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A collection attesting to the richness and lasting appeal of these
short forms of Middle English verse. The body of short Middle
English poems conventionally known as lyrics is characterized by
wonderful variety. Taking many different forms, and covering an
enormous number of subjects, these poems have proved at once
attractive andchallenging for modern readers and scholars. This
collection of essays explores a range of Middle English lyrics from
the thirteenth to the early sixteenth century, both religious and
secular in flavour. It directs attention to the intrinsic qualities
of these short poems and at the same time explores their capacity
to illuminate important aspects of medieval cultural practice and
production: forms of piety, contemporary conditions and events, the
historyof feelings and emotions, and the relationships of image,
song, performance and speech to the written word. The issues
covered in the essays include editing lyrics; lyric manuscripts;
affect; visuality; mouvance and transformation; and the
relationships between words, music and speech. A particularly
distinctive feature of the collection is that most of the essays
take as a point of departure a specific lyric whose particularities
are explored within wider-ranging critical argument.
A new and comprehensive anthology of medieval lyrics and carols, in
new editions, with introduction and commentary. Lyrics and carols
are two of the most important types of medieval literature. This
anthology provides a generous and wide-ranging selection, beginning
with the first lyrics in English to celebrate love as romantic
devotion to a woman, and including all pre-Chaucerian love lyrics
(other than a few brief snatches). Poems by Chaucer and his
successors present the courtly game of love in its sophisticated
later medieval form, while devotional lyrics portray the tenderness
of the later medieval response to Christ as lover and beloved and
to the Virgin Mary with the infant Jesus, Mary as sorrowing mother
and as Queen of Heaven. Fully represented also are lyrics on
characteristically medieval moral and penitential themes, alongside
miscellaneous lyrics such as drinking and dancing songs, ballads,
satires, poems of wit, humour and sexual innuendo, accounts of
lecherous priests, minstrels mocking their audiences, and women
vividly listing their lovers' inadequacies. The texts are edited
anew, accompanied with a textual apparatus detailing manuscript
readings where emendations have been made to restore sense, metre
and rhyme. The language of pre-Chaucerian poems has been normalised
to accord with the dialect of late fourteenth-century London
("Chaucerian English"), and unfamiliar spellings in later lyrics
have been regularized. Readability is further aided by line-by-line
glosses. An extensive introduction offers an appraisal of the
forms, themes and contexts of the lyrics and a full discussion of
their language and metre, while a comprehensive commentary gives
further essential information. Thomas G. Duncan is an Honorary
Senior Lecturer in the School of English at St Andrews University.
Comprehensive survey of the Middle English lyric, one of the most
important forms of medieval literature. Winner of a CHOICE
Outstanding Academic Title Award The Middle English lyric occupies
a place of considerable importance in the history of English
literature. Here, for the first time in English, are found many
features of formal and thematic importance: they include rhyme
scheme, stanzaic form, the carol genre, love poetry in the manner
of the troubadour poets, and devotional poems focusing on the love,
suffering and compassion of Christ and theVirgin Mary. The essays
in this volume aim to provide both background information on and
new assessments of the lyric. By treating Middle English lyrics
chapter by chapter according to their kinds - poems dealing with
love, with religious devotion, with moral, political and popular
themes, and those associated with preaching - it provides the
awareness of their characteristic cultural contexts and literary
modalities necessary for an informed critical reading. Full account
is taken of the scholarship upon which our knowledge of these
lyrics rests, especially the outstanding contributions of the last
few decades and such recent insights as those of gender criticism.
Also included are detailed discussions of the valuable information
afforded by the widely varying manuscript contexts in which Middle
English lyrics survive and of the diverse issues involved in
editing these texts. Separate chapters are devotedto the carol,
which came to prominence in the fifteenth century, and to Middle
Scots lyrics which, at the end of the Middle English lyric
tradition, present some sophisticated productions of an entirely
new order. Contributors: Julia Boffey, Thomas G. Duncan, John
Scattergood, Vincent Gillespie, Christiania Whitehead, Douglas
Gray, Karl Reichl, Thorlac Turville-Petre, Alan J. Fletcher,
Bernard O'Donoghue, Sarah Stanbury and Alasdair A. MacDonald.
THOMAS G. DUNCAN is Honorary Senior Lecturer, School of English,
University of St Andrews.
A collection attesting to the richness and lasting appeal of these
short forms of Middle English verse. The body of short Middle
English poems conventionally known as lyrics is characterized by
wonderful variety. Taking many different forms, and covering an
enormous number of subjects, these poems have proved at once
attractive andchallenging for modern readers and scholars. This
collection of essays explores a range of Middle English lyrics from
the thirteenth to the early sixteenth century, both religious and
secular in flavour. It directs attention to the intrinsic qualities
of these short poems and at the same time explores their capacity
to illuminate important aspects of medieval cultural practice and
production: forms of piety, contemporary conditions and events, the
historyof feelings and emotions, and the relationships of image,
song, performance and speech to the written word. The issues
covered in the essays include editing lyrics; lyric manuscripts;
affect; visuality; mouvance and transformation; and the
relationships between words, music and speech. A particularly
distinctive feature of the collection is that most of the essays
take as a point of departure a specific lyric whose particularities
are explored within wider-ranging critical argument. JULIA BOFFEY
is Professor of Medieval Studies in the Department of English at
Queen Mary University of London; CHRISTIANIA WHITEHEAD is Professor
of Middle English Literature at the University of Warwick.
Contributors: Anne Baden-Daintree, Julia Boffey, Anne Marie D'Arcy,
Thomas G. Duncan, Susanna Fein, Mary C. Flannery, Jane Griffiths,
Joel Grossman, John C. Hirsh, Hetta Elizabeth Howes, Natalie Jones,
Michael P. Kuczynski, A.S. Lazikani, Daniel McCann, Denis Renevey,
Elizabeth Robertson, Annie Sutherland, Mary Wellesley, Christiania
Whitehead, Katherine Zieman.
Comprehensive survey of the Middle English lyric, one of the most
important forms of medieval literature. Winner of a CHOICE
Outstanding Academic Title Award The Middle English lyric occupies
a place of considerable importance in the history of English
literature. Here, for the first time in English, are found many
features of formal and thematic importance: they include rhyme
scheme, stanzaic form, the carol genre, love poetry in the manner
of the troubadour poets, and devotional poems focusing on the love,
suffering and compassion of Christ and theVirgin Mary. The essays
in this volume aim to provide both background information on and
new assessments of the lyric. By treating Middle English lyrics
chapter by chapter according to their kinds - poems dealing with
love, with religious devotion, with moral, political and popular
themes, and those associated with preaching - it provides the
awareness of their characteristic cultural contexts and literary
modalities necessary for an informed critical reading. Full account
is taken of the scholarship upon which our knowledge of these
lyrics rests, especially the outstanding contributions of the last
few decades and such recent insights as those of gender criticism.
Also included are detailed discussions of the valuable information
afforded by the widely varying manuscript contexts in which Middle
English lyrics survive and of the diverse issues involved in
editing these texts. Separate chapters are devotedto the carol,
which came to prominence in the fifteenth century, and to Middle
Scots lyrics which, at the end of the Middle English lyric
tradition, present some sophisticated productions of an entirely
new order. Contributors: Julia Boffey, Thomas G. Duncan, John
Scattergood, Vincent Gillespie, Christiania Whitehead, Douglas
Gray, Karl Reichl, Thorlac Turville-Petre, Alan J. Fletcher,
Bernard O'Donoghue, Sarah Stanbury and Alasdair A. MacDonald.
THOMAS G. DUNCAN is Honorary Senior Lecturer, School of English,
University of St Andrews
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