Abstract
When I last wrote on the court comedies of John Lyly, I trod with some delicacy around his most famous play. Unwilling to found my theories of Lyly’s art upon so controverted a piece, and anxious in any case to point out the virtues of other plays, I discussed Endimion in a series of tentative suggestions carefully placed after the development of my major argument. I am delighted to have the present opportunity to reconsider the play and in particular to face as directly as I can whatever it is that makes Endimion a puzzling experience.
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Notes
The Complete Works of John Lyly, ed. R. Warwick Bond (Oxford, 1902; reprinted 1967),
G. K. Hunter, John Lyly: The Humanist as Courtier (Cambridge, Mass., 1962), p. 192.
S. T. Coleridge, Miscellaneous Criticism, ed. T. M. Raysor (London, 1936), p. 36.
Thom Gunn, “A Mirror for Poets,” Fighting Terms (London, 1962).
Bernard Huppé (“Allegory of Love in Lyly’s Court Comedies,” ELH, XIV [1947], 105n.)
J. A. Bryant, Jr. (“The Nature of the Allegory in Lyly’s Endymion,” Renaissance Papers, Southeastern Renaissance Conference [1956], pp. 7–8).
R. G. Howarth, “Dipsas in Lyly and Marston,” N&Q, CLXXV (1938), 24–25.
Edward S. Le Comte, Endymion in England (New York, 1944), p. 75n.
David Bevington’s (Tudor Drama and Politics [Cambridge, Mass., 1968], pp. 179–180).
Robert Grams Hunter, Shakespeare and the Comedy of Forgiveness (New York, 1965), pp. 157–158.
Hallet Smith, Shakespeares Romances (San Marino, Calif., 1972),
Howard Felperin, Shakespearean Romance (Princeton, 1972).
Harry Berger, “The Renaissance Imagination: Second World and Green World,” Centennial Review, IX (1965), 40.
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© 1975 Palgrave Macmillan, a division of Macmillan Publishers Limited
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Saccio, P. (1975). The Oddity of Lyly’s Endimion. In: Hibbard, G.R. (eds) The Elizabethan Theatre V. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-02542-8_6
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