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No excuse seems necessary for dealing with so important a contemporary of Shakespeare, whose Winter's Tale' is founded on Greene's 'Pandosto '-provided always that some new information can be adduced, and that, I believe, I am enabled to do. Having discovered that Greene was indebted to another writer by his verbal transcription therefrom, I proceeded to make a careful study of the two authors. I found that Greene might have used the pages of that other writer, sometimes as much as ten or fifteen at a time, as copy for his printers. Further, he never gives the slightest hint of his indebtedness. And of this somewhat shady transaction, or series of transactions, I can find no mention in any of Greene's historians or editors.* There is an additional reason to follow this up: the volume Greene appropriated from is in itself well deserving of being better known, and is, indeed, a valuable, learned, and most praiseworthy and improving compilation-far worthier of being reproduced for modern readers than numbers that are daily appearing. The book is T(homas) Bowes's) translation of Peter de la Primaudaye's French Academy' (1586). The book is a rare one, and the best-known booksellers in London were unable to provide me with a copy; but my friend Dr. Dowden came to my aid. His copy unfortunately lacks the title-page, so that I am uncertain of the date (there were several editions); but that it is identical with the 1586 text I have no doubt, from several quotations appearing in the New English Dictionary.' The pagination is sometimes different, so that my references will be by chapter. While I was carrying out this interesting study several other lines of thought presented themselves, especially the free use Greene made of Lyly's Euphues' (1579-80). Of this I made separate notes, and since Lyly claims the priority in time I shall first recapitulate these. I may mention also that Greene made use of Laneham's 'Letter' (1575) in one passage, and so convenient did he seem to find this form of composition, it is highly probable that others of his "loans" are as yet unnoticed. That he was Lyly's ape is obvious, and no one put this more clearly than Jusserand, so far as method and style go. But I think a detailed record of his word-for-word pilferings is needful, and in this respect I have not seen him challenged. Lylys Lyly in many places, when it comes to a flood of similes, and often uses verbatim those of his master. When Greene in his earlier love tracts "stands on tearms of tree and stone," he is Lyly; when in his later ones (after 1586) he culls his illustrations from classical writers of antiquity, he is Primaudaye He out not always in either case, for he had plenty of stuffing of his own; but he turned to them confidently when in doubt, or when his For Greene was as pockets were empty. |