[82]. “Vain and amatorious.”
[83]. Minturno mentions neither Cinthio (v. infra) nor Pigna—probably to avoid the appearance of direct attack; but he must have been thinking of one or the other or both. Something the same line was taken by Sperone Speroni.
[84]. See next Book, p. [369].
[85]. Scritti Estetici di Giambattista Giraldi Cinthio, 2 vols., Milan, 1864. (In Daelli’s Biblioteca Rara.) This edition gives extracts from Pigna’s work, and documents respecting the quarrel.
[86]. To speak correctly, Seneca prefers (Agamemnon, Hercules Furens, H. Œtæus, Medea, Troades) to compose the First Act of a soliloquy and a chorus. This, when the chorus is not present, becomes of course a monologue. In the Hippolytus, Octavia, Thebais, and Thyestes, there is dialogue in the first Act. But, even of these, the first two begin with a lyrical monologue, which is in effect a first Scene.
[87]. Aristotle’s Theory of Poetry and Fine Art, p. 232.
[88]. Venice, 1554, 4to.
[89]. For the neat little edition of this by Karl Wotke (Berlin, 1894) one must be thankful, and also for the careful bibliographical introduction on recent work concerning Renaissance Literature.
[90]. Op. cit., pp. 62, 63, 70. Giraldus also knows Colet, Grocyn, and others of the set.
[91]. “Fuere[“Fuere] et in Britannorum idiomate et eorum vernaculo sermone aliqui poetæ ab iis summo in pretio habiti, inter quos Galfridus Chaucerus qui multa scripsit, et Thomas Viatus.” That he adds “ambo insignes equites” is very pardonable.