Footnotes
Reading edition
δέξαι τὰν ἀγαθὰν τύχαν, δέξαι τὰν ὑγίειαν, ἃν φέρομεν παρὰ τᾶσ θεοῦ, ἃν ἐκαλέσσατο τήνα.
What I have wished to emphasize above is the fact that because shepherds sang songs we have no reason to assume that these were distinctively pastoral. In later times the pastoral generally acknowledged a theoretical dependence on rustic song, and the popular compositions did actually now and again affect literary tradition. But this was rare.
O gemma leziosa, Adorna villanella, Che se' più virtudiosa Che non se ne favella, Per la virtude ch' hai Per grazia del Signore, Aiutami, che sai Che son tuo servo, amore.
O vaghe di Gesù, o verginelle, Dove n' andate si leggiadre e belle?
(Laude spirituali di Feo Belcari, &c., Firenze, 1863, p. 105.) It is founded on the fourteenth ceutury, not on the popular, version.
Et nos ergo illi grata pietate dicamus Hanc de Pierio contextam flore coronam, Quam mihi Caianas inter pulcherrima nymphas Ambra dedit patriae lectam de gramine ripae: Ambra mei Laurentis amor, quam corniger Vmbro, Vmbro senex genuit domino gratissimus Arno: Vmbro suo tandem non erupturus ab alneo. (Opera, Basel, 1553, p. 581.)
Die mihi, Damoeta, cuium pecus? an Meliboei?
a wit of Rome retorted:
Die mihi, Damoeta, 'cuium pecus?' anne Latinum?
Or again it may be asked whether Lorenzo de' Medici is not as good a name to conjure by as Jacopo Sannazzaro.
On a day--alack the day!-- Love, whose month was ever May;
has caused them to be at times ascribed to Shakespeare. They are subscribed 'Ignoto' in England's Helicon, but appeared among the poems published with Barnfield's Lady Pecunia in 1598, a tail of thirty lines of very inferior quality being substituted for the singularly perfect and effective final couplet. The poem appeared again in the following year in the Passionate Pilgrim, this time with both the couplet and the addition. The Helicon version is certainly by far the best, and not improbably represents the poem as originally written in imitation of Shakespeare's. See J. B. Henneman's paper in An English Miscellany, Oxford, 1901.
137.
The hatred which they bore was only this, That every one did hate to do amiss; Their fortune still was subject to their will; Their want--O happy!--was the want of ill. (II. iii. 447.)
Many readers may be inclined to pity poor men and women debarred from that
First of all joys that unto sin belong-- The sweet felicity of doing wrong.
138. Pail.
famaque si ueteris non est mentita rapinae, uos quoque iunxit Amor... omnia debentur nobis, paulumque morati serius aut citius sedem properamus ad unam... haec quoque, cum iustos matura peregerit annos, iuris erit uestri; pro munere poscimus usum. quod si fata negant ueniam pro coniuge, certum est nolle redire mihi: leto gaudete duorum. (Met. x. 28, &c.)
Quivi con Tirsi ragionando andava Pur di colei che nell' istessa rete Lui prima e me dappoi ravvolse e strinse; E preponendo alla sua fuga, al suo Libero stato il mio dolce servigio. (V. i. 61.)
The origin of the name 'Licori' may possibly, as Carducci points out (p. 94), be sought in an epigram, Ad Licorim, found among Pigna's Latin Carmina (1553). The whole incident throws a curious light on the pettiness of the Ferrarese Court, a characteristic in which it was, however, not peculiar. (See Rossi, pp. 34, &c.) It is perhaps worth while mentioning that by the antro dell' Aurora was no doubt intended the room in the castle, said to have formed part of the private apartments of Leonora, still known as the sala dell' Aurora, from a wretched fresco on the ceiling by the local artist Dosso Dossi.
tell me why This goblin 'honour,' by the world enshrined, Should make men atheists, and not women kind--
to improve upon the exceedingly neat bowdlerization which the Rev. J. W. Ebsworth has sought to palm off as the genuine text of Tom Carew.
un dio... Che fa spesso cader di mano a Marte La sanguinosa spada... E le folgori eterne al sommo Giove.
I give the parallel for what it is worth. So far as I am aware it is the only one which can claim the least plausibility, and alone it is clearly insufficient to prove any borrowing on the part of the English playwright.
More lovely than the monarch of the sky In wanton Arethusa's azur'd arms. (Sc. xv.)
To find an house ybuilt for holy deed, With goodly architect, and cloisters wide.
Immagini del dì, guaste e corrotte Dall' ombre della notte.
But that no stile for Pastorall should goe Current, but what is stamp'd with Ah, and O; Who judgeth so, may singularly erre.
Other Nymphs Have their varietie of loves, for every gowne, Nay, every petticote; I have only one, The poore foole Mopsus! (I. ii.)
Where art, Berinthia? let me breathe my last Upon thy lip; make haste, lest I die else.
The situation, however, is different. Shirley's play was licensed in 1626.