Works
Lily is famous not only as one of the pioneers of Greek learning, but as one of the joint-authors of a book, familiar to many generations of students up to the 19th century, the old Eton Latin grammar or Accidence. This Brevissima Institutio, a sketch by Colet, corrected by Erasmus and worked upon by Lily, contains two portions the author of which is indisputably Lily. These are the lines on the genders of nouns, beginning Propria quae maribus, and those on the conjugation of verbs beginning As in praesenti. The Carmen de Moribus bears Lily's name in the early editions; but Thomas Hearne asserts that it was written by Leland, who was one of his scholars, and that Lily only adapted it. However Erasmus himself states,
At Colet's command, this book was written by William Lily, a man of no ordinary skill, a wonderful craftsman in the instruction of boys. When he had completed his work, it was handed over to, nay rather thrust upon, me for emendation. easier for me to do). So that Lily (endowed as he is with too much modesty) did not permit the book to appear with his name, and I (with my sense of candour) did not feel justified that the book should bear my name when it was the work of another. Since both of us refused our names it was published anonymously, Colet merely commending it in a preface.
An edition published in 1534 was entitled Rudimenta Grammatices. Various other parts were added and a stable form finally appeared in 1540. In 1542 Henry VIII authorised it as the sole Latin grammar textbook to be used in education and schools; it has been suggested that Henry commissioned the book but the interval between initial publication and authorisation argue against this. With corrections and revisions, it was used for more than three hundred years. It was so widely used by Elizabethan scholars that Shakespeare was able to refer to it in the second scene of Act IV of Titus Andronicus, quote from it in the first scene of Act II of Henry IV, Part 1 ("Homo is a common name to all men") and allude to it in the first scene of Act IV of The Merry Wives of Windsor and scene 1 of Act IV of Much Ado about Nothing.
Part of the grammar is a poem, "Carmen de Moribus", which lists school regulations in a series of pithy sentences, using a broad vocabulary, and examples of most of the rules of Latin grammar that were part of an English grammar school curriculum. (See Latin mnemonics.) The poem is an early reinforcement of part of the reading list in Erasmus' De Ratione Studii of the Classical authors who should be included in the curriculum of a Latin grammar school. Specifically, the authors derived from Erasmus are Cicero, Terence, and Virgil.
When John Milton wrote his Latin grammar Accedence Commenc't Grammar (1669), over 60 percent of his 530 illustrative quotations were taken from Lily's grammar.
Besides the Brevissima Institutio, Lily wrote a variety of Latin pieces and translations from Greek, both in prose and verse. Some of the latter are printed along with the Latin verses of Sir Thomas More in Progymnasmata Thomae Mori et Gulielmi Lylii Sodalium (1518). Another volume of Latin verse (Antibossicon ad Gulielmum Hormannum, 1521) is directed against a rival schoolmaster and grammarian, Robert Whittington, who had "under the feigned name of Bossus, much provoked Lily with scoffs and biting verses."
A sketch of Lily's life by his son George Lily was written for Paulus Jovius, who was collecting for his history the lives of the learned men of Great Britain.
Read more about this topic: William Lily (grammarian)
Famous quotes containing the word works:
“In all Works of This, and of the Dramatic Kind, STORY, or AMUSEMENT, should be considered as little more than the Vehicle to the more necessary INSTRUCTION.”
—Samuel Richardson (16891761)
“Separatism of any kind promotes marginalization of those unwilling to grapple with the whole body of knowledge and creative works available to others. This is true of black students who do not want to read works by white writers, of female students of any race who do not want to read books by men, and of white students who only want to read works by white writers.”
—bell hooks (b. 1955)
“I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.”
—George Bernard Shaw (18561950)