'^^^m^:'.,:^ '■ ■ ■■■" -'Vi " ■ -i )' * ■, - " • V m iUfl ^^H A ■A = ■ai — 0^ ■o ^ ■ o m ; J3 |o 1 ~ J3 H4 ^ ■3 m ■7 = n4 ^ — ' ■ -r '^^^ ^^— > 'iii — i Jones Boccacio and his Imitators cs o <^ 03 (D >i t-i CO (D ..f THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES ■ I-: BOCCACCIO %. f w^. f m '^^ nio IMITATORS FLORENCE NIGHTINGALE JONES M: 4 THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES GIFT OF WILLIAM A. NITZE BOCCACCIO AND HIS IMITATORS IN GERMAN, ENGLISH, FRENCH, SPANISH, AND ITALIAN LITERATURE ( ( THE DECAMERON' FLORENCE NIGHTINGALE JONES Instructor in Romance Languages University of Illinois CHICAGO THE UNIVERSITY OF CHICAGO PRESS 19 I o Copyright 1910 By The University of Chicago Published January 19 10 Composed and Printed By The University of Chicago Press Chicago, Illinois, U. S. A. T73 J- PREFACE The following list of the imitations of the tales found in the Decameron is designed to give to the student of comparative literature some idea of the extent to which the novels of Boccaccio were used by later WTiters as material to be worked over into poems, dramas, and operas. These imita- tions are arranged chronologically and are grouped by countries, '^ermany is placed first as leading all the other countries of Europe in its adapta- tions of Boccaccio's stories. 'England comes next, and then the three Latin countries. . In this list are included all the prose or poetical narratives or dramas which are commonly called imitations of Boccaccio. No attempt is made to discuss the sources of these stories, nor to settle disputed questions, such as whether an author imitated Boccaccio himself or some imitator of Boccaccio. It is enough that the plot in all its main features agrees with the Decameron story which was directly or indirectly its source. Several attempts of this kind have been made before: Uu Mcril, in his Histoire de la Poesie Scandinave (1839), has a chapter entitled "Des Sources du Decameron et de ses imitations." Dunlop, in his History of Prose Fiction (1851), brings together a number of imitations; Zambrini's Bibliografia Boccaccesca (1875) is, as its subtitle indicates, a list of the "Edizioni delle opere di Giovanni Boccacci latine, volgari, tradotte et trasformate." Several studies upon separate stories of the Decameron have been published, such a.s that of Anschiitz, Novelle vom Falken und ihre Verbreitung in der Literj! ir, and that of Schofield on the Seventh Novel of the Seventh Day. Koeppel has studied the influence of the Italian novel on the English literature of the sixteenth century and Bourland the history of the Decameron in Spain. Valuable as these contributions have been for the fuller understanding of the extent of Boccaccio's inlluence upon European literature, it is hojK'd that the results arrived at by those who have thus studied the subject in certain aspects, may be of increased value, by being brought into comparison with those reached by other students in the same field. If the list of Boccaccio imitations which is lure presented is a longer list than that given I)y Dunlop, Du Meril, and /aml)rini, it is because within the last twenty-five or thirty years a numlx-r of studies on Boccaccio have ap[)earecl similar to those mentioned above, the results of which have been utilized in the following tables. Neither Dunloj) nor Zaml)rini have given a chronologically arranged list sufTuiently complete to furnish the student of comparative literature witii the data which are necessary in iii 1 024309 iv BOCCACCIO AND HIS IMITATORS order to arrive at an adequate idea of the extent to which Boccaccio was imitated in a certain century, in a certain country, or by a certain author. A general view of the subject is often necessary to decide whether an author drew his inspiration from Boccaccio or from some other source. The fact that six stories in the Canterbury Tales resemble those of the Decameron would certainly indicate that Chaucer had some acquaintance with the book. Over eight hundred imitations are here brought together, but the list does not include those found in Scandinavian literature, which would bring the number up to at least a thousand. It is hoped that the list will be found reasonably accurate, but in all probability errors will be found, since many of the works referred to could not be consulted and the so-called imitations had to be accepted upon the authority of those who have con- sulted them. A star placed before the date indicates that the imitation has been verified by reading of the author's work. In one case only does the star indicate second-hand knowledge of the story and that is in the case of several Spanish authors where the outline of the story is given so fully by Miss Bourland as to leave no doubt as to its similarity with the Decameron story. As to the dates, it is hoped that they are correct. In general, the date given is the one which is believed to be that of the first public appearance of the work in manuscript or in print. In the case of some collections like Von der Hagen's Gesammtabenteuer or Lami's Novelle letkrarie, this rule has not been followed. Wliether the stories in these collections antedated Boccaccio or not, their Publication in the nineteenth century may fairly entitle them to be imitatii^'^s of Boccaccio in the sense that they are thus brought before the moder*'' reading public for a second time. It has seemed best not to incumber the following list with detailed references to the work in which the imitation occurs. The title, so far as it indicates the character of the story, has botin given whenever possible, but references to editions, volumes, pages, would defeat the object aimed at, which is to bring together, in the smallest compass possible, the imitations of the Decameron in European literature. As for acknowledgment of indebt- edness to others, the Bibliography gives the principal sources from which this list has been made up. Again the hope is expressed that the list is reason- ably accurate, i. e., accurate enough for the purpose for which it was intended, to bring together in a sort of bird's-eye-view all of the reworkings of the stories of the Decameron, in prose or verse, which number nearly a thousand and which form no inconsiderable part of the literature of the six centuries which will soon have elapsed since the birth of Boccaccio. BOCCACCIO AND HIS IMITATORS. "THE DECAMERON" If a twentieth-century playwright were to sit down with the Bible and the Decatneron before him from which to select plots to work over for the entertainment of the public, the very proximity of the two books would be considered sacrilegious. In the sixteenth century, however, no less pious a person than Hans Sachs drew almost equally from these two world-famed story-books for subjects for his poems and plays without shocking the good citizens of Nuremberg in the least. In England, there was the same feeling in regard to Boccaccio; Roger Ascham complains bitterly of the "Italian- ated Englishmen " of his time, "who make more account of a tale in Bocace than a story in the Bible." No jest-book of this period was complete without some stories from the Decameron, and Shakspere, Greene, and Ben Jonson all drew upon the Italian story-tellers for plots. Spanish writers, too, used the Decameron freely. Lope de Vega was too prolific a writer not to seize upon all the available material of his time for plots, but the fact that he took eight of them from Boccaccio must not be attributed so much to lack of other material as to the great popularity which Boccaccio enjoyed in Spain. In Italy, Ser Giovanni, Sercambi, and Sacchetti, whose collections of narratives all appeared before the close of the fourteenth century, retold many of the Decameron stories and from them the fashion spread to Eng- land where Chaucer was inspired to write his Canterbury Tales in imitation of the Italian novelists. During the fifteenth century Boccaccio had few imitators. Antoine de la Sale, in his Cent Nouvelles Nouvelles (1456), imitated the framework and a few of the incidents of the Decameron, while a few stories like those of Griselda and Ghismonda were retold in every country of Europe. The beginning of the sixteenth century, however, saw a Boccaccio renaissance which appears to have been most flourishing in Germany under the leader- ship of Hans Sachs, who found in the Decameron material for more than sixty Sch'ivdnke, Fastnachtspicle, anrl Meistergesdnge. In the latter j^art of the century Ayrer also dramatized half a dozen or more of the stories. Numberless jest-books were compiled in imitation of the Decameron and contained many of its narratives, such as Pauli's Scliimpf iind Ernst (1522) early in the century and the five collections which appeared from about 1556 to 1566 — Kirchof's Wendunmuth, Lindener's RastbUc/dein, Wickram's Rollwagen, Schu man's Nachtbilchlcin, and Martin Montanus's Garten- 2 BOCCACCIO AND HIS IMITATORS geselhcliaft. Even Luther made use of some of these stories in his Tischredcn. In England, Painter's Palace of Pleasure initiated a series of imitations of Boccaccio. This book, which among many other tales from the Italian novelists contains sixteen from the Decameron, ranks as more than a mere translation and greatly influenced the Elizabethan dramatists. It was followed in 1576 by Turberville's Tragical Tales, containing a num- ber of poetical translations, and by that curious imitation of Boccaccio and Dante, Tarlcton's Newes out of Purgatorie. In France, Nicolas de Troyes, whose Grand Parangon de Nouvelles was published in 1536, retold almost as many stories as Hans Sachs, but in prose form. Henri Estienne, in his Apologie pour Herodote some years later, retells Boccaccio's tales in prose. The turn of France was to come in the following century when La Fontaine retold in poetical form twenty or more stories with such art that it is hard to tell which is the master and which is the pupil. The Italian novelists of the sixteenth century are too numerous and too well known to need more than a passing mention. Parabosco, Cinthio, Grazzini, Bandello, Straparola, and Malespini — all of them included a few of Boccaccio's stories in their own collections. The most bold-faced borrowing, however, was practiced by Sansovino, who included a large number of Boccaccio's stories in his Cento Novelle Scelte and then refused to acknowledge the debt. The importance of this collection, however, lies in the date when it was published (1566) — the same year in which Painter's Palace of Pleasure appeared in England, Timoneda's Patranuelo and Alivio de Caminantes in Spain, Estienne's Apologie pour Herodote in France, and, a few years before, of numerous jest-books in Germany. This year, then, may be said to mark the culmination of the revival of interest in Boccaccio in the sixteenth century. In the early part of the seventeenth century Lope de Vega wrote eight dramas based upon the Decameron and a few of the English dramatists of that time borrowed some of the incidents to furnish a scene or an act of a play, but the only imitator of Boccaccio in that century worthy of mention is La Fontaine, who himself became a second Boccaccio, so far as imitators are concerned. For a hundred years afterward the French stage echoed and re-echoed these twice-told tales in comedies and comic operas, all deriving their inspiration from La Fontaine, as is plainly indicated by the title of a work published by De Theis in 1773 — Le Singe de La Fontaine, which contains a number of Boccaccio-La Fontaine imitations. The last quarter of the eighteenth century saw a renewal of interest in Boccaccio which was especially marked in Germany. Goethe in 1776 writes of a projected drama based ujjon the Falcon story; Lessing's Nathan der Weise (1779) immortalized the story of the three rings; Burger, BOCCACCIO AND HIS IIMITATORS 3 in his Lenardo iitid Blandine (1776), retold the Ghismonda story in verse, and Langbein, in his Schwdnke (1792), the "Seventh of the Seventh." Paul Heyse versified the story of Cymon and Iphigenia in his Braut von Cy pern (1856), while Billow's Novellenhnch, oder Hiindert Novellen nach alten italienischen, spanischen, franzosischen, lateinischen, englischen und deutschen bearheitet (1836), besides its framework, owes one tale to BoccaccicJ, "Der Genius." This awakening of enthusiasm for Boccaccio had its parallel among the Romanticists of England and Franca. That only his premature death kept Keats from following up his "Isabella" (181 9) with other romances from Boccaccio is shown by a letter of Reynolds in which this statement is made : "Two stories from Boccaccio, the ' Garden of Florence' and the 'Ladye of Provence,' were to^have been"associated with tales from the same source, intended to have been written by a friend" (Keats). In 181 9, Barry Cornwall anticipated Tennyson and Longfellow in his poem of the "Falcon," and Collier's Poetical Decameron (1820), reviews Lewicke's version of the ever-popular story of Titus and Gesii)pus. Toward the middle of the century the pre-Raphaelite painters, Holman Hunt and Millais, both painted pictures illustrating the tale of "Lorenzo and Isabella," and Millais painted "Cymon and Iphigenia," a subject treated later in 1884 by Sir Frederick Leighton. Tennyson's "Golden Supper" is imitated either from Turberville's Tragical Tales (1576) or from Boccaccio, and William Black, in his Sabina Zembra (1889) (Anschiitz), gives a resum^ of the falcon story taken either from Tennyson or Boccaccio. Strange to say, in this era of woman's rights, a number of versions of the Griselda narrative have appeared. Silvestre and Morand '(1893) \vrote a mysthe entitled Griselidis, and Hauptman also has produced a Griselda drama. Out of the hundred stories of the Decameron some have naturally been more popular than others. Several have been worked over in poetical or dramatic form as many as thirty or forty times, while others have been retold only once. That the pojjularity of these tales did not depend entirely upon Boccaccio's skill as a story-teller but upon the story itself is shown by the fact that those which in Landau's Quellen des Decamcrons have the longest [jedigree are generally such as have been most often imitated since Boccaccio's time. From the Orient to the Occident, the faithful friend, the patient wife, and the unhapjjy lover have always appealed to ])opular sympathy, while a joke which has in it enough of humor to render it forever laughable, such as the one-legged goose, although Boccaccio's version of it is not particularly well written, counts more than twenty imitations. The narrative which leads in popularity in all the countries of Europe is the last story of the Decameron — that of Patient Griselda (X, 10). 4 BOCCACCIO AND HIS IMITATORS Chaucer, Hans Sachs, Lope de Vega, Perrault, and Goldoni have all availed themselves of this subject, besides a host of minor writers. As early as the end of the fourteenth century her story formed the subject of a mvsthe. Although Griselda did not rank as a saint, her sufferings seemed to entitle her to a place not far below them. Naturally enough this recital was used to point a moral in numerous Miroirs des Dames and Exemples de bonnes et mauvaises femmes, while Lope de Vega entitles his Griselda play, El exemplo de casadas. The story was in Spain the most popular of the Decameron. To the jealous Spaniard who kept his wife bolted and barred behind her balconied window, Griselda would indeed seem a -i-'perfecta casada." At the present day, the conduct of Griselda appears foolish and unreasonable, and her weak submissiveness most irritating. It is necessary to remember, however, as has often been pointed out, that she was the vassal as well as the wife of the marquis. Another reason sometimes assigned for the popularity of the story is the fact that the type of woman most commonly portrayed in the fabliau is weak and frivolous and that the character of Griselda is purposely exaggerated to show that an obedient wife was altogether an impossibility. In a treatise of the latter part of the fifteenth century, sometimes ascribed to Albrecht von Eyb, on the question "heirathen und nicht heirathen," the negative side is supported by the argument, "Die frauen sind hoffartig und herrsuchtig," while the affirma- tive asserts "Es giebt viele heilige Frawen," and follows with the tale of patient "Grisardis." Aside from serving as an encouragement to those who contemplate matrimony, the Griselda story was made by Petrarch to serve as a sort of allegory, a personification of the human soul, afflicted by heaven — a suggestion which was taken up by countless preachers who worked over and over the well-worn subject, until every particle of its didactic suitability was well-nigh exhausted. It is hard now to understand the great authority exercised all over Europe in literary matters by Petrarch. His judgment was final, and when he took Griselda as a specimen of the ever-popular type of the "persecuted woman," reasonable or unreasonable though her conduct might be, and set her up in the niche of fame, a saint she must always remain. The next most popular recital in the Decameron is that of Ghismonda (IV, i), which has been dramatized and set to music and painted until its renderings reach the number of forty. The character of Ghismonda is exactly the opposite of that of Griselda, but the disobedient daughter appealed to the popular imagination quite as much as the obedient wife. One thing is certain, however, the fiery Ghismonda is not quoted in any BOCCACCIO AND HIS IMITATORS 5 Miroir as an example for daughters to follow. The story owes its popularity to its own merits and not, as in the case of the Griselda narrative, to the influence of Petrarch. A secret passageway, discovery, murder, suicide, all made up a first-class tragedy, then as now. In addition to all these horrors the recital contains one version of the popular story of the "eaten , heart" of which another version is contained in the account of the wife of Gughelmo of Rossiglione which is in this same day of the Decameron. The heart of Ghismonda's lover is served up to her in a goblet by hef father — a dramatic climax which appealed strongly to a sixteenth-century audience which reveled in the gloomy Senecan tragedy. It is the first Italian novel which was dramatized for the English stage. In Italy the narrative was especially popular — a dozen or more Italian writers dramatized it, and operas were composed upon the subject. The unhappy lovers hence- forth were mentioned in literature along with Paolo and Francesca, Romeo and Juliet, Tristan and Isolde, and were even used to adorn the backs of • playing-cards in Spain. As compared with the Griselda story with its happy ending which made it after all a comedy in the Dantean sense, the horrible ending of the Ghismonda incident makes of it a real tragedy, an accumulation of horrors hardly equaled by anything from Seneca's pen. (in cheerful contrast to the foregoing narratives stands the seventh story of the seventh day of the Decameron. Madonna Beatrice, instead of being a persecuted heroine, is, instead, the persecutor of her husband. She is the conventional heroine of the fabliau and as such she is most popu- lar in French literature, where La Fontaine's witty version of the tale made it so popular that within the next century more than half a dozen comedies and light operas bore the title Mart, cocu, battu et content. Instead of being the heroine of only one narrative, the same lady, under different names, masquerades in all the stories of the seventh book, now hiding her lover in a cask, now shutting the door in her husband's face, and now making him believe that, having eyes, he sees not. With Ginevra, who ranks as fourth in popularity among Boccaccio's heroines, "we have another persecuted lady, who, patient and forgiving as she shows herself to be, is far removed from the too humble Griselda; The wager with which the story begins is as old as the time of the Tarquins, and affords a never-failing element of human interest. The villain is as deep-dyed a villain as lago. The old .servant who refuses to carry out orders to kill the wife or children of his master is also a favorite character in fiction. Then there is the ever-po[)ular "recognition scene" and the punishment of the villain. Shakspere, with his unerring feeling for what- ever was mo.st popular in the dramatic material at liand in his time, seized J 6 BOCCACCIO AND HIS IMITATORS upon this, one of the best-known stories of his time, as the subject of his Cymbcline. While Ginevra is not the subject of a "mystery" as was Griselda, she is the subject of a "Miracle de Notre Dame," the scene of which is laid in Spain, the refusal of the old servant to carry out his orders being naturally attributed to the intervention of the Virgin. Boccaccio's selection of feminine types of character would not be complete without including that of the simpleton, the silly, vain, sentimental woman, ^Madonna Lisetta, the Venetian lady who was persuaded by her confessor that the Angel Gabriel was in love with her, whose story, strangely enough, is found in the fourth book of the Decameron which begins with the account of Ghismonda and contains nothing else but "tragical tales." Marmontel's version of this recital has become famous in French litera- ture, and his Mari Sylphe, which satirized the feminine sentimentalism of his time, was both preceded and followed by a number of tales of the same character and bearing the same title, in which the vain, credulous, sentimental young wife is held up to ridicule even more skilfully than in Boccaccio. Perhaps it is not too much to say that a more or less far- fetched parallel can be found between almost every modern novel and some story of the Decameron. In making such a comparison, surely it might be said that this story contains in germ the plot of Madame Bovary. This exhausts the list of Boccaccio's Jnost popular heroines and we now turn to a discussion of his heroes. The faithful friend far surpasses in popularity the unhappy lover or any other masculine type presented by Boccaccio. The history of Titus and Gesippus (X, 8) numbers almost as many imitations as the Griselda story. Just as the tale of Ginevra dealt with the same theme as the legend of Lucretia, and the Ghismonda and Guiscard narrative is that of several unhappy lovers of antiquity — Pyramus and Thisbe, Hero and Leander — so these two friends were known to the ancients as Damon and Pythias, Orestes and Pylades. The story was especially popular in England where in Elyot's Governor the incident is given as a model of what a gentleman's conduct ought to be. So 'well known was the story that it was mentioned whenever the subject of friendship was discussed. In Italy the narrative seems to have been less popular, although it was one of the three which Beroaldo translated into Latin before the beginning of the sixteenth century, along with the romance of Cymon and that of Griselda. The masculine mind perhaps more than the feminine loves to propose to itself difficult questions of conduct and to settle them in imagination, at least, in a magnanimous way. This story is a Boccaccio version of the eternal de amicitia theme, of which the reductio ad absiirdum is found in Goldoni's // vero amico. Closely BOCCACCIO AND HIS IMITATORS 7 related to the story of Titus and Gesippus in spirit is that of Federigo (V, 9), the faithful lover who sacrificed his beloved falcon to please his lady. Here again a difficult question of conduct is settled in a way that accords with the ideals of the time in regard to unquestioning obedience to the wishes of the liege lady and perfect observance of the laws of hospitality. Federigo is at the same time the perfect lover and the perfect host. Besides these reasons the story probably owed much of its popularity to the fact that falconry was more than a favorite amusement with the noble's of the fifteenth and sixteenth centuries. It was a ruling passion, a fact which made the sacrifice of Federigo seem almost equal to that of a father sacri- ficing his child. The "best short story in any hterature," as it has been called, is also by popular consent one of the most popular. The servant who gets the better of his master by means of a witty answer is too common in comedy and real life to escape the attention of Boccaccio. Chichibio (VI, 4), the cook, and his famous story of the one-legged crane seem to have been especially popular in German and English literature. How it came across the ocean, to be told and retold by the negroes of the South, seems at first hard to explain, but when it is remembered that the first colonists in Virginia probably brought with them or related at table tales from Tarletoii's Newes out of Purgatorie, it is easy to see how the vision of the poor cook, sitting in putgatory for having stolen the leg of a chicken, would appeal to the imagination and conscience of the old family negroes, who told and retold the story until it was embodied in literature in Colonel Carter of Cartersville. Still another popular masculine type is that of the merchant who comes to town and is robbed by a woman who pretends to be his long-lost sister or cousin or aunt. Andreuccio of Perugia, the horse merchant who went to Naples, and who had probably got the better of his neighbor in many a horse-deal, and now finds himself in a ridiculous plight in a strange city, was too good a subject for ridicule not to render popular Boccaccio's narrative. Next to imagining him.self a hero, the average man loves to laugh over his fellow-man who is duped by a woman. So far as the jjopularity of a narrative may be determined l)y the num- ber of imitations of it which have been discovered, the sixth story of the seventh day, that of Madonna Isabella and her two lovers, comes next. The p()[>ularity of this seventh book of the Decameron, which is sometimes called that of "woman's wiles," is shown by the fact that this is the second story from that book which has been adjudged to l)c the most poi)ular. One other book, the tenth, furnishes two of the most popular tragic tales. Thus has the world made its unconscious selection of tht- narratives that 8 BOCCACCIO AND HIS IMITATORS have pleased it most. Dififerent persons have ventured to make arbitrary selections of the "best stories" in the Decameron, but the unconscious judgment of posterity is a better criterion, of the worth of a story than that of any one person or group of persons. Boccaccio himself in the Decameron made a selection of the "hundred best stories" of his time, some of which now seem to us far-fetched and void of interest, but sifted as they have been in the course of time, these ten romances, which are not merely twice-told tales but which have been retold forty and fifty times even, contain in them most of the elements of comedy and tragedy which fall within the range of human experience. The accompanying tables are intended to show the relative popularity of the different Novelle of the Decameron. It must be acknowledged that merely adding up the different versions without regard to their importance is not a perfectly satisfactory test, yet it is perhaps the best that can be devised and gives a result that is approximately correct. No matter how poor the imitations may be, these frequent repetitions of a tale show that it w§5 one of which the world never grows weary. V^Of the ten authors cited as the principal imitators of Boccaccio, Hans Sachs easily leads the rest in the quantity and La Fontaine in the quality of his imitations. Chaucer in England and Lope de Vega in Spain, by imitating the Italian story-teller, contributed something new to the litera- k ture of their respective countries. While the literary value of Sercambi's versions is not great, he helped to keep alive in the minds of his country- men the memory of Boccaccio until the invention of printing. Martin !Montanus in his Gartengesellschajt and Timoneda in his Alivio de los Ca- minantes retell the old tales with few additions or modifications. Nicolas de Troyes does the same. Painter merely selects and translates, and San- sovino, whose collection is exactly contemporaneous with Painter's, is an out-and-out plagiarist who refuses to acknowledge his debt to Boccaccio. These ten authors, then, represent the two classes of imitators, those who merely transcribed and those who made out of the old tale a new literary product. All but two, Chaucer and Sercambi, belong to the sixteenth century and are representative of a renaissance which resurrected Petrarch and Boccaccio as well as Plautus and Seneca. The geographical remoteness of these different authors shows with what comparative rapidity literary fashions spread from one country to another. While Hans Sachs was turning Novelle into Schwdnke, Nicolas de Troyes put out his Grand Parangon de Nouvelles and a little later Timoneda wrote his patranas. From Nuremberg to Seville, Griselda was enshrined in the hearts of the populace as a domestic saint, and the one-legged crane crossed BOCCACCIO AND HIS IMITATORS 9 mountains and rivers and seas to be finally metamorphosed into the one- legged goose. {In estimating the popularity of Boccaccio in different countries Germany is found to surpass the others. There are several explanations for this. Germany was nearer geographically to Italy than the other countries. Hans Sachs was indefatigable in his work of adapting the "cento novella" to the taste of his countrymen and influential enough to leave after him such men as Martin Montanus and Ayrer to continue the work. -German scholars with unwearying patience have ferreted out these metamorphosed Novelle in their own literature more thoroughly than has been done in other countries. As for Spain, the small number of imitations found in the literature of that country is partly due to the fact that only recently has the field begun to be worked. 'The spirit and atmosphere of the Decameron, however, pervades from beginning to end that panorama-like succession of episodes which makes up the picaresque novel. In his own country, the memory of Boccaccio was kept alive by that long line of Italian novelists which includes Sacchetti, Bandello, and Stra- parola, no one of whom borrowed more than a dozen or twenty tales from the master, but whose aggregate of imitations is considerable. Boccaccio's mission here seems to have been to elevate story-telling to a profession and to call into existence the professional story-teller. Among the French, the framework of the Decameron seems to have been imitated even more than the novella, in such collections as the Cent Nou- velles Nouvelles, the Joyeux Devis, the Tresor des Recreations, the Comptes du Monde aventureux, the Serees, and the Heptameron. France, too, enjoys the distinction of being the only nation which has [)roduced a rival to Boccaccio, the incomparable La Fontaine, to whose example and ])restige is due a large number of the versions which go to swell the number of Boc- caccio imitations in that country. The smaller number of those found in English literature may be due to the fact that until 1620 no complete Eng- lish translation of the Decameron was i)ublishcd. But whatever it may lack in quantity is made up in quality, the genius of Chaucer and Sliak- spere has added more to the glory of Boccaccio than dozens of versions l)y less renowned imitators. lO BOCCACCIO AND HIS IMITATORS TABLE A The following table shows the number of imitations of each novella. As will readily be seen, the ten most popular ones are in order of popularity: X, lo; IV, i; VII, 7; X, 8; II, 9; IV, 2; VII, 6; V, 9; VI, 4; H, 5. Giornata Novella I II III IV V VI VII VIII IX X 1 2 3 4 5 6 7 8 9 10 9 7 4 4 I 2 2 4 3 I 13 4 5 18 7 4 14 29 8 8 9 18 2 ID 6 3 17 II 6 40 27 2 3 7 4 3 14 7 6 IS 2 3 9 3 2 5 15 21 3 3 I 3 20 I I 3 I 14 2 8 5 16 13 25 35 19 10 I 12 7 3 12 4 5 18 3 3 14 19 6 I 2 14 3 3 3 7 9 5 2 12 10 I 4 35 6 50 Approxi- mately 40- 100 + 90 + 100 + 70 + 50- 1304- 60+ So+ 130 + Total 850 -I- . TABLE B The ten authors, a summary of whose imitations of Boccaccio is given in the fol- lowing table, are selected, two from each country, Germany, England, France, Spain, and Italy, to show the wide geographical distribution of these tales of the Decameron. This table shows that the ten most popular ones mentioned above have nearly all been imitated by four or five of these authors. GERMANY Hans Sachs Maktin Montanus I.. ■ • 2-3-6. I... ■4- II.. . . 2-4-5-6-9. II. .. ■3-8. III.. . . 1-2-3-6-8. III... • 1-3-7- IV.. . . 1-2-3-4-S-6-7-8-10. IV... . 1-2-5-8-10. v.. ■ • 1-3-7-8-9-10- V... .1-10. VI.. . . 1-4-5-10. VI... .4-7-10. vn.. . . 1-4-5-6-7-8. VII .. . •2-3-4-5-7- VIII. . . . 1-2-3-4-6-7-9-10. VIII... .2-8. IX.. ■ .1-2-3-4-5-6-7-8-9. IX... . 2-6-10. X.. . . 2-4-7-8-10. X... ENGLAND .8. Chaucer P AINTER III.. ..4. I... .3-5-8-10. VII.. ..9. II... • 2-3-4-5-8. VIII.. . .1. III... .9. IX ..6. IV... .1. X.. ..5-10. VIII... •7 X... .3-4-5-9. BOCCACCIO AND HIS IMITATORS II Nicolas de Troyes I... . 2-5-10. II... • 2-3-5-6-7-9- m... . 4-6-9-10. IV... . I-3-6-8-Q. V... .3-4-6-7-8. VI... .3-7-10. VII. . . .3-7-8-10. VIII... . 1-2-4-7-8. DC... I-2-3-5-8-9-IO. X.. I-2-4-5-6-7-8-9-IO FRANCE La Fontaine II. . . . 2. III. . . . 1-2-3-5-6-S-10 rv. . . .2. V. ...4-9- VII. ■ • ■ 2-5-7-8-9. VIII. . . . 1-8. IX. . . . 2-6-10. SPAIN Lope de Vega II. . .2. III. ••3- V. ••4-9- VIII. . . 10. X. . . 1-8-10. TiMONEDA II.... 5-9. VI.... 4. VII....7-8. X....r-8-io. ITALY Sercambi Sansovino I... 9- I.... 5-7-9-10. II... 2-4. II.... 3-4-5-8-^. III... 1-2- 3-4-8-10. v.... 4-6-9. IV... 9- VI ... . 1-2-4-9. VI... 1-3- VII... 4-6-7-8. VII... 4- vni... 3-4-6. X... .10. IX.... 7-8. X... 10. . . . . Hans Sachs Sercambi; ; Nic(olas) Chaucer. de T(royes); Lope de Vega; Timoneda; IV.. 1. . . . . Hans Sachs Montanus; Painter; Nic. de T. VII.. 7-- . . . Hans Sachs Sansovinc Montanus 1. , Nic. de T.; La Fontaine; Timoneda; X... 8.. . Hans Sachs Montanus; Nic. de T.; Timoneda; Lope de Vega. II... 9.. . . . Elans Sachs Nic. flcT.; Timoneda; Sansovino. IV.. 2. . . . . Hans Sachs Montanus; La Fontaine. VII.. 6.. Hans Sachs Sansovino. v.. 9. Hans Sachs La Fontaine; I>«pc fie Vega; Sansovino. VI... 4- • . . . Hans Sachs Montanus; Timoneda; San.sovino. II... 5 ■■ . . . Hans Sachs sovino. Montanus ; Painter; Nic. de T.; Timoneda; San- 12 BOCCACCIO AND HIS IMITATORS > TABLE C The following summary by days of the total number of imitations in different countries shows an approximate total of 850 imitations. Germany England France Spain Italy Approximately. 13 5 9 o II II 23 22 25 5 20 III 17 14 30 3 23 IV 32 24 24 5 27 V 17 21 17 2 19 VI 23 5 5 3 II VII 37 25 38 5 29 VIII 25 5 21 2 13 IX 26 7 19 I 17 X 39 38 18 18 22 Total 250 + 150 + 200 + 200 — 850 + *i598. *i767. 1570- *i548. *i563- 1563- *i566. 1542. *i536. *i69i. 1804. 1570- *i545- 1563- *i746. *i779. *i566. *i704. ♦1721. *i557- 1608. 1788. 1808. I. I Ayrer: Dcr Falsch Notarius mit seiner unwahrhajten Beicht. Voltaire: Lettre a S. A. Monseigneur le Prince de XXX, sur Rabelais. Olimpia Fulvia Morata: Opera. I. 2 Hans Sachs: Schwdnke, "Der Jud am romischen hof." Kirchhof: Wendumnuth, "Von der romischen Keuschheit." Pauli: Schimpf und Ernst, iol. 61. Luther: Tischreden, "Der Jud von Wittenberg." Bebelius: Facetiae. Nicolas de Troyes: Parangon, "D'un Juif qui demeuroit a Paris." Mme de Sevigne : Lettre a Monsieur de Coulanges. Lantier: Correspondance de Suzette d'Arly^ Lett. CXLL Olimpia Fulvia Morata: Opera. I- 3 Hans Sachs: Schwdnke, "Der Jud mit den dreyen ringen." Pauli: Schimpf und Ernst, fol. 8. Gellert: Gedichte, "Die Geschichte von dem Hute." Lessing: Nathan der Weise. Painter: Palace of Pleasure, "The Three Rings." Swift: Tale of a Tub. Anon, poem, Dublin: "Saladin est assez connu." (Manni.) I. 4 Martin Montanus: Gartengesellschaft, "Ein junger monch." Mahrold : Rollmarschkasten. Imbert: Fabliaux. Guichard: Fables el Conks, "Le moine ruse." BOCCACCIO AND HIS IMITATORS 13 I- 5 *i567. Painter: Palace of Pleasure, "The Marchioness of Monferrato." *i536. Nicolas de Troyes: Parangon, "D'une belle bourgeoise de qui un roi fut amoureux." *i523. Cornazzano: Proz^erfci, " Perche si dice aliter. Tutta e fava." *i566. Sansovino: Cento Novelle Scelte, "La Marchesana di Monferrato." I. 6 *i544. Hans Sachs: Schwanke, "Die hundert suppenkessel." I- 7 *i566. Sansovino: Cento Novelle Scelte, "Bergamino morde una avaritia." *i554. Straparola: Notti, XIII, 7, "Giorgio Servo." I. 8 *i566. Painter: Palace of Pleasure, "Borsieri a,nd Grimsddi." 1570. Castelvetro: ^r/e Poe/zVa, "Domandando messer Erminio." I- 9 1876. Topin: Diversites Litteraires, "La justice et la vertu des rois." *i375- Sercambi: Novelle, "De Pigritia — II re Sparaleone di Porto- gallo." *i566. Sansovino: Cento Novelle Scelte, "II rh di Cipri." *i875. Papanti: / Parlari di Certaldo. I. 10 *i566. Painter: Pa/ace «/^5, "Lc Diablc en Enfcr." *i536. Nicolas dc Troyes: /^araw^'ow, "D'un Ilcrmitc." ♦1375. Sercambi: Novelle, "Dc Romito." ♦1398. Sacchetti: Novelle, loi, "(iiovanni e Ic trc romite." ♦1476. Masuccio: Novellino, V, "II Papa a Roma." *i8o4. II Casti: Novelle Galanti, "II Diavolo nell' Inferno." ;y 20 BOCCACCIO AND HIS IMITATORS IV. I 1472. Albrecht von Eyb: Gidscardo imd Sigismonda. *i47o. Niklas von Wyle: Translatzion, "Von Guiscardo und Sigismunda." *i5i5. Hans Sachs: Ein kleglichen tragedi des Jiirsten Concreti. *i557. Martin Montanus: Guiscardus und Sigismunda. 1563. Pauli: Schimpf und Ernst, io\. 45. 1580. Anon., Frankfort: Ein gar erbdrmliche History. *i776. Burger: Lenardo und Blandine. 1821, W. V. Schiitz: Gismunda. 1837. Immermann : Ghismonda. *i847. Simrock: Volksbiicher, "Eine schone Historic von dem Fursten zu Salerno schoner Tochter Gismonda." 1532. William Walter: Amorous Mysterie, "Guystarde and Sygys- monda." p 1566. Painter: Palace of Pleasure, "Ta.ncred a.nd Gismondsi." 1568. Thomas Howell: N ewe Sonets and pretie Pamphlets. *i568. R. Wilmot: Tancred and Gismond. 1574. Henry Wotton: Play lost. *i7oo. Dryden: Sigismonda and Guiscardo. *!']!']. Susannah Centlivre: The Cruel Gift. *i775. J. Thomson: Tancred and Sigismunda. Names fr. Bocc; plot from Gil Bias (perh. Saurin's Tancred, 1763). 1813. F. Howard: The Father's Revenge. 1493. Jean Fleury: La piteuse et lamentable historie de Gismond. 1538. Ant. Prevost: Les Regrets d' amours. *i536. Nicolas de Troyes: Parangon, "De la belle Gismonda." 1 551. Habert d'Yssoudun: Tr. from Beroaldo. *i685, Guevara: Intercadencias, "La desdichada firmezza." *i438. L. Aretino: De amore Guiscardi et Sigismunda. 1483. Accolti: Versi, "Poiche, I'amato cor vide presente." 1485. Benivieni: Novella di Tancredi. *i498. Beroaldo: Carmen de duobus amantibus, "Fabula Tancredi in latinum versa." 1508. Antonio da Pistoia: Filustrato e Pamfila. *i550. Parabosco: / Diporti, 10, "Gasparo^e Briseida." 1569. Razzi: LaGwwowJa (tragedia). 1583. Guasco: La Ghismonda. 1588. Asinari: // Tancredi (tragedia). ♦1597. Torelli: // Tancredi {Scelta di C. L.). 1614. Campeggi: // Tancredi (tragedia). BOCCACCIO AND HIS IMITATORS 21 1875. Bemoni: Tradizioni veneziane, ''Risguardo belo e Rismonda bela." 1627. Branch! : II Guiscardo. 1750. Cocchi: Gisfnunda (opera). 1836. Saffi: Tancredi, principe di Salerno. 1876. Piazzano: La Gismonda di Sorrento (opera). 1743. Hogarth: National Gallery, "Gismonde." IV. 2 ^ *i546. Hans Sachs: Schivdnke, "Der Engel Gabriel." *i557. Martin Montanus: Wegkiirzer, "Alonch Albrecht." *i563. Kirchhof: Wendunmnth, "Ein monch." *i598. Ayrer: Der verlarft Franciscus mit der venediscJien wirtfrawen. 1768. Lowen: Die neue Agnese. *i834. Billow: N ovellenbuch , "Der Genius." 1582. Whetstone: Heplameron, "The adventure of fryer Inganno." *i589. Greene: The Spanish Masquer ado {mtni\onc6.on\y). ♦1590. Tarletori's Newes out of Purgatorie, "The tale of friar Onyon." *i456. Antoine de la Sale : Cent Nouvelles Nouvelles, " Le faiseur de pape." *i566. H. Estienne: Apologie pour Herodote. 1666. La Fontaine: Contes, "L'Hermite." 1710. Petit de la Croix: Contes Persans, "Malek." 1 730. Panard : Le Sylphe Suppose. 1743. Saint-Foix: Le Sylphe. 1756. Cointreau: L'Aniant Salamandre. *i'j6i. Marmontel: Le Mari Sylphe. 1765. Favart: Les Sylphes Supposes. 1783. Quetant: UAmant Sylphe. 1856. St. George: Le Sylphe (op^ra). ♦1470. Masuccio: Novellino, I, 2, "II quinto evangclista." ♦1550. Parabosco: / Diporti, III, "Un fratc s'innaniora d'uiui dunna." 1553. Doni: Novelle, 7. 1585. Malespini: Novelle. 1554. Bandello: Novelle, II, 2. *^ ♦1804. II Casti: iVow//e, " L'arcangclo Gabriclio." IV. 3 ♦1548. Hans Sachs: Schwanke, " Die drey pulctcn Schwcstcm." ♦1536. Nicolas de Troyes: Parangon, " Trois joiivcnccaux dc Marseille." 22 BOCCACCIO AND HIS IMITATORS IV. 4 *i5i6. Hans Sachs: Historia, " Constancia und Gerbino." af *i576. Turberville: Tragical Tales, "The king of Thunise had a daughter faire." *i755. Lami: Novelle letterarie di Firenze, " La Novella di Cerbino." IV. 5 *i5i5. Hans Sachs: i?w/ma, "Der erraort Lorenz." *i557. Martin Montanus: Wegkurzer, "Jungira.u'Lisa.heta.." ja *i576. Turberville: Tragical Tales, "A merchant's daughter loved her brother's boy." *i8i9. Keats: "Isabella, or the Pot of Basil." *i82o. Barry Cornwall: The Sicilian Story. *i849. J^Iillais: Liverpool Gallery, "Isabella." *i868. HolmanHunt: Walker Art Gallery, "Isabella." IV. 6 *i556. Hans Sachs: Historia, "Andreola mit Gabrioto." *i56o. Wickram: Gahriotto u. Reinhard. *i536. Nicolas de Troyes: Parangon, "D'une jeune fille amoureuse d'un jeune compaignon." *i565. Giraldi Cinthio: Ecatommithi, V, 6, "Graziosa e il podesta." IV. 7 *i54o. Hans Sachs: Historia, "Wie zwei liebhabende von einen Sal- venstock sturben." ^ *i576. Turberville: Tragical Tales, "Symone likt of Pasquine passing well." *i84o, Alfred de Musset: Simone. IV. 8 *i544. Hans Sachs: Historia, "Wie zwei liebhabende menschen vor lieb starben." ♦1557. Martin Montanus: Wegkiirzer, "Hieronimus hatte lieb eine jungfrau."! *i563. Kirchhof: IFgwJMWWM/^, "Einer edelichen person." *i85o. Von der Hagen: Gesammtabenteurer, "Frauentreue." y *i576. Turberville: Tm^ica/ Ta/e^, "A merchant's sonne that Girolamus hight." 1579. Forrest of Fancy. BOCCACCIO AND HIS I:MITAT0RS 23 *i8i9. Barry Cornwall: Dramatic Scenes and Other Poems, "The Broken Heart." *i536. Nicolas de Troyes : Parangon, "D'un jeune fils qui mourut." ^*i$$8. Marguerite de Navarre: Heptameron, ""La mort de deux parfaits amants." *i839. Alfred de Alusset: Silvia. *i635. Tirso de ]Molina: Los amantes de Teriiel. & 1554- Bandello: Novelle, I, 20. *i55o. Straparola: Notti, IX, 2, "Rodolino ama Violante." IV. 9 *i85o. Von der Hagen: Gesammtabenteiier, "Das Herz." *i872. Lambel: £rzc/i/zm^e«, "Das Herzemaere." *i576. Turbenalle: Tragical Tales, "In Provence were two knights." *i7o7. English Chapbook, "The Constant but Unhappy Lovers." (Clous- ton: Pop. Tales.) *i536. Nicolas de Troyes: Parangon, "De deux chevaliers." *i566. H. Estienne: Apologie, "Un mari fit manger a sa femme Ic coeur d'un gentilhomme." ♦1375. Sercambi: Novelle, "De prava amicitia vel societate." IV. 10 ♦1546. Hans Sachs: Schwanke, "Der juengling in Kasten." ♦1557. Martin Montanus: Gartengesellschaft, "Ein jungling in einem Kasten." ♦1456. Antoine de la Sale : Cent Nouvelles Nouvelles, " Le cur^ amoureux." ♦1536. Reyes: El Menandro. ♦1550. Parabosco: / Diporti, 4, "Un giovanc fe nascoso in un forzicrc." ♦1565. Giraldi Cinthio: Gli Ecatommithi, III, 3, "Bice fa entrare il giudice in un cofano." 1 516. Griininger: Historia von eines rcychen burgers son. ♦1546. Hans Sachs: Historia, "Der cdcl jung Cimon." ♦1557. Martin Montanus: Historia, "Cymon und l|)higcnia." 1 61 6. W. Waldung: Cymon Galesus. 1370. Anon.: Trans, in English verse. ♦1856. P. Heysc: Die Braul von Cypern. /^ *i584. Greene: The Tritameron of Love, "Chymon, more weallhie than wittie." 24 BOCCACCIO AND HIS IMITATORS *i675. T. C. (Gent.): A pleasant and delightful history of Galesus Cymon. *i 'joo. Dryden : Cymon and Iphigenia. *i767. Crwow (played by Garrick). *i847. Millais: "Cymon and Iphigenia." *i884. Sir Frederick Leighton : "Cymon and Iphigenia." *i499. Beroaldo: Mythicahistoria Joannis Boccaccii. 1 584. Ingegneri : La Danza di Venere. 1792. Camillo Cajafa: Cimone (epic poem). V. 2 y^r *i588. Greene: Perimides, The Blacksmith, "Costsmza, and Alcimedes." V. 3 *i543. Hans Sachs: Petrus floch mit seiner lieben. *i536. Nicolas de Troyes: Parangon, "De la grande infortune de deux amoureux." *i877. Imbriani: Novellaja fiorentina, "II figliolo del re di Portogallo." V. 4 *i85o. Von der Hagen: Gesammtabenteuer, "Die Na,chtigallJ' *i536. Nicolas de Troyes: Parangon, "De la fille d'un chevalier." *i666. La Fontaine: Contes, "Le Rossignol." 1743. Vergier: Contes et Nouvelles, "Le Rossignol." *i62i. Lope de Vega: El ruysenor de Sevilla. *i566. Sansovino: Cento Novelle Scelte, "Ricciardo Manardi." 1755. Lami: Novelle letter arie dl Firenze, "La Lusignacca." *i78i. Gamerra: La Corneide, Canto XXVI. *i8o4. II Casti: Novelle, "II Rossignuolo." V. 5 *i82o. Barry Cornwall: Dramatic Scenes, "The Florentine Party." ♦1779. Lessing: Nathan der Weise (with I, 3, and X, 3). V. 6 ♦1536. Nicolas de Troyes: Parangon, "De deux amans qui furent at- taches." ♦1556. Sansovino: Cento Novelle Scelte, " Gian di Procida." *i575. Tasso: Gerusalemme Liberata, " Ol'mdo a,nd Soironia,.'' BOCCACCIO AND HIS IMITATORS 25 V. 7 *i545. Hans Sachs: Commedia, "Die Violanta eines ritters tochter." 1579. Forrest of Fancy, "Theodore enamoured of Maister Emeries daughter." - *i6o8. Beaumont and Fletcher: Triumph of Love. *i536. Nicolas de Troyes: Parangon, "Du danger en quoy furent deux amoureux." V. 8 *i522. Pauli: Schimpf und Ernst, "Der Koler sach ein frauen und einen Ritter." ♦1540. Hans Sachs: Historia, "Wie der Jung edelman Anastasius ein jungfrau erworb." 1569. Christopher Tye: A notable Historie of Nastagio and Traversari. *i576. Turberville: Tragical Tales, "In Italic there is a citie hight i Ravenna." 1579. Forrest of Fancy (mentioned), "I might bring in Nastagio if I would." *i633. Shirley: A Contentioyifor Honour and Riches. (?) *i659. Shirley: Honoria and Ma>nmon.{?) *i7oo. Dry den: Theodore and Honoria. *i8i9. Byron: Don Juan, III, 105, 106. *i536. Nicolas de Troyes: Parangon, "D'une vision qui apparent a un amoureux." *i487. Correggio (or Alunno): four panels relating the tale of Nastagio {Burlington Mag., 1903). 1820. Strocchi: // Cavaliere. 1839. Paolo Costa: Opere, "La Donna di (Juido dcgli Anastage" (poem) . ♦1875. Giacosa: Trionjo d'Amore (secolo XIV) (not an imitation prob- ably). V. 9 ♦1543. Hans Sachs: Der Edelfilk. 1738. Hagedom: Fabcln u. Erzdhlungcn, "l)cr Fulkc." 1776. Anon., ein Lustsi)icl— National! heater, Wicn: Der Falkc. ♦1776. Goethe: Brief an Frau von Stein, Der Falkc (mentioned). ♦1819. Barry Cornwall: Dramatic .Scenes and Other Poems, "The Falcon." ♦1863. Longfellow: Tales of a Wayside Inn, "Student's Tale." 26 BOCCACCIO AND HIS IMITATORS *i879. *i887. *i67i. 1700. 1718. 1719. 1719. 1725- 1772. 1772. 1793- 1863. *l620. *i566. 1564. Tennyson: The Falcon (St. James Theater, London). Wm. Black: Sabina Zembra, "Ser Federigo's Falcon." La Fontaine: Contes, "Le Faucon." Jean Palaprat : Le Faucon (never played or printed) . Dauvilliers: Le Faucon, ou la Constance (comedy). Louis Fuzelier: Le Faucon (comedy). IMlle Barbier: Le Faucon (comedy). Drevetiere : Le Faucon et les Oyes de Boccace. Sedaine: Le Faucon (comic opera). De Th^is: Le Singe de La Fontanie, "Frederic et Clitie." J. B. Radet: Le Faucon. J. Barbier: La Colombe (comic opera). Lope de Vega: El Halcon de Federico. Sansovino: Cento Novelle Scelte, "Federigo degli Alberichi." Brugiantino: Cento Novelle in rima. V. 10 *i546. Hans Sachs: Schwdnke, "Die mullerin und ferberin." *i557. Martin Montanus: Gartengesellschaft, "Fine frau der andern fiir ubel hielt." *i52o. Morlini: Novelle, XXX. VI. I *i548. Hans Sachs: "Der unperet riter mit Oreta." *i375. Sercambi: Novelle, "De moctu placibili." *i566. Sansovino: Cento Novelle Scelte, "Monna Horetta." VI. 2 *i566. Sansovino: Cento Novelle Scelte, "Asti fornaio con una parola." *i536 *i375 1570 VI. 3 Nicolas de Troyes: Parangon, "D'une jouvencelle qui reprit I'evesque." Sercambi: Novelle, "De pulcra responsione." Castelvetro: Poetica d'Aristotile, II. /. VI. 4 *i522. Pauli: Schimpf und Ernst, "Ein fasant soil nur ein bein haben." *i54o. Hans Sachs: Schwdnke, " Der Koch mit dem Kranich." BOCCACCIO AND HIS IIMITATORS 27 *i557. Martin Montanus: Gartengesellschaft, "Ein koch stillt seines herren zom." 1656. Gerlach: Entrapeliae. 1660. Hermotimius: De gruis pedibus. 1677. Horl: Bachusia. 1665. Lange: Deliciae Academicae. 1 691. Biderman: Utopia. 1767. Vademecumfiir lustige leute. 1862. Bechstein: Mdrchen, " Der Leherle's Schwab." 1898. Zocher: Schones grilnes Alpenland, "Die pfiffige Kochin." *i59o. Tarleton's Newes out of Purgatorie, "The Tale of the Cooke." *i896. Hopkinson Smith: Colonel Carter of Cartersinlle, "The One- legged Goose." 1681. D'Ouville: La fleur de toutes Nouvelles. *i566. Timoneda: Alivio, "Porque sedijo, se dijera ojte, sacara su piema." *i574. Santa Cruz: Floresta espanola. 1879. Coelho: Contos populares portuguezes. ♦1562. Sansovino: Cento Novelle Scelte," C\\\ch\h\o cuoco." 1684. Sagredo: Arcadia in Br enta. VI. 5 ♦1548. Hans Sachs: Schwdnke, "Die zwen ungerschaflfen Reuter." VI. 6 1570. Castelvetro: Poetica d'Arislotile. VI. 7 ♦1557. Martin Montanus: Gartengesellschaft, "Ein wirt nimml linc jungfrau." 1 541. Peregrinus: Convivialium Scrmoniim liber, "Der senis juvcne uxore." ♦1536. Nicolas de Troycs: Parangon, "D'un hommc qui avail accuse .sa fcmmc." VI. 8 VI. 9 ♦1562. San.sovino: Cenlo Novellc Sceltc,"C,uU\n Cavalcanti." 28 BOCCACCIO AND HIS IMITATORS VI. lo 1538. Bebelius: Facetiae, "De stationario." *i54o. Hans Sachs: "Der Munnich zwieffel mit seim heylthumb." *i557. Martin Montanus: Gartengesellschaft, "Ein stationierer zeigt kohlen fur heiltum." 1563. Kirchhof: Wendunniuth, "Reliquiae mit Kohle verweckselt." 1568. Hulsbusch: Sylva sermonum, "Hierophanta ostendit foenum pro reliquiis." 1566. Luther: Tischreden, 3, 256, ed Forsteman. 1656. Gerlach: Eutmpeliae. 1665. Lange: Deliciae Academicae. 1884. Baumbach: Ahenteuer mid Schwdnke, "Die gestohlene Feder." *i59o. Tarleton's Newes out of Purgatorie, "The Vickar of Bergamo." *i589. Greene: The Spanish Masquerado (mentioned only). *i535. Nicolas de Troyes: Parangon, "D'un moine nomme frere Ciboulle." *i566. H. Estienne: Apologie, "Un religieux nomme frere Oignon." *i55o. Parabosco: Diporti, 3 (end), "II morto Lazaro." VII. I *i54o. Hans Sachs: "Der Farber von Florenz." *i590. Cohler of Caunterhurie, "Old Wives' Tale." *i55o. Straparola: Notti, V, 9, "La Thia fa scongiuro al marito." VII. 2 1541. Gast: Convivialium Sermonum, "De SidulteY^." *i557. Martin Montanus: Gartengesellschaft, "Eine frau verbarg ins olfass." 1609. Sommer: Emplastrum Cornelianum, "Eine fraw in ein fass ver- steckte." *i566. Estienne: Apologie, "Une femme qui fit entrer son ami en un tonneau." 1623. Les Delices de Verboquet. 1674. La Fontaine: C ontes, "L.e Cuvier." 1 761. Audinot: Le Tonnelier (opera). ♦1520. Morlini: A/'o^'e//ae, "De viro in dolio." VII. 3 ♦1557. Martin Montanus: WegkUrzer, "Monch Rinaldus." 1608. Mahrold: Rollmarschkasten. BOCCACCIO AND HIS IMITATORS 29 *i536. Nicolas de Troyes: Parangon, "D'un Jacobin et sa commere." *i566. Estienne: Apologie pour Herodote, "Une Siennoise etant avec frere Regnard." VII. 4 *i522. Pauli: Schwtpf und Ernst, "Eine fraw ward bewert frum." *i546. Hans Sachs: Schwdnke, "Das Weib in Brunnen." *i557. Martin Montanus: Garten gesellschaft, "Wie einer sein weib fur die hausthiir versperrt." 1805. Zschokke: Peter Rotbart (imitated from Moliere). *i6o3. Westward for Smelts, "The Fishwife of Richmond's Tale." *i566. Estienne: Apologie, "Une Parisienne fait demeurer son mari en la rue." *i668. Moliere: George Daudin. *i4oo. Libra de los enxemplos, " Mulierum malitiam nemo idiscere' potest." *i375. Sercambi: Novelle, "De geloso e muliere malitiosa." 1483. Arienti: Le Porretane, "Uno contadino lassa la moglie fori di casa." ♦1486. Bibiena: La Calandria. *i566. Sansovino: Cento Novelle Scelte, "Tolz.no chiude fuor di casa la moglie." *i57-. Tasso: Intrighid'Anwre,lV, 2. 1687. Casalicchio: L' Utile col dolce, 89. 1865. Passa-tempo dei curiosi. VII. 5 ♦1543. Hans Sachs: Schwdnke, "Der eyfercr hort ])eicht." 1563. Pauli: Schimpf tind Ernst, U)\. "jg. ♦1557. Montanus: Garlengesellscha/t, "Zu beicht hort einer .scin weib." *i563. Kirchhof: Wendunmulh, "Die frau bcichtct dcm manne." 1790. Ramlers Fabellese, "Der falschc bcichtvatcr." 1576. Tho. Twyne: The Schoolmaster. *i456. Antoine de la Sale: Cent Nouvclles Nouvdles, "Lc mari Con- fesseur." *i666. La Fontaine: Con/gi, "Lc mari C:()nfc.sscur." 1731. D'Allainvil: Le tnari curieux. 1878. D'Hervilly: La Fontaine des Ikni-Mcnad (comt'die)- 1554. Bandello: Novclle/'\]n yLy\nso ode la ronfessione dclla mogh'c." iS8o. Malesinni: Novelle, 92, "Ritornato uno di viaggio." 30 BOCCACCIO AND HIS IMITATORS / 1/ 1459- 1545- *i545- *i563. 1738- 1742. *i85o. *i549- *i59o. 1607. 1611. *i6io. 1678. *i456. *i566. 1614. 1681. *i698. 1837- 1483. 1555- *i566. 1580. 1450 1450 1450 1542 1548 *i553 *i559 *i792 1826 VII. 6 Poggio: Facetiae, "Muliebris vafrities." Gast: Sermones Conviviales. Hans Sachs: Schwdnke, "Die listig Bulerin." Kirchhof: Wendimmuth, "Einen einaugigen ritter betreugt seine hausfraw." Hagedorn: Versuch in poetischen Fabeln und Erzdhlungen. Van Effen: CEiivres diverses, "Von einer geschwinden Schalkin." Von der Hagen: Gesaynmtahenteuer , "Der Ritter und die Nusse." Mery Tales, "Of the inholder's wyfe and her two lovers." Tarletoti's Newes, "The Gentlewoman of Lyons." Sharpham: Cupid's Whirligig. Turneur: The Atheist's Tragedy. Beaumont and Fletcher: Women Pleased, II, 6. Ravenscroft: The London Cuckolds. Antoine de la Sale: Cent Nouvelles Nouvelles, "Une dame et ses deux compaignons." Estienne: Apologie, "Une femme florentine ay ant deux amants en sa maison." Bouchet: Serees. D'Ouville: Elite des Contes. Dancourt: La Parisienne. La Farce du Poulier a quatre personnages. Arienti: Le Porretane, "La moglie di marchesino Ottobuoni." Parabosco: / Diporti, 16, "Oderico fa uscir di casa il marito." Bandello: Novelle, "Una donna si trova aver tre innamorati." Sansovino: Cento Novelle Scelte, "Madonna Isabella con Lionetto." Malespini: Novelle. VII. 7 Anon. : Von dem Schreyher. Anon.: Der Schreiber im Garten. Rosenbiut: Der Mann im Garten. Gast: Sermones Conviviales. Burkhard Waldis: Esopus, " Vom alten mann und seinem weibe. Hans Sachs: Meisterlied, "Von einem ungetreuen knecht." Martin Montanus: Spiel vom untreuen Knecht. Langbein: Schwdnke, "Der Kammerdiener." Falk: Satyrische Werke, "Frau in der maske der zofe vom manne gepriigelt." BOCCACCIO AND HIS IMITATORS 31 *i526. C Mery Tales, "Of the wyfe and her prentys." *i56o. Sackful of N ewes, "There was an old man that could not well see." *i59o. Cobler of Caunterburie. *i66i. Davenport: The City Nightcap. 1675. Fane: Love in tJie Darke. 1682. Ravenscroft: London Cuckolds. 181 5. Singer: Shakspere's Jest Book. *i456. Antoine de la Sale: Cent Nouvelles Nouvelles, "La bonrgeoise d'Orleans." *i536. Nicolas de Troyes: Parangon, "Comment une femme fit aller son mari en un jardin." 1644. D'Ouville: Elite des Contes, "Ainsi il fut cocu, battu et content." 1665. Contes a rire. *i666. La Fontaine: Cow/e5-, "Le cocu, battu et content." 1670. Roger Bontems en Belle Humeur. ♦1695. Dancourt: Le Tuteur. 1738. Wiege: Le Mari, cocu, battu et content (comedie). 1883. Kryptadia, "La femme de marchand et le commis." *i566. Timoneda: Alivio, "Avia un aldeano mujer hermosa." *i6oo. Romancero General, "Novela in redondillas." *i68o. Andres Gil: Entr ernes del Amigo Verdadero. *i378. Ser Giovanni: Pecorone, "Ceccolo di Perugia." 1459. Poggio: Facetiae, "De muliere quae virum defraudavit." 1555. Bandello: Novelle, I, 5. *i566. Sansovino: Cento Novelle Scelte, "Ludovico discuoi)ra a Madonna Beatrice." 1580. Malespini: Ducento Novelle, 6r. ♦1781. Gamerra: La Corneide, Canto XVIII. VII. 8 ♦1556. Hans Sachs: Schwdnke, "Der Bawcr mit dem Zopf." ♦1598. Ayrer: Fastnachtspiel, "Der uherwunden Eyffcrer." ♦1850. Von der Hagen: Gesammtabentcucr, "Der vcrtreute Wirth." ♦1883. Lambel: Erzdhlunqen, "Der verkerte Wirt." ♦1540. Andrew Bordc: Mad Men of Gotham, "Twelfth Talc." ♦1590. Cobler of Caunterburie, "Old Wives' Tale." ♦1603. Westward for Smelts, "The Fishwife of Brainford." *i633. Massinger: Guardian, IV. *i456. Antoine de la Sale: Cent Nouvelles Nouvelles, "Le bourgeois de Tours." 32 BOCCACCIO AND HIS IMITATORS *i536. Nicolas de Troyes: Parangon, "D'une femme que son mari avait trouvee." 1630. Les Delices de Verboquet le Genereiix. *i666. La Fontaine: Contes, "La Gageure des trois Commeres." *i566. Timoneda: Patranuelo, "A marquina las narices cortaron." *i548. Firenzuola: Discorsi degli animali, "La sventurata col naso mozzo." 1552. Doni: Filosofia morale. *i566. Sansovino: Cento Novelle Scelte, "Un diviene geloso della moglie." 1580. Alalespini: Novelle, II, 40. 1625. Campeggi: Novelle due. VII. 9 *i78o. Wieland: Oberon, "Sechtesgesang." *i396. Chaucer: Canterbury Tales, "Merchant's Tale." *i64i. Marmion Shackerley: The Antiquary. *i72o. Pope: Poetical Works, "January and May." 1644. D'Ouville: Elite des Contes. *i666. La Fontaine: Contes, "La Gageure des trois Commeres." 1723. LeSage: Les Trois Commeres. *i752. Vade: Le Poirier. 1833. Desmares: Gageure des Trois Commeres. VII. 10 *i536. Nicolas de Troyes: Parangon, "D'un compagnon qui promist revenir." VIII. I 1538. Bebelius: Facetiae, "Factum cujusdem Francigena." *i55i. Hans Sachs: Schwanke, "Die petrogen puelerin." 1 719. Frederici: Der undankbare franzoss. *i387. Chaucer: Canterbury Tales, "The Shipman's Story." *i456. Antoine de la Sale: Cent Nouvelles Nouvelles, 18. *i536. Nicolas de Troyes: Parangon, "Une dame vouloit 200 florins." *i666. La Fontaine: Contes, "La Femme avec Galant Escroc." 1753. CoUe: Le Galant Escroc. 1773. De Theis: Le Singe de La Fontaine, "La double attente." 1787. Contes a rire. 1 781. Imbert: Nouvelles Historiettes,^^!^^. m.diXQh€rom\i\\..''^ > 1450. Poggio: Facetiae, "Anser venalis." BOCCACCIO AND HIS IMITATORS 33 vni. 2 *i539. H. Vogel: Das schon goltschmidtsweih. *i545. Hans Sachs: Der pfarrer mit sein korock. *i557. Alartin Montanus: Gartengesellschaft, "Ein pfaflf giebt seinen chorrock zum pfand." *i558. Lindener: i?a5/6Mc/z/ein, " Der pfaff und frau Belcora." *i563. Kirchhof: Wendimmuth, "Ein studiosus verbult sein rock." *i593. Watt: Der Student mit dem morser. 1670. Sommerklee und winter griin, ^-^t,. *i536. Nicolas de Troyes: Parangon, "Un gentilhomme donna pour cinquante escus de velours." VIII. 3 *i563. Hans Sachs: " Die Schwarzen unsichtigen edlen stein." *i566. Sansovnno: Cento Novelle Scelte, "Colandrino cercando la Elitropia." VIII. 4 ♦1545. Hans Sachs: Schwdnke, "Der thum probst." 1582. Whetstone: iJe/'/aweron, "The Priest of Fiesole." *i456. Antoine de la Sale: Cent Nouvelles Nouvelles, "Un chevalier de Bourgogne." *i536. Nicolas de Troyes: Parangon, "D'un prestre qui cuidoit estre avec une femme." 1584. Bouchet: Serees. 1659. Facet: Reveille-matin. 1 61 1. Puenta: Jardin de Amadores. 1554. Bandello: Novelle, II, 47. ^ *i566. Sansovino: Cento Novelle Scelte, "II Proposto di Ficsole." 1580. Malespini: Novelle. VHI. q VIII. 6 1522. Pauli: Scliimpf und Jirnsl, U)\. -JJ^. ♦1546. Hans Sachs: Schwdnke, " Der pachcn dieb." 1450. Poggio: Facetiae. *i566. Sansovino: Cettto Novelle Scelte, "Bruno c BufTaimacco imbolano un porco a Calandrino." 34 BOCCACCIO AND HIS IMITATORS VIII. 7 *i545. Hans Sachs: "Der Student im Schnee." fi^ *i566. Painter: Pa/oce o/P/m^i^re, "Helena of Florence." *i633. Massinger: The Guardian. *i536. Nicolas de Troyes: Parangon, "D'une femme qui trompa un escolier." *i7o7. LeSage: Le jDiaWe 5<7i/eM:x;, "Patrice et Lusita." VIII. 8 1450. Rosenbliit: "Die wiedervergeltung." ♦1557. Martin Montanus: Gartengesellschaft, "Zween gesellen." *i558. Lindener: Rasthiichlein, "Zwen giitt gesellen." 1608. Mahrold: Rollmarschkasten. 1691. Der kurzweilige Arlequin, "Der gestraffte buhler." *i79i. Langbein: Schwdnke, "Stille Rache." ♦1850. Von der Hagen: Gesammtahenteuer , "Die drei muniche von Colmar." 1635. John Jones: Adrasta. ♦1536. Nicolas de Troyes: Parangon, "De deux voisins." *i558. Bonaventure des Periers: Nouvelles Recreations, "De celui qui acheva I'oreille." *i566. Estienne: Apologie, "Un cousturier de Florence." 1584. Bouchet: Series. *i666. La Fontaine: Co»/e5, "Le faiseur d'oreilles." 1 710. Petit de la Croix: Contes Persans, "Histoire d'Aronga." 1808. Guichard: Contes et Fables, "1^3, revsnicheJ' 1883. Kryptadia, "Jean Matelot." *i476. Masuccio: NovelUno, 36, "Dui can compagni." *i55o. Parabosco: / Diporti, V, "Valerio e Teodoro." ♦1550. Straparola: Notti, VI, i, "Si amano insieme duo compari." VIII. 9 ♦1545. Hans Sachs: "Der doctor im Venusperg." ♦1598. Ayrer: Ein fastnachtspiel von Meister Simon. 1570. Castelvetro: Poetica d'Aristotile, "Bruno comminicia a mostrare." VIII. 10 ♦1550. Hans Sachs: Fastnachtspiel, "Nicola, der ksiuSmon.^^ *i6i7. Lope de Vega: El anzuelo de Fenisa. BOCCACCIO AND HIS IMITATORS 35 IX. I *i522. Pauli: Schimpf tind Ernst, "\Jm dreiVJerheT." *i54o. Hans Sachs: Fastmchlspiel, "Die jung erber witfraw Francisca." 1563. Scherz mit der Warheyt. 1568. Hulsbach: Sylva Sermonum. 1687. 'SichzM^ldAz: Der Betriger. 1767. Vademecumfur lustige Leute. 1853. Prohle: Kinder und Volksmdrchen. 1888. Ueher Land und Meer, "Die Freier des Witwes." 1450. Lydgate: The Lady Prioress and Her Three Lovers (ballad). *i536. Nicolas de Troyes: Parang&ti, "De deux amans qui aymoint une veufve." 1 881. Sebillot: LiUerature or ale de la Haute Bretagne. 1883. Ortoli: Contes populaires de I'tle de Corse. 1 891. Pineau: Contes populaires du Poitou. IX. 2 *i5o8. Gallus: Mensa philosophica, "Die begine mit der hose." *i546. Hans Sachs: Meisterlied, "Die Epthesin mit der pruech." 1548. Burkhard Waldis: Esopus, "Von einer armen Nonnen." ♦1557. Martin Montanus: Gartengesellschaft, "Eine abtissen hat eine hose auf dem haupte." 1609. Sommer: Emplastrum Cornelianum, "V^on einer bcginen." 1783. Dachtimandes: Die hosen des doktors im nonnenkloster. 1576. Tho. Twyne: The Schoolmaster, IV, "Of honest jests." 1586. Warner: Albion's England, V, 27. ♦1536. Nicolas de Troyes: Parangon, "D'une abbesse qui vouloit baillcr discipline." ♦1566. Estienne: Apologie, "Une abbaisse au pays de Loml)ardic." 1585. Noel du Fail: Matinees. ♦1674. La Fontaine: Contes, "Le Psautier." 1773. DeTheis: Le Singe de La Fontaine, "'Lc Cdlc^on.'' 1780. Vergier: (Euvres, "La. CuUaIc." 1881. Gr^court: (Euvres, "La Culotte et le Cordelier." ♦1470. Pulci: Morgante Maggiore, XVI, 59, "Quelia Badessi die voile tor la cuffia." *r52o. Morlini: Novelle, "De abbati.ssa quae monialcs arripiens." 1525. Cinthio dei Fabrizii: Origine dci provcrhi, "Ogni' cuflla si .scusa di nottc." 36 BOCCACCIO AND HIS IMITATORS IX. 3 *i544. Hans Sachs: Schwdnke, "Die kranckheit Kalandrin, der ein kind drueg." *i56o. Wickram: RollwagenbUchlein, "Von einen radtsherren, der mit einem kind gieng." *i536. Nicolas de Troyes: Parangon, "D'un medecin qui fit accroire." 1883. Kryptadia, "Le recteur en mal d'enfant." *i554. Straparola: A^o//i, "Scarpafico." (?) IX. 4 *i545. Hans Sachs: Schwdnke, ''Der herr mit dem verspilt knecht." IX. 5 *i548. Hans Sachs: ^Sc/^waw^e "Der erganst pueler." *i536. Nicolas de Troyes: Parangon, "D'un homme marie." IX. 6 *i554. Hans Sachs: Schwdnke, "Die zwei Gesellen beim wirt." *i557. Martin Montanus : Gariengesellschaft, "Zween jung gesellen." *i558. Lindener: Rastbiichlein, "Zwen gesellen herbergten bey einem wiirt." 1785. Langbein: Gec^zVAfe, "Die Wiege." *i85o. Von der Hagen: Gesammtahenteuer , "Von zwain studenten." *i387. Chaucer: Canterbury Tales, "The Reeve's Tale." *i525. Historie of the Mylner of Abington (not an imitation of Boccaccio). *i666. La Fontaine: Cow/e5, "Le Berceau." 1765. Colle: Le Berceau (opera.). *i636. Reyes: El Menandro. 1526. Cinthio dei Fabrizii: Origine del proverbi, "Lu vai cercando Maria per Ravenna." 156?. Castelvetro: Arte Poetica, "Dell' inganno precedente per ebrezza." IX. 7 *i546. Hans Sachs: Schwdnke, "Das bos weib mit dem wolf." *i566. Sansovino: Cento Novelle Scelte. IX. 8 ♦1547. Hans Sachs: 5cAwa«^e, "Die zwen Schmarozer." *i536. Nicolas de Troyes: Parangon, "De Deux Gloutons." BOCCACCIO AND HIS IMITATORS 37 *i566. Sansovino: Cento Novelle Scelte, "Biondello fa una beflfa a Ciacco d'uno desinare." IX. 9 *i545. Hans Sachs: Sch-wiinke, "Die gensbrucken." *i 536. Nicolas de Troyes : Parangon, " De deux hommes qui demanderent trois conseils a Solomon." *i378. Set Giovanni: // Pecorone, V, 2. IX. 10 ♦1557. Martin Montanus: Garten gesellschaft, "Pfaff Zianus." *i536. Nicolas de Troyes: Parangon, "D'un prestre." *i666. La Fontaine: Contes, "Compere Pierre." 1881. Grecourt: CEuvres badines, "La Charrue." *i8o4. II Casti: Novelle, "L'incantesimo." 1850. Batacchi: A^oz'e//e^ "La Scommessa." ♦1875. Pitre: Fiabe Siciliane, "Lu rimitu." 1563 *i393 *i6oo *i536 *i553 ♦1563 *i574 *i6i9 *i55o X. I Pauli: Schimpf iind Ernst, io\. 13. Gower: Confessio Amantis. Shakspere: Merchant of Venice, Scene of Caskets. Nicolas de Troyes: Parangon, "D'un Florentin qui servit le roy d'Espagne." Torquemada: Colloquios Satiricos. Timoneda: Alivio, "Yendo camino solo un rey de Castilla." Santa Cruz: Floresta espanola. Lope de Vega: El servir con mala estrella. Straparola: Notti, XIII, 7, "Giorgio servo e il patrone." X. 2 ♦1550. Hans Sachs: Fd5/«ac///.s/>xt'/, " Das Wildbad." ♦1563. Kirchhof: Wendunmuth, "Ein cdelman machct cincn miinrhcn gesundt." 181 2. Langbcin: Neue Gedichle, "Die Rei.sc ins Bad." 1836. Geib: Sagen und Gescliirhten, "Der Rittcr und dcr Abt." ♦1536. Nicolas de Troyes: Parangon, " D'un hommc Icqucl print un abbd." X. 3 ♦1779. Lessing: Nathan dcr Wcise (together with I, 3, and \ , 5;. V T567. Painter: Pc/ace 0/ /Vca.s7Ter: I, i; II, 5, 8; IV, 2; VII, 8; \1II, 9; X, 9. Bandello: III, 2; IV, 2, 8; VII, VIII, 4; X, 4. Bebelius: III, 3; VI, 10; VIII, 4. Bechstein: VI, 4; X, 8, 10. Behn, Aphra: II, 5, 6; X, 9. Beroaldo: IV, i; V, i; X, 8. Black, Wm.: V, 9. Bojardo: X, 5. Braddon, M. E.: X, 10. Biilow: IV, 2. Burger: IV, i. Burkhard Waldeis: VII, 7; IX, Byron: V, 8. Castelvetro: 1,8; 11,9; III>5; VIII, 9; IX, 6. Casti: III, i, 2, 10; IV, 2; V, 4; IX, 10. Centlivre: III, 3, 5; IV, i. Cobler oj Caunterburie: VII, 1, 7, 8. Cornwall, Barrj': III, 2; IV, 5; V, 5, 9. Dancourt: VII, 6, 7. Dekker: X, 10. Dryden: IV, i; V, 8. Estienne: 111,3,5; IV, 2, 9; VII, 2, 3, 6; VIII, 8; IX, 9. Fabrizii, Cinthio del: IX, 2, 6. Favart: IV, 2. Eigueroa: II, 5. Firenzuola: VII, 8. Fletcher: III, 8; VII, 6; X, 5. 8. Forrest oj Fancy: IV, 8; V, 7, 8. Garrick: II, 9; V, i. (}iacosa: V, 8. Giovanni, Ser: VII, 7, IX, 9. Giraldi: 11,6; 111,6; IV, 6, 10. Golfioni: X, 10. Goldsmith: X, 8. Gr<;court: IX, 2, 10. Greene: IX, 2, 10. Hagen, von der: II, 9; III, 8; IV, 9; VII, 6; VII, 8; VIII, 8; IX, 6, Hauptmann; X, 10. Hey wood: II, 9. Heyse: V, i. Hogarth: IV, i. Imbert: I, 4; III, 8; VIII, i. Jonson, Ben: II, 2; III, 3. Kirchhof: II, 8; IV, 2; VI, 10; VII, 3. 6; X, 2. Kock, Paul (ie: IT, 10; III, 2. Kryptadia: VII, 7; VIII, 8; IX, 3. Langbein: VII, 7; VIII, 8; X, 2. Leigh ton; V, i. Lessing: I, 3. * Lindener: VIII, 2, 8; IX, 6. Longfellow: V, 9. Luther: I, 2; VI, 10; X, 4. Lydgate: IX, i; X, 8. Mahrold: I, 4; VIIT, 8; X, 2. Marmontel: I\', 2. Masuccio: III, 10; IV, 2; VIII, 8. Millais: IV, 5; V, 8. Molifcre: 111,3; VII, 4. Mussel, dc: IV, 7, 8; X, 7. Olimpia Fulvia Morata: I, 1, 2. Pinluricchio: X, 10. Panard: IV, 2. Paralx)Sco: IV, i, 2, 10; V, 8. Pauli: 1,3; II, 1,5,9; III, ij; IV. 1. • IV'riers, dcs: III, 3, 5, 8; VIII, S. Pcrrault: X, 10. Pitrt': II, 5.(); III, r,, 8; IX, 10. Poggio: 111,8; VII, 7; VIII, f.. PoiK-: VII, 9. Pul.i: IX, 2. Sacchctli: III, 6, 10. * Sagn-.!,,: 111,3; VI, 4. Sale, Anloinc dc la: 111,8; IV, 3, 10. Scdainc: II, 10; 111,5; V, 9. 45 46 BOCCACCIO AND HIS IMITATORS Shakspere: II, 9; III, 9; X, i. Turberville: IV, 4, 5, 7, 8, 9; V, Smith, Hopkinson: VI, 4. Vade: VII, 9. \^ Straparola: III, 9; IV, 8; VII, i; Voltaire: I, i. -^ VIII, 8; IX, 3. Westward for Smelts: II, 9; VII, Swift: I, 3. VII, 8. Tarleton's Newes: IV, 2; VI, 4, 10. Wickram: IV, 6; IX, 3. Tasso: V, 6. Wieland: VII, 9. Tennyson: V, 9; X, 4. Zschokke: VII, 4. Tirso de Molina: IV, 8. ; "N ■>F r*TTFORNIA I^ RY ( mmm University of California SOUTHERN REGIONAL LIBRARY FACILITY 305 De Neve Drive - Parking Lot 17 • Box 951388 LOS ANGELES, CALIFORNIA 90095-1388 Return this material to the library from which it was borrowed. r •AN' 'nnft Porm L9-S PAMPHLET BINDER Syracuse, N. Y. Stockton, Calif V \f^^' '00^^33 bbo^ 'sJOK mSJTw \ M