href="@public@vhost@g@gutenberg@html@files@29574@[email protected]#f8.8" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">8] The Francis Freeling-Henry Huth-W. A. White copy, here reproduced by courtesy of the Folger Shakespeare Library.

[9] These evident errors appear to have been corrected in ink on the Bodleian copy of the 1620 impression, of which I have seen a microfilm.

[10] Gerald Eades Bentley has gleaned and summarized a few additional facts about Barksted in The Jacobean and Caroline Stage, II (Oxford, 1941), 357-358. For an account of the correspondences between The Insatiate Countess and the poems, see R. A. Small, "The Authorship and Date of The Insatiate Countess," Harvard Studies and Notes in Philology and Literature, V (1896), 279-282. For a more recent survey of Barksted's probable contribution to The Insatiate Countess see A. J. Axelrad, Un Malcontent Élizabéthain: John Marston (Paris, 1955), pp. 86-90.

[11] The attribution was made by Thomas Corser in Collectanea Anglo-Poetica, LII (Manchester, 1860), 24-25, and has been generally accepted. In further support of Corser's attribution, one might mention the anecdote in Amos and Laura about a merchant seaman, followed by a vivid description of a storm at sea (pp. 218-219). Such a tale and description are appropriate in a poem by Page, who had been a naval chaplain and who published several sermons and other devotional works for seamen.

[12] Francis Meres, Palladis Tamia (1598). Introduction by Don Cameron Allen (New York, 1938), p. 284.

[13] Anthony a Wood, Athenae Oxonienses and Fasti Oxonienses, 2 vols. in one (London, 1691), 467. Page was vicar of St. Nicholas Church in Deptford from 1597 until his death in 1630.

[14] Shakespeare's Ovid Being Arthur Golding's Translation of the Metamorphoses, ed. W. H. D. Rouse (London, 1904; reprinted Carbondale, Ill. 1961), IV, 67-201; X. 327-605.

[15] Not Orpheus, as stated by Professor Douglas Bush in Mythology and the Renaissance Tradition (Minneapolis, 1932), p. 183.

[16] Shakespeare's Ovid, X, 343-346.

[17] Despite these departures from Ovid, the British Museum Catalogue continues to list this as a "translation" of Ovid's Metamorphoses, X. For a somewhat later example of an actual translation of this tale, considerably amplified, see James Gresham's (not Graham's, as in STC) The Picture of Incest, STC 18969 (1626), ed. Grosart (Manchester, 1876). In idiomatic English, occasionally ornamented with such triple epithets as "azure-veyned necke" and "Nectar-candied-words," Gresham expands Golding's Ovid by more than 300 lines. Although he invents a suitable brief description of Mirrha's nurse, whom he calls "old trott," and throws in a few erotic tid-bits quite in the spirit of the minor epic, he never departs from Ovid's story line and never introduces descriptive detail of which there is not at least a hint in Ovid.

[18] No. 95 in the edition cited below.

[19] Mary A. Scott, Elizabethan Translations from the Italian (Boston, 1916), pp. 20, 144.

[20] Poems by Richard Linche, Gentleman (1596), ed. Grosart, p. x; The Love of Dom Diego and Gynevra, ed. Arber in An English Garner, VII (Birmingham, 1883), 209.

[21] "The Source of Richard Lynche's 'Amorous Poeme of Dom Diego and Ginevra,'" PMLA, LVIII (1943), 579-580.

[22] William Painter, The Palace of Pleasure, IV (London, 1929), 74. (Actually, "Catheloigne" in Painter.)

[23] Certain Tragical Discourses of Bandello, trans. Geffraie Fenton anno 1567. Introd. by Robert Langton Douglas, II (London, 1898), 239.

[24] Painter, I, No. 40, 153-158.

[25] Painter, I, 156.

[26] Painter, I, 157.

[27] Bush, p. 139.

[28] Two (Philos and Licia, Amos and Laura) employ the Marlovian couplet, two (Dom Diego and The Scourge) the Shakespearean sixain, and Barksted's two employ eight-line stanzas, with Mirrha rhyming ababccdd (the Shakespearean stanza plus a couplet), and Hiren rhyming ababbcac, a more tightly knit departure from Shakespeare's stanza. The last, Pyramus and Thisbe,