¹ John Upton, The Faerie Queene, A New Edition with a Glossary, and Notes explanatory and critical. London, 1758, 2 vols.

² Vid. Francesco Fòffano,Edit. Orlando Innamorato, Bologna, 1906-7, vol. 3,. p. iii ff.; Giulio Reichenbach, “Le prime edizioni dell' Orlando Innamorato,” Giorn. Stor. della Lett. Ital., LXXXIV (1924), 68-74.

³ Vid. Antonio Panizzi, Edit. Orlando Innamorato, London, 1830-31, vol. 2. pp. cxxxiii-cxxxv.

⁴ Vid. Mary Augusta Scott, Elizabethan Translations from the Italian. Boston and New York, 1916, pp. 152-153.

⁵ A. Panizzi, op. cit., II, cxxxvi.

⁶ The texts used are: Spenser, R. E. N. Dodge, Cambridge Edition, Boston and New York, 1908. Boiardo, Antonio Panizzi, op. cit.; Berni, Edition of 1545, Venice; Domenichi, Edition of 1824, London.

⁷ E.g., compare F.Q. II, xii, 74-76 with G. L. XVI, 14-17; vid. E. Koeppel, “Die englischen Tasso-iibersetzungen des XVI Jahrhunderts. II. La Gerusalemme Liberate,” Anglia, XI, 351-352.

⁸ Vid. R. E. Neil Dodge, “Spenser's Imitations from Ariosto,” P.M.L.A., XII, 199-204; XXXV, 91-92: also A. H. Gilbert, ibid., XXXIV, 225-232.

⁹ Professor A. S. Cook presents a typical case of the multiplicity of parallel passages with which the investigator of Spenser's sources is confronted: “The House of Sleep—A Study in Comparative Literature,” Mod. Lang. Notes, V, 10-22. I have sought to distinguish elements coming from different sources but existing in combination in the Faerie Queene in a previous study, “Imitations from Tasso in the Faerie Queene,” Studies in Philol., XXII, 198-221, especially in parallels numbered 1, 5, and 10.

¹⁰ The parallels are arranged in general in the order in which the passages involved occur in the Faerie Queene.

¹¹ Vid. H. M. Percival, The Faerie Queene, Book I, London, 1893, p. 310. The reference is to the Seven Champions, Part I, chap. 3.

¹² Vid. Lilian Winstanley, The Faerie Queene, Book I, Cambridge, 1920, pp. xlv-xlvii.

¹³ Vid. L. Winstanley, op. cit., pp. xlvii-xlviii; J. R. Macarthur, Jour. of Ger. Philol., IV, 215-238.

¹⁴ G. W. Kitchin, The Faery Queene, Book II, Cambridge, 1899, p. 197. The reference is to Arcadia, Lib. 3, chaps. 6-7. “Amphialus …. with rayne and spurre put forth his horse; and withall gave a mightie blow in the descent of his horse, upon the shoulder of the forsaken Knight; from whence sliding, it fell upon the necke of his horse, so as horse and man fell to the ground: but he was scarce downe before he was up on his feete againe, with brave gesture shewing rising of corage, in the falling of fortune. But the curteous Amphialus excused himselfe, for having (against his will) kild his horse.”

¹⁶ Vid. M. W. Wallace, The Life of Sir Philip Sidney, Cambridge, 1915, pp. 232-3.

¹⁶ Vid. Spenser's letter to Harvey, April, 1580, Cambridge Spenser, p. 772, 1. 98.

¹⁷ Op. cit., p. 348.

¹⁸ Vid. Dodge, P.M.L.A., XII, 202.

¹⁹ Vid. Koeppel, op. cit., pp. 355-356; also my earlier paper, op. cit., pp. 211-213.

²⁰ E.g., the following passage from Sidney's Arcadia is a fair instance of the general idea:

“…. they wayted for the coming of Phalantus, who the next morning having already caused his tents to be pitched, neere to a faire tree hard by the Lodge, had uppon the tree made a shield to bee hanged up, which the defendant should strike, that woulde call him to the mainteyning his challendge. The Impresa in the shield; was a heaven full of starres, with a speech signifying, that it was the beauty which gave it the praise” (Lib. I, chap. 16).

²¹ Op. cit., p. 360.

²² Vid. Bk. I, 2 and 5, Bk. IV, 19-24 and 34-36; for this recognition scene, especially IV, 21.

²³ Vid. Daphnis and Chloe IV, 19 and 30; Pandosto, Edition by P. G. Thomas, New York and London, 1907, p. 83.