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[Chaucer newly painted] [by William Painter].
This book represents an authentic reproduction of the text as printed by the original publisher. While we have attempted to accurately maintain the integrity of the original work, there are sometimes problems with the original work or the micro-film from which the books were digitized. This can result in errors in reproduction. Possible imperfections include missing and blurred pages, poor pictures, markings and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as part of our commitment to protecting, preserving and promoting the world's literature.
++++
The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition
++++
[Chaucer newly painted] [by William Painter].
Painter, William, 1540?-1594.
Caption title with statement of responsibility.
Publisher and date of publication suggested by STC (2nd ed.).
t.p. and all after signature E2 lacking; stained and torn, with slight loss of print.
[58]+ p.
[S.l. : G. Eld and M. Flesher, 1623]
STC (2nd ed.) / 19125.5
English
Reproduction of the original in the Henry E. Huntington Library and Art Gallery
++++
This book represents an authentic reproduction of the text as printed by the original publisher. While we have attempted to accurately maintain the integrity of the original work, there are sometimes problems with the original work or the micro-film from which the books were digitized. This can result in errors in reproduction. Possible imperfections include missing and blurred pages, poor pictures, markings and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as part of our commitment to protecting, preserving and promoting the world's literature.
++++
The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition
++++
[Chaucer newly painted] [by William Painter].
Painter, William, 1540?-1594.
Caption title with statement of responsibility.
Publisher and date of publication suggested by STC (2nd ed.).
t.p. and all after signature E2 lacking; stained and torn, with slight loss of print.
[58]+ p.
[S.l. : G. Eld and M. Flesher, 1623]
STC (2nd ed.) / 19125.5
English
Reproduction of the original in the Henry E. Huntington Library and Art Gallery
++++
This book represents an authentic reproduction of the text as printed by the original publisher. While we have attempted to accurately maintain the integrity of the original work, there are sometimes problems with the original work or the micro-film from which the books were digitized. This can result in errors in reproduction. Possible imperfections include missing and blurred pages, poor pictures, markings and other reproduction issues beyond our control. Because this work is culturally important, we have made it available as part of our commitment to protecting, preserving and promoting the world's literature.
68 pages, Paperback
Published December 29, 2010
About the author
William Painter
40 books1 followerWilliam Painter or Paynter (c.1540–February 1595) was an English author and translator.
Painter began translating works in 1558 with a translation of Nicholas à Moffan's Soltani Soymanni Turcorum Imperatoris horrendum facinus into English, under the title of Horrible and Cruell Murder of Sultan Solyman. This work was later to become Novel 34 in his The Palace of Pleasure.
The first volume of his The Palace of Pleasure appeared in 1566, and was dedicated to the earl of Warwick. It included sixty tales, and was followed in the next year by a second volume containing thirty-four new ones. A second improved edition in 1575 contained seven new stories. Painter borrows from Herodotus, Boccaccio, Plutarch, Aulus Gellius, Aelian, Livy, Tacitus, Quintus Curtius; from Giovanni Battista Giraldi, Matteo Bandello, Ser Giovanni Fiorentino, Giovanni Francesco Straparola, Queen Marguerite de Navarre and others.
The fashion for the Italian setting of a notably large proportion of Elizabethan drama is in part due to the vogue of Painter's work, and to other similar collections.
The early tragedies Appius and Virginia, and Tancred and Gismund were taken from The Palace of Pleasure. Shakespeare's Romeo and Juliet, Timon of Athens, Edward III, and All's Well That Ends Well are all derived from Painter's collections, the last from his translation of Giletta of Narbonne. Other playwrights also made extensive use of his work and that of similar contemporary translators, with these believed to have inspired well-known works such as Beaumont and Fletcher's Triumph of Death, John Webster's The Duchess of Malfi (from Belleforest), and James Shirley's Love's Cruelty.
The Palace of Pleasure was edited by Joseph Haslewood in 1813. This edition was collated (1890) with the British Museum copy of 1575 by Mr. Joseph Jacobs, who added further prefatory matter, including an introduction dealing with the importance of Italian novella in Elizabethan drama.
It is suggested that Painter is responsible for the 1580 work A Moorning Diti upon the Deceas of the High and Mighti Prins Henri, Earl of Arundel, attributed to Guil. P. G.
Painter began translating works in 1558 with a translation of Nicholas à Moffan's Soltani Soymanni Turcorum Imperatoris horrendum facinus into English, under the title of Horrible and Cruell Murder of Sultan Solyman. This work was later to become Novel 34 in his The Palace of Pleasure.
The first volume of his The Palace of Pleasure appeared in 1566, and was dedicated to the earl of Warwick. It included sixty tales, and was followed in the next year by a second volume containing thirty-four new ones. A second improved edition in 1575 contained seven new stories. Painter borrows from Herodotus, Boccaccio, Plutarch, Aulus Gellius, Aelian, Livy, Tacitus, Quintus Curtius; from Giovanni Battista Giraldi, Matteo Bandello, Ser Giovanni Fiorentino, Giovanni Francesco Straparola, Queen Marguerite de Navarre and others.
The fashion for the Italian setting of a notably large proportion of Elizabethan drama is in part due to the vogue of Painter's work, and to other similar collections.
The early tragedies Appius and Virginia, and Tancred and Gismund were taken from The Palace of Pleasure. Shakespeare's Romeo and Juliet, Timon of Athens, Edward III, and All's Well That Ends Well are all derived from Painter's collections, the last from his translation of Giletta of Narbonne. Other playwrights also made extensive use of his work and that of similar contemporary translators, with these believed to have inspired well-known works such as Beaumont and Fletcher's Triumph of Death, John Webster's The Duchess of Malfi (from Belleforest), and James Shirley's Love's Cruelty.
The Palace of Pleasure was edited by Joseph Haslewood in 1813. This edition was collated (1890) with the British Museum copy of 1575 by Mr. Joseph Jacobs, who added further prefatory matter, including an introduction dealing with the importance of Italian novella in Elizabethan drama.
It is suggested that Painter is responsible for the 1580 work A Moorning Diti upon the Deceas of the High and Mighti Prins Henri, Earl of Arundel, attributed to Guil. P. G.
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