[Source and Origin.—A Gellius,Noct. Att.
Painter, I. i. 48; II. i. 45; III. i. 81; IV. i. 95.
Derivates.—A tragedy with this title, by J. Bancroft, appeared in 1679, but it is scarcely likely to have been derived from Painter.]
Of the bookes of Sybilla.
[Source.—A. Gellius,Noct. Att.i. 19.
Origin.—Pliny,Hist. Nat.xiii. 28.
Painter, I. i. 49; II. i. 46; III. i. 84; IV. i. 98.]
A difference and controuersie betwene a maister and a scholler, so subtile that the iudges coulde not geue sentence.
[Source and Origin.—A. Gellius.
Painter, I. i. 80; II. i. 46; III. i. 85; IV. i. 99.]
Seleucus king of Asia, gaue his wife to his owne sonne in mariage, being his mother in lawe; who so feruently did loue her, that he was like to die, whiche by a discrete and wyse inuention, was discouered to Seleucus by a Phisition.
[Source and Origin.—Plutarch,Demetrius(probably in Amyot’s translation).
Parallels—.Val. Max. v. 7; Wanley,Wonders, III. ix. 4.
Painter, I. i. 51; II. i. 48; III. i. 88; IV. i. 102.]
Of the straunge and beastlie nature of Timon of Athens, enemie to mankinde, with his death, buriall, and Epitaphe.
[Source and Origin.—Plutarch,Marc Antonius(probably through Amyot’s translation).
Parallels—.Erasmus,Adagio; Sabell. Exemp.ii. 2; Reynolds,Treatise of Passions, c. 13; Wanley,Wonders, II. ix. 8.
Painter, I. i. 57; II. i. 54; III. i. 98; IV. i. 112.
Derivates.—Shakespeare’sTimon of Athens(c. 1608) is founded on this, though much expanded. There is a play ofTimonanterior to Shakespeare’s, and printed by Mr. Hazlitt.]
The mariage of a man and woman, hee being the husband of xx. wiues: and shee the wife of xxii. husbandes.
[Source.—Pedro di Messia,Selva di varie Lezzioni, i. 34.
Origin.—St. Jerome.
Painter, I. i. 59; II. i. 55; III. i. 100; IV. i. 114.]
How Melchisedech a iewe, by telling a pretie tale of three Ringes, saued his life.
[Source.—Boccaccio,Decameron,giorn. i., nov. 3.
Origin.—Cento novelle antichi, 72 (through Busone),L’avventuroso Ciciliano;cf.Landau,Die Quellen2183. Probably original source was Jewish.Cf.G. Paris inRevue des études juives, t. xvii., and A. Wünsche inLessing-Mendelssohn Gedenkbuch.
Parallels.—Med.: Shebet Jehuda(Heb.),Gesta Rom.89. Lessing,Nathan der Weise.
Painter.—I. i. 60; II. i. 56; III. i. 102; IV. i. 116.]
One called Guglielmo Borsiere with certaine wordes well placed, taunted the couetous life of Ermino Grimaldi.
[Source.—Boccaccio,Dec., giorn. i., nov. 8.
Origin.—Benvenuto Rambaldi. Commentary onInfernoxvi.
Painter.—I. i. 61; II. i. 57; III. i. 105; IV. i. 119.]
Maister Alberto of Bologna, by a pleasaunt aunsweare made a gentlewoman to blushe, which had thoughte to haue put him out of countenaunce, in telling him that he was in loue with her.
[Source and Origin.—Boccaccio,Dec.i. 10.
Painter.—I. i. 63; II. i. 58; III. i. 108; IV. i. 122.]
Rinaldo of Esti being robbed, arrived at Castel Guglielmo, and was succoured of a wydowe: and restored to his losses, retourning saulfe and sounde home to his owne house.
[Source.—Boccaccio,Dec.ii. 2.
Origin.—Pantschatantra(Fables of Bidpai), II. iv. tr. Benfey, 183.
Parallels.—Mediæval: von der Hagen,Gesammtabenteuer, No. 42;Mod.:Lope de Vega,Llegar en ocasion:Lafontaine,L’oraison de St. Julien;La Moth,Le Talisman.
Painter.—I. i. 64; II. i. 60; III. i. 111; IV. i. 125.
Derivatives.—The Widow,attributed to Ben Jonson, Fletcher and Middleton, seems to have been derived from this.]
Three yonge men hauing fondlye consumed all that they had, became verie poore, whose nephewe (as he retourned out of Englande into Italie,) by the waye fell into acquaintaunce with an abbote, whome (vpon further familiaritie) he knewe to be the king of Englande’s doughter, whiche toke him to husbande. Afterwardes she restored his vncles to all their losses, and sent them home in good state and reputation.
[Source and Origin.66—Boccaccio,Dec., giorn. ii., nov. 3.
Painter.—I. i. 68; II. i. 63; III. i. 116; IV. i. 130.]
Landolpho Ruffolo being impooerished, became a pirate and taken by the Geneuois, was in daunger of drowning, who sauing himselfe vpon a litle coafer full of rich iewels, was receiued at Corfu, and beinge cherished by a woman, retourned home very riche.
[Source and Origin.—Boccaccio,Decamerone,giorn. ii., nov. 4.
Painter.—I. i. 73; II. i. 68; III. i. 124; IV. i. 138.]
Andreuccio of Perugia being come to Naples to buy horses, was in one night surprised, with three marueilous accidentes. All which hauinge escaped with one Rubie he retourned home to his house.
[Source.—Boccaccio,Decamerone, giorn. ii., nov. 5.
Origin.—Fabliau,Boivin de Provins.Barbazan, i. 357.
Parallels.—Mod.:Pitré,Nov. pop. sic.No. 163. Nerucci,Nov. montalesi, No. 45. Gianandrea,Trad. Marchigiane(cf. T. F. Crane,Academy, 22 Mar. 1879). Schiefner,Mahâkâtjâjana, 23.
Painter.—I. 76; II. i. 71; III. i. 129; IV. i. 143.]
The erle of Angiers being falsely accused, was banished out of Fraunce, and left his two sonnes in sondry places in Englande, and retourning (vnknowen) by Scotlande, founde theim in great authoritie, afterwardes he repayred in the habite of a seruaunte, to the Frenche kinges armie, and being knowen to be innocent, was againe aduaunced to his first estate.
[Source.—Boccaccio,Decamerone, giorn. ii., nov. 8.
Origin.—Dante,Purg.vi. 22, and frame ofSeven Wise Masters.
Parallels.—Mediæval:Guillaume de la Barre, ed. P. Meyer; Jacob à Voragine,Legenda aurea, 176;Gesta Rom.48;Mod.:Goethe,Vertriebener Graf.
Painter.—I. i. 85; II. i. 78; III. i. 142; IV. i. 156.
Derivates.—Ayres, the German dramatist (+ 1605), who derived much from the English comedians, had a drama calledGraf von Angiers.]
Giletta, a Phisition’s doughter of Narbon, healed the French King of a Fistula, for reward whereof she demaunded Beltramo Counte of Rossiglione to husband. The Counte being maried against his will, for despite fled to Florence and loued another. Giletta his wife, by pollicie founde meanes to lye with her husbande, in place of his louer, and was begotten with childe of two sonnes: which knowen to her husband, he receiued her againe, and afterwards he liued in great honour and felicitie.
[Source.—Boccaccio,Decamerone, giorn. iii., nov. 9.
Origin.—? TerenceHecyra.
Parallels.—Mediæval:SomadevaKatha-sarit-sagara, 29; Von der Hagen,Gesammt.No. 32; FaucheTetrade, ii. No. 6;Mod.:Gipsy Tale, by F. Miklosich,Denks. K. Akad.,Wien, xxiii. p. 14.
Painter.—I.i. 95; II. i. 87; III. i. 157; IV. i. 171.
Derivates.—The main plot of Shakespeare’sAll’s Well that Ends Wellcertainly comes from Painter.]
Tancredi Prince of Salerne, caused his doughter’s louer to be slayne, and sente his harte vnto her in a cup of golde: whiche afterwardes she put into poysoned water, and drinking thereof died.
[Origin.—Boccaccio,Decamerone, giorn. iv., nov. i.
Source.—Romance of Raoul de Couçy.
Parallels.—Med.:Aretini,De Amore Guiscardii, F. Beroaldo, Latin verse, Paris, 1599; J. Fleury,L’amour parfaite de Giusgardu, Paris, 1493; A. Guasco inottava rima, Venice, 1600; W. Walter,Amorous hysterie of Guistard, 1532;Howell,Letters, ed. Jacobs, p. 323; Wanley,Wonders, II. xii. 24.
Painter.—I. i. 100; II. i. 92; III. i. 166; IV. i. 180.
Derivates.—R. Wilmot,Tancred and Gismund(performed 1568, printed 1591); Turberville,Tragicall Tales, iv.]
Mahomet one of the Turkish Emperours, executeth curssed crueltie vpon a Greeke maiden, whome hee tooke prisoner, at the wynning of Constantinople.
[Source and Origin.—Bandello, Part i., nov. 10 (through French translation of Boaistuau, 1559, no. 2).
Parallels.—Belleforest,Histories tragiques, i.30 seq.; Knowles,Turk. Hist.350seq.; Wanley,Wonders, IV. x. 6.
Painter.—I. i. 107; II. i. 94; III. i. 176; IV. i. 190.
Derivates.—Peele’sFamous play of the Turkish Mahomet and Hyren the Fair Greek, played in 1594 and 1601 (not extant). Ayres had also a drama onMahomet. Also, L. Carlell,Osmond the Great Turk, 1657; G. Swinhoe,Unhappy fair Irene, 1658; C. Goring,Irene, 1708; Dr. Johnson,Irene, 1749.]
A Ladie faslie accused of adultrie, was condempned to be deuoured of Lions: the maner of her deliuerie, and how (her innocencie being knowen) her accuser felt the paines for her prepared.
[Source and Origin.—Bandello (through Belleforest’s translation, 1559, no. 2).
Painter.—I. i. 112; II. i. 103; III. i. 184; IV. i. 198.]
Didaco a Spaniarde, is in loue with a poore maiden of Valencia, and secretly marieth her, afterwardes lothinge his first mariage, because she was of base parentage, he marieth an other of noble birth. His firstwyfe, by secrete messenger prayeth his company, whose request he accomplisheth. Being a bedde, shee and her maide killeth him. She throweth him into the streate: shee in desperate wise confesseth the facte before the Maiestrates, and is put to death.
[Source.—Boaistuau, 1559, no. 5.
Origin.—Bandello, Part i., nov. 42.
Painter.—I. i. 125; II. i. 114; III. i. 204; IV. i. 218.
Derivates.—T. Achely put the story into verse, 1576. Beaumont and Fletcher’sTriumph of Death, the second of theirFour Plays in One.]
Wantones and pleasaunt life being guides of insolencie, doth bring a miserable end to a faire ladie of Thurin, whom a noble man aduaunced to high estate: as appereth by this historie, wherein he executeth great crueltie vpon his sayde ladie, taken in adulterie.
[Source.—Boaistuau, 1559, no. 4.
Origin.—Bandello, Part ii., nov. 12.
Parallels.—Belleforest, i. 78seq.Q. Margaret,Heptameron, nov. 32 (cf. Painter I. 57,infraand parallels there).
Painter.—I. i. 135; II. i. 127; III. i. 226; IV. i. 240.]
The loue of Alerane of Saxone, and of Andelasia the doughter of the Emperour Otho the thirde of that name. Their flight and departure into Italie, and how they were known againe, and what noble houses of Italie descended of their race.
[Source and Origin.—Bandello, Part ii., nov. 27 (Belleforest, 1559, no. 1).
Parallels.—Belleforest, i. 57seq.
Painter.—I. i. 20 (sic); II. i. 130; III. i. 245; IV. i. 249.]
The Duchesse of Sauoie, being the kinge of England’s sister, was in the Duke her husbandes absence, vniustlye accused of adulterie, by a noble man, his Lieutenaunte: and shoulde haue beene put to death, if by the prowesse and valiaunt combate of Don Iohn di Mendozza, (a gentleman of Spaine) she had not beene deliuered. With a discourse of maruelous accidentes, touchinge the same, to the singuler praise and commendation of chaste and honest Ladies.
[Source.—Boaistuau, 1559, no. 6.
Origin.—Bandello, Part ii., nov. 44 (from Val. Baruchius).
Parallels.—Belleforest, i. 107,seq.
Painter.—I. i. 226; II. i. 153; III. i. 271; IV. i. 285.
Derivates.—De la Peend,History of John Lord Mandozze, 1565 (cf. Brit. Bibliographer, ii. 523). De la Peend must have had proof sheets of Painter.]
A King of England loued the daughter of one of his noble men, which was Countesse of Salesburie, who after great sute to atchieue that he could not winne, for the entire loue he bare her, and her greate constancie, hee made her his queene and wife.
[Source.—Bandello, Part ii., nov. 26 (through Boaistuau, no. 1).
Origin.—Froissart, i., cc. 77-89. (N.B.—There is a confusion between Edward III. and the Black Prince, who was really the Countess’ lover.)
Parallels.—Belleforest, i. § 18.
Painter.—I. i. 258; II. i. 182; III. i. 320; IV. 334.
Derivates.—The Shakespearian part ofEdward III.is derived from the work of Painter.]
A gentleman called Galgano, long time made sute to Madonna Minoccia: her husband sir Stricca (not knowing the same) diuers times praised and commended Galgano, by reason whereof, in the absence of her husband, she sent for him, and yelded herself vnto him, tellinge him what wordes her husband had spoken of him, and for recompence he refused to dishonest her.
[Source and Origin.—Ser Giovanne Fiorentino,Peccorone, I. i.
Parallels.—Masuccio,Novellino, 1450, nov. 21.
Painter.—I. i. 279; II. i. 199; III. i. 351; IV. ii. 3.]
Bindo a notable Architect, and his sonne Ricciardo, with all his familie, from Florence went to dwell at Venice, where being made Citizens for diuers monuments by them done there, throughe inordinate expences were forced to robbe the Treasure house. Bindo beinge slaineby a pollicie deuised by the Duke and state, Ricciardo by fine subtelties deliuereth himselfe from foure daungers. Afterwards the Duke (by his owne confession) vnderstandinge the sleightes, giueth him his pardon and his doughter in mariage.
[Source and Origin.—Ser Giovanne,Pecor., giorn. ix., nov. 1.
Parallels.—Anc.:Herod ii. 121, 122; Diod. Sic. i. 62; Pausanius ix. 37, § 4.Med.:L. Valla.Mod.:H. Stephen,Traité preparatif à l’Apologie; Bandello, Part I. nov. xxv.
Painter.—I. i. 282; II. i. 202; III. i. 356; IV. ii. 8.
Derivates.—Henslowe’sDiary, 4 Mar. and 5 June 1592, has references to a tragedy of Bindo and Ricardo, evidently derived from this.]
Philenio Sisterno, a Scholler of Bologna, being mocked of three faire Gentlewomen, at a banket made of set purpose he was reuenged on them all.
[Source and Origin.—Straparola,Piac. Notti, II., nov. 2.
Painter.—I. i. 289; II. i. 208; III. i. 366; IV. i. 18.]
The piteous and chaste death of one of the muleters wiues of the Queene of Nauarre.
[Source and Origin.—Q. Margaret,Heptameron2.
Painter.—I. i. 296; II. i. 214; III. i. 377; IV. ii. 29.]
A king of Naples, abusing a Gentleman’s wife, in the end did weare the hornes himself.
[Source and Origin.—Q. Margaret,Heptameron, 3.
Parallels.—Bandello, Part iv., nov. 10.
Painter.—I. i. 298; II. i. 216; III. i. 380; IV. i. 32.]
The rashe enterprise of a Gentleman against a Princesse of Flaunders, and of the shame that he receyued thereof.
[Source and Origin.—Q. Margaret,Heptameron, 4.
Painter.—I. i. 302; II. i. 219; III. i. 386; IV. ii. 38.]
The loue of Amadour and Florinda: wherein be conteined mani sleightes and dissimulations, together with the renowmed chastitie of the said Florinda.
[Source and Origin.—Q. Margaret,Heptameron, 10.
Painter.—I. i. 306; II. i. 223; III. i. 393; IV. ii. 45.]
The incontinencie of a duke and of his impudencie to attaine his purpose, with the iust punishment which he receiued for the same.
[Source and Origin.—Q. Margaret,Heptameron, 12.
Painter.—I. i. 326; II. i. 270; III. i. 423; IV. ii. 75.]
One of the Frenche kinge’s called Frauncis the firste of that name, declared his gentle nature to Counte Guillaume, that would haue killed him.
[Source and Origin.—Q. Margaret,Heptameron, 17.
Painter.—I. i. 330; II. i. 243; III. i. 429; IV. ii. 81.]
A pleasaunt discours of a great Lord to enioy a Gentlewoman of Pampelunæ.
[Source and Origin.—Q. Margaret,Heptameron, 26.
Painter.—Not in I.; II. i. 245; III. i. 432; IV. ii. 84.]
A punishment more rigorous than death, of a husband towarde his wife that had committed adulterie.
[Source.—Q. Margaret,Heptameron, nov. 32.
Origin.—? Bandello, Part ii., nov. 10.
Parallels.—Med.:Gesta, Gower;Conf. Amant.i.Mod.:Bandello, iii., nov. 15; Belleforest, i. 297; Whetstone,Heptameron, 3rd day; Stollberg,Ballad.
Painter.—I. i. 332; II. i. 252; III. i. 445; IV. ii. 97.
Derivates.—Greene’sPlanetomachioand Davenant’sAlborinehave similar incidents, but whether derived from Painter it is difficult to say.]
A President of Grenoble aduertised of the ill gouernement of his wife, took such order, that his honestie was not diminished, and yet reuenged the facte.
[Source and Origin.—Q. Margaret,Hept., nov. 36.
Parallels.—Bandello, Part i., nov. 35.
Painter.—I. i. 334; II. i. 254; III. i. 449; IV. ii. 101.
Derivates.—Shirley’sLove’s Cruelty.]
A gentleman of Perche suspecting iniurie done vnto him by his friend, prouoked him to execute and put in proufe the cause of his suspicion.
[Source and Origin.—Q. Margaret,Hept., nov. 47.
Painter.—I. i. 336; II. i. 256; III. i. 452; IV. ii. 104.]
The piteous death of an Amorous Gentleman, for the slacke comfort geuen him to late, by his beloued.
[Source and Origin.—Q. Margaret,Hept., nov. 9.
Painter.—Not in I.; II. i. 258; III. i. 455; IV. ii. 107.]
A Gentlewoman of the Courte, very pleasauntly recompenced the seruice of a kinde seruaunte of her’s, that pursued her with service of loue.
[Source and Origin.—Q. Margaret,Hept., nov. 58.
Painter.—Not in I.; II. i. 26; III. i. 461; IV. ii. 113.]
The honest and maruellous loue of a mayden of noble house, and of a gentleman that was base borne, and howe a Queene did impeche and let their mariage, with the wise aunswere of the mayde to the Queene.
[Source and Origin.—Q. Margaret,Hept., nov. 21.
Painter.—Not in I.; II. i. 263; III. i. 464; IV. ii. 116.]
The Wisedome of a woman to withdrawe the foolishe loue of her husband, wherewith he was tormented.
[Source and Origin.—Q. Margaret,Hept., nov. 37.
Painter.—Not in I.; II. i. 263; III. i. 483; IV. ii. 135.]
The notable charitie of a woman of Tours towards her husbande.
[Source and Origin.—Q. Margaret,Hept., nov. 38.
Painter.—Not in I.; II. i. 276; III. i. 487; IV. ii. 139.]
The simplicitie of an old woman, that offered a burning candle to S. Iohn of Lions.
[Source and Origin.—Hept., nov. 65.
Painter.—I. i. 338; II. i. 277; III. i. 489; IV. ii. 141.]
A Doctor of the Lawes boughte a cup, who by the subtiltie of two false varlets, lost both his money and the cuppe.
[Source.—“Out of a little Frenche booke called ‘Comptes du Monde Avantureux.’”
Origin.—Massanio,Novellino, Part II. nov. 17.
Parallels.—Mensa Philosophica.
Painter.—I. i. 339; II. i. 278; III. i. 490; IV. ii. 142.
Derivates.—Marston’sDutch Courtesan, 1605; and Anon.:The Cuckqueanes and Cuckolds Errant, a Comedye, 1601, formerly in Haslewood’s possession.]
The hardinesse and conquests of diuers stout, and aduenturous women, called Amazones, the beginninge, and continuance of their Reigne, and of the great iourney of one of their Queenes called Thalestris to visit Alexander the great: with the cause of her trauaile.
[Source and Origen.—Herod, iv. 110.
Parallels.—Acerra, ii. 58; Albertinus, 55; Kirchhof,Wendenmuth, iv. 182.
Painter.—I. ii. 1; II. ii. 1; III. ii. 1; IV. ii. 159.]
Derivates.—A Masque of the Amazons was played March 3, 1592 (Henslowe).]
The great pitie and continencie of Alexander the great and his louinge entertaynment of Sisigambis the wife of the great monarch Darivs after he was vanquished.
[Source and Origin.—Q. Curtius, x. 5.
Parallels.—Justin, xiii. 1.
Painter.—I. ii. 5; II. ii. 4; III. ii. 8; IV. ii. 166.]
Timoclia, a gentlewoman of Thebes, vnderstandinge the couetous desire of a Thracian knight, that had abused hir, and promised hermariage, rather for her goods than loue, well acquited hir selfe from his falshoode.
[Source and Origin.—Plutarch,Alexander, (Amyot).
Parallels.—Zonar,Ann.i. f. 32; Wanley,Wonders, III. xxx. 6.
Painter.—I. ii. 9; II. ii. 7; III. ii. 14; IV. ii. 172.
Derivates.—A play entitledTimoclia, doubtless derived from Painter, is mentioned in the Revel’s Account. It was played at Merchant Taylors’ in 1574. Fleay,History, 381.]
Ariobarzanes great steward to Artaxerxes king of Persia, goeth about to exceede his soueraigne lord and maister in curtesie; where in be conteyned many notable and pleasaunt chaunces, besides the great patience and loyaltie naturally planted in the sayd Ariobarzanes.
[Source and Origin.—i-Bandello, Pt. i., nov. 2.
Parallels.—Belleforest iv. f. 9seq.
Painter.—I. ii. 11; II. ii. 9; III. ii. 18; IV. ii. 176.]
Lucivs one of the garde to Aristotimvs the Tyrant of the cittye of Elis, fell in loue with a fayre mayden called Micca, the daughter of one Philodemvs and his cruelty done upon her. The stoutnesse also of a noble matron named Megistona in defence of hir husbande and the common wealth from the tyranny of the said Aristotimvs: and of other actes done by the subjects vppon that Tyrant.
[Source and Origin.—Bandello, Part iii. nov. 5.
Parallels.—Belleforest, t. iv. f. 234.
Painter.—I. ii. 32; II. ii. 26; III ii. 51; IV. ii. 209.]
The maruaylous courage and ambition of a gentlewoman called Tanaquil, the Queene and wife of Tarqvinivs Priscvs the fift Roman king, with his persuasions and pollicy to hir husbande for his aduauncement to the kingdom, her lyke encouragement of Servivs Tvllivs, wherein also is described the ambition of one of the II. daughters of Servivs Tvllivs the sixt Roman king, and her cruelty towards her owne natural father: with other accidents chaunced in the new erected common welth of Rome, specially of the last Romane king Tarqvinivs Svperbvs, who with murder atteined the kingdome, with murder maynteined it, and by the murder and insolent lyfe of his sonne was with al his progeny banished.
[Source and Origin.—Livy, i. 34-41.
Painter.—I. ii. 40; II. ii. 33; III. ii. 63; IV. ii. 221.]
The vnhappy end and successe of the loue of King Massinissa, and Queene Sophonisba his wyfe.
[Source.—Bandello, Part i. nov. 41.
Origin.—Petrarch,Trionfi.
Parallels.—Belleforest, I. iii., f. 356; Trissino,Sophonisba(tragedy), 1524; Raleigh,Hist.V. iii. 8; Wanley,Wonders, III. liii. 2.
Painter.—I. ii. 49; II. ii. 39; III. ii. 78; IV. ii. 236.
Derivates.—Marston,Wonder of Women, or Sophonisba, her tragedy, printed 1606; N. Lee,Sophonisba, or Hannibal’s Overthrow, 1676; J. Thomson,Sophonisba, acted 28 Feb. 1730.68]
The crueltye of a Kynge of Macedone who forced a gentlewoman called Theoxena, to persuade hir children to kill and poyson themselves: after which fact, she and hir husband Poris ended their lyfe by drowninge.
[Source and Origin.—Livy, xl. 4.
Painter.—-I. ii. 39; II. ii. 48; III. ii. 94; IV. ii. 252.]
A straunge and maruellous vse, which in old time was obserued in Hidrvsa, where it was lawfull, with the licence of a magistrate ordayned for that purpose, for every man, and woman that list, to kill them selues.
[Source and Origin.—Bandello, Part i., nov. 56.
Parallels.—Belleforest, t. iv., f. 214.
Painter.—I. ii. 61; II. ii. 50; III. ii. 98; IV. ii. 256.]
The dishonest Loue of Favstina the Empresse, and with what remedy the same loue was remoued and taken away.
[Source and Origin.—Bandello, Part 1, nov. 36.
Parallels.—Belleforest, t. iv., f. 83.
Painter.—I. ii. 65; II. ii. 52; III. ii. 102; IV. ii. 260.]
Chera hid a treasure: Elisa going about to hang her selfe, and tying the halter about a beame found that treasure, and in place thereof left the halter. Philene the daughter of Chera going for that treasure, and busily searching for the same, found the halter, wherewithal for dispayre she would haue hanged hir selfe, but forbidden by Elisa, who by chaunce espied hir, she was restored to part of hir losse, leading afterwards a happy and prosperous lyfe.
[Source and Origin.—Cinthio,Ecatomithi, giorn. ix., nov. 8.
Parallels.—“Heir of Linne” in Percy; Guellette,Contes tartares.
Painter.—I. ii. 67; II. ii. 54; III. ii. 106; IV. ii. 264.]
Letters of the Philosopher Plutarch to the noble and vertuous Emperour Traiane, and from the sayd Emperour to Plutarch: the lyke also from the said Emperour to the Senate of Rome. In all which be conteyned godly rules for gouernment of Princes, obedience of Subiects, and their duties to common wealth.
[Source and Origin.—Guevara.
Painter.—I. ii. 76; II. ii. 62; III. ii. 121; IV. ii. 279.]
A notable History of three amorous Gentlewomen called Lamia, Flora, and Lais: conteyning the sutes of noble Princes and other great Personages made vnto them, with their answeres to diuers demaundes: and the manner of their death and funerals.
[Source and Origin.—“Pausanias and Manitius” (text).
Parallels.—Painter I. nov. xv.; for Lais, Fenton,Wonderful Secretes1569, ff. 65-7.
Painter.—I. ii. 123 [89]; II. ii. 73; III. ii. 143; IV. ii. 301.]
The lyfe and giftes of the most Famous Queene Zenobia with the Letters of the Emperour Avrelianvs to the sayde Queene, and her stoute aunswere thereunto.
[Source and Origin.—Tacitus,Ann.xii. 51.
Painter.—I. ii. 89 [95]; II. ii. 78; III. ii. 153; IV. 311.
Derivates.—AZenobiawas played at the Rose Theatre in 1591.]
Euphimia the Kyng of Corinth’s daughter fell in love with Acharisto, the seruaunt of her father, and besides others which required hir in mariage, she disdayned Philon the King of Peloponesvs, that loued hir very feruently. Acharisto conspiring against the King, was discouered, tormented, and put in prison, and by meanes of Euphimia deliuered. The King promised his daughter and kingdome to him that presented the head of Acharisto. Evphimia so wrought, as hee was presented to the King. The King gave him his daughter to wyfe and when he died made him his heyre. Acharisto began to hate his wyfe, and condemned hir to death as an adulteresse. Philon deliuered hir: and upon the sute of hir subiects, she is contented to mary him, and thereby he is made Kynge of Corinth.
[Source and Origin.—Cinthio,Ecaton, viii., nov. 10.
Painter.—I. 101; II. ii. 82; III. ii. 162; IV. ii. 320.]
The Marchionesse of Monferrato, with a banket of Hennes, and certaine pleasant wordes, repressed the fond loue of Philip the French Kynge.
[Source.—Boccaccio,Decamerone, giorn. i., nov. 5.
Origin.—Seven Wise Masters.
Parallels.—Anc.: II. Sam. c. xi.Med.: Sindibad, and plls.
Painter.—I. ii. 112; II. ii. 91; III. ii. 180; IV. ii. 338.]
Mistresse Dianora demaunded of maister Ansaldo a garden so faire in Ianuary, as in the moneth of May. Mayster Ansaldo (by meanes of anobligation which he made to a Nicromancer) caused the same to bee done. The husband agreed with the gentlewoman that she should do the pleasure which maister Ansaldo required, who hearinge the liberality of hir husband, acquited hir of hir promise, and the Necromancer discharged maister Ansaldo.
[Source.—Boccaccio,Decamerone, giorn. x., nov. 5.
Origin.—Cukasaptati, cf.Forty Viziers, c. 14.
Parallels.—Med.: Chaucer,Cant. Tales.Mod.: Andræ,Chymische Hochzeit;cf.Campbell,West Highland Tales, No. 19, and R. Kohler’s variants inOrient und Occedent, ii.
Painter.—I. ii. 114; II. ii. 93; III. ii. 184; IV. ii. 342.
Derivates.—Beaumont and Fletcher,Triumph of Honour(but perhaps from Chaucer);Two Merry Milkmaids.]
Mithridanes enuious of the liberality of Nathan, and goinge aboute to kill hym, spake vnto him vnknowne, & being infourmed by himself by what meanes he might do the same he found him in a little wood accordingly as hee had tolde him, who knowinge him, was ashamed, and became his friende.
[Source.—Boccaccio,Decamerone, giorn. x., nov. 3.
Origin.—? Sadi,Orchard, story of Chatemtai and King of Yemen.
Painter.—I. ii. 118; II. ii. 96; III. ii. 190; IV. ii. 348.]
Mayster Gentil of Carisendi being come from Modena, tooke a woman out of hir graue that was buried for dead, who after she was come agayne, brought forth a sonne, which mayster Gentil rendred afterwardes with the mother to mayster Nicholas Chasennemie her husband.
[Source and Origin.—Boccaccio’sDecamerone, giorn. x., nov. 4.
Parallels.—Storia di Ginevra(printed, Pisa, 1863); Bandello, Part ii., nov. 41; Marie de France,Lai d’Eliduc; Uhland,Todten von Lustnau. See Liebrecht’s discussion,Zur Volkskunde, pp. 60-5.
Painter.—I. ii. 123; II. ii. 100; III. ii. 197; IV. ii. 355.]
Saladine in the habite of a Marchaunt, was honourably receyued into the house of mayster Thorello, who went ouer the Sea, in company of the Christians, and assigned a terme of his wyfe when she should mary agayne. He was taken, and caried to the Sovldan to be his Faulconer, who knowing him, and suffering himself to be knowen, did him great honour. Mayster Thorello fell sicke, and by Magique Art, was caried in a night to Pavie, where he found his wyfe about to mary agayne, who knowinge him, returned home with him to his owne house.
[Source.—Boccaccio,Decamerone, giorn. x., nov. 9.
Origin.—Busone da Gubbio,L’avventuroso Siciliano.
Painter.—I. ii. 128; II. ii. 104; III. ii. 205; IV. ii. 363.]
A Gentleman of meane callinge and reputation, doth fall in loue with Anne, the Queene of Hungarie, whom shee very royally requited.
[Source and Origin.—Bandello, Part i., nov. 45.
Painter.—I. i. 140; II. ii. 114; III. ii. 225; IV. ii. 383.]
The gentle and iust act of Alexander de Medices Duke of Florence, vpon a gentleman whom he fauoured, who hauing rauished the Daughter of a poore Myller, caused him to mary hir, for the greater honour and celebration whereof, he appoynted hir a rich and honourable Dowry.
[Source and Origin.—Bandello, Part ii., nov. 15.
Painter.—I. ii. 155; II. ii. 127; III. ii. 248; IV. ii. 406.
Derivates.—Fletcher,Maid of the Mill.]
The infortunate mariage of a Gentleman, called Antonio Bologna, wyth the Duchesse of Malfi, and the pitiful death of them both.
[Source and Origin.—Bandello, Part i., nov. 26.
Parallels.—Belleforest, edit. 1565, nov. 19.
Painter.—I. ii., 169; II. ii. 139; III. ii. 271; IV. iii. 3.
Derivates.—Webster,Duchess of Malfy.]
The disordered Lyfe of the Countesse of Celant, and how shee (causinge the County of Masino to be murdered,) was beheaded at Millan.
[Source and Origin.—Bandello, Part i. nov. 4 (Belleforest, 1565, no. 20).
Parallels.—Fenton,Tragical Discourses; Whetstone,Castle of Delight,Heptameron.
Painter.—I. ii. 195; II. ii. 160; III. ii. 312; IV. iii. 44.
Derivates.—Marston,Insatiate Countess.]
The goodly Hystory of the true, and constant Loue between Rhomeo and Ivlietta, the one of whom died of Poyson, and the other of sorrow, and heuinesse: wherein be comprysed many aduentures of Loue, and other deuises touchinge the same.
[Source.—Bandello, Part ii., nov. 9 (through Boaistuau, 1559, no. 3).
Origin.—Luigi da Porto, 1535 (fr. Masuccio, 1476, nov. xxxiii.).
Parallels.—Belleforest, t. i.;otto novelle rarissime; A. Brooke, 1562; Lopez de Vega,Los Castelveses y Monteses;F. de Roscas,Los Vandos de Verona; L. Groto,Hadriana, 1578.
Painter.—I. ii. 118; II. ii. 179; III. ii. 348; IV. iii. 80.
Derivates.—Shakespeare’sRomeo and Julietis partly founded on Painter, partly on Brooke’s poem. The English comedians played it in Germany. Sloane MS., 1775, contains a Latin play on this subject.]
Two gentlemen of Venice were honourably deceiued of their Wyues, whose notable practises, and secret conference for atchieuinge their desire, occasioned diuers accidentes, and ingendred double benefit: wherein also is recited an eloquent oration, made by one of them, pronounced before the Duke and state of that Cittye: with other chaunces and acts concerninge the same.
[Source and Origin.—Bandello, Part i., nov. 15.
Parallels.—Belleforest, t. iii. p. 58.
Painter.—I. ii. 247; II. ii. 203; III. ii. 393; IV. iii. 125.
Derivates.—The underplot of Marston’sInsatiate Countessis derived from Painter,cf. supra.]
The Lorde of Virle, by the commaundement of a fayre younge Wydow called Zilia, for hys promise made, the better to attaine hir loue, was contented to remayne dumbe the space of three yeares, and by what meanes he was reuenged, and obtayned hys suite.
[Source and Origin.—Bandello, Part iii., nov. 17.
Parallels.—Belleforest, t. i. f. 289; Fenton,Trag. Disc.hist. xi.
Painter.—I. ii. 268; II. ii. 22; III. ii. 425; IV. iii. 157.]
Two Barons of Hungarie assuring themselues to obtayne their sute to a fayre Lady of Boeme, receyued of hir a straung and maruelous repulse, to their great shame and Infamy, cursinge the tyme that euer they aduentured an enterprise so foolish.
[Source and Origin.—Bandello, Part i., nov. 21.
Parallels.—Whetstone,Arbour of Vertue.
Painter.—I. ii. 292; II. ii. 238; III. ii. 463; IV. iii. 195.
Derivates.—Massinger,The Picture.]
Dom Diego a Gentleman of Spayne fell in loue with fayre Gineura, and she with him: their loue by meanes of one that enuied Dom Diego his happy choyse, was by default of light credit on his part interrupted. He constant of mynde, fell into despayre, and abandoninge all his frends and liuing, repayred to the Pyrene Mountaynes, where he led a sauage lyfe for certayne moneths, and afterwardes knowne by one of hys freendes, was (by marueylous circumstaunce) reconciled to hys froward mistresse, and maryed.
[Source and Origin.—Bandello, Part i., nov. 27.
Parallels.—Belleforest, t. i., f. 382; Fenton,Trag. Disc., hist. xiii.; Whetstone,Garden of Unthriftness.
Painter.—I. ii. 309; II. ii. 252; III. ii. 490; IV. iii. 222.]
A Gentleman of Siena, called Anselmo Salimbene, curteously and gently deliuereth his enemy from death. The c00ondemned party seeing the kinde parte of Salimbene, rendreth into his hands his sister Angelica, with whom he was in loue, which gratitude and curtesie, Salimbene well markinge, moued in conscience, woulde not abuse hir, but for recompence tooke hir to his wyfe.
[Source.—Bandello, Part i., nov. 46.
Origin.—G. Sermini.
Parallels.—Fenton,Trag. Disc., hist i.
Painter.—I. ii. 350; II. ii. 286; III. ii. 556; IV. iii. 288.]
A wydow called mistresse Helena, wyth whom a scholler was in loue, (shee louing an other) made the same scholler to stande a whole Wynter’s night in the snow to wayte for hir, who afterwardes by a sleyght and pollicie, caused hir in Iuly, to stand vppon a tower starke naked amongs flies and gnats, and in the sunne.
[Source.—Boccaccio, giorn. viii., nov. 8.
Origin.—?Fabliau, Barbazan, i. 296.
Painter.—I. ii. 376; II. ii. 307; III. ii. 597; IV. iii. 329.]
A gentlewoman and wydow called Camiola of hir own mind raunsomed Roland the kyng’s sonne of Sicilia, of purpose to haue him to hir husband, who when he was redeemed vnkindly denied hir, agaynst whom very eloquently she inueyed, and although the law proued him to be hir husband, yet for his vnkindnes, shee vtterly refused him.
[Source and Origin.—Bandello, Part i., nov. xxxv.
Painter.—I. ii. 391; II. ii. 320; III. ii. 622; IV. iii. 354.]
Great cruelties chaunced to the Lords of Nocera, for adultry by one of them committed with the captayne’s wyfe of the forte of that citty, with an enterprise moued by the captaine to the cittyzens of the samefor rebellion, and the good and dutyfull aunswere of them: with other pityfull euents rysing of that notable and outragious vyce of whoredom.
[Source and Origin.—Bandello, Part i., nov. 55.
Parallels.—Belleforest, t. ii. f. 162 (ed. 1565, no. 23).
Painter.—I. ii. 217; II. ii. 324; III. ii. 631; IV. iii. 363.]
The horrible and cruell murder of Sultan Selyman, late the emperor of the Turkes and father of Selym that now raigneth, done vpon his eldest sonne Mvstapha, by the procurement, and meanes of Rosa his mother in lawe, and by the speciall instigation of one of his noble men called Rvstanvs: where also is remembred the wilful death of one of his sons named Giangir, for the griefe he conceiued to see Mvstapha so miserably strangled.
[Source and Origin.—N. à Moffa.
Painter.—Not in I.; II. ii. 341; III. ii. 663; IV. iii. 395.
Derivates.—Latin Tragedy of same nameSolyman et Mustaphawas played in 1581 (Fleay,History, 421).]
The great curtesie of the kyng of Marocco, (a citty in Barbarie) toward a poore fisherman, one of his subiects, that had lodged the kyng, being strayed from his company in hunting.
[Source and Origin.—Bandello, Part i. nov. 57.
Parallels.—Belleforest, t. ii. f. 190 (ed. 1565, no. 24).
Painter.—I. ii. 410; II. ii. 348; III. ii. 684; IV. iii. 416.]
[Double titles are repeated under both headings,e.g., “Romeo and Juliet” will also be found under “Juliet and Romeo.” Roman numbers indicate the Tome of Painter.]