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INTRODUCTION.
89
riot in his conjuration of Emily's evil spirit. Not con¬
tent with invoking the Trinity, the apostles, saints
(Celtic and Roman Catholic) by name, the Pope and
other functionaries and symbols of the unreformed
Church, he draws on mediaeval magic, fairy-lore and
classical mythology (11. 961 ff.). Not even “ Mahomeit
the Turkisch God ” is omitted from the catalogue.
On the other hand, the Scots writer contents himself with
an allusion to Iphis (11. 849 ff.), while Riche elaborates the
story. Elsewhere the differences between the two works
are, as in the case of the additional characters, the differ¬
ences between a play—or rather a crudely constructed play
—and a novel. In the play indications of time, still more
of place, are sadly deficient. In the novel the exposition
is fully worked out: the reasons for Alberto’s estrange¬
ment from his son are explained and the likeness of brother
and sister are specifically mentioned ; further details are
furnished on the subject of Emelia’s elopement; and
comings and goings are more adequately chronicled.
Of Phylotus and Emelia is the eighth tale in the series
of “ very pleasant Discourses ” published by Riche in
1581. In his own words, “ The histories (altogether) are
eight in number, whereof the first, the seconde, the fift,
the seuenth, and eight are tales that are but forged onely
for delight, neither credible to be beleued nor hurtfull
to be perused. The third, the fowerth, and the sixt are
Italian histories, written likewise for pleasure, by Maister
L. B.” 1 From this statement John Whitefoord Mackenzie
1 Morton Luce, Apolonius and Silla, p. 49, suggests that these initials
are a slip for M. B.—that is, Matteo Bandello. But cf. Emil Koeppel,
Studien zur Geschichte der italienischen Novelle in der englischen Litteratur
des sechzehnten Jahrhunderts, p. 48, who suggests that] Riche uses these
initials for the purpose of sending the curious reader on a false trail
and covering up his borrowings from the Hecatommithi.