FOOTNOTES
[1] In H. Chamard, Les Origines de la poésie française de la Renaissance (Paris, 1920), p. 256.
[2] Bembo, Prose, II. xxi (Venice, 1525).
[3] Allen, Age of Erasmus, p. 121.
[4] É. Egger, L’Hellénisme en France (Paris, 1869), pp. 358-359; see Monnier, II, 134 for modern estimate of Renaissance Greek texts.
[5] Prose, I, vi (1525).
[6] Egger, p. 398.
[7] Ibid., p. 205.
[8] Edition of Osgood, pp. 119, 193.
[9] Probably the source of Rabelais’s Abbey of Thelème. He had read the book.
[10] Page references to 1596 edition.
[11] Edited by Louis Humbert, Paris, 1914.
[12] Sir John Cheke, however, spoke as a scholar when he wrote to Hoby: “I am of opinion that our own tung shold be written cleane and pure, vnmixt and vnmangeled with borrowing of other tunges.” Quoted in Arber’s Introduction to Ascham’s Scholemaster, p. 5.
[13] Parodied by Orationes obscurorum virorum (before 1515), which was part of the Reuchlin-Pfefferkorn controversy.
[14] This is the exercise called by the ancients declamatio. See ARP (Ancient Rhetoric and Poetic) and a letter of Erasmus, May 1, 1506.
[15] Bartholomaei Riccii De imitatione libri tres (Venice, 1545), folio 38 verso. See below, Chapter III, Sect. 3.
[16] MRP (Medieval Rhetoric and Poetic) I and II.
[17] Ep. 221 in Migne’s Patrologia latina (Vol. 199, p. 247), which dates it 1167; Ep. 223, p. 389, in the collection of the letters of Gerbert, John of Salisbury, and Stephen of Tournay printed by Ruette (Paris, 1611). The letter is translated MRP 209.
[18] Apologia dei dialoghi, opening; p. 516 of the Venice, 1596, edition.
[19] For De oratore, see ARP.
[20] Minturno, Arte poetica, is mere catechism. Perionius hardly achieves dialogue at all; his interlocutors merely interrupt.
[21] Analecta hymnica.
[22] For the pattern of the classical rhetoric, see ARP.
[23] MRP.
[24] Paul Spaak, Jean Lemaire (Paris, 1926).
[25] Pierre Villey, Les Grands Écrivains du xviᵉ siècle, I, 83-97, 110-148.
[26] Evvres de Louize Labé, Lionnoize, revues et corrigées par la dite dame, à Lion, par Jean de Tournes, MDLVI (dedicatory epistle dated 1555).
[27] Each stanza of the Epithalamion ends with a longer line (6 beats), which is the common refrain. The other lines have generally five beats, but the sixth and eleventh have only three; and this variation is occasionally extended. Generally there is a rhyme-shift after the eleventh line, but not a break (11 lines on 5 rhymes [or 4] plus 7 lines on 3 rhymes [or 4]). A few stanzas are lengthened to nineteen lines (11 plus 8). Thus the typical variations in this triumph of metrical interweaving are as follows, the underlined letters indicating the lines of three beats:
| Stanza | I | a b a b c c b c b d d / | e f f e e g g | |
| II | a b a b c c d c d f f / | g h h g g h h | ||
| IV | a b a b c c d c d e e / | f g g h h i i | ||
| III. & VIII | a b a b c c d c d e e / | f g g f h h i i | (19 lines) |
[28] Œuvres complètes de P. de Ronsard, ed. par Paul Laumonier (Paris, 1914-1919), I, 316.
[29] London, Wynkyn de Worde, 1515.
[30] For Petrarch and Boccaccio, see Carrara, La poesia pastorale, pp. 88-111.
[31] Edited by M. Scherillo (Torino, 1888).
[32] Written 1573; published 1580; edited by Angelo Solerti (Torino, 1901).
[33] Le Premier Livre d’Amadis de Gaule, publié sur l’édition originale par Hugues Vaganay (Paris, 1918), 2 vols.
[34] For Alamanni, see Henri Hauvette, Un Exilé florentin ... Luigi Alamanni (Paris, 1903).
[35] Edited by G. B. Weston (Bari, 2 vols.).
[36] So I. iii. 31, 51; v. 13, 56; vi. 54; ix. 36; xi. 46; and throughout the poem.
[37] I. xxii is fabliau; and so, in various degrees, the stories inserted at I. vi. 22, xiii. 29, xxix. 3; II. i. 22, xiii. 9, xxvi. 22; III. ii. 47.
[38] E. Donadone, Torquato Tasso (Venice, 1928).
[39] The stanzas are adapted by Spenser, FQ, Book II. xii. 74-75.
[40] Diocletian-giants-Brutus-Hogh-Gormet-Hercules, II. x. 7; Tristan-nymphs-Latona’s son, VI. ii. 25.
[41] Chapter VII.
[42] For Seneca, see ARP.
[43] Opera, II, 2.
[44] “Acta fuit Burdegalae Anno MDXLIII” in the colophon can hardly mean merely that the play was finished in that year.
[45] On tragicomedy, see H. C. Lancaster, The French Tragicomedy, Its Origins and Development from 1552 to 1628 (Baltimore, 1907).
[46] For Garnier in England, see A. M. Witherspoon, The Influence of Robert Garnier on Elizabethan Drama (New Haven, 1924).
[47] For Plautus and Terence, see ARP.
[48] “Politian was in 1471, at the request of Cardinal Francesco Gonzaga, despatched to Mantua by Lorenzo de’ Medici to prepare an entertainment for the reception of Duke Galeazzo Maria Sforza. The Orfeo, a lyric pastoral in dramatic form, prophetic of so much that was later to come, was the contribution of the brilliant humanist and poet to the Duke’s entertainment. It stands close to the fountainhead of European secular drama.” H. M. Ayres, preface to his translation of the Orfeo in Romanic Review, XX (January, 1929), 1.
[49] See [Chapter IV].
[50] Alfred Mortier, Un Dramaturge populaire ... Ruzzante. Œuvres compl. traduites pour la première fois (Paris, 1926).
[51] ARP and MRP.
[52] For Aristotle’s Poetic, see ARP.
[53] For discussion of the romances, see [Chapter V]. For Giraldi’s novelle, see [Chapter VIII, 1, c].
[54] ARP.
[55] For Hermogenes, see MRP, pp. 23 ff.
[56] References are to the second edition of 1581. See also F. M. Padelford, Select Translations from Scaliger’s Poetics (New York, 1905).
[57] See above, Du Bellay, Chapter II, pp. 3, 6.
[58] See H. B. Charlton, Castelvetro’s Theory of Poetry (Manchester, 1913).
[59] Lodge’s feebler Defence of Poetry (1579) has little other interest than the historical, i.e., as a reply to Gosson’s attack on the stage.
[60] In Smith’s reprint shortened by summary.
[61] Gregory Smith, II, 327-355.
[62] Gregory Smith, II, 356-384; Arthur Colby Sprague, Samuel Daniel, Poems and a Defence of Ryme (Cambridge, Harvard University Press, 1930).
[63] Patrizzi’s refutation of Tasso, 68, 116, 144/5, 173, 175.
[64] Nevertheless two of his references (V. 116; VI. 125) suggest, perhaps without his intention, a relation between Plato’s Symposium and Aristotle’s idea of creative imitation.
[65] Pellissier’s long introduction and valuable notes, though they need a few corrections by later studies, remain one of the most important surveys of the French development of poetic in the sixteenth century.
[66] But Vauquelin with Tasso bids poets leave pagan myth for Christian themes, though perhaps he refers only to subject; and he recognizes the place of Montemayor’s Diana among pastorals.
[67] For Aristotle’s imitation, see ARP, pages 139 ff.
[68] D. L. Clark, Rhetoric and Poetry in the Renaissance (New York, 1922).
[69] Cf. in [Chapter VII] Giraldi’s theory of the romance.
[70] This is inferred from a commendatory letter of Bartolomeo Cavalcanti prefixed to this fourth (1580) edition.
[71] For editions and translations, see Louis Berthé de Besaucèle, J.-B. Giraldi (thesis at the University of Aix-en-Provence, Paris, 1920), pp. 109, 255, 258; for the French translator, Gabriel Chappuys, see p. 261.
[73] For the Gorgian figures, see MRP and Croll’s introduction to his edition of Euphues.
[74] Samuel Lee Wolff, The Greek Romances in Elizabethan Prose Fiction (New York, Columbia University Press, 1912).
[75] Op. cit., pp. 173 seq. The quotation is at p. 177.
[76] H. Brown, Rabelais in English Literature (Harvard Press, 1933), p. 19.
[77] Cf. Budé, Chapter I, for Renaissance complacency.
[78] Above, Chapter II.
[79] J. Plattard, François Rabelais (Paris, 1932), p. 194.
[80] Ibid., p. 140.
[81] Ibid., pp. 115 seq.
[82] Plattard, p. 117.
[83] For narratio, see ARP.
[84] In the prefatory epistle to Petrus Aegidius about two-thirds of the first hundred clauses conform to the cursus of the curial dictamen (MRP). These clauses compose about twenty sentences ending: planus, 6 (30%); tardus, 2 (10%); velox, 7 (35%); unconformed, 5 (25%). Inconclusive, this may be worth further study.
[85] See above, [Chapter VIII].
[86] Citations are from Jacobus Stoer’s edition of 1595.
[87] The fourth edition, cited here, by Gabriel Cartier, 1599. Meantime Bodin had published in 1586 a revised edition in Latin, De re publica libri vi.
[88] Edition cited Edinburgh (Freebairn), 1715, Opera omnia, ed. Thomas Ruddiman, Vol. I.
[89] See F. Strowski, Montaigne (Paris, 1931).
[90] “Qu’il n’est rien si contraire à mon style qu’une narration estendue (i.e., narratio, sustained exposition); je me recouppe si souvent à fault d’haleine; je n’ay ni composition ny explication qui vaille” (I. xxi).
[91] This is the doctrine of Quintilian, whom he quotes. ARP.