1 Colin cloute: Spenser’s most recognizable name for his poetic persona, who reappears in CCCHA and FQ VI.ix-x, is mentioned at Time 225, Daph 229, and TCM VII.vi.40.5, and is the name by which he was known to contemporaries (e.g., Drayton, Shepheards Garland [1593], Eclogue 3.12-4). The name Colin derives from L colonus ‘farmer’ and was associated with lower-class rustics, while the word ‘clout’ could mean piece of cloth, esp. a rag, but also a clod of earth. Thus the full name identifies Spenser’s persona as a spokesman for the common man, or populace, and was used as such by Skelton. In the anticlerical poem Collyn Clout, Skelton uses Collyn to attack Cardinal Wolsey at the court of Henry VIII for clerical abuse, presenting the title figure as a prophetic poet with a plain-speaking voice. Subsequently, the name ‘Colin Clout’ came to evoke ‘an entire tradition of Reformist literature’ (Griffiths 2006: 167). Marot also introduces a pastoral speaker named Colin in Eglogue de ma Dame Loyse de Savoye, a funeral elegy on the mother of Francis I and a major source-text for November (see headnote and note on ‘Marot’ in the Nov Arg). Finally, as E.K. points out in his gloss, the idea of an authorial pastoral persona traces to antiquity, and principally to Virgil’s Tityrus in Eclogues 1 and 6. Importantly, however, the name Colin Clout is one of ‘eleven speakers in the Shepheardes Calender’ but ‘not one has a classical name’ (A. Fowler 2012: 34).

1–2 complaineth . . . vnfortunate loue: The nominal theme of the eclogue, unrequited love, which unfolds variously in the other five Colin Clout eclogues.

3 Rosalinde: Spanish and Italian for ‘beautiful rose’---evidently a Spenserian invention (although it is a variation on the traditional ‘Rosamond’ (as in Chaucer’s ‘To Rosemounde’, and most famously The Romance of the Rose). Rosalinde’s name appears in six eclogues (Jan 60, Apr 27, June 44 and 115, Aug 141, Nov 44, Dec 113 and 156) and in CCCHA (908 and 926), but she herself never appears as a character inside the fiction. As E.K.’s gloss makes clear, the name is a pseudonym designed to conceal Rosalind’s real-life identity; speculations include Spenser’s first wife, Machabyas Childe, Mary Sidney Herbert, and even Queen Elizabeth (SpE s.v. ‘Rosalind’; see Hadfield 2012: 143-7). In the Letters, published the year after the Calender, Gabriel Harvey calls the mistress of Spenser ‘altera Rosalindula’ (3.595: ‘another little Rosalind’). The name has had a robust afterlife in English literature, starting with Thomas Lodge’s prose romance Rosalynde (1590) and subsequently Shakespeare’s memorable heroine in As You Like It (as well as Rosaline in Love’s Labor’s Lost and the absent ‘Rosaline’ in Romeo and Juliet). For the pairing of Rosalind with Colin as an ideal couple, see Drayton, Shepheards Garland, Eclogue 8.231-2; Phineas Fletcher, Piscatorie Eclogs (1633), ‘To my beloved Thenot in answer of his verse’ 22-3.

4–6 compareth . . . flocke: The central conceit of the eclogue, which compares the stages of life with the seasons of the year, a shepherd to his flock, etc.

6–7 robbed of all former pleasaunce and delights: Sets apart Spenser’s opening eclogue---and the Calender generally---from the traditional pastoral of pleasure (on which, see Poggioli 1975; H.D. Smith 1952: 2).

7 breaketh his Pipe: A second major theme to the eclogue, the refusal to sing or write more poetry (known as recusatio, a classical device by which poets simultaneously advertise their plan to move into a higher form of poetry).

7 Pipe: The oaten reed or panpipe, the instrument and symbol of poetic song and pastoral writing in Theocritus, Virgil, and their continental heirs. Cf. the woodcut, which depicts bagpipes; Dec 141-2.

1 A Shepeheards boye (no better doe him call): Evokes an awareness of status. Parentheses recur throughout the Calender: ‘by their nature [they] signal a shift in tone . . . interruption, explanation, qualification, or digression. Parentheses therefore effect a fresh---if fleeting---focus on language as speech: they suggest a voice, . . . the mind and person that produces that voice, . . . suggesting a submissive protest to a matter that is proceeding along unprotested’ (Sagaser 1992: 95). Cf. Fletcher’s imitation in Piscatorie Eclogs 3.1: ‘A Fisher-lad (no higher dares he look)’. Fletcher also imitates Jan 13-20 and 25-6. Cf. Dec 1 and note, where Colin is no longer a ‘boye’ but ‘The gentle shepheard’.

2 wastful: The concept of waste recurs at 19 and 38. Moreover, waste becomes a ‘chorused word’ that opens into other eclogues, registering Spenser’s ‘evaluative language’, which here brings together a bleak landscape with a debilitating human expenditure (Hoffman 1977: 47).

4 ypent: Used elsewhere in Spenser’s poetry only at Julye 216. The term first appears in print in 'The Plowman's Tale', a Wycliffite, anti-fraternal tale interpolated in sixteenth-century printed editions of The Canterbury Tales, and crucial to the notion of Chaucer as a vehement proponent of Church reform. This pseudo-Chaucerian plowman 'was a man wont to walke about / He nas not alwaie in cloister ipent' (Q6).

7 All as the Sheepe . . . shepeheards looke: The shepherd-sheep comparison is a commonplace of pastoral. See Julye 129-32, Sept 141. The line echoes proverbs with similar formats. See Petronius, Satyricon 58: qualis dominus, talis et servus (‘like master, like man’); Hos 4:9: ‘And there shalbe like people, like Priest: for I wil visite their wayes upon them, and reward them their deedes.’

9 May seeme he lovd, or els some care he tooke: The word ‘seem’ could be used without ‘it’. Cf. Feb 77, Maye 211, Oct 27. The use of ‘seem’ in this way will become a signature of the Spenserian narrator, a character who observes from a distance and interprets what he sees (as established prominently in FQ: e.g., I.i.1.8, I.i.2.8).

10 tune his pipe: ‘Bring his pipe into accord with the feeling of his subject’; ‘control his art effectively’.

10 frame his stile: ‘Write his poem’; ‘voice his discourse’; ‘direct his pen.’ The word ‘stile’ comes from L stilus, an instrument used to write on wax tablets. OED defines ‘style’ as ‘an instrument made of metal, bone, etc.’ and used for writing, as well as ‘the manner of expression characteristic of a particular writer’. Here, ‘Spenser manages to deflect the center of interest from Colin and his landscape toward the stylizations and workings of the eclogue itself’ (Mallette 1981: 28)

11 hill: A pastoral site of poetic inspiration and composition---a diminutive Mt. Parnassus, home of the Muses (see Julye 45-8 and E.K.’s gloss).

12 playnd: ‘[W]e see play in playnd. . . : the metamorphosis of pain into poetry’ (Berger 1988: 330).

13–71 Ye Gods of loue . . . the while abye: Colin addresses his complaint to a series of imagined listeners: the natural world, the gods of love, Pan, the ground, the trees, his flock, and finally his pipe. Colin’s address to Pan especially makes clear the topic of faith at issue throughout the complaint, which constitutes the first of several set-pieces in the Calender (e.g., Colin’s lay of Elisa in Aprill, his sestina on Rosalind in August, and his elegy on Dido in November).

13–14 pitie . . . pitie: Rhetorical figure of chiasmus (inversion of word order in succeeding clause); more specifically, antimetabole, an inverted structure that uses the same words.

16 dolefull dittie: A grief-filled song or poem. OED says that ‘ditty’ is ‘often used of the songs of birds, or applied depreciatively’. Cf. Apr 29, Oct 13, and Dec 14.

17–18 And Pan . . . thy selfe didst proue: See Apr 50-1. For Pan’s love of Syrinx, see Ovid, Met 1.689-712. Rejecting Pan’s love, Syrinx asks her river-nymph sisters to turn her into a syrinx or reed; Pan reaches for her but finds himself embracing an armful of reeds; sighing into it, he invents the panpipe. Pan and Syrinx form the mythological model for Colin’s complaint to Rosalind; it is ‘the poem’s underlying plaintive/recreative myth’, in which ‘Pan is an archetype of the creative power of the human spirit’ (Montrose 1979: 38).

17 Pan: The presiding deity of pastoral poetry. Pan was an erotic Arcadian god of the woodlands, of music, and of shepherds, identified with nature but also with the cosmos, eventually Christ, and sometimes kings (Lotspeich 1965, s.v. ‘Pan’). Cf. Apr 51, Maye 54, Dec 7. Pan was half man and half goat. Cf. Virgil, Ecl 2.31-3. Pan’s alternative name, Inuus (from L ineo, ‘enter, begin’), identifies him with Janus, god of January; see Macrobius, Saturnalia 1.22.2.

19–42 Thou barrein ground . . . the ysicles depend: For similar conceits, see June 95-101, Nov 123-35. Spenser’s depiction of the wintry landscape echoes Sackville’s Induction to Mirror for Magistrates 1-21, a work introducing a series of cautionary tales to leaders in positions of political power (Bush, Var 7: 248-9). For the association between love melancholy and winter, see also Petrarch, RS 66.

20 Art made a myrrhour: A complex play on ‘art’, ‘made’, and ‘mirror’, linking Orpheus with Narcissus, the story of a boy who looks into a mirrorlike pool with the story of a musician-poet who uses his art to remake nature after having lost his wife (Berger 1988: 332-7). For the mirror image, see also Maye 274, Oct 93.

22 Daffadillies dight: According to Brooks-Davies 1995: 32, 'Daffadillies' is 'not daffodil (a spring flower) but white or yellow asphodel, the leaves of which provide sheep fodder (for the Elizabethan confusion of the forms affodil(ly) / daffodi(ly) see OED asphodel 1a; affodill; daffodily.). [D]affadillies is northern [in dialect], dight is both archaic and northern’, forming the Calender’s introduction of Spenser as a ‘dialect poet, a regional author who . . . self-consciously defined his work in terms of a marginalized, provincial culture’, in opposition to ‘the courtly London poet’: ‘The author of the Shepheardes Calender, in his own account, is an outsider’ (Blank 1992: 86, 72).

22 dight: Spenser uses the verb throughout the Calender (e.g., Apr 29, Dec 114); it tends to mean either ‘clothe’ or ‘make’ (or both), and six of the uses are associated with flowers, often in a vocational context (e.g., making garlands), suggesting rhetorical ornament. Thus, for Spenser ‘dight’ becomes a key verb for the ornamental art of making ‘laureate’ poetry.

24 mantle: A natural covering but also a blanket or cloth covering, often made of wool. Cf. Jan 75, Nov 85 and 128. Both ‘mantle’ and ‘maskedst’ are terms of costume and performance (see ‘clothd’ at 33 and ‘dight’ at 22).

24 maskedst: A term from reveling and masquerading, which Spenser tends to use as a vocational term (Maye 2, Nov 19, FQ I.pr.1).

27 stormy stoures: Repeated at Maye 156; E.K. glosses stoure at Jan 51.

27 balefull smart: ‘Painful pain’ (rhetorical figure of pleonasm); ‘painful suffering’.

29–30 And yet alas . . . yt is already donne: Cf. Dec 29-30.

34 bloosmes: Evokes a mass of flowers (OED). Subsequent quartos change to ‘blosomes’ or ‘blossomes’. Yet because 1579 offers this idiosyncratic spelling more than once (along with ‘bloosme’ and ‘bloosming’), and the form also appears in Spenser’s later works , we do not follow the reading of 1581, ‘bloſomes’.

38 My timely buds with wayling all are wasted: The phrasing implicates Colin’s complaint and song in the natural process of seasonal wasting.

43–48 Thou feeble flocke . . . pyning mourne: Cf. Aug 17-20. For the pastoral convention relating love melancholy to sheep-neglect, see Theocritus, Idylls 11.12-16, Virgil, Ecl 3.3-6. This stanza has been singled out for its reliance on multiple rhetorical figures: anaphora at 43-4 (repetition of a word at the beginning of a clause: ‘whose . . . whose’); double parison (an even balance of clauses); alliteration at 47 (‘Thou weake, I wanne: thou leane, I quite forlorne’); antimetabole at 48 (reversal of a phrase at the beginning and ending of a line: ‘mourning pyne . . . pyning mourne’) (Rix, Var 7: 246).

44 knees . . . fare: Cf. Ps 109:24: ‘My knees are weak through fasting’.

45 ill gouernement: The word government appears only here in the Calender (but cf. ‘gouernaunce’ at Maye 121 and ‘misgouernaunce’ at Nov 4), and identifies Colin as a governor, a leader and manager of his flock, in accord with humanist teaching about the educated individual who contributes to the state (as in Sir Thomas Elyot’s The Boke Named the Governour [1531]). The word thus consolidates a line of political discourse that appears in several of E.K.’s glosses: from his references to Marot and Skelton at Jan [1], to his reference to Smith’s ‘booke of goverment’ in his gloss on ‘couth’ at Jan [10].

48 pyne: Cf. Perigot at Aug 18 and 109.

49–53 A thousand sithes . . . such sight hath bred my bane: These lines echo Petrarch’s first sight of Laura in RS 61. RS 23.21-40 also portrays the immediacy of love and its after-effects.

49–50 A thousand sithes . . . neighbour towne to see: Cf. Feb 71-7, Apr 21, June 19-20 and 50, Julye 44 and 75-9, Sept 150-3, which suggest that much of the Calender was written in Kent or Surrey.

49 sithes: E.K. glosses ‘sythe’ as ‘time’, yet there may be a pun on ‘sigh’.

49 hower,: 1581 corrects the obvious mispunctuation; the adjustment to ‘houre’ in 1591 may reflect a desire to enforce a ten-syllable line or to assert eye-rhyme with ‘stoure’ (51).

50 neighbour towne: E.K.’s gloss of ‘the next towne’ requires supplement, since town can mean variously ‘An enclosed place’, ‘a village or hamlet with little or no local organization’, or ‘an inhabited place . . . more regularly built than a village, and having more complete and independent local government’ (OED). Because Colin is a shepherd, his reference to the town where Rosalind lives suggests a geographical movement from countryside to town or city, hinting at a corresponding change in literary genres, from pastoral to epic. The change is frustrated and then finalized when Colin breaks his pipe. Cf. Googe, Eclogue 3.147-9, who contrasts ‘towne’ with ‘downe,’ the city with the country. See note on Sept Arg under ‘Diggon’.

54 Ah God . . . ioy and payne: Cf. Horace, Satires 2.3.267-8: in amore haec sunt mala, bellum, pax rursum (‘In love inhere these evils---first war, then peace’). Later, the oxymoron of joy as pain becomes common in Petrarchism.

55–60 It is not Hobbinol . . . Rosalind againe: As E.K. points out in his gloss, Spenser imitates Virgil, Ecl 2.56-7, where Alexis criticizes Corydon for giving him gifts.

55–56 plaine . . . suit: The words ‘have a kind of quasi-legal resonance’, used ‘to describe [Colin’s] . . . relationship with the forward Hobbinol’ (Zurcher 2007: 75).

55 Hobbinol: The name Spenser gives to his friend at Cambridge, Gabriel Harvey, as identified by E.K. at Sept [176]. Hobbinol appears as a character in Apr, June, and Sept, while Colin refers to him in Dec (45 and 155). The name derives from hob, ‘rustic’ + noll, ‘head’. Also, a hoball was a clown or idiot (see OED). Hobbinol also shows up as a shepherd in Colin Clouts Come Home Againe, while Harvey signs his name ‘Hobynoll’ at FQ CV Hobynoll.

57–58 His clownish gifts . . . and his early fruit: Often in pastoral, a character in the fiction outwardly expresses loss while the poet manages to evoke concrete features of the good life.

58 cracknelles: Cf. Nov 96.

61 I loue thilke lasse, (alas why doe I loue ?): As E.K. notes, an epanorthosis or rhetorical figure that corrects what was just said. The figure recurs at 62; see 1n.

62 lorne: See Sept [57].

63–66 Shee deignes not . . . doth make: Spenser revises Virgil, Ecl 8.33-4, where Nysa hates Damon’s person, his art, and men in general (Berger 1988: 38): tibi est odio mea fistula, dumque capellae / hirsutumque supercilium promissaque barba (‘while thou scornest all men, and while thou hatest my pipe and my goats, my shaggy eyebrows and unkempt beard’). Cf. Virgil, Ecl 2.6, 3.71, 8.33 (Pugh 2016: 89). See also Petrarch, RS 239.11-12 for Laura as quella nobil alma / che non curò giamai rime né versi (‘that noble soul / that never cared for rhymes or verses’), and RS 239.29-30: ’n versi tento sorda et rigida alma / che né forza d’Amor prezza né note (‘in verses I woo a deaf and rigid soul / who esteems neither the power of Love nor his notes’).

65 deuise: As Colin uses the phrase, a ‘Shepheards devise’ is a pastoral song or poem, occurring in the social setting between male and female, and having a Petrarchan goal of erotic courtship.

65 snake: ‘Used to denote some lurking danger . . esp. in the phr. snake in the grass (after Virgil, Ecl 3.93 Latet anguis in herba)’ (OED). For Spenser’s audience, the word ‘snake’ likely had Satanic connotation.

67–72 Wherefore my pype . . . dyd lye: See Virgil, Ecl 1.77 for Meliboeus’ abandonment of poetry. Spenser transposes Virgil’s design, identifying Colin not with the persona figure, Tityrus, who sits serenely under a beech tree to sing his song, but with Meliboeus, who has had his land dispossessed by the authorities in Rome. Pugh 2016 also cites Ecl 3.71, 10.60-3 (2016: 90). Moreover, the passage introduces the Petrarchan ‘counter-topos of the impossibility of finding any cure for love’, which constitutes one of ‘the two thematic poles which maintain the figure of Colin in an ambiguous state of what seems to be arrested development through the Shepheardes Calender’, the other pole being the Theocritean ‘topos of a cure for love through poetry’ (Walker 1979: 354). See, e.g., Theocritus, Idylls 11.1-5; Petrarch, RS 75.1-6.

69–70 vnlucky Muse . . . musing mynd: Polyptoton, a rhetorical figure that repeats a word in different cases or inflections within the same sentence. (See also 67-8 for ‘please . . . pleasest’.) The device seems to have caught Milton’s eye in Lycidas: ‘So may some gentle muse / With lucky words favor my destined urn’ (19-20).

70 musing: Can mean both ‘worrisome’ and ‘contemplative’ (OED). The phrase ‘musing mynd’ is evocative of Spenser’s emphasis on poetic inwardness in this eclogue; cf. note below on ‘pensife boy’.

71 shall sore the while abye: Can mean ‘pay for a while’ but more emphatically ‘pay the price’. Since this is the last line of Colin’s complaint, it is broken off, compelling the narrator to complete the rhyme in the next line.

72 So broke his oaten pype, and downe dyd lye: The major event in the eclogue. Cf. Apr 3 and 15, Nov 71, Dec 141.

72 oaten pype: L avena can mean both ‘oats’ and ‘panpipe’; the Latin word also has avian associations: avis, ‘bird’ (P. Cheney 1993, 265n45). See also Oct woodcut.

73–78 By . . . weepe: More than half the eclogues conclude with this convention, evident in Virgil, Boccaccio, Mantuan, and Marot, in which the end of the fiction coincides with the end of the day, suggesting a link between temporality and art, appropriate for a pastoral titled The Shepheardes Calender.

73 welked: Cf. Nov [13].

73 Phœbus: Apollo, the sun god who drives his chariot across the sky.

74 waine: For a description of Apollo’s chariot, see Ovid, Met 2.107-77.

75 ouerhaile: ‘Draw over as a cover’ (OED); the usage is rare if not original to Spenser.

76 pensife: Summarizes the inwardness characterizing Colin, drawing together such earlier words as ‘heart’, ‘mind’, ‘longed’, ‘see’, ‘musing’.

77 homeward: Versions of the word ‘home’ or its concept appear at the end of nine SC eclogues, usually in the last or penultimate line. The concept overcomes traditional pastoral ‘stasis’ (Oram 1989: 3) by moving the fiction from the natural to the domestic, as well as introducing the prospect of consolation.

78 Whose hanging heads . . . to weepe: An alexandrine (six metrical feet); the line will become the conclusion to the Spenserian stanza of The Faerie Queene.

78 case: ‘[M]ay refer to Colin’s grief or to his art’ (Berger 1988: 345).

80 Anchôra speme: It ancóra (‘still’) + speme (‘hope’), punning on àncora, anchor, symbol of religious hope. See Heb 6:19: ‘Which we have, as an ancre of the soule, bothe sure and stedfast.’ See also Fidelia with her anchor at FQ I.x.14. The eminent Venetian printer Aldus Manutius adopted the device of the dolphin coiled around the anchor, together with the Latin motto anchora spei; following Aldus, William Ponsonby, who printed Spenser’s FH and 1596 FQ, adopted the same emblem.

2 Skeltons: See Jan Arg note.

10–14 As well . . . wrytings: Sir Thomas Smith was the first Regius Professor of Civil Law at Cambridge, and served as Queen Elizabeth’s ambassador to France. Since his influential treatise De Republica Anglorum was not published till after the Calender, E.K. must have read it in MS. In 1570, Smith helped secure a fellowship for Gabriel Harvey at Pembroke Hall, Cambridge; Harvey wrote a series of Latin elegies, Smithus (1578), in honor of his benefactor (see Hadfield 2012: 63-6, 88-91). E.K.’s comment invites the reader to view both Januarye and the Calender in light of Smith’s emphasis on the importance of the people and the parliament in the governing of the monarchy, a tripartite entity that forms ‘The Monarchical Republic of Queen Elizabeth I’ (Collinson 1997: title). See SC Intro XX.

16 expressing the Latine Vicina: ‘the very word vicina is suggestively apt, as it denotes a locale that is at once elsewhere and close at hand, remote and proximate’; it implies that Colin’s ‘alienation’ is ‘the paradoxically enabling condition of a truly native eloquence’: ‘exile . . . is . . . strangely productive’ (Nicholson 2014: 112).

20 Rusticus . . . Alexis: See Virgil, Ecl 2.56: ‘Corydon, you are a clown! Alexis cares naught for gifts.’ With Ovid’s myth of Pan and Syrinx, Virgil’s second eclogue becomes an important model for Colin’s complaint.

27–37 For who that hath . . . and others: See Plato, Alcibiades 1.131; Xenophon, Symposium 8; Maximus Tyrius, Dissertations 21.8h.

32 pæderastice: For the classical tradition of male friendship within a pastoral setting, see Theocritus, Idylls 23; Virgil, Ecl 2. Cf. Googe, Eclogue 1, where the older shepherd Amintas warns the young shepherd Daphnis to avoid the unlawful love of Jove for Ganymede. The erotic topic of E.K’s commentary here is connected to his flirtatious intimacy as a humanist commentator throughout (Wallace 2007: 159-61).

34 Lucian: Greek author of playfully satirical dialogues, studied and imitated by both More and Erasmus. In 1578, Spenser laid a wager with Harvey for a four-volume edition of Lucian (Stern 1979: 228).

26 gathered . . . meaning: ‘Above and beyond the author’s intention.’ E.K. manages to walk a fine line between arousing suspicion of pederasty and closing that suspicion down. That is to say, he does both.

31 person . . . soule: The Platonic paradigm of material or corporeal thing and abstract or spiritual idea.

34–35 hys deuelish disciple Vnico Aretino: An error for Pietro Aretino, who was an infamous writer of pornographic dialogues and comedies. The epithet Unico was the badge of another Aretine, Bernardo Accolti, mentioned by Harvey at Let 2.588-9.

37 Perionius: Joachim Pèrion, a Benedictine humanist. Evidently, E.K. refers to Pèrion’s indictment of Aretino, In Petrum Aretinum Oratio (Paris, 1551).

41 wel ordered: A cryptic phrase. It might refer simply to the appropriateness of Rosalind’s name for the occasion at hand.

43–45 So as Ouide . . . wyfe to Agryppa: On the tradition of disguising a beloved’s true name, see Ovid, Tristia 4.10.60: nomine non vero dicta Corinna mihi (‘whom I called, not by a real name Corinna’). Renaissance writers believed that Ovid’s relationship with Julia was a cause of his exile from Rome.

45–47 So doth Aruntius Stella . . . in his Epithalamium: Aruntius Stella was a patron and friend of Statius and Martial. Statius wrote a poem on the occasion of Stella’s marriage, ‘An Epithalamium in Honour of Stella and Violentilla,’ Silvae 1.2. Part of E.K.’s statement is based on lines 197-8: Asteris et vatis totam cantata per urbem / Asteris ante dapes, nocte Asteris, Asteris ortu (‘the whole city sang of the poet’s Asteris, before the banquet Asteris, Asteris at night, Asteris at dawn of day’). Martial records that Stella called his lady Ianthis (Theatre Epigr 7.14.5).

48–49 And so the famous . . . name of Zima: Refers to Lettre Amorose di Madonna Celia Gentildonna Romana. Scritte al suo Amante (1562). Most likely, E.K refers to the preliminary note, in which the lady refers to herself as both Celia and Zima.

53 Jan gl 53-4: The displacement of E.K.s final gloss on the eclogue is not repaired until 1611.

38 Epanorthosis: See 61n.