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"What is that music?" asked Yung Pak. "That is the king's band. It must be that there is going to be a procession," was Kim Yong's reply. "Oh, I know what it is," said Yung Pak. "The king is going to the new Temple of Ancestors. My father said the tablets on which the king's forefathers' names are engraved are to be put in place to-day."
A chair covered with red silk, borne on the shoulders of sixteen chair-men, passed up to the temple. "Who is in that chair?" asked Yung Pak of his companion. "The crown prince," was Kim Yong's reply. "He attends his royal father in all these ceremonies of state." Yung Pak drew a long breath, but said nothing.
We learn from Yong's preface that portions of the romance had already been Englished by Edward Paston, a descendant of the famous Norfolk letter-writers, who had family relations with Spain and possessed an intimate knowledge of the language. Of this work nothing further is known.
Some two years, however, before Yong's version issued from the press, the first book of Montemayor's portion was again translated by Thomas Wilson, and of this a manuscript yet survives . Passing mention may also be made of Angel Day's translation of Daphnis and Chloe containing the original insertion of the Shepherd's Holiday with the praises of Elizabeth in verse, and of Robert Tofte's Honours Academy , distantly following Ollenix du Mont-Sacré's Bergerie de Juliette, but which, as also John Pyper's version of d'Urfé's Astrée , have received sufficient notice in being recorded in connexion with their originals.
Since the work is unfinished, we may in charity suppose that had Browne completed his design the whole would have presented a somewhat less incongruous appearance; there is, however, a marked tendency towards the accumulation of unexplained incidents, which may most plausibly be referred to the influence of the Spanish romances, especially of the Diana, which was already accessible in Yong's translation, and one incident of which Browne did undoubtedly borrow.
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