1 There are a number of works which treat Du Bartas’ career in England, although few of them deal specifically with the nature of his fame. Aside from studies of his translators the most useful information is in Alfred Upham, French Influence in English Literature (New York, 1908); H. Ashton, Du Bartas en Angleterre (Paris, 1908), which is chiefly devoted to tracing his influence on English poetry; Sidney Lee, The French Renaissance in England (New York, 1910); William Abbot, ‘Studies in the Influence of Du Bartas in England 1584-1641', unpub. dissertation (Chapel Hill, 1931), and Campbell, L. B., Divine Poetry and Drama in Sixteenth-Century England (Cambridge, 1959)Google Scholar, which argues that Du Bartas strongly affected the vogue for ‘divine poetry', verse based upon Scripture. There is also an unpublished B. Litt. thesis by James Carscallen, ‘English Translators and Admirers of Du Bartas, 1578-1625’ (Oxford, 1958), which I have not yet seen. For Du Bartas himself see his Works, ed. U. T. Holmes, Jr., J. C. Lyons, and R. W. Linker (Chapel Hill, 1935-1940). A recent edition is La Sepmaine ou Creation du Monde, kritischer Text der Genfer Ausgabe von 1581, ed. Kurt Reichenberger (Tubingen, 1963), which includes a brief introduction and copious notes.

2 Harvey's comment is found in the margin of a copy of John Eliot's Ortho-epia Gallica (1593) belonging to the Huntington Library and filmed for the Ann Arbor series.

3 English Literature in the Sixteenth Century Excluding Drama (Oxford, 1964), pp. 541-544. For a persuasive defense of Du Bartas’ style see A. E. Creore, ‘Du Bartas: A Reinterpretation', MLQ, I (1940), 503-526. Even some modern French comment is kindly. In his description of Du Bartas in Poètes du XVIe Siécle (Paris, 1953), A.-M. Schmidt says the reader will find in him ‘les charmes trepidant du baroquisme littéraire'.

4 Upham, pp. 148-149.

5 For a discussion of the missing translation see Sidney's Poems, ed. W. A. Ringler (Oxford, 1962), p. 339.

6 William Abbot gives the best bibliographical description of the tangle of the various translations and their editions. For Hudson's poem, which was later printed with Sylvester's works, see the modern edition by James Craigie (Edinburgh, 1941).

7 The modern edition of James's poetry is that edited by Craigie (Edinburgh, 1955, 1958), 2 vols. James also translated some lines from the ‘Second Jour’ of the Premiere Septnaine and a portion of ‘Eden’ from the Seconde Sepmaine. For his poems to Du Bartas, see 1, 112-113; II, 102.

8 Triumph of Faith (1592), sig. Bi^v.

9 Ibid., sigs. A2^V-A3; Works (1633), sig. A3; Second Weeke, sig. A3. Unless otherwise indicated, quotations are from Sylvester's Works (1633).

10 James, I, 112; Lisle, Babilon, sig. A4; Sylvester, Ivry, sig. AI^v.

11 For Barret's translation, which seems to exist only in a manuscript at the Folger Library, see my article ‘An Unknown Translation of Du Bartas', Renaissance News, XIX (1966), 12-13.

12 Nashe, , Works, ed. McKerrow, R. B. (Oxford, 1958), 1, 193-194Google Scholar; III, 130; Churchyard, A musicall Consort (1595), sig. G₃ ^V (Churchyard claimed, in Churchyards challenge, 1593, to have translated a section of the ‘Premier Jour’ of the Premiere Sepmaine and to have lent the piece to a ‘great Lord’ who lost it); Reynolds, ‘Mythomystes’ (1632), in Critical Essays of the Seventeenth Century, ed. J. E. Spingarn (Bloomington, Indiana, 1957), 1,146; Howell, Instructions for Forreine Travell (1642), sig. CII

13 Hall, , Works, ed. Davenport, A. (Liverpool, 1949), p. 113 Google Scholar; Drayton, ‘Moses', Works, ed. J. W. Hebel (Oxford, 1961), III 358; Daniel's lines are from ‘A vindication of Poesie' in Selected Poems, ed. Thomas Stroup (Lexington, Kentucky, 1959), p. 11. The poem is undated. John Davies of Hereford wrote a poem for Sylvester's works which echoes these compliments: the Weeks are a ‘Monument admir'd of all', rising above envy's clouds 'and ever shall, / Sith built by deepest Art, and highest wit’ (sig. Ff5^v).

14 Taylor, Works… Comprised in the Folio Edition of 1630, Spenser Society reprint nos. 2-4 (Manchester, 1869), pp. 217, 513, 386; Summary Catalogue of Western MSS. in the Bodleian Library, II, 1055, no. 6459. At the time Barlow wrote there was a copy of Du Bartas’ works in the Bodleian.

15 Moffet, , Nobilis (1593), ed. and trans. Heltzel, V. B. and Hudson, H. H. (San Marino, 1940), p. 74.Google Scholar Moffet's own poetry sometimes recalls Du Bartas’ imagery and description. For Adams, see his Workes (1630), sig. F5.

16 Poems, ed. A. B. Grosart (1868), in the preface to ‘Christ's Victory and Triumph' (1610), pp. 66-70. He also calls Du Bartas one of'the miracles of our latter age'.

17 “The Purple Island’ (1633), in Poetical Works of Giles and Phineas Fletcher, ed. F. S. Boas (Cambridge, 1909), II, 15. In fact, Hetcher knew Du Bartas only in Sylvester's version. See A. B. Langdale, Phineas Fletcher (New York, 1937

18 Du Bartas, Works, 1, 203.

19 Sig. A4. ‘… Perge tuo ingenio nostrae procudere genti, / Et patria cantare sono secreta profundi / Wintere; ut vulgus cognoscat in aethere summo / Qui sedet Omnipotens, ima quid praestet Abysso, / Et laudet, timeatque admireturque potentem.'

20 Sig. B6^V. Gamage's resort to Welsh has a note of desperation. Sylvester's name (like Winter's) afforded greater opportunity for such compliments. Jacob Johnson, for instance, played in Latin on ‘sylva’ in his Epigrammatum libellus (1615), sig. D5. An anagram which combines the names of Sylvester and Du Bartas appears in John Clarke's Formulae oratoriae (1637): ‘Josua Silvester … vere os Salustii’ (sig. R6).

21 From Book II, song 1 (first printed in 1616), in Whole Works, ed. W. C. Hazlitt (London, 1868-69), 1, 192.

22 Printed with the Works of Davies of Hereford, ed. A. B. Grosart (Edinburgh, 1878), p. 81. In a footnote Holland adds ‘The Bible rimed in a pettie volume like the Battle of Troy.'

23 Oxford, 1618, sig. C₅; Butler says his worthies are ‘Homero, Maroni, Ovido … aequiparandi', for they are ‘ingenio et arte florentes'. The book was first printed in 1598, but the preface is dated 1600. Davies is quoted by Abbot, p. 73.

24 Poems, ed. A. Davenport (Liverpool, 1961), p. 82.

25 Sig. G2. Stradling's phrase ‘a strict-smooth-footed Poets line’ suggests that his admiration for Du Bartas extended to imitation.

26 Sigs. E6^V-E⁷. The first line of a reference to Du Bartas earlier in the book recalls the opening of Shakespeare's Henry the Fourth I. Zouch is discussing the state of France:

27 The Anatomy of Melancholy, ed. Floyd Dell and P.Jordan-Smith (New York, 1927), p. 275.

28 Works, ed. C. H. Herford and Percy Simpson (Oxford, 1925-1952), 1, i33.Jonson's distinction has a certain basis in classical and Renaissance criticism, but his extreme position suggests that he was trying to irritate Drummond.

29 Affaniae (Oxford, 1601), sig. D 8 : ‘ … divini cultissima lingua Salusti,… Elysii qua parte jugi convenerat, et te / Edocuit sensus et sua verba senex?'

30 In his ‘Moses', Works, III, 358.

31 Shakespeare Association Facsimile 13, ed. Symon Stafford (Oxford, 1936), sig. V4.

32 In the earlier collections the French poetry shows traces of Du Bartas’ influence. See Alberta Turner, ‘French Verse in the Oxford and Cambridge Poetical Miscellanies, 1600- 1640', MLQ, x (1949), 458-463.

33 The Three Parnassus Plays, ed. J. B. Leishman (London, 1949), Second Part, Act III, scene iii.

34 From ‘Pierce's Supererogation’ (1593), in Elizabethan Critical Essays, ed. G. G. Smith (Oxford, 1904), n, 265-266. One of Harvey's references to Du Bartas seems to show that this strange and neurotic man sometimes envied Du Bartas. In the Folger Library's volume of his marginalia there is a note which says, ‘Miseret me mei si Fortius violentior: aut Ramus illustrior: aut Lipsius securior… aut Bartasius divinior ullo modo' (f. 39).

35 Sigs, D3, E2^V. In the first poem, by Mathew Gwinne, Mornay is also summoned, probably because he was also, as the marginal note says, ‘E Gallico in Anglicum versi'. In the next, by Richard Latewar, it is Tasso who is to come with Du Bartas to lament Sidney. For Lapworth's compliment see sig. A3^V.

36 Hall, p. 16. In his Epigrammaton (1616) John Dunbar reverses the image, writing to Davies of Hereford that although Sylvester struggles to leave doubtful the laurel on Daniel, Davies himself has no equal (sig. FI^v).

37 Works, ed. P. Vivian (Oxford, 1909), p. 41. Campion's essay was entered in the Stationers’ Register in 1591.

38 From the introduction to the 1604 edition, Works, v, 227.

39 Barnes's letter is quoted by Campbell, Divine Poetry, p. 136. Nashe also refers to the 'Urany of Du Bartas’ in a passage scolding Barnes for siding with Harvey, with whom Nashe was feuding. See his Works, III, 115. For Harvey on Spenser's opinion see Marginalia, ed. G. C. Moore Smith (Shakespeare Head Press, 1913), p. 161.

40 From the envoy to the ‘Ruines of Rome', in Poetical Works, ed. J. C. Smith and E. de Selincourt (Oxford, 1912), p. 514.

41 Marginalia, p. 136. The references to ‘Ivry’ are in the Folger ‘Marginalia', fs. nov and 209.

42 Parnassus, ed. Charles Crawford (Oxford, 1913), from the title page.

43 According to Abbot, Swan also borrowed from Lodge's translation of Goulart.

44 Browne puts many lines from Sylvester in quotation marks. For a discussion of the extent of his debt to Du Bartas see Abbot's dissertation.

45 Works (Hunterian Club, 1883, reissued New York, 1963), IV, 76.

46 Works (1616), sig. Q4. Du Bartas also appears in James's Declaration against Vorstius (1612), Works, sig. Hh4^v

47 Nashe, too, noted the passage in ‘Pierce Penilcsse’ (1592), Works, 1, 193-194.

48 Lodge, III, 62. Reynolds, in Spingarn, 1, 158.

49 Heylyn, sig. B₃, from the edition of 1652; the work is here titled Cosmographie in Four Bookes, but the quotations from Du Bartas are the same.

50 Angler (Oxford, 1951), pp. 44-45,100. Walton also quotes Du Bartas’ description of the Sargus, Cantharus, and Mullet, pp. 46-47.

51 Diary, ed. H. B. Wheatley (London, 1924), II, 360. The entry is dated 2 Nov. 1662.

52 Upham, p. 218.

53 By the 1660s Du Bartas’ reputation in France was low indeed, but it should be remembered that despite Ronsard's scorn for the Sepmaines many Frenchmen had praised them. The opinion of Etienne Pasquier, for instance, could have summarized that across the Channel: ‘encores que quelques uns ayent voulu controler son style comme trop enfle si est-ce que son oeuvre a este embrasse d'un tres favorable accueil, non seulement pour le digne suject qu'il a prit à le louange non d'une maistresse ains á Dieu, mais aussi pour la doctrine, braves disours, paroles hardies, traits moiielleux et heureuse deduction dont il est accompagneV From Les Recherches de la France (Paris, 1633 ed.), sig. Fff5^v

54 Folger ‘Marginalia', f.s I and 53^v.

55 Thomas Adams, ‘Politicke Hunting', in Workes (1630), sigs. 15-l5^v