Patrick Cheney, for example, opens his Cambridge Companion to Christopher Marlowe by calling tragedy "Marlowe's foundational dramatic genre," while Ruth Lunney opens a collection of essays on
John Lyly with reference to "his reputation as the playwright who introduced the comedy of love to the English stage," and both editors' generic statements are backed up by the essays in their volumes.
Similarly, Joseph Black references the attribution of the tracts to known university wits without acknowledging the extent to which the tracts are dramatic monologues, and thereby errs in communicating that "the problem with much anti-Martinist material is that the style is often an end in itself, and quickly becomes tiresome--even at times to the writers themselves," referencing
John Lyly as the author of the preface to Pappe with an Hatchet, though that epistle is signed by Double-V.
But Sidney's missionary fervour met a real-life rejoinder in the less-than-holy doings and sayings of the "university wits," and a literary one in
John Lyly's character Euphues, who set out on his journey of self-betterment in 1578 as the sort of silver-tongued, purposeless wit, in thrall to his "wanton will," that, in the guise of the rake, would do so much in the following two centuries to give wit a bad name.
Known for his involvement in the printing of the Shakespeare First Folio and for his publishing the early seventeenth-century collection of plays by William Alexander (TheMonarchicke Tragedies, 1604), Edward Blount in 1632 decided to resurrect six of
John Lyly's plays, which he had printed by William Stansby.
She describes the use of English in Thomas Elyot's Boke named the Governour and Roger Ascham's Scholemaster that were based on the theories of humanism; the division between allegiance to home and the attraction to the remote and alien, with the example of Thomas Wilson's Arte of Rhetorique; the style of
John Lyly in Euphues: The Anatomy of Wit; Edmund Spenser's efforts to invent a poetic diction in The Shepheardes Calendar; and the problem of how to set limits for poetic expression, as seen in Christopher Marlowe's Tamburlaine the Great.
Vague parallels to the Nell passage are provided by
John Lyly and by passages in Wasps, Peace and Women at the Thesmophoria festival, but one has to turn to Rabelais and Lysistrata for examples of fully-fledged 'anatomical-geographical' bawdy.
The author discusses the work of Baldasar Castiglione,
John Lyly, Thomas Nashe, William Harvey, Helkiah Crooke, and Robert Burton who all made use of anatomical terms and metaphors in their works.
The proverb "All's fair in love and war" is credited to
John Lyly, a 16th century English writer and politician.
In a 1928 essay titled "Euphues Redivivus," Aldous Huxley compared Ros's style to that of
John Lyly. Though Huxley doubts that Ros ever encountered the work of the Elizabethan Euphuists, he concludes that Ros "arrived independently at precisely the same state of development as Lyly and his disciples" (137); in any society, Huxley asserts, early attempts at literary language "are always productive of the most elaborate artificiality" (138), and it takes centuries before writers recognize "that art [is] possible without artifice" (138).
Other texts related to Shakespeare and early British theatre history, acquired by Wolfson over more than three decades, feature playwrights such as John Fletcher, Richard Brome, Ben Jonson, William Davenant, Thomas Dekker, John Ford, Thomas Middleton, Christopher Marlowe and
John Lyly.
"Cross-Dressing and
John Lyly's Gallathea." Studies in English Literature, 1500-1900 41.2 (2001): 241-56.
Instead, his corpus is a selection of canonical texts:
John Lyly's Euphues, Sir Philip Sidney's Old and New Arcadia, and Edmund Spenser's The Faerie Queene.
Several authors incorporated translations of the Moralia in larger works, most notably
John Lyly, whose Euphues includes a complete, if free, version of De liberis educandis and parts of De exilio (Exile) and De garrulitate (Talkativeness).
