Gregory Smith, The
Transition
Period, New York, 1900, pp.
Allinson - Lucian, Satirist and Artist
iii, see C.
S.
Jerram: Luciani Vera Historia, Oxford, 1892, 1, 120; and, ibidem, note on V.
H.
, I.
37 for Juvenal; and note to V.
H.
, II.
33 for Ovid ; for all of these Roman authors (except Pliny), see H.
W.
L.
Hime, Lucian the Syrian Satirist, London, New York, and Bombay, 1900, Ap pendix, pp.
92-95, i.
e.
, thirteen parallel passages (some more convincing than others) ; for Ovid, see also Croiset, op.
cit.
, p.
311; for Tacitus, see Sandys, op.
cit.
, II, p.
309; for Plautus, cf.
Trinummus, Act.
iv.
, Sc.
4 for some direct or indirect connection with Lucian's Icaromenippus.
Also Lu cian's True History, p.
9, by Chas.
Whibley, London, 1894.
58. Ars Amat. , II. 687 ff.
59. See Bliimner (cf. Bibliography).
60. E. A. Gardner, A Handbook of Greek Sculpture,
New York and London, 1897, p. 3.
61. For the two types of the Europa story and for An
dromeda with details and citations, see Allinson, op. cit. , p. 185, notes, and pp. 181-184; cf. E. S. Hartland, Legend of Perseus, London, 1894-96.
62. See above, p. 107.
[I9S]
NOTES
63. Madvig's enticing emendation, Piscator, 39, rip, TrrtpurTiv for ri)v ye rparriv.
64. Cf. Forster, p. 18 (sec Bibliography), for Fonzio, Benvenuto Garofalo, Luca, Signorelli; p. 20 for the Alex- ander-Roxana subject; and foil. pp. for many other sug gestions. "
65. For specimens of Holbein's Dance of Death," see frontispiece.
66. The complicated Holbein question is discussed in The (N. Y. ) Nation, Nov. 19, 1903, in a review of a re-issue of
the Bell-Macmillan ed. of the Dance of Death. The origi nal drawings, now accessible, show " that they are by more
. . . " It is demonstrable that the designer
than one hand. "
was not always, and hence possibly not at all, the draughts man for the wood-engraver. " The woodcuts of the original Lyons edition of 1538 should be compared.
67. For details of the Lubeck painting, see p. 19 of the Dance of Death in Painting and Print, by T. Tindall Wild- ridge, London, 1887, an inexpensive illustrated booklet which gives, inter alia, some 30 examples in England, France, Germany and Switzerland of the " Dance of Death " in painting or (occasionally) in sculpture on bridges or in houses, churchyards, and cloisters. For the motif itself,
firmly naturalized in Europe independent of any literary tradition, see the scenes in Death's Jest Book, by Thos. Beddoes (cf. p. 179, below). For its early appearance in literature Rentsch (see Bibliography), p. 25, cites from Thibaut de Marly in the 13th century, thus antedating the passage cited by Wildridge, op. cit. , p. 13, from Piers Plowman (1350).
" 68. See Chapter I, pp. 10-12. See also Hardin Craig, Dryden's Lucian," in Classical Philology, xvi. 141-163
(1921).
69. Cf. Saintsbury, Hist. Criticism, I. 474.
" 70. Cf. Sandys, op. cit. , versus Pauly-Wissowa, article Alciphron. "
71. See W. C. Wright, Phttostratus, Introd. , p. xiv, in The Loeb Classical Library.
J2. Orat. , No. XXV (Teubner text). [196]
NOTES
73. For Libanius, see Introd. , p. 33s, to W. C. Wright'9 edition of Eunapius (The Loeb Class. Libr. ).
74. Cf. J. Rentsch, Das Totengesprdch in der Litteratur, Plauen, 1805, p. 17, note.
75 Lives of the Philosophers and Sophists, ed. at. , The Loeb Classical Lib. , p. 348.
76. See K. Krumbacher (cf. Bibliography), p. 405, § 211 and Rentsch, op. ext. , p. 21.
77. Sandys, op. cit. , I. p. 4gi.
78. Sandys, op. cit. , p. 399.
79. Krumbacher, op. cit. , pp. 526-536, § 219.
80. See detailed resume in Rentsch, op. cit. , pp. 21 ff.
Also see Krumbacher, p. 218, for Psellus as Lucianic pam phleteer.
81. Cf. Krumbacher, op. cit. , pp. 492-495, and Rentsch, op. cit. , p. 22.
82. See Krumbacher, op. cit. , p. 756, §313 (13), and Sandys, op. cit. , I. 410.
83. The content of this dialogue is accessible in Bolder- man's dissertation, see above, note 15, or in Notices et Extraits des Manuscrits de la Bibliothique implriale, 1810,
Art. 37.
84. Cf. F. Schumacher, De Johanne Katrario Luciani
imitatore, Bonn, 1908, who decides for the later dating.
85. Sandys, op. cit. , p. 36.
86. See R. Forster, op. cit. , p. 8. This particular dialogue
had a great vogue among imitators of Lucian.
87. See G.
Gregory Smith, The Transition Period, New York, 1900, pp. 140 ft. and pp. 306 and 387; also Forster,
op. cit. , pp. 9, 10.
88. See below, pp. 161, 180, the different conceptions by
Moliere and Bulwer.
89. G. B. E. Saintsbury, Earlier Renaissance, New York,
1901, p. 24, note.
90. Cf. Saintsbury, ibidem, p. 406, and p. 72.
91. Cf. Cicero by J. C. Rolfe, in the Series, Our Debt to
Greece and Rome, pp. 137 ft.
92. His strictures upon a previous (unnamed) translator,
see Epistles, ed. by Nichols (cf. Bibliography), Vol. I, 408, [197]
NOTES
are interesting in connection with the Shakespeare tradition. He is certainly not referring to Boiardo's II Timone, see above, p. 142.
93. Cf. Epistles, op. cit. , II. p. 49.
94. Epistles, cccclxiii.
95- Cf. J. A. Froude, Life and Letters of Erasmus, New
York, 1896, p. 220.
96. Epistle to the Bishop of Chartres, No. 179, Nichols,
op. cit. , I. p. 415.
97. Cottoq. , No. xiii, ed. London, 1725, L'Estrange (Thos.
Brown), p. 199: "This story . . . outdoes Menander's Phasma. "
98. Cottoq. , vii, op. cit.
99. Colloq. , Patrick's ed. , London, 1750, p. 380.
100. Cf. Froude, op. cit. , pp. 81 ff.
101. Froude, op. cit. , p. 86. See Nichols, op. cit. , I. p. 404, who corrects Froude's error, op. cit. , p. 300, in attributing to Erasmus this letter by More. This somewhat distorts Froude's estimate.
102. See Saintsbury, Earlier Renaissance, p. 86.
103. Holbein illustrated More's Utopia as well as Eras mus's Encomium Moriae.
104. Cf. Saintsbury, Earl. Ren. , p. 92.
105. See Saintsbury, Earl. Ren. , p. 81 and pp. 99, 100 for resume. See also Forster, op. cit. , p. 14, where Pirckheimer is accepted as the author.
106. For a good, if nationalistic, account of their contri butions, see Forster, op. cit. , where Erasmus, however, is nonchalantly listed (p. 7) as a German! For Erasmus's attitude to his own (Dutch) language and his own state ment that he did not even understand German, see Nichols, I. p. 153, and Froude, op. cit. , p. 306.
107. See Rentsch, op. cit. , p. 23.
108. Also, he. cit. , other contemporary writers, Spanish, German, Italian.
109. See Sandys, op. cit. , II. p. 267.
no. For both Bud6 and Rabelais and their use of Lucian, see Sandys, op. cit. , II. pp. 170-173, 182.
in. Saintsbury, Earlier Ren. , p. 226; also Hist, of Crit. , H. p. 516.
[198]
NOTES
112. Essays and Studies, op. cit. , pp. 312-313.
113. For Lucian in Rabelais, cf. Sandys, op. cit. , II. pp.
183-184. Hist, 114. See Saintsbury,
of French Literature (cf. Bib
liography), pp. 231-236. "
115. See W. S. Fox, Sources of the Grave-scene in
Hamlet," p. 76 (see below, note 120).
116. Cambr. Hist. Eng. Lit. , IV, p. 404. This is probably
the first English trans, of Lucian in use. "
117. C. H. Herford, cited by Fox, Grave-scene in
Hamlet," p. 77 (see note 120).
118. Volpone, Act. I, pp. 11-13, of the "Mermaid"
edition.
119. Probably written by Fletcher only, see C. M. Gay-
ley, Beaumont the Dramatist, New York, 1014, pp.
301 ff. "
120. See two monographs by W. Sherwood Fox, Sources of the Grave-scene in Hamlet " (Part I, Trans. Roy.
58. Ars Amat. , II. 687 ff.
59. See Bliimner (cf. Bibliography).
60. E. A. Gardner, A Handbook of Greek Sculpture,
New York and London, 1897, p. 3.
61. For the two types of the Europa story and for An
dromeda with details and citations, see Allinson, op. cit. , p. 185, notes, and pp. 181-184; cf. E. S. Hartland, Legend of Perseus, London, 1894-96.
62. See above, p. 107.
[I9S]
NOTES
63. Madvig's enticing emendation, Piscator, 39, rip, TrrtpurTiv for ri)v ye rparriv.
64. Cf. Forster, p. 18 (sec Bibliography), for Fonzio, Benvenuto Garofalo, Luca, Signorelli; p. 20 for the Alex- ander-Roxana subject; and foil. pp. for many other sug gestions. "
65. For specimens of Holbein's Dance of Death," see frontispiece.
66. The complicated Holbein question is discussed in The (N. Y. ) Nation, Nov. 19, 1903, in a review of a re-issue of
the Bell-Macmillan ed. of the Dance of Death. The origi nal drawings, now accessible, show " that they are by more
. . . " It is demonstrable that the designer
than one hand. "
was not always, and hence possibly not at all, the draughts man for the wood-engraver. " The woodcuts of the original Lyons edition of 1538 should be compared.
67. For details of the Lubeck painting, see p. 19 of the Dance of Death in Painting and Print, by T. Tindall Wild- ridge, London, 1887, an inexpensive illustrated booklet which gives, inter alia, some 30 examples in England, France, Germany and Switzerland of the " Dance of Death " in painting or (occasionally) in sculpture on bridges or in houses, churchyards, and cloisters. For the motif itself,
firmly naturalized in Europe independent of any literary tradition, see the scenes in Death's Jest Book, by Thos. Beddoes (cf. p. 179, below). For its early appearance in literature Rentsch (see Bibliography), p. 25, cites from Thibaut de Marly in the 13th century, thus antedating the passage cited by Wildridge, op. cit. , p. 13, from Piers Plowman (1350).
" 68. See Chapter I, pp. 10-12. See also Hardin Craig, Dryden's Lucian," in Classical Philology, xvi. 141-163
(1921).
69. Cf. Saintsbury, Hist. Criticism, I. 474.
" 70. Cf. Sandys, op. cit. , versus Pauly-Wissowa, article Alciphron. "
71. See W. C. Wright, Phttostratus, Introd. , p. xiv, in The Loeb Classical Library.
J2. Orat. , No. XXV (Teubner text). [196]
NOTES
73. For Libanius, see Introd. , p. 33s, to W. C. Wright'9 edition of Eunapius (The Loeb Class. Libr. ).
74. Cf. J. Rentsch, Das Totengesprdch in der Litteratur, Plauen, 1805, p. 17, note.
75 Lives of the Philosophers and Sophists, ed. at. , The Loeb Classical Lib. , p. 348.
76. See K. Krumbacher (cf. Bibliography), p. 405, § 211 and Rentsch, op. ext. , p. 21.
77. Sandys, op. cit. , I. p. 4gi.
78. Sandys, op. cit. , p. 399.
79. Krumbacher, op. cit. , pp. 526-536, § 219.
80. See detailed resume in Rentsch, op. cit. , pp. 21 ff.
Also see Krumbacher, p. 218, for Psellus as Lucianic pam phleteer.
81. Cf. Krumbacher, op. cit. , pp. 492-495, and Rentsch, op. cit. , p. 22.
82. See Krumbacher, op. cit. , p. 756, §313 (13), and Sandys, op. cit. , I. 410.
83. The content of this dialogue is accessible in Bolder- man's dissertation, see above, note 15, or in Notices et Extraits des Manuscrits de la Bibliothique implriale, 1810,
Art. 37.
84. Cf. F. Schumacher, De Johanne Katrario Luciani
imitatore, Bonn, 1908, who decides for the later dating.
85. Sandys, op. cit. , p. 36.
86. See R. Forster, op. cit. , p. 8. This particular dialogue
had a great vogue among imitators of Lucian.
87. See G.
Gregory Smith, The Transition Period, New York, 1900, pp. 140 ft. and pp. 306 and 387; also Forster,
op. cit. , pp. 9, 10.
88. See below, pp. 161, 180, the different conceptions by
Moliere and Bulwer.
89. G. B. E. Saintsbury, Earlier Renaissance, New York,
1901, p. 24, note.
90. Cf. Saintsbury, ibidem, p. 406, and p. 72.
91. Cf. Cicero by J. C. Rolfe, in the Series, Our Debt to
Greece and Rome, pp. 137 ft.
92. His strictures upon a previous (unnamed) translator,
see Epistles, ed. by Nichols (cf. Bibliography), Vol. I, 408, [197]
NOTES
are interesting in connection with the Shakespeare tradition. He is certainly not referring to Boiardo's II Timone, see above, p. 142.
93. Cf. Epistles, op. cit. , II. p. 49.
94. Epistles, cccclxiii.
95- Cf. J. A. Froude, Life and Letters of Erasmus, New
York, 1896, p. 220.
96. Epistle to the Bishop of Chartres, No. 179, Nichols,
op. cit. , I. p. 415.
97. Cottoq. , No. xiii, ed. London, 1725, L'Estrange (Thos.
Brown), p. 199: "This story . . . outdoes Menander's Phasma. "
98. Cottoq. , vii, op. cit.
99. Colloq. , Patrick's ed. , London, 1750, p. 380.
100. Cf. Froude, op. cit. , pp. 81 ff.
101. Froude, op. cit. , p. 86. See Nichols, op. cit. , I. p. 404, who corrects Froude's error, op. cit. , p. 300, in attributing to Erasmus this letter by More. This somewhat distorts Froude's estimate.
102. See Saintsbury, Earlier Renaissance, p. 86.
103. Holbein illustrated More's Utopia as well as Eras mus's Encomium Moriae.
104. Cf. Saintsbury, Earl. Ren. , p. 92.
105. See Saintsbury, Earl. Ren. , p. 81 and pp. 99, 100 for resume. See also Forster, op. cit. , p. 14, where Pirckheimer is accepted as the author.
106. For a good, if nationalistic, account of their contri butions, see Forster, op. cit. , where Erasmus, however, is nonchalantly listed (p. 7) as a German! For Erasmus's attitude to his own (Dutch) language and his own state ment that he did not even understand German, see Nichols, I. p. 153, and Froude, op. cit. , p. 306.
107. See Rentsch, op. cit. , p. 23.
108. Also, he. cit. , other contemporary writers, Spanish, German, Italian.
109. See Sandys, op. cit. , II. p. 267.
no. For both Bud6 and Rabelais and their use of Lucian, see Sandys, op. cit. , II. pp. 170-173, 182.
in. Saintsbury, Earlier Ren. , p. 226; also Hist, of Crit. , H. p. 516.
[198]
NOTES
112. Essays and Studies, op. cit. , pp. 312-313.
113. For Lucian in Rabelais, cf. Sandys, op. cit. , II. pp.
183-184. Hist, 114. See Saintsbury,
of French Literature (cf. Bib
liography), pp. 231-236. "
115. See W. S. Fox, Sources of the Grave-scene in
Hamlet," p. 76 (see below, note 120).
116. Cambr. Hist. Eng. Lit. , IV, p. 404. This is probably
the first English trans, of Lucian in use. "
117. C. H. Herford, cited by Fox, Grave-scene in
Hamlet," p. 77 (see note 120).
118. Volpone, Act. I, pp. 11-13, of the "Mermaid"
edition.
119. Probably written by Fletcher only, see C. M. Gay-
ley, Beaumont the Dramatist, New York, 1014, pp.
301 ff. "
120. See two monographs by W. Sherwood Fox, Sources of the Grave-scene in Hamlet " (Part I, Trans. Roy.
