Chapter 18

[272]This we learn from the last words of the first edition, "Tarvisii cum decorissimis Poliae amore lorulis distineretur misellus Poliphilus MCCCCLVII." The author's name is given in the initial letters to the thirty-eight chapters of the book.

[273]For this and other points about theHypnerotomachiasee Ilg's treatiseUeber der Kunsthistorischen Werth der Hypnerotomachia Poliphili, Wien, Braunmüller, 1872.

[274]It ought, however, to be said that, being the first paragraph of the whole book, its style is not so free and simple as in more level passages. Though I do not pretend to understand the meaning clearly, I subjoin a translation.—"Phœbus advancing at that moment, when the forehead of Matuta Leucothea whitened, already free from Ocean's waves, had not yet shown his whirling wheels suspense. But bent with his swift chargers, Pyrous first and Eous just disclosed to view, on painting the pale chariot of his daughter with vermeil roses, in most vehement flight pursuing her, made no delay. And sparkling over the azure and unquiet wavelets, his light-showering tresses flowed in curls. Upon whose advent at that point descending to her rest stayed Cynthia without horns, urging the two steeds of her carriage with the Mule, the one white and the other dark, drawing toward the furthest horizon which divides the hemispheres where she had come, and, routed by the piercing star who lures the day, was yielding. At that time when the Riphaean mountains were undisturbed, nor with so cold a gust the rigid and frost-creating east-wind with the side-blast blowing made the tender branches quake, and tossed the mobile stems and spiked reeds and yielding grasses, and vexed the pliant tendrils, and shook the flexible willows, and bent the frail fir-branches 'neath the horns of Taurus in their wantonness. As in the winter time that wind was wont to breathe. Likewise the boastful Orion was at the point of staying to pursue with tears the beauteous Taurine shoulder of the seven sisters."

[275]When the book was translated into French and republished at Paris in the sixteenth century, the blocks were imitated, and at a later epoch it became fashionable to refer them to Raphael. The mistake was gross. Its only justification is the style adopted by the French imitators in their rehandling of the illustrations to Poliphil's soul pleading before Venus. These cuts seem to have felt the influence of the Farnesina frescoes.

[276]Here is the description of Poliphil's reception by the damsels: "Respose una lepidula placidamente dicendo. Da mi la mano. Hora si tu sospite & il bene venuto. Nui al presento siamo cinque sociale comite come il vedi. Et io me chiamo Aphea. Et questa che porta li buxuli & gli bianchissimi liuteamini, e nominata Offressia. Et questaltra che dil splendente speculo (delitie nostre) e gerula, Orassia e il suo nome. Costei che tene la sonora lyra, e dicta Achoe. Questa ultima, che questo vaso di pretiosissimo liquore baiula, ha nome Geussia."

[277]A portion of the passage describing this dalliance may be extracted as a further specimen of the author's style: "Cum lascivi vulti, et gli pecti procaci, ochii blandienti et nella rosea fronte micanti e ludibondi. Forme prae-excellente, Habiti incentivi, Moventie puellare, Risguardi mordenti, Exornato mundissimo. Niuna parte simulata, ma tutto dalla natura perfecto, cum exquisita politione, Niente difforme ma tutto harmonia concinnissima, Capi flavi cum le trece biondissime e crini insolari tante erano bellissime complicate, cum cordicelle, o vero nextruli di seta e di fili doro intorte, quanto che in tutto la operatione humana excedevano, circa la testa cum egregio componimento invilupate e cum achi crinali detente, e la fronte di cincinni capreoli silvata, cum lascivula inconstantia praependenti." There is an obvious study of Boccaccesque phrase, with a no less obvious desire to improve upon its exquisiteness of detail, masking an incapacity to write connectedly.

[278]The reiteration of sensuous phrases is significant. These inscriptions,παντων τοκαδι, παν δει ποιειν κατα την αυτου φυσιν, γονος και ευφυια, together with the Triumphs of Priapus and Cupid, accord with the supremacy of Venus Physizoe.

[279]See Rosmini,Vita di Filelfo, vol. ii. p. 13, for Filelfo's dislike of Italian. In the dedication of his Commentary to Filippo Maria Visconti he says: "Tanto più volentieri ho intrapreso questo comento, quanto dalla tua eccellente Signoria non solo invitato sono stato, ma pregato, lusingato et provocato." The first Canto opens thus:O Philippo Maria Anglo possente,Perchè mi strengi a quel che non poss'io?Vuoi tu ch'io sia ludibrio d'ogni gente?

[280]Dated Milan, Feb. 1477. Rosmini,op. cit.p. 282.

[281]Ercolano(in Vinetia, Giunti, 1570), p. 185.

[282]Prose Volgari, etc., edite da I. del Lungo (Firenze, Barbèra, 1867), p. 80.

[283]Prose, etc.,op. cit.pp. 45et seq.pp. 3et seq.

[284]Alberti,Op. Volg.vol. i. pp. clxvii.-ccxxxiii. The quality of these Latin meters may be judged from the following hexameters:Ma non prima sarà che 'l Dato la musa coronaInvochi, allora subito cantando l'avete,Tal qual si gode presso il celeste Tonante.Of the Sapphics the following is a specimen:Eccomi, i' son qui Dea degli amici,Quella qual tutti li omini soleteMordere, e falso fugitiva dirli,Or la volete.

[284]Alberti,Op. Volg.vol. i. pp. clxvii.-ccxxxiii. The quality of these Latin meters may be judged from the following hexameters:

Of the Sapphics the following is a specimen:

[285]Carducci, "Della Rime di Dante Alighieri,"Studi, p. 154.

[286]For Giotto's and Orcagna's poems, see Trucchi, vol. ii. pp. 8 and 25.

[287]See above,pp. 17et seq.

[288]TheTavola Ritondahas been reprinted, 2 vols., Bologna, Romagnoli, 1864. It corresponds very closely in material to ourMort d'Arthur, beginning with the history of Uther Pendragon and ending with Arthur's wound and departure to the island of Morgan le Fay.

[289]See above,p. 18. The subject of these romances has been ably treated by Pio Rajna in his works,I Reali di Francia(Bologna, Romagnoli, 1872), andLe Fonti dell'Orlando Furioso(Firenze, Sansoni, 1876).

[290]TheRinaldino, a prose romance recently published (Bologna, Romagnoli, 1865), might be selected as a thoroughly Italianfiorituraon the ancient Carolingian theme.

[291]We have here the germ of theOrlandoand of the first part of theMorgante.

[292]Rajna,I Reali, p. 320, fixes the date of its composition at a little before 1420.

[293]Ibid.p. 3.

[294]I Reali, pp. 311-319.

[295]TheStorie Nerbonesiwere published in two vols. (Bologna, Romagnoli, 1877), under the editorship of I.G. Isola. The third volume forms a copious philological and critical appendix.

[296]Guerinowas versified in octave stanzas, by a poet of the people called L'Altissimo, in the sixteenth century.

[297]SeeI Novellieri Italiani in Versoby Giamb. Passano (Romagnoli, 1868). The wholeDecameronwas turned into octave stanzas by V. Brugiantino, and published by Marcolini at Venice in 1554. AmongNovelleversified for popular reading may be cited,Masetto the Gardener(Decam.Giorn. iii. 1),Romeo and Juliet(Verona, 1553),Il Grasso, Legnaiuolo(by B. Davanzati, Florence, 1480),Prasildo and Lisbina(from theOrlando Innamorato),Oliva, Fiorio e Biancifiore(the tale of theFilocopo). Of classical tales we findSesto Tarquinio et Lucretia,Orpheo,Perseo,Piramo,Giasone e Medea.

[298]Tancredi Principe di Salerno, Bologna, Romagnoli, 1863.Il Marchese di Saluzzo e la Griselda, Bologna, Romagnoli, 1862.

[299]See above,p. 212. The literary hesitations of an age as yet uncertain of its aim might be illustrated from these romances. OfIppolito e Leonorawe have a prose, anottava rima, and a Latin version. OfGriseldawe have Boccaccio's Italian, and Petrarch's Latin prose, in addition to the anonymousottava rimaversion. Of thePrincipe di Salernowe have Boccaccio's Italian, and Lionardo Bruni's Latin versions in prose, together with Filippo Beroaldo's Latin elegiacs, Francesco di Michele Accolti'sterza rimaand Benivieni's octave stanzas. Lami in hisNovelle letterarie(Bologna, Romagnoli, 1859) prints an Italiannovellaon the same story, which he judges anterior to theDecameron. Later on, Annibal Guasco produced anotherottava rimaversion; and the tale was used by several playwrights in the composition of tragedies.

[300]La Storia di Ginevra Almieri che fu sepolta viva in Firenze(Pisa, Nistri, 1863).

[301]The same point is illustrated by the tales of the Marchese di Saluzzo and the Principe di Salerno, which produced the novels ofGriseldaandTancredi. See notes top. 250, above.

[302]Raccolta dei Novellieri Italiani, vol. xiii.

[303]Op. cit.vol. xiii. An allusion to Masuccio in this novel is interesting, since it proves the influence he had acquired even in Florence: "Masuccio, grande onore della città di Salerno, molto imitatore del nostro messer Giovanni Boccaccio,"ib.p. 34. Pulci goes on to say that the reading of theNovellinohad encouraged him to write his tale.

[304]See D'Ancona,La Poesia Popolare Italiana, pp. 64-79.

[305]A fine example of these laterLamentihas been republished at Bologna by Romagnoli, 1864. It is theLamento di Fiorenzaupon the siege and slavery of 1529-30.

[306]A medieval specimen of this species of composition is theBallatafor theReali di Napoliin the defeat of Montecatini. See Carducci'sCino e Altri, p. 603.

[307]D'Ancona,op. cit.p. 78.

[308]Sermintese Storico di A. Pucci, Livorno, Vigo, 1876. It will be remembered that Dante in theVita Nuova(section vi.) says he composed aServenteseon sixty ladies of Florence. The name was derived from Provence, and altered intoSerminteseby the Florentines. We possess a poem of this sort by A. Pucci on the Florentine ladies, printed by D'Ancona in his edition of theVita Nuova(Pisa, Nistri, p. 71), together with a valuable discourse upon this form of poetry. Carducci in hisCino e Altriprints twoSermintesiby Pucci on the beauties of women.

[309]D'Ancona,Poesia Popolare Italiana, pp. 47-50, has collected from Leonardo Bruno and other sources many interesting facts about Pope Martin's anger at this ditty. He seems to have gone to the length of putting Florence under an interdict.

[310]D'Ancona,op. cit.pp. 51-56.

[311]One of the last plebeian rhymes on politics comes from Siena, where, in the year 1552, the people used to sing this couplet in derision of the Cardinal of the Mignanelli family sent to rule them:Mignanello, Mignanello,Non ci piace il tuo modello.See Benci'sStoria di Montepulciano(Fiorenza, Massi e Landi, 1641), p. 104. An anecdote from Busini (Lettere al Varchi, Firenze, Le Monnier, p. 220) is so characteristic of the popular temper under the oppression of Spanish tyranny that its indecency may be excused. He says that a law had been passed awarding, "quattro tratti di corda ad uno che, tirando una c—— disse: Poi che non si può parlare con la bocca, io parlerò col c——."

See Benci'sStoria di Montepulciano(Fiorenza, Massi e Landi, 1641), p. 104. An anecdote from Busini (Lettere al Varchi, Firenze, Le Monnier, p. 220) is so characteristic of the popular temper under the oppression of Spanish tyranny that its indecency may be excused. He says that a law had been passed awarding, "quattro tratti di corda ad uno che, tirando una c—— disse: Poi che non si può parlare con la bocca, io parlerò col c——."

[312]See the work entitledSulle Poesie Toscane di Domenico il Burchiello nel secolo xv, G. Gargani, Firenze, Tip. Cenn. 1877.

[313]Intendi a me, che già studiai a Pisa,E ogni mal conosco senza signo.Sonetti del Burchiello, del Bellincioni, e d'altri, 1757, Londra, p. 125. See, too, the whole sonnetSon medico in volgar.

[313]

Sonetti del Burchiello, del Bellincioni, e d'altri, 1757, Londra, p. 125. See, too, the whole sonnetSon medico in volgar.

[314]Gargani,op. cit.p. 23, extract from theCatasto, 1427: "Domenicho di Giovanni barbiere non ha nulla."

[315]The parallel between these passages of Burchiello's life and Filelfo's at the same period is singular. SeeRevival of Learning, p. 275.

[316]Gargani,op. cit.p. 90.

[317]The best edition bears the date Londra, 1757.

[318]The edition cited above includesSonetti alla Burchiellescaby a variety of writers. The strange book calledPataffio, which used to be ascribed to Brunetto Latini, seems born of similar conditions.

[319]Florentines themselves take this view, as is proved by the following sentence from Capponi: "È pure qui obbligo di registrare anche il Burchiello, barbiere di nome rimasto famoso, perchè fece d'un certo suo gergo poesia forse arguta ma triviale; oscura oggi, ma popolare nei tempi suoi e che ebbe inclusive imitatori" (Storia della Rep. di Firenze, ii. 176).

[320]See the Sonnet quoted in Note 59 to Mazzuchelli's Life of Berni,Scrittori d'Italia, vol. iv.

[321]TheBallataorCanzone a Ballo, as its name implies, was a poem intended to be sung during the dance. A musician played the lute while young women executed the movements of the Carola (so beautifully depicted by Benozzo Gozzoli in his Pisan frescoes), alone or in the company of young men, singing the words of the song. TheBallataconsisted of lyric stanzas with a recurrent couplet. It is difficult to distinguish theBallatefrom theCanzonette d'Amore.

[322]See Carducci,Cantilene e Ballate(Pisa, 1871), pp. 82, 83.

[323]Ibid.pp. 171-173.

[324]Ibid.pp. 214-217.

[325]A volume of ancientCanzoni a Ballowas published at Florence in 1562, by Sermatelli, and again in 1568.

[326]Le Rime di Messer A. Poliziano, pp. 295, 346.

[327]SeeLaude Spirituali di Feo Belcari e di Altri, Firenze, 1863. The hymnCrocifisso a capo chino, for example, has this heading: "Cantasi come—Una donna d'amor fino," which was by no means a moral song (ib.p. 16). D'Ancona in hisPoesia Pop. It.pp. 431-436, has extracted the titles of these profane songs, some of which are to be found in theCanzoni a Ballo(Firenze, 1568), andCanti Carnascialeschi(Cosmopoli, 1750), while the majority are lost.

[328]The books which I have consulted on this branch of vernacular poetry are (1) Tommaseo,Canti popolari toscani, corsi, illirici e greci, Venezia, 1841. (2) Tigri,Canti popolari toscani, Firenze, 1869. (3) Pitré,Canti popolari siciliani, andStudi di poesia popolare, Palermo, 1870-1872. (4) D'Ancona,La Poesia popolare italiana, Livorno, 1878. (5) Rubieri,Storia della poesia popolare italiana, Firenze, 1877. Also numerous collections of local songs, of which a good list is furnished in D'Ancona's work just cited. Bolza's edition of Comasque poetry, Dal Medico's of Venetian, Ferraro's ofCanti Monferrini(district of Montferrat), Vigo's of Sicilian, together with Imbriani's of Southern and Marcoaldo's of Central dialects, deserve to be specially cited. The literature in question is already voluminous, and bids fair to receive considerable additions.

[329]I take this example at random from Blessig'sRömische Ritornelle(Leipzig, 1860), p. 48:Flower of Pomegranate tree!Your name, O my fair one, is written in heaven;My name it is writ on the waves of the sea.

[329]I take this example at random from Blessig'sRömische Ritornelle(Leipzig, 1860), p. 48:

[330]The termVillottaorVilotais special, I believe, to Venice and the Friuli. D'Ancona identifies it withRispetto, Rubieri withStornello. But it has the character of a quatrain, and seems therefore more properly to belong to the former.

[331]Tigri, p. 123. Translated by me thus:Ah, when will dawn that blissful dayWhen I shall softly mount your stair,Your brothers meet me on the way,And one by one I greet them there!When comes the day, my staff, my strength,To call your mother mine at length?When will the day come, love of mine,I shall be yours and you be mine!

[331]Tigri, p. 123. Translated by me thus:

[332]Pitrè, vol. i. p. 185. Translated by me thus, with an alteration in the last couplet:When thou wert born, O beaming star!Three holy angels flew to earth;The three kings from the East afarBrought gold and jewels of great worth;Three eagles on wings light as airBore the news East and West and North.O jewel fair, O jewel rare,So glad was heaven to greet thy birth.

[332]Pitrè, vol. i. p. 185. Translated by me thus, with an alteration in the last couplet:

[333]Dalmedico,Canti Ven.p. 69:Many there are who when they hear me sing,Cry: There goes one whose joy runs o'er in song!But I pray God to give me succoring;For when I sing, 'tis then I grieve full strong.

[333]Dalmedico,Canti Ven.p. 69:

[334]For instance,Rispettiin the valley of the Po are calledRomanelle. In some parts of Central Italy theStornellobecomesMottettoorRaccommandare. The little Southern lyrics known asAriiandArietteat Naples and in Sicily, are elsewhere calledVillanelleorNapolitaneandSiciliane. It is clear that in this matter of nomenclature great exactitude cannot be sought.

[335]The proofs adduced by D'Ancona in hisPoesia popolare, pp. 177-284, seem to me conclusive on this point.

[336]See Pitrè,Studi di Poesia popolare(Palermo, Lauriel, 1872), two essays on "I Poeti del Popolo Siciliano," and "Pietro Fullone e le sfide popolari," pp. 81-184. He gives particulars relating to contemporary improvisations. See, too, the Essays by L. Vigo,Opere(Catania, 1870-74), vol. ii.

[337]Op. cit.pp. 285, 288-294.

[338]I may refer at large to Tigri's collection, and to my translations of theseRispettiinSketches in Italy and Greece.

[339]Carducci,Cantilene, p. 57.

[340]See Rubieri,Storia della poesia popolare, pp. 352-356, for a selection of variants.

[341]The terms employed above require some illustration. Poliziano's Canzonet,La pastorella si leva per tempo, is apasticciocomposed of fragments from popular songs in vogue at his day. We possess three valuable poems—one by Bronzino, published in 1567; one by Il Cieco Bianchino of Florence, published at Verona in 1629; the third by Il Cieco Britti of Venice, published in the same year—which consist of extracts from popular lyrics united together by the rhymster. Hence their nameincatenatura. See Rubieri,op. cit.pp. 121, 130, 212. See, too, D'Ancona,op. cit.pp. 100-105, 146-172, for the text and copious illustrations from contemporary sources of Bronzino's and Il Cieco Bianchino's poems.

[342]Prose Volgari, etc., di A.A. Poliziano(Firenze, Barbèra, 1867), p. 74. "Siamo tutti allegri, e facciamo buona cera, e becchiamo per tutta la via di qualche rappresaglia e Canzone di Calen di Maggio, che mi sono parute più fantastiche qui in Acquapendente, alla Romanesca, vel nota ipsa vel argumento."

[343]See D'Ancona,op. cit.pp. 354-420, for copious and interesting notices of the popular press in several Italian towns. TheAvalloneof Naples,Cordellaof Venice,Marescandoliof Florence,BertiniandBaroniof Lucca,Colombaof Bologna, all served the special requirements of the proletariate in town and country. G.B. Verini of Florence made anthologies calledL'Ardor d'AmoreandCrudeltà d'Amorein the sixteenth century, both of which are still reprinted. The same is true of theOlimpiaandGloriaof Olimpo degli Alessandri of Sassoferrato. The subordinate titles commonly used in these popular Golden Treasuries are, "Canzoni di amore," "di gelosia," "di sdegno," "di pace e di partenza." Their classification and description appear from the following rubrics: "Mattinate," "Serenate," "Partenze," "Strambotti," "Sdegni," "Sonetti," "Villanelle," "Lettere," "Affetti d'Amore," etc.

[344]Upon this point consult Rubieri,op. cit.chap. xiv. In Sicily theCiure, says Pitrè, is reckoned unfit for an honest woman's mouth.

[345]The South seems richer in this material than the Center. See Pitrè'sCanti Pop. Sic.vol. ii., among theLeggende e Storie, especiallyLa Comare,Minni-spartuti,Principessa di Carini,L'Innamorata del Diavolo, and some of the bandit songs.

[346]Palermo, Lauriel, 1875.

[347]Canti Monferrini(Torino-Firenze, Loescher, 1870), pp. 1, 6, 14, 26, 28, 34, 42. One of the ballads cited above,La Sisilia, is found in Sicily.

[348]Ibid.p. 48.

[349]It does not occur in theCanti Monferrini.

[350]See my letter to theRassegna Settimanale, March 9, 1879, on the subject of this ballad. Though I begged Italian students for information respecting similar compositions my letter only elicited a Tuscan version of theDonna Lombarda.

[351]Op. cit.p. 106.

[352]D'Ancona,op. cit.p. 106.

[353]Ibid.pp. 99, 105.

[354]See Child'sEnglish and Scottish Ballads, vol. ii. pp. 244,et seq.

[355]Bolza,Canz. Pop. Comasche, No. 49. Here is the Scotch version from Lord Donald:What will ye leave to your true-love, Lord Donald, my son?What will ye leave to your true-love, my jollie young man?The tow and the halter, for to hang on yon tree,And lat her hang there for the poisoning o' me.

[355]Bolza,Canz. Pop. Comasche, No. 49. Here is the Scotch version from Lord Donald:

[356]This is the Scotch version, with the variant of Lord Randal:What gat ye to your dinner, Lord Randal, my son?What gat ye to your dinner, my handsome young man?I gat eels boiled in broo; mother, make my bed soon,For I'm weary wi' hunting, and fain wald lie down.What became of your bloodhounds, Lord Randal, my son?What became of your bloodhounds, my handsome young man?O, they swelled and they died; mother, make my bed soon,For I'm weary wi' hunting, and fain wald lie down.

[356]This is the Scotch version, with the variant of Lord Randal:

[357]In Passano'sI Novellieri Italiani in VersoI find, at p. 20, the notice of a poem, in octave stanzas, which corresponds exactly to theHeir of Lynn. Published at Venice, 1530, 1531, 1542, it bears this title: "Essempio dun giovane ricchissimo; qual consumata la ricchezza: disperato a un trave si sospese. Nel qual il padre previsto il suo fatalcorso gia molti anni avanti infinito tesoro posto havea, et quello per il carico fracassato, la occulta moneta scoperse." The young man's name is Fenitio. I have not seen this poem, and since it is composed inottava rimait cannot be classed exactly with theAvvelenato. Passano also catalogues theHistoria di tre Giovani disperati e di tre fate, and theHistoria di Leon Bruno, which seem to contain ballad elements.

[358]Muratori,Rer. Ital. Script.viii. 712.

[359]A curious letter describing the entrance of theBattutiinto Rome in 1399 may be read in Romagnoli's publicationLe Compagnie de' Battuti in Roma, Bologna, 1862. It refers to a period later by a century than the first outbreak of the enthusiasm.

[360]Some banners—GonfaloniorStendardi—of the Perugian fraternities, preserved in the Pinacoteca of that town, are interesting for their illustration of these religious companies at a later date. The Gonfalone of S. Bernardino by Bonfigli represents the saint between heaven and earth pleading for his votaries. Their Oratory (Cappella di Giustizia) is seen behind, and in front are the men and women of the order. That of theSocietas Annuntiatæwith date 1466, shows a like band of lay brethren and sisters. That of the Giustizia by Perugino has a similar group, kneeling and looking up to Madonna, who is adored by S. Francis and S. Bernardino in the heavens. Behind is a landscape with a portion of Perugia near the Church of S. Francis. The Stendardo of the Confraternità di S. Agostino by Pinturicchio exhibits three white-clothed members of the body, kneeling and gazing up to their patron. There is also a fine picture in the Perugian Pinacoteca by Giov. Boccati of Camerino (signed and dated 1447) representing Madonna enthroned in a kind of garden, surrounded by child-like angels with beautiful blonde hair, singing and reading from choir books in a double row of semi-circular choir-stalls. Below, S. Francis and S. Dominic are leading each two whiteDisciplinatito the throne. These penitents carry their scourges, and holes cut in the backs of their monastic cloaks show the skin red with stripes. One on either side has his face uncovered: the other wears the hood down, with eye-holes pierced in it. This picture belonged to the Confraternity of S. Domenico.

[361]Cantici di Jacopone da Todi(Roma, Salviano, 1558), p. 64. I quote from this edition as the most authentic, and reproduce its orthography.

[362]This Life is prefixed to Salviano's Roman edition of Jacopone's hymns, 1558.

[363]The biographer adds, "Ma fu si horribile e spiacevole a vedere che conturbò tutta quella festa, lasciando ogniuno pieno di amaritudine."

[364]See above,p. 284. The seventeenth-century editor of Jacopone and his followers, Tresatti, has justly styled this repulsive but characteristic utterance, "invettiva terribile contro di se."

[365]Op. cit.p. 109.

[366]Ibid.p. 77.

[367]Ibid.p. 122. SeeAppendix.

[368]Ibid.p. 45.

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