John Lyly (?1553-1606), Euphues: The anatomy of wyt], 1578. Courtesy Wikimedia Commons.
John Lyly (Lilly or Lylie) (?1553 - November 1606) was an English poet and playwright, best known for his books Euphues,The Anatomy of Wit and Euphues and His England. Lyly's linguistic style is known as "Euphuism."
Life[]
Overview[]
Lyly was born in the Weald of Kent, and educated at both Oxford and Cambridge. He wrote several dramas, most of which are on classical and mythological subjects. His chief fame, page 247however, rests on his two didactic romances, Euphues: The anatomy of wit (1579), and Euphues and his England (1580). These works, which were largely inspired by Ascham's Toxophilus, and had the same objects in view (the reform of education and manners), exercised a powerful, though temporary, influence on the language, both written and spoken, commemorated in our words "euphuism" and "euphuistic." The characteristics of the style have been set forth as "pedantic and far-fetched allusion, elaborate indirectness, a cloying smoothness and drowsy monotony of diction, alliteration, punning, and such-like puerilities, which do not, however, exclude a good deal of wit, fancy, and prettiness." Many contemporary authors, including Shakespeare, made game of it, while others, e.g. Greene, admired and practiced it. Lyly also wrote light dramatic pieces for the children of the Chapel Royal, and contributed a pamphlet, Pappe with an Hatchet (1589) to the Mar-prelate controversy in which he supported the Bishops. He sat in Parliament for some years.[1]
Youth and education[]
Lyly was born in Kent, England, in 1553 or 1554. According to Anthony Wood, at the age of 16 Lyly became a student at Magdalen College, Oxford, where he proceeded to earn bachelor's and master's degrees in 1573 and 1575. In 1574 he applied to Lord Burghley "for the queen's letters to Magdalen College to admit him fellow." The fellowship, however, was not granted, and Lyly subsequently left the university.[2]
He complains about a sentence of rustication apparently passed on him at some time, in his address to the gentlemen scholars of Oxford affixed to the 2nd edition of the 1st part of Euphues, but nothing more is known about either its date or its cause. If we are to believe Wood, Lyly never took kindly to the proper studies of the university. "For so it was that his genius being naturally bent to the pleasant paths of poetry (as if Apollo had given to him a wreath of his own bays without snatching or struggling)[2] 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."[3]
Career[]
After he left Oxford, where he had the reputation of "a noted wit," Lyly seems to have attached himself to Lord Burghley. "This noble man," he writes in the Glasse for Europe, in the 2nd part of Euphues (1580), "I found so ready being but a straunger to do me good, that neyther I ought to forget him, neyther cease to pray for him, that as he hath the wisdom of Nestor, so he may have the age, that having the policies of Ulysses he may have his honor, worthy to lyve long, by whom so many lyve in quiet, and not unworthy to be advaunced by whose care so many have been preferred." 2 years later a letter from Lyly to the treasurer, dated July 1582, protests against an accusation of dishonesty which had brought him into trouble with his patron, and demands a personal interview in order to clear his name. However, neither from Burghley nor from Queen Elizabeth I did Lyly ever receive any substantial patronage.[3]
He began his literary career by the composition of Euphues, or the Anatomy of Wit, which was licensed to Gabriel Cawood in December, 1578, and published in the spring of 1579. In the same year he earned an M.A. at the University of Cambridge,[4] and possibly saw his hopes of court advancement dashed by the appointment in July of Edmund Tylney to the office of Master of the Revels, a post at which he had been aiming.[3]
Euphues and his England appeared in 1580, and, like the first part of the book, won immediate popularity. For a time Lyly was the most successful and fashionable of English writers, hailed as the author of "a new English," as a "raffineur de l'Anglois"; and, as Edward Blount, the editor of his plays, tells us in 1632, "that beautie in court which could not parley Euphuism was as little regarded as she which nowe there speakes not French."[3]
After the publication of Euphues Lyly seems to have entirely deserted the novel form, which was much imitated (e.g., by Barnabe Rich in his Second Tome of the Travels and Adventures of Don Simonides, 1584), and to have thrown himself almost exclusively into play-writing, probably still with a view to the mastership of revels. 8 plays by him were probably acted before the queen by the Children of the Chapel, and especially by the Children of Paul's, between 1584 and 1591, some of them being repeated before a popular audience at the Blackfriars Theatre. Their brisk lively dialogue, classical color, and frequent allusions to persons and events of the day maintained that popularity with the court which Euphues had won.[3]
Lyly sat in Parliament as a member for Hindon in 1580, for Aylesbury in 1593, for Appleby in 1597 and for Aylesbury again in 1601. In 1589 he published a tract in the Martin Marprelate controversy, called Pappe with an hatchet, alias a figge for my Godsonne; or, Crack me this nut; or, A countrie cuffe, etc.[3]
About the same time we may probably date his earliest petition to Queen Elizabeth. The 2 petitions, transcripts of which are extant among the Harleian manuscripts, are undated, but in the earliest of them he speaks of having been 10 years hanging about the court in hope of preferment, and in the 2nd he extends the period to 13 years. It may be conjectured with great probability that the 10 years date from 1579, when 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 Item to the Revercion) for which these ten yeres I have attended with an unwearyed patience." But in 1589 or 1590 the mastership of the revels was as far off as ever — Tylney in fact held the post for 31 years — and that the evidence for his authorship may be found in Gabriel Harvey's Pierce's Supererogation (written November 1589, published 1593), in Nashe's Have with you to Saffron Walden (1596), and in various allusions in Lyly's own plays. See Fairholt's Dramatic Works of John Lilly, i. 20.[3]
In the 2nd petition of 1593, Lyly wrote "Thirteen yeres your highnes servant but yet nothing. Twenty friends that though they saye they will be sure, I finde them sure to be slowe. A thousand hopes, but all nothing; a hundred promises but yet nothing. Thus casting up the inventory of my 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. Blount says vaguely that Elizabeth "graced and rewarded" him, but of this there is no other evidence.[3]
After 1590 his works steadily declined in influence and reputation; he died poor and neglected in the early part of James I's reign. He was buried in London at St Bartholomew-the-Less on November 20, 1606. He was married, and we hear of 2 sons and a daughter.[3]
Writing[]
Comedies[]
In 1632 Blount published Six Court Comedies, the 1st printed collection of Lyly's plays. They appear in the text in the following order; the parenthetical date indicates the year they appeared separately in quarto form:
- Endymion (1591)
- Campaspe (1584)
- Sapho and Phao (1584)
- Gallathea (1592)
- Midas (1592)
- Mother Bombie (1594)
Lyly's other plays include Love's Metamorphosis (though printed in 1601, possibly Lyly's earliest play – the surviving version is likely a revision of the original) – and The Woman in the Moon, first printed in 1597. Of these, all but the last are in prose. A Warning for Faire Women (1599) and The Maid's Metamorphosis (1600) have been attributed to Lyly, but on altogether insufficient grounds. The quarto editions of all these plays were issued between 1584 and 1601, and the majority of them between 1584 and 1592, in what were Lyly's most successful and popular years.[3]
His importance as a dramatist has been very differently estimated. Lyly's dialogue is still a long way removed from the dialogue of 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 art. His nimbleness, and the wit which struggles with his pedantry, found their full development in the dialogue of Twelfth Night and Much Ado about Nothing, just as "Marlowe's mighty line" led up to and was eclipsed by the majesty and music of Shakespearean passion.[3]
A few of Lyly's songs introduced into his plays are justly famous and show a real lyrical gift. Nor in estimating his dramatic position and his effect upon his time must it be forgotten that his classical and mythological plots, flavorless and dull as they would be to a modern audience, were charged with interest to those courtly hearers who saw Midas Philip II of Spain in Midas, Elizabeth in Cynthia and perhaps Leicester's unwelcome marriage with Lady Sheffield in the love affair between Endymion and Tellus which brings the former under Cynthia's displeasure.[3]
As a matter of fact Lyly's reputation and popularity as a playwright were considerable. Harvey dreaded lest Lyly should make a play upon their quarrel; Francis Meres, as is well known, places him among "the best for comedy;" and Ben Jonson names him among those foremost rivals who were "outshone" and outsung by Shakespeare.[3]
Lyly must also be considered and remembered as a primary influence on the plays of William Shakespeare, and in particular the romantic comedies. Love's Metamorphosis is a large influence on Love's Labour's Lost, and Gallathea is a major source for A Midsummer Night's Dream. They also claim an influence on Twelfth Night and As You Like It.
Lyly also composed an "entertainment" (a show that combined elements of masque and drama) for Queen Elizabeth: The Entertainment at Chiswick, staged on July 28 and 29, 1602. Lyly has been suggested as the author of several other royal entertainments of the 1590's, most notably The Entertainment at Mitcham performed on September 13, 1598.[5]
Euphues[]
It was not, however, as a dramatist, but as the author of Euphues, that Lyly made most mark upon the Elizabethan world. His plays amused the court circle, but the "new English" of his novel threatened to permanently change he course of English style.[6]
The plot of Euphues is extremely simple. The hero, whose name may very possibly have been suggested by a passage in Askham's Schoolmaster, is introduced to us as still in bondage to the follies of youth, "preferring fancy before friends, and this present humour before honour to come." His travels bring him to Naples, where he falls in love with Lucilla, the governor's light-minded daughter. Lucilla is already pledged to Euphues's friend Philautus, but Euphues's passion betrays his friendship, and the old lover finds himself thrown over by both friend and 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 is so severe upon the fair sex that Lyly feels it necessary to balance it by a sort of apology addressed "to the grave matrons and honest maidens of Italy." Euphues then leaves Naples for his native Athens, where he gives himself up to study, of which the 1st fruits are 2 long treatises: "Euphues and his Ephoebus," a disquisition on the art of education addressed to parents; and "Euphues and Atheos," a discussion of the foundational principles of religion. The remainder of the book is filled up with correspondence between Euphues and his friends. We have letters from Euphues to Philautus on the death of Lucilla, to another friend on the death of his daughter, to one Botonio "to take his exile patiently," and to the youth Alcius, remonstrating with him on his bad behavior 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," wind up the 1st 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 2nd edition “An Address to the Gentlemen Scholars of England."[6]
Euphues and his England is rather longer than the 1st part. Euphues and Philautus travel from Naples to England. They arrive at Dover, halt for the night at Fidus's house at Canterbury, and then proceed to London, where they make acquaintance with Surius, a young English gentleman of great birth and noble blood; Psellus, an Italian nobleman reputed "great in magick"; Martius, an elderly Englishman; Camilla, a beautiful English girl of insignificant 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 Lyly's own biography. The author naturally seized the opportunity for paying his inevitable tribute to the queen, and pays it in his most exalted style. "O' fortunate England that hath such a queene, ungratefully if 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 body and grieved in mind," to the Mount of Silexedra, "where I leave him to his musing or Muses."[6]
Such is a brief outline of the book which for a time set the fashion for English prose. 2 editions of each part appeared within the year after publication, and 13 editions of both are enumerated up to 1636, after which, with the exception of a modernized version in 1718, Euphues was not reprinted until 1868, when Dr. Arber took it in hand.[6]
The reasons for its popularity are not far to seek. As far as matter was concerned it fell in with all the prevailing literary fashions. Its long disquisitions on love, religion, exile, women or education, on court life and country pleasures, handled all the most favorite topics in the secularized speculation of the time; its foreign background and travel talk pleased a society of which Lyly himself said "trafic and travel hath woven the nature of all nations into ours and made this land like arras full of device which was broadcloth full of workmanship."[6]
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 drawn from classical sources. The general tone of sententious moralizing may be traced to Plutarch, from whom the 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 direct from the Latin versions or from some of the numerous English translations of Plutarch then current. The innumerable illustrations based upon a kind of pseudo natural history are largely taken from Pliny, while the mythology is that of Virgil and Ovid.[6]
It was not the matter of Euphues, however, so much as the style which made it famous.[6]
The source of Lyly's peculiar style has been traced by Landmann (Der Euphuismus, sein Wesen, seine Quelle, seine Geschichte, &c. Giessen, 1881) to the influence of Don Antonio de Guevara, whose Libro Aureo de Marco Aurelio (1529) - a sort of historical romance based upon Plutarch and upon Marcus Aurelius's Meditations, the object of which was to produce a "mirror for princes, ” of the kind so popular throughout the Renaissance - became almost immediately popular in England. The 1st edition, or rather a French version of it, was translated into English by Lord Berners in 1531, and published in 1534. Before 1560 12 editions of Lord Berners's translation had been printed, and before 1578 6 different translators of this and later works of Guevara had appeared. The translation which had most influence upon English literature was that by North, the well-known translator of Plutarch, in 1557, called The Dial for Princes, Compiled by the Reverend Father in God Don Antony of Guevara, Byshop of Guadix, Englishcd 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.[6]
The general plan of the 2 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 fiighty daughter of Marcus Aurelius. Lyly's Lucilla is the fiighty 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 emperor," of whom no further description is given. The oth, 10th, 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 tohis nephew Epesipo. Both Guevara and Lyly translated Plutarch's work De education libero rum, Lyly, however, keeping closer than the Spanish author to the original.[6]
The use made by Lyly of the university of Athens was an anachronism in a novel intended to describe his own time. He borrowed it, however, from Guevara, in whose book a university of Athens was of course entirely in place. The "cooling card for all fond lovers" and the address to the ladies and gentlemen of Italy have their counterparts among the miscellaneous letters by Guevara affixed by North to the Dial for Princes; and other instances of Lyly's use of these letters, and of 2 other treatises by Guevara on court and country life, could be pointed out.[6]
Lyly was not the 1st to appropriate and develop the Guevaristic style. The earliest book in which it was fully adopted was A petite Pallace of Pettie his Pleasure, by George Pettie, which appeared in 1576, a 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 principal followers in it were Greene, Lodge and Nash, his principal opponent Sir Philip Sidney; the Arcadia in fact supplanted Euphues, and the Euphuistic taste proper may be said to have died out about 1590 after a reign of some 12 years.[6]
The only certain allusion in Shakespeare to the characteristics of Lyly's famous book is to be found in Henry IV, where Falstaff, playing the part of the king, says to Prince 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 antithesis is evidently meant to caricature the peculiar Euphuistic sentence of court parlance.[6]
Critical introduction[]
The airy mirthful plays and pretty little songs of the "witty, comical, facetiously quick and unparalleled John Lyly," as his publisher described him, are a standing refutation of M. Taine’s picture of England in the Elizabethan age as a sort of den of wild beasts. No Frenchman in any age was ever more light and gay than Queen Elizabeth’s favourite writer of comedies, and the inventor or perfecter of a fashionable style of sentimental speech among her courtiers.
The epithet "unparalleled" applied to Lyly was more exact than puffs generally are. Though he is said to have set a fashion of talk among the ladies of the Court and their admirers, he found no imitator in letters; his peculiar style perished from literature with himself. Scott’s Sir Percie Shafton is called a Euphuist, and is supposed to be an attempt at historical reproduction, but the caricature has hardly any point of likeness with the supposed original as we see it in the language which Lyly puts into the mouth of Euphues himself. Shafton is much more like Sidney’s Rhombus or Shakespeare’s Holofernes, a fantastic pedant at whom the real Euphuists would have mocked with as genuine contempt as plain people of the present time. The dainty courtier Boyet, in Love’s Labour’s Lost, who, according to the sarcastic Biron, "picks up wit as pigeons pease," is perhaps the nearest approach to a Euphuist such as was modelled upon Lyly that we have in literature. The essence of Lyly’s Euphuism is its avoidance of cumbrous and clumsy circumlocution; his style is neat, precise, quick, balanced; full of puns and pretty conceits —
- ‘Talking of stones, stars, plants, of fishes, flies,
- Playing with words and idle similes,’
as a satirist of the time describes it — but never verbose and heavy as the Euphuists’ style is sometimes represented.
Lyly wrote more comedies than any writer that preceded him, but he had no influence that can be traced upon our literature. We seem to find the key to their character in the fact that they were written to be played by children, and heard and seen by ladies. Their pretty love-scenes, joyous pranks, and fantastically worded moralisings, were too light and insubstantial as fare for the common stage, and they were superseded as Court entertainments after Elizabeth’s death by masques in which ingenious scenic effects were the chief attraction, and plays with an ampler allowance of blood and muscle. Lyly’s childlike comedies, with their pygmy fun and pretty sentiment, were brushed aside by plays that appealed more seriously to the senses and the imagination; but it seems almost a pity that the example of his neatness and finish in construction did not take root. Perhaps the daintiness in his manipulation of his materials would have been impossible if the materials had been coarser or more solid.
Only one of Lyly’s undoubted comedies, The Woman in the Moon, was written in verse, and the verse differs little from his prose. It shows the same neat, ingenious workmanship. The reader is not conscious of any inward pressure of heightened feeling upon Lyly’s verse; he probably chose this instrument in preference to prose because it had become fashionable.[7]
Quotations[]
The proverb "All is fair in love and war" has been attributed to Lyly's Euphues.[8][9]
Recognition[]
2 of his songs, "Cards and Kisses" and "Spring's Welcome", were included in the Oxford Book of English Verse, 1250-1900.[10] [11]
In 2007, Primavera Productions in London staged a reading of Lyly's Gallathea, directed by Tom Littler, consciously linking it to Shakespeare's plays.
Publications[]
Plays[]
- Sappho and Phao. London: Thomas Dawson for Thomas Cadmon, 1584;
- (edited by Leah Scragg). Oxford, UK: Malone Society / Oxford University Press, 2002.
- A moste excellent comedie of Alexander, Campaspe, and Diogenes. London: Thomas Dawson for Thomas Cadmon, 1584.
- Gallathea. London: Iohn Charlewoode, 1591.
- Love's Metamorphosis. London: William Wood, 1601;
- (edited by Leah Scragg). Manchester, UK, & New York: Manchester University Press, 2008.
- Endimion. London: William Stansby for Edward Blount, 1632.
- Dramatic Works (edited by F.W. Fairholt). (2 volumes), London: J.R. Smith, 1858. Volume I,Volume II
- Queen Elizabeth's Entertainment at Mitchum. New Haven, CT: Yale Elizabethan Club / Yale University Press, 1953.
- Gallathea and Midas (edited by Anne Begor Lancashire). Lincoln, NE: University of Nebraska Press, 1969.
- Plays (edited by Carter A. Daniel). Lewisburg, KY: Bucknell University Press, 1988.
Novels[]
- Euphues: The anatomy of wyt. London: T. East for Gabriel Cawood, 1578.
- The False Friend and Inconstant Mistress: An instructive novel; to which is added, Love's Diversion ... and a collection of moral letters on curious subjects. London: John Hooke, 1718.
Collected editions[]
- Complete Works (edited by R. Warwick Bond). (3 volumes), Oxford, UK: Clarendon Press, 1902. Volume III
Except where noted, bibliographical information courtesy WorldCat.[12]
Poems by John Lyly[]
Gallathea by John Lyly
See also[]
References[]
Ward, Mary Augusta (1911). "Lyly, John". In Chisholm, Hugh. Encyclopædia Britannica. 17 (11th ed.). Cambridge University Press. pp. 159-162.. Wikisource, Web, Feb. 7, 2018.
Notes[]
- ↑ John William Cousin, "Lowell, James Russell," A Short Biographical Dictionary of English Literature. London: Dent / New York: Dutton, 1910, 246-247. Wikisource, Web, Feb. 7, 2018.
- ↑ 2.0 2.1 Ward, 159.
- ↑ 3.00 3.01 3.02 3.03 3.04 3.05 3.06 3.07 3.08 3.09 3.10 3.11 3.12 Ward, 160.
- ↑ Lilly, John in Venn, J. & J. A., Alumni Cantabrigienses, Cambridge University Press, 10 vols, 1922–1958.
- ↑ Logan, Terence P., and Denzell S. Smith, eds. The Predecessors of Shakespeare: A Survey and Bibliography of Recent Studies in English Renaissance Drama. Lincoln, NE, University of Nebraska Press, 1973; pp. 137-8.
- ↑ 6.00 6.01 6.02 6.03 6.04 6.05 6.06 6.07 6.08 6.09 6.10 6.11 Ward, 161.
- ↑ from William Minto, "Critical Introduction: John Lyly (1555?–1606)," The English Poets: Selections with critical introductions (edited by Thomas Humphry Ward). New York & London: Macmillan, 1880-1918. Web, Apr. 4, 2016.
- ↑ Manser, M, and George Latimer Apperson. Wordsworth Dictionary of Proverbs. Page 355. 2006.
- ↑ Richard Alan Krieger, Civilization's Quotations: Life's ideal, 2002, 49.
- ↑ "Cards and Kisses," Oxford Book of English Verse 1250-1900 (edited by Arthur Quiller-Couch). Oxford, UK: Clarendon, 1919. Bartleby.com, Web, May 12, 2012.
- ↑ "Spring's Welcome," Oxford Book of English Verse 1250-1900 (edited by Arthur Quiller-Couch). Oxford, UK: Clarendon, 1919. Bartleby.com, Web, May 12, 2012.
- ↑ Search results = au:John Lyly, WorldCat, OCLC Online Computer Library Center Inc. Web, Jan. 14, 2016.
External links[]
- Poems
- "Spring's Welcome"
- Selected Poetry of John Lyly (1554-1606) ("Cupid and my Campaspe played") at Representative Poetry Online
- John Lyly at the Poetry Foundation
- Lyly in the Oxford Book of English Verse, 1250-1900: "Cards and Kisses," "Spring's Welcome"
- Lyly in The English Poets: An anthology: "Sappho's Song (from Sappho and Phao), Appelles' Song (from Alexander and Campaspe), Pan's Song (from Midas)
- John Lyly at PoemHunter (17 poems)
- John Lyly at Poetry Nook (82 poems)
- Audio / video
- Books
- John Lyly at Amazon.com
- About
- John Lyly in the Encyclopædia Britannica
- John Lyly at NNDB.
- John Lyly: A biographical sketch at TheatreHistory.com.
- Lyly, John in the Dictionary of National Biography
- John Lyly (1554-1606) at Luminarium
- John Lyly at Project GutenbergJohn Lyly at Project GutenbergJohn Lyly at Project GutenbergJohn Lyly at Project GutenbergJohn Lyly at Project GutenbergJohn Lyly at Project Gutenberg by J. Dover Wilson, 1905
This article incorporates text from a publication now in the public domain, the 1911 Edition of the Encyclopædia Britannica. Original article is at "Lyly, John"
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