See also:

• LYLY (LILLY, or LYLIE), JOHN (1553–1606)

LYLY (See also:

• LILLY, WILLIAM (16oz-1681)

LILLY, or LYLIE), See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

JOHN (1553–1606)  , See also:

• ENGLISH

English writer, the famous author of Euphues, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• KENT
• KENT, EARLS AND DUKES OF
• KENT, JAMES (1763-1847)
• KENT, WILLIAM (1685-1748)

Kent in 1553 Or 1554 . At the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of sixteen, according to See also:

• WOOD, ANTHONY A2 (1632-1695)
• WOOD, JOHN GEORGE (1827—1889)
• WOOD, MRS HENRY [ELLEN] (1814—1887)
• WOOD, SEARLES VALENTINE (1798—188o)

Wood, he became a student of Magdalen See also:

• COLLEGE (Collegium)

College, See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford, where in due See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time he proceeded to his See also:

• BACHELOR (from Med. Lat. baccalarius, with its late and rare variant baccalaris—cf. Ital. baccalare—through O. Fr. bacheler)

bachelor's and See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master's degrees (1573 and 1575), and from whence we find him in 1574 applying to See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord See also:

• BURGHLEY, WILLIAM CECIL, BARON (1521-1598)

Burghley " for the See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen's letters to Magdalen College to admit him See also:

• FELLOW

fellow." The fellowship, however, was not granted, and See also:

• LYLY (LILLY, or LYLIE), JOHN (1553–1606)

Lyly shortly after See also:

• LEFT

left the university . He complains of what seems to have been a See also:

• SENTENCE (Lat. sententia, a way of thinking, opinion, judgment; vote, sentire, to feel, think)

sentence of See also:

• RUSTICATION (i.e. the making " rustic " or countrified, from Lat. rus, country; thus the term " rusticate " is used for taking a country holiday, or in academic circles to be " rusticated " is to be sent away from a university for punishment)

rustication passed upon him at some See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period in his academical career, in his address to the gentlemen scholars of Oxford affixed to the second edition of the first See also:

• PART

part of Euphues, but in the See also:

• ABSENCE (Lat. absentia)

absence of any further See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence it is impossible to See also:

• FIX, THEODORE (180o-1846)

fix either its date or its cause . If we are to believe Wood, he never took kindly to the proper studies of the university . " For so it was that his See also:

• GENIUS (from Lat. genere, gignere)

genius being naturally See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent to the pleasant paths of See also:

• POETRY

poetry (as if See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo had given to him a See also:

• WREATH (O. Eng. wry, from wriian, to twist)

wreath of his own bays without snatching or struggling) did in a manner neglect academical studies, yet not so much but that he took the degrees in arts, that of master being compleated 1575." After he left Oxford, where he had already the reputation of " a noted wit," Lyly seems to have attached himself to Lord See also:

• BURGH [BOURKE, BURKE]
• BURGH, HUBERT DE (d. 1243)

Burgh-ley . " This See also:

• NOBLE, SIR ANDREW (1832- )

noble See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man," he writes in the " Glasse for See also:

• EUROPE

Europe," in the second part of Euphues (r58o), " I found so ready being but a straunger to do me See also:

• GOOD, JOHN MASON (1764-1827)

good, that neyther I ought to forget him, neyther cease to pray for him, that as he hath the See also:

• WISDOM, BOOK OF, or WISDOM OF SOLOMON (Sept. Io4ia IaXwµwvos; Lat. Vulg. Liber sapientiae)

wisdom of See also:

• NESTOR
• NESTOR (c. 1056-c. 1114)

Nestor, so he may have the age, that having the policies of Ulysses he may have his honor, worthy to lyve See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long, by whom so many lyve in quiet, and not unworthy to be advaunced by whose care so many have been preferred." Two years later we possess a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter of Lyly to the treasurer, dated See also:

• JULY

July 1582, in which the writer protests against some See also:

• ACCUSATION (Lat. accusatio, accusare, to challenge to a causa, a suit or trial at law)

accusation of dishonesty which had brought him into trouble with his See also:

• PATRON

patron, and demands a See also:

• PERSONAL

personal interview for the purpose of clearing his See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character . What the further relations beween them were we have no means of knowing, but it is clear that neither from Burghley nor from the queen did Lyly ever receive any substantial patronage . In 1578 he began his See also:

• LITERARY

literary career by the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of Euphues, or the See also:

• ANATOMY
• ANATOMY (Gr. avaroyil, from ava-silo c', to cut up)

Anatomy of Wit, which was licensed to See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel Cawood on the 2nd of See also:

• DECEMBER (Lat. decent, ten)

December, 1578, and published in the See also:

• SPRING (from " to spring," " to leap or jump up," " burst out," O. Eng., springau, a common Teut. word, cf. Ger. springer, possibly allied to Gr. QnrFpxecOac, to move rapidly)

spring of 1579 . In the same See also:

• YEAR

year the author was incorporated M.A. at See also:

• CAMBRIDGE
• CAMBRIDGE, EARLS AND DUKES OF
• CAMBRIDGE, RICHARD OWEN (1717-1802)

Cambridge, and possibly saw his hopes of See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court See also:

• ADVANCEMENT

advancement dashed by the See also:

• APPOINTMENT, POWER OF

appointment in July of See also:

• EDMUND
• EDMUND, or EADMUND (c. 980-1016)
• EDMUND, SAINT [EDMUND RICE] (d. 1240)

Edmund Tylney to the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of master of the See also:

• REVELS, MASTER OF THE

revels, a See also:

• POST

post at which, as he reminds the queen some years later, he had all along been encouraged to " aim his courses." Euphues and his See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England appeared in 158o, and, like the first part of the See also:

• BOOK

book, won immediate popularity . For a time Lyly was the most successful and fashionable of English writers . He was hailed as the author of " a new English," as a " raffineur de 1'Anglois "; and, as Edmund See also:

• BLOUNT (or BLUNT), EDWARD (b. 1565?)
• BLOUNT, CHARLES (1654-1693)
• BLOUNT, SIR THOMAS POPE (1649-1697)
• BLOUNT, THOMAS (1618-1679)
• BLOUNT, WILLIAM (1749-1800)

Blount, the editor of his plays, tells us in 1632, " that beautie in court which could not parley See also:

• EUPHUISM

Euphuism was as little ragarded as she which nowe there speakes not See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French." After the publication of Euphues, however, Lyly seems to have entirely deserted the novel See also:

• FORM (Lat. forma)

form himself, which passed into the hands of his imitators, and to have thrown himself almost exclusively into See also:

• PLAY

play-See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing, probably with a view to the mastership of revels whenever a vacancy should occur . Eight plays by him were probably acted before the queen by the See also:

• CHILDREN, LAW RELATING TO

children of the See also:

• CHAPEL

Chapel Royal and the children of St See also:

• PAUL
• PAUL (PAULUS)

Paul's between the years 1584 and 1589, one or two of them being repeated before a popular See also:

• AUDIENCE (from Lat. audire, to hear)

audience at the Blackfriars See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre .

Their brisk lively See also:

• DIALOGUE

dialogue, classical See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and frequent allusions to persons and events of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day maintained that popularity with the court which Euphues had won . Lyly sat in See also:

• PARLIAMENT (Anglo-Lat. parliamentum, Fr. parlement, from parler, to speak)

parliament as member for Hindon in 1589, for See also:

• AYLESBURY

Aylesbury in 1593, for See also:

• APPLEBY

Appleby in 1597 and for Aylesbury a second time in 16oi . In 1589 Lyly published a See also:

• TRACT (from Lat. tractare, to treat of a matter, through Provencal tractat and Ital. trattato)

tract in the See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin Marprelate controversy, called Pappe with an See also:

• HATCHET (adapted from the Fr. hachette, diminutive of hache, axe, hacker, to cut, hack)

hatchet, See also:

• ALIAS (Lat. for " at another time ")

alias a figge for my Godsonne; Or Crack me this See also:

• NUT
• NUT (0. Eng. knutu, cf. Dutch noot, Ger. Nuss; allied with Gael. cno; it is not of the same form as Lat. nux)

nut; Or a Countrie Cuffe, Ere.' About the same time we may probably date his first See also:

• PETITION (Lat. for " seeking " or " praying ")

petition to Queen See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth . The two petitions, transcripts of which are extant among the Harleian See also:

• MSS

MSS., are undated, but in the first of them he speaks of having been ten years See also:

• HANGING

hanging about the court in See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope of preferment, and in the second he extends the period to thirteen years . It may be conjectured with See also:

• GREAT

great See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability that the ten years date from 1579, when Edmund Tylney was appointed master of the revels with a tacit understanding that Lyly was to have the next reversion of the post . " I was entertained your Majestie's servaunt by your own gratious favor," he says, " strengthened with condicions that I should ayme all my courses at the Revells (I dare not say with a promise, but with a hopeful See also:

• ITEM (a Latin adverb meaning " also," " likewise ")

Item to the Revercion) for which these ten yeres I have attended with an unwearyed See also:

• PATIENCE

patience." But in 1589 or 1590 the mastership of the revels was as far off as ever—Tylney in fact held the post for See also:

• THIRTY

thirty-one years—and that ' The evidence for his authorship may be found in Gabriel See also:

• HARVEY
• HARVEY, GABRIEL (c. 1545-1630)
• HARVEY, SIR GEORGE (1806-1876)
• HARVEY, WILLIAM (1578—1657)

Harvey's See also:

• PIERCE, FRANKLIN (1804—1869)

Pierce's See also:

• SUPEREROGATION (Late Lat. supererogatio, payment beyond what is due or asked, from super, beyond, eragare, to pay out, expend, ex, out, rogare, to ask)

Supererogation (written See also:

• NOVEMBER (Lat. novem, nine)

November 1589, published 1593), in See also:

• NASH, RICHARD (1674-1762)

Nash's Have with you to See also:

• SAFFRON (Arab. za'faran)

Saffron See also:

• WALDEN, ROGER (d. 1406)

Walden (1596), and in various allusions in Lyly's own plays . See See also:

• FAIRHOLT, FREDERICK WILLIAM (1814-1866)

Fairholt's Dramatic See also:

• WORKS

Works of See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John See also:

• LILLY, WILLIAM (16oz-1681)

Lilly, i . 20 . JOHN Lyly's petition brought him no See also:

• COMPENSATION (from Lat. compensare, to weigh one thing against another)

compensation in other directions may be inferred from the second petition of 1593 . " Thirteen yeres your highnes servant but yet nothing . Twenty freinds that though they saye they will be sure, I finde them sure to be slowe . A thousand hopes, but all nothing; a See also:

• HUNDRED

hundred promises but yet nothing .

Thus casting up the See also:

• INVENTORY (post-class. Lat. inventarium, a list or repertory, from invenire to find)

inventory of my See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, hopes, promises and tymes, the summa totalis amounteth to just nothing." What may have been Lyly's subsequent fortunes at court we do not know . Edmund Blount says vaguely that Elizabeth " graced and rewarded " him, but of this there is no other evidence . After 1590 his works steadily declined in See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence and reputation; other stars were in See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession Of tl'e See also:

• HORIZON (Gr. 6pfTwv, dividing)

horizon; and so far as we know he died poor and neglected in the See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early part of See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James I.'s reign . He was buried in See also:

• LONDON

London at St See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

Bartholomew the Less on the loth of November, 16o6 . He was married, and we hear of two sons and a daughter . . Comedies.—In 1632 Edmund Blount published " Six Court Comedies," including See also:

• ENDYMION

Endymion (1591), See also:

• SAPPHO (7th–6th centuries B.C.)

Sappho and Phao (1584), See also:

• ALEXANDER
• ALEXANDER (1461-1506)
• ALEXANDER (ALEXANDER OF BATTENBERG) (1857-1893)
• ALEXANDER (ALEXANDER OsxENOVici) (1876-1903)
• ALEXANDER, ARCHIBALD (1772—1851)
• ALEXANDER, FRANCIS (1800—1881)
• ALEXANDER, GEORGE (1858— )
• ALEXANDER, JOHN WHITE (1856- )
• ALEXANDER, JOSEPH ADDISON (18o9—186o)
• ALEXANDER, SIR JAMES EDWARD (1803—1885)
• ALEXANDER, WILLIAM (1824— )
• ALEXANDER, WILLIAM LINDSAY (1808—1884)

Alexander and Campaspe (1584), See also:

• MIDAS

Midas (1592), See also:

• MOTHER

Mother Bombie (1594) and Gallathea (1592) . To these should be added the Woman in the Moone (Lyly's earliest play, to See also:

• JUDGE (Lat. judex, Fr. juge)

judge from a passage in the See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

prologue and therefore earlier than 1584, the date of Alexander and Campaspe), and Love's See also:

• METAMORPHOSIS

Metamorphosis, first printed in 16oi . Of these, all but the last are in See also:

• PROSE

prose . A Warning for Faire See also:

• WOMEN

Women (1599) and The Maid's Metamorphosis (1600) have beemattributed to Lyly, but on altogether insufficient grounds . The first See also:

• EDITIONS

editions of all these plays were issued between 1584 and ,6or, and the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of them between 1584 and 1592, in what were Lyly's most successful and popular years . His importance as a dramatist has been very differently estimated . Lyly's dialogue is still a long way removed from the dialogue of See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare .

But at the same time it is a great advance in rapidity and resource upon anything which had gone before it; it represents an important step in English dramatic See also:

• ART

art . His nimbleness, and the wit which struggles with his pedantry, found their full development in the dialogue of Twelfth See also:

• NIGHT

Night and Much See also:

• ADO (d. 874)

Ado about Nothing, just as " See also:

• MARLOWE, CHRISTOPHER (1564-1593)
• MARLOWE, JULIA [SARAH FRANCES FROST] (1870– )

Marlowe's mighty See also:

• LINE

line " led up to and was eclipsed by the See also:

• MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

majesty and See also:

• MUSIC

music of Shakespearian See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion . One or two of the songs introduced into his plays are justly famous and show a real lyrical See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift . Nor in estimating his dramatic position and his effect upon his time must it be forgotten that his classical and mythological plots, flavourless and dull as they would be to a See also:

• MODERN

modern audience, were charged with See also:

• INTEREST

interest to those courtly hearers who saw in Midas See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip II., Elizabeth in Cynthia and perhaps See also:

• LEICESTER
• LEICESTER, EARLS OF
• LEICESTER, ROBERT DUDLEY, EARL
• LEICESTER, ROBERT SIDNEY, EARL OF (1563-1626)
• LEICESTER, THOMAS WILLIAM COKE, EARL OF (1754-1842)

Leicester's unwelcome See also:

• MARRIAGE

marriage with See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• SHEFFIELD
• SHEFFIELD, JOHN BAKER HOLROYD, 1ST EARL

Sheffield in the love affair between Endymion and Tellus which brings the former under Cynthia's displeasure . As a See also:

• MATTER

matter of fact his reputation and popularity as a play-writer were considerable . Gabriel Harvey dreaded lest Lyly should make a play upon their See also:

• QUARREL

quarrel; See also:

• MERES, FRANCIS (1565-1647)

Meres, as is well known, places him among " the best for See also:

• COMEDY

comedy "; and See also:

• BEN (from Old Eng. bennan, within)

Ben See also:

• JONSON

Jonson names him among those foremost rivals who were " outshone " and outsung by Shakespeare . Euphues.—It was not, however, as a dramatist, but as the author of Euphues, that Lyly made most See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark upon the Elizabethan See also:

• WORLD

world . His plays amused the court circle, but the " new English " of his novel threatened to permanently See also:

• CHANGE (derived through the Fr. from the Late Lat. cambium, cambiare, to barter; the ultimate derivation is probably from the root which appears in the Gr. «a urmu', to bend)

change the course of English See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . The See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot of Euphues is extremely See also:

• SIMPLE

simple . The See also:

• HERO (Gr. open)
• HERO, THE YOUNGER

hero, whose name may very possibly have been suggested by a passage in See also:

• ASCHAM, ROGER (c. 1515-1568)

Ascham's Schoolmaster, is introduced to us as still in bondage to the follies of youth, " preferring See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy before friends, and this See also:

• PRESENT

present See also:

• HUMOUR (Latin humor)

humour before See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour to come." His travels bring him to See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, where he falls in love with Lucilla, the See also:

• GOVERNOR (from the Fr. gouverneur, from gouverner, O. Fr. governer, Lat. gubernare, to steer a ship, to direct, guide)

governor's See also:

• LIGHT

light-minded daughter . Lucilla is already pledged to Euphues's friend Philautus, but Euphues's passion betrays his friendship, and the old See also:

• LOVER, SAMUEL (1797-1868)

lover finds himself thrown over by both friend and See also:

• MISTRESS

mistress . Euphues himself, however, is very soon forsaken for a more attractive suitor .

He and Philautus make up their quarrel, and Euphues writes his friend " a cooling card," to be " applied to all lovers," which i* so severe upon the See also:

• FAIR

fair See also:

• SEX (Lat. sexes; possibly connected with secure, to cut)

sex that Lyly feels it necessary to See also:

• BALANCE (derived through the Fr. from the Late Lat. bilantia, an apparatus for weighing, from bi, two, and lanx, a dish or scale)

balance it by a sort of See also:

• APOLOGY (from Gr. &aoXoyia, defence)

apology addressed " to the See also:

• GRAVE

grave matrons and honest maidens of See also:

• ITALY
• ITALY (Italia)

Italy." Euphues then leaves Naples for his native See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens, where he gives himself up to study, of which the first fruits are two long See also:

• TREATISES

treatises—the first, " Euphues and his Ephoebus," a disquisition on the art of See also:

• EDUCATION

education addressed to parents, and the second, "Euphues and Atheos," a discussion of the first principles of See also:

• RELIGION
• RELIGION, FOLKLORE, CUSTOM

religion . The See also:

• REMAINDER, REVERSION

remainder of the book is filled up with See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence between Euphues and his friends . We have letters from Euphues to Philautus on the See also:

• DEATH

death of Lucilla, to another friend on the death of his daughter, to one Botonio " to take his See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile patiently," and to the -youth Alcius, remonstrating with him on his See also:

• BAD, BCD

bad behaviour at the university . Finally a pair of letters, the first from Livia at the emperour's court to Euphues at Athens," answered by Euphues to Livia," See also:

• WIND
• WIND (a common Teut. word, cognate with Skt. vats, Lat. ventus, cf. " weather," to be of course distinguished from to " wind," to coil or twist, O.Eng. windan, cf. "wander," "wend," &c.)

wind up the first part, and announce to us Euphues's intention of visiting England . An address from Lyly to Lord Delawarr is affixed, to which was added in the second edition " An Address to the Gentlemen Scholars of England." Euphues and his England is rather longer than the first part . Euphues and Philautus travel from Naples to England . They arrive at See also:

• DOVER
• DOVER, GEORGE JAMES WELBORE
• DOVER, HENRY JERMYN, EARL OF (c. 1636-1708)
• DOVER, ROBERT (1575-1641)

Dover, See also:

• HALT

halt for the night at Fidus's See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house at See also:

• CANTERBURY
• CANTERBURY, CHARLES

Canterbury, and then proceed to London, where they make acquaintance with Surius, a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young English See also:

• GENTLEMAN (from Lat. gentilis, " belonging to a race or gens," and " man "; Fr. gentilhomme, Span. gentil hombre, Ital. gentil huomo, in its original and strict signification, a term denoting a man of good family, the Lat. generosus (its invariable transl

gentleman of great See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth and noble See also:

• BLOOD

blood; See also:

• PSELLUS (Gr.'I' XXor)

Psellus, an See also:

• ITALIAN

Italian nobleman reputed " great in magick "; See also:

• MARTIUS, CARL FRIEDRICH PHILIPP VON (1794—1868)

Martius, an elderly Englishman; Camilla, a beautiful English girl of insignificant See also:

• FAMILY

family; Lady Flavia and her niece Fraunces . After endless correspondence and conversation on all kinds of topics, Euphues is recalled to Athens, and from there corresponds with his friends . " Euphues' Glasse for Europe " is a flattering description of England sent to Livia at Naples . It is the most interesting portion of the book, and throws light upon one or two points of Lyly's own See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography . The author naturally seized the opportunity for paying his inevitable See also:

• TRIBUTE (Lat. tributurn, a stated payment, contribution)

tribute to the queen, and pays it in his most exalted style . " O' fortunate England that See also:

• BATH
• BATH, THOMAS THYNNE
• BATH, WILLIAM

bath such a queene, ungratefull if See also:

• THOU, JACQUES AUGUSTE DE [THUANUS] (1553-1617)
• THOU, NOM

thou praye not for hir, wicked if thou do not love hir, miserable if thou lose hir !

"—and so on . The book ends with Philautus's announcement of his marriage to Fraunces, upon which Euphues sends characteristic congratulations and retires, " tormented in See also:

• BODY

body and grieved in mind," to the See also:

• MOUNT, WILLIAM SIDNEY (1807-1868)

Mount of Silexedra, " where I leave him to his musing or See also:

• MUSES, THE (Gr. Mo6o-at, the thinkers)

Muses." Such is a brief outline of the book which for a time set the See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion for English prose . Two editions of each part appeared within the first year after publication, and thirteen editions of both are enumerated up to 1636, after which, with the exception of a modernized version in 1718, Euphues was never reprinted until 1868, when Dr See also:

• ARBER, EDWARD (1836– )

Arber took it in See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . The reasons for its popularity are not far to seek . As far as matter was concerned it See also:

• FELL
• FELL, JOHN (1625-1686)

fell in with all the prevailing literary fashions . Its long disquisitions on love, religion, exile, women or education, on court See also:

• LIFE

life and See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country pleasures, handled all the most favourite topics in the secularized See also:

• SPECULATION

speculation of the time; its See also:

• FOREIGN

foreign background and travel talk pleased a society of which Lyly himself said " trafic and travel bath See also:

• WOVEN

woven the nature of all nations into ours and made this See also:

• LAND

land like See also:

• ARRAS

arras full of See also:

• DEVICE

device which was broadcloth full of workmanship "; and, although Lyly steered clear in it of the worst classical pedantries of the day, the book was more than sufficiently steeped in classical learning, and based upon classical material, to attract a literary circle which was nothing if not humanist . A large proportion of its matter indeed was See also:

• DRAWN

drawn from classical See also:

• SOURCES

sources . The See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone of sententious moralizing may be traced to See also:

• PLUTARCH
• PLUTARCH (Gr. llXoi rapxos) (c. A.D. 46–120)

Plutarch, from whom the See also:

• TREATISE

treatise on education, " Euphues and his Ephoebus," and that on exile, " Letter to Botonio to take his exile patiently," are literally translated, as well as a number of other shorter passages either taken See also:

• DIRECT

direct from the Latin versions or from some of the numerous English See also:

• TRANSLATIONS

translations of Plutarch then current . The innumerable illustrations based upon a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of pseudo natural See also:

• HISTORY

history are largely taken from See also:

• PLINY, THE ELDER
• PLINY, THE YOUNGER

Pliny, while the See also:

• MYTHOLOGY

mythology is that of See also:

• VIRGIL (PUBLIUS VERGILIUS MARC)
• VIRGIL, POLYDORE (c. 1470-1555)

Virgil and See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid . It was not the matter of Euphues, however, so much as the style which made it famous (see EUPHUISM) . The source of Lyly's xvr1 . 6peculiar style has been traced by Dr Landmann (Der Euphuismus, sein Wesen, See also:

• SEINE
• SEINE (Lat. Sequana)
• SEINE, or SEAN (O. Fr. seigne, mod. seine, Lat. sagena, Gr. vaytivrl, a draw-net)

seine Quelle, seine Geschichte, &c .

See also:

• GIESSEN

Giessen, 1881) to the influence of See also:

• DON
• DON (anc. Tanais)

Don See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio de See also:

• GUEVARA, ANTONIO DE (c. 1490-1544)
• GUEVARA, LUIS VELEZ DE (1579-1644)

Guevara, whose Libro Aureo de Marco Aurelio (1529)—a sort of See also:

• HISTORICAL

historical See also:

• ROMANCE

romance based upon Plutarch and upon See also:

• MARCUS

Marcus Aurelius's Meditations, the See also:

• OBJECT

object of which was to produce a " See also:

• MIRROR (through O. Fr. mirour, mod. miroir, from a sup-posed Late Lat. miratorium, from mirari, to admire)

mirror for princes," of the kind so popular throughout the See also:

• RENAISSANCE, THE

Renaissance-became almost immediately popular in England . The first edition, or rather a French version of it, was translated into English by Lord See also:

• BERNERS, BARNES
• BERNERS, JOHN BOURCHIER, 2ND BARON (1469-1533)

Berners in 1531, and published in 1534 . Before 156o twelve editions of Lord Berners's See also:

• TRANSLATION

translation had been printed, and before 1578 six different translators of this and later works of Guevara had appeared . The translation, however, which had most influence upon English literature was that by See also:

• NORTH
• NORTH, BARONS
• NORTH, MARIANNE (1830—1890)
• NORTH, ROGER (1653-1734)
• NORTH, SIR THOMAS (1535?-16o1?)

North, the well-known translator of Plutarch, in 1557, called The See also:

• DIAL

Dial for Princes, Compiled by the See also:

• REVEREND (Lat. reverendus, gerundive of revereri, to revere, pay respect to)

Reverend See also:

• FATHER

Father in See also:

• GOD

God Don Antony of Guevara, Byshop of See also:

• GUADIX

Guadix, &c., Englished out of the Frenche by Th . North . The sententious and antithetical style of the Dial for Princes is substantially that of Euphues, though Guevara on the whole handles it better than his imitator, and has many passages of real force and dignity . The general See also:

• PLAN
• PLAN (from Lat. planes, flat)

plan of the two books is also much the same . In both the biography is merely a peg on which to hang moral disquisitions and treatises . The use made of letters is the same in both . Even the names of some of the characters are similar . Thus Guevara's Lucilla is the flighty daughter of Marcus Aurelius . Lyly's Lucilla is the flighty daughter of Ferardo, governor of Naples; Guevara's Livia is a lady at the court of Marcus Aurelius, Lyly's Livia is a lady at the court " of the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor," of whom no further description is given .

The 9th, loth, 11th and 12th chapters of the Dial for Princes suggested the discussion between Euphues and Atheos . The letter from Euphues to Alcius is substantially the same in subject and treatment as that from Marcus Aurelius to his See also:

• NEPHEW

nephew Epesipo . Both Guevara and Lyly translated Plutarch's See also:

• WORK

work De educatione liberorum, Lyly, however, keeping closer than the See also:

• SPANISH

Spanish author to the See also:

• ORIGINAL

original . The use made by Lyly of the university of Athens was an See also:

• ANACHRONISM (from ava, back, and xpovor, time)

anachronism in a novel in-tended to describe his own time . He borrowed it, however, from Guevara, in whose book a university of Athens was of course entirely in See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place . The " cooling card for all fond lovers " and the address to the ladies and gentlemen of Italy have their counterparts among the See also:

• MISCELLANEOUS

miscellaneous letters by Guevara affixed by North to the Dial for Princes; and other instances of Lyly's use of these letters, and of two other treatises by Guevara on court and country life, could be pointed out . Lyly was not the first to appropriate and develop the Guevaristic style . The earliest book in which it was fully adopted was A petite Pallace of See also:

• PETTIE, JOHN (1839-1893)

Pettie his See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

Pleasure, by See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George Pettie, which appeared in 1576, a See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production so closely akin to Euphues in tone and style that it is difficult to believe it was not by Lyly . Lyly, however, carried the style to its highest point, and made it the dominant literary fashion . His See also:

• PRINCIPAL

principal followers in it were See also:

• GREENE, GEORGE WASHINGTON (1811-1883)
• GREENE, MAURICE (1695-1755)
• GREENE, NATHANAEL (1742-1786)
• GREENE, ROBERT (c. 1560-1592)

Greene, See also:

• LODGE
• LODGE, EDMUND (1756-1839)
• LODGE, H
• LODGE, HENRY CABOT (1850– )
• LODGE, SIR OLIVER JOSEPH (1851– )
• LODGE, THOMAS (c. 1558–1625)

Lodge and Nash, his principal opponent See also:

• SIR

Sir Philip See also:

• SIDNEY
• SIDNEY (or SYDNEY), ALGERNON (1622-1683)
• SIDNEY, SIR HENRY (1529-1586)
• SIDNEY, SIR PHILIP (1554-1586)

Sidney; the See also:

• ARCADIA

Arcadia in fact supplanted Euphues, and the Euphuistic See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste proper may be said to have died out about 1590 after a reign of some twelve years . According to Landmann, Shakespeare's Love's Labour Lost is a See also:

• CARICATURE (Ital. caricatura, i.e. "ritratto ridicolo," from caricare, to load, to charge; Fr. charge)

caricature of the Italianate and pedantic fashions of the day, not of the See also:

• PECULIAR

peculiar style of Euphues . The only certain allusion in Shakespeare to the characteristics of Lyly's famous book is to be found in See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry I V., where Falstaff, playing the part of the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king, says to See also:

• PRINCE
• PRINCE (Lat. princeps, from primus capio, " I am the first to take "; Ital. principe, Fr. prince)

Prince See also:

• HAL

Hal, " Harry, I do not only marvel where thou spendest thy time, but also how thou art accompanied; for, though the camomile the more it is trodden on the faster it grows, yet youth the more it is wasted the sooner it wears." Here the pompous See also:

• ANTITHESIS (the Greek for " setting opposite ")

antithesis is evidently meant to caricature the peculiar Euphuistic sentence of court parlance .

(M . A . W.) See Lyly's See also:

• COMPLETE

Complete Works, ed . R . W . See also:

• BOND
• BOND, SIR EDWARD AUGUSTUS (1815-1898)

Bond (3 vols., 1902); Euphues, from early editions, by See also:

• EDWARD

Edward Arber (1868); A . W . See also:

• WARD
• WARD, ADOLPHUS WILLIAM (1837- )
• WARD, ARTEMUS
• WARD, EDWARD MATTHEW (1816-1879)
• WARD, ELIZABETH STUART PHELPS (1844-1911)
• WARD, JAMES (1769--1859)
• WARD, JAMES (1843– )
• WARD, JOHN QUINCY ADAMS (1830-1910)
• WARD, LESTER FRANK (1841– )
• WARD, MARY AUGUSTA [MRS HUMPHRY WARD]
• WARD, WILLIAM (1766-1826)
• WARD, WILLIAM GEORGE (1812-1882)

Ward, English Dramatic Literature, i . 151 ; J . P . See also:

• COLLIER, ARTHUR (1680-1732)
• COLLIER, JEREMY (1650-1726)
• COLLIER, JOHN PAYNE (1789–1883)

Collier, History of Dramatis Poetry, iii . 172; " John Lilly and Shakespeare,'; by C .

C . Hense in the Jahrbuch der deutschen Shakesp . Gesellschaft, vols. vii. and viii . (1872, 1873) ; F . W . Fairholt, Dramatic Works of John Lilly (2 vols., II 1858); Shakespeare's Euphuism, by W . L . Rushton; H . See also:

• MORLEY
• MORLEY [oP BLACKBURN], JOHN MORLEY
• MORLEY, BARONS AND EARLS OF
• MORLEY, GEORGE (1597-1684)
• MORLEY, HENRY (1822-1894)
• MORLEY, SAMUEL (18o9–1886)

Morley, " Euphuism " in the Quarterly] See also:

• REVIEW (Fr. revue, from revoir, to see again, Lat. re and videre)

Review (1861) ; R . W . Bond, " John Lyly, Novelist and Dramatist," in the Quarterly Review (See also:

• JAN

Jan . 1896) ; J .

A . See also:

• SYMONDS, JOHN ADDINGTON (184o-180, English critic and poet, was born at Bristol, on the 5th of October 184o. He was the only son of John Addington Symonds, M.D. (1807—1871)
• SYMONDS, WILLIAM SAMUEL (1818-1887)

Symonds, Shakespeare's Predecessors (1883) ; J . D . See also:

• WILSON, ALEXANDER (1766-1813)
• WILSON, HENRY (1812–1875)
• WILSON, HORACE HAYMAN (1786–1860)
• WILSON, JAMES (1742—1798)
• WILSON, JAMES (1835— )
• WILSON, JAMES HARRISON (1837– )
• WILSON, JOHN (1627-1696)
• WILSON, JOHN (178 1854)
• WILSON, ROBERT (d. 1600)
• WILSON, SIR DANIEL (1816–1892)
• WILSON, SIR ROBERT THOMAS (1777—1849)
• WILSON, SIR WILLIAM JAMES ERASMUS
• WILSON, THOMAS (1663-1755)
• WILSON, THOMAS (c. 1525-1581)
• WILSON, WOODROW (1856— )

Wilson, John Lyly (Cambridge, 1905) ; A . See also:

• AINGER, ALFRED (1837–1904)

Ainger, " Euphuism," in Lectures and Essays (1905) ; and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Feuillerat, John Lyly . Contribution a l'histoire de la Renaissance en Angleterre (1910) .