L’enfer de Clément Marot a donné lieu à des interpretations vari- ées. Villey a signalé que ‘ Le premier livre de la Méamorphose d'Ovide translaté . . . par Clément Marot… item certaines oeuvres qu'ilfeit en prison non encore imprimez donne … Certaines oeuvres qu'ilfeit en la prison’: le rondeau Comme inconstante, la ballade Ung jour j’escrivy, l'épître à Boil chard et l'épître à Léon Jamet (1534). En 1544 Dolet a publié L'Enfer . . . Item aulcunes ballades et rondeaulx appartenant à l’argument. C'est ici que, pour la première fois L'Enfer a été publié en même temps que le rondeau Comme inconstante et la ballade Ung jour j’escrivy. On en a déduit que toutes ces pièces se rapportaient aux mêmes événements. Morley, puis O. Douen, ont pensé que Ysabeau—abréviation d'Elisabeth— désignait l'Eglise.

In his illuminating chapter on The Alchemist in The Broken Compass, Edward B. Partridge discusses the central role of the parody of religion. But he adds the surprising comment that Jonson ‘only sketches it in outline lest the impiety neutralize the comic tone’ (The Broken- Compass, Chatto & Windus, London, 1957). I wish to argue that the caricature of religion in the figure of Sir Epicure Mammon is strong and would have been recognized and condemned as such by the contemporary audience.

The insane hyperbole of Mammon's language is evident immediately on his arrival at Lovewit's house. To him, the den of thieves and prostitutes in which we have just seen Dapper and Drugger pettily deluded and swindled, is ‘the novo orbe,’ ‘the rich Peru.'

Marvell’ s ‘A Dialogue between the Soul and Body’ is one of those idiosyncratic poems which when read nowadays without a proper awareness of the tradition, both in prose and verse, upon which it plays tempts to an over-biographical interpretation and to an assorted variety of philosophical explanations. Indeed, quite contrary conclusions have been drawn from the inconclusiveness of the debate between soul and body—that Marvell is, at least for the space of the poem, dangerous cynic; Pyrrhonist in his suspension of a verdict; Cartesian in his dualism; Puritan idealist coming to terms with historical exigency;

Bartolus of Sassoferrato (1314-57) was the greatestjurist of the fourteenth century. The critical methods which he developed to analyze legal cases and to interpret legal texts became standard procedure among later jurists and was known as Bartolismo. His commentaries range from glosses to the Corpus iuris civilis to minor works, which treated such diverse subjects as the legal foundations of falconry, the question of Franciscan poverty, and the political rule of cities. All these works carried his fame and influence beyond the borders of Italy into France, the Low Countries, Germany, and even Poland. In 1959 the University of Perugia, where Bartolus taught, celebrated the six-hundredth anniversary of his death with a series of lectures dedicated to his life, thought, and influence.