Don't Blame Me Teacher Resource Guide (Carter High by Carol Hegarty

By Carol Hegarty

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1420-22), Lois Ebin has noted how such interest was Lydgate's particular contribution, "as a poet concerned with order in the world rather than the transcendental journeys of Dante, Langland, and Chaucer" (although several recent commentators would dispute at least such a judgment of Chaucer). 21 Poetry, all art, always responds somehow to social constraints. The statement hardly bears repeating. But the real questions concern the matters of how it does so, of how it is perceived as doing so, of what are the constraints, and what the public's expectations.

It is to say that such love does not inevitably require a belief in the universality of that art. To say that all cultures have "art" is, therefore, not to say very much. Not only do we need to know what any given culture did, does, or would understand as "art," but we also need to know what particular sociocultural role is played by that discourse among all those others surrounding it. Understanding what societies other than our own take written or spoken art to be requires an effort that cannot start by taking for granted our own assumptions about the matter.

The poem remained a mirror of princes, whose intent was to provide general advice and proverbialization rather than any kind of precise, situational analysis. The writer was considered entirely outside actual events, distant from them, a servant of patrons whose actions poetry served to embellish. That is why in the early sixteenth century Thomas Feylde saw the earlier poets as rhetoricians.

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