⁴² Alexander Grosart (ed.), Robert Chester’s Love’s Martyr, or Rosalins Complaint (1601), with its Supplement, ‘Diverse Poeticall Essaies’ on the Turtle and Phoenix by Shakspere, Ben Jonson, George Chapman, John Marston, New Shakspere Society Series 8, No. 2 (London, 1878), 241.

⁴³ Cheney, Spenser’s Famous Flight, 77–110.

⁴⁴ See C. Burrow, Epic Romance: Homer to Milton (Oxford: Clarendon Press, 1993), esp. 1–10. Editors conventionally gloss line 4 of ‘Phoenix’ with Faerie Queene 3.11.35; see Rollins (ed.), New Variorum Shakespeare, 324; F. T. Prince (ed.), The Poems, Arden Shakespeare, 2nd series (London: Methuen, 1960), 179, mistakenly citing 3.2.35. Additionally, James P. Bednarz, Shakespeare and the Poets’ War (New York: Columbia Univ. Press, 2001), suggests Spenser’s Gardens of Adonis in Faerie Queene 3.6 as a model for Shakespeare’s Neoplatonic representation of love (199); C. Burrow notes that Chester’s Love’s Martyr is ‘clearly indebted to Spenser and Samuel Daniel’ (Complete Sonnets and Poems 84); and Roy T. Eriksen, ‘“Un certo amoroso martire”: Shakespeare’s “The Phoenix and the Turtle” and Giordano Bruno’s De gli eroici furori’, Spenser Studies 2 (1981), 193–215, attributes the poem’s ‘compositional technique’ to Spenser (211).

⁴⁵ Everett, ‘Set upon a Golden Bough’, 14.

⁴⁶ Thomas Nashe, Pierce Pennilesse, in The Works of Thomas Nashe, ed. Ronald B. McKerrow, rev. F. P. Wilson, 5 vols (Oxford: Blackwell, 1958), 1:299.

⁴⁷ In addition to Cheney, ‘Shakespeare’s Sonnet 106’, see Bednarz, ‘Imitations’, 87–8, for Shakespeare’s response to Spenser’s ‘antique fables’ at A Midsummer Night’s Dream 5.1.3.

⁴⁸ Matchett notes that ‘Shakespeare’s poem emphasiz[es] … the voices of the birds’ (190).