John Lydgate

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Lydgate, John

(lĭd`gāt), c.1370–c.1450, English poet, a monk of Bury St. Edmunds. A professed disciple of Chaucer, he was one of the most influential, voluminous, and versatile writers of the Middle Ages. His works may be divided into three classes: (1) poems written in the Chaucerian manner, such as the Complaint of the Black Knight, which resembles Chaucer's Book of the Duchess, and the allegory The Temple of Glass; (2) lengthy translations, of which the Troy Book (from the Latin of Guido della Colonna), The Fall of Princes (from the French of Laurent de Premierfait), and The Siege of Thebes (also from the French), are the best known; (3) short pieces, including fables, saints' lives, and devotional, philosophic, and occasional poems. After Lydgate's death his fame diminished rapidly. His poetry has been criticized for its prolixity and prosaic style.


See his Poems, ed. by J. Norton-Smith (1966); biography by L. A. Ebin (1985); study by D. A. Pearsall (1970).

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References in periodicals archive ?
The subject of Claire's final published monograph, John Lydgate, was himself traditionally dismissed as a mere Chaucerian imitator.
Edwards, "Introduction," in The Life of St Edmund, King and Martyr: John Lydgate's Illustrated Verse Life Presented to Henry VI: A Facsimile of British Library MS Harley 2278 (London: British Library, 2004), 1-18; A.
The linguistic material collected in the corpus includes ten texts by John Lydgate, which will be the subject of the investigation.
(5) Symes, A Common Stage, xi-xiii, 2-3, 8-9; Jessica Brantley, Reading in the Wilderness: Private Devotion and Public Performance in Late Medieval England (Chicago, 2007), 298-300; Claire Sponsler, The Queen's Dumbshows: John Lydgate and the Making of Early Theatre (Philadelphia, 2014), 17-21.
Their topics include al-Sharif al-Idrisi on the plant life of the western Mediterranean, the privilege and predicament of the devotee in the Legiloque manuscript, the poetics of translation in Dante's Comedy, translating Julius Caesar, translation and transformation in John Lydgate's The Fall of Princes, chivalric romance and the marvelous in the Spanish Melusine (1489-1526), Byzantine Chronicles in Church Slavic, and Greek at the papal court during the Middle Ages.
Among John Lydgate's various tributes to Chaucer, one of the most puzzling is his reference to the Book of the Duchess in the Fall of Princes (c.
I am reminded of the famous words from poet John Lydgate, adapted by President Abraham Lincoln: "You can please some of the people all of the time, you can please all of the people some of the time, but you can't please all of the people all of the time."
John Lydgate's Lives of Ss Edmund & Fremund and the Extra Miracles of St Edmund.
Having exploded the persecuting template as a historiographical invention in the central chapters of his book, Cole turns to the literary manifestations of his more variegated culture to offer post-Wyclifite readings of a rich selection from the late 14th- and 15th-century vernacular canon, including William Langland, Geoffrey Chaucer, John Lydgate and Margery Kempe.
Miskimin, Stanley Howard Johnston, and earlier by Eleanor Prescott Hammond, among others--Gillespie contributes substantially here to the restoration of the Renaissance reputation of the medieval poet John Lydgate, for whom, as she reminds readers in her epilogue, "there is still no collected edition (or even comprehensive, up-to-date list) of [his] works in print" (233).
Using the example of John Lydgate's work, her fine argument is that medieval drama often entered the written record in ways that erased its performative markers.
Chapter 6 is devoted to John Lydgate, author of the only extant texts, written in the early fifteenth century, known to have been performed in civic halls in pre-Elizabethan London.