P. 280. I had not observed (oddly enough) that Clæris had crept into text and headings, where it has no business, and that “Fabius” was misprinted “Falinus,” till Professor Gudeman kindly brought both to my notice.
Pp. 410, 411. I owe to Dr Sandys (in Hermathena, vol. xii. p. 438) the removal of certain ignorances or forgetfulnesses here. “Solymarius,” as I most assuredly ought to have remembered, seeing that the information is in Warton, was a poem on the Crusades by Gunther, the author of the better known Ligurinus on Barbarossa, and the “Guntero” to whom I myself, in [vol. ii. p. 96], alluded in connection with Patrizzi. “Paraclitus” and “Sidonius” were two poems by Warnerius of Basle. I am even more indebted to Dr Sandys for a sheaf of privately communicated annotations on vol. i., of many of which I hope to avail myself in a future edition—if such a thing is called for.
VOLUME II.
P. 23 sq. A reference of Hallam’s (Literature of Europe, iii. 5, 76, 77) to the Miscellanies of Politian has led some critics, who apparently do not know the book itself, and have not even read Hallam carefully, to object to its omission here. Their authority might have saved them; for he very correctly describes these Miscellanies as “sometimes grammatical, but more frequently relating to obscure customs and mythological allusions.” In other words, the book—which I have read—is hardly, in my sense, critical at all.
P. 29, note 3, l. 3, for “ii.” read “i.” (The first vol. of Pope.)
P. 30, for “with his two great disciples” read “between his master Horace and his pupil Boileau.”
P. 38, note, for first sentence read: “But most of this latter part had been written in 1548-49, and all must have been before 1550, when T. died.”
P. 51, l. 7 from bottom, for “Rote” read “Rota.”
P. 67, l. 4, for “prose” read “poor.”
P. 80, note. When I wrote on Castelvetro I was not aware that the Commentary on Dante (at least that on Inf., Cantos i.-xxix.) had been recovered and published by Signor Giovanni Franciosi (Modena, 1886) in a stately royal 4to (which I have now read, and possess), with the owl and the pitcher, but without the Kekrika, and without the proper resolution in the owl’s countenance. This may be metaphysically connected with the fact that the editor is rather unhappy about his author, and tells us that he was long in two minds about sending him out at last to the world. He admires Castelvetro’s boldness, scholarship, intellect; but thinks him sadly destitute of reverence for Dante, and deplores his “lack of lively and cheerful sense of the Beautiful.” If it were not that my gratitude to the man who gives me a text seals my mouth as to everything else, I should be a little inclined to cry “Fudge!” at this. Nobody would expect from any Renaissance scholar, and least of all from Castelvetro, “unction,” mysticism, rapture at the things that give us rapture in Dante. All the more honour to him that, as in the case of Petrarch, he thought it worth while to bestow on that vernacular, which too many Renaissance scholars despised, the same intense desire to understand, the same pains, the same “taking seriously,” which he showed towards the ancients. This is the true reverence: the rest is but “leather and prunella.”