Pierre Loti - "Les desenchantees"

Theodor Mommsen - "Römische Geschichte Book 1"

Pio Baroja - "Caesar or Nothing"

Standish O'Grady - "Early Bardic Literature, Ireland. "

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

The Palace of Pleasure, Volume 1

W >> William Painter >> The Palace of Pleasure, Volume 1







AN ADUERTISEMENT

To the Reader.


After these tragicall Nouelles and dolorous Histories of Bandello,
I haue thoughte good for thy recreacion, to refresh thy mind with some
pleasaunt deuises and disportes: least thy spirites, and sences should
be apalled and astonned with the sondrie kindes of cruelties remembred
in the vij. of the former nouelles. Which be so straunge and terrible as
they be able to affright the stoutest. And yet considering that they be
very good lessons for auoyding like inconueniences, and apt examples for
continuacion of good and honest life, they are the better to be borne
with, and may with lesse astonnishment be read and marked. They that
follow, be mitigated and sweetened with pleasure, not altogether so
sower as the former be. Prayinge thee moste hartely, paciently to beare
with those that shall occure, either in these that folow, or in the
other that are past before.




END OF VOL I.


BALLANTYNE PRESS: EDINBURGH AND LONDON.


* * * * *
* * * *
* * * * *

[The following seven pages, here separated by single rows of asterisks,
originally appeared at the beginning of the printed book.]

* * * * *

Anglistica & Americana


Georg Olms Hildesheim

* * * * *

WILLIAM PAINTER

THE PALACE OF PLEASURE

* * * * *

Anglistica & Americana

A Series of Reprints Selected by
Bernhard Fabian, Edgar Mertner,
Karl Schneider and Marvin Spevack

3


1968

Georg Olms Verlagsbuchhandlung
Hildesheim

* * * * *

WILLIAM PAINTER


The Palace of Pleasure

Edited by Joseph Jacobs

(1890)

Vol. I



1968
Georg Olms Verlagsbuchhandlung
Hildesheim

* * * * *

Note

The present slightly reduced facsimile is reproduced from a copy in the
possession of the University of Muenster (Englisches Seminar).

Shelfmark: XVI 4043/4.

M. S.


Reprographischer Nachdruck der Ausgabe London 1890
Printed in Germany
Herstellung: fotokop wilhelm weihert, Darmstadt
Best-Nr. 5101932

* * * * *

PALACE OF PLEASURE

VOL. I.

* * * * *

_Of this Edition five hundred and fifty copies have been printed,
five hundred of which are for sale._

* * * * *
* * * *
* * * * *

_Errors and Anomalies (transcriber's list)_

The printed book did not include an Errata list. It is therefore
impossible to tell whether irregularities of spelling, punctuation and
typography in the primary text are unique to the Jacobs edition (1890),
or whether they were deliberately carried over from Haslewood (1813)
and/or Painter (1566 and later).

Brackets [ ] and footnotes:
Brackets are used to demarcate footnotes and Transcriber's Notes,
each of which is clearly identified, and for the "unpacked" characters
noted at the beginning of this e-text. All other bracketed text is in
the original.
Footnote labels were changed from symbols (asterisk, dagger ...) to
continuous numbering. Note that the bracketed numerals [89] and [95]
are in the original text; footnote numbering ends at [68].

Braces { }:
In older texts quoted in the introduction, letters originally printed
as superscripts are shown in braces.
In the primary text, missing or invisible punctuation--chiefly
quotation marks--is shown in {braces}.
Braces do not occur in the original.

Parentheses ( ):
In older texts quoted in the introduction, expanded abbreviations are
shown in parentheses. All other parentheses are in the original.

Asterisks *:
In the Bibliographical Notices and on the title page, text originally
printed in blackletter ("Gothic") type is shown between asterisks.
Single asterisks are in the original text.

Slash /:
All slashes / are in the original.


_Inconsistencies_

at least five children : their six children
_The first reference is from Jacobs's introduction, the second from
Haslewood's._

Giovanne : Giovanni (Boccaccio)
_Jacobs's introduction favors the spelling in "e"._

renowm(e) : renown(e)
_In the primary text, the word is spelled with "m" far more often
than with "n"._
the end(e) : thend(e) and similar pairs
_both forms are used_


_Introduction, including quotations of older material_

See above about {braces} and (parentheses).

[Table of Contents] Randolpho Ruffolo
_novel has "Landolpho"_
Footnote 3: See Burckhardt, _Cultur der Renaisance in Italien_
_spelling "Renaisance" unchanged_
the number comes from the _Cento novelle antichi_
_text reads "autichi"_
_Inglese italianato e un / diabolo incarnato_ (in Jacobs text)
_accent on "e" missing in original_
doth easelie allure / the mynde to false opinions
_"t" in "the" printed upside-down_
by the time Shakespeare / began to write
_text reads "Shakepeare"_
At any rate / it is a tolerably easy task
_text reads "any-/rate" at line break_
See Cens. Lit. Vol. II. / p. 212. Where it appears
_punctuation and capitalization unchanged_
Willm Paint{er} confesseth
_printed "Paint confesseth" with curved line over "t"_
as brought into her maties Store
_text unchanged: error for ma{ties} with superscript?_
_Source._--Boccaccio, _Decamerone_
_text reads "Boccaccio's, _Decamerone_"_
_Source and Origin._--Herod, iv. 110.
_text reads "Origen"_
that had abused hir, and promised her mariage
_text reads "marlage"_


_Introduction: Punctuation_

at the Dominican monastery of Sta. Maria delle / Grazie
_period after "Sta." missing in original_
"In case I dye
_text appears to have single quote for double_
PENSE.] | 1566. | _JMPRINTED AT_--*London, by Henry Denham,*
_closing bracket after "PENSE." missing in original_
Anno. 1567.--Imprinted &c.
_text has close quote at end of paragraph_
Deceaved by him of the some of one{C} xliij{lb}.
_period (full stop) at end of paragraph missing or invisible_
[... in 1577 (Fleay, _Hist. of Stage_, p. 380).]
_text has final period (full stop) outside closing bracket_
_Parallels._--Justin, i. 7.
_period (full stop) after "Parallels" missing_
_Painter_, I. i. 27; II. i. 25; III. i. 44; IV. i. 58.
_text has closing bracket at end of line_
Val. Max., viii. 13, 5; Sueton. _Tib._, 2
_text has colon : for semicolon ;_
_Painter_, I. i. 48; II. i. 45; III. i. 81; IV. i. 95.
_text has closing bracket at end of line_
_Parallels_.--Val. Max. v. 7
_period (full stop) after "Parallels" missing_
_Parallels_.--Erasmus, _Adagio_;
_period (full stop) after "Parallels" missing_
Footnote 66: Landau, _Quellen_{2}, p. 331
_text reads "_Quellen_,{2}" (comma before superscript numeral)_
_Denks. K. Akad._
_final period (full stop) missing or invisible_
_Amorous hysterie of Guistard_, 1532; Howell, _Letters_
_text reads "... Guistard_; 1532, Howell"_


_Primary Text_

_Missing or invisible punctuation--chiefly quotation marks--is shown
in {braces} without further annotation._

De beneuolentia autem, quam quisq'; habeat erganos
_abbreviation for "quisque"_
he that is daily resiant / in a Palace of renowmed fame
_variant form of "resident"_
I my selfe haue already done many other of thesame
_error for "the same" (two-word form used consistently)_
pssiang by the Albanes campe in the night
_error for "passing"_
if I may speake rather the truthe, / then vtter any glosing woordes
_probably a variant spelling of "glozing"_
and the valiaunt deliuerie thereof by Mutius Sc[oe]uola [4939
_error for "Scaevola" (spelling used elsewhere)_
King Craesus of Lydia [5655
_spelling consistent throughout story_
she is tickle and can not be / holden against her will [6429
_error for "fickle"?_
infect the the same wyth the degenerate food [7039
_duplicate "the the" in original at line break_
their beades / in their handes [7725
_not an error_
whom the Marques Azzo lou d / as his life [8072
_"e" invisible: "loued"_
he gaue them all saying. "That there was nothing els."
_error for "saying, " with comma?_
that had no sense of a a reasonable man
_duplicate "a a" in original at line break_
he espyed a yonge maide of fimal yeares
_word "fimal" unidentified_
maister Appian hauing commauuded
_error for "commaunded"_
_this and the following four items (through the first "alablaster")
all occur in story XLV_
my sole and ouely heyre
_error for "onely"_
"how easie a matter it is for one that that is hole
_duplicate "that that" in original at mid-line_
and to sing psalmes for ioye of the deliueaunce of their Duchesse
_error for "deliueraunce"_
colour began to renew her alablaster cheekes
whitenesse of her alablaster face
_standard spelling for the period_
the fauour which vour grace doth shew me
_error for "your" or physical flaw; in the font used, "v" is
indistinguishable from the top part of "y"_
I guie also vnto you
_error for "giue"_

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