- Roland Barthes,Mythologies, trans. Annette Lavers (New York, 1972 ), 114 – 15.
- We may compare Joan Copjec’s account of the Lacanian gaze as the point“at
which something appears to beinvisible ...at the moment the gaze is
discerned, the image, the entire visualfield, takes on a terrifying alterity ...
When you encounter the gaze of the Other, you meet not a seeing eye, but a
blind one”:Read my Desire: Lacan against the Historicists(Cambridge, MA,
1994 ), 34 – 36.
- Jacques Lacan,The Four Fundamental Concepts of Psycho-Analysis, ed. Jacques-
Alain Miller and trans. Alan Sheridan (London, 1977 ), 96.
- Fradenburg,City, Marriage, Tournament, 146.
- Smith,Arts of Possession, 201 , citing the testimony of“John Suffolk le heraud”
in theCuria Militaristrials (National Archives, PRO C 47 / 6 / 1 mem. 3 ). On
heraldry at the Scottish court, see Fradenburg,City, Marriage, Tournament,
79 – 81 ; Carol Edington,Court and Culture in Renaissance Scotland: Sir David
Lindsay of the Mount(Amherst, 1994 ), 26 – 32.
2 the bowge of courteand the birth
of the paranoid subject
1. Nelson,John Skelton, 161 – 65.
2. See Lerer,Chaucer, 19 – 56 , 147 – 208 ;Meyer-Lee,Poems and Power; and on the
difficult relation between laureate andvates,Griffiths,John Skelton, 25 – 37 .On
the relevant iconography, see Julie A. Smith,“The Poet Laureate as University
Master: John Skelton’s Woodcut Portrait,”Renaissance Rereadings: Intertext and
Context, ed. Maryanne Cline Horowitz et al. (Urbana, 1988 ), 159 – 83 ( 163 – 66 ). In
addition to the works already cited, see on laureation, J.B. Trapp,“The Owl’s
Ivy and the Poet’sBays,”Journal of the Warburg and Courtauld Institutes 21
( 1958 ), 227 – 55 ,and“The Poet Laureate: Rome,Renovatio andTranslatio
Imperii,”in P.A. Ramsey (ed.),Rome in the Renaissance: The City and the Myth
(Binghamton, 1982 ), 93 – 130 ; Priscilla Bawcutt,“Henryson’s‘Poeit of the Auld
Fassoun,’”Review of English Studiesn.s. 32 ( 1981 ), 429 – 34 ( 431 – 34 ); Green,Poets
and Princepleasers, 209 – 11.
3 .Caxton’s Own Prose, ed. N. F. Blake (London, 1973 ), 80.
4. Wakelin,Humanism, 148 – 49.
5. Except where otherwise stated, all references to Skelton are to John Skelton,
The Complete English Poems, ed. John Scattergood (Harmondsworth: Penguin,
1983 ).
6. Kuskin,Symbolic Caxton, 257 – 83 ( 270 , 279 ).
7. Edwards,“From Manuscript to Print.”
8. Lynn Enterline, “Embodied Voices: Petrarch Reading (Himself Reading)
Ovid,”Desire in the Renaissance: Psychoanalysis and Literature, ed. Valeria
Finucci and Regina Schwartz (Princeton, 1994 ), 120 – 45 ( 121 ).
9. Antony J. Hasler,“Cultural Intersections: Skelton, Barclay, Hawes, André,”
John Skelton and Early Modern Culture: Papers Honoring Robert S. Kinsman
(Tempe, 2008 ), 63 – 84 ( 69 – 71 ).
Notes to Pages 40 – 44 189
