[[1]] See in this connection my article "The Elizabethan Minor Epic," SP, LV (1958), 31-38, answered by Walter Allen, Jr., pp. 515-518. My chief concern in this article was to show that the kind of poetry described therein, though in years past loosely and variously referred to by such terms as "Ovidian poetry" or "mythological love poetry," and often lumped together indiscriminately with other kinds such as the complaint, the tragical history, and the verse romance, actually constitutes a distinct genre recognized in practice by Renaissance poets. Whether or not there is classical authority for use of the term "epyllion," though a significant point of scholarship, is not the main issue here. Either the term "minor epic" or "epyllion" is satisfactory, provided its referent is clear, and accurately described.
[[2]] Published with I. C's [John Chalkhill's?] Alcilia, Philoparthens Loving Folly. Whereunto is Added Pigmalion's Image ... and Also Epigrammes by Sir I. H. [John Harington] and Others, STC 4275.
[[3]] Bibliographical Collections and Notes, 1893-1903 (London, 1903; reprinted 1961 by Burt Franklin), p. 301.
[[4]] Or Linche's.
[[5]] Actually Grosart edited the second impression of The Scourge, STC 969 (1614), the earliest impression he knew at the time, though by 1883 he had become aware of the unique Huth copy of the 1613 edition. (See pp. 49-50 issued with copy no. 38 of Grosart's edition of The Scourge.)
[[6]] Philos and Licia was probably not composed much before Oct. 2, 1606, when it was entered in A Transcript of the Registers ... 1554-1640, ed. Arber, III (London, 1876), 330. I have placed it first, however, because of the undeserved neglect from which it has suffered over the years and because of its literary superiority to the other poems in the collection. I have placed Pyramus and Thisbe second because, though not known to have been published prior to 1617, it was doubtless composed by Nov. 25, 1596, the date given in the dedication, and probably printed shortly thereafter in an edition now lost.
[[7]] "Thomas Heywood's Art of Love Lost and Found," The Library, III (1922), 212.
[[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.