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By Thomas G. Duncan

Winner of a call notable educational name Award the center English lyric occupies a spot of substantial significance within the heritage of English literature. the following, for the 1st time in English, are came across many gains 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 targeting the affection, ache and compassion of Christ and the Virgin Mary. The essays during this quantity target to supply either heritage details on and new tests of the lyric. by means of treating heart English lyrics bankruptcy through bankruptcy in accordance with their varieties - poems facing love, with non secular devotion, with ethical, political and well known subject matters, and people linked to preaching - it offers 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, specially the phenomenal contributions of the previous few a long time and such fresh insights as these of gender feedback. additionally incorporated are distinctive discussions of the precious details afforded by means of the generally various manuscript contexts within which heart English lyrics live to tell the tale and of the various matters keen on 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> 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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The French decasyllabic line was virtually introduced into English poetry by Chaucer. C. S. 5 It is equally obvious that in the trilingual (English, French and Latin) society of Chaucer’s England, and not least among the literati of the court of Richard II, there would have been many who were far from unfamiliar with French verse. Now, while it is true that many of Chaucer’s lines may be read naturally enough with four stresses (and only with five stresses by resorting to artificial ‘metrical’ stressing), it is equally true that other lines read more naturally with five stresses.

1460–70) in or for a Yorkshire Carthusian house; Rolle’s home of Hampole was also in Yorkshire (see Hogg 1981; Gray 1997). Others, though, made their way into collections compiled for lay readers, whose desire for spiritual edification, and for textual aids to devotion, could increasingly be satisfied by domestic reading. A number were copied into the volume which is now Lincoln Cathedral MS 91 by a gentleman named Robert Thornton of East Newton in North Yorkshire (d. by 1465), who seems to have attempted to construct in this compilation, and in another which is now BL Additional 31042, a two-volume household library of edifying and diverting material (Brewer and Owen 1977; Thompson 1987; Keiser 1979 and 1983 and 1984).

Ix, an early fifteenth-century parchment manuscript, includes a short collection of political lyrics referring to events dating from the reign of Edward III by Laurence Minot conjoined with the romances Ywain and Gawain and The Seven Sages, and some religious verse, including The Prick of Conscience (Hall 1914; James and Simons 1989). Minot’s poems are grouped together in the manuscript (on fols 52 onwards) and must have reached the copyist as a body, perhaps in an exemplar formed from a single gathering.

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