English pottery from early times to the end of the eighteenth century, 115 plates, 4to; Lewis (C. T. C.), "George Baxter, the picture printer," 4to; Schramm (A.), “ Der Bilderschmuck der Fruehdrucke," 1918-24, 7 vols., Fol.; Brown (L. N.), "Block-printing and book-illustration in Japan," Fol.; Finberg (A.), “The history of Turner's Liber Studiorum,' with a new catalogue raisonné," Fol.; Benedite (Léon), "Rodin: a series of 60 photogravure plates . . with historical and critical introduction," Fol.; Brown (Percy), "Indian painting under the Moguls, A.D. 1550-1750." Fol.; Facchinetti (V.), "Iconografia Franciscana: Saggio," 4to; Hind (A. M.), "The etchings of D. Y. Cameron," 4to; Prou (M.), "Manuel de paléographie latine et française," 4me édition refondue, 2 vols., 8vo. 66 HISTORY, ARCHÆOLOGY, etc.: Michel (E.), Abbayes et monastères de Belgique et leur rôle dans le développement du pays,' 4to; "Archivum Franciscanum Historicum," cura Colegii D. Bonaventurae : Annus 1-16 (1908-23); “Cartulaire de Mirepoix : XIIeXVIe siècle" avec introduction, cartes et notes par F. Pasquier, 2 vols., 4to; D'Anvers (Caleb), "The Craftsman" (written by Bolingbroke, W. Pulteney, and others in opposition to Sir Robert Walpole's measures), 1731-37, 14 vols., 8vo; "The Mariner's Mirror," published by the Society of Nautical Research, 10 vols., 8vo; A collection of 350 volumes of local Scottish and French history; Espinas (G.), "La draperie dans la Flandre française au Moyen Age," 2 vols., 4to; British and Foreign State Papers, compiled by the Librarian and Keeper of the Papers, Foreign Office," 1841-1922, 114 vols., 8vo; Leland (John), "De rebus Britannicis collectanea " Editio altera, 1774, 6 vols.; "La Revue de l' Anjou et de Maine et Loire," Angers, 1852-1921, 126 vols.; Osgood (H. L.), “The American Colonies of the 18th century," 4 vols., 8vo. 66 LANGUAGE AND LITERATURE: Chambers (E. K.), “The Elizabethan Stage," 4 vols., 8vo; Heredia (J. M. de) "Poésies complètes," 8vo; Stendhal (Henry Beyle), "Oeuvres complètes, publiés sous la direction d'Edouard Champion," 15 vols., 8vo; Killen (A. M.)“ Le roman terifiant ou roman noir de Walpole à Anne Radcliffe, et son influence sur la littérature française jusqu'en 1840," 8vo; Liebricht (H.), "Histoire du théatre français à Bruxelles au 17 et 18 Siècle," 8vo; Lalou (R.), "Histoire de la littérature contemporaine, de 1870 à nos jours," 8vo; Brome (Richard), " Five newe playes," 1653, and "Five newe playes," 1659, 2 vols., 8vo; Addison (J.), "Cato," and four other pieces, 1713; Villiers (George), "Miscellaneous works," 1705, 2 vols., 8vo; A Collection of 70 Irish broadside ballads printed in Dublin, circa 1850; "Les Oeuvres Libres : recueil littéraire mensuel ne publiant que de l'inédit," 1921-24, 26 vols., 8vo; Corte (A. della), "L'Opera comica Italiana nel 1700," 2 vols., 8vo; Diltheys (W.), “Gesammelte Schriften," vols. 1-6; Houben (H. H.), "Verbotene Literatur von der Klassischen Zeit bis zu Gegenwart," 8vo; Cowley (Abraham), "The first collected edition of his Works," 1668, Fol.; Nabbes (Thomas), "Hannibal and Scipio," 1637; "Totenham Court," 1658; and "The Unfortunate Mother," 1640; a collection of fifty first editions of plays of the early 17th century comprising plays of Brome, Chapman, Dekker, Ford, Goff, Glapthorne, Head, Heywood, Kirke, Mason, Massinger, May, Mead, Merman, Middleton, Nabbés, Rowley, Shirley, and Sharpman's "Fleire," 1607 (of which only three other copies are known); Byron's first collected edition of the works, 1815, 4 vols., 8vo, (a presentation copy from Byron to John Taylor). PHILOSOPHY AND RELIGION: Guéranger (Dom.) "L'année liturgique," 15 vols., 8vo; Fathy (M.), "La doctrine musulmane de l' abus des droits," 8vo; Vuillaud (P.) “La Kabbale Juive: histoire et doctrine essai critique," 2 vols., 8vo; Comm (Dom.), “Pilgrim paths in Latin lands," 8vo; "Augsburg Confession," 1681, 4to; Baxter (R.), "Compassionate warning and advice to all," 1708; "The grand question resolved," 1709; "Answer to Dr. Stillingfleet's charge of separation," 1680; Bunyan (J.), "Come and welcome," 1702; "Solomon's Temple," 1727; "The Holy War," 1759; "The Visions of John Bunyan," 1725; "The Heavenly Footman," 1796; "Grace abounding," 1751; "The Greatness of the Soul," 1730; Bardenhewer (O.), "Geschichte der altkirchlichen Literatur,' 4 vols.; Grimme (H.), "Althebraische Inschriften vom Sinai," 4to; Brodfuehrer (E.), “Untersuchungen zur Vorlutherischen Bibeluebersetzung eine syntakische Studie," 1922; Savonarola (G.), "Le prediche . .. sopra sopra li salmi e molte altre notabilissime materie . . Venice, 1539; "Vitae patrum in usum ministrorum verbi quo ad ejus fieri potuit repurgatae per Georgium Majorem cum præfatione M. Lutheri," Wittemberg, 1544. JOHN LYLY. BY THE EARL OF CRAWFORD AND BALCARRES, K.T., LL.D., ETC. CHANCELLOR OF THE UNIVERSITY OF MANCHESTER. OHN LYLY the Euphuist, once the most popular writer of his ontected, subject of bitter ridicule, is now emerging as one of the central pivots upon which study and criticism of Elizabethan literature must revolve. Dr. Smith's Latin Dictionary defines Euphuism as "putida quædam dictionis affectatio quem euphuismum appellant." As a model of invective I applaud this brief outburst, though as an example of Latin prose, Dr. Smith allowed himself a measure of latitude. Lyly was born in 1553 or 1554, went to Magdalen College, Oxford, soon after he was sixteen, graduated B.A. there in 1573, became M.A. in 1575, and in 1579 was incorporated M.A. at Cambridge as well. He first published his Euphues at Christmas, 1578. Fifteen months later the second part was issued, Euphues and his England, followed shortly by the plays Campaspe and Gallathea. He was closely connected with the choir of St. Paul's-Paul's Boys, as they were called, being Vice-Master, and as such largely responsible for their dramatic performances. In 1588 he obtained a Court appointment as Controller of the Revels. In 1591 the Paul's Boys were suppressed, and before their return to favour about 1600, Lyly addressed petitions to the Queen, to whom he had given offence. He seems to have been returned to Parliament four times between 1588 and 1601. He died in 1606. Shakespeare was then thirty-two years old. When reading dramatic literature dating from the middle of the 1 A lecture delivered in the University of Manchester, 28 February, 1924, under the auspices of the Manchester Poetry Society. sixteenth century, one is impressed by a sense of power and resource, but still more by the ease and confidence with which the author handles his theme. Whether in themselves good, indifferent or bad, these works spring from trained minds, from men who clearly recognised their objectives. Whether couched in the rough and ready style of Ralph Roister Doister, in the broad vernacular of Gammer Gurton's Needle, or else in the more didactic form of Moralities and Miracle plays, we are conscious that the period was rich in achievement, and much more so than indicated by the surviving volume of literature. Collier has printed a list of fifty-two court plays performed between 1568 and 1580, not one of which survives: and if such plays of sufficient merit to present to Queen Elizabeth have disappeared, may we not assume that hundreds perhaps even thousands of other works have perished? The survivors, generally mean and insignificant little quartos, are scarce, often unique. They are such poor specimens of typography, usually printed with carelessness or haste, the text for actors or the enterprise of pirates, that one asks if excess of popularity caused their disappearance, or if unconsciousness of the prevailing greatness made the public indifferent to their possession. Were these books printed and thumbed out of existence, or was it apathy which withheld no less than twenty of Shakespeare's plays from publication until 1623, seven years after his death? Lyly himself goes far to supply an answer to this engaging problem. In one of the prefaces to Euphues he describes his quandarie-to publish or not to publish. 66 .. We commonly see the booke that at Christmas lyeth bound on the Stacioners stall, at Easter to be broken in the Haberdasshers shop, which sith it is the order of proceding, I am content this winter to haue my doinges read for a toye, that in sommer they may be ready for trash. It is not straunge when as the greatest wonder lasteth but nyne days: That a newe worke should not endure but three monethes. Gentlemen vse bookes, as gentlewomen handle theyr flowres, who in the morning sticke them in their heads, and at night strawe them at their heeles. Cheries be fulsome when they be through ripe, bicause they be plentie, and bookes be stale when they be printed in that they be common. In my mynde Printers and Taylors are bound chiefly to pray for Gentlemen, the one hath so many fantasies to print, the other such diuers fashions to make, that the pressing yron of the one is neuer out of the fyre, nor the printing presse of the other at any tyme lyeth still. But a fashion is but a dayes wearing and a booke but an howres reading.. My own view is that the quantity of lost literature of the sixteenth century is gigantic. Fire and water, folly and ignorance, all have caused incalculable loss. Masses of precious things were never printed at all. Some books died of popularity, many others be it remembered through unpopularity,—those immolations in the Courtyard of the Stationers' Company, with the collaboration of the common hangman—they wring our hearts. I would barter all the lost work of Menander, and gladly forgo the missing chapters of Livy, for a dozen vanished pages of Shakespeare and Greene. Lyly has come down to us with relatively small lacunæ, chiefly no doubt because the Euphues was the most popular secular book of his time, edition following edition with unparalleled speed, and the extant lists are apparently still incomplete. Only a few weeks ago an unknown edition of 1601 was discovered. The influence of earlier writers on Lyly, and Lyly's influence on his own time and on later writers, are the subjects I wish to discuss. Euphues was issued late in 1578 when Lyly was under twenty-five. The book shows unmistakable evidence of close study. The scale of his learning was not so prodigious as that of Ronsard, whose fourth centenary we celebrate this year-but though Lyly did not undergo so severe an apprenticehood of learning as the French poet, nor could he quote the whole of Virgil by heart, yet it is clear that his reading made a profound and continuing impact on his memory. Lyly must have been an omnivorous reader, diligent from his childhood and absorbed in his curious researches, and perhaps like Ronsard he may have rejoiced in occasional release from his philosophic speculations. J'ai l'esprit tout ennuyé les Phénomènes d'Arate. But, apart from his own studies, formative influences were at work, and like his contemporaries, Lyly was susceptible to the ferment around him. From two sources he could derive inspiration from his predecessors who were fundamentally English in outlook, and also |