Part I

, v, 2, sub fin.

P. 11. _Tasso by Fairfax_. Torquato Tasso (1544-1595), an Italian poet whose great epic, the "Gerusalemme Liberata," was finished in 1574. The English translation by Edward Fairfax was published in 1600 as "Godfrey of Bulloigne, or the Recoverie of Jerusalem."

_Ariosto by Harrington_. Lodovico Ariosto (1474-1533), whose romantic epic, "Orlando Furioso," was first published in 1516, and translated by Sir John Harrington in 1591.

_Homer and Hesiod by Chapman_. George Chapman (1559?-1634), poet and dramatist, published a complete translation of the "Iliad" in 1611, of the "Odyssey" in 1614, of Homer's "Battle of Frogs and Mice" in 1624, and of "The Georgicks of Hesiod" in 1618.

_Virgil_. A complete English translation of the "Æneid" was made by Gavin Douglas, a Scottish poet (1474?-1522), and first printed in London in 1553. There was a translation of the second and fourth books into blank verse by the Earl of Surrey, published in 1557, but the one most in use was by Thomas Phaer (1510?-1560), which appeared incompletely in 1558 and 1562 and was completed by Thomas Twyne in 1583.

_Ovid_. There were a number of translators of Ovid during this period, chief of whom was Arthur Golding, whose version of the "Metamorphoses" appeared in 1565 and 1567. "The Heroides" were translated by George Turberville in 1567.

_Sir Thomas North's translation of Plutarch_. The chief work of Plutarch, a Greek writer of the first century, is the "Parallel Lives," which was translated into French by Jacques Amyot in 1559. Sir Thomas North's translation of Amyot's version in 1579 was the most popular and influential of all Elizabethan translations.

P. 12. _Boccaccio_, Giovanni (1313-1375), Italian poet and novelist. Among the English his best known work is the "Decameron," a collection of a hundred prose tales. Versions of some of these stories appeared in various Elizabethan collections, such as the "Tragical Tales" translated by George Turberville in 1587. The first complete translation was published in 1620 and reprinted in the Tudor Translations in 1909.

_Petrarch_ (1304-1374), Italian humanist and poet, whose sonnets were widely imitated by French and Italian poets during the Renaissance.

_Dante_ (1265-1321). The author of the "Divine Comedy" was not very well known to Elizabethan readers. There was no English translation of his poem attempted till that of Rogers in 1782, and no version worthy of the name was produced till H. F. Cary's in 1814.

_Aretine_. The name of Pietro Aretino (1492-1556), an Italian satirist who called himself "the scourge of princes," was well known in England, but there was no translation of his works.

_Machiavel_. Nicolo Machiavelli (1468-1527), a Florentine statesman, whose name had an odious association because of the supposedly diabolical policy of government set forth in his "Prince." But this work was not translated till 1640. His "Art of War" had been rendered into English in 1560 and his "Florentine History" in 1595.

_Castiglione_, Baldassare (1478-1529). "Il Cortegiano," setting forth the idea of a gentleman, was translated as "The Courtier" by Thomas Hoby in 1561 and was very influential in English life.

_Ronsard_, Pierre de (1524-1585), the chief French lyric poet of the sixteenth century, whose sonnets had considerable vogue in England.

_Du Bartas_, Guillaume de Saluste (1544-1590), author of "La Semaine, ou la Création du Monde" (1578), "La Seconde Semaine" (1584), translated as the "Divine Weeks and Works" (1592 ff.) by Joshua Sylvester.

P. 13. _Fortunate fields_. "Paradise Lost," III, 568.

_Prospero's Enchanted Island_. Eden's "History of Travayle," 1577, is now given as the probable source of Setebos, etc.

_Right well I wote_. "Faërie Queene," II, Introduction, 1-3.

P. 14. _Lear is founded_. Shakespeare's actual sources were probably Geoffrey of Monmouth's "History of the Kings of Britain" (c. 1130) and Holinshed's "Chronicle."

_Othello on an Italian novel_, from the "Hecatommithi" of Giraldi Cinthio (1565).

_Hamlet on a Danish, Macbeth on a Scottish tradition_. The story of Hamlet is first found in Saxo Grammaticus, a Danish chronicler of the tenth century. Shakespeare probably drew it from the "Histoires Tragiques" of Belleforest. "Macbeth" was based on Holinshed's "Chronicle of Scottish History."

P. 15. _those bodiless creations_. "Hamlet," iii, 4, 138.

_Your face_. "Macbeth," i, 5, 63.

_Tyrrell and Forrest_, persons hired by Richard III to murder the young princes in the Tower. See "Richard III," iv, 2-3.

_thick and slab_. "Macbeth," iv, 1, 32.

_snatched a_ [wild and] _fearful joy_. Gray's "Ode on a Distant Prospect of Eton College."

P. 16. _Fletcher the poet_. John Fletcher the dramatist died of the plague in 1625.

_The course of true love_. "Midsummer Night's Dream," i, 1, 34.

_The age of chivalry was not then quite gone._ Cf. Burke: "Reflections on the French Revolution" (ed. Bohn, II, 348): "But the age of chivalry is gone. That of sophisters, economists, and calculators, has succeeded; and the glory of Europe is extinguished forever."

_fell a martyr_. Sir Philip Sidney (1554-1586), poet, soldier, and statesman, received his mortal wound in the thigh at the battle of Zutphen because, in emulation of Sir William Pelham, he threw off his greaves before entering the fight.

_the gentle Surrey_. Henry Howard, Earl of Surrey (1518?-1547), was distinguished as an innovator in English poetry as well as for his knightly prowess.

_who prized black eyes_. "Sessions of the Poets," verse 20.

_Like strength reposing_. "'Tis might half slumb'ring on its own right arm." Keats's "Sleep and Poetry," 237.

P. 17. _they heard the tumult_. "I behold the tumult and am still." Cowper's "Task," IV, 99.

_descriptions of hunting and other athletic games_. See "Midsummer Night's Dream," iv, 1, 107 ff., and "Two Noble Kinsmen," iii.

_An ingenious and agreeable writer_. Nathan Drake (1766-1836), author of "Shakespeare and his Times" (1817). In describing the life of the country squire Drake remarks: "The luxury of eating and of good cooking were well understood in the days of Elizabeth, and the table of the country-squire frequently groaned beneath the burden of its dishes; at Christmas and at Easter especially, the hall became the scene of great festivity." Chap. V. (ed. 1838, p. 37).

_Return from Parnassus_. Hazlitt gives an account of this play in the "Literature of the Age of Elizabeth," Lecture V.

P. 18. _it snowed_. "Canterbury Tales," Prologue, 345.

_as Mr. Lamb observes_, in a note to Marston's "What You Will" in the "Specimens of Dramatic Literature" (ed. Lucas, 1, 44): "The blank uniformity to which all professional distinctions in apparel have been long hastening, is one instance of the decay of Symbols among us, which, whether it has contributed or not to make us a more intellectual, has certainly made us a less imaginative people." Cf. Schlegel's remark in the first note.

_in act_. "Othello," i, I, 62.

_description of a mad-house_. "Honest Whore,"