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

By Thomas G. Duncan

Winner of a call striking educational identify Award the center English lyric occupies a spot of substantial value within the heritage of English literature. right here, for the 1st time in English, are chanced on many positive factors of formal and thematic value: they contain rhyme scheme, stanzaic shape, the carol style, love poetry within the demeanour of the troubadour poets, and devotional poems concentrating on the affection, soreness and compassion of Christ and the Virgin Mary. The essays during this quantity objective to supply either historical past info on and new checks of the lyric. via treating center English lyrics bankruptcy through bankruptcy in line with their varieties - poems facing love, with spiritual devotion, with ethical, political and well known issues, and people linked to preaching - it presents the notice in their attribute cultural contexts and literary modalities important for an educated serious interpreting. complete account is taken of the scholarship upon which our wisdom of those lyrics rests, specifically the exceptional contributions of the previous few many years and such fresh insights as these of gender feedback. additionally incorporated are particular discussions of the precious info afforded via the generally various manuscript contexts within which heart English lyrics live on and of the various matters fascinated about modifying those texts. Separate chapters are dedicated to the carol, which got here to prominence within the 15th century, and to center Scots lyrics which, on the finish of the center English lyric culture, current a few subtle productions of a wholly new order.BR> individuals: 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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27 (see Beadle and Owen 1977); a few were copied with particular Chaucerian texts with which they might have been associated (the love lyric Rosemounde 7 William Herebert was another such author-scribe-compiler; see below 13. 6 JULIA BOFFEY at the end of Troilus and Criseyde in Bodl. 163; the Boethian lyrics Fortune and The Former Age with a copy of Boece, for example; see Pace 1961); others appear in small clusters (sometimes copied continuously, as if the exemplars available to scribes did not clearly mark beginnings and endings) in the context of more varied anthologies.

The slightly later BL MS Additional 31922, roughly the same size, also parchment, and also containing musical notation, contains songs from the early part of the reign of Henry VIII (texts in Stevens 1979, 386–425; texts and music in Stevens 1962). Lyrics in Manuscripts for Personal Use: Commonplace Books There are many overlaps in the categories of manuscript discussed here: in some instances an anthology might also have been a preaching book; a songbook might also have been a friar’s collection.

A series of Middle English verse prayers and devotions follows ‘La Estorie del Evangelie en engleis’ and Richard Maidstone’s translation of Psalm 50/51 in the second major section of the Vernon MS’s construction. 11 But the greatest number of lyrics – twenty-seven in all – are grouped together in a sequence which in Vernon forms a separate gathering, now the last section of the manuscript (fols 407ra–412vb), and in Simeon comes at the end of what is now Part III (fols 128vb–134ra; two further poems are added at the end of the sequence here; Brown XIV, Nos 95 to 120).

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