[14] =Shakespeare's Ovid Being Arthur Golding's Translation of the Metamorphoses=, ed. W. H. D. Rouse (London, 1904; reprinted Carbondale, Ill. 1961), IV, 67-201; X. 327-605. [15] Not Orpheus, as stated by Professor Douglas Bush in =Mythology and the Renaissance Tradition= (Minneapolis, 1932), p. 183. [16] =Shakespeare's Ovid=, X, 343-346. [17] Despite these departures from Ovid, the British Museum Catalogue continues to list this as a "translation" of Ovid's =Metamorphoses=, X. For a somewhat later example of an actual translation of this tale, considerably amplified, see James Gresham's (not Graham's, as in =STC=) =The Picture of Incest, STC= 18969 (1626), ed. Grosart (Manchester, 1876). In idiomatic English, occasionally ornamented with such triple epithets as "azure-veyned necke" and "Nectar-candied-words," Gresham expands Golding's Ovid by more than 300 lines. Although he invents a suitable brief description of Mirrha's nurse, whom he calls "old trott," and throws in a few erotic tid-bits quite in the spirit of the minor epic, he never departs from Ovid's story line and never introduces descriptive detail of which there is not at least a hint in Ovid. [18] No. 95 in the edition cited below. [19] Mary A. Scott, =Elizabethan Translations from the Italian= (Boston, 1916), pp. 20, 144. [20] =Poems by Richard Linche, Gentleman= (=1596=), ed. Grosart, p. x; =The Love of Dom Diego and Gynevra=, ed. Arber in =An English Garner=, VII (Birmingham, 1883), 209. [21] "The Source of Richard Lynche's 'Amorous Poeme of Dom Diego and Ginevra,'" =PMLA=, LVIII (1943), 579-580. [22] William Painter, =The Palace of Pleasure=, IV (London, 1929), 74. (Actually, "Catheloigne" in Painter.) [23] =Certain Tragical Discourses of Bandello=, trans. Geffraie Fenton anno 1567. Introd. by Robert Langton Douglas, II (London, 1898), 239. [24] Painter, I, No. 40, 153-158. [25] Painter, I, 156. [26] Painter, I, 157. [27] Bush, p. 139. [28] Two (=Philos and Licia, Amos and Laura=) employ the Marlovian couplet, two (=Dom Diego= and =The Scourge=) the Shakespearean sixain, and Barksted's two employ eight-line stanzas, with =Mirrha= rhyming =_ababccdd_= (the Shakespearean stanza plus a couplet), and =Hiren= rhyming =_ababbcac_=, a more tightly knit departure from Shakespeare's stanza. The last, =Pyramus and Thisbe=, suggests its debt to both masters--or plays both ends against the middle--by employing a 12 (2x6)-line stanza composed of couplets, with the last couplet having a double rhyme probably designed to echo the concluding couplet of the Shakespearean sixain. [29] Thomas Lodge, =Scillaes Metamorphosis= in =Elizabethan Minor Epics=, ed. Donno, p. 35, stanza 71.