Endnotes
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That the hero transformed to an ass was the motive of two Greek romances can hardly be doubted after Photius’ statement. The one, he says, was the work of Lucius of Patrae (who wrote μεταμορφώσεων λόγους διαφόρους), the other the work of Lucian. The Λοὐκιος ἣ Ὄνος preserved in the works of Lucian, is doubtless one of the romances known to Photius. But its style and impartiality never for an instant suggest Lucian, who would have made the metamorphosis a peg for satire. And modern scholars are for the most part agreed that Lucian was not the author. Other considerations prevent our assigning it to Lucius, who, it is said, ran to a greater length, and it would be difficult to set forth the story in briefer terms than are employed by the author of Λοὐκιος ἣ Ὄνος. Probably it is the work of neither, though it may well be the romance attributed to Lucian by Photius. The only sure fact is that in the Λοὐκιος ἣ Ὄνος are to be found the dry bones of The Golden Ass. The curious may consult Professor Rohde’s Ueber Luciarfs Schrift Λοὐκιος ἣ Ὄνος und ihr Verhaeltniss zu Lucius von Patrae und den Metamorphosen des Apuleius. ↩
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Loves Mistress: or, the Queens Masque. As it was three times presented before their two Excellent Majesties, within the space of eight days. In the presence of sundry foreign ambassadors. 1636. ↩
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The first edition was “imprinted at London in Fleet street at the sign of the Oliphant by Henry Wykes, Anno 1566.” Other editions appeared in 1571, 1582 (the rarest), 1596, 1600, 1639. ↩
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The full title runs thus: “A Special Remedy Against the Furious Force of Lawless Love. And also, a true description of the same. With other delightful devices of dainty delights to pass away idle time, with pleasure and profit. Newly compiled in English verse by W. A. Imprinted by Richard Ihones, and are to be sold at his shop over against S. Sepulchres Church without Newgate. 1579.” The tract, which is unique, was found in the Evidence Room in Northumberland House, and reprinted in 1844 by the Roxburghe Society. ↩