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By Thomas G. Duncan

Winner of a decision extraordinary educational identify Award the center English lyric occupies a spot of substantial value within the background of English literature. the following, for the 1st time in English, are discovered 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 targeting the affection, agony and compassion of Christ and the Virgin Mary. The essays during this quantity target to supply either heritage details on and new checks of the lyric. through treating heart English lyrics bankruptcy via bankruptcy in keeping with their types - poems facing love, with spiritual devotion, with ethical, political and well known topics, and people linked to preaching - it presents the notice in their attribute cultural contexts and literary modalities valuable for an educated serious interpreting. complete account is taken of the scholarship upon which our wisdom of those lyrics rests, in particular the exceptional contributions of the previous few many years and such contemporary insights as these of gender feedback. additionally integrated are specific discussions of the precious details afforded by means of the generally various manuscript contexts within which heart English lyrics live on and of the various matters excited 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 refined productions of a wholly new order.BR> members: 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 circulation of Chaucer’s lyrics seems to have had no such authorial supervision (see Boffey 1993). 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.

Xii, copying the romance of Fulk Fitzwarin in French prose, and some other items, and also in BL Harley 273, a book for instructive and devotional purposes (Ker 1965, xx; Revard 2000). This suggests that he worked in a milieu where exemplars were readily available from a number of sources (some perhaps of a highly local sort), and where scribal expertise was honed in a variety of contexts. The trilingualism of the contents, and the easy modulations from one kind of text to another, suggest practised compilers and readers who could respond in sophisticated ways to the textual interplay of this collection (Scahill 2003; Corrie 2003).

38 has a similar flavour, its romances and saints’ lives interspersed with verse salutations to the Virgin (IMEV 1401 and 3685) and short verse formulations of essential matters like the works of mercy, the seven deadly sins, and the twelve articles of the faith (McSparran and Robinson 1979). 1, it is possible to discern some attempt to subdivide the contents of the volume among constituent, themed booklets: one contains humorous parodies, another is concerned with teaching good behaviour; one more addresses issues of female piety.

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