SIR THOMAS WYATT AN ELIZABETHAN GALLERY A series of notable Elizabethan books notably edited, with intro duction and notes both critical and textual. The better editions are on hand-made paper, excellently bound, numbered and signed. No. i COMPLAINTS. By EDMUND SPENSER. Edited by Professor W. L. RENWICK. This is actually vol. i of The Complete Works of Edmund Spenser, in uniform editions, demy 8vo, of 1 660 copies and 95 copies. No. 2 MELANCHOLIKE HUMOURS. By NICHOLAS BRETON. Edited with an essay on Elizabethan Melancholy by Dr. G. B. Harrison. Demy 8vo. 760 copies, of which 10 are signed. The latter are out of print. No. 3 THE POETRY OF SIR THOMAS WYATT. No. 4 DAPHNAiDA AND OTHER POEMS, being vol. 2 in the complete Spenser. THE POETRY OF SIR THOMAS WYATT A SELECTION AND A STUDY BY E. M. W. TILLYARD UNIVERSITY LECTURER IN ENGLISH AND LATE FELLOW OF JESUS COLLEGE, CAMBRIDGE 1929 THE SCHOLARTIS PRESS 30 MUSEUM STREET, LONDON PREFACE THE aim of this book is to call attention to an author who, though sometimes appreciated justly, has never really received his due. Wyatt to the general literary public is still the importer of the Sonnet into England, and the author of some half a dozen lyrics that deserve a place in the anthologies. In reality he is something more a man of remarkable character, part of which has been made accessible to us through the medium of a number of short poems. Less precisely he can be called an important lyric poet. To further my aim two things seemed necessary a new anthology and a new appreciation. Selections from Wyatt exist within anthologies of Tudor lyrics, but they are not full enough to give an adequate idea of him. On the other hand, the com plete works canbe unduly forbidding. Most of the poems are apprentice work, and the general reader who attempts the bulk may easily tire of the business of picking out poetry from experiment, and conclude that on the whole Wyatt is rather tedious. A more generous anthology than exists at present seems the required mean between the two extremes. A fresh appreciation seems no less necessary. One recent writer maintains that the important thing is that in Wyatts work the early Tudor found examples of a large variety of verse forms, coldly but carefully worked out, and another does not trouble to exclude Wyatts lyrics from what he calls stilted Italianate compositions, which judged by themselves were worthless. These are not the prevailing opinions, but they show that it is time someone spoke up in Wyatts praise. My choice of poems has been ruled by intrinsic merit rather than by historical importance. Few of PREFACE the sonnets are included and it may be remarked that for the sake of his reputation, Wyatt had better not have imported the sonnet into England, for by so doing he purchased a text-book glory at the price of advertising the class of poems that does his poetical powers least credit. The substance of my appreciation is contained in the section of the Introduction dealing with Wyatts lyrics and in the notes to the poems but as a preliminary I have written briefly about his historical position in English literature, and for the sake of completeness I have commented on the other classes of the poems and have added a short biography and a note on the text, the editors and the critics. The text is taken from the manuscripts direct, or from Flugels transcripts in Anglia vols. 18 and 19, or fromArbers reprint of Tottells Miscellany. The forms of words have been kept, but the spelling has been modernised and punctuation inserted. Had the manuscripts been punctuated, I should have hesitated to modernise the spelling. But one must modernise by inserting punctuation if one wishes to present a readable text and having modernised so far, I can see little point in reading and ytt for zndjfor, you and yow and so on with no discrimination, as one must if one follows the manuscripts...

This illuminating account of ideas of world order prevalent in the Elizabethan Age and later is an indispensable companion for readers of the great writers of the sixteenth and seventeenth centuries Shakespeare and the Elizabethan dramatists, Donne and Milton, among many others. The basic medieval idea of an ordered Chain of Being is studied by Tillyard in the process of its various transformations by the dynamic spirit of the Renaissance. Among his topics are: Angels; the Stars and Fortune; the Analogy between Macrocosm and Microcosm; the Four Elements; the Four Humors; Sympathies; Correspondences; and the Cosmic Dance ideas and symbols that inspirited the imaginations not only of the Elizabethans, but also of the Renaissance as such. This idea of cosmic order was one of the genuine ruling ideas of the Elizabethan Age, and perhaps the most characteristic. Such ideas, like our everyday manners, are the least disputed and the least paraded in the creative literature of the time. The province of this book is some of the notions about the world and man that were quite frequently taken for granted by the ordinary educated Elizabethan; the commonplaces too familiar for the poets to make detailed use of, except in explicitly educational passages, but essential as basic assumptions and invaluable at moments of high passion. The objective of The Elizabethan World Picture is to extract and explain the most ordinary beliefs about the constitution of the world as pictured in the Elizabethan Age and through this exposition to help the ordinary reader to understand and to enjoy the great writers of the age. In attempting this, Tillyard has brought together a number of pieces of elementary lore. This classic text is a convenient factual aid to extant interpretations of some of Spenser, Donne, or Milton.

This illuminating account of ideas of world order prevalent in the Elizabethan Age and later is an indispensable companion for readers of the great writers of the sixteenth and seventeenth centuries--Shakespeare and the Elizabethan dramatists, Donne and Milton, among many others. The basic medieval idea of an ordered Chain of Being is studied by Tillyard in the process of its various transformations by the dynamic spirit of the Renaissance. Among his topics are: Angels; the Stars and Fortune; the Analogy between Macrocosm and Microcosm; the Four Elements; the Four Humors; Sympathies; Correspondences; and the Cosmic Dance--ideas and symbols that inspirited the imaginations not only of the Elizabethans, but also of the Renaissance as such. This idea of cosmic order was one of the genuine ruling ideas of the Elizabethan Age, and perhaps the most characteristic. Such ideas, like our everyday manners, are the least disputed and the least paraded in the creative literature of the time. The province of this book is some of the notions about the world and man that were quite frequently taken for granted by the ordinary educated Elizabethan; the commonplaces too familiar for the poets to make detailed use of, except in explicitly educational passages, but essential as basic assumptions and invaluable at moments of high passion. The objective of "The Elizabethan World Picture" is to extract and explain the most ordinary beliefs about the constitution of the world as pictured in the Elizabethan Age and through this exposition to help the ordinary reader to understand and to enjoy the great writers of the age. In attempting this, Tillyard has brought together a number of pieces of elementary lore. This classic text is a convenient factual aid to extant interpretations of some of Spenser, Donne, or Milton.

Originally published in 1938, this book considers the status of John Milton among later poets and how Milton's poetry was received by later generations in very different political and religious settings. Tillyard considers a number of aspects of Milton's style and legacy, including his influence on Keats. This book will be of value to anyone with an interest in Milton's work.