This is a completely new edition of the records of Sir Henry Herbert, brother of the poet George Herbert and, as Master of the Revels, the official responsible for licensing and censoring plays from 1623 to 1642 and from 1660 to 1673.The only previous edition of Sir Henry's records appeared in 1917, edited by J. Q. Adams. Dr Bawcutts' edition contains much fresh material, including 49 hitherto unknown play licenses from the recently discovered Burn transcript. In the Restoration section of the records are sixty items not contained in Adams, most of which have never been published. Dr Bawcutt's substantial Introduction includes a new biography of Sir Henry, an account of the strange and complicated history of his private papers, and the fullest description available of his activities as Master of the Revels. The Control and Censorship of Caroline Drama will be an essential document for literary scholars and theatre historians interested in the governmental regulation of drama.

Dunbar's genius has been recognised not only by critics but by modern poets such as Auden and Eliot. This critical study examines Dunbar's view of himself as a poet, or `makar', and the way he handles various poetic genres. New emphasis is placed on the petitions, or begging-poems, and their use for poetic introspection. There is also a particularly full study of Dunbar's under-valued comic poems, and of the modes most congenial to him - notably parody, irony, `flyting', or invective, and black dream-fantasy. Priscilla Bawcutt takes account of recent scholarship on Dunbar and also the literary traditions available to him, both in Latin and the vernaculars, including `popular' and alliterative poetry as well as that of Chaucer and his followers. In contesting the over-simple and reductive views purveyed by some critics that Dunbar is primarily a moralist, or no more than a skilled virtuoso, she has written a well-informed, critically searching, and balanced account of the poetry.

William Dunbar (c.1460-1520) bridges the divide between medieval bard and Renaissance poet. From the sonorous beat of the Lament for the Makaris to the subtle satire of "The Tretis of the Tua Mariit Wemen and the Wedo", his self-knowledge and mocking wit points to the development of a modern artistic consciousness while his skill, craftsmanship and sense of language still have the power to inspire today. This book is a must-have for any serious scholar of European Medieval and Renaissance literature. The first volume gives the text of every Dunbar poem while the second provides a wealth of explanatory notes and reference material, allowing each poem to be easily studied in-depth. As well as freshly established texts of all Dunbar's works, these two volumes contain a full introduction; a complete listing of textual variants in all the early manuscripts and printings; extensive notes on every poem; a glossary; and lists of sources and secondary material.One of the editor's chief concerns has been to elucidate not just the literal sense but also the connotations of Dunbar's words: the figurative and metaphoric uses, the legalisms, poetic archaisms, puns and other wordplay, as well as the use of proverbs, scriptural allusions and debts or affinity to earlier poets. This has taken her into many varied and unexpected areas of medieval life and thought in assembling her line-by-line commentary on every poem in the edition. Readers will find new information about obscure words and phrases and no difficult passage is passed over silently. These volumes are a tribute not only to the wonderful poet whose works they contain but also to the industry, erudition and acumen of his latest editor.

A full survey and overview of the extraordinary flowering of Scottish poetry in the middle ages.The poetry written in Scotland between the late fourteenth and the early years of the sixteenth century is exceptionally rich and varied. The contributions collected here, by leading specialists in the field, provide a comprehensive and up-to-date guide to the material. There are introductions to the literary culture of late medieval Scotland and its historical context; separate studies of the writings of James I, Robert Henryson, William Dunbar, Gavin Douglas, and Sir David Lyndsay; and essays devoted to general themes or genres, including the historiographical tradition, religious verse, romances, and the legendary history of Alexander the Great. A final chapter provides bibliographical guidance on the major advances in the criticism and scholarly study of this poetry during the last thirty years. Contributors: PRISCILLA BAWCUTT, JULIA BOFFEY, JOHN BURROW, ELIZABETH EWAN, R. JAMES GOLDSTEIN, DOUGLAS GRAY, JANET HADLEY WILLIAMS, R. J. LYALL, ANNE MCKIMM, JOANNA MARTIN, RHIANNON PURDIE, NICOLA ROYAN.

First volume in a new edition of Douglas's "Eneados", providing a comprehensive introduction and commentary.Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book.D.F.C. Coldwell's four-volume modern edition of it was published in 1957-64 for the Scottish Text Society, but for some time now has needed revision.This new edition will provide a corrected version of Coldwell's text and variants in subsequent volumes. The first volume, here, the Introduction and Commentary, offers a wealth of new scholarship, comparing Douglas's text to his exact Latin source (first identified by Professor Bawcutt in a 1973 essay reprinted here); vastly expanding the Commentary; offering detailed new analysis of the manuscript and print witnesses to the text and its early reception and circulation; and surveying modern Douglas criticism. There is also a new Bibliography.

Second volume of a major new edition of Douglas's Eneados, containing a substantially revised and corrected text of Books I-VII plus appendix of textual variants.Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth, added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book. This new edition, the first for over sixty years, is based on Cambridge, Trinity College Library MS O.3.12 and presents a substantially revised and corrected version of the previous version's text and variants. Following from the first volume, containing a vastly expanded Introduction and Commentary, Volume II provides the text and variants for Books I-VII; Vol. III will provide the text and variants for Books VIII-XIII.

Third and final volume of a new edition of Douglas's Eneados, containing a substantially revised and corrected text of Books VIII-XIII plus appendix of textual variants.Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth, added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book.This new edition, the first for over sixty years, is based on Cambridge, Trinity College Library MS O.3.12 and presents a substantially revised and corrected version of the previous version's text and variants. Following from the first volume, containing a vastly expanded Introduction and Commentary, and volume II, providing the text and variants for Books VIII-XII, Volume III completes the edition with the text and variants for Books VIII-XIII.

This is a completely new edition of the records of Sir Henry Herbert, brother of the poet George Herbert and, as Master of the Revels, the official responsible for licensing and censoring plays from 1623 to 1642 and from 1660 to 1673.The only previous edition of Sir Henry's records appeared in 1917, edited by J. Q. Adams. Dr Bawcutts' edition contains much fresh material, including 49 hitherto unknown play licenses from the recently discovered Burn transcript. In the Restoration section of the records are sixty items not contained in Adams, most of which have never been published. Dr Bawcutt's substantial Introduction includes a new biography of Sir Henry, an account of the strange and complicated history of his private papers, and the fullest description available of his activities as Master of the Revels. The Control and Censorship of Caroline Drama will be an essential document for literary scholars and theatre historians interested in the governmental regulation of drama.

Dunbar's genius has been recognised not only by critics but by modern poets such as Auden and Eliot. This critical study examines Dunbar's view of himself as a poet, or `makar', and the way he handles various poetic genres. New emphasis is placed on the petitions, or begging-poems, and their use for poetic introspection. There is also a particularly full study of Dunbar's under-valued comic poems, and of the modes most congenial to him - notably parody, irony, `flyting', or invective, and black dream-fantasy. Priscilla Bawcutt takes account of recent scholarship on Dunbar and also the literary traditions available to him, both in Latin and the vernaculars, including `popular' and alliterative poetry as well as that of Chaucer and his followers. In contesting the over-simple and reductive views purveyed by some critics that Dunbar is primarily a moralist, or no more than a skilled virtuoso, she has written a well-informed, critically searching, and balanced account of the poetry.

William Dunbar (c.1460-1520) bridges the divide between medieval bard and Renaissance poet. From the sonorous beat of the Lament for the Makaris to the subtle satire of "The Tretis of the Tua Mariit Wemen and the Wedo", his self-knowledge and mocking wit points to the development of a modern artistic consciousness while his skill, craftsmanship and sense of language still have the power to inspire today. This book is a must-have for any serious scholar of European Medieval and Renaissance literature. The first volume gives the text of every Dunbar poem while the second provides a wealth of explanatory notes and reference material, allowing each poem to be easily studied in-depth. As well as freshly established texts of all Dunbar's works, these two volumes contain a full introduction; a complete listing of textual variants in all the early manuscripts and printings; extensive notes on every poem; a glossary; and lists of sources and secondary material.One of the editor's chief concerns has been to elucidate not just the literal sense but also the connotations of Dunbar's words: the figurative and metaphoric uses, the legalisms, poetic archaisms, puns and other wordplay, as well as the use of proverbs, scriptural allusions and debts or affinity to earlier poets. This has taken her into many varied and unexpected areas of medieval life and thought in assembling her line-by-line commentary on every poem in the edition. Readers will find new information about obscure words and phrases and no difficult passage is passed over silently. These volumes are a tribute not only to the wonderful poet whose works they contain but also to the industry, erudition and acumen of his latest editor.

A full survey and overview of the extraordinary flowering of Scottish poetry in the middle ages.The poetry written in Scotland between the late fourteenth and the early years of the sixteenth century is exceptionally rich and varied. The contributions collected here, by leading specialists in the field, provide a comprehensive and up-to-date guide to the material. There are introductions to the literary culture of late medieval Scotland and its historical context; separate studies of the writings of James I, Robert Henryson, William Dunbar, Gavin Douglas, and Sir David Lyndsay; and essays devoted to general themes or genres, including the historiographical tradition, religious verse, romances, and the legendary history of Alexander the Great. A final chapter provides bibliographical guidance on the major advances in the criticism and scholarly study of this poetry during the last thirty years. Contributors: PRISCILLA BAWCUTT, JULIA BOFFEY, JOHN BURROW, ELIZABETH EWAN, R. JAMES GOLDSTEIN, DOUGLAS GRAY, JANET HADLEY WILLIAMS, R. J. LYALL, ANNE MCKIMM, JOANNA MARTIN, RHIANNON PURDIE, NICOLA ROYAN.

First volume in a new edition of Douglas's "Eneados", providing a comprehensive introduction and commentary.Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book.D.F.C. Coldwell's four-volume modern edition of it was published in 1957-64 for the Scottish Text Society, but for some time now has needed revision.This new edition will provide a corrected version of Coldwell's text and variants in subsequent volumes. The first volume, here, the Introduction and Commentary, offers a wealth of new scholarship, comparing Douglas's text to his exact Latin source (first identified by Professor Bawcutt in a 1973 essay reprinted here); vastly expanding the Commentary; offering detailed new analysis of the manuscript and print witnesses to the text and its early reception and circulation; and surveying modern Douglas criticism. There is also a new Bibliography.

Second volume of a major new edition of Douglas's Eneados, containing a substantially revised and corrected text of Books I-VII plus appendix of textual variants.Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth, added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book. This new edition, the first for over sixty years, is based on Cambridge, Trinity College Library MS O.3.12 and presents a substantially revised and corrected version of the previous version's text and variants. Following from the first volume, containing a vastly expanded Introduction and Commentary, Volume II provides the text and variants for Books I-VII; Vol. III will provide the text and variants for Books VIII-XIII.

Third and final volume of a new edition of Douglas's Eneados, containing a substantially revised and corrected text of Books VIII-XIII plus appendix of textual variants.Although Virgil's Aeneid was one of the most widely admired works of the European Middle Ages, the first complete translation to appear in any form of English was Gavin Douglas's magisterial verse rendering into Older Scots, completed in 1513, which he called the "Eneados". It included not only the twelve books of Virgil's original, but a thirteenth, added by the Italian humanist scholar Maphaeus Vegius, and lively, original prologues to every book.This new edition, the first for over sixty years, is based on Cambridge, Trinity College Library MS O.3.12 and presents a substantially revised and corrected version of the previous version's text and variants. Following from the first volume, containing a vastly expanded Introduction and Commentary, and volume II, providing the text and variants for Books VIII-XII, Volume III completes the edition with the text and variants for Books VIII-XIII.