese Niccolo Terzo da Este,
trovato il figliuolo con la matrigna in adulterio, tutti dui in un
medesimo giorno fa tagliar il capo in Ferrara.
1578. A Courtlie Controuersie of Cupid's Cautels: Contayn.
ing flue Tragicall Histories, very pithie, pleasant, pitifull, and
profitable: discoursed uppon wyth Argumentes of Loue, by three
Gentlemen and two Gentlewomen, entermedled with divers delicate
Sonas and Rithmes, exceeding delight.full to refresh the yrkesom-
36 ELIZABETHAN TRANSLATIONS
story about William the Conqueror. It seems that after the
Conquest, William fell in love with a Danish princess, Amira,
whose image he saw on a knight's shield at a tourney. The ro-
mance runs on through love potions, sonnet writing, and mis-
chance, to the tragical death of both lovers, king and princess.
One of William's sonnets is a clever and pretty echo song, one
of the earliest songs in English in this form. The fifth day's his-
tory, a disagreeable story, of two students of the university of
Padua, suggests both the Decameron, vaxx, 8, and Bandello, x,
17.
23
1578. Tarletons Tragical Treatises, contaynyng sundrie dis-
courses and prety Conceytes, both in Prose and Verse.
Imprinted at London by Henry Bynneman. An. 1578. 4to.
Black letter.
"To the right honourable and vertous Lady, the Lady
Fraunces Mildmay, Richard Tarleton wisheth long life, and
prosperous health, with happy encrease of Honor," signed,
"Your honors most humble at commandment, Richard Tarle-
ton, Seruaunt to the right Honourable the Lorde Chamberlaene
Earle of Sussex."
The only lown copy of this work was found at Lamport
Hall, by Mr. C. Edmonds, who says:- "In the Dedication
the author expresses his fear of getting 'the name and note of
a Thrasonicall Clawback,' which curious expression [thrason-
ical] is used by Shakespeare in Love's Labour's Lost" Iv, 1,
printed 1598]. The next year, in As You Like It, v, 2, acted
1599, Shakspere wrote, --" Ceesar's ' thrasonical ' brag of ' I
came, saw, and overcame.'" Before Shakspere, the only use of
the word ' thrasonlcal' is by Coverdale, in 1564. ' Clawback'
is good Elizabethan for one who pats on the back.
24
1579. The Forrest of Fancy. Wherein is conteined very prety
Apothegrnes and pleasant histories, both in meeter and prose,
ROMANCES IN PROSE 37
Songes, Sonets, Epigrams, and Epistles, of diuerse matter and
in diuerse manner. With sundry other diuises, no lesse pithye
then pleasaunt and profylable.
Reade with regard, peruse each point well,
And then give thy judgement as reason shall move thee;
For care thou conceive it, twere hard for to tell,
If cause be or no, wherefore to reprove me.
Imprinted at London by Thomas Purfoote, dwelling in New-
gate Market, within the New Rents, at the signe of the Lucrece.
1579. 4to. 58 leaves. A second edition, considerably aug-
mented, came out in the same year, 1579. 4to. Black letter.
80 leaves. British Museum.
The words "L'acquis Abonde, Finis, H. C.," occur on the
verso of the last leaf. tI. C. has been conjectured to be Henry
Chettle, by Ritson, Henry Cheke, by Malone, and Henry
Constable, by Warton.
Of the "pleasant histories," which are in prose, I note two
from Boccaccio;- No. 1 is Decameron, II, 5, Seigneor Fran-
cisco Vergelis, for a fayr ambling gelding, suffered one Seigneor
Richardo Magnifico to talk with his wife, who gave him no aun-
swere at all, but he aunswering for her in such sort as if she herself
had spoken it, according to the effect of his wordes it came after-
wards to passe. (7 pages.)
Ben Jonson makes use of this bargain in Act I, scene 3, of
The Devil is an Ass, acted 1616, published 1631. In Jonson's
comedy, Wittipol gives Fitzdottrel a cloak for leave to pay his
addresses to 5lrs. Fitzdottrel for a quarter of an hour.
Theodore enaraoured of Maisler Emetics daughter, Decameron,
v, 7, is the source of Beaumont and Fletcher's Triumph of
Love, the second and best of their Four Plays in One. 1608.
See Thomas Achelley's A Most Lamentable and Tragicall His-
torie, 1576.
Another prose romance, No. 3, is taken from Straparola, Le
tredici Piacevoli Notti, I, 1. One named Salard, departing from
Genes, came to Montferal, where he transgressed three commaunde-
mentes that his father gave him by his last will and testamente, and
ROMANCES IN PROSE
25
1580. A Posie o.f Oilloers, eche differing from other in col-
our and odour, yet all sweete. By Humfrey Gifford, Gent.
Imprinted at London for Iohn Perin, and are to be solde at
his shop in Paules Churchyard, at the signe of the Angell.
1580. 4to. Black letter. 8 leaves. British Museum (King's
books). 1875. 4to. Edited by A. B. Grosart. Occasional Is-
sues, Vol. .
The book is divided into two parts, with separate dedica-
tions; the first consists of prose translations from the Italian
and French, dedicated, "To the Worshipfull his very good
Maister Edward Cope of Edon, Esquier;" and the second,
with a few exceptions, of original poems, dedicated "'To the
Worshipfull John Stafford of Bletherwicke, Esquier."
The first prose piece is, "An Epistle written in Italian, by
Maister Claudius Ptholomoeus, for the comforting of his very
louing and learned friend, Maister Dion!tsius, beeing fallen into
povertj, and englished b!t H. G."
The second 'posie' is "'An answere of Maister Clodious Ptho-
lomoeus, to a Letter sente him by a friende, that meruelled wherefore
bee hauing such learning, remalned in so meane and base an estate
of calling."
Claudio Tolommei was a Sienese poet whose letters were
held in high repute; some of them were published, in 1544, in a
book entitled, De le Lettre di Tredici Huomini Illustri Libri Tre-
did, and edited by DionigiAtanagi,Tolommei's friend. Dionigi
Atanagi is the "Maister Dionysius" to whom the letter on
poverty, written in September, 1547, is addressed. An enlarged
edition of the Thirteen Italian Letter-writers was translated into
French, in 1572, by Pierre Vidal of Toulouse. In his dialogue,
I1 Cesano (1554), Claudio Tolommei introduces Baldessare
Castiglione as the acknowledged protagonist for the lingua
cortegiana.
The fourth 'posie,' "Translated out of Italian," is a story
upon this theme,- Two sworne Brothers, being souldiers, married
ROMANCES IN PROSE 41
The plot of Randolph's pastoral, Amyntas, or The Impossible
Dowry, turns on this riddle.
That which thou hast not, may'st not, can'st not haue,
Amyntas, is the dowry that I craue,
which in the dnouement turns out to be a husband.
26
"Bishop Tanner, I think, in his correspondence with the
learned and accurate Thomas Baker of Cambridge, mentions
a prose English version of the Novelle of Bandello, . . . in 1580,
by W. W. Had I seen this performance, for which I have
searched Tanner's library in vain, I would have informed the
inquisitive reader how far it accommodated Shakespeare in the
conduct of the Tragedy of Romeo and Juliet. As to the trans-
lator, I make no doubt that the initials W. W. imply William
Warner the author of Albion's England, who was esteemed by
his eotemporaries as one of the refiners of our language, and is
said in Meres's Wit's Treasury, to be one of those by whom ' the
English tongue is mightily enriched, and gorgeously invested in
rare ornaments and resplendent habiliments.'" (Warton, His-
tory of English Poetry, rx.)
It may be that Warton here mentions the first literary ven-
ture of William Warner, but no such work is now kno.
Warton adds a footnote that W. W. may mean William Webbe,
author of A Discourse of English Poeirie. 1586.
Besides Arthur Broke's Romeu.s and Juliet, I have found no
translations from Bandello, except Thomas Achelley's metrical
romance, Violenta andDidaco, and such separate novels as occur
in Painter and other translators.
I add twenty-seven Elizabethan plays upon subjects taken
from Bandello's Novelle. Of these, however, it will be noticed,
that nineteen are already grouped under Painter's Palace of
Pleasure, and that the other eight all date from the year 1600
on. There would seem to be little doubt but that the dramatists
came to know Bandello through Painter's collection.
44 ELIZABETHAN TRANSLATIONS
Newly augmented. By Barnaby Riche, Gentleman. Malui me
divitem esse qu5 vocari.
Imprinted at London by Robert Walley. 1581. 4to. Bod-
leian. Also, newly augmented. 1606. 4to. Bodleian. 1846.
8vo. Shakespeare Society. J.P. Collier (reprint of the Bod-
leian copy of 1581).
There are two dedications, one addressed to "the right cour-
teous gentlewomen, both of England and Ireland," and the
other "to the noble souldiers both of England and Ireland,"
besides an interesting address "to the readers in general."
Rich found a warm encourager of his literary ambition in Sir
Christopher Hatton, whose house at Holdenby he has minutely
described in this work.
There are nine novels in this collection, four of them Italian,
the other five, "forged only for delight." The popular tale of
Belphegor was apparently added as an afterthought to give
wind to the author's sail. Rich tells the story of a King of Scot-
land, which caused so much displeasure to James VI. when he
read the book in 1595 that the attention of Bowes, the English
agent, was called to the matter. (Calendar Slate Papers, Scol-
land, , 683.) The titles read,-
1. Sappho, Duke of Mantona.
. A polonius and Silla. Bandello, I, 36.
3. Nicander and Lucilla. Giraldi, Gli Hecatomrnithi, w, 3.
4. Fineo and Fiamma. Giraldi, Gli Hecatommithi, , 6.
5. Two Brethren and their tves.
6. Gonzales and his virtuous wife Agatha. Giraldi, Gli Heca-
tommithi, n, 5.
7. Arimanthus borne a leper.
8. Philotus and Emilia.
9. Belphegor. Machiavelli. BelfagorArcidiavolo.
Rich says that his third, fourth, and sixth tales are drawn
from the Italian of 'Maister L. B.' Sidney Lee takes this to be
an inaccurate reference to Matteo Bandello. Very likely Rich
confused Giraldi and Bandello.
Four of these romances were dramatized on the Elizabethan
ROMANCES IN PROSE 45
1. Sappho, Duke of Mantona, is the source of the play, The
Weakest Goeth to the Wall, 1600, 4to, attributed, for no
particular reason, to Webster.
. The history of Apolonius and Silla is the story of Twelfth
Night. 1623. Folio. Shakspere also used Rich's story for
The Two Gentlemen of I'erona. 1623. Folio. There is a re-
print of the story in Collier's and Hazlitt's Shakespeare's
Library. Part , Vol. . It is found in Bandello, , 36, the
tale of Nicuola; in Belleforest, tom. v, hist. 7; in Cin-
thio's Gli Hecatommithi, and in three Italian Inganni com-
edies. The same theme furnishes the plot of a French
play, Les Abuses, 1543, translated from the Italian, and
of Lope de Rueda's Comedia de los Engaos.
6. Gonzales and his virtuous wife Agatha, which is a transla-
tion of Giraldi's romance of Consalvoand Agata, Gli Heca-
tommithi, v, 3, is the source of the anonymous comedy,
How a Man may Chuse a Good Wife from a Bad. 1602. 4to.
In the Garrick Collection this comedy is ascribed to Joshua
Cooke, but Fleay thinks Thomas Heywood wrote it.
8. Philotus and Emilia found dramatic expression in Sir
David Lyndsay's comedy, Philotus. 1603. 4to.
9. Belplwgor, founded on Machiavelli's Novella di Belfagor
Arcidiavolo, is the subject of four English plays,-
a. Grim the Collier of Croydon, or The Devil and his Dame.
Licensed 1600. Printed in 1663. 12too. William Haugh-
ton.
b. If it be not good, the Devil is in it. 1613. 4to. Thomas
De "kker.
c. The Det, il is An Ass. 1641. Folio. Ben Jonson.
d. Belphegor. 1690. John Wilson.
Belphegor is the devil married to a shrewish wife.
28
1581. The straunge and wonclerfull Aduentures of Don Simon-
ides, a Gentilman Spaniarde.
London, by Robert Walley. 1581.4to. Black letter. Bodleian.
ROILkNCES IN PROSE 47
masse Exercise of sundrie well Courted Gentlemen and Gentle-
women. A Worke, intercoursed with Ciuyll Pleastre, to reaue
tediousnesse from the Reader: and garnished with Morall Noales
to make it profitable, to the Regarder. The Reporte of George
Whetstone, Gent.
At London, printed by Richard Iones, at the Sign of the Rose
and Crowne, near Holburne Bridge. 3 Feb. 1582. 4to. Black
letter. 9 leaves.
An edition of the Heplameron of the same date as the preced-
ing, but with a very different title.
Aurelia. The Paragon of pleasure and Princely deliglts;
Contayning the seuen dayes Solace (in Clzristmas holy dayes) of
$ladona A urelia, Queene of the Christmas Past-imes, & sundry
other well-courted Gentlemen & Gentlewomen, in a noble Gentle-
roans Pallace. By G. IV. Gent.
London, printed by R. Iohnes, at the Rose & Crowne, neere
Holburne Bridge. 1593. 4to. Black letter. British Museum.
Aurelia is the second edition of the Hepta,meron. The earliest
English verses of Thomas Watson are prefixed to the Hep-
tameron, of 1582. They are entitled,
T.[homas] W.[atson] Esquier, In the commendation of the
Aucthor, and his needeful Booke.
Euen as the fruicffull Bee, doth from a thousand Flowers,
Sweet Honie draine, and layes it up, to make the profit ours:
So, Morall Vhetstone, to his Countrey doth impart,
A Worke of worth, culd from ye wise, with Iudgement, wit and
art. etc.
The Heptameron of Civill Discourses is a collection of tales in
prose, interspersed with poetry, and divided after the man-
ner of the Italian novelists into seven 'days' and one 'night.'
The first Dayes exercise. Chiefly contayning: A ciuill Conten-
tion, whyther the maryed or single lyre is the more worthy.
One of Whetstone's tales of the first day is the Soixante
Onziesme Nouvelle, of L'Heptarrdron des Nouvelles of 5Iarguerite
d'Angoulme, Queen of Navarre, La femme d'un scellier,
9rievement malade, se guerir et recouvra la parole, qu'elle avoit
ROMANCES IN PROSE 49
of Malty (Painter, xx, 3), and x, 4, The Countess of Celant
(Painter, II, 4, and Fenton, err). Maria Bianca, "unworthily
raised to bee Countesse of Zelande, wickedly and wilfully tel to
be a Courtesan." "If you covet more authorities [he adds]
to approve so common a mischiefe, read Ovid's Metamor-
phoses in Latine, Segnior Lodovicus Regester in Italian, Amadis
de Gaule in French, and the Pallace of Pleasure in English."
A marginal note in the Heptameron reads, "the fall of Maria
Bianca, is written by the author in his booke, intitul'd The
Rocke of Regarde" (1576). The tale is there in verse. Maria
Bianca's story is the theme of Marston's The Insatiate Coun-
tess, 161, 4to, sometimes called Barksted's Tragedy.
158:. Philotimus. The Warre betwixt Nature and Fortune.
Compiled by Brian Mdbancke Student in Graies Inne. Palladi
virtutis f am.ula.
Imprinted at London by Roger Warde, dwelling neere unto
Holborne Conduite at the Signe of the Talbot. 158:. 4to.
117 leaves. Black letter. Bodleian. British Museum.
" Dedicated to "Phillip Earle of Arundell."
Philotimus is an imitation of Lyly's Euphues, quaint and
interesting from the many old proverbs and scraps of verse it
contains. Two of Melbancke's tales are to be found in Boc-
caccio's Filocopo, namely, Quistione xv, The Enchanted Garden,
again, and Quistione Xrlr, The Enforced Choice.
M:elbancke also relates a popular anecdote associated with
the name of three different French kings. In Pasquil's Jests
it is ascribed to Charles V, and is called, A deceyt of the hope
of the couetous with a Turnep. Giraldi Cintio, Gli Hecatommithi,
Deca Sesta, Novella Nona, tells the story of Francesco Valesi,
pri.mo re di Francia di tal home, and Domenichi, Facezie, Motti,
et Burle, di Di-ersi Signori, of Lodoulco undecimo re di Francia.
Mery Tales, ltttie Questions, and Quicke Answeres, XXliI, Of
Kynge Lowes of France and the husbandman, follows Dome-
nichi. The germ of the story is said to be Arabian.
ROMANCES IN PROSE 51
Dedicated to Sir William Hatton, Knight.
A translation of Boccaccio's romance, L'Amorosa Fiammeta.
The heroine is the Princess Maria, natural daughter of King
Robert, of Naples, with whom Boccaccio formed a Platonic
friendship during his life in Naples.
Licensed to Thomas Gubbyn and Thomas Newman, Sept.
18, 1587, as follows, w
"' Amorous fiammetta, translated out of Italian. Aucthorised
under the bishop of Londons hand." Stationers" Register B.
33
1587. Banishment of Cupid.
London. Imprinted for T. Marshe. No date. Small 8vo.
Also, 1587. lmo.
An Italian romance, translated by Thomas Hedley.
In Stationers' Register, B, Fol. 186 a, among Sampson Awde-
ley's copies, the Banishment of Cupid appears as a former
grant. 1581.
The story of Erona, Princess of Lycia, in Sir Philip Sidney's
Arcadia, Book ii, is a tale of the banishment of Cupid, and of
the god's revenge for the spoliation of his pictures and statues.
Erona's story is the subject of two Elizabethan plays, -- Beau-
mont and Fletcher's Cupid's Revenge, first acted in 161, and
Andromana, or The Merchant's Wife, printed in 1640, by J. S.,
who may have been James Shirley.
1588.
English.
Printed by John
The First Part.
The Seconde Part.
London. 1597.
Palmerin D'Oliva.
Nobilit&, the Map
34
Palmerin d'Olira, the Mirrour of Nobilitie, turned into
By Anthony Munday.
Charlwood. 1588. 4to. Black letter.
4to.
The First Part: Shewing the Mirrour o.f
of Honour, Anatomie of rare Fortunes,
Heroicall presidents of Loue, wonder of Chivalrie, and the most
54 ELIZABETHAN TRANSLATIONS
breed delight to all, and offence to none. Omne tulit puncture, qu
miseuit utile dulci. Robert Greene.
London. Printed by John Wolfe, for Edward White. 1588.
4to. :1 leaves. British Museum. Bodleian.
Dedicated, "To the right worship. Geruis Clifton Esquire."
This is a collection of love-stories told in the Italian manner,
and largely borrowed from Boccaccio. The Memphian black-
smith, Perimides, and his wife, Delia, relate them to each other
after their day's work is done. As in Greene's Menaphon, some
charming poetry is scattered here and there throughout.
Perimides's tale of the first night, Mariana's story, is a close
copy of the story of Madonna Beritola Caracciola. Deeameron,
II, 6.
For the second night's discourse, Delia tells the story of
Constance of Lipari. Decameron, v, .
A prefatory "Address to the Gentlemen Readers" contains
a satirical notice of Marlowe's Tamburlaine.
Madrigal
Fair is my love, for April's in her face,
And lordly July in her eyes hath place;
Her lovely breast September claims his part,
But cold December dwells within her heart.
This madrigal occurs in a slightly different form in Thomas
Morley's Madrigals to four voices. 1594.
April is in my mistress' face,
And July in her eyes hath place:
Within her bosom is September,
But in her heart a cold December.
Unless Morley has plagiarized Greene, both madrigals would
seem to be translated from the same original, probably Italian.
36
1590. The Cobler of Caunterburie, Or An Inuectiue Against
Tarltons Newes out of Purgatorie. A merrier Iest then a Clownes
Iigge, and fitter for Gentlemens humors. Published with the cost
of a dickar of Cowe hides.
ROMANCES 1N PROSE 55
At London. Printed by Robert Robinson. 1590. 4to. Black
letter. 40 leaves. Bodleian. Also, 1608. 4to. British Museum
(reprinted, 186, by Mr. Frederick Ouvry), and 1614. In 1680,
The Cobler was issued with alterations and a new title,-
The Tincker of Turvey, his merry Pastime in his passing from
Billingsgate to Graues-End. The Barge being Freighted with
Mirth, and Mann'd
T roller the Tincker
Yerlzer, a Cobler
With these persons Thumper, a Smith
Sir Rowland, a Scholler
Bluster, a Sea-man
And other Mad-merry fellowes, euery-One of them Telling
Tale: zlll which Tales are full of Delight to Reade ouer, and full
of laughter to be heard. Euery Tale-teller being Described in a
Neate Character. The Eight seterall Orders of Cuckolds, march-
ing here likewise in theyr Horned Rankes.
London. Printed for Nath. Butter, dwelling at St. Austins
Gate. 1680. 4to. Black letter. Bodleian. 1859. 4to. (J. O.
Halliwell.)
The Cobler of Caunterburie was attributed to Robert Greene,
but he denied the authorship, in his Vision, 159-8, calling it
"incerti authoris," and speaking of it as "a merrie worke, and
made by some madde fellow, conteining plesant tales, a little
tainted with scurilitie." The Catalogue of Early English Books
enters The Cobler under the name "Richard Tarlton."
The first story of the Cobler, The Smith's Tale, is found both
in the Decameron, vI, 7, and in the Pecorone, i, , of Ser Gio-
vanni Fiorentino. It is Le Cocu, battu, et content, of La Fon-
taine, Cotttes et Nouvelles Poemes, n, an extremely popular
mediaeval story turning up repeatedly in nearly every modern
language. In Elizabethan dramatic literature, it furnishes the
underplot of Robert Davenport's tragi-comedy, The City Night-
cap, or Crede quod babes et babes, licensed 164, printed 1661.
The intrigue is also made use of in two comedies of the Restora-
tion,- Love in the Darke: or, The Man of Bus'hess, "acted at
60 ELIZABETHAN TRANSLATIONS
Alexandre van den Busche, called le Sylvain, 1535(?)-1585(?),
a Belgian poet and novelist, wrote, Le premier livre des procs
tragiques, contenant L V histoires, ensemble quelque posie morale,
Paris. 1575. 16too. Reprinted as Les Epitomes de cent histoires
tragiques. Paris. 1581-88. 8vo.
Munday's Declamations are a series of moot-cases, put and
answered for the sake of practice in argument. For example,
Declamation 27, is Of him that falling doume from the top of his
house, slew another man, against whom the sonne of the slaine
man demandeth justice. The son of the dead man bringing suit
on the charge of murder, the judge decides, "that the said plain-
tile should ascend up to the top of the same house, and throw-
ing himself downe upon the defendant, should kill him if he
could!" Very naturally the plaintiff appeals from this decision.
The defendant prays for release, on the ground that he was
innocent of evil intent, that the charge was frivolous and mali-
cious, that the judgment of the lower court was absurd, and
lastly, that he might "be preserved to doe his countrie some
seruice."
The Christians Answere to Declamation 95 is mainly an appeal
to race prejudice against the Jews. (Sir S. E. Brydges, Res-
tituta, Vol. IV, p. 54.)
4O
1593. The Life and Death of William Longbeard, the most
famous and witty English Traitor, borne in the Citty of London.
Accompanied with manye other most pleasant and prettie histories.
By T. L. [Thomas Lodge] of Lincolnes Inne, Gent. Et nugae
seria ducunt.
Printed at London by Rychard Yardley and Peter Short,
dwelling on Breadstreet hill, at the signe of the Starre. 1593.
4to. Black letter. 36 leaves. Bodleian. Reprinted in J. P.
Collier's Illustrations of Old English Literature, Vol. xx. 1860.
Hunterian Club. Glasgow. 1878-82.
Some poems supposed to be addressed by Longbeard to "his
faire lemman Maudeline" are translations from Guarini and
ROMANCES IN PROSE 61
other Italian poets. One of the "prettie histories" is that of
"Partaritus, King of Lombardie"; another, "an Excellent
example of continence in Francis Sforza," Duke of Milan
(1401-66).
Pierre Corneille wrote, Pertharite Roy des Lombards, Tragedie.
1656. 8vo.
Michael Drayton wrote a play called William Longsword.
Acted 1599. Henslowe enters it in his Diary, tVilliam Long-
beard, but Drayton's receipt corrects the name.
Three of the poems of this romance are "Fancies, after the
manner of the Italian Rimes." They are imitations of madri-
gals by Livio Celiano, taken from Rime di diversi celebri poeti
dell' el nostra: nuovamente raceolte, poste in luce in bergamo,
.DLXXXWL Per Comino Ventura, e Compagni (pp. 95-148 are
rime from Livio Celiano, and pp. 149-181 from Torquato
Tasso).
One of the "Fancies" is a loose translation of Francesco
Bianciardi's madrigal, Quand' io miro le rose.
X, Vhen I admire the rose
That nature makes repose
In you the best of many,
More fair and blest than any,
And see how curious art
Hath deckbd every part;
I think with doubtful view
Whether you be the rose, or the rose is you.
Another rendering of this pretty song is given by John
Wilbye, in his The First Set of Madrigals, 1598, where it begins,
Lady, when I behold the roses sprouting.
A lyric, taken from Dolce, has a skilfully contrived rhythm
with repeated words and half-hidden times which give a singu-
lar effect of lingering to the metre,-
I see with my hearts bleeding.
"This tract is a pseudo-historical romance of the same kind
as Lodge's previous Robert the Devil, but more hastily put to-
gether, and eked out with a variety of stories about famous
6t ELIZABETHAN TRANSLATIONS
L'Histoire de Primaleon de Grece, continuant celle de Pal-
merin d'Olive Empereur de Constantinople son pre, et autres,
tirde de l'Italien comme de l'Espagnol, et raise en Frang. par Ft.
de Vernassal, Gull. Landrd et Gabr. Chappuys.
Paris et Lyon. 1572, et suiv. 8vo. 4 volumes. Also, Lyon.
Rigaud. 1618. 16mo. 4 volumes.
Lodovico Dolce wrote an epic of thirty-nine cantos on the
story of Primaleone.
Anthony Munday, in 1589, translated the first part of the
romance, which relates the adventures of Polendos, half brother
of Primaleon, and dedicated it, in some Latin verses, to Sir
Francis Drake.
The continuation of the romance deals with the exploits of
Primaleon and of Duardos (Edward) of England.
Primaleon, 1619, contains the most beautiful lyric of the
Shepheard Tonic, of England's Helicon, from which it is con-
cluded that the famous shepherd was no other than Anthony
Iunday.
To Colin Clout
Beautie sat bathing by a spring,
],'nere fairest shades did hide her;
The windes blew calme, the birds did sing,
The coole streames ranne beside her.
My wanton thoughts entic'd mine eye,
To see what was forbidden:
But better memory said, fie,
So vaine desire was chidden.
Hey, nonnJe, nonnie, &c. "
Into a slumber then I fell,
Vhen fond Imagination
Seemed to see, but could not tell,
Her features or her fashion.
But even as babes in dreames doe smile,
And sometimes fall a-weeping,
So I awak't, as wise this while,
As when I fell a-sleeping.
Hey, nonnie, nonnie, &c.
Finis. Shepheard Tonie.
ROMANCES IN PROSE 67
Painter, Palace of Pleasure, I, 50.
muleteer served Queen Margaret.
3. The King of Naples. Day 1, Nov. 3. Bandello, Iv, 10.
Painter, Palace of Pleasure, , 51.
4. The Gentleman and the Princess of Flanders. Day 1,
Nov. 4. Painter, Palace of Pleasure, , 52. Historic,
about 1520-25. The Queen of Navarre was the heroine.
5. The Waterman's Wife. Day 1, Nov. 5.
6. The Subtle Wife. Day 1, Nov. 6.
7. The Marchant of Paris. Day 1, Nov. 7.
8. The Married Man that made himself a Cuckold. Day 1,
Nov. 8.
9. The Amorous Gentleman. Day 1, Nov. 9. Painter,
Palace of Pleasure, I. 60.
The story of the troubadour, Geoffroi Rudel de Blaye,
who loved the Countess of Tripoli upon hearsay only.
10. The Duke of Florence. Day 2, Nov. 2. Painter, Pa/-
ace of Pleasure, x, 54.
Story of the murder of Alessandro de' Medici by his
cousin, Lorenzino de' Medici, 1537.
11. The Seigneur de Bonnivet and the Gen.tlewoman of Milan.
Day 2, Nov. 4.
12. The Lady disdained by her Husband. Day 2, Nov. 5.
13. Gentlewoman of Milan. Day 2, Nov. 6.
14. The Country-man's Wife and Curate. Day 3, Nov. 9.
15. The Fragilitie of Man. Day 3, Nov. 10. Bandello, xx, 35.
Source of Horace Walpole's tragedy, The Mysterious
Mother. 1768. 8vo.
16. The Merry Conceited Bricklayer.
This stow is only in part engrafted upon one in the
Heptameron.
17. Mahomet and Hyerene.
The seventeenth story is not in the Heptameron, but is from
Bandello, I, 10, and had already been translated by William
Painter, Palace of Pleasure, , 40. It is the subject of three
English plays,
Historic, 1530. The
ROMANCES IN PROSE 69
Edited, from MSS. in the National Library of France, for the
Socigt des Bibliophiles Franais, by their secretary, M. Le Roux
de Lincy. This is the first complete edition of L'Heplameron,
M. Le Roux de Lincy having restored the suppressed novels,
x, xLIV, and XLW, and all those passages which had fallen
under the ban of the Index Expurgalorius.
The Heptameron: or Tales and Novels of Marguerite, Queen of
Navarre. Now first completely done into English prose and
verse from the original French, by Arthur Machen.
London, privately printed (about 1880), 8vo; also, London,
George Routledge & Sons, 1905, 8vo.
Mr. Machen has translated the text of the Bibliophiles Fran-
ais, except that he gives Novels XLIV and XLVI in duplicate.
Here he follows M. Paul Lacroix's edition of 1858, which in-
cluded the three Novels, xI, xJrv, and XLVI, which Claude
Gruget substituted for those he suppressed in L'Heptameron of
1559. For the first time in English Mr. Machen has translated
the whole of the Heptameron, including the poetical pieces in-
terspersed and the curious arguments by way of epilogue to
each tale.
The Fortunate Lovers. Twenty Seven Novels of the Queen
of Navarre. Translated from the original French by Ar-
thur Machen, with etched frontispiece. 1887. 8vo. 312 pp.
Edited and selected from the Heptameron with Note, Pedi-
grees, and Introductions, by Mary F. Robinson.
Heptameron (The) of the Tales of Margaret, Qteen o.f Navarre.
Newly translated into English from the authentic text of M.
Le Roux de Lincy. With an essay upon the Heptameron by
George Saintsbury, M. A. Also the original 73 full-page en-
gravings designed by S. Freudenberg, and 150 head and tail
pieces by Dunker.
London, printed for the" Society of English Bibliophilists,
1894. 5 vols. 8vo.
Queen Marguerite intended her collection to be a 'Decam-
eron,' or ten days' ent, ertainment, as the title of the MSS. show,
but she lived to complete seven decades only with two tales of
ROMANCES IN PROSE 75
the, Spanish nation, as is of the English of that admirable and
never enough trraised booke of Sir Phil: Sidneyes Arcadia.
The prefatory letter is headed, "To the right honorable Sir
Fulke Grevyll Knight Privie Councellor to his Majesty and
Chancellor of the Exchequer [afterwards Lord Brooke] my
most honorable and truly worthy to be honored frend." Wilson
remarks that Brooke's friend, Sir Philip Sidney, "did much
affect and imitate Diana."
This is a translation, in manuscript, by Thomas Wilson, of
the first Book of the Diana of Jorge de Montem6r. It belongs
to a more complete translation of the romance, which had
been made by him in 1596, and had been dedicated to Henry
Wriothesly, 8d Earl of Southampton, "then upon the Span-
ish voiage with my Lord of Essex." It was copied out by
the translator himself, and presented, together with the pref-
atory letter, to Sir Fulke Greville, Chancellor of the Exchequer
(created Lord Brooke in 161), about the year 1617. Additional
MS. British Museum. 18688.
Catalogue of Romances in the Department of Manuscripts of
the British Museum. By H. L. D. Ward. 188:.
50
1598. The Honour of Chiualrie, Set downe in the most Famous
Historie of the Magnanmious and Heroike Prince Don Bellianis:
Sonne unto the Emperour Don Bellaneo of Greece. Wherein are
described, the straunge and dangerous Adventures that him befell.
II'ith his loue towards the Princesse Florisbella: Daughter unto the
SouMan of Babylon. Englished out of Italian by L. A. Sed tamen
est tristissima ianua nostrae., Et labor est unus tempora prima
pati.
London. Printed by Thomas Creede. 1598. 4to. Black
letter. 1650. 4to. Black letter. Also, 1678, 4to, black letter
(Kirkman), and 1688, 4to, black letter, and 1708, 4to ($. Shur-
ley or Shirley).
Dedicated, "To the right Worshipful, his speciall Patron,
76 ELIZABETHAN TRANSLATIONS
Maister John Rotherham, Esquire, one of the sixe Clarkes of
her Maiesties most Honourable Court of Chauncery."
Henry Huth owned the only copy known.
Don Belianis de Grecia was one of the continuations of the
famous romance Amadis of Gaul. It appeared first in Spanish,
in 1547, and was written by Jeronimo Fernandez. In 1586
an Italian version was made; in 1598 it was translated into
English, and in 1625 into French.' Don Belianis, according to
his veracious historian, Cid Hamet Benengeli, was one of the
books of knight-errantry for which Don Quixote sold his acres
of arable land.
"In the divels name do not so, gentle gossip (replyed the
Barber), for this which I hold now in my hand, is the famous
Don Bellianis. What, he? quoth the Curate, the second, third,
and fourth part thereof have great neede of some Ruybarbe to
purge his excessive choler, and we must moreover take out of
him all that of the Castell of Fame, and other impertinencies of
more consequence. Therefore wee give them a terminus Ul-
tramarinus, and as they shall be corrected, so 411 we use mercy
or justice towards them: and in the meane space, gossip, you
may keepe them at your house, but permit no man to read
them."
The History of Don Quixote of the Mancha. Translated from
the Spanish of Miguel de Cervantes by Thomas Shelton. Annis
1612, 1620. With Introduction by James Fitzmaurice-Kelly.
London. D. Nutt. 1896. Tudor Translations, xIII, Book ,
Chapter v.
51
1599. The Fountaine of Ancient Fiction. Wherein is lively
depictred the Images and Statues of the Gods of the Ancients;
with their proper and perticular expositions. Done out of Ital-
ian [of Vincenzo Cartari] into Englishe, by Richard Linche,
Gent. Tempo figliuola di verita.
London. Printed by Adam Islip. 1599. 4to. 100 leaves.
British Museum (2 copies).
ROMANCES IN PROSE 77
Dedicated, "to the right vertuous and well-disposed gentle-
man, M. Peter Davison, Esquiere, Richard Linche wisheth all
affluence of worldly prosperities, and the fruition of all celes-
tiall graces hereafter."
"This book, or one of the same sort, is censured in a puri-
tanical pamphlet, written in the same year, by one H. G., 'a
painful minister of God's word in Kent,' as the 'Spawne of
Italian Gallimaufry,' as 'tending to corrupt the pure and un-
idolatrous worship of the one God, and as one of the deadly
snares of popish deception.'" (Warton, tlistory of English
Poetry, LX.)
"The images, statues, and pictures of the gods of the aun-
cients, with their severall expositions" gives an account of the
estimation of images in different classical countries, and some
of the authors cited are Tacitus, Pliny, Homer, Ovid, and
Claudian.
First comes a description of eternity, in eight octave stanzas,
"not much unlike that reported by Claudianus, which wee will
endeavour (though not in his right colours) thus to compose."
Then follow the four seasons from Ovid, in eight lines, and
Neptune's speech from Homer, in seven.
Three ten-line stanzas tell the story of Apollo and his sisters,
"which Claudianus reporteth to bee so curiously wrought in an
upper garment which belonged to Proserpina. And although
in the Italian it carrieth a farre more pleasing grace than in the
English, yet finding it there set downe in verse, I thought it not
irrequisite so to discover it."
Diana's Nymphs are described in eight six-line stanzas, of
which I quote one:-
Some have their haire dishevel'd hanging downe,
Like to the sun's small streames, or new gold wires;
Some on their heade doe weare a flowry crowne,
Gracing the same with many curious tires;
But in their hot pursute they loose such graces,
$qlich makes more beautie beautifie their faces.
A similar stanza describes Diana's chariot, "drawn by two
80 ELIZABETHAN TRANSLATIONS
Imprinted at London for John Browne, and are to be sold
at his shop in Saint Dtmstones Church yard in Fleet Street.
1604. 4to. Black letter. 4 leaves. British Museum. 1609.
4to. 6 leaves. 169. 4to. Black letter. 31 leaves. Bodleian.
n.d. 4to. Black letter. 3leaves. 1635. 4to. 30 leaves. Cap-
ell Collection. It. 1650.] 4to. Black letter. $1 leaves. British
Museum. 1669. 4to. Black letter. 311eaves. Bodleian. Re-
printed in 0/d English Jest-Books. W. Carew Hazlitt.
London. 1866. lmo.
Collier says there were editions in 1608, 161, 16.5, and
16:37, none of which were known to Hazlitt, who says, however,
that Dr. Rimbault seems to have seen that of 1608.
How one at Kingston fayned himselfe dead, to trye what his wife
would doe.
Poggio, Facetiae, cxva. De vivo qui suae uxori mortuum se
ostendit.
How madde Coomes, when his wife was drowned, sought her
against the streame.
Foggio, Facetiae, Lx. De eo qui uxorem in flumine peremptam
quaerebat. No. 55, of Mery Tales, Wittie Questions, and Quicke
Answeres. The original is the fabliau, Le Vilain et sa Femme.
Le Grand, Fabliaux ou Contes, III (ed. 189, n. 181).
Of an Hermet by Paris.
Poggio, Facetiae, cxtaI. De eremita qui multas mulleres in
eoncntbitu habuit. No. 40, of Mery Tales, Wittie Questions, and
Quicke A nsweres.
A deceyt of the hope of the couetous with a Turnep.
A popular anecdote related here of "The King of Fraunce,
Charles the rift."
Giraldi, Gli Hecatommithi, vI, 9, tells the story of Francesco
l'alesi, primo re di Francia di lal home; and Domenichi, Facezie,
Motti, et Burle, di Diuersi Signori, of Lodonlco undecimo re di
Francia. Compare Mery Tales, Wittie Questions, and Quicke
Answeres, No.
84 ELIZABETHAN TRANSLATIONS
The story of the Induction to The Taming of the Shrew,
Vanity of the World as Represented in State, is related of Philip
the Good, Duke of Burgundy, in Goulart's Admirable and Mem-
orable Histories, 1607, p. 587-89. It is another version of The
Waking Mans Dreame. The Fifth Event (Shakespeare Society
Publications, Vol. , 1845), which Mr. H. G. Norton takes to be
a fragment of the collection of short comic stories by Richard
Edwardes, date 1570, mentioned by Warton who says he had
examined the book. History of English Poetry, LXI. The
same story occurs in Burton's The Anatomy of Mdancholy,
Part I, Section 2.
Vol. v, p. 403.
Hazlitt reprints
Story of the Two Brothers of Avignon, from
The Comedy of Errors.
See Hazlitt, Shakespeare's Library, Part
(Shakespeare's Library, Part. I, Vol. r) The
Goulart. Compare
57
1607. A World of Wonders: or an Introduction to a Treatise
touching the Conformitie of ancient and moderne Wonders: or a
preparative treatise to the Apologie for Herodotus. The Argu-
ment whereof is taken from the Apologie for Herodotus, written
in Latine by Henry Stephen, and continued here by the Author
himselfe. Translated [by R. C.] out of the best corrected French
Copie.
Imprinted for J. Norton. London. 1607. Folio. British
Museum. A. Hart and R. Lawson. Edinburgh. 1608. Folio.
British Museum.
Dedicated by R. C.
broke.
to William Herbert, 3d
Earl of Peru-
L'introduction au trait de la conformit des Merveilles An-
ciennes avec les modernes: ou, traitd prparatif h l'apologie poure
Herodote. 1566. Oct.
L'Introductlon went through 13 editions between 1566 and
1735.
"The phraseoIogsr of Shakspere is better illustrated in this
Translated from the French of Henri Estienne, I,-
ROMANCES IN PROSE 87
Queen Elizabeth, 1605; a passage in Act I, Sc.
title, --
Hobson.
Quge.
Hobson.
1, contains the
God bless thy grace, Queen Bess!
Friend, what are you?
Knowest thou not me, Queen? then, thou
knowest nobody.
Bones a me, Queen, I am Hobson, old Hobson;
By the stocks! I am sure you know me.
Very likely The Pleasant Conceites of Old Hobson was sug-
gested to Richard Johnson by Heywood's play.
A collection of thirty-five jests,
13.
mostly "ancient tales new
How Maister Hobson got a
Matches.
No. 139, of Mery Tales, Wittie
Answeres, ed. 1567.
Master Hobson Iest of Ringing
Day.
Pattent for the Sale of his
Questions, and Quicke
of Bells upon Queene's
No. 1, of Mery Tales, Wittie Questions, and Quicke An-
sweres (ed. Berthelet, c. 1535).
14. Of a Begets Answear to Maister Hobson.
In Mery Tales, Wittie Questions, and Quicke Answeres
(ed. Berthelet, c. 1535).
This anecdote is related of the poet Skelton and a beggar:
15. How long Maister Hobsons Daughter mourned her Hus-
bands Death.
No. 10 of Mery Tales, Wittie Questions, and Quicke An-
sweres (ed. Berthelet, c. 1535).
Pasquils Jests, Of a young woman at Barnet, that sorrowed
for her husbands death.
18. How one of Maister Hobsons men quited him with a merry
Iest.
Poggio, Facetiae, CLXXV. De paupere qui navicula victum
quaerebat.
No. 54, of Mery Tales, Wittie Questions, and Quicke An-
sweres (c. 1535), where it is related of Mr. Justice Vava-
sour and his man Turpin.
94
ELIZABETHAN
TRAnSLaTIONS
1906.
(3) Victoria. Materialen zur Kunde. Abra-
ham Fraunce.
n. 6. (4) Blurt, Master Constable. 160. 4to. Thomas
Middleton.
The Rover. 1677. Aphra Belm.
(5) Love in Many Masks. 1790. J. P.
version of The Rover.
II. 8. (6) Violenta, or The Rewards of Virtue, turn'd from
Bocacce into Verse. 1704. Mary Griffith Pix.
n. 9. (7) Cymbeline. 163. Folio. Shakspere.
1636. Thomas Hey-
Kemble's
IV.
(ll) The Fleire. 1607. 4to. Edward Sharpham.
(1) The Devil is an Ass. Acted, 1616. Ben Jonson.
(l$) Flora's Vagaries. 1677. 4to. Richard Rhodes.
(14) Love in the Darke: or The Man of Business.
1677. Sir Francis Fane, Jr.
(15) The Soldier's Fortune. 1681. Thomas Otway.
(16) The Busy Body. Act In. Susannah Centlivre.
5. The Devil is an Ass. 1616. Ben Jonson.
The Busy Body. Act n. Susannah Centlivre.
8. The Fleire. 1607. 4to. Edward Sharpham.
(17) The Night Walker, or The Little Thief. 1650.
4to. John Fletcher.
9. (18) All's Well that Ends Well. 163. Folio. Shak-
spere.
1. (19) Tancred and Gismund. 159. 4to. Robert Wil-
mot.
(0) Tancred. Written, 1586-87. Not extant. Sir
Henry Wotton.
(1) Tlw Cruel Gift, or the Royal Resentment. 1717.
lmo. Susannah Centlivre.
III.
III.
The Fatal Wager.
III.
(8) A Challenge for Beauty.
wood.
(9) The Injured Princess, or
168. Thomas D'Urfey.
nL 3. (10) The Parasitaster, or The Fawne. 1606. John
Marston.
ROMANCES IN PROSE 97
63
160. Westward for Smelts. Or, The Water-man's Fare of
mad-merry Western wenches, whose tongues, albeit like Bell-
clappers, they neuer leaue Ringing, yet their Tales are sweet, and
will much content you. Written by Kinde Kit of Kingsone.
London. Printed for John Trundle, and are to be sold at his
shop in Barbican, at the signe oI the No-boby. 160. 4to.
Black letter. Capell Collection.
Reprinted in J. P. Collier's Shakespeare's Library, no date
(preface dated July 14, 1843), Vol. xx; also in 1848, edited by
J. O. Halliwell, for the Percy Society.
The Fishwife's Tale of Brainford, No. l, whose scene is laid at
Windsor, is mentioned by Malone as a possible source of The
Merry Wives of Windsor.
Its Italian original, 'La sventurata col naso mozzo,' is a com-
mon motive with the novell.ieri; it is found in Firenzuola, Dis-
torsi degli animali; in Doni, La moral filosophia, I, 2; in Males-
pini, Dwento Novelle, II, 40. Massinger used the device of the
supposed saving miracle in The Guardian, m, 6.
The Fishwife's Tale of Slandon on the Greene, No. 2, is the
story of Zinevra, Decameron, I, 9, Imogen's story, in Cym-
beline.
The Fishwife's Tale of Richmond, No. 3, is the old story of the
locked-out husband, Decameron, v, 4. Boccaccio found it in
Puteus, of the Seven Wise Masters.
The Fishwife's Tale of Hampton, No. 6, is Filiberto's pledge
to Zilia, Bandello, m, 17. It was translated by Fenton as The
Crueltie of a Wydowe, and by Painter, as The Lord of Virle, and
is the theme of two plays-
The Dumb Knight, 1613, 4to, by Gervase Markham and
Lewis Machin; and
The Queen, or The Excellency of her Sex, edited by Alexander
Gough, 1653.
ROMANCES IN PROSE I01
Kemp went abroad with the Earl of Leicester's company
of players, in 1586, visiting the Netherlands, Denmark, and
Saxony. Between February 11 and March 11, 1600, he danced
his celebrated Morr/s to Norwich, having put out money at
three to one that he could accomplish this feat. He wrote nu-
merous jigs, and is the 'jesting Will' of The Travels of Three
English Brothers, Scene 9 (1607), by John Day, and others.
In The Returne from Parnassus (1606), Kemp and Richard
Burbage, as the acknowledged heads of their profession, in-
struct the University students in their art. "He is not counted
a gentleman [says the author of The Returne from Parnassus]
that knows not Will Kempe."
William Kemp was the original Dogberry in Much Ado
About Nothing, and Peter in Romeo and Juliet.
Madrigal
Since Robin Hood, Maid Marian,
And Little John are gone a;
The Hobby-horse was quite forgot,
When Kempe did dance alone a.
He did labour after the Tabor
For to dance, then into France
He took pains
To skip it,
In hope of gains
He will trip it,
On the toe
Diddle do.
Thomas Weelkes. Ayres or Phantasticke 8pirates for three voices.
1608. (Twenty-six pieces, mostly comic.)
68
1630. Wit and Mirth. Chargeably Collected Out of Taverns,
Ordinaries, Innes, BowHng-Greenes and Allyes, Ale-houses,
Tobacco-shops, Highwayes, and Water-passages. Made up, and
fashioned into Clinches, Bulls, Quirkes, Yerkes, Quips, and
Jerkes. A pothegmatically bundled up and garbled at the request
of old John Garretts Ghost. [By John Taylor, the Water Poet.]
[London?] 1630. Folio.
ROMANCES IN PROSE 105
Italian Cotnj, by Ri. Brathwaite, Esq. (With "the life of Mari-
ano Silesio the approved Author of this worke.")
Th. Harper for Robert Bostocke. London. 1635. 8vo. 269
leaves. British Museum (2 copies).
Argument.
Themista reproves such, as being wedded to their own opinion,
will not incline to Reason, but prefer a precipitate Will before a de-
liberate Judgment.
Like to a top, which runneth round
And never winneth any ground,
Or th" dying scion of a vine
That rather breaks than it will twine;
Or th' sightless mole whose life is spent
Divided from her element;
Or plants removed from Tagus' shore,
Who never bloom nor blossom more;
Or dark Cimmerians who delight
In shcly shroud of pitchy night;
Or mopping apes who are possest
Their cubs are ever prettiest:
So he who makes his own opinion
To be his one and only minion,
Nor will incline in any season
To th" weight of proof or strength of reason,
But prefers Will precipitate
'Fore Judgment that's deliberate;
He ne'er shall lodge within my roof
Till, rectified by due reproof,
He labour to reform this ill
By giving way to others' will.
(Taken from Poems, Chiefl! / Lyrical, .from Romances and Prose-
Tracts of the Elizabethan Age. A.H. Bullen. 1890.)
74
1640. The Sack-Full of Newes some Lyes and some Trutl.
Printed at London by T. Cotes for F. Grove, and are to be
sold at his Shop on Snow Hill, neare the Saracins head. 1640.
8vo. Black letter.
, 1673. lmo. Black letter. B.ritishMuseum. 1861, Halliwell.
106
Reprinted in 0/d
London. 1866.
The Sack-Full
ELIZABETHAN TRANSLATIONS
English Jest-Books, by W. Carew Hazlitt.
lmo.
of Newes was first printed before 1575, for
Robert Laneham, in his Letter from Kenilworth, of that year,
tells us that it was in the library of his friend, the celebrated
Captain Cox.
It is a 'sackfull' of twenty-two jests.
One story is from Boccaccio, the popular Seventh Novel of
the Seventh Day, of the Decameron. Compare A C. Mery
Talys, No. 3.
Another story is of "an Italian which loved Coleworts
well."
It may be that this collection is alluded to in Westward Hoe
(1607), Act v, Scene 3, by Webster and Dekker.
Mabel. Your flesh and blood is very well recovered now,
mouse.
Wafer.
empty.
I know 't is; the collier has a sack-full of news to
1647.
match.
[London, September 24, 1647.] 4to.
A translation of Machiavelli's novel,
Florence. 1549.
75
The Divell a married man: or the Divell hath met with his
Belf agor Arcidiavolo.
Bel.fagor is a good-humored satire on marriage, the devil
taking the ground that hell is preferable to his wife's company.
The comic idea, which is Slavonic and mediaeval, was treated
almost simultaneously in Italian by Machiavelli, Straparola,
and Giovanni Brevio. Thackeray revived it for the Victori-
ans.
A comedy, The Devil and His Dame, by William Haughton, is
recorded in Henslowe's Diary, under date, 6 March, 1600, and
was acted in that year. It was published in 1662, with the title,
Grim the Collier of Croydon; or, The Devil and His Dame.
See Rich his Farewell to Militarie Profession. 1581.
II
POETRY
ELIZABETHAN TRANSLATIONS
Passion xlvii
In time the Bull is broughte to weare the yoake;
In time all haggred Haukes will stoope the Lures;
These two opening lines are imitated from Serafino, Sonetto
103,
Col tempo el Villanello al giogo mena
El Tot s/fiero, e s/cru animale,
Col tempo el Falcon s" usa menar l" tae
E ritornare te chiamando i pena.
Passion lv
My heedelesse hart which Loue yet neuer knew,
Out of Serafino, Sonetto 63,-
Come alma assai bramosa & poco aceorta,
Passion lvi
Come gentle Death; who cals? one thats opprest:
The first stanza imitates Serafino's strambotto,
Morte: che vuol ? te bramo: Eccomi appresso;
the second stanza, another strambotto by the same poet, --
Amor, amor: chi quel che ehiama tanto
Passion lxi
I| Loue had lost his shaftes, and Ioue downe threw
His thundring boltes,
From Serafino, Sonelto 125,-
S' el gran tormento i tier fulmini accesi
Perduti hauessi,
Passion
Who knoweth not, how often Venus sonne
Hath forced Juppiter to leaue his seate?
The last stanza,-
From out my Mistres eyes, two lightsome starres,
is imitated from Girolamo Parabosco,
Oechi tuai, anzi stelle tame, & fattal,
POETRY 121
Passion lxvi
Dum codum, dum terra facet, ventusque sileseit,
From Petrarch, Sonetlo cx, parte prima,
Or, che' l eiel, e la terra, e' l vento race,
which Petrarch imitated from Vergil's beautiful lines contrast-
ing the hush of night with Dido's tumult of soul immediately
before her suicide,-
Nox erat, et taciturn carpebant fessa soporern
Corpora per terras, silvaeque et saeva quierant
Aequora, quurn medio volvuntur sidera lap.u,
Q uurn taeet oranis ager;
Aeneidos, Lib. v, 522-5.
Passion lxxi
Alas deere Titus mine, my auncient frend,
"The Authour writeth this Sonnet unto his very friend, call-
ing him by the name of Titus, as if him selfe were Gysippus."
The allusion is to Boccaccio, I1 Decamerone, x, 8.
Passion lxxi
Time wasteth yeeres, and month's, and howr's:
Out of Serafino, Sonetto 13,
Col tempo passa gli anni, i mesi, e 1' hare,
Passion lxxviii
What scowling cloudes haue ouercast the skie, J
Imitated from Agnolo Firenzuola,-
0 belle donne, prendara pietade,
Passion lxxxv (of My Lo,e is Past)
The souldiar worne with warres, delightes in peace;
From the Latin of Ercole Strozzi,-
Unda hie sunt Lachrimae, Venti suspiria, Remi
lZota, Error velum, Mens malesana Ratiz.
1 ELIZABETHAN TRANSLATIONS
Passion lxx:rv
Sweete liberty restores my woonted joy,
Based on a letter written by Aeneas Silvius to a friend re-
penting of having "published the wanton loue of Lucretia and
Euryalus."
Passion lxxxix
Loue hath delight in sweete delicious fare;
This passion is made up of sentential verses, mostly from
classical authors, but the ninth verse renders Pontano's
Si vacuum sineret perfidious amor,
Loue thinkes in breach of faith there is no fault.
Passion xc
Me sibl ter binos annos unumque subegit
Dinus Amor;
A paraphrastic translation of Petrarch, Sonetto 84, parle
seconda, --
Tennemi Amor anni ventuno ardendo,
Lieto nel foco,
Passion
Ye captiue soules of blindefold Cyprians boate,
Imitated from Agnolo Firenzuola,-
0 miseri coloro,
Che non prouar di donna fede mai:
Firenzuola had already imitated Horace, Liber x, Carmen v,
Ad Pyrrham,-
Miseri, quibus
Intentata hires I Me tabula saeer
Votiva paries indieat uvida
S uspendisse potenti
Vestimenta maris deo.
I6 ELIZABETHAN TRANSLATIONS
the barons of great worth. If any demand whence this pro-
ceeded, the Spanish proverb answers him,-
'That which cometh from above, let no man question.'"
Henry Noel died February 6, 1596-97, it is said from a
'calenture,' or burning fever, due to over-exertion in a compe-
tition with an Italian gentleman at the game called balonne
[balloon], ' a kind of play with a great ball tossed with wooden
braces upon the arm.' He was buried, by Elizabeth's order,
in St. Andrew's Chapel, Westminster Abbey. Walpole gives
Queen Elizabeth's rebus on his name,-
The word of denial and letter of fifty
Is that gentleman's name that will never be thrifty.
Royal and Noble A uthors, Vol. I, p. 85.
Thomas Morley composed a madrigal to his memory:--
A reverend memorial of that honorable true gentleman,
Henry Noel Esquire.
YIark ! YIallelujah ! cheerly
With angels now he singeth,
That here loved music dearly-
Vhose echo Heaven ringeth,
Where thousand cherubs hover
About the eternal Mover.
Canzonets or little short Aers to five and sixe Voyces. 1597.
See Fraunce's The Lamentations of A.myntas for the Death
Phillis, 1587, and The Countesse of Pembrokes Ivychurch, Part
II, Phillis Funeral, 1591.
86
1586. Albions England. Or Historical Map of the same
Island: prosecuted from the liues Acres and Labors of Saturne,
Jupiter, Hercules, and Aeneas: Originalles of the Bruton, and
Englishmen, and occasion of the Brutons their first aryvall in
Albion. Containing the same Historic unto the Tribute to the
Romaines, Entrie of the Saxones, Invasion by the Danes, and
Conquest by the Norraaines. With Historicall Intermixtures, In-
uention, and Varietie proffitably, briefly and pleasantly, per-
formed in Verse and Prose by William Warner.
"ELIZABETHAN TRANSLATIONS
Watsons sugared A myntas by sweet Master France." But in
Have with you to Saffron Walden (1596) Nash characterizes the
English hexameter as "that drunken staggering kind of verse,
which is all up hill and down hill, like the way betwixt Stam-
ford and Beechfield, and goes like a horse plunging through
the mire in the deep of winter, now soust up to the saddle, and
straight aloft on his tip-toes."
See Watson's Amyntas (1585), and Fraunce's The Countesse
of Pembrokes Ivychurch (Part x, 1591).
88
1588. Muqca Transalpina, Altus. Madrigales translated of
route, flue and sixe parts, chosen out of diuers excellent Authors,
with the first and second part of La Verginella, made by Maister
Byrd, upon two Stanz's of Ariosto, and brought to speake Eng-
lish with the rest. Published by N. Yonge, in fauour of such as
take pleasure in musicke of voices.
Imprinted at London by Thomas East, the assign6 of
William Byrd, 1588. Cure Priuilegio Regime Maiestatis.
6 parts. 4to. Fifty-seven songs.
Reprinted in Arber's An English Garner. Vol. xI. 1895.
Also, in An English Garner. Shorter Elizabethan Poems. With
an Introduction by A. H. Bullen. 1903.
In 1843, G. W. Budd began a complete edition of Musica
in score, but issued only six of the eighty-one
Transalpina
pieces.
Dedicated
Shrewsbury.
to Gilbert Talbot, afterwards seventh Earl of
"I had the hap," says Yonge, "to find in the hands of some
of my good friends certaine Italian Madrigales translated most
of them five years ago by a gentleman for his private delight."
Nothing is -known of the translator, who is very literal. Thomas
Oliphant, in La Musa Madrigalesca (p. 41), infers that Nich-
olas Yonge was a music teacher, who had "a sort of harmonic
club" at his house, in the parish of St. Michael, Cornhill.
Of the fifty-seven madrigals, sLxteen are by Ferrabosco, ten
POETRY 131
and set
ing, --
to music by Luca Marenzio, is in every way charm-
So saith my fair and beautiful Licoris, when now
and then she talketh
With me of loue; loue is a sprite that walketh,
That soars and flies, and none aliue can hold him,
Nor touch him, nor behold him;
Yet when her eyes she turneth,
I spy where he sojourneth;
In her eyes, there he flies;
But none can touch him,
Till on her lips he couch him;
But none can catch him,
Till from her lips he fetch him.
Censura Ligeraria, Vol. Ix, p. 5 (Ed. 1809).
Grove (Dictionary of Music and Musicians) says that the
word' madrigal' was first used in English in the title of Musica
Transalpina. The fact is of interest as showing incidentally
the epoch-making character of this song-book. It introduced
to the English people Felice Anerio and Giovanni Croce, Pal-
estrina and Luca Marenzio. Two years later, Thomas Watson,
the poet, Englished twenty-three of Marenzio's madrigals,
"not to the sense of the original dittie, but after the affection
of the noate." After Watson, the strain of song and verse
developed along two distinct lines; musically, out of the madri-
gal and the song-books came that peculiarly English product,
the glee, while poetry, still singing, but freed from the "sense
of the original dittie," flowered forth into the Elizabethan lyric,
with its infinite variety of songs, sonnets, madrigals, pastorals,
idyls, eclogues, ballads, roundelays, ditties, catches, jigs, and
brawls.
89
1590. The first sett of Italian Madrigalls Englished, not to the
sense of the original dittie, but after the affection of the Noate. By
Thomas Watson, Gentleman. There are also heere inserted two
excellent Madrigalls of Master William Byrds, composed after the
Italian vaine, at the requeste of the sayd Thomas Watson.
134 ELIZABETHAN TRANSLATIONS
Come, shepherds, follow me,
Praising sweet Amarillis:
All but Amyntas,
Whose only joy is Phillis.
(Music by Luca Marenzio, 1570.)
The seventh Rnd eighth lines are altered by Oliphant from
Watson's
While my tender flock climbs up the mount,
And there stays.
The Fates, alas! too cruel,
Have slain before his day Diana's chiefest jewd.
But worthy Melibceus in a moment
With Astrophil is placed above the firmament.
Oh! they both live in pleasure
Where joys exceed all measure.
(Music by Luca Marenzio, 1370.)
Diana is Queen Elizabeth; Melibceus, Sir Francis Walsing-
ham; and Astrophil, Sir Philip Sidney.
VII
All ye that joy in wailing,
Come seat yourselves a-row, and weep beside me;
That while my life is failing,
The world may see what ills in love betide me;
And after death do this in my behove,
Tell Cressid, Troilus is dead for love.
(Music by G. M. Nanini, 1580.)
This madrigal is also set for five voices by Michael Este,
1604; Michael Este (Est or East), bachelor of Music, was
master of the boys of Lichfield Cathedral.
"For delicious Aire and sweete Invention in Madrigals,
Luca Marenzio excelleth all other whosoever, having published
more Sets than any other Authour else whosoever; and to say
truth, hath not an ill Song, though sometimes an over-sight
(which might be the Printers fault) of two eights or fiftes
escapt him; as betweene the Tenor and Base in the last close
of, I musf depart all haplesse: ending according to the nature of
I6 ELIZABETHAN TRANSLATIONS
(3)
(4)
(5)
(6)
Founded on an episode in Canto XXL This play was
acted at the Rose in 1591, Edward Alleyn ta "ldng the part
of Orlando.
Much Ado About Nothing. 1600. 4to. Shakspere.
The story of Claudio and Hero is the same as that of
Ariodante and Geneuora in Ariosto. Shakspere may have
taken the plot from Belleforest's Histoires Tragiques,
Vol. xx, based on Bandello, x, 0, the tale of Don Timbeo
di Cardona, but the personation of Hero by hIargaret is
probably borrowed from Harington's translation.
The Tempesl. 163. Folio. Shakspere.
Suggests the shipwreck of Ruggiero, the hermit's desert
island, and the reconciliation between Ruggiero and
Orlando. Orlando Furioso, Cantos XLI and XLIII.
Sicelides. 1631. 4to. Phineas Fletcher.
Atyches rescuing Olinda from the orc imitates Orlando
Furioso, Canto x, where Ruggiero delivers Angelica
from the monster.
The Sea Voyage. 1647. Folio. John Fletcher.
The commonwealth of women is traceable to the Argo-
nautic legend of Hypsipyle on Lemnos, reproduced in
Orlando Furioso, Canto xx.
91
1591. The Countesse of Pembrokes Ivychurch. Conteining
the affectionate life and unfortunate death of Phillis end Amyn-
tas : That in a Pastorall ; This in a Funerall" both in English
Hexameters. By Abraham Fraunce.
London. Printed by Thomas Orwyn for William Ponsonby,
Churchyard, at the signe of the Bishops
48 leaves. British Museum ( copies).
dwelling in Patties
head. 1591. 4to.
Bodleian.
Dedicated "To
the right excellent, and most honorable
Ladie, the Ladie Marie, Countesse of Pembroke."
Fraunee says, in his Dedicatory Epistle, "I have somewhat
altered S.[ignor] Tassoes Italian & M.[aster] Watson's Latine
138 ELIZABETHAN TRANSLATIONS
. The Teares of the Muses; dedicated to Lady Strange.
3. Virgils Gnat; dedicated to the Earl of Leicester.
4. Prosopopoia: or Mother Hubberds Tale; dedicated to Lady
Compton and M:onteagle.
5. The Ruines of Rome, thirty-two sonnets, with L'Envoy.
6. Muiopotmos, or The Fate of the Butterflie; dedicated to Lady
Carey.
7. Visions of the World's Vanitie.
8. The Visions of Bellay.
9. The Visions of Petrarch formerly Translated.
The Visions of Bellay and The Visions of Petrarch formerly
Translated, had been printed twenty-two years before, in
Van der Noodt's A Theatre wherein be represented as wel the
miseries & calamities that follow the voluptuous Worldlings, As
also the greate ioyes and plesures which the faithfull do enjoy.
(1569. Dedicated to Queen Elizabeth.)
Following the dedication there came twenty-one woodcuts
in illustration of some poems by Petrarch and Du Bellay which
Van der Noodt had studied while compiling his tract, and
opposite each woodcut was placed a translation into English
verse of the appropriate Italian or French poem. The 'E/K-
9rams ' of Petrarch is a series of six poems of twelve or fourteen
lines, riming alternately, with a quatrain for l'envoi, which
render his canzone, Standomi un giorno solo alla finestra
(Canzone 42, of Sonetti e Canzoni in Morte di MadonnaLaura).
The fifteen 'Sonets' or 'Visions,' from the Songe of Joachim
Du Bellay, were unrimed, and four of them were described as
"out of the Revelations of St. John."
The verses are without Spenser's name, but as they appear,
with alterations, in Complaints, they have been accepted as
the earliest printed work of the poet, then a boy in his seven-
teenth year. In Complaints, Petrarch's Epigrams were re-
named' Visions,' and were made each fourteen lines long, while
the Sonets of Du Bellay, now called 'Visions,' were supplied
with rimes, and others substituted for the four "out of the
Revelations of St. John."
POETRY 141
Kirkman's Catalogue, 1661, mentions a tragedy, entitled
The Destruction of Jerusalem, which was written by Thomas
Legge, and acted in 1577 at Coventry.
See Fairfax's Godfrey of Bulloigne (1600).
95
1594. Madrigalles to four Voyces, the first Booke. [By
Thomas Morley.]
London, by Thomas Este in Aldersgate Street at the sign
of the Black Horse. 1594. 4to. Four parts. Twenty songs.
Also, London, by T. Este. 1600. 4to. Twenty-two songs.
Morley's Madrigalles to four Voyces contains the madrigal,
Fair is my love, for April's in her face,-
which is found, slightly varied, in Robert Greene's romance,
Perimides the Blackesmith (1588). Also, the madrigals of
England's Helicon (1600), entitled,-
"Lycoris the Nymph her Sad Song," and
"Philistus' Farewell to false Clorinda."
Thomas Morley, born about 1557, died about 1604, a pupil
of William Byrd, became organist of St. Paul's, and later
successively epistler and gospeler to the Chapel Royal. He
wrote seven books of canzonets or madrigals, 1593 to 1600;
A Plaine and Easie Introduction to Practicall Musicke; and
edited, in 1601, Madrigals. The Triumphs of Oriana, a collection
of twenty-five madrigals in honor of Queen Elizabeth.
One of Morley's airs, in The First Booke of Ayres or Little
Short Songs (1600), is a setting of the second page's song in
As You Like It, v, 3, "It was a lover and his lass," a charm-
ingly fresh and flowing melody, which is extremely interesting
as one of the few pieces of original Shaksperean music that has
survived. The air is reprinted in Chappell's Popular Music oJ
the Olden Time, I, 204-05, and in Charles Knight's Pictorial
Shakespere (1838-41).
The song, "O mistress mine," Twelfth Night, u, 3, is found
in both editions of Morley's Consort Lessons (1599 and 1611).
POETRY 145
noble, magnanimous, and woorthy Knight, Sir Henry Glenm-
ham," etc.
I like to believe that our R. L. was the R. L. of Richard
Barnfield's famous sonnet, "To his friend, Maister R. L. In
praise of Musique and Poerie." (k. B. Grosart, Introduction to
Diella, Occasional Issues, Vol. m, pp. vii, viii.)
:For Barnfield's sonnet, see John Dowland's Second Book of
Songs or Airs (1600).
99
1597. Canzonets. Or Little Short Songs to foure voyces: celected
out of the best and approved Italian Authors by Thomas Morley,
Gent. of her Majesties Chappell.
Imprinted at London by Peter Short, dwelling on Bred-
streete hill at the signe of the Star and are there to be sold.
1597. 4to. Four parts. Twenty madrigals. British Museum.
Dedicated "to the Worshipfull Maister Henrie Tapsfield,
Citizen and Grocer, of the Cittie of London -- I hartily intreat
you to accept these poore Canzonets, by me collected from
diuers excellent Italian Authours, for the honest recreation of
yourselfe and others."
A few of these songs may be found in the British Bibliogra-
pher, Vol. x, pp. 344-45, where one canzonet,
Long hath my loue bene kept from my delighting,-
is ascribed to Felice Anerio.
100
1597. Laura. The Toyes of a Traueller. Or, The Feast of
Fancie. Diuided into three Parts. By R. T. Gentleman. Poca
fmilla gran fiamma seconda. (Paradiso, ,
London. Printed by Valentine Sims. 1597. lmo. British
Musem, formerly at Lamport Hall, near Northampton (Sir
Charles E. Gresham, Bart.).
Dedicated, in prose, "To the no lesse vertuous, than faire,
the honourable Ladle Lucie [Percy], sister to the thrice re-
nowmed and noble Lord, Henry Earle of Northumberland."
146
ELIZABETHAN TRANSITIONS
An epistle in verse is dedicated, "Alla bellissima sua Signora
E. C." The third stanza of this epistle refers to his nickname,
'R. T.' (Robert Tofte), 'Robin Redbreast':-
And though the note (thy praises only fit)
Of sweetest Bird, the dulcet Nightingale:
Disdaine not little Robin Red-bresT yet,
[He sings his lowly best if he doth fail]
What he doth want in learning or in skill,
He doth supply with zeale of his goodwill.
Compare with this the play upon the name in The Fruits of
Jealousie, Stanzas 5 and 6.
The last stanza of the verse dedication states that the poem
was written in Italy, --
Then doubt mee not, though parted wee remaine,
In England thou, and I in Italy:
As I did part I will returne againe,
Loyall to thee, or els with shame Ile dye.
True Louers when they trauaile Countreyes strange,
The aire, and not their constant mindes doo change.
Coelum, non animum mutant, qui trans mare currunt.
A ffettionatissimo serid, della diuina Belezza sua.
ItoTo
E. C., of both Laura and Alba (1598), is supposed to be Eu-
phemia (Hazlitt) or Elizabeth C.[areill] or Carill, or Caryll,--
And gainst all sense makes mee of Care and I1,
More then of good and ComfoitT to have will.
Laura, 'The Second Part,' Sonnett xxxL
Then constant Care, not ComFoRT I do crave,
And (might I choose) I Care with L. would haue.
Alba, The Second Part, Stanza 84, II. 5, 6.
Laura is a collection of short poems, "most parte conceiued
in Italie, and some of them brought foorth in England"; more
than thirty of the poems are by some one else, as is stated in
"A Frends just excuse about the Booke and Author, in his
absence," which is appended to the work by R. B.
The poems are called 'sonnets,' although written in rhymed
148 ELIZABETHAN TRANSLATIONS
Taffeta and an umbrello of perfumed leather with a gould
fryndge abowte yt which I brought out of Italie."
For this account of Robert Tofte I am indebted to Alba.
The Month's Minde of A Melancholy Lover. By Robert Torte,
Gentleman (1598). Edited, with Introduction and Notes and
Illustrations by Alexander B. Grosart. Occasional Issues,
Vol. xa. 1880. sm. 4to.
See Orlando Inamorato (1598), Of Mariageand Wiuing (1599),
Ariostos Satyres (1608), ttonours Academie (1610), The Blazon
of Jealousie (1615).
101
1597. Madrigals to three, four, five, or six Voyces, made and
newly published by Thomas Weelkes.
London, by T. Este. 1597. 4to. Twenty-four madrigals.
Edited by E. J. Hopkins, for the Musical Antiquarian Society.
1845.
Dedication: "To the Right Worshipful Master George
Phillpot, Esquire, Thos. Weelkes wisheth all joy, health, and
felicity."
Madrigal
Those sweet delightful lillies
Which nature gave my Phillis,
Ah me! each hour makes me to languish,
So grievous is my pain and anguish.
This is a limp translation of an Italian stanza,-
I bei ligustri e rose,-
also set to music by Weelkes in his Ayres or Phantasticke Spirits
(1608). The English version is also set by Thomas Bateson
(1604).
umbers , , and 4, are madrigals set to the pastoral song,
"'My flocks feed not," which is Number 18 of The Passionate
Pilgrim, published 1599 and 161 as "by W. Shakespeare."
The same song is called The Unknown Shepherd's Complaint,
and is signed ' Ignoto,' in England's Helicon (1600), where it is
immediately followed by another poem of The Passionate
150 ELIZABETHAN TRANSLATIONS
Virgidemiarum : The three last Bookes. Of byting Satyres.
Corrected and amended with some additions by J. H. [Joseph
Hall, successively Bishop of Exeter and of Norwich.]
Imprinted at London for Robert Dexter, at the signe of
the Brazen Serpent in Paules Churchyard. 1599.
Certaine Worthye Manuscript Poems, of great Antiquitie, Re-
serued long in the Studie of a Northfolke Gentleman, And now
first published by J. S.
Imprinted at London for R.D. 1597. Small 8vo. Certaine
Worthye Manuscript Poems were reprinted in Edinburgh, 181,
twenty-five copies only.
These three publications, though always found in one vol-
ume, have different titles and signatures. The first three books
of satires originally appeared in 1597, the last three in 1598.
The Huth Library copy, whose title-page is here given, was the
third edition of Books I-III, and the second of Books xv-w.
Of the Certaine Worthye Manuscript Poems there was only
a single impression, dedicated "To the worthiest Poet Maister
Ed. Spenser."
The poems are three in number, --
The statly tragedy of Guistard and Sismond.
The Northern Mothers Blessing.
The way to Thrifte.
The statly tragedy of Guistard and Sismond is taken from
the Decameron, Iv, 1, and is a reprint of a metrical version
of the romance made by William Walter, a poet of the time of
Henry VII. Walter's poem, which is in octave stanza, was
based on a Latin prose translation, Epistola Leonardi Aretini
de amore Guistardi et Sigismunda (1488), and is entitled, The
amorous History of Guystarde and Sygysmonde, and of their
dolorous Deth by her Father. It was printed by Wynkyn de
Worde in 153. Roxburghe Club. 1818.
The romance of Guiscardo and Ghismonda was put into
Italian terza rima, by Francesco Accolti (1493); in 1493, also,
Jean Fleury made a translation into French verse, La piteuse et
lamentable historie de Gismand, his original being the Latin ver-
15 ELIZABETHAN TRANSLATIONS
Dedicated to "The Worshipful Sir Gervais Clifton, Knight."
Morley says in his Dedication,- "I ever held this sentence
of the poet as a canon of my creede; That whom God loveth not,
they lore not Musique. For as the Art of Musique is one of the
most Heavenly gifts, so the very love of Musique (without art)
is one of the best engrafted testimonies of Heavens love
towards us."
Madrigal
Doe not tremble, but stand fast,
Deare, and faint not: hope well, haue well, my sweetlng:
Loe where I come to thee with friendly greeting:
Now ioyne with mee thy hand fast:
Loe thy true loue salut's thee,
Whose jeme thou art, and so he still reput's thee.
British Bibliographer, Vol. xx, p. 65.
Thomas Oliphant, in La Musa Madrigalesca, pp. 104-106,
treats together the two collections of madrigals edited by
Thomas Morley, Canzonets. Or Little Short Songs to route voyces
(1597), and Madrigals to five voyces (1598). He says, "The
poetry (probably by Morley himself) is so wretched, that I
only insert a few that are in use at the Madrigal Society."
He gives the madrigals,-
"Lo! Ladies, where my love comes," and
"Delay breeds danger, and how may that be wrested."
(Music of both by Ruggiero Giovanelli. 1580.)
"My lady still abhors me."
(Music by Giovanni Ferretti. 1575.)
"Hark and give ear, you lovers so besotted."
(Music by Giulio Belli.)
106
1598. The Courtiers Academie:
all dayes discourses; wherein be
Comprehending seuen seuer-
discussed, seuen noble and
important arguments, worthy by all Gentlemen to be perused.
[1. Of Beauty; 2. Of Humane Loqe; 3. Of Honour; 4. Of
Combate and single Fight; 5. Of Nobilite; 6. Of Riches; 7. Of
precedence of Letters or Armes.] Originally written in Italian
POETRY 155
by Count Hanibalt Romei a Gentleman of Ferrara, and translated
into English by J.[olm] K.[epers].
[London]. Printed by Valentine Sims: n. d. [1598.] 4to.
British Museum.
Dedicated to "Sir Charles Blunt, Lord Mountjoy, K. G."
Interspersed with poetry, and containing also some transla-
tions from Petrarch.
John Kepers was born about 1547, at Wells, Somerset.
Anthony h Wood says that he was "brought up in the close
of Wells," and Warton that he was a graduate of Oxford in the
year 1564, who afterwards studied music and poetry at Wells.
107
1598. The First Set of English Madrigals to three, four, five,
and six voices. Newly composed by John Wilbye.
At London, printed by Thomas Este. 1598. 4to. Six parts.
Thirty madrigals. Reprinted in score, edited by James Turle,
for the Musical Antiquarian Society. 1841. Folio. Reprinted
in Arber's An English Garner, Vol. vI. 1895. Reprinted in
An English Garner. Shorter Elizabethan Poems. With an In-
troduction by A. H. Bullen. 1903, p. 145.
Dedicated, by John Wilbye, to "The Right Worshipful
and valorous Knight, Sir Charles Cavendish."
Madrigal
Lady, when I behold the roses sprouting,
Which clad in damask mantles deck the arbours;
And then behold your lips, where sweet love harbours;
Mine eyes present me with a double doubting:
For viewing both alike, hardly my mind supposes,
Whether the roses be your lips, or your lips the roses.
This is a graceful paraphrase of a madrigal by
Celiano: --
Quand" io miro le rose,
Ch" in voi natura pose;
E quelle che v'ha l' arte
Nel vago seno sparte;
Livio
POETRY 139
was included; but now he brake it, singing these verses called
' Asclepiads' "-. --
O sweet woods, the delight of solitariness,
O, how much do I love your solitariness!
From fame's desire, from love's delight retired,
In these sad groves an hermit's life I lead;
And those false pleasures which I once admired,
With sad remembrance of my fall, I dread.
To birds, to trees, to earth, impart I this,
For she less secret and as senseless is.
Experience, which alone repentance brings,
Doth bid me now my heart from love estrange:
Love is disdain'd when it doth look at kings,
And love low placed is base and apt to change.
There power doth take from him his liberty,
Her want o| worth makes him in cradle die.
O sweet woods, etc.
The Countess of Pembroke's Arcadia, Book xI. (Folio of 1593.)
Sidney's model was Pietro Bembo, Sonetto Lv:--
Lieta e chiusa contrada, or' io ra' involo
Al vulgo, e meco vino, e meco albergo.
See Poems: Amorous, Funerall, Divine, Pastorall. 1616.
John Dowland's First Booke of Songes or A yres of route parts,
with Tableture for the Lute, etc. (1597), was in its day the most
popular musical work that had appeared in England. It came
to five editions in sixteen years, and was reprinted in score by
the Musical Antiquarian Society in 1844. The songs are not
madrigals at all, but simply harmonized tunes; they are really
the earliest English glees, and are still sung more than the
compositions of any other Elizabethan musician, perhaps for
that reason.
Modern musical critics very generally think that Dowland
was overrated by his contemporaries, and Oliphant suggests
that he may have won his reputation by his lute playing. It
is certainly his skill as a lutenist that is celebrated in Richard
Bartrfield's sonnet of The Passionate Pilgrim (1599):----
POETRY 161
This celebrated collection consists of twenty-five madrigals
in praise of Queen Elizabeth, extolling in the Italian manner
her charms of beauty, grace, and virtue. Queen Elizabeth was
at the time in her sixty-eighth year, and Sir John Hawkins says
that the book was produced at the expense of the Earl of Not-
tingham to soothe the Queen's despair for the execution of the
Earl of Essex.
The musical composers who contributed to The Triumphes of
Oriana were Michael Este; Daniel Norcome; John Mundy,
Mus. Bac.; John Bermet; John Hilton, hlus. Bac.; George
Marson, Mus. Bac.; Richard Carlton, Mus. Bac.; John
Holmes; Richard Nicolson; Thomas Tomkins; Michael
Cavendish; William Cobbold; John Farmer; John Wilbye;
Thomas Hunt, Mus. Bac.; Thomas W.eelkes; John Milton;
George Kirbye; Robert Jones; John Lisley; Edward Johnson.
Each of these musicians contributed one madrigal. Ellis
Gibbons and Thomas Morley each furnished two madrigals.
The verses are indifferent poetry, and usually end with the
refrain, --
Then sang the nymphs and shepherds of Diana,
Long live fair Oriana.
Thomas Oliphant (La Musa Madrigalesca, pp. 110, 11.5)
cites eight of the madrigals. Of these, John Bennet's beautiful
madrigal illustrates fairly well both the idea of the work and
the Italianate style of the poetry: --
Madrigal
All creatures now are merry-minded,
The shepherd's daughters playing,
The nymphs are fa-la-la-ing;
Yon bugle was weB-winded.
At Oriana's presence each thing smileth,
The flowers themselves discover,
Birds over her do hover,
Music the time beguileth.
See, where she comes, with flow'ry garlands crowned;
Queen of all Queens renowned:
POETRY 163
Antwerp. 1601. Reprinted, Antwerp, 161J,. But the col-
lection must have been printed, probably in Italy, before 1601,
for some of the Italian composers were dead at that time, and
one of the madrigals furnished by Thomas Morley, Giovanni
Croce's,
Ore tra l' herbi e i fiori,
had already been published by Nicholas Yonge, in the Second
Book of Musica Transalpina, 1597, adapted to the words,-
Hard by a crystal fountain.
II Trionfo di Dori is a collection of twenty-nine madrigals
written in praise of a lady, celebrated under the name of Doris;
each madrigal ends with the acclaim,
Viva la bella Dori.
The madrigalisti who contributed to ll Trionfo di Dori were
Felice Anerio; Giovanni Matteo Asola; Hippolito Baccusi;
Ludovico Balbi; Lelio Bertani; Pietro Andrea Bonini; Paolo
Bozi; Giovanni Cavaccio; Orazio Columbano; Gasparo Costa;
Giovanni Croce; Giulio Eremita; Giovanni Florio; Giovanni
Gabrieli; Giovanni Giacomo Gastoldi; Ruggiero Giovanelli;
Leon Leoni; Giovanni de Macque; Luca Marenzio; Tiburtio
Massaino; Filippo di Monte; Giovanni Palestrina; Costanzo
Porta; Alfonso Preti; Hippolito Sabino; Annibal Stabili;
Alessandro Striggio; Orazio Vecchi; and Gasparo Zetto.
112
1601. Loues Martyr: or, Rosalins Complaint. Allegorically
shadowing the truth of Loue, in the constant Fate of the Phoenix
and Turtle. A Poeme enterlaced with much varietie and raritie;
now first translated out of the venerable Italian Torquato Coeliano,
by Robert Chester. With the true legend of famous King Arthur,
the last of the nine Worthies, being the first Essay of a new Brytish
Poet: collected out of diuerse Authenticall Records. To these are
added some new compositions, of seuerall moderne Writers whose
names are subscribed to their seuerall workes, upon the first sub-
POETRY 165
original is a combination, made up from 'Torquato Tasso'
and 'Livio Celiano.' It is conjectured that Chester found the
'venerable Italian Torquato Cceliano' in a little book, entitled,
Rime di diveri celebri poeti dell' et nostra. Bergamo, 1587;
pages 95-148 of this collection consist of poems from Livio
Celiano, and pages 149-181 of similar selections from Torquato
Tasso.
After going over the whole matter carefully, Grosart was at
first of the opinion that Love's Martyr was not a translation
at all, but only said to be so to heighten the effect of the alle-
gory. But he subsequently modified this judgment some-
what:-- "My impression is that the Dialogue between Nature
and the Phoenix and Rosalin's Complaint and the Prayer
which follows, are translated; but probably in the original
are separate poems. The 'Arthur' episode is plainly--by
the title-page and subject- original."
Nash and Meres speak of Celiano as one of the chief poets
of the time, but excepting the selections in the book cited, his
poems (Celiano, Livio, Rime, Pavia, 159, Quadrio) are not
"known to be extant.
"'I should like to have the Academy of Letters propose a
prize for an essay on Shakespeare's poem, Let the bird of loudest
lay, and the Threnos with which it closes, the aim of the essay
being to explain, by a historical research into the poetic myths
and tendencies of the age in which it was written, the frame
and allusions of the poem. I have not seen Chester's Love's
Martyr, and 'the Additional Poems' (1601), in which it
appeared. Perhaps that book will suggest all the explanation
this poem requires. To unassisted readers, it would appear
to be a lament on the death of a poet, and of his poetic mis-
tress. But the poem is so quaint and charming in diction,
tone, and allusions, and in its perfect metre and harmony, that
I would gladly have the fullest illustration yet attainable."
(Emerson, Preface to Parnassus. 1875.)
POETRY 167
details about Italian travel at that time, especially for a yotmg
man limited in means and inclined to extravagance, like
Davison. He waites to his harassed father, who, out of office
and in retirement, was supporting his son abroad with diffi-
culty,- "If the letter fall not out to your liking, excuse it by
the divers matters I have to attend unto: writing, speaking,
and reading Italian; desiring to frame an indifferent style in
English": Francis Davison's poems show not wide reading in
Italian poetry. Of his Inscriptions, those on Thisbe, Ajax,
Romulus, and Fabritius Curio, are taken from Luigi Groto.
An Inscription for the Statue of Dido translates Guarini's
Madrigal 17,
0 sfortunata Dido,
which in turn renders an epigram of Ausonius,
In.felix Dido, nulli bene nupta marito,
Hoc pereunte f ugis, hoe f ugiente peris.
The first stanza of A Prosopopoeia, beginning,
I dare not in my master's bosom rest,
is from Groto.
The Ode, "In heaven the blessed angels have their being,"
imitates Groto's "Li augelli in aria, in acqua i pesci ]san loco,"
etc. Luigi Groto also furnished Davison the thought of his
madrigals, --
"Though you be not content,"
"Love, if a God thou art,"
"In health and ease am I,"
"Sorrow slowly killeth any,"
"The wretched life I live,"
"If this most wretehed and infernal anguish,"
and of his sonnet,
While love in you did live, I only lived in you.
(See Delle Rirae di Luigi Groto, Cieco d" Hadria. 1592.)
Davison's sonnet,
When trait'rous Photine Cesar did present,
168 ELIZABETHAN TRANSLATIONS
is a translation of Petrarch's Sonetto 81,
Cesare, pal che "l traditor d' Egitto.
His Answer to her Question, What Love Was, is Guarini's, in
II Pastor Fido, xt, 2:--
S" i' rairo il tuo bel viso,
Amore un paradiso;
Ma s' i' miro il mio core,
1, un infernal ardore. ,
Guarini's Madrigal 12,
Occhl stelle mortali,
Miniatri di mei mall,
is the source of Davison's madrigal,
O fair, yet murd'ring eyes,
Stars of my miseries, etc.
"Francis Davison's Poetical Rapsody (1602) was the latest
of those successive anthologies which for nearly half a century,
from the publieationof Tottels Miscellany, in 1557, had formed
so prominent and so charming a feature in English poetical
literature. This series of anthologies had culminated in
England's Helicon, in 1600, one of the richest and most inspired
collections of miscellaneous verse ever published in any coun-
try, or at any time." (Edmund Gosse, The Last Elizabethans,
in The Jacobean Poets. 1894.)
114
1607. Rodomonths Infernall, or The Diuell conquered. Ari-
astos Conclusions. Of the Marriage of Rogero with Bradamanth
his Love, & the fell fought Battell betweene Rogero and Rodo-
month the neuer-conquered Pagan. Written in French by Phil-
and Paraphrastically translated by G.[ervase]
lip de Portes,
M.[arkham].
At London.
8vo. 30 leaves.
Printed by V. S. for Nicholas Ling. [1607.]
British Museum.
A note in Lowndes says, "It was printed under the title of
Rodomont's Furies, in 1606, 4to, and dedicated to Lord Mont-
170 ELIZABETHAN TRANSLATIONS
116
1608. Ariosto's Satyres, in seven famous discourses, shewing
the State, 1. Of the Court, and Courtiers. 2. Of Libertie, and
the Clergie in generall. 3. Of the Romane clergie. $. Of Mar-
riage. 5. Of Soldiers, Musitians, and Louers. 6. Of School-
masters and Scholers. 7. Of Honour, and the happiest life. In
English by Gervase Markham.
London. Printed by Nicholas Okes, for Roger Jackson,
dwelling in Fleet street, neere the great Conduit. 1608. Small
4to. 58 leaves. British Museum. Reprinted anonymously, in
1611, under a new title,-
Ariostos seven Planets Gouerning Italie. Or his satyrs in
seven Famous discourses, shewing the estate, 1. Of the Court
and Courtiers. 2. Of Libertie and the Clergy in general. 3.
Of the Romane Clergie. 4. Of Marriage. 5. Of Soldiers,
Musitians, and Louers. 6. Of Schoolemasters and Schollers.
7. Of Honour, and the happiest life. Newly Corrected and
Augmented, with many excellent and note worthy notes, together
with a new Addition of three most excellent Elegies, written by
the same Lodo5co Ariosto, the effect whereof is contained in the
Argument. Qui te sui te sui.
London. Printed by William Stansby for Roger Jackson,
dwelling in Fleete streete neere the Conduit. 1611. Small 4to.
British Museum. Bodleian.
There is no difference between the two editions of the Satires,
except in the titles, and in the three Elegies appended to the
second edition, with a new pagination.
The translation is claimed by Robert Torte in his Epistle to
the Courteous Reader prefixed to the Blazon of Jealousie. 1615.
Tofte's order of the Satires is different from that of modem
editions of Ariosto, and his titles are not transparently clear.
The first Epistle, which is addressed to the poet's brother,
Galasso Ariosto, treats of a proposed journey to Rome; the
second gives the reasons why Ariosto declined to accompany
Cardinal Ippolito d' Este to Hungary; the subject of the third
174 :ELIZABETHAN TRANSLATIONS
Makes water wine, turns wooden cups to gold,
The homely whistle to sweet music's strain:
Seldom it comes, to few from heaven sent,
That much in little, all in naught- content.
Imitated from Petrarch, Sonetto 90, Parte Prima,
Pace non trovo, e non ho da far guerra ;
Professor Felix E. Schelling, who prints this madrigal
(Elizabethan Lyrics, p. 148) under the suggested caption, "All
in Naught" does not recognize the influence of Petrarch in it,
but he notices that the two seven-line stanzas really retain the
sonnet form.
For other Elizabethan variations on the theme, see Thomas
Watson's Passionate Centure of Love. Passion xs.
Madrigal
Softly, oh! drop, mine eyes, lest you be dry,
And make my heart with grief to melt and die.
Now pour out tears apace,-
Now stay, -- O heavy case!
Alas! O sour-sweet woe!
O grief! O joy! why strive you so?
Can pain and joy in one poor heart consent?
Then sigh and sing, rejoice, lament.
Ah me! O passion strange and violent!
Was never wretch so sore tormented:
Nor joy, nor grief, can make my heart contented.
For while with joy I look on high,
Down, down I fall with grief- and die.
The antithesis sour-sweet is nearly akin to the dolcezze ama.
rissime d' amore of Guarini's Pastor Fido. So Catullus,
Sancte puer, curis horninum qu gaudia rnisce.
Compare also George Herbert's poem Bitter-Sweet.
Madrigal
Change me, O Heaven, into the ruby stone
That on my love's fair locks doth hang in gold:
Yet leave me speech, to her to make my moan;
And give me eyes, her beauty to behold.
POETRY 177
122
1610. A Mus4.call Banquet. Furnished with varietie of deli-
cious Ayres, collected [by Robert Dowland] out of the best
Authors in English, French, Spanish, and Italian.
Printed for T. Adams, London, 1610, folio. British Mu-
seum.
Dedicated to Sir Robert Sidney, godfather to the author,
who was the son of John Dowland, the lutenist.
123
1611. The Tragicall Death of Sophonisba. Written by David
Murray. Scotto-Brittaine.
At London. Printed for John Smethwick, and are to be
sold at his shop in Saint Dunstans Churchyard in Fleetstreet,
under the Diall. 1611. 8vo.
Dedicated in two sonnets to Prince Henry. At the close of
Sophonisba, occurs with a new title,-
Cwlia: containing certaine Sonets. By David Murray, Scoto-
Brittaine.
At London. Printed for John Smethwick, and are to be
sold at his shop in Saint Dunstans Church-yard, in Fleet
street, under the Diall. 1611. 8vo. British Museum.
Dedicated to Richard, Lord Dingwell.
Reprinted for the Bannatyne Club, and edited by Thomas
Kinnear. Edinburgh. 183. 4to. British Museum.
Sophonisba is a long poem in seventeen seven-line stanzas
not always smoothly constructed, although there is an occa-
sional burst into genuine poetry, as we have so good an
authority as Michael Drayton, in an introductory sonnet, to
testify, --
To my kinde friend, Da. Murray
In new attire, and put most neatly on,
Thou, Murray, mak'st thy passionate Queene appeare,
As when she sat on the Numidian throne,
Deck't with those gems that most refulgent were.
180 ELIZABETHAN TRANSLATIONS
This madrigal is the second stanza of an ode by Francis
Davison, entitled,-
Being depriued of her sweete lookes, wordes and gestures, by his
absence in Italie, he desireth her to write unto him.
"Hope of my heart," a madrigal for five voices, was arranged
by Thomas Oliphant and republished in 1847.
The words of Ward's madrigals are very often free selections
from the Eclogues of 5/ichael Drayton (Poems Lyrick and
Pastorall: Odes, Eglogs, the Man in the Moone). His best song,
which is still sung, is the madrigal,-
Die not, fond man, before thy day;
Love's cold December
Will surrender
To succeeding jocund May.
126
1615. The Blazon of Iealousie. A Subject not written of by any
heretofore. First written in Italian, by that learned Gentleman
Benedetto l'archi, sometimes Lord Chanedlor unto the Signorie of
Venice: and translated into English, with speciall Notes upon the
same, by R.[obert] T.[ofte] Gentleman.
London. Printed by T. S. for John Busbie, and are to be
sould at his shop in S. Dunstan's Church-yard in Fleet street.
1615. 4to. Pp. 87 + 1. British Museum.
Dedicated, "To Sir Edward
worthy and generous champion
Great Britaine, etc."
Dymock Knight, the most
unto the Sacred Maiestie of
Tofte's marginal Notes are more interesting than his poem.
He quotes, to illustrate his text, among other writers, -- Chap-
man: Hero and Leander and Hymnus in Cynthiam, Spenser: The
Faerie Queene, Constable: Diana, Drayton: Mortimeriados, and
Wither: Abuses Stript and Whipt.
The Epistle "To the Courteous Reader" praises Gascoigne
and Turberville pleasantly, "since they first brake the Ice for
our quainter Poets, that now write, that they might the more
safer swimme in the maine Ocean of sweet Foesie."
18 ELIZABETHAN TRANSLATIONS
scum: 1810. 8vo. (Chalmer's English Poets.) British Museum:
Edinburgh. 1833. 4to. British Museum (for the Maitland
Club, by Lord Dundrennan and David Irving). London. 1833.
13mo. British Museum (Peter Cunningham). Edinburgh.
1853. 8vo. British Museum. London. 1856. 8vo. British Mu-
seum (W. B. Turnbull). London. 1894. 2 vols. (W. C. Ward).
Sonnet, of Poems, The First Part,
Sleep, Silence' child, sweet father of soft rest,
The invocation is imitated from Marini's 0 del Silentiofiglio.
Compare Daniel, Sonnet tan, of Delia,
Care-charmer Sleepe, sonne of the sable Night,
Sonnet, of Poems, The First Part,
Dear wood, and you, sweet solitary place,
as well as the sonnet, entitled The Praise of a Solitary Life,
from Urania, or Spiritual Poems,
Thrice happy he, who by some shady grove,
are to be found in substance in the three 'Asclepiadics' sung
by Dorus at the close of the second book of Sidney's Arcadia
(folio of 1593),
0 sweet woods, the delight of solitarinesse,
Sidney's model was Pietro Bembo, Soneto tar,
Lieta e chiusa contrada, or" io m' involo
AI vulgo, e meeo vivo, e meco albergo
The lutenist, John Dowland, set to music Sidney's
O sweet woods, the delight of solitarinesse,
in his book of madrigals, entitled, Second Book of Songs, or Airs
of two, four, and five parts, with Tableture for the Lute or Orphe-
rian, with the Violl de gamba. 1600.
Sonnet, of Poems, The First Part,-
Alexis, here she stayed; among these pines,
Compare this sonnet with Petrarch, Sonetto r.xxx, Parte
prima,
Awenturoso pi d' altro terreno
POETRY 183
Sonnet, of
hearcls,
Drummond's closing couplet,-
But ah! what served it to be happy so
Sith pass6d pleasures double but new woe?
was probably recollected from Dante's beautiful and pathetic
story of Paolo and Francesca,-
Nessun maggior dolore,
Che ricordarM del tempo felice
Nella miaeria ;
(Inferno, Canto v, 151-23.)
The sentiment occurs in English, however, before Drum-
mond, in Chaucer, Troylus and Cryseyde, lib. m, ccxxva:-
For, of fortunes scharp adversit
The worste kynde of infortune is this,
A man to han ben in prosperit6,
And it remembren, when it passed is.
And also in the old play, The Misfortunes of Arthur, by
Thomas Hughes, 1587,-
Of all misfortunes and unhappy fates
Th' unhappiest seemes to have been happy once;
Tennyson, in Locksley Hall, has put Chaucer's four lines
into one imperishable verse,
A sorrow's crown of sorrow is remembering happier things.
Sonnet, of Poems, The Second Part,
Sweet soul, which in the April of thy years.
Compare with this, Petrarch, Sonetto t.xw, Parte seconda,
Dolce mio caro e prezioso pegno.
Flowers of Sion, called by Main, The Sheep-
0 than the fairest Day, thrice fairer Night!
The last verse of this sonnet,
And Springs ratine Nector, Honey dropt from Trees,
is taken from Daniel's Pastoral, in Delia,-
0 Happie golden Age!
Not for that Riuers ratine
With streames of milke, and bunny dropt from trees;
184 ELIZABETHAN TRANSLATIONS
Daniel translated from Tasso's Aminta, 0 bella eth dell' oro.
See Torquato Tasso's Aminta Englisht (168).
Sonnet, of Flowers of Sion, To a Nightingale,
Sweet bird, that sing'st away the early hours,
This sonnet is in part an echo of Petrarch, Sonetto LXXXXX,
Parte seconda,
Vago augelletto, che cantando va,
Compare also, Pietro Bembo, Sono xII,
Vago augelletto, ch' al mio bel soggiorno,
Drummond's Italian studies (he also wrote English sestinas)
help to explain that interesting crux, his authorship of Polemo-
Middinia. Carmen Macaronicum. (1691. 4to.) This satiri-
cal poem, considering its length and its seriousness of literary
purpose, is the earliest imitation in English of the macaronic
or dog-Latin verse of Teofilo Folengo. There seems little
doubt but that Drummond was the author, nor indeed is it
any more curious that such an accomplished poet should have
written a macaronic, than that he should have taken out a
patent "for the making of military machines," Thundering
Rods, Shooting Pikes, Fiery Waggons, Sea-postilions, Levia-
thans, and like engines of death and destruction.
It is possible that the title of Drummond's longest poem,
Forth Feasting, is derived from Marini's Tebro Festante, a poem
on the election of Alessandro de' Medici, Pope Leo XI. Tebro
Festante is a panegyric on two former Popes of the Medici
family, Leo X and Clement VII; Drummond describes Forth
"panegyric to the King's Most Excellent Ma-
Feasting as a
jesty."
Phyllis
In petticoat of green
tier hair about her eyne,
Phyllis beneath an oak
Sat milking her fair flock:
'Mongst that sweet-strained moisture, rare delight,
Her hand seemed milk, in milk it was so white.
(Madrigals and Epigrams, Ed. 1656.)
186 ELIZABETHAN TRANSLATIONS
cated "To the most high and most illustrious Prince Charles
His Excellence."
The Complete Works in Verse and Prose of Samuel Daniel.
Edited, with Memorial-Introduction and a Glossarial Indez
Embracing Notes and Illustration. A. B. Grosart. 1885.
4 volumes.
The "well-languaged" Daniel ws one of the most Italian-
ate of Elizabethan poets. His first book, The Worthy Tract of
Paulus Iovius (1585), is a translation of Paolo Giovio's Motti e
Desegni d' Arme e d" Amore communemente chiamano Imprese
(1555). With Sonnets to Delia (1592) Daniel published A
Pastorall, which is a translation of Tasso's famous chorus at
the close of the first act of A minta, 0 bella eth dell' oro. The
forty-fourth sonnet is headed, "This sonnet was made at the
Author's beeing in Italie." The forty-eighth sonnet, which
appeared first in the third edition of Delia, in 1594, is marked
"At the Authors going into Italie." The time of the Italian
journey is un'known, but it must have been before 1592. A
prefatory sonnet to Sir Edward Dymoke, kinsman to the
translator of I1 Pastor Fido, in 1602, tells us that Daniel and
Sir Edward Dymoke had been fellow travelers in Italy, and
that they had there met Guarini, who said,-
our costes were with no measures grac'd,
Nor barbarous tongues could any verse bring forth.
Together with Spenser and Chapman, Daniel wrote an in-
troductory sonnet, "Of William Jones, his Nennio" (1595),
a translation of Giovanni Battista Nenna's book I1 Nennio.
Nel quale ,ri ragiona di nobilt (1542). In 1611, Daniel wrote
commendatory verses for John Florio's Queen Anna's New
World of Words, and, in 1613, for Florio's translation of The
Essayes on Morall, Politike, and Millitarie Discourses of Lo.
Michaell de Montaigne. In both cases, Florio is addressed as
"my deare friend and brother M. John Florio."
In John Daniel's edition of his brother's Whole lZVorkes, there
appeared for the first time A Description of Beauty, translated
out of Marino. [Giovanni Battista Marini.]
190 ELIZABETHAN TRANSLATIONS
the Sign of the Princes Armes in St. Pauls Church-yard. 1650.
8vo.
In the following year, 1651, Stanley reissued, in a fourth
volume, all his previously published verse, and added his
classical rendering of Anacreon's odes with some other transla-
tions. This book he divided into five parts, each introduced by
a new title-page. The first title is, --
Poems, by Thomas Stanley, esq., printed in the year 1651.
This is a reprint of the volume of 1647.
The second title-page reads,-
Anacreon: Bion: Moschus: Kisses by Johannes Secundus:
Cupid Crucified by Ausonius: Venus' Vigil Incerlo Authore.
The third title-page introduces-
Excitations.
This part is an appendix containing notes on the preceding
translations, which Stanley says "were never further intended
but as private exercises of the languages from which they are
deduced."
The fourth title-page runs,-
Silvia's Park, by Theophil: Acanthus Complaint, by Trsiran:
Oronta, by Preti: Echo, by Marino: Love's Embassy, by Boscan:
The Solitude, by Gongora.
The fifth and last title-page is,-
A Platonic Discourse on Love written in Italian by John Picus
Mirandola in Explanation of a Sonnet by Hieronymo Beniveni.
Girolamo Benivieni wrote, I1 Commento di Ieronimo Bene-
vieni, cittadino Fiorentino, sopra a pit sue canzone e sonetti del
Amore e della bellezza divina. Florence. 1500.
Pico della Mirandola: A Platonick Discourse upon Love.
Edited by Edmund G. Gardner. D. B. Updike. Boston. 191.
8vo.
To some copies there is appended a sixth title-page intro-
ducing the prose novel of Montalban which had been pub-
lished with Preti's Oronta in 1649 and 1650.
1814, 8vo, and 1815, 8vo, both edited by Sir Egerton
Brydges.
ELIZABETHAN TRANSLATIONS
licall Musicke, 1597) introduces the first six bars of it as a
canto fermo whereon to maintain a fugue. It occurs in later
music in Bach, Allabreve per organo pleno in D; in Handel,
Hallelujah Chorus, 'I will sing unto the Lord," (from Israel);
and in Mendelssohn, in the opening notes of the last chorus in
his oratorio, St. Paul, 'Not only unto Him."
See Musica Transalpina (1588).
135
Prospective of the Naval
1658. A Triumph
over the Turk. To Signor Pietro Liberi, That Renowned
famous Painter. [By Thomas Higgons.]
London. Printed for Henry Herringman, etc. 1658. 8vo.
British Museum (2 copies).
Dedicated to Henry [Mordatmt], Earl of Peterborough.
This work, which is in verse, is translated from Giovanni
Francesco Buseneilo's,-
Prospettivo del navale trionfo riportato dalla Republica Sere-
hiss " contra il Turco, etc.
Venetia. 1656. 4to. British Museum.
Edmund Wailer, in a commendatory poem, addressed to
lIrs. Higgons, compliments the translator on the quality of his
verse. 'Signor Pietro Liberi' is the Venetian painter, Pietro
Liberi (Libertino), 1605 (?)-1687.
of the Venetians
and
136
1661. A Survey of the World: in Ten Books.
Oxford. Printed by Will. Hall, for the Authour, anno 1661.
Small 8vo. British Museum.
The 'Authour' was Barten Holyday, Archdeacon of Oxford.
tIis book is a paraphrase, in verse, of Fazio [Bonifazio] degli
Uberti's Dittamondo, Vicentia. (1474. Folio. 6 Books.)
Uberti, who died in 1367,intended to describe in his Dittamondo,
or 'Song of the World,' all the -known world of his time; he
described Italy, Greece, and Asia only; of France and England
he had quaint notions. Barten Holyday paraphrases the six
POETRY 193
Italian books in ten English books, each containing one hundred
couplets.
Dante Gabriel Rossetti, in Dante and his Circle, translated,
from Book Iv of the Dittamondo, Chapter 23, "Of England, and
of its Marvels," and Chapter 25, "Of the Dukes of Normandy,
and thence of the Kings of England, from William the First to
Edward the Third."
III
FLAYS
,00 ELIZABETHAN TRANSLATIONS
uncontrowled Leaudenes of a fauoured Curtisan: And the unde-
served Estimation of a pernicious Parasyte. In the Second Parte
is discoursed, The perfect Magnanimitye of a noble Knge, In
checking Vice and fauouringe Vertue.
Ruyne and Ouerthrowe of dishonest
uauncement of upright Dealing. The
stones Gent. Formaz nulla tides.
[Colophon.] Imprinted at London by Richarde
and are to be solde ouer agaynst Saint Sepulchres
without Newgate. August 0, 1578. 4to. Black
Wherein is showne, The
Practices: with the Ad-
Worke o.f George Whet-
Zhones
Church
letter.
Bodleian. British Museum. Capell Collection. Reprinted in
Six Old Plays (1779); in Shakespeare's Library. J. P. Collier
[1843] and W. C. Hazlitt (1875); also, with some onfissions, in
the appendix to Measure for Measure. Cassell's National
Library, No. 205. 1891.
Dedicated to his "worshipful friend and kinsman, William
Fleetwoode, Esq. Recorder of London."
Each part is a play in five acts, in rhymed verse, with songs
interspersed. The dedication to the author's -kinsman, William
Fleetwood, Recorder of London, contains some interesting
comment on the contemporary drama of Europe. Italian,
French, and Spanish plays are too lascivious; the German too
holy and pulpiteering. The English dramatist is censured for
basing his plots on "impossibilities." "In three hours he runs
round the world, marries, gets children, makes children men,
men to conquer kingdoms, murder monsters, and bringeth gods
from heaven and fetcheth devils from hell." Whetstone also
complains of their using "one order of speech for all persons: a
gross indecorum."
Promos and Cassandra is heavy and undramatic, and was
never acted.
Shakspere's Measure for Measure is founded on this play
whose plot comes from Giraldi Cintio, Gli Ecatommiti, Deca vIxI,
Novella 5. The same story is also told by Whetstone, in prose,
in his Heptameron of Civill Discourses (1582), where it is entitled
The Rare Historie o Promos and Cassandra.
Giraldi dramatized his own novella in the tragedy, Epitia.
0 ELIZABETHAN TRANSLATIONS
And he that viewes it, would the same imbraee:
It withereth, and looseth all his grace.
Why do I looue and like the cursed Tree,
Whose buddes appeer, but fruite will not be seen:
Why doo I languish for the flower I see?
Whose root is rot, when all the leaues be green.
In such a case it is a point of skill;
To followe chaunce, and looue against my will.
Fedele sings, of Victoria,-
I serve a Mistres whiter than the snowe,
Straighter then Cedar, brighter then the Glasse.
Finer in trip and swifter then the Roe,
More pleasant then the Feeld of flowring Grasse.
More gladsome to my withering Joyes that fade:
Then Winters Sun, or Sommers cooling shade.
Sweeter then swelling grape of ripest wine,
Softer then feathers of the fairest Swan:
Smoother then Jet, more stately then the Pine,
Fresher then Poplar, smaller than my span.
Clearer then Beauties fiery pointed beam:
Or Isie cruste of Christalles frozen stream.
Yet is she curster then the Beare by kinde,
And harder harted then the aged Oke:
More glib then Oyle, more fickle then the winde,
Stiffer then Steele, no sooner bent but broke.
Loe thus my service is a lasting sore:
Yet will I serve although I dye therfore.
This song was reprinted in England's Helicon, 1600, entitled,
Montana the Shepherd his love to Aminta, and signed, "Shep.
Tony."
See Victoria. 1906.
141
[1589?] A certayne Tragedie wrytten fyrst in Italian by
F. N. B., entituled, Freewyl, and translated into English by
H[enry] Cheeke.
PLAYS $11
148
1636. Labyrinthus: Comedia habita coram Sereniss. Rege
Jacobo in Academia Cantabrigiensi.
London. 1636. 12too. MS. Ee. 5. 16 (3). University of
Cambridge.
The author of Labyrinthus was Walter Hawkesworth, fellow
of Trinity College, Cambridge, who died in 1606. His Latin
comedy is an adaptation of Giovanni Battista della Porta's
La Cintia (1567). When Labyrinthus was first produced, prob-
ably in January, 1598-99, Hawkesworth himself acted a lead-
ing part. The representation at Trinity College before James I
is supposed to have taken place during the King's third visit
to Cambridge, in March, 16-3. (Retrospective Review, xxx,
8, 35. Jahrbuch der deutschen Shakespeare Gesellschaft, xxxav,
308. F. S. Boas, University Drama in the Tudor Age (1914),
pp. 317-0.)
149
1637. Pleasant Dialogues and Dramma's, selected out of
Lucian, Erasmus, Textor, Ovid, &c. With sundry Emblems
extracted from the most elegant Jacobus Catsius. As also certaine
Elegies, Epitaphs, and Epithalamions or Nuptiall Songs; Ana-
grams and Acrostics; With divers Speeches (upon severall occa-
sions) spoken to their most Excellent Majesties, King Charles,
and Queene Mary. With other Fancies translated from Besa,
Bucanan, and sundry Italian Poets. By Tho. Heywood. [Aut
prodesse solent, aut delectare.]
London. Printed by R. O. for R. H. and are to be sold by
Thomas Slater at the Swan in Duck-lane. 1637. Sin. 8vo.
15 leaves. British Museum. Reprinted, in Materialen zur
Kunde des tilteren englischen Dramas. Leipzig, 1903. Band III.
Dedicated "To the Right Honourable Sir Henry Lord
Cary, Baron of Hunsdon, Viscount Rochford, and Earl of
Dover."
A collection of short dramatic pieces and poetical dialogues
IV
METRICAL ROMANCES
IV
METRICAL ROMANCES
159
1555. The A uneient Historic and onely trewe and syncere
Cronicle of the warres betwixte the Grecians and the Troyans,
and subsequently of the fyrst evercyon of the auneient and fanouse
Cye of Troye, under Lamedon the King, and of the laste and
fynall destruction of the same under Pryam; wrytten by Daretus
a Troyan, and Dictus a Grecian, both souldiours, and present
in all the sayde warres; and digested in Latyn by the lerned
Guydo de Columpnis [Guido delle Colotme, who was the com-
piler of the work] and sythes translated into englyshe verse by
J. Lydgate Moncke of Burye. [Edited by Robert Braham.]
Thomas Marshe, London, 1555. Folio. Black letter. Brit-
ish Museum.
Lydgate mainly paraphrased Guido delle Colonne's Historia
de Bello Trojano, and perhaps Dares Phrygius and Dictys Cre-
tensis. His poem is made up of fJteen thousand heroic coup-
lets, with prologue and epilogue.
The poets of the Middle Ages all accepted Dares Phrygius,
priest of Hephestus, as a trustworthy historian who had him-
self been in the Trojan war. Homer, known only in a Latin
abridgment, received scant credence, and even abuse, as a fal-
sifter of history. The Roman de Troie, based, among other
sources, upon Dares, comes into English in two distinct streams,
to either of which we may be indebted for Sha "kspere's play of
Troilus and Cressida.
Benoit de Sainte-Maure, a French trouvre of the Court of
Henry II, dedicated to the Queen, Alienor de Poitou, his
Roman de Troie, of about 1160. The most important episode
of Benolt is that of Troilus and Briseida, which in the Latin
2-26 ELIZABETHAN TRANSLATIONS
By Thomas Procter and Owen Roydon, in A gorgious Gal-
lery of gallant Inuentions (1578).
A Poor Knight : his Palace of Private Pleasure (1579).
By George Whetstone, in An Heptameron, The thyrd Dales
Exercise (1582).
By Richard Stanyhurst, in The first route Bookes of Virgils
Eneis, Translated into English Heroicall Ferse .... With
other Poeticall deuises thereto annexed; in particular, among the
Poeticall deuises, in An Epitaph entituled Commune Defunc-
torum, such as our unlearned Rithmours accustomably make
upon the death of euerie Tom Tyler, as if it were a last for euery
one his foote.
By Bryan Melbancke, in Philotimus 0583).
By Clement Robinson, in A Handefull of Pleasant Delites
(1583).
See Quellen und Forschungen. Heft 70. E. Koeppel. St-udien
zur Geschchte der italienischen Novelle. (With some correc-
tions.)
161
1562. The most wonderfull and pleasant history of Titus and
Gisippus, whereby is fully declared the figure of perfect frenshyp,
drawen into English metre. By Edward Lewicke.
Anno 1562. Imprinted by Thomas Hacker, and are to be
solde at his shop in Lumbarde Streete. 8vo. "Finis quod
Edward Lewick."
The romance of Titus and Gisippus is found in the Decam-
eron x, 8. J. P. Collier has shown (The Poetical Decameron,
Vol. II, pp. 84 and 85) that Lewicke was indebted to The
Gouernour of Sir Thomas Elyot, not only for the form of
his narrative, but "even for some of his very words and
phrases." Chapter I of the Seconde Boke of The Boke
named The Gouernour (H. H. S. Croft's edition, 1883) is en-
titled, "The wonderfull history of Titus and Gisippus, and
whereby is fully declared the figure of perfet amitie."
It is uncertain whether Sir Thomas Elyot translated directly
METRICAL ROMANCES
from Boccaccio, or, as is more likely, made use of a Latin ver-
sion, by the celebrated Philip Beroaldo, whose editions of the
classics were in great repute in the sixteenth century. Bero-
aldo's title reads, Mithica historia Johannis Boccatii, poetaz
laureati, de Tito Romano Gisippoque Atheniensi, philosophioz
tironibus ae eommilitonibus, amicitice vim elucidans, nuper per
Philippum Beroaldum ex italico in latinum transversa.
No date [conjectured, Leipsig, 14957]. 4to. British Museum.
There is also a metrical translation of Titus and Gisippus
printed by Wynkyn de Worde, Ye hystory of Tytus & Gesyp-
pus translated out of latyn into englysche by Wyllyam Walter.
London, n. d. 4to. By me Wynkyn de Worde.
According to Brunet, the Latin text which Walter trans-
lated was written by Matteo Bandello, and published at
Milan, in 1509. Warton gives, "An exceedingly scarce book,
Titi Romani et Hegesippi Atheniensis Historia in Latinum
versa per Ft. Mattheum Bandellum Castronovensem. Mediolani,
Apud Gotard de Ponte.'" 1509. 4to.
A play called Titus and Gisippus was acted at Court, Febru-
ary 17, 1577; it may, however, have been Ralph Radcliffe's
Friendship of Titus and Gysippus, De Titi et Gisippi Amicitia,
revived from the time of King Edward VI, and now lost.
Two later Elizabethan plays treat the theme as comedy,
Monsier Thomas, or Father's Own Son (1639. 4to. John
Fletcher), and The City Nightcap, or Crede quod habes et habes
(1661. 4to. Robert Davenport). In 18J, Gerald Griffin wrote
Gisippus or The Forgotten Friend. The drama was produced at
Drury Lane, with Macready as Gisippus and Helen Faucit
as Sophronia.
The first paper in Goldsmith's short-lived periodical, The
Bee, is a prose version of Titus and Gisippus, although the
romance is there said to be taken from a Byzantine historian,
and the friends are called Alcander and Septimius. (Gold-
smith's Miscellanies, The Bee, No. 1, October 6, 1759.)
See Philomela (159).
METRICAL ROMANCES 9
Entered on the Stationers" Register A, in 1565--66, under the
almost unrecognizable title, The tragigall and pleasaunte history
Ariounder Jenevor, the Doughter unto the Kynge of [Skottes].
The history of Ariodante and Ginevra is founded on a tale
in Ariosto's Orlando Furioso, Canto v. Bandello has a novella
on the same theme, , 20, and also Cintio, Gli Hecatommithi,
L' Introduzione, Novella Nona. Belleforest (Histoires Tragiques,
Vol. II,) follows but scarcely translates Bandello. It was a very
popular tale, and was used by Sha "kspere, in Much Ado About
Nothing, the story of Hero, Claudio, and Don John. Spenser
also tells it, The Faerie Queene, Bk. , Canto v, Stanza 17
seq.
Sir John Harington, in the Morall of the fifth book of his
translation of Orlando Furioso, says, of the history of Ginevra,
"sure the tale is a pretie comicall matter, and hath bin written
in English verse some few years past (learnedly and with good
grace) though in verse of another kind, by hi. George Tur-
bervil." No trace of Turberville's version has yet been
found.
The Revels Accounts (158, edited, by Peter Cunningham,
for the Shakespeare Society, 184) mention, "A Historie of
21riodante and Geneuera shewed before her Majestie on Shrove
Tuesdaie at Night, enacted by Mr. Mulcaster's children."
Mr. Mulcaster's children were the boys of the Merchant
Taylors' School. See Orlando Furioso (1591).
164
1569. A Notable Historye of Nastagio and Trauersari, no
less pitieful than pleasaunt. Translated out of Italian into Eng-
lishe verse by C. T.[Dr. Christopher Tye (?)]
S' amor non puol a un cot ingrato & ernp;o
Gio,anelli timore, e crudel scempio.
Imprinted at Lond5 in Paules Churchyarde by Thomas
Parfoote dwelling at the signe of the Lucrece. Anno 1569.
8vo. Black letter. 16 leaves.
This is a versification of the Decameron (v, 8), the romance
METRICAL ROMANCES 231
of Anthem, a corruption of Antiphon, was given." (Sir John
Hawkins. A General History of the Science and Practice of
Music led. Novello, 1853], p. 455.)
Christopher Tye's finest work is found in his Acres of the
Apostles and in his beautiful old anthems, some of which, such
as "I will exalt thee," and "Sing unto the Lord," are still sung.
The third and eighth tunes of the Actes of the Apostles, short-
ened into common metre psalm tunes, are the well-known
hymns Windsor or Eaton and Winchester. IVindsor is known
in Scotland as Dundee, where it is immortalized in Burns's
The Cotter's Saturday Night,
Perhaps Dundee's wild warbling measures rise,
Winchester is now sung to the Christmas carol,-
While shepherds watch'd their flocks by night.
Dr. Burney, in his History of Music, says of Tye: "Perhaps
as good a poet as Sternhold, and as great a musician as Europe
could then boast."
It is highly probable that Samuel Rowley, the dramatist, was
a connection of Tye's, possibly the son of Mary Tye who mar-
ried Robert Rowley at Ely in 1560. At all events, Christopher
Tye is a character in Samuel Rowley's play, When You See Me,
You know Me, or The Famous Chronicle History of Henry 8
(1605. 4to). A dialogue of this drama, between Prince Ed-
ward and his music master, gives us King Henry VIII's opin-
ion of Dr. Tye in language of strong Tudor flavor:-
Prince Edward. I oft have heard my father merrily speake
In your high praise; and thus his highnesse saith,
England one God, one truth, one doctor hath
For musickes arte, and that is Doctor Tye.
The story of Nastagio and Traversari was dramatized by
James Shirley, in his comedy, Honoria and Mammon (1659.
8vo), which is but an enlargement of his masque, A Contention
for Honour and Riches (1633. 4to).
Grant Duff tells this story of Lord Houghton- The Cosmo-
politan Club was accustomed to meet in a room which had been
METRICAL ROMANCES 233
Warton conjectures T. C. to be either Thomas Campion, or
Thomas Churchyard.
A versifying of I1 Decamerone, v, 1, Cimone, amando, divien
savio, etc. The idea embodied in the character of Cimone, the
civilizing influence of love, had already been twice worked out
by Boccaccio, first in his prose romance, .lmeto, and again in
the pastoral, Ninfale Fiesolano. Dryden translated the ro-
mance of Cymon and Iphigenia in his Fables (1700).
'Cymon and Iphigenia' is the subject of an early painting
by Sir John E. Millais (1847). Sir Frederick Leighton painted
'Cymon and Iphigenia' in 1884.
167
1570. The Pityfull Historie of two louing Italians, Gaulfrido
and Barnardo le vayne: which ariued in the countrey of Grece,
in the time of the noble Emperoure Vaspasian. And translated
out of Italian into Englishe meeter by Iohn Drout, of Thauis
Inne Gentleman.
Anno 1570. Imprinted at London by Henry Binneman,
dwelling in Knightrider streete, at the signe of the Mermayde.
8vo. Black letter. 3 leaves.
Twenty-five copies reprinted, in black letter, for Mr. J. P.
Collier, by F. Shoberl, jun. 1844. 4to. British Museum.
Dedicated to Sir Francis Jobson, Knight, Lieutenant of the
Tower.
In verse, the fourteen-syllabled metre of the time, divided
into lines of eight and six syllables. 'The pityfull historie' is
pitiful indeed, for no person concerned in it escapes death.
Part of the history relates to that of Romeo and Jult.
'Galfrido and Bernardo" is an entry in Henslowe's Diary un-
der date, May 18, 1595. Fleay asserts that the entry is a for-
gery (Chronicle of the English Drama, Vol. n, p. 301).
168
1576. A Most lamentable and Tragicall Historie, Conteyning
the outrageous and horrible tyrannie which a Spanishe gentle-
METRICAL ROMANCES
Anglia. Band xJ. Neue Folge Band I (1891).
See The Florentine History (1595).
170
1609. The Italian Taylor, and his Boy. By Robert Attain,
Seruant to the Kings most excellent Maiestie. Res est solliciti
plena timoris amor.
At London printed for T. P. 1609. 4to. Wood cuts. [1810.]
4to. British Museum. Owned by the author. Reprinted in
Occasional Issues of Unique or Very Rare Books, Vol. xJv. Alex-
ander B. Grosart. 1880. Sm. 4to. Peabody Institute. Balti-
more.
Dedicated, "To the true Noble and Right Honorable the
Lord Vicount Haddinton; And, the Noble by birth, and vertu-
ous by education, his second selfe, the Lady Elizabeth Fits-
wa[lt]er, his Vicountesse and Wife: Robert Armin Wisheth con-
tent in this life, and Joy in the life to come."
The Italian Taylor and his Boy is a poem divided into nine
cantos, each accompanied by a quaint woodcut, and an argu-
ment, and written in alternate rime.
Armin's prefatory address, Ad lectorem hic et ubiq; S. P. D.,
begins, --
"Invisible Reader, I present thee with a Poeme from the
Italians; bid it welcome for the Countries sake, for I assure
thee, the excellencie of that nation in Poesie, is beyond my Pen
to publish: but be it as it is worthy, onely I wander with it now
in a strange time of taxation, wherein every pen and inck-
horne Boy will throw up his Cap at the hornes of the Moone
in censure, although his wit hang there, not returning unless
monthly in the wane: such is our ticklish age, and the itching
braine of abondance."
Its source is Straparola's Tredici Notre Piacerole, viii, 5.
Haw Maestro Lattantio undertook to train his apprentice, Dionigi,
in his craft. A parallel story may be found in Grimm's Kinder
und Hausmirehen, No. 68, De Gaudeif un sien Meester (The
Rogue and his Master). The fable is beautifully illustrated in
38 ELIZ,BETHAN TRANSLATIONS
W. G. Waters's, The Nights of Straparola, Vol. xx, as The Ruby
Ring.
Robert Armin, born 1560-70 (?), was a shareholder and actor
of the Globe and Blackfriars theatres. In the list of the actors
of Shakspere's plays, printed in the folio of 1623, his name
stands sixth; he acted in The London Prodigal (1605), which
contains a play on his name, and in Ben Jonson's The Alche-
mist (1610); oneof Tarlton's Jests (earliest extant edition, 1611)
relates,' How Tarlton made Armin his adopted son, to succeed
him.' His own allusion to Dogberry in his Epistle to Viscount
and Lady Haddington would seem to imply that he succeeded
to that part after William Kemp, the original Dogberry, had
quitted the Lord Chamberlain's Company,- "pardon, I pray
you the boldnes of a Begger [i.e., an ' armin'] who hath been
writ downe for an Asse in his time, and pleads under .forma
pauperis in it still, notwithstanding his Constableship and
Office."
One play of Robert Armin's has survived, The History of the,
Two Maids of Moredacke (1609). The, Valiant Welshman
(printed, 1615) is attributed to him.
171
1639. A small Treatise betwixt Arnalte and Lucenda, en-
tituled, The evill-intreated lover, or The melancholy knight. Orig-
inally written in the Greeke tongue by an unknown author;
afterwards translated into Spanish [or rather written by D.
Hernandez de San Pedro]; after that for the excellency thereof
into the French tongue by N. H.; next by B. M.[araffi] into the
Thusean, and now turn'd into English verse by L.[eonard] L.[aw-
fence] a well-wisher to the. Muses. [Motto from Ovid, De Tris-
tibus.]
London. Printed by J. Okes for H. Mosley, and are to be
sold at his shop, at the $igne of the Princes Armes in Pauls
Church-yard. 1639. to. 6 leaves. British Museum. Bod-
leian (2 copies).
Lawrence dedicates his translation, in prose, "To his more
ELIZABETHAN TRANSLATIONS
For a brief account of Lawrence's poem, see the Relrospec-
live Renew (18l), Vol. xv, pp. 72-76.
172
1640. The Pleasant and sweet History of patient Grissell
shewing how she from a poore man's Daughter came to be a great
Lady in France, being a pattern for all vertuous Women. Trans-
lated out of Italian.
London. Printed by E. P. for John Wright, dwelling in
Giltspurstreet at the signe of the bible. 160. 8vo. Black
letter, lO leaves. Also, [16307] 8vo. With a woodcut of Queen
Elizabeth, crowned, and carrying her globe and sceptre. Brit-
ish Museum. 182. J. P. Collier, for the Percy Society.
A chapbook, in eleven chapters, the first two and the last
two in prose, the rest with some verbal and literal changes the
same as a broadside in black letter called, An excellent Ballad
of a Noble Marquess and Patient Grissell. To the tune of The
Brides Good-morrow. (Reprinted in Ancient Ballads, 1867.)
The tale of Patient Grissell is in the Decameron, the last tale
of the last day, x, 10. It was the most popular tale of Boccac-
cio's in mediaeval literature. According to Legrand d'Aussy,
Fabliaux ou Contes, upwards of twenty translations of it are
to be found in the French prose of the fourteenth century, in
such collections as the Miroir des Dames, or the Exemples de
bonnes et mam,aises Femmes, and a secular mystery in French
verse, unique of its kind, Le Mystre de Griselidis, was repre-
sented in Paris, in 1395.
Petrarch was so pleased with the story that he learnt it by
heart to repeat to his friends and then put it into Latin prose,
as De obedientia et fide uxorid Mythologia (178). During this
year Chaucer was in Italy, on his Italian embassy, and proba-
bly met Petrarch at Padua. Very likely Petrarch repeated
the tale to him there, and gave him a copy of the Latin
version, which he translated as The Clerk's Tale (Canterbury
Tales).
Since Petrarch's time, in Italy, the tale of Patient Grissel has
4 ELIZABETHAN TRANSLATIONS
Canst drink the waters of the crisp6d spring?
O sweet content!
Swimm'st thou in wealth, yet sink'st in thine own tears?
O punishment!
Then he that patiently want's burden bears
No burden bears, but is a king, a king!
O sweet content! O sweet, O sweet content!
Work apace, apace, apace, apace;
Honest labor bears a lovely face;
Then hey nonny nonny, hey nonny nonny!
See The Ancient, True and Admirable History of Patient
Grisel (1607).
RELIGION
V
AND
THEOLOGY
V
RELIGION AND THEOLOGY
173
lranslaled out of Italian
1547. Five Sermons,
Anno Do MDXLVII.
London, by R. C. [probably Robert Crowley]
Beddell. 1547. Sm. 8vo.
Translated from the Prediche of Bernardino
into Englishe,
for William
Ochino, of
Siena (1487-1564). Ochino was an Italian Protestant, whose
restless disposition brought him many vicissitudes in life.
Having become an Observantine friar, he renounced his vows
to study medicine, but not finding medicine to his taste, he re-
entered his order, only to leave it again to become a Capuchin.
In 1538 he was elected vicar-general of the Capuchins, and
traveled all over Italy preaching, the people everywhere flock-
ing to hear him. About 1542 he became a Protestant, preach-
ing that doctrine in Geneva, where he was welcomed by Calvin,
and in Augsburg. Shortly before the death of Henry VIII, he
accepted the invitation of Archbishop Cranmer to go to Eng-
land, and under Edward VI, he was made a prebendary of
Canterbury and received a pension from the king's privy purse.
At the accession of Mary, he became the pastor of the Italian
Protestant church in Ztirich, through the friendly offices of
Henri Bullinger. He was e.xJled from Switzerland, in 1563, on
account of his Dialogue of Polygamy, dialogue twenty-one of
his Dialogi XXX, and spent the last year of his life in wander-
ing from place to place; after seeing three of his four children
die of the plague at Pinczow, Poland, he himself died at Schla-
kau, Moravia, towards the end of 1564.
Bernardino Ochino was the intimate friend of Bembo,
Tolommei, Pietro Martire, and Vittoria Colonna. Besides sev-
6 ELIZABETH.q TRANSLATIONS
eral volumes of Prediche, his most famous work is the Tragedy,
See Dialogue of Polygamy
translated by Bishop Ponet (1549).
(1657).
174
1548. Sermons of the ryght famous dd excellent clerke Master
Bernardine Ochine, etc.
A. Scoloker: Ippeswich. 1548. 8vo. Black letter. Without
pagination. British Museum.
Dedicated to Edward Seymour, Duke of Somerset, by
"Rychard Argentyne," the translator.
This is another translation from the popular Prediche of
Bernardino Ochino; they are controversial tracts, rather than
sermons, and were written to explain and vindicate his change
of religion. The collection contains sermons 1 to 6 of the later
edition, entitled Certayne Sermons, etc. (15507), translated in
part by Lady Bacon.
175
1549. A lragoedie or Dialoge of the unjusle usurped Primacie
of the Bishop of Rome, and of all the just abolishyng of the same,
made by Master Barnardine Ochine, an Italian, and translated
out of Latine into Englishe by Master John Ponet Doctor o]
Diuinitie, never before printed in any language.
Anno Do. 1549. Imprynted for Gualter Lynne: London.
4to. Black letter. Library of Edward VI. Royal Library.
British Museum ( copies).
Dedicated to King Edward VI, by Bernardinus Ochinus
Senensis.
The Tragedy by Bernardino Ochino. Reprinted from Bishop
Ponet's Translation out of Ochino's Latin Manuscript in 1549.
Edited, with Introduction and Notes, by C. E. Plumptre. Lon-
don. 1899.
The parties that doe speake in thys dialoge are these,-
i. Lucifer and Beelzebub.
ii. Boniface the third, & Doctour Sapience secretary to
the Emperour.
RELIGION AND THEOLOGY
iii. The people of Rome. The Churche of Rome.
iiii. The Pope, and men's iudgement and the people of Rome.
v. Thomas lIassuccius the master of the horse. Lepidus
the pope's chamberlain.
vi. Lucifer and Beelzebub.
vii. Christ and Michaell and Gabriell archangelis.
viii. King Henry viii. and Papiste, and Thomas Arch-
bishoppe of Canterbury.
ix. King Edward vi. and the Counseill.
"This remarkable performance, originally written in Latin,
is extant only in the translation of Bishop Ponet, a splendid
specimen of nervous English. The conception is highly dra-
matic; the form is that of a series of dialogues. Lucifer, en-
raged at the spread of Christ's kingdom, convokes the fiends
in council, and resolves to set up the pope as Antichrist. The
state, represented by the emperor Phocas, is persuaded to
connive at the pope's assumption of spiritual authority; the
other churches are intimidated into acquiescence; Lucifer's
projects seem fully accomplished, when Heaven raises up
Henry VIII and his son for their overthrow. The conception
bears a remarkable resemblance to that of Paradise Lost; and
it is nearly certain that Milton, whose sympathies with the
Italian Reformation were so strong, must have been acquainted
with it." (Richard Garnett.)
John Ponet, or Poynet (1514(?)-1556), was not only a great
preacher, but a man of learning, knowing mathematics, as-
tronomy, German and Italian, besides being a good classical
scholar and theologian. The Tragedy, translated from Ochino's
manuscript, brought him to the notice of the Protector Somer-
set, who is mentioned in the dedication, and Ponet was made
successively Bishop of Rochester and of Winchester. He was
somewhat unscrupulous, and is thought to have voiced the
opinion given by himself, Cranmer, and Ridley, when consulted
about the Princess liary's hearing mass, 'that to give license
to sin was sin; nevertheless, they thought the king might suffer
or wink at it for a time.' (Strype, Memorials, t, 1,451.)
RELIGION AND THEOLOGY 263
Imprinted by John Charlewood. London, 1585. 8vo.
Black letter. Without pagination. British Museum.
The crest and coronet of the Earl of Bridgewater are stamped
on the covers of the copy here cited.
196
[16007] Instructions and Advertisements, how to meditate
the Misteries of the Rosarie of the most Holy Virgin Mary.
Written in Italian [from the Latin of Gaspar de Loarte] . . .
and newly translated into English [by John Fenn]. (Litaniae
Deiparve Virginis. . . qu in alma domo Lauretana . . . de-
cantari solent.)
[Rouen? 16007] 8vo. British Museum.
[Another edition.] Whereunto is annexed brief Meditations
for the seven Evenings and Mornings of the Weeke.
Cardin ttamillon, Rouen. 1613. lmo. British Museum.
The original work, by the Spanish Jesuit theologian, Gas-
par de Loarte, is Meditationes de Rosario B. Virginis. Venice,
1573.
See The Life of the blessed Virgin St. Catherine of Sienna,
1608, and A Treatise of Tribulation [before 1615].
197
1606. A full and satisfactorie answer to the late unadvised
Bull, thundered by Pope Paul the Fift, against the renowned
State of Venice: being modestly entitled by the learned author,
Considerations upon the censure of Pope Paul the Fift [against
the Republic of Venice] .... Translated out of Italian [of
Pietro Sarpi, Fra Paolo Servita].
Printed for J. Bill. London. 1606. 4to. British Museum.
I take this to be a translation of Father Paul's Trattato dell'
Interdettodi IZenezia. Venice. 1606. 4to.
On April 17, 1606, Pope Paul V pronotmced
excommunication against the doge, senate and
sentence of
government
of Venice. The Venetian clergy were enjoined to publish the
letter of interdict before their assembled congregations, and to
RELIGION AND THEOLOGY 265
199
1606. Meditations uppon the Passion of our Lord Jesus
Christ .... Newlie translated out of Italian [of Fulvio An-
drozzi] into English.
[Douay?] 1606. lmo. British Museum.
200
1608. A true copie of the Sentence of the high Councell of
tenne Judges [Consiglio de' Dieci] in the State of Venice, against
R.[odolfo] Poma, M. Viti,... A.[lessandro] Parrasio, John
of Florence [Giovanni da Firenze] . . . and Pasquall of Bitonto;
who.., attempted a... murder upon the person of... Paolo
Servile .... Translated out of Italian. A Proclamation made
for the assecuration of the person of... Paolo Servile,... in
execution of a Decree accorded, in the... Councell of the Prega-
de upon the 7. of Oct. 1607. A Decree made in the... Court-
cell of Tenne, 1607, the 9. of Januarie, etc. [With two Latin
Poems, In Innocentiam, by O. Mavinus, and Ia Merelricem
dolosam.]
H. Lownes, for S. Macham, London, 1608. 4to. British
Museum.
On the 5th of October, 1607, at five in the afternoon, Fra
Paolo was returning from the Ducal Palace, accompanied by
Fra Marino, his servant, and Alessandro Malipiero, an old
patrician. The party had reached the Ponte della Fonda-
menta, near the Servite Convent, when a band of bravos
rushed upon them. One seized Fra Marino, another Mali-
piero, while a group occupied the bridge, keeping it against
all comers. The assassin who had singled out Fra Paolo rained
upon him fifteen or twenty blows of his poniard, aiming at
his head. His cap and the collar of his dress were pierced
through and through, but only three of the stabs took effect,
two in the neck and the last, through the right ear out through
the right cheek bone. Fra Paolo fell as if dead, with the
weapon sticking in the wound.
66 ELIZABETHAN TRANSLATIONS
The assassins were Rodolfo Poma, a Venetian; Alessandro
Parrasio, of Ancona; Michael Viti, a priest of Bergamo; Pas-
quale, of Bitonto; John, of Florence; Hector, of Ancona, and
others unknown, all, except perhaps Viti, common and hired
bravos. After the attempted assassination, Poma and his
confederates fled into the Papal States. At Ancona he re-
ceived from Franceschi, a Venetian priest, a letter of credit
for one thousand ducats, payable by Scalamonte, the Pope's
agent.
In Rome the bravoa found an asylum for more than a year
in the palace of Cardinal Colonna, although the Cardinal
Inquisitor was all the while assuring the Venetian Legation
that some one of them would surely be apprehended. When
public clamor became too pronounced, Pope Paul V ordered
his Nuncio at Naples to provide for the assassins, at the same
time begging the intercession of Henry IV of France, to in-
duce the Venetians to suspend the inquiry. This the Vene-
tians had no intention of doing, and it was a large body of
assassins plotting with a still larger body of enemies of Fra
Paolo. Finally, toward the end of the year 1608, the serious
indiscretions of these people induced the Roman Curia to
change its policy. Poma, Parrasio, and Viti were thrown into
the dungeons of Civita Vecchia, where they perished, and
Franceschi disappeared.
While Fra Paolo lay at death's door, the Council of Ten,
the Senate, and the people vied with one another in testifying
to their respect and admiration for him. The people sur-
rounded the convent, broke out into imprecations against
Rome, and attempted to burn the palace of the Bishop of
Rimini. The Republic called in the best surgeons at its own
expense, and after Fra Paolo's recovery, created Fabrizio
d' Acquapendente, his chief physician, a Cavaliere di San
Marco, presenting him with a rich gold chain and a silver cup
of forty ducats' weight; an additional pension was offered to
Fra Paolo, who refused it. He accepted two privileges from
the Republic. One was full permission to explore the Vene-
ELIZABETHAN TRANSLATIONS
a shining mark. The Venetians objected strenuously to this
encroachment, especially in its effect upon the revenues of
the Republic. The Roman Court, claiming superior authority,
exempted so many ecclesiastics and ecclesiastical benefices
from taxation, that, at a time when it was computed that the
property of the Venetian clergy was worth eleven million
ducats, the tithes did not actually yield more than twelve
thousand ducats. Again, the regulations of the Curia had
practically ruined the Venetian press; no boo'ks could be
published, except such as were approved in Rome, and, in
many instances, except such as were printed in Rome.
A growing ill-feeling between the Republic and the Papacy
came to open breach immediately after the election of Pope
Paul V. It was caused by the claim of the Venetians to try
ecclesiastical culprits before the civil authorities, and by the
renewal of two old laws, the one forbidding the alienation of
real property in favor of the clergy, the other making the con-
sent of the Government necessary to the building of new
churches and to the founding of new monastic orders. Paul V
demanded the surrender of two priests, Scipio Sanazin, Canon
of Vicenza, and Count Brandolin Valde-marino, Abbot of Ner-
vesa, held for civil crimes, and the repeal of the two laws, and
when the Venetians refused to yield, he placed the whole Vene-
tian territory under interdict, April 17, 1606.
Upon this, the Council of Ten issued two proclamations,
May 6; one, addressed to the citizens, set forth the aggressions
of the Pope and called upon them for aid in resisting his de-
mands; the other forbade the Venetian clergy to pay any at-
tention to the papal bull, and banished those who disobeyed.
A vehement literary controversy arose, conducted for the
Pope by the famous Jesuit, Cardinal Bellarmino, and for the
Venetians by Fra Paolo of the order of the Servites. Paul V
even meditated war on Venice and applied for aid to France
and Spain. Both of these States, however, wished to keep the
peace, and through the mediation of Cardinal Joyeuse, a com-
promise was effected. The Venetians made some nominal
RELIGION AND THEOLOGY 283
concessions, whose solemn details read almost like burlesque.
As to the two offending priests, Ranke relates,--"The
secretary of the Venetian Senate conducted the prisoners to
the palace of the French ambassador, 'and delivered them
into his hands, out of respect,' he said, 'for the most Christian
king, and with the previous understanding that the right of
the Republic to judge her own clergy should not thereby be
diminished.' 'So I receive them,' replied the ambassador,
and led them before the cardinal, who was walking up and
down in a gallery (loggia). 'These are the prisoners,' said
he, 'who are to be given up to the Pope;' but he did not al-
lude to the reservation. Then the cardinal, without uttering
one word, delivered them to the papal commissary, who
received them with the sign of the cross."
The French found the demand for the repeal of the two
laws harder to deal with. At first, January, 1607, the Senate
positively refused to suspend the laws; later, in March, 1607,
without any formal or express repeal, a decision was reached
that "the Republic would conduct itself with its accustomed
piety."
Paul V found it wise to accept these terms, and withdrew
his censures. The main result of the quarrel was to demon-
strate the wea-kness of the spiritual weapon upon which the
Roman Curia had so long relied, and to reveal the disrepute
into which papal pretensions had fallen even among Catholic
nations. This is stri'kingly shown by the fate of the Jesuits
in the struggle. When the Venetians put it sharply to their
clergy that they must either obey the Republic or leave its
dominions, the Jesuits chose the side of the Pope and with-
drew into his territory. The Venetians then by a solemn
decree, June 14, 1606, excluded the order from the Republic,
nor would they upon any terms, or for anybody, reconsider
this decision. The Jesuits remained permanently banished
from the State. How "resolved and careless" the Venetians
came out of the struggle is related by Izaak Walton, in his
Lye of Sir Henry Wotton. He says, "they made an order,
84 ELIZABETHAN TRANSLATIONS
that in that day in which they were absolved, there should
be no public rejoicing, nor any bonfires that night, lest the
common people might judge, that they desired an absolution,
or were absolved for committing a fault." (Ranke, History
of the Popes, Book vI, Section 12, of Sarah Austin's translation.
Philadelphia. 1841. Biografia di Fra Paolo Sarpi. Par A.
Bianchi-Giovini, Ztirich, 1836. IVestminster Review, Vol.
xxxI, p. 146, 1838. Life of Sir Henry Wotton. Walton's Lives.
Ed. A. H. Bullen.)
See Bedell's, Interdicti Veneti Historia, etc. (1626).
219
166. The Seaven Trumpets of Brother B. Salulhius of the
holie Order of S. Francis... exciting a sinner to repentance.
... Translated out of the Latin into the English tongue, by Br.
G. P. of the same order, etc.
For J. Heigham. S. Omers. 166. 12mo. British Museum.
The "Epistle Dedicatorie" is signed "G. P."
Translated from Bartolommeo Cambi; the British Museum's
copy of the original is dated 1805,-
Delle Setle Trombe, opera ulilissima per risvegliare i pecca-
tori a penitenza .... In questa nuova impressione corretla, etc.
Napoli. 1805. lmo.
220
167. The Life of B. Aloysius Gonzaga .... Written in Latin
by the R. Fa[ther] V.[irgifio] Ceparius .... And translated into
English by R. S.
Paris. 167. 8vo. British Museum.
From Virgilio Cepari,-
De vita beati Aloysii Gonzagae... libri tres, etc. Coloni
Agrippinve. 1608. 8vo. British Museum (2 copies).
An Italian version of earlier date is dedieated to Pope
Paul V
Vita del beato Luigi Gonza9 a della Compagnia di Giesu,
... scritta dal P. V. Cepari,... et dal Marchese Francesco
RELIGION AND THEOLOGY 287
Among the lives are those of St. Edward the Confessor;
St. Anselm, Archbishop of Canterbury; and St. Hugh, Bishop
of Lincoln.
Henry Hawkins, who was himself a Jesuit, was a brother
of Sir Thomas Hawkins, translator of Pierre Matthieu's ,,lius
Sejanus Histoire Romaine, as Unhappy Prosperitie (163'2), and
of John IIawkins, translator of Paraphrase upon the seaven
Penitential Psalms (165).
223
163`2. The Admirable Life of 8. Francis Xavier. Derided
into VI. Bookes. Written in Latin by Fa. H. Tursellinus
[Orazio Torsellino] .... And translated into English by Thomo3
F.[itzherbert?].
Paris. 163"2. 4to. British Museum.
Translated from Orazio Torsellino's De vita Ft. Xaverii
(Rome, 1594, 8vo).
224
1635. Paraphrase upon the seaven
Translated from the Italian by J. H.
London. 1635. 8vo.
'J. H.' was John Hawkins.
Penitential
1638. The Hundred and Ten Considerations of Signior John
Valdesso: Treating of Those things which are most profitable,
most necessary, and most perfect in our Christian Profession.
Written in Spanish [by Juan de Vald6z] Brought out of Italy
by I'ergerius, and first set forth in Italian at Basil by Cvelius
Secundus Curio, Anno 1550. Afterwards translated into French,
and Printed at Lions 1563, and again at Paris 1565 .... And
now translated out of the Italian copy into English [by Nicholas
Ferrar], with notes [by George Herbert]. Whereunto is added an
Epistle of the Authors, or a Preface to his Divine Commentary
upon the Romans. 1 Cot. . Howbeit we speake wisdome
o-88 ELIZABETHAN TRANSLATIONS
amongst them that are perfect, yet not the wisdome of this
world.
Oxford. Printed by Leonard Lichfield, Printer to the Uni-
versity. Ann. Dom. 1638. 8vo. British Museum. Cambridge.
1646.
The Italian edition, edited by C. S. Curio, was,-
Le cento & dieci divine considerationi del S. G. Valdesso:
helle quali si ragiona delle cose pi utili pi necessarie e pi
perfette della Christiana professione.
Basilea. 1550. 8vo. British Museum.
"With Ferrar's translation of Valdezzo's Hundred and Ten
Considerations were published a letter from Herbert to Ferrar
on his work, and 'Briefe Notes [by Herbert] relating to the
dubious and offensive places in the following considerations.'
The licenser of the press in his imprimatur calls especial
attention to Herbert's notes. In the 166 edition of Ferrar's
Valdezzo Herbert's notes are much altered." (Dictionary of
National Biography, under 'George Herbert.')
The Hundred and Ten Considerations is a work of ascetic
piety.
Divine Considerations by John Valdesso. The English Trans-
lation of Nicholas Ferrar, with George Herbert's prefatory epistle.
London. John Lane. 1905. Sm. 8vo.
Edited, by Frederick Chapman, for The Sacred Treasury
series, Vol.
John Valdesso is supposed to be Izaak Walton's "'ingenious
Spaniard" who "says that rivers and the inhabitants of the
watery element were made for wise men to contemplate, and
for fools to pass by without consideration." (Izaak Walton,
The Compleat Angler, Part x, Chapter x.)
226
1644. St. Paul's Late Progres upon Earth, About a Divorce
twixt Christ and the Church of Rome, by reason of her disso-
luteness and excesses. Recommended to all tender-conscieneed
Christians. A fresh Fancy full of various strains and suitable
$90 ELIZABETHAN TRANSLATIONS
227
1648. Satan's Stratagems, or the Devil's Cabinet-Council
discovered.., together with an epistle written by Mr. John Good-
win and Mr. Durie's letter concerning the same.
London. J. Macock. Sold by J. Hancock. 1648. 4to.
British Museum. George Thomason's copy, now in the British
Museum, contains his correction of the date to 1647, and re-
cords its purchase on February 14 of that year.
The translation contains three dedications, one to the Par-
liament, one to Fairfax and Cromwell, and one to John Warner,
lord mayor.
The translator announced that if his work was well received
he would complete it, but only four of the eight books were
published. The stock was then sold apparently to W. Ley, who
reissued it, with a new title,-
Darkness Discovered, or tlw Devil's Secret Stratagems laid
open, etc.
London. J.M. 1651. 4to. With a doubtfully authentic etch-
hag of the Italian author,' James Acontius, a Reverend Diuine.'
This translation is an English version of Jacopo Aconcio's
celebrated work,-
Satarue Stratagemala libri octo, J. Aeontio authore, accessit
eruditissima epistola de ratione edendorum librorum ad Johannem
l,'uolfium Tigurinum eodem authore.
Basilew, ap. P. Pernam. 1565. 4to. The Dictionary of
National Biography says that this is the genuine first edition,
of extreme rarity.
Brunet records an octavo edition of the same year, place,
and publisher, but with a variant title:-
Jacobi Acontii tridentini de Stratagematibus Satanae in
religionis negotio per superstitionem, errorem, heeresim, odium,
calumniam, schisma, etc. libri otto.
Basilew. P. Perna. 1565. 8vo.
Reprinted, Basileve, 1582, 8vo; and 'eurante Jac. Grassero,'
/b., 1610, 8vo;/b., ap. Waldldrchium, 1616; lb., 1618; lb., 1620;
RELIGION AND THEOLOGY
traces of his researches are everywhere. Foscarini quotes
from a small treatise on metaphysics, showing that Fra Paolo
had developed a theory of the origin of ideas that is not unlike
that of Locke in the Essay concerning the Human Understanding.
Giovanni Battist della Porta, the author of a book on natu-
ral magic, De Magia Naturali, refers to Fra Paolo's knowledge
of magnetic phenomena in words of extravagant admiration.
In optics, Fabrizio, the greatest anatomist of the time, acknowl-
edges his indebtedness to Fra Paolo. Sir Henry Wotton,
English ambassador to the republic of Venice, bears witness
to his studies in botany and mineralogy. Withal, says Wotton,
"He was one of the humblest things that could be seen within
the bounds of humanity, the very pattern of that precept,
"Quanto doctior, tanto submissior."" Sir Henry Wotton's
chaplain, William Bedell, writing to Dr. Samuel Warde,
"St. Stephen's Day," 1607, refers to the attempt to assassi-
nate Fra Paolo in these words,- "I hope this accident will
awake him a little more, and put more spirit in him, which is
his only want." Galileo called him his "father and master,"
and declared that no one in Europe surpassed him in mathe-
matical knowledge.
In literature, Fra Paolo is chiefly known by his three his-
tories, all of which were translated into English: m The His-
tory of the Council of Trent, in 160; The History of the Quarrels
of Pope Paul V with the State of Venice, in 166; and The History
of the Inquisition, in 1639. These histories made Father Paul
extremely popular in England, where he seems to have been
accepted as at least a good hater of the Pope. He was
not, however, a protestant; he was simply a great statesman.
Gibbon, referring to his histories, calls him the 'worthy suc-
cessor of Guicciardini and Mchiavelli.' He was Machiavelli's
successor politically.
One of the most interesting facts about Fra Paolo is his
relation to the discovery of the circulation of the blood. He
himself speaks of the discovery in this way,-
"As to your exhortations, I must tell you that I am no
SCIENCE
VI
AND
THE
ARTS
SCIENCE AND THE ARTS S03
In many copies of the book a fourth and fifth part are
added. I add the title of the fourth 'booke' translated from
the Italian by Richard Androse.
A verye excellent and profitable Booke conteining size hundred
foure score and odde experienced Medicines, apperteyning unto
Phisick and 8urgerie, long tyme praetysed of the expert...
Mayster Alexis, which he termeth the fourth and finall booke of
his secretes, and which in hys latter dayes hee dyd publishe ....
Translated out of Italian into Englislw by Richard A ndrose.
Imprinted at London by Henry Denham. (Parts lII and
IV.) 1569. 4to. Black letter. (Bound with The Secretes of
the reverende Maister Alexis of Piemount .... H. Bynneman,
for J. Wight. London. 1566-68. 4to. Black letter.) British
Museum. Also, London. 1580-78. 4to. Black letter.
Kyngston, for J. Wight. (The fourth.., booke. Part 3 was
printed by T. Dawson.) British Museum.
The original of this book appeared, in a second edition,
in 1557.
De seereti del reverendo donno A. P. prima parte, divisa in
sei libri. Seconda editione.
Venetia. 1557. 4to. British Museum.
La seconda Parte de i Seereti di diversi excellentissimi
Huomini, nuovamente raccolti, e... stampati.
Milano. 1558. 8vo. British Museum.
The French version, from which Ward translated, is,
Les Secrets de Reverend Signeur Alexis Piemontois. Con-
tenans excellens ferneries contre plusieurs maladies .... Traduit
d'Italien en Franf4s. [Part I.]
Anvers. 1557. 4to. British Museum. [Printed in Italics.]
The Secretes of Alexis of Piemount is a sort of pharmaco-
poeia, or dispensatory, and contains not only medical formulm,
but formulae for cosmetics, perfumes, and soaps. One pre-
scription was warranted to make old women young again.
Alessio Piemontese has been confounded with the learned
Girolamo Ruscelli (d. 1556, aged forty-five), who among his
numerous works, wrote Segreti nuovi (Venice, 1557, 8vo).
SCIENCE AND THE ARTS f05
what diseases they be subiecte, together with the causes of such
diseases, the sygnes howe to knowe them, and finally howe to cure
the same. Whyche bookes are not onely paynfully collected out of
a nomber of auclhours, but also orderly dysposed and applyed
to the use of thys our cotry. By Thomas Blundeuill of New-
ton-Flotman in Norff.
No date. 4to. Black letter. Each part has a separate title
and signatures. Part III, 'the Order of Dietynge of Horses,'
is dated 1565 on the title-page, and Part IV is dated 1566.
The general title-page and the title-pages of the first two
parts bear no date. Later editions were published in 1580,
1597, and 1609.
The original work by Federico Grisone
Gli ordini di cavalcare.
Giouan Paolo Suganappo. Napoli. 1550. 4to. Twenty-five
woodcuts of bits.
Ordini di cavalcare, et modi di conoscere le nature de' cavalli,
emendare i vitii loro, & ammaestrargli per l' uso della guerra,
& commodit5 degli huomini. Con le figure di diversi sorti di
norsi, secondo le bocche & maneggiamenti de cavalli.
Pesaro. 1556. 4to. Both in the British Museum.
Dedicated to Lord Robert Dudley.
The first work in English on equitation. It was abridged
from Federico Grisone, by Thomas Blundeville, at the sug-
gestion of John Astley. Chapter xLx is headed, "How to
make your horse abide both stage, sworde, great noyse, gon-
shot, or any other thing." The cuts are copied from the Italian
editions.
See John Astley's The Art of Riding (1584).
234
1560. The Arte of warre, written first in Italian by N. Mac-
chiavell, and set forthe in Engllshe by P.[eter] Whitehorne Stu-
dient in Graies Inne: . . . with an Addfclon of other like Marchdle
Feates and Experimentes, as in a Table in the Ende of the Booke
maie appere. Anno M.D.L.X. Menfs. Julid.
808 ELIZABETHAN TRANSLATIONS
the Swiss and Spanish troops, then considered the best soldiers
in Europe; the Swiss, armed with pikes, and fighting like the
ancients in regiments of six or eight thousand foot drawn up
in close order (the Macedonian phalanx), and the Spaniards,
armed with sword and buckler, llachiavelli, in the character
of Fabrizio, preferred the Spanish soldier, because the Swiss
footmen could only cope web with horse, while the Spanish
troops knew how to deal with both horse and foot. He
ascribes the superiority of the Swiss to their ancient institu-
tions and to the want of cavalry, and that of the Spaniards
to necessity, because as they largely carried on their wars in
foreign parts, they were compelled either to conquer or to die.
As to the horse and foot of an army, Machiavelli advises
that cavalrymen be recruited out of the towns, and infantry
out of the country. He thinks that the main strength of an
army consists in the infantry, although he admits that cavalry-
men were highly disciplined in his time, that they were, if not
superior, at least equal to the cavalry of the ancients. Cavalry
cannot march on all roads, they are slower in their motions,
and they cannot rally so quickly as infantry when throaa
into confusion. He attaches little importance to the invention
of gunpowder which indeed was largely used at that time for
charging cannon; he calls attention to the clumsiness of heavy
artillery in battle, and says that small cannon and musket-
shot do more execution than artillery
Machiavelli has the strongest admiration for the Roman
military system. "It is vain," he says, "to think of ever
retrieving the reputation of the Italian arms by any other
method than what I have prescribed, and by the cooperation
of some powerful Princes in Italy: for then the ancient dis-
cipline might be introduced again amongst raw honest men
who are their own subjects; but it never can amongst a parcel
of corrupted, debauched rascals and foreigners."
"Before our Italian Princes were scourged by the Ultra-
montanes, they thought it sufficient for a Prince to write a
handsome letter, or return a civil answer; to excel in drollery
SCIENCE AND THE ARTS 809
or repartee; to undermine and deceive; to set themselves off
with jewels and lace; to eat and sleep in greater magnificence
and luxury than their neighbors; to spend their time in wanton
pleasures; to keep up a haughty "kind of State, and grind the
faces of their subjects; to indulge themselves in indolence and
inactivity; to dispose of their military honors and preferments
to pimps and parasites; to neglect and despise merit of every
kind; to browbeat those that endeavored to point out any-
thing that was salutary or praiseworthy; to have their words
and sayings looked upon as oracles; not foreseeing (weak and
infatuated as they were) that by such conduct they were mak-
ing a rod for their own backs, and exposing themselves to the
mercy of the first invader."
Julius Cesar, Alexander, and other great princes, fought
at the head of their own armies, marched with them on foot,
and carried their own arms; and if any of them ever lost power,
he lost his life with it, and died with reputation and glory.
I add a few ideas and maxims to show the quality of this
celebrated book.
On Pensions. Pensioning is "a very corrupt custom." "So
likewise a Prince, if he would act wisely, should not allow a
pension or stipend to any one in time of peace, except by way
of reward for some signal piece of service, or in order to avail
himself of some able man in time of peace as well as war."
(Book .)
On Oratory. "It is necessary that a General should be an
Orator as well as a Soldier; for if he does not know how to
address himself to the whole army, he will sometimes find it
no easy task to mould it to his purpose." Alexander is cited
as an example. (Book rv.)
"Few men are brave by nature; but good discipline and
experience make many so." (Book vtt.)
"Good order and discipline in an army are more to be
depended upon than courage alone." (Book vn.)
"Men, arms, money, and provisions, are the sinews of war;
but of these four, the first two are most necessary: for men and
ELIZABETHAN TRANSLATIONS
arms will always find money and provisions; but money and
provisions cannot always raise men and arms." (Book vii.)
Conclusion. "I will venture to affirm, that the first state in
Italy that shall take up this method, and pursue it, will soon
become master of the whole Province, and succeed as Philip
of Macedon did; who having learnt from Epaminondas the
Theban the right method of forming and disciplining an army,
grew so powerful, whilst the other States of Greece were buried
in indolence and luxury, and wholly taken up in plays and
banquets, that he conquered them all in a few years, and left
his Son such a foundation to build upon, that he was able to
subdue the whole world." (Book vii.)
It will be seen that the Art of War is a carefully considered
treatise on the military arm of government. Machiavelli be-
lieved that the feebleness of Italy as a military power was due
to the system of mercenary soldiers which was first introduced
by the despots, and then adopted by the commercial republics,
and favored by the Church. The only way by which the
Italians could recover their freedom was through the organi-
zation of a national militia, and the particular organization he
had in mind was an adaptation of the principles of Roman
tactics to modern conditions.
The fine peroration, promising the crown to that Italian
state which should arm its citizens and take the lead in the
peninsula, sounds like a prophecy of Piedmont, which in our
own time has brought about Italian nationality much along
the lines laid down by Machiavelli.
235
156. The Castel of Memorie: wherein is conteyned the
restoryng, augmentyng, and conservyng of the Memorye and
Remembraunce: with the safest remedies and best preceptes there-
unto in any wise apperteyning. Made by Gulielmus Gratarolus
Bergomatis, Doctor of Artes and Phisike. Englished by Willyara
Fulwod. The Contentes whereof appear in the page next folow-
inge. Post tenebras lux.
SCIENCE AND THE ARTS 315
Halle Chirurgien. Who hath therunto necessarily annexed. A
Table, as wel of the names of diseases and simples with tIzeir
vertues, as also of all other termes of the arte opened. Very
profitable for the better understanding of the same, or other like
worlces. And in the ende a compendious worke of Anatomie,
more utile and profitable, then any here tofore in tlze Englyshe
tongue publyshed. An Historiall Expostulation also against
the beastly abusers, both of Chyrurgerie and Phisicke in or
tyme: With a goodly doctrine, and instruction, necessary to be
marked and folowed of all true Chirurgis. 411 these faittftdly
gathered, and diligently set forth, by the sayde Iohn Halle.
Imprinted at London in Flete streate, nyghe ,unto saint
Dunstones churche, by Thomas Marshe. An. 1565. Sm. 4to.
Owned by the author.
The Historiall Expostulation was edited, for the Percy So-
ciety, 1844. lmo. By T. I. Pettigrew.
On the verso of the title-page there is a wood-cut of the
translator marked, "1564. I.H. anno. etatis sure 35."
Dedicated, "Unto the Worshipful the maisters, Wardens,
and consequently to all the whole company and brotherhood
of Chirurgiens of London. John Halle, one of the leste of
them, sendeth hartie and louynge salutation."
In "The Epistle Dedicatorie," Halle gives this account of
his work,-
"I therfore, as preparatiue to the reste that shall folowe,
dedicate thys my symple laboure, in settyng forth this excel-
lent compendious worke, called CMrurgia para Lanfranci,
under your ayde, helpe, succor, tuition and defence: whiche
was translated out of Frenche into the olde Saxony englishe,
about twoo hundred yeres past. Which I haue nowe not only
reduced to our usuall speache, by changyng or newe translat-
ing suche wordes, as nowe be inueterate, and growne out of
knowledge by processe of tyme, but also conferred my labours
in this behalf with other copies, both in Frenche and latin"
namely with maister Bacter, for his latine copie, and Symon
Hudie for his frch copie, and other English copies: of the
$16 ELIZABETHAN TRANSLATIONS
which I had one of John Chber, & an other of John Yates,
both very atmcient, with other mo :"
John Halle paints a vivid picture of the deplorable igno-
rance of the medical profession of his time; "'alas," he says,
"where as there is one in Englande, almoste throughout al
the realme, that is indede a true minister of this arte, there
are tenne abhominable abusers of the same. Where as there
is one chirurgien that was apprentise to his arte, or one physi-
cien that hath travayled in the true studie and excercise of
phisique, there are tenne that are presumptions swearers,
smatterers, or abusers of the same; yea, smythes, cutlers, car-
ters, coblars, copers, coriars of lether, carpenters, and a great
rable of women."
He is outspoken against the quacks and loud in his protests
against their combination of magic, divination, and medicine.
In one place he says,- "I will not cease while breath is in
my body, to lay on with both handes till this battell be wonne,
and'our adversaries convinced and vanquished; which, al-
though, as I saide afore, they are tenne to one, yet truthe
being our weapon, and good science our armoure, with our
generall the high author of them, we nede not to doubt but
that one shal be good enough for a thousand, not so strongly
armed, but naked men, and bare of all -knowledge."
A section of The Preface to the Reader, called the "Properties
of a Chirurgien," summarizes Halle's ideal surgeon, -- "all
that should be admytted to that arte, should be of cleare
and perfect sight, well formed in person, hole of mynde and
of members, sclender and tender fingered, havyng a softe and
stedfast hande: or as the common sentence is, a chirurgien
should have three dyvers properties in his person. That is to
safe, a harte as the harte of a lyon, his eyes like the eyes of
an hawke, and his handes as the handes of a woman."
One or two quotations from the Expostulation will illus-
trate at once Halle's vigorous prose and the sort of quacks he
exposed, --
"I will here also omitte to talke of Grigge the Poulter, with
SCIENCE AND THE ARTS S19
T. N. is Thomas Newton, of Cheshire, the poet and Latinist,
who practised medicine for some time before taking orders.
The directions for preserving health relate chiefly to diet
and exercise: of diet Newton says in his Dedication, "diet is
the safest, the surest and the pleasantest way that can be used
and farre to be preferred before all other kindes of remedies,
unlesse the disease be of such vehemence, quality, condition
and extremitie that it seeme to requyre some great spcciall
consideration otherwise, and in time of sicknesse is not onely
a special & harmlesse recuratiue, but also in time of health,
the best and almost the onely preseruative."
241
157. Most briefe tables to knowe redily howe manye ranckes
of footemen armed with Corslettes, as unarmed, go to the ma]ing of
a iust battayle, from an hundred unto twentye thousande. Nexte
a very easye, and approued way to arme a battaile with Harka-
buzers, and winges of horsemen according to the use of these dales.
Newlye increased, and largelye amplified both in the tables, as
in the declaration of the same, by the Aucthour himselfe, Girolamo
Cataneo Novarese. Tourned out of Italion into English by H. G.
Imprinted at London, by W. Williamson for Ihon Wight.
Anno M.D.LXKIIII. Zto. Black letter. British Museum. War
Office Library.
Imprinted at London by Thomas East, for Ihon Wight.
1588. 4to. Black letter. British Museum Bodleian. Library
of the Royal Artillery Institute.
A translation of a work on military tactics by Girolamo
Cataneo (Novarese), entitled,-
Tavole brevissirne per sapere con presteaza quante file uanno
h formate una giustissima battaglia. Con li suoi armati di cor-
Er
di
saletti da cento fin h uenti duemilia e sei cento huomini.
appresso un faeilissimo, et approuato modo di armarla
arehibugieri, & di ale di caualleria seeondo l' uso moderno.
Brescia, L. di Sabbio for G. B. Bozola.
Museum,
1563. 8vo. British
332 ELIZABETHAN TRANSLATIONS
Adam Islip, for R. Watkins. London. 1594. 4to. British
Museum. 1596. 4to. 1604. 4to. British Museum. Owned
by the author. 1616. 4to. British Museum.
Dedicated to Sir Francis Godolphin, who loaned his copy of
Camil|i to Carew.
The originals of this translation, named in the title, are,
from the Spanish of Juan de Dios Huarte Navarro,-
Examen de ingenios para las sciencias, donde se muestra la
differencia de habilidades que ay en los hombres, y el genero de
letras que h cada uno responde en particular.
Pamplona: 1578. 8vo. British Museum.
Dedicated to King Philip II.
Camilli's translation of this is dated four years later,
Essame de gl" ingegni de gli huomini, per apprender le scienze:
nel quale, scoprendosi la varieth delle nature, si nostra, a che
professione sia atto ciascuno, & quanto profitto habbia fatto in
essa. Nuovamente tradotto dalla lingua Spagnuola da M. Ca-
millo Camilli. [Edited by Niccolo Manassi.]
Venice. 1582. 8vo. British Museum. 1586. 8vo. British
Museum. Cremona, 1588, very rare. 1590. 8vo. British
Museum.
Dedicated to Sig. Federico Pendasio.
A French translation, by Gabriel Chappuis, is dated, Lyon,
1580 (16mo), and the work was also rendered into Latin and
German, reaching altogether numerous editions in the six
languages. The British Museum Catalogue gives in all twenty-
three editions.
The latest English imprint is a new translation, made in
1698, by Edward Bellamy,-
Examen de Ingenios: or, the Tryal of Wits .... Published
originally in Spanish by Doctor J. Huarte, and made English
by M'. Bellamy.
London. 1698. 8vo. British Museum.
Juan de Dios Huarte Navarro was a Spanish physician who
flourished in the sixteenth century. His book, the Examen de
Ingenios, is a treatise on the corporeal and mental qualities of
30 ELIZABETtL_N TRANSLATIONS
health much impaired by his indulgences and determined t
change his whole manner of life. He restricted himself to
twelve ounces of solid food and fourteen ounces of wine a day,
and endeavored to cultivate a gay and amiable disposition,
he was said to have been naturally sober and morose. His
health was completely restored, and he died at the age of
ninety-nine. Between the ages of eighty and ninety-five, he
published in four parts, his
Discorsi della vita sobria, ne' quali con l' esempio di se stesso,
dimostra con quali mezzi possa l' uomo conservarsi sano fino all'
ultima vecchiezza.
Padua. 1558. 8vo. (Three parts only.) Venice. 1599. 8vo.
and 160. 8vo. (Complete.) Venice. 1666. 8vo, done in
Italian verse.
Besides the Latin of Leonard Lessius, the work was trans-
lated into most of the European languages, and was repeatedly
reprinted. An English edition in the British 5Iuseum is de-
scribed in the book-lists as the 'fifty-fifth.'
A recent American edition is,-
The Art of Living Long. A New and Improved English Ver-
sion of the Treatise of the Celebrated Venetian Centenarian Louis
Cornaro. With Essays by Joseph Addison, Lord Bacon, and Sir
William Temple.
Milwaukee. William F. Butler. 1903.
The essay by Addison is from The Spectator, October 13,
1711; that from Bacon is an arrangement of passages from
the History of Life and Death; that from Temple is also an
arrangement, the extracts being taken from Health and Long
Life.
"And now I remember and find that true which devout
Lessius says, 'that poor men, and those that fast often, have
much more pleasure in eating than rich men and gluttons,
that feed before their stomach are empty of their last meat,
and call for more: for by that means they rob themselves of
that pleasure that hunger brings to poor men.' And I do
seriously approve of that saying of yours, 'that you would
VII
GRAMMARS AND
DICTIONARIES
6 ELWABETHAN TRANSLATIONS
1639. New and Easie Directions for Attaining the Thuscan
Italian Tongue. Comprehended in Necessary Rules of Pro-
nunciation, Rules of Accenting, by way of Alphabet: With a
Nomenclator, or little Dictionarie...By Gio. Torriano, an
Italian, and Professour of the same within the City of London.
Printed by R.O. for Ralph Mab. 1639. [Svo.] And are to
be sould by the Professour at his Lodging in Abchurch lane
adjoyning to Lumbard-street. Emmanuel College. Cambridge.
Dedicated to Elizabeth
Torriano edited the third
Wordes (1659).
1640. The Italian Tutor.
Talbot Grey, Countess of Kent.
edition of Florio's, A Worlde of
28O
Or A New and most compleat Ital-
ian Grammer. Containing above others a most compendious way
to learne the verbs, and Rules of Syntax. To which is annexed
a display of the monasillable particles of the Language, by way
of Alphabet. As also, certaine Dialogues made up of Italianismes
or neicities of the Language, with the English to them... By
Gio. Torriano, an Italian and professor of the same within the
City of London.
London. Printed by Tho: Paine, and are to be sold by H.
Robinson, at the signe of the Three Pidgeons in Paules Church-
yard. 1640. 4to. British Museum.
The first part is dedicated to Elizabeth Talbot Grey, Coun-
tess of Kent and (in a second inscription) to the Turkey Mer-
chants; the second part, to Sir Philip Warwick.
The Italian Tutor was long a popular Italian grammar. It
was reprinted, with many additions and alterations, as The
Italian reviv'd, or Introduction to the Italian Tongue. (London.
1673. 8vo. Also, 1689. 8vo.)
281
1660. Lexicon Tetraglotton, an English-French-Italian-Span-
ish Dictionary: Whereunto is adjoined A large Nomenclature
GRAMMA_RS AND DICTIONARIES 57
of the proper Terms (in all the four) belonging to the sev-
eral Arts and Sciences, to Recreations, to Professions both
Liberal and Mechanick, &c. Diuided into Fiftie two Sections;
With another Volume of the Choicest Proverbs In all the said
Toungs, (consisting of divers compleat Tomes) and the English
translated into the other Three, to take off the reproch which useth
to be cast upon Her, That She is but barren in this point, and
those Proverbs She hath are but flat and empty. Moreover, there
are sundry familiar Letters and Verses running all in Proverbs,
with a particular Tome of the British or old Cambrian Sayed
Sawes and Adages which the Author thought fit to annex here-
unto, and make Intelligible, for their great Antiquity and Weight:
Lastly, there are flue Centuries of New Sayings, which, in tract of
Time, may serve for Proverbs to Posterity. By the Labours and
Lucubrations of James Howell, Esq.;
Senesco, non, segnesco.
London. Printed by J. G. for Samuel Thomson at the
Bishops head in St. Pauls Church-yard. 1660. Folio. Brtish
Museum. Peabody Institute. Baltimore.
Dedicated, "To his Majesty Charles the Second, Third
Monarch of Great Britain," etc.
The Proverbs were published separately in 1659, as "Pro-
verbs or old Sayed Saws and Adages in English or the Saxon
tongue, Italian, French, and Spanish: Whereunto the British
[i.e. Welsh] for their great Antiquity and weight are added."
Among other attractions of this extraordinary compilation
are three introductory
Poems by the Author
Touching the Association of the English Toung with the French,
Italian, and Spanish, etc.
I
France, Italy and Spain, ye sisters three,
Whose Toungs are branches of the Latian tree,
To perfect your odd Number, be not shy
To take a Fourth to your society,
VIII
COLLECTIONS OF PROVERBS
VIII
COLLECTIONS OF PROVERBS
282
[15847] The booke of prittie conceites, taken out of Latin,
Italian, French, Dutch and Englishe. Good for them that loue
alwaies newe eonceites.
Printed for E. White, London. [158471 8vo. Black letter.
British Museum.
283
1584. The IVelsprin.g of wittie Coneeites: containing a Methode,
aswel to speake, as to endight (aptly and eloquently) of sundrie
Matters: as (also) see great varietie of pithy Sentences, vertuous
sayings and right Moral Instructions: No lesse pleasant to be
read, then profitable to be practised, either in familiar speech or
by writing, in Epistles and Letters. Out of Italian by IV. Phist.
Student. Wisdom is like a thing fallen into the water, which no
man can finde, except it be searched to the bottome.
At London. Printed by Richard Jones, d,elling at the Simae
of the Rose and the Crowne, neere Holburne Bridge. 158J.
4to. Black letter. 51 leaves. Bodleian.
Besides the translation, Phist. (Phiston) added other mat-
ter, "partly the invention of late writers and partly mine
own."
The Welspring is a series of letters containing the merest
commonplaces of morals. Collier says there is not a single orig-
inal remark, nor one allusion of a local or personal character.
284
1590. The Quintessence of Wit, being A corrant comfort of eon-
ceites, Maximies [sic] and politicke deuises, selected and gath-
COLLECTIONS OF PROVERBS 363
be chewed and chawed with a chosen and speciall spirite of
understanding, not greedily mumbled up and eaten as a wanton
eates peares that neuer were pared. Philosophic and farre
fetched knowledge may not be handled and entertained like a
Canterbury tale, nor used like a riding rime of Sir Topas."
I quote one maxim as a sample of the rest, -- "That com-
monwealth where iustice is found for the poore, chastisement
for those that be insolent & tirants, weight and measure in
those things which are solde for the use of man, exercise and
discipline amongst yong men, small eovetousnes amongst olde
persons, can neuer perishe."
285
1590. The Royal Exchange. Contayning sundry A phorismes
of Phylosophie, and golden principles of Morrall and natural
Quadruplicities. Under pleasant and effectuall sentences, dys-
couering such strange definitions, deuisions, and distinctions of
vertue and vice, as may please the grauest Cittizens, or youngest
Courtiers. Fyrst written in Italian and dedicated to the Signorie
of Venice, runve translated into English, and offered to the Cittie
of London. Rob. Greene, in Artibus Magister.
At London. Printed by I. Charlewood for William Wright.
Anno Dom. 1590. 4to. Chetham Library, Manchester, prob-
ably a unique exemplar. The Life and Complete Works in
Prose and Verse of Robert Greene, M.A. In 12 volumes. Vol.
vxx. The Huth Library. A. B. Grosart. 1881-83. 8vo. 50
copies only. Peabody Institute, Baltimore. Yale University.
Dedicated to the "right honourable Sir John Hart, Knight,
Lorde Mayor of the Cittie of London: and to the right wor-
shipfull Ma. Richard Gurney, and Ma. Stephen Soame, Sher-
iffes of the same Cittie."
In his dedicatory epistle to Sir John Hart, Greene says,-
"Hauing (right Honorable and Worshipful) read ouer an
Italian Pamphlet, dedicated to the Signorie of Venice, called
La Burza Reale, full of many strange & effeetuall Aphorismes,
ending in short contriued Quadruplicities, translating it into
COLLECTIONS OF PROVERBS 367
289
1659. Proverbs English, French, Dutch, Italian, and Span-
ish. All Englished and Alphabetically digested. By N. R. Gent.
London. Printed for Simon Miller at the Star in Pauls
Church-yard. 1659. Sm. 8vo.
290
1660. Choice Proverbs and Dialogues in Italian and English.
Also, delightfull sories and apothegms, taken out of famous
Guicciardine. Together with the Warres of Hannibal against the
Romans; an history very usefull for all those that would attain
to the Italian tongue. Published by P. P., an Italian, and
Teacher of the Italian Tongue.
Printed by E. C. London. 1660. 8vo. Pp. 30. British Mu-
seum.
Besides Guieeiardini's Awerimenti Politio, edited b San-
sovino, Lodovieo Guieeiardini edited from his unele's writ-
ings,
I precetti et sententie piu notabili in materia di stato di M. F.
G.[uicciardini].
Anversa. 1585. 4to. British Museum.
See The Quintessence of Wit (1590).
291
1666. Piazza Universale di Proverbi Italiani: Or, A Com-
mon Place of Italian Proverbs and Proverbial Phrases. Di-
gested in Alphabetical Order by way of Dictionary: Interpre-
tared, and occasionally Illustrated with Notes. Together with a
Supplement of Italian Dialogues. Composed by Gio: Torriano,
an Italian, and Professor of the Tongue.
London. Printed by F. and T. W. for the Author. Anno
Dora. 1666. Folio.
IX
VOYAGES AND
DISCOVERY
VOYAGES AND DISCOVERY
292
1555. The [three] Decades of the newe worlde or west India,
conteynyn9 the navigations and conquestes of the Spanyardes,
with the particular description of the moste fiche and large landes
and llandes lately founde in the west Ocean perteynyng to the
inheritaunce of the Kinges of Spayne .... Written in the Latine
tounge by Peter Martyr of Angleria, and translated into Eng-
lysshe by R.[ichard] Eden. (The hystorie of the 1Veste Indies,
wrytten by Gonzalus Ferdinandus. ,4 discourse of the mar-
velous vyage made by the Spanyardes rounde aboute the worlde,
gathered owt of a large booke wrytten hereof by master A.[ntonio]
Pygafetta. The debate and stryfe betwene the Spanyardes and
Porlugales, for the division of the Indies and the trade of Spices
and also for the 1lands of Molucca . . . by J. Lopez de Gomara.
[Francisco L6pez de G6mara].- Of Moscovie and Cathay.
The historic written in the latin toonge by P. Jo,ius . . . of the lega-
tion or ambassade of greate Basilius Prince of Moscovia to pope
Clement the vii. Other notable thynges as touchynge the Indies.
Of the generation of metalles and their mynes with the manet of
fyndinge the same: written in the ltalian tounge by Vannuccius
Biringuczius [Vannuccio Biringuccio]. Description of two viages
made owt of England into Guinea... in... M.D.L.111.)
R. Jug. In aedibus Guilhelmi Powell, London, 1555. 4to.
Black letter. British Museum (3 copies).
This is a translation of the first edition of the Decades, m De
rebus oceanis et Orbe Novo Decades tres, etc. (Alcal de Henares.
1516. Folio.)
It was edited by Antonio de Nebrija, a friend of Pietro
Martire, of Anghiera. The Three Decades cover some twenty
years, beginning with the first voyage of Columbus.
VOYAGES AND DISCOVERY 375
burg, 1515. 4to), and into Spanish, by Christoval de Arcos
(Seville, 150. Folio). A French translation, made from the
Latin version aided by the Spanish, appeared first as a chapter
in Ramusio's Navigationi et viaggi (Venice, 1550-1556-1559,
3 vols. Folio). The translator, Jean Temporal, brought it out
separately later, Voyages de Loys de Bar, heine Bolognais (Lyon.
1556. Folio).
297
161. De Nouo Orbe, or The Historie of the west Indies, Con-
tayning the acres and aduentures of the Spanyardes, which haue
conquered and peopled those Countries, inriched with varietie of
pleasant relation of the Manners, Ceremonies, Lawes, Gouern-
ments, and IVarres of the Indians. Comprised in eight Decades.
Written by Peter Martyr Millanoise of Angleria, Cheife Secre-
tary to the Emperour Charles the rift, one of his Priuie Councell.
Whereof three, haue beene formerly translated into English, by
R. Eden, whereunto the other flue, are newly added by the Indus-
trie, and painefull Trauaile of M. Lok Gent.
In the handes of the Lord are all the corners of the earth.
Psal. 95.
London. Printed for Thom Adams. 1612. 4to.
Third edition of Peter Martyr's De Orbe Novo. (1555.)
A later edition, without date, London. [160?] 4to. British
Museum.
Dedicated to Sir Julius Cesar, Chancellor of the Exchequer.
This is the first complete edition of the eight decades in English.
An Elizabethan edition of De Orbe Novo . . . decades octo . . .
labore et industria Richardi Hakluyti Oxoniensis (Paris, 1587),
is dedicated to the "illustri et magnannimo viro Gualtero
legho.'"
De Orbe Novo. The Eight Decades of Peter Martyr D'Anghera.
Translated from the Latin with Notes and Introduction. By
Francis Augustus MacNutt. G. P. Putnam's Sons. New York
and London. 1912. vols. Royal 8vo.
Dedicated to Andrew Finley Scott.
8 ELIZABETIIA TRANSLATIONS
300
1582. Discoverie of the isles of Frisland d'c. by N. Z. [Nicolb
Zeno] and Antonio his brother.
See, Richard Hakluyt, Divers voyages, etc. (1582. 4to. Brit-
ish Museum.)
The discouerie of the Isles of Frisland, Iseland, Engroneland,
Estotiland, Drogeo and Icaria: made by two brethren, namely
M. Nicholas Zeno, and M. Antonio his brother: Gathered out of
their letters by M. Francisco Marcolino.
The Voyages of The English Nation to America, before the
year 1600, from Haklyyt's Collection of Voyages (1698-1600
[III, 11-8]). Edited by Edmund Goldsmid.
Edinburgh. 1889. Vol. t, p. 274.
The I'oyages of the Venetian Brothers, Nieolb and Antonio
Zeno, to the Northern Seas in the XIVth Century. [Translated,
for the Hakluyt Society, by Richard Henry Major.]
London. 1873.
The Annals of the Voyages of the Brothers Nicolb and Antonio
Zeno in the North Atlantic About the end of Fourteenth Century,
and the Claim founded thereon to a Venetian Disco,ery of America.
A Criticism and an Indictment. By Fred. W. Lucas. 50 copies.
Edition de luxe.
London, Henry Stevens, Son & Stiles. 1898. 4to. Pp. 233
and 18 facsimile maps.
The Zeno family was one of the most distinguished in Ven-
ice, furnishing during the thirteenth and fourteenth centuries
a doge, several senators and members of the Council of Ten,
and military commanders of ability and renown.
The adventures of the two Zeni in the North Atlantic are
related in six letters, two from Nicolb Zeno, known as "the
Chevalier," to his brother, Antonio, a third, presumably ad-
dressed to some other member of the family, and three letters
written by Antonio, after he had joined Nicolb, to a third
brother, Carlo, called, for his success in the war against Genoa,
"the Lion of St. Mark." The voyages were made about 1390-
VOYAGES AND DISCOVERY 879
1405, and the narrative was first published in 1558, by Nicol5
Zeno, the younger, a member of the Council of Ten, and great-
great-great-grandson of Antonio.
In brief, the letters relate how NicolS, the Chevalier, sailing
from Venice around to the North of Europe, was caught in a
storm and wrecked on one of the Faroe islands. About to be
murdered by the natives, he was rescued by a great chieftain,
who, recognizing the rank and nautical skill of the stranger,
gave him a post of authority in the national fleet. This chief-
tain has been identified as Hem-at Sinclair, Earl of the Orkneys
and Caithness. Nicol5 persuaded Antonio to join him, and
together they undertook various expeditions, one of which
carried them a long distance to an island in the western ocean.
The name of this island suggests Greenland, but the descrip-
tion fits Iceland. Nicol6's health was broken by the cold of
the western island, and he died soon after his return to the
Faroes, probably in 1395.
Antonio Zeno and Earl Sinclair made another voyage west-
ward, somewhere about 1400, "but, the wind changing to the
southwest, the sea therefore becoming rough, the fleet ran
before the wind for four days, and at last land was discov-
ered." In returning to the Faroes from this country, Zeno
sailed steadily eastward for twenty days, and then for five days
towards the southeast, seeing no land for the whole five and
twenty days. The basis of the Venetian discovery of America
rests upon the assumption that this land, upon which Antonio
Zeno left Earl Sinclair to found a city, was Greenland. This is
the conclusion of Richard Henry Major, who translated the
Zeno narrative for the Hakluyt Society, and it is accepted by
John Fiske in his Discovery of America.
See The Principal Navigations, etc. (1589); vii, 445-66
(ed. ]VIacLehose and Sons, 1903-05).
8 ELIZABETHAN TRANSLATIONS
Princes, and the manifold religions in that part of the world.
Translated and collected by J.[ohn] Pory.
Impensis G. Bishop, Londini, 1600. Folio. British Museum
(Grenville Library).
Reprinted by Purchas, Observations of Africa taken out of
John Leo his nine Bookes, translated by Master Pory. Purchas
his Pilgrimes (165), v, 307-59; vx, 1-54 (ed. MacLehose and
Sons, 1905, 8vo). British Museum.
Giovanni Leone's work was first written in Arabic, and then
translated into Italian, Latin, French, English, Dutch, and
German. The Italian title reads, Descrittione dell Africa & delle
cose notabili che ivi sono. It was published by Ramusio, in his '
Primo Volume delle Navigationi et Viaggi nel qual si con-
tiene la descrittione dell' Africa, e del Paese del Prete Ianui, con
varii viaggl, dal Mar Rosso h Calicut, et infin all' Isole Moluc-
che . . . et lh Navigatione attorno il Mondo. [Edited by G. B.
Ramusio.]
Gli Heredi di Lucantonio Giunta. Venetia. 1550. Folio.
British Museum.
1601. The
the most famous h'ingdomes in the World.
lish [by R. J., i.e., Robert Johnson].
E. Bollifant for J. Jaggard. London.
Museum.
306
Travellers Breviat, or an historical description of
Translated into Eng-
1601. 4to. British
This is a translation of a part of Giovanni Botero's Le Rela-
tioni Universali. (Rome. 1591. 4to.)
The Relalioni Universali was a very popular book, frequently
reprinted. It treats of the situation and resources of each state
of Europe, and of the causes of its greatness and power. The
author, Giovanni Botero Benese, abbate di S. Michele della
Chiusa, was secretary to S. Charles Borromeo, Cardinal Arch-
bishop of Milan.
See Relations of the most famous Kingdoms and Common-
weales thorough the world. (1608.)
386 ELIZABETHAN TRANSLATIONS
A translation of Giovanni Botero's popular geographical
work, Le Relationi Universali. Rome. 1591. 4to.
See The Travellers Breviat. 1601.
309
1625. ttakluylus Posthumus or Purchas His Pilgrimes Con-
tayning a History of the tVorld in Sea Voyages and Land Tray-
ells by Englishmen and others. By Samud Purchas, B.D. [In
Five Bookes.]
London. Printed by William Stansby for Henry Fether-
stone, and are to be sold at his shop in Pauls Church-yard at
the signe of the Rose. 1625. Folio. British Museum (4 copies).
Hakluytus Posthumus or Purchas His Pilgrimes. In Twenty
Volumes.
Glasgow. James MacLehose and Sons, Publishers to the
University. 1905-07. 8vo.
Some of Hakluyt's unpublished papers came into the hands
of Purchas. To these he added others and made this book,
"after his irregular and curtailed or contracted manner." It
is the pick and shovel method applied to book-ma'ldng. But
Purchas's original documents are of great value, and furnish
the topography of the whole of Asia, Africa, and America
known to the civilized world of his time. With pick and shovel
Pttrchas laid the foundation of modern commercial geography.
310
165. Indian Observations gathered out of the Letters of Nico-
las Pimenta [Niccolb Pimenta], vis/ter of the Jesuites in India,
and of many others of that societie, written from divers Indian
Regions; principally relating the Countries and accidents of the
Coast of Coromandel and of Pegu.
See Purchas his Pilgrimes, etc. (169.5. Folio), tI, 118-31;
x, 05-2 (ed. VIacLehose and Son, 1905-07).
VOYAGES AND DISCOVERY 389
Five years since, in the Province of To-kien,
Which is in China, as some people know,
Maigrot, my Vicar Apostolic there,
Having a great qualm, issues a decree.
Alack, the converts use as God's name, not
Tien-chu but plain Tien, or else mere Shang-ti,
As Jesuits please to fancy politic,
While, say Dominicans, it calls down fire, m
For Tien means heaven, and Shang-ti, supreme prince,
While Tien-chu means the lord of heaven: all cry,
"There is no business urgent for dispatch
As that thou send a legate, specially
Cardinal Tournon, straight to Pekin, there
To settle and compose the difference!"
313
1633. Cochinchina. Containing many admirable Rarities
and Singularities of that Countrey. Extracted out of an Italian
Relation...by C.[ristoforo] B.[arri] ...and published by
R.[obert] As.hley.
London. R. Raworth for R. Clutterbuck. 1633. 4to. Brit-
ish Museum (3 copies).
314
1873. Travels to Tana and Persia, by Josafa Barbaro and
Ambrogio Contarini. Translated from the Italian by William
Thomas, Clerk of the Council to Edward VI, and by S. A. Roy, Esq.
And Edited, with an Introduction, by Lord Stanley of Alderley.
London: Printed for the Hakluyt Society. .DCCC.LXXm.
8vo. Peabody Institute, Baltimore.
Dedicated to King Edward VI, probably in January, 1550-
51, by William Thomas,-
"... I have thought good to translate out of the Italian
tonge this litell booke, itten by a Venetian of good fame
and memorie, who hath travailed many yeres in Tartaric and
Persia, and hath had greate experience of those p'tes, as he
doth sufficiently declare, which I determined to dedicate unto
yo r Ma e as unto him that I knowe is most desirouse of all
X
HISTORY AND
POLITICS
9 ELIZABET TRANSLATIONS
316
156. Two very notable Comrrtentaries, the one of the originall
of the Turcks and Empire of the house of Ottomanno, written by
Andrewe Cambine, and thother of the warres of the Turcke against
George Scanderbeg, prince of Epirus, and of the great victories
obteyned by the said George .... Translated oute of Italian into
Englishe by I. Shute.
B. Hall, for Humfrey Toye, London, 156. 4to. Black letter.
British Museum ( copies).
Dedicated to the 'high Admirall,' Edward Fiennes de Clin-
ton, Earl of Lincoln. There is a long preface by the translator
on discipline and soldiery.
The first of these commentaries is a translation of Andrea
Cambini's, --
Libro d' A. C .... della origine de Turchi et imperio ddli
Ottomanni. [With a Prefatory Epistle by D. di Giunta.]
Firenze. 159. lmo. British Museum.
The second commentary I have not met with. Shute says
he does not know its author.
George Castriota, called Scanderbeg or Skanderbeg, from
the Turldsh Iskander Beg (Alexander Bey), was an Albanian
chieftain who lived from 1403 to 1467. In his youth, his
father, Ivan (John) Castriota, lord of Kroya, a hereditary
principality in Albania, between the mountains and the Adri-
atic Sea, sent him and his three brothers as hostages to the
Ottoman Court. When John Castriota died, in 1443, the Sul-
tan, Amurath II, decided to annex the principality to Turkey.
But George Castriota returned to Albania, in 1444, pro-
claimed his independence, and resisted successfully for twenty-
three years, both Amurath II and his son Iohammed II,
called the .Conqueror. Scanderbeg finally died a fugitive, at
Alessio in the Venetian territory, and Albania (Epirus) was
added to the Turkish empire. (Gibbon, Decline and Fall of the
Roman Empire, Vol. v, pp. 360-64.)
HISTORY AND POLITICS 395
317
1563. The Historic of Leonard Aretine, concerning the Warres
betwene the Imperialls and the Gothes for the possesnion of Italy.
Translated out of Latin... by A.[rthur] Goldyng.
London. Printed by Rouland Hall for G. Bueke, 1563. 8vo.
Black letter. 180 leaves, besides an epistle and a preface.
Sir William Cecil, in whose family Golding
British Museum.
Dedicated to
was living.
A translation of Leonardi Aretini de bello Italico adversus
Goahos.
Nicolaus Jenson. [Venice.] 1471. 4to.
British Museum.
318
[1570.] ,4 very briefe and profitable Treatise declaring howe
many counsells, and what manet of Counselers a Prince that
will governe well au.ght to haue. [Translated by Thomas Blunde-
ville, from the Italian version of Alfonso d' Ulloa.]
W. Seres. London. [1570.] 8vo. British Museum.
There is a dedication, dated from Newton Flotman, 1 April,
1570, to the Earl of Leicester.
The original of this is a Spanish work by Federigo Furi6
Ceriol, --
El Concejo i Consejeros del Principe . . . que es el libro primero
del quinto tratado de la institueion del Principe.
Anvers. 1559. 8vo. British Museum.
I do not find an Italian version by Alfonso de Ulloa, but
there is one by his friend and correspondent, the voluminous
Lodovico Dolce,-
II concilio, overo Coneiglio et i Consiglieri del Prencipe.
Opera di F. C .... tradotta di Lingua Spagnuola nella volgare
Italiana per L. Dolce.
Vinegia. 1560. 8vo. British Museum.
Alfonso de Ulloa was a Spaniard who knew Italian so well
that he rendered Spanish and Portuguese works into that lan-
98 ELIZABETHAN TRANSLATIONS
of their affaires and Acres from the byrthe of Mahomet their first
peeuish prophet and founder for 700 yeeres space; achereunto is
annexed a compendious chronycle of all their yeerely exploytes
.from the sayde Mahomet's time tyll this present yeere of grace
1575. Drawen out of Augustine Curie, and sundry other good
A uthours by Thomas Newton.
Imprinted at London by William How for Abraham Veale
dwelling in Paules Churchyard, at the signe of the Lambe.
1575. 4to. Black letter. 144 leaves. British Museum.
Dedicated, "to the Ryghte Honorable the Lorde Charles
Howarde, Baron of Effyngham."
A translation of C.[aelius] A.[ugustinus] Curionis Sarra-
cenieae Historiae libr: III .... His accessit V. Drechsleri return
Sarracenicarum Turcicarumque chronicon, auctum et ad annum
MD.LXVII usque perductum.
Basiliae. 1567. Folio. Francofurti. 1596. Folio. British
$luseum.
The second book contains an interesting account of the battle
of Roncesvalles, in 778, and the death of Roland, one of the
most popular themes of mediaeval romance.
The translator is Thomas Newton, of Cheshire, who edited
Seneca his tenne Tragedies, in 1581, translating the Thebais
himself. Newton wrote the most elegant Latin degiacs of the
time, and often prefixed recommendatory verses, in both
Latin and English, to the publications of his friends. His chief
patron was Robert Devereux, Earl of Essex.
See The Life and Death of William Longbeard, etc. (1593).
322
1576. A Moral Methode of eivile Polieie. Contayninge a
learned and fruiclful discourse of the institution, state and govern-
merit of a common Weale. Abridged oute of the CSmentaries of
...F.[rancesco] Patricius [Patrizi, Bishop of Gaeta] ....
Done out of Latine into Englishe by R.[ichard] Robinson, etc.
T. Marsh. London. 1576. 4to. Black letter. British Mu-
HISTORY AND POLITICS 403
326
[1584.] The Praeface of J. Brocard upon the Revelation.
[Translated from the Latin, of Giacopo Brocardo, by James
Sandford?]
[London? 1584.] 4to. Black letter. British Museum.
327
1590. A Discourse concerninge the Spanishe fleete invadinge
Englande in the yeare 1588, and overthrowne by her Mat,
Navie under the conduction of the Right-honorable the Lorde
Charles Howarde Highe Admirall of Englande: written in Ital-
ian by P. Ubaldino citizen of Florence and translated for A.
Ryther [by Robert Adams] .... Unto the urn discourse are an-
nexed certaine tables expressinge the severall exploites and con-
flictes had with the said fleete. These bookes, with the tables be-
longinge to them are to be solde at the shoppe of A. Ryther, beinge
a little from Leadenhall, next to the signe of the Tower.
A. Hatfield. London. 1590. 4to. Black letter. British
Museum. Reprinted. 1740. 8vo.
The plates referred to were made by Robert Adams, sur-
veyor of the Queen's buildings, and were published separately
under the title,-
Expeditionis Hispanorum in Angliam vera descriptio anno
do. D.XWN.
There are ten plates, showing the various stages of the
progress and defea of the Spanish Armada in the Channel
and around the British Isles. They constitute the most impor-
tant record of the Spanish Armada that exists. Edited by
Professor Laughton in State Papers relating to the Defeat of the
Spanish Armada. Navy Rec. Soc. , 1-18.
This work is a translation of Petruccio Ubaldini's
Commentario del successo dell' Armata Spagnuola nell' assalir
l' Inghilterra l'anno 1588.
Royal MS. 14. A. x. British Museum.
Dedicated by Augustine Ryther to Lord Charles Howard of
Effingham. L
HISTORY AND POLITICS 405
Machiavelli.
Vol. 11.
The Florentine History.
Bedingfield. Anno 1595.
With an Introduction by Henry Cust. M.P.
Translated into English by Thomas
London. Published by David Nutt at the Sign of the
Phoenix, Long Acre. 1905. 4to. The Tudor Translations, XL.
Dedicated, "To the Right Honourable Syr Christopher
Hatton, Knight of the Order, one of Her Majesties Privie
Councell, and Lord Chancellour of England."
A translation of Machiavelli's
Istorie Fiorentine.
Firenze; Benedetto di Criunta. 1537. 4to. British Museum.
Also, nuovamente. . . ristampate. In casa de' Figliuoli di Aldo
Venegia. 1540. 8vo. British Museum.
Machiavelli's Istorie Fiorentine was begun after 150, at
the instance of Cardinal Giulio de' Medici; it was completed
in 157, and dedicated to Cardinal Giulio, then Pope Clement
VII. It recounts, in eight books, the whole story of Florence
from the earliest times down to the death of Lorenzo de' Medici,
in 149. It is not, however, a chronicle of events, but rather a
national biography, written from iachiavelli's political point
of view. Having formulated a theory of the state in the Prin-
cipe and the Discorsi, he applies these abstract principles to
the example furnished by the Florentine republic. In literary
form Machiavelli modelled his history upon Livy, a pecu-
liarly happy choice for a historian in whom the personal equa-
tion and the sense of literary perspective are the strongest
qualities. Following the classical manner, he inserts here and
there speeches, which partly embody his own comments on
situations of importance, and partly express what he thought
dramatically appropriate to particular personages.
The story of Rosamund's revenge upon Alboin, found in
the Istorie Fiorentine (Libro ), is the subject of two Eliza-
bethan dramas, and one Victorian play.
1. The Tragedy of Albovine, King of the Lombard.s. Sir Wil-
liam D'Avenant. Printed, 169.
408 ELIZABETHAN TRANSLATIONS
I would o'er-stare the sternest eyes that look:
Outbrave the heart most daring on the earth:
Pluck the young sucking cubs from the she-bear,
Yea, mock the lion when he roars |or prey,
To win thee, lady.
'The Table' at the end of The History of the Warres betweene
the Turks and the Persians contains the definition: "So2, and
Sofito, an auncient word signifying a wise man, learned and
skilfull in Magike Naturall. It is growen to be the common
name of the Emperour of Persia." The name was borne first
by Ismail Sophi, founder of the Suffavian dynasty, at the be-
ginning of the sixteenth century. Twelfth Night bears witness
to the commonness of the name about the turn of that cen-
tury, for the 'Sophy' is mentioned twice in that play (, 5, and
m, 5). Solyman the Magnificent had an unforttmate campaign
with the Persians in 1535.
The adventures, diplomatic and otherwise, of the three
Shirley brothers in Persia and Turkey undoubtedly fired the
imagination of the Elizabethans as to the unknown Orient.
See the historical play, called The Travels of the Three English
Brothers (1607), by John Day, William Rowley, and George
Wilkins.
1595. The Estate of
lion of Germanic.
London. 1595. 4to.
332
the Germaine
Empire, with the Descrip-
This is a translation made by William Phiston of two books,
one Italian and the other Latin.
333
1599. The Commonwealth and Gouernment of Venice. Writ-
ten by the Cardinall Gasper Contareno, and translated out of
Italian into English by [Sir] Lewis Lewkenor, Esquire. Nel piu
bel vedere cieco. With sundry other Collections, annexed by the
Translator for the more cleere and exact satisfaction of the Reader.
HISTORY AND POLITICS 415
338
1606. A Treatise concerning the causes of the Magnificencie
and Greatnes of Cities. Derided into three bookes by Sig. Gio-
vanni Botero, in the Italian Tongue, now done into English, by
Robert Peterson, of Lincolnes Inne Gent. Dimidium plus toto.
At London. Printed by T. P. for Richard Ockould and
Henry Tomes, and are to be sold at Grayes Inne Gate in Hol-
borne. Anno Dora. 1606. 4to. British Museum.
Dedicated, to 'my verie good Lord, Sir Thomas Egerton,
Knight.'
A translation of Giovanni Botero's
Della cause della grandezza delle citt, libri tre. [Edited by S.
Barberino.]
Milano. 1596. 8vo. British Museum.
This work came to many editions, and was translated into
Latin, French, Spanish, and German.
339
163. The Popes Letter (20 April, 1623) to the
[Charles] in Latine, Spanish, and English .... A
Oration to the Prince in Latin and English.
Prnce
Jesuites
Printed for N. Butter. London. 163. 4to. British Museum.
A letter from Alessandro Lodovisio, Pope Gregory XV, to
Charles I when Prince of Wales; a later reprint, with the an-
swer, explains the general subject of the correspondence,-
The King of Scotland's Negotiations at Rome [in 1650] for
assistance against the Common-Wealth of England in certain
propositions there made, for, and on his behalf; in which propo-
sitions his affection.., to poperie is asserted, etc. Ital., Lat.,
Eng., and Fr. (The Pope's letter [of 0 Apr. 16e3] to the King
[Charles I] when Prince of Wales. [With the answer.])
William Dugard. London. 1650. 4to. British Museum
( copies).
416 ELIZABETHAN TRANSLATIONS
340
1626. The New-Found Politick, disclosing the Intrigues of
State... now translated into English. [Part tu, by Sir William
Vaughan.]
London. 1626. 4to. British Museum.
A translation of Trajano Boccalini's
Pietra del Paragone Politico tratta dal Monte Parnaso, dove
si toccano i governi delle maggiori monarchie dell' universo.
(Nuova aggiunta alla Pietra del Paragone.)
Cosmopoli [Amsterdam?] 1615. 4to. British Museum.
The head title reads, De i Ragguagli di Parnaso parte terza
di Troiano [sic] Boccalini Romano.
The English translation may have been made from a French
one of the same year,-
Pierre de Touch Politique tiree du Mont de Parnasse. Ou il est
Traitt du Gouuernement des principales Monarchies du Monde.
Traduicte en Franqois, de l'Italien de Traiano Boccalini.
Paris. Jacques Villery. 160-6. 10-too. Forbes Library.
Dedicated to King Charles I.
Sir William Vaughan (1577-1641) was younger brother to
the first Earl of Carbery. He "became chief undertaker for
the plantation in Cambriol, the southermost part in New-
foundland, now called by some Britanniola, where with pen,
purse, and person [he] did prove the worthinesse of that enter-
prize." Anthony ? Wood alludes here to the publication of
The Golden Fleece, in 16'26, a book written by Vaughan for
the purpose of attracting emigrants to his settlement. Sir
William Vaughan was riving at Cambriol in 16o.8, but the
colony does not seem to have proved successful, for in 1630
he published The Newlander's Cure, giving, in an introductory
letter, some account of his experiences in the New World.
The undertaking is mentioned in Purchas,- "The Worship-
full William Vaughan of Terracod, in the Countie of Car-
marthen, Doctor of the Ciuill Law, hath also undertaken to
plant a Circuit in the New-found land, and hath in two seuerall
HISTORY AND POLITICS 419
Old Varchie's rules, or what the Crusea yet
For currant Tuscan mintage will admit,
As I beleeve your Marquesse, by a good
Part of his natives, hardly understood.
You must expect no happier fate; 't is true
He is of noble birth; of nobler you:
So nor your thoughts nor words fit common eares;
He writes, and you translate, both to your peeres.
Thomas Carew.
To his much honoured the Lord Lepington, upon his translation
of Malvezzi, his Romulus and Tarquin
It is so rare and new a thing to see
Ought that belongs to young nobility
In print, but their own clothes, that we must praise
You as we would do those first show the ways
To arts or to new worlds. You have begun;
Taught travelled youth what 't is it should have done
For 't has indeed too strong a custom been
To carry out more wit than we bring in.
You have done otherwise: brought home, my lord,
The choicest things Iamed countries do afford:
Malvezzi by your means is English grown,
And speaks our tongue as well now as his own.
lalvezzi, he whom 't is as hard to praise
To merit, as to imitate his ways.
He does not show us Rome great suddenly,
As if the empire were a tympany,
But gives it natural growth, tells how and why
The little body grew so large and high.
Describes each thing so lively, that we are
Concerned ourselves before we are aware:
And at the wars they and their neighbours waged,
Each man is present still, and still engaged.
Like a good prospective he strangely brings
Things distant to us; and in these two kings
We see what made greatness. And what't has been
ade that greatness contemptible again.
And all this not tediously derived,
But like to worlds in little maps contrived.
'T is he that doth the Roman dame restore,
:[akes Lucrece chaster for her being whore;
ELIZABETHAN TRANSLATIONS
mainlenir en bonne pair un ro!laume et une trrineipaute, conlre
Nieol. Maehiavel (1576). The difl]eulty of this argument is,
that, although the dedication of Patrick's translation is dated
1577, the book was not entered on the 8tationerg Register,
nor printed, until 1602. Iany of the allusions belong to the
sixteenth eentury. It is possible that Patriek's translation
may have been known in manuscript; it is also possible that
many persons may have read Gentillet, either in the original
Latin, or in French. From the vogue of Italian at the time,
and from the eonstant travelling to and fro between England
and Italy, I myself see no difficulty in supposing, what must
have been the faet, that educated Englishmen at least read
Iaehiavelli in his own simple, unaffected, vivid Italian.
blaehiavelli is a writer who will never be read, exeept by the
few, but his positive spirit, his practical method, is precisely
of the sort that must have appealed most strongly to the
Elizabethans. "We are much beholden," said Baeon, in the
Advancement of Learning, "to Iaehiavel and others that
wrote what men do, and not what they ought to do."
The Elizabethans were deeply interested in government, as
the English have always been, and they had many perplex-
ing problems, both in State and Church, to deal with. From
abstract principles in the sphere of government, Machiavelli
appealed to experience; for authority as the test of truth, he
substituted scientifie faets. All this seemed well enough to a
people in the first blush of eivil and religious freedom, but it
was confusing, it was especially eonfusing when eoneretely
applied to new and urgent moral questions, sueh as early
Protestant England had to settle. The popular misconcep-
tion of Maehiavelli might easily have arisen in ignoranee, it
was eertainly in the air, as Gentillet's book shows; it must have
been added to by the Italian travellers' reporting half truths;
Iarlowe's extravagant admiration undoubtedly overleaped
the mark; and lastly, there is the vitium genli, the natural
antipathy of race and morale, to intensify the current opinion.
Lord Burghley and Elizabeth probably rated Iaehiavelli
HISTORY AND POLITICS 45
nearest his proper worth, and it is well known that both these
great personages walked in devious paths. "Party Govern-
ment is not the Reign of the Saints," wittily says John Mor-
ley, in his brilliant Romanes lecture on Machiavelli, and goes
on to show that among the canonized saints of the Roman
Church, there have been but a dozen kings in eight centuries,
and no more than four popes. "So hard has it been," he adds,
quoting Cosimo de' Medici, "to govern the world by pater-
nosters."
W. Alison Phillips, in an article on The Influence of Machia-
velli on the Reformation in England (The Nineteenth Century,
December, 1896), presents Lord Burghley advising Elizabeth,
not only with the thought, but even in the very language, o[
Maehiavelli. He eompares II Prineipe and the Diseorsi with a
paper (Fourth Collection of Somers Tracts, Vol. , p. 101) en-
titled, Advice of the Lord Treasurer Burleigh to Queen Elizabeth
in Matters of Religion and State.
The British Museum owns a volume containing copies of
Machiavelli's Prince and Discourses on Livy bound together.
These imprints were ostensibly published in Palermo in 1584,
but from certain initial woodcuts they are now judged to have
been actually printed in London by John Wolfe. The volume
is underlined and annotated throughout, and bears on the
title-page the signature, "W. Cecil," not, however, in the hand-
writing of Lord Burghley
345
1641. An History of the Ciuill Warres of England betweene
the two howses of Lancaster and Yorke. The originall where of
is set downe in the life of Richard ye second; theire proceedings
in ye lives of Henry ye th Henry ye 5 and 6tn Edward ye tn and
5 th Richard ye 3 a and Henry ye 7 in whose dayes they had a
happy period. Englished by ye Right HonbU Henry Earle of
Monmouth in two Volumes.
Imprinted at London for John Benson and are to be sould
at his shop in S t Dfistans churchyard. 1641.
428 ELIZABETHAN TRANSLATIONS
ferring to his famous book, the Chronicle of the Kings of Eng-
land from the time of the Romans" Government unto the Death of
Kin9 James, which appeared in 1643. Baker's Chronicle was
reprinted ten times up to 1733, was continued to the year 1658
by Edward Phillips, Milton's nephew (1660), was abridged
(1684), and was translated into Dutch (1649). It is written
in a pleasant, readable style, and was long popular with coun-
try gentlemen. Addison represents Sir Roger de Coverley as
well posted in his Chronicle, which he always kept lying in his
hall window. One of the most humorsome papers of The
Spectator is that (No. 329, March 18, 1712) describing Sir
Roger's going through Westminster Abbey with Baker's
Chronicle on the tip of his tongue. Before the figure of Queen
Elizabeth's maid of honor who died from the prick of her
needle, he wonders why Sir Richard Baker has said nothing
about her; he informs The Spectator that Edward the Con-
fessor was the first who touched for the evil; Henry IV reminds
him that "there was fine reading in the casualties of that
reign"; upon the whole, he observes with some surprise, that
Sir Richard Baker "had a great many kings in him whose
monuments he had not seen in the Abbey."
So Fielding, in Joseph Andrews, refers to Baker's Chronicle
as part of the furniture of Sir Thomas Booby's house.
There is one notable accuracy in Baker's Chronicle; it
gives for the first time the correct date of the poet Gower's
death.
347
1647. The Pourtract of the Politicke Christian-Favourite.
Originally drawn from some of the actions of the Lord Duke of
St. Lucar .... To this translation is annexed the chiefe State
Maxims... and.., observations.., upon the same story of
Count Olivares, Duke of St. Lucar.
London. 1647. 8vo. British Museum.
A translation of Malvezzi's
ll Ritratto del Privato Politico Christiano estratto dall' origi-
HISTORY AND POLITICS 431
L'Histoire des Guerres civiles de France.
London. 1755. 4to. vols. Amsterdam (Paris). 1757. 4to.
3 vols.
351
1648. A Venice Looking-Glass; or, a Letter written very lately
from Lond. to Card. Barbarini at Rome by a Venetian Clarissirno
touching the present Distempers in England. [Translated from
the Italian by James Howell.]
1648. 4to. Pp. 4.
To the Lady E., Countess Dowager of Sunderland.
Madam,
I am bold to send your La. to the Country a new Venice
Looking-glass, wherein you may behold that admir'd Maiden-
City in her true complexion, together with her Government
and Policy, for she is famous all the world over. Therefore,
if at your hours of leisure you please to cast your eyes upon this
Glass, I doubt not but it will afford you some objects of enter-
tainment.
Moreover, your Ladyship may discern thro' this Glass the
motions, and the very heart of the Author, how he continueth
still, and resolves so to do, in what condition soever he be,
Madam m
Your most constant and dutiful Servant,
J.H.
The Countess Dowager of Sunderland in 1648 was Dorothy
Sidney, widow of Henry Spencer, 1st Earl of Sunderland,
killed in the battle of Newbury, in 1643. Dorothy Sidney was
Edmund Waller's "Sacharissa," and the inspiration of his
beautiful lyrics, Go, lovely Rose, and On a Girdle.
After nine years of widowhood, the Countess of Sunderland
married an old suitor, Sir Robert Smythe. Dorothy Osborne
wrote to Sir William Temple,-
"I have sent into Italy for seals,... 't is an humour which
432 ELIZABETHAN TR.MNSLATIONS
your old acquaintance Mr Smith and his lady have brought
up; they say she wears twenty strung upon a ribbon, like the
nuts boys play withal." (Letters from Dorothy Osborne to Sir
William Temple, 1652-1654. Letter 7. Edited by Edward
Abbott Parry, 1888.)
352
1650. Considerations upon the lives of Alcibiades and Cori-
alanus [sic] .... Englished by R. Gentilis.
London. 1650. lmo. British Museum.
Dedicated to a daughter of Thomas, Earl of Stratford, "as
a small token of the manifold obligements whereto I am ever-
lastingly tied to you."
Translated from the Marquese 5lalvezzi's
Considerationi, con occasione d' alcuni luoghi, della rite
d' Alcibiade e di Coriolano. 2 parts.
Bologna. 1648. 4to. British Museum (2 copies).
"Like Shakspere's of respect is Robert Gentilis's respectful.
Alcibiades... strives to become great, and make himself
respectfull, by contending with great ones." (Considerations,
etc., p. 64. F. H. in The Nation, July 4, 1895.)
353
1650-5. An exact Historic of the late Revolutions in Naples;
And of their Monstrous Successes, not to be parallel'd by any
Antient or Modern History. Published by the Lord Alexander
Gira2 in Italian; And (for the rarenesse of the subject) Rendred
to English, by J. H. Esq'.
London. Printed for R. Lowndes. 1650.
The Second Part of Massaniello, His Body taken out of the
Town-Ditch, and solemnly Buried, With Epitaphs upon him. A
Continuation of the Tumult; The D. of Guise made General-
issimo; Taken Prisoner by young Don John of Austria. The
End of the Commotions. By J. H. Esquire.
Truth never look'd so like a Lie
As in this modern Historic.
436 ELIZABETHAN TRANSLATIONS
To the Earle of Monmouth. Upon his translation
of Bentivoflio
Those who could rule the Ancient World with ease,
Could strictly governe all, yet none displease,
Were such as cherisht Learning; not because
It wrapt in rev'renc'd Mistery the Lawes,
Nor that it did the Nobles civillize,
But rather that it made the People wise;
Who found by reading Story (where we see
What the most knowing were, or we should be)
That Peace breeds happiness, and only they
Breed Peace, who wisely any Pow'r obey.
Books much contribute to the Publick good,
When by the People eas'ly understood;
But those who dress them in a Forraigne Tongue
Bring Meate in cover'd Plate to make men long.
Whilst those who Foraigne Learning well translate
Serve plaine Meate up, and in uncover'd Plate.
This you have done my Lord! which only showes
How free your Mind in publick Channels flowes,
But i that good to which some men are borne
Doe less then good cquir'd our Names adorne
The ceaseless nature of your kindness then,
(Still ready to informe unlanguag'd Men)
Deserves less praise, if rightly understood,
Then does your judgment how to do Men good:
Which none can value at too high a rate,
Judging the choice o[ Authors you translate.
The Works of S" William Davenant K t. (London. 1673. Folio, p. 316.)
358
1653. The Scarlet Gown, Or the History of all the present
Cardinals of Rome. Wherein is set forth the Life, Birth, Interest,
Possibility, rich o2ces, Dignities, and charges of every Cardinal
now living .... Written originally in Italian [by N. N.] and
translated into English by H.[enry] C.[ogan] Gent.
London. Printed for Humphrey Moseley, etc. 1653. 8vo.
Brith Museum (3 copies). Also, 1654: 1660. 8vo. British
Museum.
MANNERS
XI
AND
MORALS
MANNERS
XI
MORALS
372
1561. The Courtyer of Count Baldessar Castilio diuided into
foure bookes. Very necessary and profitable for yonge Gentilmen
and Geniilwomen abiding in Court, Palaice or Place, done into
Englyshe by Thomas Hoby.
Imprinted at London, by wyllyam Seres at the signe of the
Hedghogge. 1561. Woodcut title. [Colophon.] Imprinted
at London, by Wyllyam Seres, Dwelling at the west end of
Paules, at the Signe of the hedghog. 4to. Black letter. British
Museum ( copies). 1577. 4to. Black letter. British Museum
( copies). 1588. 8vo. Pp. 616. Printed by John Wolfe, in
three columns, Italian, in Italics, Gabriel Chappuys's French
translation, in Roman, and English, in black letter. British
Museum. 1603. 4to. (With a spurious autograph of Shak-
spere, forged by S. W. H. Ireland.) British Museum. 1900.
8vo. Edited by Sir Walter Raleigh. Tudor Translations,
xxm. Essex House Press. 1900. 8vo. Edited by Janet E.
Ashbee. Woodcut ornaments by C. R. Ashbee.
The Courtyer is a translation of
ll libro del Cortegiano del Conte B. C. Nelle case d' Aldo
Romano & d' Andrea d' Asola.
Venetia. 158. Folio. British Museum.
I1 Cortegiano is dedicated by the author, Count Baldessare
Castiglione, to Don Michele de Silva, Bishop of Viseo; by the
English translator, Sir Thomas Hoby, "To Right ttonourable
the Lord Henry Hastinges, sonne and heire apparent to the
noble Earle of Huntington."
London. 174. 8vo. Second English translation, by Robert
Samber. The same, London, 17"29, 8vo.
MANNERS AND MORALS 449
The subject of discussion agreed upon is that proposed by
Messer Federigo Fregoso, "the perfect courtier, what are all
the conditions and particular qualifications required of the
man who shall deserve that name."
The discussion is continued through four evenings, taking
up the subject under four heads" (1) Of the form and manner
of a court life; (2) Of the qualifications of a courtier; (3) Of
the court lady; (4) Of the duty of a prince. The debate on
the first evening, on the form and manner of a court life, is
conducted by Count Lodovico da Canossa. Following the
chivalric ideal, it is laid down that the perfect courtier should
be a man of birth, a good horseman, and able to swim, leap,
cast the stone, and play tennis. In the education of letters,
he should be able to speak and write well, imitating the diction
of the best writers, of whom, in the vulgar tongue, Boccaccio
and Petrarch are praised as models. Further, the perfect
courtier ought to be more than moderately instructed in
polite letters, he should understand Greek and Latin litera-
ture also, 'on account of the variety of things that are written
in those languages with great accuracy and beauty.' So in
the other arts of expression, he should know something of
music, and be able to play upon the lute; some skill also in
painting increases the knowledge of the beautiful and culti-
vates the taste.
On the second evening, the debate is led by the proposer,
Messer Federigo Fregoso, who develops a lively and enter-
taining discussion of wit and humor. Among many sprightly
bon roots, here are one or two,
The Bishop of Cervia said to the Pope, "Holy Father, the
whole court and city will have it that you have pitched upon
me for governor."
"Let the fools talk," replied the Pope, "you may assure
yourself there is not a word of truth in it."
Marc' Antonio, being one day exasperated by some words
of Botton da Cesena, cried, "0 Botton, Botton, the time will
surely come when thou shalt be the button and a halter the
button-hole."
450 ELIZABETHAN TRANSLATIONS
Julian de' Medici leads the conversation of the third eve-
ning, on the court lady. The conception of woman brought
out is made up partly of the formal and sentimental ideas of
the old Cours d'Amou.r, and partly of the colorless feminine
light o' love introduced into Italian literature, to its immense
damage, by Boccaccio, together with a smack of Platonism.
The sentimental, Platonic lady is ably defended by the Mag-
nifico, while the disparager of women is Signor Gaspare Pal-
lavicino.
Signor Ottaviano Fregoso conducts the final debate, on the
duty of a prince. It is held that a monarchy, under a good
prince, is the best constituted government, although Bembo
prefers a republic 'because liberty is one of the excellent gifts
of God.'
The discussion closes with Bembo's impassioned mono-
logne on love and beauty that held the company spellbound
until dawn broke.
George Wyndham (Introduction to The Poems of Shakspere)
considers Spenser's Hymne in Honour of Beautie but a versi-
fying of the Fourth Book of The Courtyer, and goes on to argue
interestingly that Shakspere must have taken, from this Hymne
and from The Courtyer, the Platonic philosophy of the Sonnets.
II Corlegiano had become a world book and was "known in
six languages before Shakspere began to write. Florio, in his
Second Frules (1591), mentions "Castilions Courtier and
Guazzo his Dialogues" as "the two books most commonly
read by those who desired to "know a little Italian." There is
considerable evidence, some of it given in these pages, that
Shakspere "knew Italian literature at first hand.
I think Shakspere had read I1 Cortegiano. As a dramatist,
I am sure he was fascinated by the bright dialogue in it. In
that bright dialogue, the "merry war" between Lord Gaspare
Pallavicino and the Countess Emilia Pia, I am persuaded he
found Benedick and Beatrice. If Benedick and Beatrice are
Lord Gaspare Pallavicino and Lady Emilia Pia, as I believe
they are, there was absolutely nothing to do to the charac-
454 ELIZABETHAN TR.NSLATIONS
haue caused to be kylled, is a man of noble byrth, wherof shuld
haue come greate inconuenyence, and therfore to resyst the
euyl that might haue come therof, and also to let hym of hys
euyll, and myscheuous wyll and purpose, I haue taken the
sayde florence from hym; and when he shal see hym selfe pore
and to haue loste hys herytage and goodes, he wyll gyue hym-
selfe to the seruice of God, and where he shulde haue ben
dampned howe he shalbe saued. The reason wherfore I haue
born the florence to the chambre doore of the other man, is
because that he was a ryche marchaunte whyche came from
beyonde the sea, and had bestowed in marchaundyce all the
goodes that he had, and putte it in a shyppe, the whych
shyppe did peryshe upon the sea, then he did remembre one
daye howe that he had loste all hys gooddes, and had nothynge
to lyue uppon, began to fall in dyspayre, and was purposed to
hang hym selfe, and therfore to the intente that he shoulde
not destroye bothe the bodye and the soule, I dyd beare hym
the foresaid florences. The reason whereof I haue kylled the
chylde, is because that afore that the father had him he was a
very good man, and gaue much almons, and did many good
dedes for the loue of God; and sence that he had the chylde,
he cared for none other thynge, but onelye to get rychesse,
were it by ryghte or wronge, and therefore I haue kylled the
chylde, to the intente that the father maye retourne to hys
purpose; doe not meruayle nor grudge therfore, for the sycke-
nesse that thou haste, for if it hadde not bene, thou shoulde
ofte tymes haue thy mynde and courage in vanytyes wherby
thou shoulde greatlye haue dyspleased God; and be thou sure,
that God doth nothyng, but by reason, but the persones haue
not "knowledge therof, for God hathe not promysed it them,
but of two euylles he dothe allwayes take the lesse. And, this
said. the aungell dyd departe from the heremyte.
"And from thenceforthe, the sayde heremyte dyd neuer
murmure againste God, for anye maner syckenesse or aduer-
syty that he did send him, but rather dyd thanke God, and
alwaies dyd reioyce hymselfe in his sic-knes and aduersyties,
MANNERS AND MORALS 457
In Uinegia per Francesco MarcolinL MDLII. [to.] Six later
editions.
The Moral Filosophia is an Italian version of the old Indian
collection of tales, called Kalilah wa Dimnah, or The book of
Kalilah and Dimnah. It corresponds to chapters five and six
of Silvestre de Sacy's Calila et Dimna ou Fables de Bidpai en
Arabe. (Paris. 1816. 4to.)
In the Indian fable Kalilah and Dimnah are two jackals,
who are courtiers at the gate of the King, Pingalaka, the lion;
but Kalilah in Doni appears as l' asino and Dimnah as//mulo.
Sir Thomas North translated the first part only of Doni's
work, which goes on, in the same volume, freshly and contin-
uously paged, with six treatises, entitled,-
Trattati diversi di Sendebar Indiano filosopho morale. Allo
illustriss, et excellentiss. S. Cosimo de Medici dedicati. [Engrav-
ing bearing the motto ' Fiorenza.']
In Uinegia nell' Academia Peregrina. iDLn.
And at the end (p. 10:) stands 'In Uinegia per Francesco
Marcolini. IDLII.'
The book of Kalilah and Dimnah is a collection of tales sup-
posed to be related to a King of India by his philosopher, in
order to enforce some particular moral or rule of conduct.
In many of the stories the characters are animals thinking and
acting just like men and women. Originally Sanskrit, the book
passed from Buddhist literature into Persian, and thence into
nearly every known Oriental and modern language. Doni's
Moral Filosophia, for example, is based on the Latin of John
of Capua, Directorium humanae vitae, vel Parabole Antiquorum
Sapientum (1263-78; printed, 1480(?)), and this, in its turn,
upon a Hebrew translation from the Arabic.
In its migrations, from the Sanskrit original of the Pant-
chatantra, though Persian and Arabic, the names of both -king
and philosopher vary. Bidpai, or Pilpai, the philosopher of
the Persian version -knom as the Lights of Canopus, or, in
English, The Fables of Pilpay, is a wise Brahmin who lives in
a cave of the holy mountain of Ceylon. Doni's Sendebar is from
458 ELIZABETHIAN TRANSLATIONS
Sandabar, the name of the philosopher in the Hebrew version
from which John of Capua translated. Possibly this form is a
reminiscence of Shanzabeh, the Sanskrit name of the ox in the
well-known story of the Lion and the Ox which is the opening
tale of the original Indian book.
In the Trattati diversi the king is Fr. Sforza, Duke of Milan,
the philosopher is maestro Dino filosofo Fiorentino, and the
scenes and personages are all Italian. Dino may be an anagram
of Doni.
The device of the supposed saving miracle, of Massinger's
The Guardian (III, 6), la sventurata col naso moz (Decameron,
v, 8), was probably taken from this translation of Doni.
375
Cardanus Comforte translated into English [by Thomas
of the
1573.
Bedin-61eld]. And published by commaundement
Hon. the Earl of Oxenford.
T. Marshe. London. 1573. 4to. Black letter. British Mu-
seum.
Newly... corrected and augmented. With commendatory
verses, by Thomas Churchyard.
T. Marsh. London. 1576. 8vo. Black letter. British Mu-
,eu rrt.
There is a dedication to the Earl of Oord dated "1 Jan.
1571-," which is followed by a letter to the translator, and
some verses to the reader, both written by the Earl of Oxford.
The work is translated from Girolamo Cardano's
H. C .... De Consolatione libri tres.
Venetiis. 1542. 8vo. British Museum.
A different English translation of this book came out one
hundred years later,-
Cardan, his three bookes of Consolation Englished.
London. 1683. 16too. British Museum.
MANNERS AND MORALS 463
The title of Galateo passed into a proverb. 'To teach the
Galateo" is synonymous, in Italian, with 'to teach good man-
ners.' Galateo is named from Galeazzo Florimonte, Bishop of
Sessa, who suggested to his friend Giovanni della Casa that he
write the book.
Galateo discusses social conduct with much particularity,
instructing the young man on such points as the proper use
of the drinking-glass at table, the employment of the napkin,
how to dress the hair, etc. I quote from Herbert J. Rcid's
edition: --
"to rise up where other men doe sit and talke, and to walke
up and downe the chamber, it is no poynt of good maner.
Also there be some that so buskell them selues, reache, streatch
and yawne, writhing now one syde, and then another, that
a man would weene, they had some feuer uppon them: A
manifest signe, that the companye they keepe, doth weary
them.
"Likewise doe they very yll, yt now and then pull out a
letter out of theyr pocket, to reade it; as if they had greate
matters of charge, and affaires of the common weale com-
mitted unto them. But they are much more to be blamed,
that pull out theyr knyves or their scisers, and doe nothing
els but pare their nayles, as if they made no account at all of
the company, and would seeke some other solace to passe the
time awaye. Theis fashions to, must be left, some men use, to
sing betwene the teeth, or play the dromme with their fingers,
or shoofle their feete. For these demeanours shewe that a
body is carelesse of any man ells" (pp. 16-17).
"And more ouer a man must beware that he say, not those
things, which unsaide in silence would make the tale plesaunt
inoughe, and, peraduenture, geue it a better grace to leaue
them out. As to say thus, 'Such a one, that was the sonne of
such a one, that dwelt in Cocomer Streete: do you knowe him?
he marled the daughter of Gianfigliazzi, the leane scragge, that
went so much to Saint Laraunce. No? do not you know
him? why? do you not remember the goodly strayght old man
466 ELIZABETHAN TRANSLATIONS
a frontispiece an engraved portrait of Monmouth by F. H. Van
Houe.
See Retrospective Review. Second Series, Vol. II, p. 375.
The Refined Courtier... Written... in Italian by J. C.
from thence into Latin by N. Chytraeus, and rom both.., made
English by N. W.
London. 1686. lmo. British Museum.
The Refined Courtier... To which are added The Adventures
of a Bashful Man.
London. 1804. 16mo. British Museum.
38O
1577. The Court of Civill Courtesie.
Was owned by the Duke of Devonshire, Chatsworth Library,
1899.
The Court of ciuill Courtesie. Fitlie furnished with a pleasant
part of stately phrases and pithy precepts: assembled in the behalfe
of all young Gentlemen, and others, that are desirous to frame
their behauiour according to their estates, at all times and in all
companies. Therby to purchase worthy praise of their inferiours:
and estimation and credite among their betters. Out of the Italian,
by S. R. Gent.
Imprinted at London by Richard Jhones. 1591. 4to. Black
letter.
The author of this book was ostensibly "Bengalasso del
Monte, Prisacchi Retto," who is described by Richard Jones,
the printer, as "a Noble and graue personage of Italy." It
was written for the benefit or "behauiour" of his nephew,
"Seig. Princisco Ganzar Moretto," in the following circum-
stances: --
"At my last being at Prisacchi, understanding by your
father's talke, that hee minded to haue you a while in the
Court, where he hath spent the better part of his life; and
because it is frequented with all sortes of companies, as any
place in Italy is, I haue directed this little booke, which if
you read and marke diligently, shal be as it were a Guide, to
468 ELIZABETHAN TRANSLATIONS
382
1585. The Worthy Tract of Paulus Iovius, contayning a
Discourse of rare Inuentions, both militarie and amorous, called
Impresse. Whereunto is added a Preface, eontayning the Arte
of composing them, with many other notable Deuises. By Samuel
Daniell, late Student in Oxenforde.
London. Printed by Simon Waterson. 1585. 8vo. British
Museum.
N. W., in an Epistle prefixed to The Worthy Tract, says,-
"If courtiers are inwardly ravished in viewing the picture of
Fiametta, which Boccace limned; if ladies entertaine Bandel
or Ariosto in their closets; if lovers embrace their phisition Ovid
in extremities of their passion: then will gentlemen of all tribes,
much rather honour your Impresa, as a most rare jewell and
delicate enchiridion."
Dedicated to the "Right Worshipful Sir Edward Dimmock,
Champion to hir Majestie."
A translation of Paolo Giovio's essay on mottoes and badges,
entitled, --
Ragionamento di Paolo Cdouio sopra i Motti, e Disegni
d' Arme e d' Amore eommunemente chiamano Imprese. Con un
Diseorso di G. Ruseelli, intorno allo stesso so99etto.
Venetia. 1556. 8vo. British Museum. (Second edition of
Dialogo dell' Imprese Militari el Amorose. Roma. 1555. 8vo.
British Museum..)
The Worthy Tract is interesting as being Daniel's first pub-
fieation.
383
1586. The ciuile Conversation of M. Stephen Guazzo, written
first in Italian, diuided into route bookes, the first three trans-
lated out of French by G. petrie. In the first is contained in
generall, the fruits that may be reaped by Conuersation, and
teaching how to know good eompanie from ill. In the second, the
manner of Conuersation, meete for all persons, which shall come
MANNERS AND MORALS 475
1876. Sm. 4to. The Complete Works in Prose and t'erse of
Nicholas Breton. Part XXII. The Chertsey tVorthies Library.
A. B. Grosart. Peabody Institute Library, Baltimore.
Dedicated, "To the Right Worshipfull the louer of all good
spirites, and nourisher of all good studies, John Linewray,
Esquier Master Surueior Generall of all her Majesties Ordi-
,,
nance.
In the dedicatory letter, Breton describes the dialogue as
follows, --
"under the Title of the Dignitie or Indignitie of Man, are
discoursed many necessary points to be considered of, as well
for the outward as the inward parts: wherein it may be you
shall finde pleasant wittes speake to some purpose, no Ma-
chauilian pollicies, nor yet idle fables, no straunge Riddles,
nor vaine libelling ballades, but quicke spirits whetting their
braines, to shewe the edge o[ their inuentions: and not to be
tedious in my Preface before you come to the matter, you shall
finde in summe, that true worth, wherein lieth the whole
matter, that only maketh the worthie or unworthie man, and
the due glorie unto God, who is only worthie of all honour,
and of all men: the greatest part of this booke was in Italian,
dedicated to a man of much esteeme in the Dukedome of
Florence, and this booke in this our Language, I haue thought
good here in England, to present to your worthinesse, of a bet-
ter worke in this her Maiesties Royall Tower of London."
389
1605. The Dumbe Divine Speaker; or, dumbe speaker of
Divinity. A... treatise in praise of silence: shewing both the
dignitie, and defectes of the tongue.., translated by A. M.
For W. Leake. London. 1605. 4to. British Museum.
Translated from Jacopo Affinati d' Acuto,-
It muto che parla, dialogo, oue si tratta ddl' eccellenze e de
difett della lingua humana, e si spiegano pi?z di 190 concerti
scritturali sopra il silentio, etc.
Venetia. 1606. 8vo. British Museum.
476 ELIZABETHAN TRANSLATIONS
390
1606. A discourse of Civill Life: containing the Ethihe part
of Morall Philosophie, fit for instructing a gentleman in the course
of a vertous life. [By Lodowick Bryskett.]
London. For William Apsley. 1606. 4to. Pp. 279. British
Museum. Also, London. For E. Blount. 1606. 4to. British
Museum. The second edition is a duplicate of the first with
only the difference of the printer's name.
This work is described by the author as, "Written to the
right honorable Arthur, late Lord Grey of Wilton," who had
died October 14, 1593; it is dedicated to "his singular good
Lord, Robert Earl of Salisbury."
Lodowick Bryskett, quaintly said to be the son of "a
natural Italian," after being educated at Trinity College,
Cambridge, became clerk of the council in Ireland, under Sir
Henry Sidney. He accompanied Sir Henry Sidney's son,
Philip Sidney, as "gentleman attendant," on a three years'
continental tour through Germany, Poland, and Italy (1572 -
75), and upon his return was made clerk of the chancery for
the faculties in Ireland, an office in which he was succeeded
by Edmund Spenser.
A Disco,rse of Civill Life, after the manner of Italian books
on social ethics, is supposed to record the conversation of a
party of friends who met at Bryskett's cottage, near Dublin.
Some of the gentlemen present were Dr. Long, Primate of Ar-
magh, Sir Robert Dillon, Knight, M. Dormer, the Queen's
solicitor, Captain Warham St. Leger, "M. Edmond Spenser,
late your Lordship's Secretary, and Th. Smith, Apothecary."
After some general conversation, and leading up to his
theme, Bryskett says he envies "the happiness of the Italians
who have in their mother tongue late writers that have with a
singular easy method taught that which Plato or Aristotle
have confusedly or obscurely left written." Giraldi is mentioned
as one of three "late writers" who had popularized moral
philosophy. Addressing Spenser, Bryskett entreats the poet to
XII
ITALIAN AND LATIN PUBLICATIONS IN ENGLAND
ITALIAN AND LATIN PUBLICATIONS 487
Florio's title apparently translates Archbishop Cranmer's
English one,-
Catechismus. That is to say; a shorte Instruction into Chris-
tian Religion for the Synguler commoditie and profyte of childr
and yong people. Set forth by... Thomas Archbyshop
Canterbury. [Translated from a Latin work, which was itself
a translation from the German, made by Justus Jonas.] With
woodeuts from designs by Holbein.
Gualter Lynne. London. 158. 8vo. Black letter. British
Museum.
Dedicated to King Edward VI.
Michael Angelo Florio, father of John Florio, was a Floren-
tine originally from Siena, who fled to England from the per-
secution of the Waldenses in the Valtelline shortly before the
accession of Edward VI. He was patronized by both Arch-
bishop Cranmer, and Sir William Cecil, in whose house he lived
for some time. In 1550, he was pastor of a congregation of
Italian Protestants in London. His most interesting work is a
biography of Lady Jane Grey.
See Historia de la Vitae de la Morte de l' illustrissima Signora
Giovanna Graia. (1607.)
397
1566. Espositione di Giovanni Ballista Agnello
sopra un libro, intitolato A pocalypsis spiritus secreti.
"Apocalypsis" prefixed.]
Giovanni Kingston instancia di P. Angelino.
4to. British Museum.
Venetiano
[With the
Londra. 1566.
398
essortazione at Timor di Dio,
[15807] Una con aleune rime
italiane, nuovamente messe in luce Ida G. B. Castiglione]. [At-
tributed to Jacobus Acontius.]
Londra, appresso Gio. Wolfio, senzi anno. [15807] 8vo.
British Museum.
Dedicated to Queen Elizabeth, by Giovanni Battista Cas-
488 ELIZABETHAN TRANSLATIONS
tiglione, the queen's master of Italian, and groom of the
privy chamber, to whom Jaeopo Aeoneio left his papers.
399
1581. La Vita di Carlo Magno Imperaclore, scritta in lingua
Italiana da Petruccio Ubaldino Cittaclin Fiarentino.
Londra: Appresso Giouanni Wolfio Inghilese. 1581. Sm. 4to.
Pp. 125, A through Q. British Museum (2 copies). [Oord?]
1599. 4to. British Museum. (Didot-Hoefer's Biographie Ggn-
$rale says that the Oord edition was printed in 1589.)
Dedicated, "A i Nobili, et Illustri Signori, et Magnanimi
Caualieri & altri gentil' huomini della natione Inghilese Petruc-
cio Ubaldino Cittaclin Fiorentino Desira perpetua lode d' ogni
loro honorata attione.'"
The copy of La Vita di Carlo Magno Imperadore, belonging
to the late Mr. J. Dewitt Miller, was sent to me, from Chicago,
in 1903, for examination. I found the little quarto perfect,
although showing the marks of time. These marks were three:
all the bands but one were loosened from the back; the clasps
were gone; and a bookworm had enhanced the romantic in-
terest of the life of Charlemagne by journeying through the
wide margins from the back cover forwards, through end-
papers and signatures to Signature E. The book was bound in
limp white vellum and illuminated in gold, front and back.
On the fly-leaf, opposite the title-page, there was inscribed, in
beautiful Italian script:-
All' I1.. et Ecc: il Sig'..
Conte di Lecestrior
Petruccio Ubaldino, in riconoscenza
dicerta, et no' mai dimenticata obligatio:
he', et di douuta humilth desidera
prosperith.
On the title-page, under the date, there was the signature,
'Elizabeth R,' supposedly in old English script. There was
pasted on the inside of the front cover the book-plate of the
Right Honorable Charles Bathurst, Lydney Park.
ITALIAN AND LATIN PUBLICATIONS 489
I was asked my opinion of the genuineness of the inscription
and the signature. Of the inscription I had no doubt whatever,
but there had come into my hands the unique exemplar pre-
sented by the author and illuminator to the Earl of Leicester.
Of the royal signature, I had every doubt. I advised that the
book be sent to the British Museum for expert examination of
Queen Elizabeth's signature. This was done through Mr.
W. M:. Voynich, who confirmed my opinion on both points, that
the book had been the Earl of Leicester's autograph copy, and
that the signature on the title-page was not that of Queen
Elizabeth.
Mr. Voynich added a note on the binding, -- "The binding is
exceedingly rare, and one of the earliest specimens of this kind
used in England. There is no such specimen in the British
Museum."
400
1581. A Briefe D;scourse of Royall Monarchie, as the best Com-
mon-Weale: wherein the subiect may beholde the Sacred Majestie
of the Princes most Royall Estate: written by Charles Merbury,
Gentleman, in duetifM1Reuerence of Her Majesties Most Princely
Highnesse: Whereunto is added by the same Pen a Collection of
Italian Prouerbes in Benefite of such as are studious of that Lan-
guage.
T. Vautrollier. London. 1581. 4to. Brith Museum (2
copies).
The Proverbes have a distinct pagination and title-page,
which reads,-
Proverbi vulgari, raccolti in diversi luoghi d' Italia, etc.
Prefixed to this work is the note, "Approbation of Mr. T.
Norton, counsellor and solicitor of London, appointed by the
bishop of London."
A dedication, in Italian, to Queen Elizabeth, is followed by
a commendatory address to "the Vertuous reader," by Henry
Unton.
Merbury's Discourse is interesting as showing the opinion of
monarchy in Queen Elizabeth's time.
490 ELIZABETHAN TRANSLATIONS
401
1584. La Cena de le Ceneri, descritta in cinque dialogi, etc,
[By Giordano Bruno.]
London. 1584. 8vo. British Museum.
Dedicated to the French ambassador, Michel de Castelnau,
Sieur de la M:auvissire. "
"Bruno tells how, on the evening of Ash Wednesday, the
13th of February, 1585, he was invited by Fulke Greville to
meet Sidney and others in order that they might hear 'the
reasons of his belief that the earth moves;' and this seems to have
been one of numerous gatherings--a revival or a continua-
tion, in another form and for graver purposes, of the Areopagus
of 1579. 'We met,' Bruno says, 'in a chamber in the house of
Mr. Fulke Greville, to discuss moral, metaphysical, mathe-
matical, and natural speculations.'" (H. R. Fox-Bourne, Sir
Philip Sidney, (1891), p. 9.)
402
1584. G.[iordano] B.[runo]. Dell' infinito Universo e Mondi.
Stampato in Venetia [or rather London]. 1584. 8vo. British
Museum.
Dedicated to Michel de Castelnau, Sieur de la Mauvissire,
French Ambassador.
An exposition of Bruno's belief that the universe is made up
of an infinite number of worlds.
403
1584. G. Bruno Nolano. De la causa, principlo, et Uno, etc.
Stampato in Venezia [or rather London]. 1584. 8vo. British
Museum.
Dedicated to Michel de Castelnau, Sieur de la Mauvissire.
In his trial before the Venetian Inquisitors (159), Bruno
gave reasons why this book, and the six others printed in Lon-
don between 1583 and 1584 bore Venice or Paris on their title-
pages. The London printer was Vautrollier who had to flee to
ITALIAN AND LATIN PUBLICATIONS 495
407
1585. Cabala del Cavallo Pegaseo. Con l" aggiunta dell 'Asino
Cillenico, etc. By Giordano Bruno.
Parigi [or rather London]. 1585. 8vo. British Museum.
This is a treatise on the different kinds of ignorance, or asin-
ity, whether dogmatic or pedantic or purely sceptical and un-
inquiring. Its purpose is to rouse men to free and intelligent
thought, and Bruno wrote it as "The awakener of sleeping
minds" (dormitantium animorum excubitor--his style for him-
self in his letter to the Vice-Chancellor of Oxford, prefixed to
his Spiegazione di trenta sigilli, 158:). The satirical conclusion
of the work is, that asinity is the highest human duty, and to
it is assigned divine favor both in this world and the next.
Bruno's warfare with dogma, superstition and ignorance, in the
Spaccio de la Bestia Trionfante goes on in the Caballa del Cavallo
Pegaseo. In this sense the ideal and cabalistic ass is the Trium-
phant Beast of Dogma in real flesh and blood. Hence, and it is
explained with many particulars as to asses in the Old and
New Testaments, and in the ancient writers, the spiritual and
moral ass is everywhere as much esteemed as the physical and
material ass is appreciated by particular communities. A cyni-
cal sonnet erects asinity into a saint or goddess,-
O sainted Aslnity. Ignorance most holy! etc.
408
1585. Dchiarat{one delle caggioni che hanno mosso la Serenis.
sima Re{ha d' Inghilterra a dar' aiuto alla difesa del popolo
aitto e oppresso negli Paesi Bassi. (1 Oct. 1585.)
Christofero Barcher. Londra. 1585. 8vo. British Museum.
This is a translation of
A declaration of the causes mooring the Queene of England to
give aide to the defence of the people afflicted and oppressed in the
lowe Countries. (An addition to the declaration touching the
slaunders published of her Ma{estie. I Oct. 1585.)
C. Barker. London. 1585. 4to. British Museum.
ITALIAN AND LATIN PUBLICATIONS 503
tion satirizing the engraver for representing a man of middle
age.
Poems, &e., upon several Occasions. By Mr. John Milton;
both English and Latin, &c. Composed at several Times. With
a small Tractate of Education to Mr. Hartlib.
London. Printed for Thomas Dring, at the White Lion ....
Fleet Street. 1673. Sm. 8vo. Pp. 92. With portrait by W.
Dolle, and considerable additions, both to the English and the
Latin poems. British Museum.
Accompanying the English Poems, Part I, in these two
editions prepared for the press by Milton himself, are five
Italian sonnets, numbered m, I% v, w, and wi, and a canzone.
They relate the story of the poet's love for an Italian lady,
whom he describes as beautiful, dark-haired, appreciative of
poetry, and a sweet singer. Sonnet m reveals her birthplace
as the Vale of the Reno, between Bologna and Ferrara. Warton
conjectures that she was the celebrated singer Leonora Baroni,
whom Milton heard at Cardinal Barberini's musicales in
Rome, and to whom he addressed three pieces of complimen-
tary Latin verse. But there is no real ground for this fancy, nor
indeed anything to indicate definitely that Milton met the lady
in Italy. He may have met her in London society, and the
poems may have been written before he travelled in Italy. By
common consent, however, they are referred to the time of the
Italian journey, 1638-39.
In three of the sonnets the lady is addressed directly,-
Sonnet III
Donna leggiadra, il cui bel nome onora
L' erbosa val di Reno eil nobil varco.
Sonnet VI
Per certo, i bei vostri occhi, Donna mia,
Esser non In& che non sian lo mio sole.
Sonnet VII
Giovane, piano, e semplicetto amante,
Poich fuggir me stesso in dubbio sono,
Madonna, a voi del mio cuor l" urail dono
Far8 divoto.
504 ELIZABETHAN TRANSLATIONS
In Sonnet v, Milton takes into his confidence his Italian
friend, Charles Diodati,-
Diodati (e te 'l dir8 con maraviglia).
In Sonnet IV,-
Qual in colle aspro, all' imbrunir di sera,
and in the canzone, the English poet excuses himself for writ-
ing in Italian, on the ground that the lady had "praised her
native tongue as that in which Love delighted."
Canzone
Ridonsi donne e giovani amarosi
M' accostandosi attorno, e "Perch scrivi,
Perel tu scrivi in lingua ignota e strana
Verseggiando d'amor, e come t'osi ?
Dinne, se la tua spema sia mai vana,
E de' pensieri lo miglior t' arrivi!"
Cos mi van burlando: "a/tr/rivi,
Altri lidi t' aspettan, ed altre onde,
Nelle cui verdi sponde
Spuntati ad or ad or alla tua chioma
L ' immortal guiderdon d' eterne frondi,
Perctd alle spalle rue soverchia soma?"
Canzon, dirotti, e tu per me rispondi:
"Dice mia Donna, e 'l suo dir il mio euore,
Questa lingua di cui si vanta Amore."
LATIN
1545-1637
et
Latyne, Englysshe, Italian, Frenche. [By John Clerk.]
London. J. Herforde. 1545. 4to. British Museum.
4to. Tanner notes a third edition of 1573. 4to.
Dedicated to Henry Howard, Earl of Surrey, K.G.
An excessively rare little book on the resurrection
429
1545. Opusculum plane divinum de mortuorum resurrectione
extremo iuditio, in quattuor linguis succincte conscriptum.
1547.
of the
ITALIAN AND LATIN PUBLICATIONS 505
dead. The English and French texts are printed in black letter,
and the Latin and Italian in Roman character, while the pages
are divided into double columns, so that the four languages can
be read side by side.
430
[1549.] Tractatio de Sacramento Eucharistiae, habita in
celeberrima universitate Oxoniensi in Anglia, per D. petrum
martyrem vermilium Florentinum, Regiam ibidem Theologiae
professorem, cura jam absoluisset interpretationem ii capitis
prioris epistolae D. Pauli A postoli ad Corinthios. A d hec Dis-
putatio de eodem Eucharistiae sacramento, in eadem Universitate
habita per eundem D. P. Mar. Anno Domini f. D. XLX. parts.
Londini, ad aeneum serpentem. Library of Edward VI.
Royal Library. British Museum.
At folios 8, 10, 11, 12, and 13, of the Disputatio are notes
in the handwriting of King Edward VI.
Peter Martyr was appointed Regius Professor of Divinity
at Oxford, in 158. I/is wife, and the wife of Richard Cox,
Bishop of Ely, were "the first women, as 't was observ'd, that
resided in any coll. or hall in Oxon."
431
1565. Laelii Capilupi Mantuani Cento ex
Monachorum.
Impressum
4to. 8 leaves.
The poem
l'ergilio De Vita
Edinburgi
In verse.
consists of
per Robertum Lekprevik. Anno 1565.
Trinity College. Cambridge.
bits of Virgil pieced together, with
marginal reference. It is a Scottish reprint of Lelio Capilupi's
work.
Cento Virgilianus de Vita monachorum quos vulgo fratres ap-
pellant.
Venice. 1543. 1550. 8vo. Rome. 1573. Reprinted in
l/aria doctorum priorumque virorum de corrupto Ecclesiae
statu Poemata.
Bdle. 1556. 8vo.
508
ELIZABETHAN TRANSLATIONS
Eac ocina Thornae Vautrollerii. Londini. 1581. 12too.
British Museum. Also, Londini, 1599, 8vo, British Museum;
Londini, 1618, 8vo, British Museum; and Cantabrigiae, 1636,
8vo, British Museum.
439
1581. Paraphrasis aliquot [i.e., ] Psalmorum Davidis,
Carmine heroico. S. Gentili... Auctore. (Alcon, seu de Na-
tall Jesu Christi, Ecloga, etc.)
T. Vautrollerius. Londini. 1581. 4to. British Museum.
44O
S. Gentilis in xxv. Davidis Psalmos epicae paraphrases.
Apud J. Wolfium. Londini. 1584. 4to. British Museum.
441
1582. A Gentilis de Juris Interpretibus dialogi sex.
A pud J. Wolfium. Londini. 1582. 8vo. British Museum.
1584. 8vo. 1585. 8vo. And in Gui Panciroli's De daris Legum
interpretibus. Venice. (1637.)
Alberico Gentili, 1550-1611(?), came of an ancient and noble
family of the Marches of Ancona. Having become a Pro-
testant, Alberico went to England, and was entered at New
Inn Hall, Oxford, in 1580. He seems to have been a man whose
social qualities were as brilliant as his learning was profound.
He was the friend of Sir Francis Walsingham, Sir Philip Sidney,
Sir Henry Wotton, Sir Thomas Bodley, and other famous
Elizabethans, and was patronized by both the Earl of Leicester
and the Earl of Essex. In 1587, Queen Elizabeth made him
professor of Civil Law, at Oxford. His writings, which are in
Latin, constitute the earliest systematic digest of international
law that exists. Robert Gentili, his son, was a prodigy of learn-
ing as a boy, but left only a few translations from the Italian,
of which the best known is the History of the Inquisition, from
the Italian of Father Paul [Paolo Servita] (1639).
Scipio Gentili, brother to Alberico, a juris-consult and pro-
510 ELIZABETHAN TRANSLATIONS
445
1584. Torquato Tasso Solymeidos, Liber primus, Latinis
numeris expressus h Scipio Gentili.
Londini, excudebat Johannes Wolfius. 1584. 4to. British
Museum.
S. Gentilis Solymeidos libri duo priores de T. Tassi Italicis
expressi.
1584. 4to. British Museum. 1585. 4to. British Museum.
See A Gentilis de Juris Interpretibus dialogi sex (158), and
The History of the Inquisition (1639), and The Chiefe Events of
the Monarchie of Spaine (1647).
446
1585. J. C. Stellae Nob. Rom. Columbeidos, Libri Priores
duo. [Edited by Giacopo Castelvetri.]
Apud J. lVolfium. Londini. 1585. 4to. British Museum.
A poem on the discovery of the new world, composed at the
age of twenty, by Giulio Cesare Stella. It won a great reputa-
tion for the author in Italy, but it is said to be a mediocre per-
formance, and the author wrote nothing of note afterwards.
447
1585. A Gentilis de Legationibus, libri tres.
T. Vautrollerius. Londini. 1585. 4to.
editions.) Hanau. 1594 and 1607. 8vo.
Dedicated to Sir Philip Sidney.
British Museum.
1585.
Gentill.]
448
Legalium Comitiorum Oxoniensium A ctio.
London. 1585. 8vo.
[By Alberico
449
1587. Disputationum Decas prima.
London. 1587. 8vo.
[By Alberico Gentili.]
ITALIAN AND LATIN PUBLICATIONS 515
[Another edition.] Oxonii. 1745. 8vo. British Museum.
See Steps to the Temple. (1646.)
466
1637. R. P. E. Thesauri [Count Emmanuele Tesauro] . . .
Caesares; et ejusdem varia carmina: quibus accesserunt ....
Nobilissimorum Orientis & Occidentis Pontificum elogia &
varia opera Poetica. Editio secunda emendatior, cure auctariolo.
L. Lichfield. Impensis Gulielmi IVebb. Oxonii. 1637. 8vo.
British Museum.
INDEX
542 INDEX
Main, David, 183.
Maitland, Thomas, Lord Dundrennan, 182.
Maitland Club, 182.
Majano, Giovanni da, lxvi.
Major, Richard Henry, 378, 379.
Malcontent, The, 447, 467.
Malespini, Cello, 4, 97.
Malim, or Malin, William, 396.
Malone, Edmund, 37, 97.
Malone Society, 201.
Malvezzi, Virginio, Marquis di, Ixxxi, 418,
419, 420, 427,428, 429,.430, 432, 434, 435.
Mambrino da Fabriano, 23.
Mamillia, 228.
Mandozze, The Historie of John Lorde, 228.
JIandragola, 216.
Manassi, Niccolo, 332.
Manelli, Giovanni Maria, 496.
Manfredi, Fulgenzio, 264.
ltIanifestation o/the Motives, etc., A, 273.
Maaio, L., 23.
Manners, John, 8th Earl of Rutland, 437.
Manners, Roger, 5th Earl of Rutland, 352.
Mansell, Sir Robert, xxxix.
Mantuan, 113, 114, 115, 125, 140, 351,506,
507.
Mantuani . . . Adolescentia, seu Bucolica, B.,
506.
Manuele,
Manuzio,
Manuzio,
Manuzio,
Hugonis Platti, 509.
Aldo, the Younger, 329, 507.
Antonio, 390.
Paolo, 507.
Manzolli, Pietro Angelo (Palingeaius), 111,
112, 507.
Maraffi, Bartolommeo, 28, 29, 238, 239.
Marcolini, or Marcolino, Francesco, 378.
Marcus Aurelius Antoninus, originally Mar-
cus Annius Verus, 393.
lIarenzio, Luca, 129, 130, 131,132, 133, 134,
163, 175.
Margaret of Austria, 480.
Margarite of America, A, lxxvii, 65.
Marguerite de Bourbon, Duchesse de Niver-
nois, 68.
lIaria d'Aquino, "Fiammetta," 18, 51.
Mariage and Wiving, Of, 148, 157, 206.
Marini, or Marino, Giovanni Battista,
lvi, 182, 184, 185, 186, 188, 189, 190, 191,
213.
Mariotto and Giannozza, 225.
Markham, Clements R., 341.
Markham, Gervase, 16, 20, 42, 97, 168, 170,
172, 173, 181, 232.
lIarlowe, Christopher, xlii, 23, 54, 73, 139,
423, 424.
Marlnion, Shackerley, 95.
Marney, Sir Henry, lxvi.
larshall, William, 502.
Marson, George, 161.
Marston, John, xlii, lxxv, 14, 15, 16, 19, 32,
42, 49, 86, 94, 164, 178, 447, 467.
Medici,
Medici,
Medici,
Medici,
Medici,
405.
Martelli, Lodovico, 66.
Martin, Anthony, xlvii, 261,262.
Martin, Jean, 329.
Martinengo, Nestore, Count, 396.
Martire d'Anghiera, Pietro, 371, 372, 373,
375.
Mary I (Mary Tudor), lxii, lxxix, 86, 113,
230, 245, 247, 248, 346.
Mary Queen of Scots (Mary Stuart), lxvii.
Masaniello (Tommaso Aniello),.432, 433.
Massaino, Tiburtio, 163.
Massaniello, The Second Part of, 432, 433.
Massinger, Philip, 16, 33, 42, 95, 97, 458.
Massonius, Robert, 261,262.
Masuccio.Salernitano, xli, 12, 14, 16, 86, 113,
225.
tlaterialen zur Kunde, 94, 211,216.
Matthew, Sir Tobie, lxxx, 279, 501, 502.
Matthieu, Pierre, 98, 99, 287.
Maugin, Jean, 53.
Mavinus, O., 265.
Maximilian II, 414.
Maximinus, or hIaximin, Caius Julius Ve-
rus, 393.
Mazella, Scipione, 438.
Measure/or Ieasure, 43, 48, 73, 83, 86, 200.
Medici, Alessandro de', 67.
Medici, Alessandro de' (Leo XI).
Medici, Cosimo de', The Elder, xxxviii, 425.
Medici, Cosimo I de', 181,457, 499.
Medici, Cosimo II de', lxxx, 407, 501.
Medici, Francesco I de', Grand Duke of
Tuscany, 98.
Medici, Giovanni de' (Leo X).
Giuliano de', lxxi, 448, 450.
Giulio de' (Clement VII).
Lorenzino de', 67.
Lorenzo de', Duke of Urbino, 421.
Lorenzo de', "The Magnificent,"
Medici, Piero I de', xxxviii.
$Ieditationes de Rosario B. Viroinis, 263.
Meditations uppon the Passion of our Lord
Jesus Christ, 265.
Meditazioni, 273.
Md, Rinaldo dd, 129.
Melbaneke, Bryan, 49, 226.
Meliado, ,Sir, 26.
Meliadus, Chevalier de la Croiz, 27.
Meliboeus, 124, 125, 140.
Memoria Reparanda, De, 311.
Memor/a/s (Strype), lvii, 247, 346.
Memorie, The Ca.stel of, 310.
Menaphon, xliii, 54, 127.
Mendelssohn-Bartholdy, Jakob Ludwig
Felix, 192.
Mensa Philosophic.a, 115.
Merbury, Charles, 489.
][erchant of Venice, The, 59, 96, 336, 407,
410.
heres0 Francis, 41, 124, 139, 165, 473.
546 INDEX
Parismus, 53.
Parker, Henry, 8th Baron Morley, 112, 113,
402.
Parker, Matthew, 250.
Parker, William, 4th Baron Monteagle and
11th Baron Morley, 169.
Parliament of Bees, The, 5.
Parnassus, 165.
Parnell, Thomas, 455.
Parr, Queen Catherine, xxxvii, 113.
Parr, William, Marquis of Northampton, 204.
Parry, Edward Abbott, 432.
Part of This Summer's Travels, or News from
Hell, Hull, and Hallifax, 447.
Parthenia, 218.
Parthenopoeia: or The History of... the
Kingdom of Naples, 438.
Paruta, G., 440.
Paruta, Paolo, lxxxi, 440.
Paseale, Lodovieo, 66.
Pasqualigo, Luigi, 201,216.
Pasquillus Ecstaticus, 256.
Pasquil's Jests, 49, 79, 87.
Pasquine in a Trance, 25{}.
Passaooiere di Benvenugo Ialiano, II, 355.
Passenger of Benvenuto Italiano, The, 5
501.
Passi, C.0 23.
Passionate Centurie of Love, xl, xli, 124, 174.
Passionate Pilgrim, The, xlvifi, 148, 149, 159.
Pastor Fido, II, l, 168, 174, 186, 204, 205,
212, 213, 219.
Pastor Fido: or The Faithful Sheapheard, II,
204, 496.
Pastor Fido: or The Faith full Shepheard, II
(Fanshawe), 205, 212, 496.
Pastor Fido: or The Faith full Sheapheard, I!
(Sidnam), 205, 213.
Pastor Fido: tragicomedia pastorale, II, 96.
Pastor Fidus, 205, 219.
Pastora, La Fida, 205, 21.
Pastorall, A (Daniel), 186.
Patient Grisel, The Ancient True and Admir-
able History of, 81, 82, 242.
Patient Grissell, An excellent Ballad of a No-
ble Marquess and, 240.
Patient Grissell, The Pleasant and Sweet His-
tory of, 83, 240.
Patient Grissil, The Pleasant Come.die of, 96,
241.
Patient Grizill (puppet play), 96, 241.
Patientia Griselidis, De, 96.
Patrick, Saint, 272.
Patrick, Simon, 423, 424.
Patrizi, Francesco, 397.
Patrizi, Francesco (Bishop of Gaeta), 398,
399.
Patsi, The Life of the Holy . . . Mother Suor
Maria Maddalena de, 275.
Paul, The Life of the Most Learned Father,
. 276, 291,
Paul IV (Giovanni Pietro Caraffa), 268.
Paul V (Camiilo Borghese), 263, 264, 266,
271, 272, 281, 282, 283, 284, 285, 514.
Payne, John, 43, 93.
Paynell, Thomas, 169, 224.
Pazzi, Cattarina de Geri de', 275.
Pazzi, Vita della veneranda Madre Suor
Maria Maddalena de', 275.
Peacham, Henry, lviii, 135, 160, 171,447.
Pecorone, II, 12, 43, 55, 57, 59, 86.
Pedro de Luna (see Benedict XIII).
Peele, George, 13, 14, 42, 68, 124, 139, 197.
Peend, Thomas de la, 225, 228.
Peiresc, Nicolas Claude Fabri de, 292, 295.
Peiresc, Vita viri illustri Claudii de, lxi, 294,
295.
Pelleorino Inolese, II, 485, 486.
Pendasio, Federico, 332.
Pen itent iall Psalms, 171.
Penni, Bartolommeo, lxvi.
Pentimento Amoroso, II, 218.
Pepys, Samuel, 8, 241.
Pepysian Library, 8.
Pepys's Collection of Ballads, 337.
Pepys's Diary, 96, 241.
Percy, Henry, 9th Earl of Northumberland,
145.
Percy, Lady Lucy, 145.
Percy, Thomas, 175.
Percy, William, 14.
Percy Society, 82, 86, 97, 240, 315.
Perera, Galeotto, 374.
Peretti, Felice {Sixtu V).
Prez, Alonso, 73.
Prez de Montalbtn, Juan, 189, 190.
Periam, Laxly, 142.
Perillo and Carmosyna, 20.
Perimides the Blacks-Smith, xli, 5L 141.
Perlin, ]tienne, xxxviii.
Perondinus Pratensis, Petrus, 23.
Perrenot de Granvelle, Antoine de, 262.
Perron, Jacques Davy du, 513.
Pertharite Roy des Lombards, Tragedie, 61.
Pertinax, Helvius, 393.
Peruzzi, I., xxxviii.
Peter's Complaint, St., 119.
Peterson, Robert, 415, 459, 460.
Petit Trait de A. et Lucenda, 239.
Petite Pallace of Petrie his Pleasure, A, l, 29,
30, 31, 225, 228, 232.
Petrarca, Francesco, xli, xlii, xliii, xliv, Iv,
15, 24, 50, 113, 116, 117, 119, 121, 122,
123, 124, 125, 129, 138, 140, 147, 155, 168,
174, 178, 182, 183, 184, 188, 189, 205, 240,
345, 346, 354, 355, 449, 467, 509.
Petrarches Visions, xxxvii.
Petrarchs Seven Penitential Psalms, 179.
Petre, Sir William, lxxix.
Petrucci,'.Lodovico (see Petruccio Ubaldini).
Pettie, George, 29, 30, 31,225, 228, 232, 468,
469.
INDEX 547
Pettigrew, T. 3., 315.
Peyrard, Francois (Ro6titg), 481.
Peyrat, Jean du, 462.
philip II, 262, 332, 402.
Philip III, 285.
Philip IV, 420, 429.
Philip of Macedon, 310.
Philip, William, lxiii, 333.
Philips, Ambrose (Lives of the English Poet),
115.
Phillips, Edward, 181,428.
Phillips, W. Alison, 425.
Phillpot, George, 148.
Philocopo, 17, 153, 235.
Philomela. The Lady Fit2wat*rs Niohtinoale,
&7, 58, 22'7.
Philomela's Ode that Bhe Eu4 in her Arber,
58.
Philosopher's Banquet, The, 90.
Philothei, J. Bruni... Ars Reminicendi,
09.
Philotimus, 18, 49, 50, 226.
Philotus, 45.
Philotus and Emilia, 44, 45.
Phiston, or Fiston, William, 224, 256, 261,
361,408.
Phoeas, 247.
Phoenissae, 198, 199.
Phoenix Nest, The, 125.
Phrases Linguae Latina, ab A. Manutio,
07.
Phyllis, 184.
Physicke against Fortune, 6.
Pia, Emilia, Countess of Montefeltro, 448,
450.
Piccolomini, Enea Silvio (Aeneus Sylvius),
Pius II, 7, 8, 116, 117, 122.
Picture, The, 16, 33, 42.
Piomalions freinde and his Image, 30.
Pierce' s ,.qupererooation, 124, 321.
Pierre de Touche Politique, 416.
Pietra del Paraoone Politico, 416, 438, 439.
Pigafetta, Filippo, 383.
Pigafetta, Franceco Antonio, of Vicenza,
371, 372, 373.
Pilgrim: A Dialooue on the Life and Actions
of Henry VIII, The, 346, 485, 486.
Pilgrimage to Paradise coyned with the
Cour, te*s of Pembrokes Loue,
Pilgrim2 of Cast.el,, The, 103.
Pimenta, Niccol, 386.
Pindar, Sir Paul, 289.
Pinello di Gherardi, Giovanni Battista, 129.
Pint uricchio (Bernardino di Betto di Biogio),
241.
Plus II (See, Piccolomini).
Pix, Mury Grifflth, 94.
Plaine and Easie Introduction to Practicall
Musicke, A, 141, 191.
Plat, or Platt, Sir Hugh, 509.
Phto, li, lxx, lxxi, 476, 491.
Platonic Discourse on Love written in Italian
by John Pizus Mirandola, 190.
Plautus, Titus Maeeius, 1, 209.
Plays Confuted in Five Actions, xlii.
Pleasant Conceites of Old Hobson the Merry
Londoner, The, 81, 86, 87, 102.
Pleasant Dialogues and Drammas, 211.
Pliny, the Elder (Caius Plinius Secundus),
77, 123.
Plumptre, C. E., 246.
Plutarch, 11, 12, 13, 15, 30, 401,402.
Plutarch's Parallel Lves, 402.
Poemata Varia, 185.
Poems: Amorous, Funerall, Divine, Pastorall,
159, 181 208.
Poems and Translations, 189.
Poems, Chiefly Lyrical, etc., 105, 206.
Poems: In Divers Humors, 149.
Poems, Lyricke and Pastorall: Odes, Eoloos,
The Man in the 3Ioone, 180.
Poetical Rapsody, A, 124, 166 168.
Poets and Poesie, Of, 207.
Poets of Great Britain, A Complete Edition
of the, 182.
Poggio-Bracciolini, Giovanni Franceco,
lxxxi, 5, 6, 40, 80, 87, 88, 90, 100.
Polemo-Middinia, 184.
Poliphili Hypnerotomachia, 329.
Poliphili, Sonoe de, 329.
Poliphilus, The Dream of, 329.
Politi, Adriano, 215, 216.
Politi, Laeellotto (Ambrosio Cattarino, dr,
Siena), 270.
Politic Favourit*, The Christian, 429.
Politick Touchstone, The, 438, 439.
Politicke Chris$ian-Favourite, The Pourtract
of the, 48, 429.
Politico Christiano, II Ritratto del Priato,
428, 429.
Poliziano, Angelo (Angelo Ambrogini), 113,
347, 348, 393.
Polo, The first Booke of... Master Marco,
387.
Polo the Venetian, The Book of Set Iarco,
387.
Polo, Gaspar Gil, 73.
Polo, Marco, 387, 388.
Polybius, 15, 306.
Porter, or Poynet, John, li, lix, 248, 247,248,
256.
Pontano, Giovanni Gioviano, 114, 116, 122,
341,511.
Pope, Alexander, xlvii, 111, 313, 461.
Popelin, Claudius, 330.
Pope's Letter, The, 415.
Popular Music of the Olden Time, 141.
Pordenone, Maxc Antonio, 129.
Porro. Girolamo, 135.
Ports, Costano. 163.
Porta, Giovanni Battista della, lxiii, 207,
209, 211, 218, 293, 304, 341, 511.
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