n's work, 1579, as the source from
which Lynche got the bare bones of his story, and Arber agreed.[20]
But though Jeannette Fellheimer could find no evidence that Lynche
knew Belleforest's or Fenton's version of the tale, she demonstrated,
on the basis of two very close parallels, that he knew Painter's.[21]
In support of Fellheimer's view, one notes that Lynche follows Painter
in employing the form "Cathelo[y]gne"[22] (p. 63) rather than Fenton's
"Catalonia."[23]

Barksted may have known ballads on the subject of Hiren, alluded to in
stanza 34 of his poem, as well as Peele's lost play =The Turkish
Mahomet and Hyren the fair Greek=. But like Lynche, he seems heavily
indebted to a tale by Painter, in this case "Hyerenee the Faire
Greeke."[24] Among other equally striking but less sustained
correspondences between Painter's prose narrative and Barksted's minor
epic verse, one notes the following, in which Mahomet's confidant
Mustapha attempts to reanimate his leader's martial spirit, drowned in
uxoriousness: "But nowe I cannot revive the memorie of your father
Amurate, but to my great sorow and griefe, who by the space of XL.
yeres made the sea and earth to tremble and quake ... [and so cruelly
treated the Greeks] that the memorie of the woundes do remaine at this
present, even to the mountaines of Thomao and Pindus: he subjugated
... all the barbarous nations, from Morea to the straits of Corinthe.
What neede I here to bring in the cruel battell that he fought with
the Emperour Sigismunde and Philip duke of Burgundia wherein he
overthrew the whole force of the Christians, toke the emperour
prisoner, and the duke of Burgundie also ... or to remember other
fierce armies which he sent into Hungarie."[25]

Barksted versifies this speech in stanzas 1 and 2, putting it at the
beginning instead of toward the end, where it comes in Painter's
novella. By a poetic license, Barksted credits all these achievements
to the son, none to the father. Barksted follows Painter's story quite
closely, but he cuts, amplifies and invents in order to develop its
minor epic potentialities. Thus, in addition to turning Painter's
prose into the sixains of Shakespeare's =Venus and Adonis=, he cuts the
length of Painter's tale by about two-thirds. In the process, much of
Painter's attention to historical detail, his complication of plot,
and his tedious moralizing are mercifully lost. By way of
amplification in the minor epic mode, Barksted expand