England: The Literary Implications of Manuscript Study, ed. Derek Pearsall
(Cambridge, 1983 ), 41 – 69 ( 55 ). On this gesture, see too Meyer-Lee,Poets and
Power, 181 – 82.
10. For Hawes’s praise of Lydgate, seePastime, 48 , 1163 – 76 , 1338 – 86 , 1394 – 407 ,
5810 – 16.
11. Some of the implications of Hawes’s poetic vocabulary are discussed by Ebin,
Illuminator, Makar, Vates, 146 – 47. See tooMEDs.v.“fatal,” 1 (a) predestined;
2. predetermined, fated; 3 (a) fateful or (b) (of a wound) mortal.
12. Gordon Kipling suggests that Hawes may have writtenThe Receyt of the Lady
Kateryne, the account of the events surrounding Catherine of Aragon’s arrival in
England in October and November 1501 :EETSOS 296 (Oxford, 1990 ), xlviii–l.
13. See Françoise Joukofsky,La Gloire dans la poésie française et néolatine duxvie
siècle des Rhétoriqueurs à Agrippa d’Aubigné(Geneva, 1969 ), 31 , 48 , 53 , 132 , 175 –
76 andpassim; on the early Tudor cult of honor and its Burgundian ante-
cedents, Gordon Kipling,The Triumph of Honour: Burgundian Origins of the
English Renaissance(Leiden, 1977 ).
14. Cf. Peter Brooks:“One could no doubt analyze the opening paragraph of most
novels and emerge in each case with the image of a desire taking on shape,
beginning to seek its objects, beginning to develop a textual energetics”:
Reading for the Plot: Design and Intention in Narrative( 1984 ; rpt. Cambridge,
MA, 1992 ), 38. The very name of this romance hero is afigure for desire. For
Deanne Williams, Hawes“expresses his sense of domination by French textual
exemplarity as a form of control by French women”:The French Fetish from
Chaucer to Shakespeare(Cambridge, 2004 ), 133.
15. Evelyn Birge Vitz,“TheIof theRoman de la Rose,”Genre 6 ( 1973 ), 49 – 75 ( 54 ).
16. On this genre, see Siegfried Wenzel,“The Pilgrimage of Life as a Late Medieval
Genre,”Mediaeval Studies 35 ( 1973 ), 370 – 88.
17. Rosemond Tuve,Allegorical Imagery: Some Medieval Books and their Posterity
(Princeton, 1966 ), 168. For a brilliant recent discussion of how the self is con-
stituted in theVie humaine,seeSarahKay,The Place of Thought: The Complexity of
OneinLateMedievalFrenchDidacticPoetry(Philadelphia, 2007 ), 70 – 94.
18. See H. S. Bennett,English Books and Readers, 1475 – 1557 , 2 nd edn. (Cambridge,
1969 ), 85 – 89 ; N. F. Blake,“Wynkyn de Worde: The Later Years,”Gutenberg
Jahrbuch( 1972 ), 128 – 38 ( 135 – 36 ).
19. See “Le Dit dou Lyon,”Oeuvres de Guillaume de Machaut, ed. Ernest
Hoepffner, 3 vols., SATF (Paris, 1908 – 21 ),ii, 185 ;“The Floure and the
Leafe,”The Floure and the Leafe and The Assembly of Ladies, ed. Derek
Pearsall (London, 1962 ), lines 43 , 47 , 49 ( 49 ).
20. A.S.G. Edwards notes the high degree of collaboration between Hawes and de
Worde in“Poet and Printer in Sixteenth-Century England: Stephen Hawes and
Wynkyn de Worde,”Gutenberg Jahrbuch( 1980 ), 82 – 88. Edwards draws a
distinction between those woodcuts that were evidently commissioned forThe
Pastimeand those from stock that were“presumably intended to stress the
didactic and expository aspect of....the‘Pastime,’”and whose appropriateness
is of a more general kind ( 84 ). The woodcuts alluded to are Hodnett, nos. 987 ,
206 Notes to Pages 109 – 13