- For Scotland, see Sally Mapstone,“Was there a Court Literature in Fifteenth-
Century Scotland?,”Studies in Scottish Literature 26 ( 1991 ), 410 – 22 ,and“Older
Scots Literature and the Court,”The Edinburgh History of Scottish Literature, 3 vols.
(Edinburgh, 2007 ),i, 273 – 85 .Onfifteenth-century English courts, seeinter alia
John Watts,“Was There a Lancastrian Court?,”The Lancastrian Court: Proceedings
of the 2001 Harlaxton Symposium, ed. Jenny Stratford (Donington, 2003 ), 253 – 71 ;
David Starkey,“Henry VI’s Old Blue Gown: The English Court Under the
Lancastrians and Yorkists,”Court Historian 4 ( 1999 ), 1 – 28 ; Steven Gunn,“The
Court of Henry VII,”The Court as a Stage: England and the Low Countries in the
Later Middle Ages, ed. Steven Gunn and Antheun Janse (Woodbridge, 2006 ), 132 – - Paul Strohm contends that the title of“court poet”acquires maximal descrip-
tive force if“the court is understood less as an entity or even a font of material
reward than as an imaginative stimulus and emotional aspiration.”“Hoccleve,
LydgateandtheLancastrianCourt,”The Cambridge History of Medieval English
Literature,ed. David Wallace (Cambridge, 1999 ), 640 – 61 ( 641 ). - James Simpson similarly links Foucault’snotionof“discourse”to the more
literary one of“genre”:“while denoting the formal characteristics of a way of
writing or speaking in the way‘genre’does, the word‘discourse’also denotes...
the claims to power made by a given genre.”“Piers Plowman”: An Introduction to
the B-Text(London, 1990 ), 15. Simpson draws here on Michel Foucault,The
Archaeology of Knowledge, trans. A. M. Sheridan-Smith (London, 1972 ), 33 – 34 ,
50 – 52. - On the permeability of boundaries between the court and the wider reading
public of printed books in Scotland, see Denton Fox,“Middle Scots Poets,” - On Wynkyn de Worde’s printing of poems by both Skelton and Hawes
and its implications for the relationship between court circles and print culture,
see A. S. G. Edwards,“From Manuscript to Print: Wynkyn de Worde and the
Printing of Contemporary Poetry,”Gutenberg Jahrbuch( 1991 ), 143 – 48. - Stephen J. Greenblatt,Renaissance Self-Fashioning from More to Shakespeare
(Chicago, 1980 ), 11 – 156. - P. N. Medvedev and M. M. Bakhtin, The Formal Method in Literary
Scholarship: A Critical Introduction to Sociological Poetics, trans. Albert
J. Wehrle (Baltimore, 1978 ), 133 ; and see the further discussion of“Genre
and Reality”on 133 – 35. The true authorship of this work remains an open
question. For its canonical introduction into medieval studies, see Strohm,
Social Chaucer(Cambridge, MA, 1989 ), 49 – 50. - Medvedev and Bakhtin,Formal Method in Literary Scholarship, 134.
- Sigmund Freud,The Standard Edition of the Complete Psychological Works, ed.
and trans. James Strachey et al., 24 vols. (London, 1953 – 73 ),iv, 177. - Ibid.,iv, 48 :“the scene of action of dreams is different from that of waking
ideational life.”Freud here draws on G. T. Fechner,Elemente der Psychophysik,
2 vols., 2 nd edn. (Leipzig, 1889 ),ii, 520 – 21. - George Puttenham,The Arte of English Poesie, ed. Gladys Doidge Willcock and
Alice Walker (Cambridge, 1936 ), 186. - Ibid., 186 – 87.
176 Notes to Pages 2 – 4