Court Poetry in Late Medieval England and Scotland

24. See Nicolas Abraham and Maria Torok,“MourningorMelancholia,”The
    Shell and the Kernel(Chicago, 1994 ),i, 125 – 38 , on the channeling of desire
    “through language into a communion of empty mouths”( 127 – 28 ).


25. See Kinsman,Poems, note to lines 445 ff.


26. See,inter alia, Halpern,Poetics of Primitive Accumulation, 130 – 35 , Lavezzo,
    Angels, 129 – 34 , Meyer-Lee,Poets and Power 210 – 12.


27. [Pseudo-] Oppian,Cynegetica:Oppian, Colluthus, Tryphodorus, trans. A. W.
    Mair (London, 1928 ),ii, lines 408 – 09. Wolsey is the“maris lupus”in the
    Decastichonof Skelton’sWhy Come Ye Nat to Courte?, 1.


28. This is the“allelophagy”which is allegory’s special violence: Gordon Teskey,
    Allegory and Violence(Ithaca, 1996 ), 8.


29. Michel de Certeau, The Practice of Everyday Life, trans. Steven Rendall
    (Berkeley, 1984 ), xix, xxi–xxii.


30. ContraNelson,John Skelton, Laureate, 181 , who asserts the identity of Heshbon
    with the Church, Brownlow,“‘Speke, Parrot,’”reads it as“‘the earthly city’
    (hence London)”( 129 ). Skelton effects the transition within the text.


31. David R. Carlson,“The‘Grammarians’War’ 1519 – 21 , Humanist Careerism in
    Early Tudor England, and Printing,”Medievalia et Humanistica 18 ( 1992 ), 157 –


32. Carlson argues that the contention was driven on both sides by the quest for
    patronage and publicity.


33. See Jody Enders,Rhetoric and the Origins of Medieval Drama(Ithaca, 1992 ), 93 ;
    onimagines agentes, 49 – 50 , andThe Medieval Theater of Cruelty: Rhetoric,
    Memory, Violence(Ithaca, 1999 ), 68 – 69.


34. Spearing,Medieval to Renaissance, 271.


35. On Galathea, see Nancy Coiner,“Galathea and the Interplay of Voices in
    Skelton’s Speke, Parrot,” Subjects on the World’s Stage: Essays on British
    Literature of the Middle Ages and the Renaissanceed. David G. Allen and
    Robert A. White (Newark, 1995 ), 88 – 99.


36. For both versions, see John Stevens,Music and Poetry in the Early Tudor Court
    (Cambridge, 1961 ), 346 – 48.


37. Griffiths,John Skelton, 98.


38. The connection has been assumed by most critics ofThe Garland. For specific
    commentary, see A.S. Cook,“Skelton’sGarlande of Laurelland Chaucer’s
    House of Fame,”MLR 11 ( 1916 ), 9 – 14 ;JohnScattergood,“Skelton’sGarlande of
    Laurelland the Chaucerian Tradition,”inChaucer Traditions: Studies in Honour
    of Derek Brewer, ed. Ruth Morse and Barry Windeatt (Cambridge, 1990 ),
    122 – 38.


39. See, e.g., Spearing,Medieval Dream-Poetry, 218.


40. H. L. R. Edwards,Skelton: The Life and Times of an Early Tudor Poet(London,
    1949 ), 230 ; Spearing,Medieval Dream-Poetry, 215 ,andMedieval to Renaissance, 245 ;
    The Book of The Laurel, ed. F. W. Brownlow (Newark, 1990 ), 184 ,notetoline 668.


41. On the phoenix, see Claudian,Phoenix, in Claudian, trans. Maurice Platnauer,
    2 vols. (London, 1922 ), 23 – 26 , 69 – 70 ; Ovid,Metamorphoses, trans. Frank
    Justus Miller, 2 vols. (Cambridge, MA, 1966 ),xv, 401 – 07. All references to
    theMetamorphosesare to this edition.

214 Notes to Pages 152 – 60