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The answer of Siluanus describing Diana's husband Delius, is closely similar to the same in the Diana (p. 12). The concluding couplet is Googe's mild satire:

"They saye tys qualities but tush,

Its ryches makes a man:"

At the conclusion of the song by Syrenus and Sylvanus, which he omits, Googe continues his paraphrase of the passage describing the arrival of the shepherdess Selvagia. On Sirenus's inquiry concerning the shepherdess, Siluanus informs him of the history of her unsuccessful love for Alanius, and of how Alanius now loves Ismenia. These facts are unknown to the Sylvanus in the Diana, who thus responds to Syrenus (p. 14): "This is a faire Shepherdesse, that hath fed but a few daies since in these medows, complayning greatly of love, and (as some say) with good cause, though others say, that she hath bene a long time mocked by the discouerie of a deceite." The pastoral company, including Sylvanus, hears later the story of Selvagia.

The twelve lines beginning with the first speech of Seluagia are the invention of Googe. The prose of the Diana dealing with the greeting and initial exchanges of the shepherdess with the two shepherds varies entirely from Googe. The Englishman's paraphrase begins again with the second speech of Selvagia and the reply of Sylvanus:

English:

"To truste the fayned words of men,

Loe, thus poore women speeds. Siluan. And men do smarte not through your words but your vnconstant deeds.

For you when earnestlyest you loue,

no thyng can chaunce so lyght. But yf a toye com in your Brayne, your mynde is altered quyght. If we but ones, absent our selues,

the shortest tyme we maye,

Spanish (p. 15): "Vnhappy women are these, saide Selvagia, that are SO ill intreated by your words: But more vnfortunate are those men, saide Sylvanus, that are worse handled by your deedes. Can there be a thing more base and of lesse acount, then that you are so ready for the lightest thing in the worlde to forget them, to whom you haue borne the greatest loue? For, absent your selues but a day from him whom you loue well, and then shall he neede

So much vnconstant is your minde
Loue soreth strayght awaye,
Example take Sirenus here whom

once Diana lovd,

As all we know, and looke how soone her mynd is now removd."

to

commence his suite new againe." . . . (p. 16) "For heere is Syrenus, who was fauored more of Diana, then any louer in the world of his Mistress, and yet she hath now forgotten him, as thou faire Shepherdesse, and all we doe knowe."

Seluagia's third speech and the two preceding lines of Siluanus's, Googe substitutes for Selvagia's

answers

(Diana, p. 16) to the points in question already introduced by Googe.

The attack of Sirenus upon Seluagia ending:

"Your symple wyts are all to weake,

Vnfayned loue to know,"

corresponds closely with the same in the Diana ending (p. 16) "You meddle with love and are vncapable to iudge what it meanes; how doe you, then, know to behaue your selues in it."

The first four lines of Seluagia's answer with the last two of Sirenus's speech are inventions of Googe. With considerable faithfulness Googe follows Selvagia's answer to Syrenus (p. 16). Sirenus's last reply to Seluagia is identical in substance, yet far different in spirit. The lifeless character of Googe's verse deprives the original of its usual standards of courtesy and decorum, so consistently maintained in the romance. Googe's eclogue ends as Seluagia refuses to repeat "what lucke she has had in loue." In the Diana (p. 17) Selvagia launches into the story of her life.

Thus it is clear by what method Googe labored. Having the text of the Diana before him, he turned the pages at random to discover passages suited to his rustic Muse. The foregoing analysis of his imitation seems to indicate

entirely hasty work on Googe's part. To sum up, his interest in the Diana is valuable not for its reflection in his simple verse, but for the fact that he was the first to introduce the romance to England. After the publication of his eclogues, one finds constant imitation of the Diana by authors of far greater literary importance.

A COMPARISON OF THE CHARACTERS IN THE COMEDY OF ERRORS WITH THOSE IN THE

MENAECHMI

BY ERMA GILL

The characters in Plautus' plays are frequently dismissed with the statement that they are types or stock characters. On the whole the charge is just, though a closer study of the comedies reveals the fact that Plautus knew something of human nature after all and that sometimes he came very near creating a real man or woman, as, for example, Messenio in the play which we are examining, the Menaechmi, and the courtezan in the Mostellaria. My task in this paper is to make some analysis of the characters in the Menaechmi and to compare with them the corresponding characters in The Comedy of Errors.

The following table shows the relation between the characters in the two plays.

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1See Zwei neuentdeckte Shakespearequellen, Paul Wislicenus, in the Shakespeare-Jahrbuch, XIV, pp. 87 ff. Weimar, 1879.

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Old Man, father-in-law to Menaechmus of Epidamnum (His philosophy is given to Luciana and Aemelia in The C. of E.)

Cylindrus, a cook

Maid to Erotium.

(Luce?)

There are sixteen characters (besides the gaoler, officer, etc.) in Shakespeare's play in contrast to the ten in the play of Plautus. Of the Shakespeare additions, Dromio of Ephesus is chief in importance, and Luciana is next. Then comes the enveloping-action group, the Duke, Aegeon, and Aemelia, while as minor characters the merchants aid the complicating situations, and Luce adds somewhat to the fun. The most important character of the Latin play who is omitted is Peniculus, the parasite. Balthazar takes his place in a small measure as the recipient of an invitation to dinner at the home of Antipholus of Ephesus and as a companion to that same gentleman at the dinner with the courtezan. Furthermore, the old man, the father-in-law of Menaechmus of Epidamnum, is not found in Shakespeare's play, but his chiding and philosophy are given to Luciana and Aemelia. The father and mother are mentioned in the "Prologue" and the "Argument" of the Latin play, and ʼn goldsmith is mentioned in that play.

2Shakespeare gives to the Duke of Ephesus the solving of the complication, a function performed by Messenio in the Menaechmi.

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