Abstract
In his admirable study of the career and art of John Lyly, G. K. Hunter chronicles the sad but inevitable transformation of the early Humanist dream of learning as politically effective 1 to the reality in the 1570's and 1580's of the Humanist's role of court entertainer. What was often exploitation of the Humanist's abilities in learning and eloquence as the voice of statecraft in the reign of Henry VIII became in Elizabeth's reign the casting of the Humanist in the role of provider of witty, happily artificial diversion. Such diversion, in the court drama for example, tended to reflect the ideals of order and stability carefully nurtured and maintained in the outward show of the Queen and her courtto reflect, in one way, what was usefully acknowledged as being true or within the realm of the possibly attainable rather than what was actually the state of affairs or, conversely, the affairs of state. Any discussion of Lyly's achievement must take into account the work of Lyly's great predecessor at court, the choirmaster, impresario, playwright, and composer, 2 Richard Edwardes. Yet, it is difficult to trace a direct line of development from Edwardes to Lyly:
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