[17.] The tales are ten—1. Sinorix and Camma [=Tennyson’s Cup]; 2. Tereus and Progne; 3. Germanicus and Agrippina; 4. Julius and Virginia; 5. Admetus and Alcest; 6. Silla and Minos; 7. Curiatius and Horatia; 8. Cephalus and Procris; 9. Pigmalion and his Image; 10. Alexius.
[18.] M. Jusserand gives a list of most of these translations of French and Italian novels in his just issued English Novel in the Elizabethan Age, 1890, pp. 80-1. He also refers to works by Rich and Gascoigne in which novels occur.
[19.] A partial exception is to be made in favour of the Spanish school, which broke loose from the classical tradition with Lope de Vega.
[20.] It is probable however that the “mixture of tones” came more directly from the Interludes.
[21.] Euphorion, by Vernon Lee. Second edition, 1885, pp. 55-108.
[22.] It has, of course, been suggested that Shakespeare visited Venice. But this is only one of the 1001 mare’s nests of the commentators.
[23.] Altogether in the scanty notices of this period we can trace a dozen derivatives of Painter. See Analytical Table on Tome I. nov. iii., v., xi., xxxvii., xxxix., xl., xlviii., lvii.; Tome II. nov. i., iii., xiv., xxxiv.
[24.] In the Warning for Fair Women there is a scene in which Tragedy, Comedy, and History dispute for precedence.
[25.] Curiously enough, two of the four have been associated with Shakespeare’s name. It should be added, perhaps, that one of the Two Tragedies in One of Yarington is English.
[26.] The frequency of scenes in which ladies of high birth yield themselves to men of lower station is remarkable in this connection.