[[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, suggests its debt to both masters—or plays both ends against the middle—by employing a 12 (2×6)-line stanza composed of couplets, with the last couplet having a double rhyme probably designed to echo the concluding couplet of the Shakespearean sixain.
[[29]] Thomas Lodge, Scillaes Metamorphosis in Elizabethan Minor Epics, ed. Donno, p. 35, stanza 71.
[[30]] Yet Dom Diego seems not to have been previously identified as a minor epic. The late C. S. Lewis, a few pages before his brilliant discussion of Hero and Leander as an epyllion, refers to Lynche's poem as a "stanzaic novella." See Lewis' English Literature in the Sixteenth Century Excluding Drama (Oxford, 1954), p. 479, pp. 486-488.