[In the essay below, Roberts presents evidence that Scudéry, not his sister, wrote Almahide.]

Since its appearance in 1660-63, a long-term controversy has gone on concerning the true authorship of a rather rare eight-volume Moorish novel Almahide, ou l'esclave reine, printed by the well-known Parisian publisher Augustin Courbé. In spite of the title-page crediting its origin to ‘Mr de Scudery, Gouverneur de Nostre Dame de la Garde’, the privilege granted to ‘le Sieur de Scudéry’, and the dedicatory letters signed by him, libraries to this day continue to classify it under the name of his sister Madeleine.¹ This practice stems probably from the authority of Nicéron, Graesse and especially Brunet who considered the attribution that had earlier been made to Georges ‘mal à propos’.² Eugène Asse in La Grande Encyclopédie—vol. 29 (1900-01), 834—lists Almahide with all the Scudéry novels as Madeleine's work, excepting perhaps for ‘l'invention du sujet et de leurs nombreux incidents’. He does note the existence of contrary testimony by Chapelain. Lanson's Manuel bibliographique (1921) continues the traditional listing, as does Tchemerzine in 1933, cautioning the reader against being misled by the title-page designation.³

In the same year Georges Mongrédien analysed the novel's physical composition under Madeleine's name in his extensive ‘Bibliographie des ouvrages de Georges et de Madeleine de Scudéry’—RHL, XL (1933), 551-3—but believed it a work of collaboration. He admitted the likelihood, based on a reference by Tallemant des Réaux and one by Chapelain, that Georges had had a considerable hand in its composition. Later in a ‘Supplément’—RHL, XLII (1935), 549—he reversed his denial of the existence of an English Almahide (the J. Phillips translation).

The doctoral dissertation of Jerome W. Schweitzer, published in 1939, discussed in detail this confused question of authorship, noting the contemporary references to collaboration by brother and sister on earlier novels.⁴ He decided, following Brunetière and A. Batereau, that ‘probably’ Georges aided by his wife did the entire work, without Madeleine's help. His arguments include the presence in the novel of large amounts of poetry, the abundance of events and skilful intrigue, technical descriptions of paintings, numerous classical references and autobiographical material; Georges' illness which delayed publication; Madeleine's preoccupation with Clélie; the marriage which in 1654/55 separated Georges and his sister. Emile Magne, reviewing this book for the Mercure de France—297 (1940), 626-7—conceded that Schweitzer had established his case, posited on a very logical argumentation. Antoine Adam, in his Histoire de la littérature française au XVII^e siècle (Paris, 1954), IV, 171 n., pointed out Schweitzer's findings and definitively accepted them. In 1961 he reaffirmed this conviction: ‘On peut considérer comme certain qu'Almahide est l'œuvre, non de Madeleine, mais de Georges de Scudéry aidé de sa femme’.⁵ It might then seem reasonable to believe the question closed.

Nonetheless in the B.N. printed catalogue—vol. 169 (1946)—one must still look for Almahide under Madeleine's name, and in addition find a note specifying that she published most of her works under her brother's name. In 1954 the Dictionnaire des lettres (pp. 938-40) came to the same conclusion about Almahida (sic) and the other novels. The Cabeen Bibliography (1961) treats Madeleine and Georges together under the heading of ‘Précieux novel’, and reviews Schweitzer's ‘well-documented study’ in some detail.⁶ Mongrédien's more recent bibliography in his Les Précieux et les Précieuses (Paris, 1963, pp. 24-50) simply credits Almahide to Madeleine without commentary and does not cite Schweitzer's book. The new B.M. printed catalogue—vol. 217 (1964), col. 833-90—lists the latter three times as ‘suggesting’ authorship by Georges and his wife, but for the novels it sets up an intermediate category between brother and sister: ‘Scudéry (George de [sic]), pseud. [i.e. Madeléne de Scudéri (sic)]’, which does not conform to standard spelling. R. W. Baldner's revised Bibliography of Seventeenth-Century French Prose Fiction (New York, 1967, p. 88) cites the B.M. and B.N. copies by call numbers, but credits the work to Madeleine. The just recently available Cioranescu volume lists several new titles for Georges (conscientiously including Schweitzer), but continues to classify Almahide among his sister's novels.⁷ Schweitzer's findings obviously have not yet had their desired effect.

For some three hundred years, however, documentary evidence has made of Almahide an exception to the generally unquestioned tradition that Madeleine wrote all the novels published under her brother's name. Jean Chapelain in three separate personal letters to Scudéry discusses the forthcoming novel (‘vostre Reyne More’) as a close family friend and literary critic.⁸ On 12 June 1659, after regretting Georges's illness, he takes pleasure in learning to what extent ‘c'est moy qui vous ai inspiré cette belle entreprise’, and assures its success ‘voyant que c'est vous qui vous estes chargé de l'exécuter’. He admits having sent some time ago ‘l'original espagnol’, most probably the source book which recent authorities reaffirm as primordial—Pérez de Hita's Guerras Civiles de Granada.⁹ Cordial leave is taken of Georges's wife Marie. More than a year later (25 August 1660), nearly eleven weeks after the assignment of the novel's privilege, Chapelain missed the couple on two successive visits [in Paris?]. These were undertaken for the purpose of discussing the MS. text (‘Je voulois … Monsieur, vous entretenir de quelques endroits de vostre Almahide’), not as a censor but as a friend interested in Georges's literary reputation. Along with the letter of 8 November 1660 he sends back ‘les cinq cahiers qui finissent la deuxiesme partie d'Almahide’, after a careful critical reading. These may well have been the author's preliminary page proofs, since the three volumes comprising Part I were then in print and completed by 30 November.¹⁰ Responding to an invitation—‘puisque vous l'ordonnés’—Chapelain prudently advises a more classical restraint (‘modération … retranchement … espargne’), less repetition, a more varied style, unexpected plot developments, some comedy, and an Hylas character or two (!). Readers are mostly courtiers and women, and such matter is ‘la pasture de ces sortes de personnes’. The author should avoid long laments, soliloquies and ‘agitations de l'âme’, and should correct two specific sections, isolated by Chapelain's folding of the paper. The latter's intimate knowledge of the plot and characters is evident, as well as his accurate appraisal of the reading public's taste, which would in effect soon reject the published Almahide. E. J. B. Rathery, Madeleine's biographer, concluded in 1873 that the attribution of all the imaginative works to either Georges or Madeleine was excessive, and that the letters cited above prove that Chapelain treated Georges as ‘l'auteur incontesté’ of Almahide.¹¹

The fact that Scudéry charged a friend with the reading would seem a further indication of his authorship, since he himself obligatorily assumed the task of checking and editing his sister's novels, according to Tallemant.¹² This source also reports that Georges came to Paris early in 1660 to have a novel printed—‘une paraphrase des guerres civiles de Granade’. His apparent error on the number of volumes (12 vs. 8) may reflect an original announcement of the (eventually unfinished) novel, and he does supply a motive for the undertaking: to contradict public opinion which had credited Georges with the composition of Cyrus and Clélie. Even the latter's wife Marie had had great difficulty in abandoning this notion. However, the Dictionnaire des Précieuses reports that Marie did help to write Almahide (‘Saràide y a mis la main’), and indeed it was a compatibility of literary talents which prompted their marriage. This occasion for Tallemant elicits a typical comment: ‘c'estoit mettre un rien avec un autre rien’, provoking the sharp disagreement of his modern editor.¹³ Without having read it, Somaize is sure in 1661 that Georges's recently printed novel ‘des guerres des Mores en Hesperie’ can only be magnificent. Charles Sorel, after discussing the reported collaboration of brother and sister on Clélie and affirming the respective merits of each, notes in 1664 that ‘M. de Scudery a commencé depuis quelques années l'Almahide ou l'Esclaue Reine’, containing ‘quantité de belles auantures d'Amour & de Guerre’. His account of the authorship and composition period thus ties in with the others cited.¹⁴

Additional contemporary evidence exists to support the belief that Georges did write the novel. Although one may have to discount Boileau's ironic intent, it is apparent that he holds Georges responsible for the romans-fleuves appearing in rapid succession during the fifties and early sixties:

Bienheureux Scuderi, dont la fertile plume
Peut tous les mois sans peine enfanter un volume!

Satire II (Pléiade ed., p. 19)

A hitherto unnoticed mention, quite specific, is that of the indefatigable Michel de Marolles, whose best title to the gratitude of scholars is that his privately assembled collection of prints formed the basis for the royal (now B.N.) Cabinet des Estampes. The posthumous edition by Goujet of his Mémoires contains a bibliographical section entitled ‘Dénombrement’, probably written c. 1672-81, in which this fellow-collector of prints and engravings distinguishes between brother and sister and states categorically about Georges de Scuderi (sic) that ‘son dernier Roman porte le nom d'Almaide’.¹⁵

In the Poems (written before 22 June 1664) of Katherine Philips, an English Caroline poetess better known as the ‘Matchless Orinda’, occurs a long verse translation from the French entitled ‘A Pastoral of Mons. de Scudery's in the first volume of Almahide, Englished’.¹⁶ This poem, beginning ‘Slothful deceiver’, is her version of the eclogue ‘Paresseuse, mensongere’ in Almahide I, 450-69. Reputedly quite knowledgeable in recent French fiction, Orinda credits the novel to Georges de Scudéry. Milton's nephew John Phillips, completing the novel in an English version (1677), does likewise. F. A. Pernauer, the German translator of Almahide (1682-96) who enlarged Part III and gave it a suitable ending, believed too that he was rendering ‘Aus dem Herrn Scudery’ who had died before having the time to finish it.¹⁷

But the ‘matamore des lettres’ himself appears to claim the work more positively. It has long been noted that several of his previous texts were incorporated into the novel. Mongrédien (op. cit., pp. 418, 552) had pointed out the reappearance of a long didactic poem from 1651—Salomon instruisant le roy, with a slight change of title—in Almahide VIII, 545-87. Schweitzer (pp. 10, 18, 76-93, 153) noted as quite unique the republication within the body of the novel of two of Scudéry's much earlier plays, Axiane (1644) and Le Prince déguisé (1636), the first of which is ‘repeated practically verbatim’. He later discovered (p. 158) the re-use of Scudéry's prose Epitaphe to Cardinal Richelieu (1642), in Almahide V, 1376-9.

The early presence in Almahide (I, 434-39) of a poem praising the tulip could be interpreted as a signature motif: Georges is well known for his love of this flower, even if he was not allowed to represent it in the Guirlande de Julie.¹⁸ This tulip poem, ‘Puis que, de tant de Fleurs de qui la Terre est peinte’, was also included by Scudéry in his collected Poésies nouvelles, published in Amsterdam in 1661.¹⁹ It directly precedes his original of the eclogue (Cauchie no. 467) which Katherine Philips translated, and which contains 372 verses, exactly the same length as the text in the novel. Another poem from Almahide (VI, 2553-4), the sonnet ‘Elle s'en va mourir, cette vertu visible’, turns up in Poésies nouvelles and had been printed a year before as Georges's contribution to a biography of the lady in question.²⁰ A parallel case of triple publication occurs with the long portrait ode ‘Belles Filles de Mémoire’ (Almahide V, 1661-8), which closes the volume of Poésies nouvelles, and which was used later in an Elzevier collection of 1665 (Cauchie nos. 557, 567 bis). These would represent eight instances so far noted of texts from Almahide being utilized elsewhere by Scudéry. In a similar vein, Cioranescu (no. 62005) newly lists as Georges's last separate poetic publication L'Ombre d'Almahide, reine de Granade, au Roy, sur son carrousel (1962). This occasional piece apparently attests to the novel's being well known at Court during its printing years, and also recalls somewhat enigmatically a Scudéry title of nearly a generation before—L'Ombre du grand Armand (1643)!²¹

The Poésies nouvelles volume, unmentioned by Schweitzer, turns out upon closer examination to have a very intimate connection with Almahide. A detailed tabular analysis demonstrates that this collection, as described by Cauchie, is nothing other than a reprinting in precisely the same order of most of the poems from Almahide, excepting for its own introductory (unpaginated) poem.²² To his original titles the author has added explicative material from the context of the novel; such changes may be noted by reference to Cauchie's ‘Bibliographie’, which does not cite the verses in Almahide. The above relationship, as well as the minor spelling and punctuation changes, would suggest that the text of the novel antedates the poetry volume.

One can only speculate why Scudéry released his Poésies nouvelles to a Dutch publisher during the French printing of these same poems in Almahide. He may have planned it ahead of the Paris edition, while still confident of the novel's success. His habit of marketing the same material in various forms has been noted above; it may have helped to account for the kind of success which Balzac caustically repudiates: ‘D'attendre de moy cette bienheureuse facilité qui fait produire des volumes à M. de Scudery, ce serait me connaistre mal.’²³ In this case the likelihood of a different reading public would hint at some financial consideration. The existence in England of an apparently second Amsterdam edition (1662), unknown to previous scholars, strengthens this hypothesis.²⁴

The insertion into Almahide (VI, 2876-8) of a translated ‘Privilège des Estats de Hollande’ offers additional matter for conjecture. Granted to Jean Blaeu, well known for his atlas printings and associate of the novel's wealthy Parisian publisher, it is dated 13 May 1658—exactly two years before the French privilege (VI, 2872-5). If 1658 is not a misprint, accidental or otherwise (the translation is notarized), then this document would set an earlier limit on the known dates of composition. It gives the impression that Georges first intended to release the novel in Amsterdam, and finally compromised with a different format, published concurrently, for the poetry alone. The fact that no poems from the last quarter of volume VI (printed by 2 January 1661) nor from volumes VII-VIII (1663) were reproduced in the Poésies nouvelles brings one to believe that the poetic text of Part III of the novel had not been composed by 1661. Since both the Dutch and French privileges in volume VI specify Parts I and II only, and since a later printing of the same French document in volume VII drops this restriction, we may infer that by the French privilege date (13 May 1660) none or very little of the prose of Part III had as yet been undertaken (and never was altogether completed) by Scudéry.

Statistically, the Poésies nouvelles represents 13 per cent of Scudéry's known versification as listed by Cauchie, or about one-fifth of his separate poems. According to my count its contents (printed in 12°) correspond to a total of some 265 of the 6533 pages in Almahide (in 8°); hence the Poésies nouvelles ‘reprinting’ comprises an equivalent of 4 per cent of the entire novel. If we were to add the other texts which Scudéry integrated into the prose work (Salomon, 42 pp.; Epitaphe, 4 pp.; Le Prince déguisé, 116 pp.; Axiane, 176 pp. in 4°), the page percentage of known and universally accepted Scudéry compositions in Almahide might rise to a total of nearly 12 per cent. Along with this factual evaluation should be weighed the justifications made by Brunetière and Schweitzer for considering the prose generally to be of Georges's style.

Discovery of the identity relation of the poetry collection to the novel, which itself contains at least 115 separate and undisputed Scudéry texts dating back as far as 1636, should reinforce previous arguments and evidence. It should lend definitive credence, after Magne and Adam, to the Schweitzer thesis that Georges, aided by his wife and not by his sister, composed Almahide. Literary scholars, bibliographers and library cataloguers should take this long-standing debate more into account, at least concede a joint authorship for the novel, and list it under Georges's name also from now on, pending further clarification. This new information supplements the Mongrédien and Cauchie bibliographies and exposes Scudéry's efficiently ‘modern’ publication practices. It ought to lead to additional investigations of his rather substantial poetic output (30,268 lines), and perhaps to the re-discovery of other forgotten printings by this exuberant and picturesque personality, this remarkable versifier and ‘authentique poète’.²⁵

Notes

1. Almahide, ou l'esclave reine (Paris, A. Courbé, 1660-63), 8 vol. (B.M., B.N., Arsenal, Institut, Sainte-Geneviève, Versailles; considered ‘assez rare’ by Tchemerzine). U.S. holdings as reported in 1939 by Schweitzer (see n. 4 infra) were Cornell, Harvard, Johns Hopkins, Yale; we must now delete the latter (English and German translations only), but can add the copies at Chicago, Northwestern and Princeton. Some sets are imperfect and wanting certain pp. (B.M., Northwestern, and Johns Hopkins originally). American libraries generally follow L.C. practice in classifying Georges's name on the novels as a pseudonym.

2. J.-P. Nicéron, Mémoires pour servir … (Paris, 1731), XV, 131-41, explaining the misleading pseudonym arrangement for the first four novels; Almahide listed without comment. J. C. Brunet, Manuel du libraire, 5th ed. (Paris, 1864), V, 251 and Supplément (1880), II, 621; J. G. T. Graesse, Trésor de livres rares et précieux (Dresden, 1865), VI, 336.

3. Lanson no. 4325; A. Tchemerzine, Bibliographie d'éditions originales et rares d'auteurs français (Paris, 1933), X, 284.

4. J. W. Schweitzer, Georges de Scudéry's ‘Almahide’: Authorship, Analysis, Sources and Structure (Baltimore, London, Paris, 1939); also issued as thesis ‘Reprinted from the Johns Hopkins Studies in Romance Literatures and Languages, v. 34’ (Baltimore, 1939). See pp. 13-22.

5. In his Tallemant des Réaux, Historiettes, Pléiade ed. (Paris, 1961), II, 1460-61.

6. D. C. Cabeen and J. Brody, A Critical Bibliography of French Literature, III (N. Edelman, ed.) (Syracuse, 1961), p. 132.

7. A. Cioranescu, Bibliographie de la littérature française du XVII^e siècle (Paris, 1966), III, 1832-7.

8. J. Chapelain, Lettres, P. Tamizey de Larroque, ed. (Paris, 1880-3), II, 41-2; 92 n.; 110-11.

9. Maria S. Carrasco, El moro de Granada en la literatura (dal siglo XV al XX) (Madrid, 1956), pp. 105-11. See also her thesis (Columbia, 1954), The Moor of Granada in Spanish Literature of the Eighteenth and Nineteenth Centuries, in Dissertation Abstracts, XV (1955), 263-4. F. L. Estrada and J. E. Keller, Antonio de Villages' ‘El Abencerraje’ (Chapel Hill, 1964), pp. 34-5. Schweitzer, op. cit., pp. 64-76.

10. Achevé d'imprimer at the end of vol. III.

11. In E. J. B. Rathery et Boutron, Mademoiselle de Scudéry, sa vie et sa correspondance (Paris, 1873), pp. 49-50 n.

12. Historiettes (ed. cit.), pp. 690-1.

13. A. B. de Somaize, Le grand Dictionnaire des Prétievses, historiqve, poétiqve, etc. (Paris, 1661), II, 131-3; Historiettes (ed. cit.), II, 695; 1465 (5).

14. La Bibliothèqve Françoise (Paris, 1664), pp. 166-7; privilege transferred 9 September 1662.

15. Paris, 1656-7, 2 vols.; C. P. Goujet, ed. (Amsterdam, 1755), I, 334; II, 221; III, 362. See also the favourable account of his accomplishments in Frits Lugt, Les marques de collections, de dessins & d'estampes (Amsterdam, 1921), pp. 339-40.

16. Poems (London, H. Herringman, 1667), pp. 184-96; repr. 1669, 1678 with same pagination.

17. J. Phillips, Almahide; or, the Captive Queen (London, 1677). F. A. Pernauer (sic), Almahide oder die Leibeigne Königin (Nürnberg, 1682-96, 1701): see his Introduction: ‘wie bekannt, M. Scuderi die Frantzösische Almahide nicht ganz verfertigkt, sondern darüber gestorben ist …’, cited in C. Von Faber du Faur, German Baroque Literature (New Haven, 1958), p. 159.

18. O. Uzanne, ed., La Guirlande de Julie (Paris, 1875), pp. x-xi and passim. In 1655 a long introductory poem of Scudéry's was printed in Le floriste françois, Traitant de l'origine des Tulipes (Cauchie no. 453—see n. 19 infra).

19. Poësies nouvelles, ou Recueil de divers ouvrages, Par Monsieur de Scudery, Gouverneur de Nostre-Dame de la Garde (Amsterdam, Jean Nuoremberkz [sic], 1661). Considered ‘rarissime’ by Mongrédien (‘Bibliographie’, p. 418) who knows of no other copy than that of the Arsenal (B.L. 6777). Not listed in B.M., B.N., L.C., Nicéron, Brunet, Graesse, Lanson, Tchemerzine. The Union Catalog Division of L.C. has circularized for it, without finding an American location. Maurice Cauchie in his ‘Bibliographie des poésies de Georges de Scudéry’—BBB (1956), 243-53—has examined this work in considerable detail, and we shall utilize his numerical classification and analysis in the discussion which follows.

20. Cauchie nos. 562 bis; 454—La vie de demoiselle Elizabeth Ranquet (Paris, 1660).

21. It must be noted that H. Gaston Hall has warned against dependence on Cioranescu's references in cases of attribution or early editions (French Studies, XXII [1968], 151-52).

22. Table. For the Cauchie numbers see note 19. Respective lengths and first lines correspond throughout.

    Cauchie	Almahide
    no.	(vol., pp.)	Title
    456	—
    457	I, 67-8	Sonnet.
    458	68-9	Sonnet.
    459	148-9	Stances.
    460	161-4	Stances.
    461	205-8	Stances.
    462	394	Epigramme.
    463	396-8	Stances.
    464	408-11	Stances.
    465	418	Chanson.
    466	434-9	Les flevrs.
    467	450-69	Eglogve.
    468	600-02	Stances.
    469	620-2	Stances.
    470	649-50	Sonnet.
    471	II, 694-6	Sonnet.
    472	984-6	Sonnet.
    473	1024-5	La riviere de Genile à celle de Betis.
    474	1058-61	Stances.
    475	1092-3	Stances svr vn portrait.
    476	1094-5	Stances svr vn coevr brvlé par le soleil.
    477	1125-6	Sonnet.
    478	1130-1	Sonnet.
    479	1132-3	Sonnet.
    480	1134-5	Sonnet.
    481	1165-9	Stances svr vn retovr.
    482	1183-5	Stances.
    483	III, 1401-4	Elegie svr vne absence.
    484	1406-8	Stances svr vn despit.
    485	1516-9	Stances. L'esclave amovrevx.
    486	1584-9	Ode.
    487	1591-8	Ode.
    488	1612-3	Stances.
    489	1614-6	Stances.
    490	1624-5	Madrigal.
    491	1626	Epigramme.
    492	1627	Epigramme.
    493	1640	Epigramme.
    494	1710-11	Stances.
    495	1716-7	Stances.
    496	1752-3	Sonnet.
    497	2028-35	Epithalame.
    498	2067-8	Sonnet.
    499	IV, 4-5	Sonnet.
    500	291-4	Stances.
    501	296-8	Stances.
    502	393	Recit.
    503	IV, 397	Les lions. Premiere entrée.
    504	397	Les singes. Seconde entrée.
    505	398	Les avtrvches. Troisiesme entrée.
    506	398	Les renards. Qvatriesme entrée.
    507	405-6	Recit.
    508	407	Qvatre astrologves. Premiere entrée.
    509	407	Qvatre alchimistes. Seconde entrée.
    510	408	Six voyagevrs. Troisiesme entrée.
    511	408	Six volevrs arrabes. Qvatriesme entrée.
    512	416-17	Recit.
    513	418	Qvatre portevrs de cassolettes. Premiere entrée.
    514	418-19	Six marchands de pierreries. Seconde entrée.
    515	419	Six chassevrs. Troisiesme entrée.
    516	420	Qvatre bergers et qvatre bergeres. Qvatriesme entrée.
    517	429-30	Les Egiptiennes.
    518	480-1	Chanson.
    519	505-08	Romance.
    520	512-3	Sonnet.
    521	576-8	Stances.
    522	636-7	Sonnet.
    523	655-6	Serenade.
    524	704-5	Sonnet.
    525	716-19	Stances.
    526	743-4	Stances.
    527	V, 856-9	Ode.
    528	862	Epigramme.
    529	876	Stances.
    530	891-2	Sonnet. Le ialovx sans rival.
    531	914-6	Stances.
    532	957-9	Stances. [2nd pagination]
    533	988-9	Sonnet.
    534	1039-40	Serenade.
    535	1098-9	Sonnet.
    536	1194-5	Sonnet.
    537	1196-7	Stances.
    538	1242-4	Stances.
    539	1263-5	Stances.
    540	1333-5	Elegie.
    541	1399-1400	Sonnet.
    542	1422-3	Stances.
    543	1427-8	Stances.
    544	1453-63	Eglogve maritime.
    545	1492-4	Stances.
    546	1508	Epigramme.
    547	1525-7	Stances.
    548	1530	Epigramme.
    549	1531	Epigramme.
    550	1531	Epigramme.
    551	1538-40	Stances.
    552	1557-8	Sonnet.
    553	1590-7	L'amant [sic] extraordinaire. Stances.
    554	1608-9	Sonnet.
    555	1626-7	Sonnet.
    556	1649-51	Epitaphe d'vn Cygne.
    557	1661-8	Le portrait de Myris. Ode.
    557 bis	1661-8	Le portrait de Myris. Ode.
    558	1706-7	Sonnet.
    559	1708-9	Sonnet.
    560	1726-7	Stances.
    561	V, 1731-5	Stances.
    562	VI, 1910-12	Mascarade. Les Chevaliers Errans, aux Dames.
    562 bis	2553-4	Sonnet. [= no. 454]
    563	2555	Epigramme.
    564	2610	Svr vn bovqvet, Epigramme.
    565	2610-11	Svr vne gvirlande, Epigramme.
    566	2612	Svr vne covronne de Lavrier. Epigramme.
    567	2624-9	Le portraict d'Isa. Ode.
    [567 bis]		[See no. 557]

23. Cited in Boileau, Œuvres complètes, Pléiade ed. (Paris, 1966), p. 883 (12).

24. In 1926 Maggs Brothers listed this same title at 12/10s, along with Scudéry's Cabinet and Poésies diverses, in 12^mo calf, but published in 1662 by Jean Nnorember [sic: Mongrédien had read the publisher's name as Nnoremberkz, which is a third variant]. In Cat. no. 484 French Books from 1470 to 1700 A.D., no. 636.

25. Cauchie, op. cit., p. 127.