Renaissance literary theory and practice

by Charles Sears Baldwin

[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].