In Remigio Sabbadini's edition of the epistolary of Guarino Veronese, Letter 192 (Vol. 1, 306-307) ends as follows: ‘Vale mea suavitas; valeat et primaria femina θεoδωρα a sua filia Tadea, quae illam tantopere amat, sitit, ardet oculis et animo, ut iam nunc ascensionem meditetur.’ Sabbadini notes in his critical apparatus: ‘ascensionem non capisco. Forse a me secessionem.’ I hope to show, however, that the text is sound.

By its subscription we know that Letter 192 was written at Verona on October 15. On internal evidence Sabbadini conclusively assigns it to 1420. The addressee was Guarino's Venetian friend, Andrea Zulian. Teodora was Zulian's second wife, whom he wed in 1415.3 Taddea was Guarino's wife, no relation to Teodora; the word filia was simply a term of affectionate respect.

One indication of the extent of musical activity in Strasbourg during the sixteenth century is the sizeable number and superior quality of collections of music and books about music printed there during the period. Scarcely fifty years after Gutenberg printed his first Bible at Mainz, a veritable flood of publications began to pour from the presses of Strasbourg. Although no Strasbourg printer devoted his talents exclusively to publishing music, several printers achieved a measure of prominence in the field. As a consequence of the printers’ diversity of material, the circle of individuals connected in some way with publishing included most of the leading writers, poets, clergymen, musicians, and artists of the day.

From the standpoint of sheer bulk alone hymnals or psalters merit first consideration. The advent of the Reformation in Strasbourg with services in the vernacular dating from 1524 accounts for the sudden interest in sacred music suitable for the congregation.

From their early appearance in Idea the Shepheards Garland to their luminous apotheosis in The Muses Elizium, visions of the idyllic world of pastoral haunted Drayton's thought, as they haunted the Elizabethan culture he typified. At the same time he shared the Renaissance's admiration for the martial glories of the epic. Although in its various versions The Barons Wanes is perhaps his most ambitious effort in this genre, the depth of his response is also evident in the exultant rhythms of his paean to true English hearts, the famous and deservedly beloved ‘Ballad of Agincourt.’ Of particular interest in ‘To the Virginian Voyage’ is the curious inconsistency that results when Drayton tries to combine the attractions of both pastoralism and heroism in the same poem.

While no one would deny that Donne's Devotions Upon Emergent Occasions is a unique work of the imagination, critical comment has generally failed to perceive the commonplaces that lie behind Donne's thought. All too often the work has been labeled the 'curious’ product of an ‘anxious and restless mind' when, in fact, Donne's devotional aims lead him to traditional themes and to a view of the self that tends to deny value to personal idiosyncracies. Devotional literature generally demands from both reader and author a kind of impersonality, or better, universality of self. The author of a devotional work focuses on that area of the self in which he and his reader share similar needs: both identify themselves as fallen men, the crucial fact in their self-understanding.