Similarly Barksted departs at length from Ovid in the beginning of his tale, where the Renaissance poet undertakes to explain why Mirrha is cursed with love for her father. While she listens to the sweet, sad songs of Orpheus, Cupid,[15] falling in love with her, courts her and is rejected; his parting kiss "did inspire/her brest with an infernall and unnam'd desire" (p. 123). Golding's Ovid, specifically denying that Cupid had anything to do with Mirrha's unnatural love, suggests that Cinyras' daughter must have been blasted by one of the Furies.[16] Other inventions of Barksted include a picture of her father with which Mirrha converses (pp. 126-127), pictures of her suitors (p. 128), a picture of her mother, over which she throws a veil (p. 128) and a description of Mirrha herself (pp. 131-132). Later in the story Mirrha meets a satyr named Poplar (unknown to Ovid), who makes free with her (pp. 148-155). As punishment for such goings on in Diana's sacred grove, he is to be metamorphosed into the tree that now bears his name (even as Mirrha is subsequently transformed into the tree that produces myrrh). =The Scourge of Venus=, though following Ovid's story more closely than =Mirrha=, expands Golding by more than 600 lines, to a little more than the average length of the Elizabethan minor epic. In the process, Mirrha is assigned lustful dreams not found in Ovid (p. 246), and is impelled to write a long letter to her father (pp. 247-250). Shortly thereafter, the author introduces an emphatically Christian digression on the horror of Mirrha's "fowle incestious lust" and on the importance of reading ="Gods holy Bible"= as a salve for sin (p. 253), and invents the Nurse's prolix arguments against such "filthy" love as Mirrha desires (pp. 258-261).[17] The fact that the author follows Ovid's story as closely as he does should be taken as a commentary on his limited powers of invention rather than on his devotion to the art of translation. Bandello, I, 27, Belleforest, 18, Whetstone's =Rocke of Regard=, 2, Fenton's =Tragicall Discourses=, 13, and Painter's =Palace of Pleasure=, II, 29[18] have all been listed as possible sources for =Dom Diego and Ginevra=.[19] Grosart regarded Fenton's work, 1579, as the source from which Lynche got the bare bones of his story, and Arber agreed.[20] But though Jeannette Fellheimer could find no evidence that Lynche knew Belleforest's or Fenton's version of the tale, she demonstrated, on the basis of two very close parallels, that he knew Painter's.[21] In support of Fellheimer's view, one notes that Lynche follows Painter in employing the form "Cathelo[y]gne"[22] (p. 63) rather than Fenton's "Catalonia."[23]