A Companion to the Middle English Lyric by Thomas G. Duncan

By Thomas G. Duncan

Winner of a call amazing educational identify Award the center English lyric occupies a spot of substantial significance within the historical past of English literature. the following, for the 1st time in English, are chanced on many positive factors of formal and thematic significance: they comprise rhyme scheme, stanzaic shape, the carol style, love poetry within the demeanour of the troubadour poets, and devotional poems concentrating on the affection, anguish and compassion of Christ and the Virgin Mary. The essays during this quantity target to supply either history details on and new exams of the lyric. by means of treating heart English lyrics bankruptcy through bankruptcy in keeping with their types - poems facing love, with spiritual devotion, with ethical, political and renowned issues, and people linked to preaching - it offers the notice in their attribute cultural contexts and literary modalities priceless for an educated serious examining. complete account is taken of the scholarship upon which our wisdom of those lyrics rests, in particular the phenomenal contributions of the previous few a long time and such fresh insights as these of gender feedback. additionally integrated are exact discussions of the dear details afforded through the commonly various manuscript contexts within which center English lyrics continue to exist and of the varied concerns thinking about modifying those texts. Separate chapters are dedicated to the carol, which got here to prominence within the 15th century, and to heart Scots lyrics which, on the finish of the center English lyric culture, current a few refined productions of a completely new order.BR> participants: Julia Boffey, Thomas G. Duncan, John Scattergood, Vincent Gillespie, Christiania Whitehead, Douglas grey, Karl Reichl, Thorlac Turville-Petre, Alan J. Fletcher, Bernard O'Donoghue, Sarah Stanbury and Alasdair A. MacDonald.

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11v), where it is surrounded by liturgical pieces, the Fables and Lais of Marie de France, and some Latin goliardic poems. The manuscript’s contents were copied by a number of different hands, and probably over a number of years, in the first few decades of the thirteenth century; references in some of the texts suggest that the scribes were all in some way associated with Reading Abbey, a milieu in which the parallel Latin and English versions of Sumer is icumen in (the English words are written above Latin ones which begin Perspice, Christicola) would have been entirely appropriate (see Dobson and Harrison 1979, 143–5; Brown XIII, 168–9; Frankis 1986, 176–7; Taylor 2002, 76–136, with a facsimile on p.

6 Certain manuscripts which gather together short poems by the prolific Benedictine monk John Lydgate are superficially similar to the Audelay and Ryman collections. Unlike Audelay and Ryman, though, Lydgate wrote a number of much more substantial works, and the totality of his oeuvre cannot be comprehended in a single anthology (Renoir and Benson 1980, supplemented by Edwards 1985; Edwards 2000a; Boffey 1996). 9 (manuscripts whose contents are arrestingly similar and may be in some way related).

171, part of Herebert’s copy of one of his sermons. 13 Four further Middle English lyrics (in Herebert’s hand, and probably his compositions) occur earlier in the manuscript, two within sermons and two as marginal additions. 14 JULIA BOFFEY couplets, sometimes proverbial, but others are more substantial lyrics, often locatable in other manuscripts as well as this one (Wilson 1973, xi–xii). The label of ‘preaching book’ is a convenient term for these manuscripts and for many others, and it highlights a crucially important connection between lyrics and sermons, but at the same time it can iron out fundamental differences of organization and tone between individual manuscripts.

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