- Cf. Skelton’sReplycacion Agaynst Certyne Yong Scolers, where the“spyrituall,”
“mysteriall”and“mysticall / Effecte energiall”of“laureate creacyon”( 365 – 73 )
is generated dialectically from menaces of a very material punishment, to be
inscribed on the bodies of heretics (“doutlesse ye shalbe blased, / And be brent
at a stake”[ 294 – 95 ]; the grim pun on“blased”merges the penalty for heresy
with the murderously“blazoning”activities of Skelton’s own pen). - I cite and follow here the overview of and contribution to the debate in David
R. Carlson, ed.,The Latin Writings of John Skelton(Chapel Hill, 1991 ), 102 – 09
( 102 ). For Tucker’s researches, see“Skelton and Sheriff Hutton,”English
Language Notes 4 ( 1967 ), 254 – 59 , and“The Ladies in Skelton’s‘Garlande of
Laurell,’”Renaissance Quarterly 22 ( 1969 ), 333 – 45 ; see also Owen Gingerich
and Melvin J. Tucker,“The Astronomical Dating of Skelton’s Garlande of
Laurell,” Huntington Library Quarterly 32 ( 1969 ), 207 – 20. A somewhat
strained case for a later date is argued in Fox,Politics and Literature, 147 – 55. - Spearing,Medieval to Renaissance, 245 – 46.
- Andrew Hadfield,Literature, Politics and National Identity: Reformation to
Renaissance(Cambridge, 1994 ), 36. - Lerer,Chaucer and his Readers, 203.
- Julia Boffey,“‘Withdraw your hande’: The Lyrics ofThe Garland of Laurel
from Manuscript to Print,”John Skelton and Early Modern Culture, ed.
David Carlson (Tempe, 2008 ), 135 – 46 ; Edwards, “From Manuscript to
Print,” 143 – 48 , andJohn Skelton: The Critical Heritage(London, 1981 ), 3 – 5. - Kate Harris,“Patrons, Buyers and Owners: The Evidence for Ownership and
the Role of Book Owners in Book Production and the Book Trade,”in
Griffiths and Pearsall,Book Production and Publishing in Britain, 163 – 99 ( 183 ). - On this trope and hierarchies of gender, see Patricia Parker,Literary Fat Ladies:
Rhetoric, Gender, Property(London, 1987 ), 67 – 69 ( 69 ). - Lynn Enterline,Rhetoric of the Body, 31 – 32 , 67 – 69 andpassim. See, too, thefine
examination of this episode in Philip Hardie,Ovid’s Poetics of Illusion
(Cambridge, 2002 ), 45 – 50. - For a similar reading, see, now, Maura Tarnoff,“Sewing Authorship in John
Skelton’sGarlande or Chapelet of Laurell,”ELH 75 ( 2008 ), 415 – 38. - Scattergood,“Skelton’sGarlande of Laurell,”interprets this line as an allusion
to the risky“stability of print”( 131 ). - See Glending Olson,“Making and Poetry in the Age of Chaucer,”Comparative
Literature 31 ( 1979 ), 272 – 90 ; Anne Middleton,“Chaucer’s‘New Men’and the
Good of Literature in theCanterbury Tales,”Literature and Society. Papers from
the English Institute, 1978 , ed. Edward Said (Baltimore, 1980 ), 15 – 56. - Carolyn Dinshaw,Chaucer’s Sexual Poetics(Madison, 1989 ), 78 – 79.
- H. L. R. Edwards, Skelton, 234 ; Spearing, Medieval Dream-Poetry, 216 ;
Brownlow,Book of the Laurel, 76. - Ovid,Heroides,ix;Metamorphoses,ix, 1 – 272. All references to theHeroidesare
to the text inHeroides and Amores, trans. Grant Showerman, Loeb, 2 nd edn.
(Cambridge, MA, 1977 ). - Heroides,xi.
Notes to Pages 160 – 64 215