British poetry before 1600

T h e fa c t s O n F i l E Companion to British Poetry Before 1600 CD michelle M Sauer The Facts On File Companion to British Poetry before 1600 Copyright © 2008 Michelle M Sauer All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher For information contact: Facts On File, Inc An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data The Facts on File companion to British poetry before 1600 / [edited by] Michelle M Sauer    p cm — (Companion to literature)   “The Facts On File Companion to British Poetry before 1600 is part of a four-volume set on British poetry from the beginnings to the present.”  Includes bibliographical references and index  ISBN 978-0-8160-6360-4 (acid-free paper) English poetry I Sauer, Michelle M., 1972– II Facts on File, Inc III Title: Companion to British poetry before 1600   PR1175.F19 2008   821—dc22 2007024865 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions Please call our Special Sales Department in New York at (212) 9678800 or (800) 322-8755 You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design adapted by Annie O’Donnell Cover design by Salvatore Luongo Printed in the United States of America VB Hermitage 10 This book is printed on acid-free paper and contains 30 percent postconsumer recycled content Contents CD Introduction iv Acknowledgments xiii Journal Abbreviations xiv entries A to Z Appendixes I Glossary 484 II Selected Bibliography 487 III Contributors List 489 Index 497 Introduction CD How to Use this Book ity, was not part of the monarchial title) In essence, English culture was one of colonization, starting with the original Germanic invasions Recent criticism has striven to present Ireland and Irish literature within the context of postcolonial studies, and these ideas have been extended to Welsh and Scottish literary productions too Despite being problematic, however, the term British is the one used most often, if just for convenience sake Part of the difficulty with the discussion also stems from differences in viewing terms from an American standpoint versus an English, Irish, Welsh, or Scottish one Universities in the United Kingdom and the Republic of Ireland tend to separate English studies from Celtic studies; however, that same separation is rarer in American colleges and universities In fact, one of the traditional staples of the American curriculum is the “British literature survey,” which generally includes Celtic contexts Thus, British literature is a loosely used term in the United States, without any overt politically disruptive intent This is not an excuse, per se, but rather more of an explanation, and one that certainly warrants further discussion In the meantime, however, the reality is that the Celtic literatures are often grouped under the heading “British.” Although not an ideal solution, I suggest that it is preferable to excluding the literature altogether, or to grouping it under the title “English” literature Even “literature written in English” is exclusionary, especially in the medieval and Renaissance eras, when so much literary production took place in The Facts On File Companion to British Poetry before 1600 is part of a four-volume set on British poetry from its beginning to the present This particular volume covers poetry written during the Anglo-Saxon, Middle English, and early Renaissance (Tudor) literary periods in the area traditionally referred to as the British Isles, which includes England, Ireland, Scotland, and Wales Today’s Great Britain includes Wales, Scotland, England, and Northern Ireland The Republic of Ireland has been independent since 1921 The issue of what, exactly, makes up “British literature” is a complicated one Certainly, the first “British” people were Celtic in origin, and the word itself derives from the people who populated a region that is now in northern France (Brittany) After the Germanic invasions (traditional date 449 c.e.), the Angles and Saxons melded into a singular culture that pushed the Celtic Britons into the further reaches of Wales, Cornwall, and Scotland As they expanded outward, the Anglo-Saxons tended to absorb the native culture; thus, Arthur—originally Welsh in origin—became an Anglo-Saxon hero Certainly, the Anglo-Saxons, and, later, the English, embarked upon campaigns of military conquest against the various Celtic peoples and over the years subjugated Wales, Ireland, and Scotland By the time James Stuart took the throne as James I in 1603, he was styled King of England, Scotland, and Ireland (Wales, as an annexed principal- iv Introduction  Latin, Anglo-Norman, Welsh, Middle Scots, and other languages I hope, then, that I can be forgiven the term British, especially in regards to the multilingual fluidity of the medieval era alongside a fervent desire not to make any political gaffes Entries cover the poems and poets most often taught in high school and college classrooms and the concepts most important to understanding the poetry of the period The approach throughout is to combine current critical approaches with more traditional methods, providing a balanced framework and presenting works in the context of their time Entries are self-contained and relatively jargon-free Although primarily aimed at a student audience, this book is also designed to benefit teachers, librarians, and general readers who love poetry Entries on individual poems provide an overview or summary of the text and a discussion of the style or genre of the work Difficult terms are glossed, and historical and literary context is provided where appropriate and necessary The standard or most common interpretation of the work is usually presented, in addition to an overview of critical debates and current trends Biographical entries provide information about the author’s life and work in general Historical entries cover significant events relevant to the creation, distribution, and inspiration of pre-1600 poetry (e.g., the Norman Conquest) Thematic entries provide background discussion on important areas, such as the classical tradition, while entries on poetic terms important to the period clarify entry content and provide relevant examples drawn from works included in volume There are a few non-British writers, such as Ovid and Virgil, included if they had a profound impact on British poetry The appendix includes a bibliography and a brief glossary of general poetic terms Editorial Conventions Many scholars have contributed to this encyclopedia, but I strove to achieve conformity of content and style, if not complete uniformity All entries feature the contributor’s name at the end of the entry Unsigned entries were written by the volume editor For the most part, spelling has been regularized to modern standards: for example, the poets’ names are given as Sidney (not Sydney) and Spenser (not Spencer) consistently throughout the volume However, if the standard medieval or early modern spelling of a work does not interfere with understanding, it has usually been retained (e.g., Spenser’s poem is The Shepheard’s Calender, not The Shepherd’s Calender) Some of the finest poetry of the period is in the form of the sonnet, and many sonnets appeared as part of larger works called sonnet sequences In this volume, major sonnet sequences, such as Sidney’s Astrophil and Stella, are discussed generally in overview entries under the title of the sequence, with individual coverage of the most commonly read and important sonnets given in subsections just below the overview entry (Shakespeare’s untitled sequence appears under the editorially given name Shakespeare’s Sonnets.) This same convention holds true for other longer works that are frequently excerpted (e.g., Piers Plowman) There are two major exceptions to this practice The individual “tales” of Chaucer’s Canterbury Tales appear as unique entries, alphabetized under the name of their titles (for example, “The Pardoner’s Tale” appears under P), as the individual lays (lais) in Marie de France’s collection These works are often taught as individual pieces rather than as part of a greater whole, and it seemed more useful to categorize them as such in this book As well, since the prologues and epilogues are usually taught with each individual Canterbury Tale, those discussions are assumed throughout Unless otherwise indicated, the standard editions for works are used The Riverside Chaucer (HoughtonMifflin, 1987) and The Riverside Shakespeare (HoughtonMifflin, 1997) can be assumed for all relevant entries For entries on major sonnet sequences and other longer works, the main editions and critical works used for each entry on a particular sonnet appear at the end of the overview entry Any further reading lists appearing in individual sonnet entries reflect additional sources Where necessary, dates are written as b.c.e (Before the Common Era) or c.e (Common Era) Derogatory terminology (e.g., pagan instead of pre-Christian or nonChristian) and disparaging nicknames (e.g., “Bloody Mary” Tudor) are not used The terms Renaissance and early modern are used interchangeably throughout this vi Introduction work Scholars continue to debate the correctness of each term, and both are commonly employed In order to clarify some of the issues, I have included an entry on the idea of “early modern v Renaissance.” tially excluding a great deal of female-oriented texts Moreover, many named female medieval authors wrote in prose, not poetry, and thus lie beyond the boundaries of this volume Poems and Poets Included In choosing works and writers to include in this book, I consulted with all the major anthologies of literature of the period, including the Norton, Longman, Broadview, and Blackwell I also consulted several high school texts Space constraints prevented the inclusion of everything one would wish; nonetheless, all the works and poets that students are likely to encounter are included here The inclusion of Irish, Scottish, and Welsh literature has become standard classroom practice, and most anthologies today include so-called companion pieces or Celtic contexts, which are also often available as supplemental reading in electronic form, on sites dedicated to a specific classroom anthology It was particularly difficult to decide which Tudor works to include, as the sheer volume of poetry of that period is staggering Medieval choices proved only slightly less tricky, and these were further complicated by the availability of translations Most instructors teach Chaucer in the original Middle English, as well as some of the later authors, such as Lydgate and Hoccleve, the Scottish Chaucerian works, and medieval lyrics However, earlier works—especially the Anglo-Saxon, Welsh, and Irish texts—are almost wholly dependent on modern English versions being available for student consumption, and, therefore, some readily available texts displaced others that are less accessible At the same time, however, some early Middle English pieces that were crucial to the development of the vernacular tradition (such as Handlyng Synne) warranted inclusion Overall, I believe all of the included texts provide essential insight into this period of literature Finally, personal inclination and modern politics dictate that women poets and woman-centered texts be fairly represented I have striven, therefore, to represent women authors fairly Among the complications of studying the medieval period is the lack of identifiable authors As a medievalist, I have long lamented the tendency for anthologies to prioritize those works that can be attributed to a named author, thus poten- Pre-1600 Poetry of the British and Celtic World: A Brief Overview This book covers the medieval and early Renaissance periods of British and Celtic poetry For purposes of this volume, the Celtic texts are grouped within the appropriate “medieval” or “Renaissance” category, without further division In English literature, however, the medieval time period can be further broken down into the Old English period and the Middle English period, with some scholars suggesting a third distinct division, the Anglo-Norman period The Old English period runs roughly from 700 c.e to 1066 c.e., the date of the Norman Conquest The Anglo-Norman period, then, covers the immediate post-conquest time, or 1066– 1154, when English went “underground,” ending with King Stephen’s death The Middle English period traditionally ends with the death of King Richard III at Bosworth Field in 1485 The early Renaissance is technically the Tudor era, named after the period’s ruling dynasty After Richard III’s death, Henry Tudor ascended the throne as King Henry VII He was followed by his second son, who became King Henry VIII (1509–1547), who in turn was followed by each of his three children: Edward VI (1547–1553), Mary I (1553–1558), and Elizabeth I (1558–1603) When Elizabeth died, the son of her cousin Mary, Queen of Scots, James Stuart, ascended the throne as the first monarch of the new Stuart dynasty Old English Poetry at a Glance The 30,000 lines of surviving Old English poetry are collected, for the most part, in four manuscripts: The Exeter Book, the Vercelli manuscript, the Junius manuscript, and the Nowell Codex (also known as Cotton Vittelius A.xv) These are all anthologies of texts collected after they were written, not assembled for a specific purpose No texts describing the art of poetry survive from the Old English period Scholars, Introduction vii however, have been able to piece together a general view of Old English meter The basic rhyme scheme was alliteration (repeated initial consonant sounds), a system that relies upon the quantity of vowels, syllabic alteration, and prosody (rhythm) In 1885, Eduard Sievers outlined five distinct alliterative patterns within Old English verse His research continues to be accepted today, particularly because each of his permutations can be found in all of the older Germanic languages Old English verse lines are divided into half-lines by a caesura, or pause Each half-line has two stressed syllables The first stressed syllable of the second half-line alliterates with one or both of the stressed syllables of the first half-line; the second stressed syllable of the second half-line need not alliterate English and Celtic literature had its beginnings in the oral tradition Singers and storytellers held powerful positions at court and were considered the memory keepers of the people: Anglo-Saxon scops, Irish filis, Welsh bards, and Scottish makars Some, such as Taliesin, a sixth-century Welsh poet, are identified in their work Four Old English poets are named specifically within the works they produced: Cædmon, Bede, Alfred, and Cynewulf Some remain a mystery outside of what has been discovered from their work For example, there was obviously a scop named Deor about whom the poem of the same name was composed, but nothing is known of him aside from the information in the poem itself Of course the vast majority of Old English and Celtic poets remain anonymous This rich tradition of oral-formulaic literature left its mark on written poetry It is likely, for instance, that a poet was accompanied by a harp, perhaps being plucked during the caesuras Old English poems are marked by mnemonic devices such as repeated key phrases and descriptors (e.g., in Beowulf, the phrase Beowulf maỵelode, bearn Ecgỵeow, Beowulf, son of Ecgtheow, spoke”), as well as digressions—stories that enhance the central tale but also impart the history of a people Because of this oral tradition, many of the surviving poems were likely composed before they were finally written down The Celtic works derived from a long history, and many were not written down until the 12th century A similar oral tradition is found within the Anglo-Saxon world, though a few more examples remain Beowulf is the only surviving full-length Old English epic that survives, but several examples of heroic poetry—battle poetry—survive, including The Battle of Maldon, The Battle of Brunanburh, The Fight at Finnsburh, Widsith, and Waldere Though epic and martial poetry present serious subject matter, there are occasional bouts of lightheartedness A poetic device commonly used within Old English poetry is the litotes, or dramatic understatement employed for comic or ironic effect These understatements appear with regularity in Beowulf and battle poems and occasionally in other types of poems, especially elegies and religious verse The elegy was the other major form of pre-Christian poetry written in Old English An elegy, or poetic lament for the passing of someone dear, can be extended to the whole of society as well Both The Wanderer and The Seafarer, for instance, relate the tale of the passing of the Anglo-Saxon warrior culture as well as an individual’s story “The Ruin” is an elegy about seeing a destroyed city, possibly Bath Sometimes these poems are referred to as “epic songs,” especially when the lament becomes all-encompassing, shifting the focus outward toward society Lyrics present personal and emotional poetry— laments, complaints, and even love poetry Several of them, including “The Wife’s Lament,” “The Husband’s Message,” and “Wulf and Eadwacer,” straddle the line between elegy and lyric, as they are about loss and exile but not specifically about death and changing fortune There is no set stanzaic form for the lyrics, which use an alliterative scheme Riddles, in which the subject is described in ambiguous terms, reveal the Anglo-Saxon fascination with word play Indeed, true Anglo-Saxon heroes were expected to be almost as good with words as they were with weapons In Old English poetry, “boasting” is used to establish the identity and battle record of the hero, as well as serving as a promise of deeds yet to come There are two main types of boast: the gilph (about past deeds) and the beot (tall tales; uncertain outcome) Other poetic elements that demonstrate this intrigue with manipulating words include the epithet (renaming) and the kenning (metaphorical rephrasing) All of these, however, reveal something entirely viii Introduction different about Old English itself—the lexicon (word bank) was limited, and although it expanded through various means (loanwords, compounds, affixes, etc.), that expansion was slow Related to the riddles are a number of charms found scattered throughout various Old English texts These are generally pre-Christian in nature and serve a mystical purpose As the society shifted towards Christianity, a new type of poet, the monastic writer, emerged, though these, too, were generally unknown Some of these religious poems include poetic paraphrases of Old Testament texts (Genesis, Exodus, and Daniel), Guthlac A and B (two versions), Judith, Christ and Satan, and The Fates of the Apostles, among several others An assortment of Psalms, creeds, prayers, and hymns also survives Cynewulf, author of the Old English poems Juliana, Elene, Fates of the Apostles, and Ascension, signed his poems using a runic signature—his name spelled in Futhark—hidden in the manner of an acrostic Other than his name, however, very little is actually known about Cynewulf The poems were composed in the 8th or 9th century and signal a shift in Old English poetry from heroic or martial verse to meditative devotional pieces Still, the biblical themes are presented in manners similar to the Anglo-Saxon heroic poems The dream vision poem Dream of the Rood, for instance, blends Christian mysticism with Germanic heroism in a successful manner A similar occurrence can be found in “Resignation,” an elegy about sin and forgiveness Finally, some poetry was composed in Latin or was composed in imitation of a classical form Of particular relevance are the physiologius poems, which are adaptations from the Latin bestiary tradition, including “The Phoenix,” “The Partridge,” “The Whale,” and “The Panther.” As well, there is a surviving translation/adaptation of Boethius’s Consolation of Philosophy, generally attributed to Alfred the Great Middle English Poetry at a Glance With the Norman Conquest in 1066, English literature was irrevocably changed, as was the English language William the Conqueror and his followers spoke Norman French, and as they replaced the existing Anglo-Saxon nobility, French became the language of court and commerce English was driven underground A mournful poem found in the Worcester Cathedral Library, MS 174, records this passing: “many of the teachers are being destroyed and the people forthwith.” As the language changed, the Old English verse forms died out too Literature survived in three languages: AngloNorman, the emerging Middle English, and Latin The earliest poems in Middle English tended to be awkward and rough but ably demonstrate linguistic shifts For example, The Ormulum, a vernacular work of the middle-to-late 12th century, while poetically lacking, is of tremendous importance to orthographers and grammarians This massive work—20,000 lines of exegetical homilies on Christ—contains numerous authorial attempts to regularize spelling and grammar Works such as this, in addition to the Anglo-Saxon Chronicle, which continued into the 12th century, show the linguistic adjustments brought on by the spread of Norman French Thematically, the shift is away from epic and elegy and toward romance and lyric Still, the earliest romances often relied on vestiges of the Old English martial style For example, one of the first is Layamon’s Brut, based on Wace’s Roman de Brut (1155), which was written in Anglo-Norman Both were composed in England and based on Geoffrey of Monmouth’s Latin prose work Historia Regum Britanniae (History of the Kings of Britain; ca 1130–36) In each of these, the kings of Britain descend from Brutus, Aeneas’s grandson, and thus trace their lineage back to Troy The country, Britain, is named after Brutus, and no distinction is made between the Celtic Britons (the “British”) and the Germanic Anglo-Saxons (the “English”); thus, Arthur, once a Welsh prince and enemy of the Saxons, becomes one of the English people’s greatest heroes Romances recorded knightly adventures (“quests”) and honorable deeds, occasionally with a subordinate element of love Their main focus was chivalry, although later romances show the impact of the idea of courtly love These poems recorded the idealized version of the upper-class life: hunting, battles, defending ladies, feasting, reading, playing chess, and other such leisure activities A more traditional division includes the following: the Matter of Britain (Arthur and his Introduction ix knights); the Matter of England (English and Germanic heroes); the Matter of France (Charlemagne); the Matter of Greece and Rome (Alexander the Great and the Trojan War) Each of these provided subject matter for numerous tales of adventure and delight and, occasionally, for moral instruction Marie de France, a late 12th-century woman living in England who wrote in Norman French, composed a series of lais (minstrels’ tales) as well as a number of fables and a life of St Brendan At around the same time, translations of Chrétien de Troyes’s French Arthurian romances, Erec et Enide, Cligès, Yvain, Lancelot, and Perceval (the first Grail quest story), both changed the “Matter of Britain” from legend into literature, and also spread the popularity of the Arthur story Early English romances, such as King Horn (ca 1225), Floris and Blancheflour (early 13th century), Havelok the Dane (ca 1300), were not as complex as the French ones, although some, such as Sir Orfeo (ca 1330), showed development and depth These early Middle English works, however, served to reestablish the vernacular as a language worthy of reading and writing As romances grew more popular, the conventions of courtly love, outlined in the 12th century by the French writer Andreas Capellanus, permeated the culture alongside the ideals of chivalry English writing revived fully in English after 1360 and flowered during the reign of Richard II (1372–99) Ricardian poetry often focused on confession and redemption, a theme aided, no doubt, by the ravages of the Black Death (1348–50), during which more than one-third of Europe’s population died Lyrics and religious verse dominated, although a few Arthurian verse romances surfaced, including the stanzaic Morte d’Arthur and the alliterative Morte d’Arthur The newly emergent Middle English language was not as adaptable to alliterative verse, although the 14th century witnessed a revival thereof in an adapted form Aside from the alliterative Morte d’ Arthur, the so-called 14th-century alliterative revival encompassed such poems as Sir Gawain and the Green Knight, an Arthurian romance that combines spiritual and chivalric values into a complex poem about redemption The Gawain-poet also wrote several other poems—Pearl, Purity (Cleanness), and Patience—in this alliterative style Another well-known work from this era is William Langland’s Piers Plowman, a long, alliterative dream vision about the dangers of the world and concern with salvation The best-known poet of the late 14th century is by far Geoffrey Chaucer, often called the “father of English poetry.” Chaucer wrote in numerous genres, including the ballade, lyric, dream vision, fable, fabliau, hagiography, romance, and others His career culminated with the composition of the unfinished Canterbury Tales, perhaps the greatest collection of stories ever produced in English This frame narrative examines the social and religious milieu of the 14th century in a lively poetic manner and served to firmly (re)establish the vernacular as a language worthy of great poetic achievement Chaucer’s friend and contemporary John Gower wrote in all three major languages of the day—Latin, French, and Middle English, and while his achievement was perhaps not as great as Chaucer’s, he, too, amply demonstrated the flexibility of English verse and the ability of the English imagination Debate poems, such as The Owl and the Nightingale (early 13th century) gained some popularity but were soon eclipsed by the rise of the lyric Lyrics grew from ballads, servant songs, hymns, Christmas carols, and the like They can be divided into two categories— secular and sacred Secular ones tended to be bawdy, rowdy, and lively Religious lyrics focused on the mysteries of religion, especially the Virgin Mary and Christ’s life The vast majority of these lyrics are anonymous Spiritual verse, aside from lyrics, include mystic poems by hermits such as Richard Rolle (ca 1300–49) and various anonymous hagiographies, especially of virgin martyr-saints Most shared the common goals of educating the unlearned to become closer to God, though a few are more explicitly didactic Satiric poems, such as the Land of Cokaygne (late 13th century) were rare but usually well written However, a form of social satire, the fabliau (bawdy tale), grew quite popular in the 14th century and later Another form of satire is found in the beast fable, found in adaptations of Aesop’s fables but also in other forms, such as Chaucer’s “The Nun’s Priest’s Tale.” The 15th century witnessed a distinct falling off in English verse and was dominated by the so-called 500 Index capital vices See seven deadly sins capital virtues 452 cardinal sins See seven deadly sins cardinal virtues 452 “Care-charmer Sleep, son of the sable Night” (Daniel) See Delia: Sonnet 45 (Daniel) “Careful Complaint by the Unfortunate Author, A” (Whitney) 103 carol 104, 271 “The Agincourt Carol” 3–4, 104 ballad compared to 70, 104 burden in 95, 104 “The Cherry-Tree Carol” 104, 111–112 “Corpus Christi Carol” 128 “I Sing of a Maiden” 228 “Jolly Jankyn” 231–232 virelai compared to 450 carpe diem 104, 120–121, 144, 259, 284, 285, 344, 447 Casket Letters (Mary, Queen of Scots) 104–106, 267 Casket Letters: Sonnet (Mary, Queen of Scots) 105 Casket Letters: Sonnet (Mary, Queen of Scots) 105 Casket Letters: Sonnet (Mary, Queen of Scots) 105–106 Casket Letters: Sonnet (Mary, Queen of Scots) 106 Cassandra (Barnfield) 133, 134 Cassian, John 355 Castell of Labour, The (Barclay) 73 Catharine Parr (queen of England) 215 Catherine Howard (queen of England) 215, 428 Catherine of Aragon (queen of England) 128, 129, 159, 160, 214, 266, 282, 331 Catholicism of Constable (Henry) 437 Dowriche (Anne Edgecumbe) on 196–197 under Elizabeth I 160, 161, 175, 177, 389–390, 422–423 Henry VIII and 214–215, 266, 282 Heywood (John) on 70–71 of Mary I 70–71, 160, 266, 389, 476 of Mary (Queen of Scots) 146–148, 266 Southwell (Robert) on 95–96, 422–423 Spenser (Edmund) on 401, 402 Surrey (Henry Howard) on 355 Catullus 88, 285 caudate rhyme See tail rhyme Caxton, William 102, 106–107, 115, 118, 343, 417, 474–475 ceorls 435 Certain Sonnets (Sidney) 107– 109, 335, 408 Certain Sonnets (Sidney) 107, 109 Certain Sonnets (Sidney) 107 Certain Sonnets (Sidney) 107 Certain Sonnets (Sidney) 107–108 Certain Sonnets (Sidney) 108 Certain Sonnets (Sidney) 108 Certain Sonnets 10 (Sidney) 108 Certain Sonnets 11 (Sidney) 108 Certain Sonnets 23 (Sidney) 107 Certain Sonnets 26 (Sidney) 107 Certain Sonnets 30 (Sidney) 108 Certain Sonnets 31: “Thou Blind Man’s Mark” (Sidney) 69, 108–109 Certain Sonnets 32: “Leave me, O Love” (Sidney) 69, 109 Certayne Eglogues (Barclay) 73–74 Cés Ulad 154–155 Chapman, George 217 characteristic lilt 260–261 Charlemagne (king of Franks) 93, 115, 348, 351, 427 Charles d’Orléans, Fortunes Stabilnes 191 Charles IV (king of France) 221 Charles V (Holy Roman Emperor and [as Charles I] king of Spain) 478 charms 110 Chaucer, Geoffrey 110–111, 272, 273 See also English Chaucerians; Scottish Chaucerians and “Alisoun” ballades by 70 and Boccaccio (Giovanni) 87, 100, 111, 204, 219, 244, 309, 342, 441 and Boethius 89, 100, 101, 111, 126, 291, 441, 443 The Book of the Duchess 89– 92, 111, 113, 151, 219, 236, 239, 273, 302, 450 The Canterbury Tales See Canterbury Tales, The (Chaucer) and Charles d’Orléans 191 classical tradition and 117, 118 “The Complaint of Chaucer to his Purse” 121–122, 238, 467 complaints by 121–122, 320, 441 and Dunbar (William) 152, 153, 239 “Envoy to Bukton” 163, 164–165 “Envoy to Scogan” 163, 164, 165 “The Franklin’s Tale” 87, 100, 101, 121, 193–196, 416 General Prologue to the Canterbury Tales See General Prologue to the Canterbury Tales (Chaucer) and Gower (John) 163, 204, 210, 244, 261–262, 469 hagiography by 213 and Henryson (Robert) 216, 279 and Hoccleve (Thomas) 163, 219, 238 The House of Fame 111, 151, 199, 201, 219–220, 273, 450 hyperbole used by 221 and James I (king of Scotland) 236 and Langland (William) 322 The Legend of Good Women 89, 111, 118, 151, 199, 201, 202, 229, 243–245, 255, 302, 353 on lovesickness 254–255 and Lydgate (John) 163, 187, 257 “The Man of Law’s Tale” 87, 100, 123, 249, 261–263, 334, 343 “The Miller’s Tale” 6, 87, 100, 173, 274–276, 316, 340, 482 “The Nun’s Priest’s Tale” 76, 101, 172, 279, 280, 284, 291–293, 316, 343 “The Pardoner’s Tale” 84, 87, 101, 170, 299–300, 305–307, 334, 352 The Parliament of Fowls 87, 111, 151, 236, 273, 303, 307–309, 343, 349 “The Prioress’s Tale” 101, 332–334, 343 “The Reeves Tale” 87, 100, 173, 274, 340–342 rhyme royal used by 111, 165, 308, 332, 343, 441, 443 and Skelton (John) 199 and Spenser (Edmund) 401 and Surrey (Henry Howard) 422 and The Tale of Gamelyn 431 “To Adam, His Scribe” 436 translations by 87, 90, 111, 126, 306, 317, 443 Troilus and Criseyde See Troilus and Criseyde (Chaucer) “Truth” 443 and vernacular 111, 163 Virgin lyrics by 332–333, 450 “The Wife of Bath’s Prologue and Tale” 6, 100, 123, 163, 195, 196, 300, 353, 460, 467–470 Chaucerian stanza See rhyme royal Chaucer Society 99 “Chaucer’s Retraction” (Chaucer) 89, 102 “Cherry-lipped Adonis in his snowy shape” (Barnfield) See Cynthia, with Certain Sonnets: Sonnet 17 (Barnfield) “Cherry-Tree Carol, The” 104, 111–112 Chester, Robert 318, 319 Chestre, Thomas, Sir Launfal 240, 344, 412–414 “Chevrefoil” (Marie de France) 112–113, 243, 264 chiaroscuro 40 chiasmus 4, 41, 52, 55, 62, 113, 373 Child, Francis James 70, 72, 87, 271 Childhood of Jesus, The 111 chivalric oaths 77, 113–114 chivalry 114–116, 347 in Anglo-Norman poetry 115, 290 in Arthurian literature 29, 30, 31, 115, 189, 410, 411 Barbour (John) on 73 Barnfield (Richard) on 135 Chaucer (Geoffrey) on 100, 115, 442 in feudalism 189 Gawain-poet on 28, 31, 114, 189, 203, 410, 411 Henryson (Robert) on 216 in King Horn 235 Sidney (Sir Philip) on 116, 142 Spenser (Edmund) on 116, 178 Wace on 348 Chrétien de Troyes 28, 30 chronicles 73, 93–94, 95, 113, 116, 273, 316, 330, 386, 408 See also Anglo-Saxon Chronicle Churchyard, Thomas 277, 287, 322, 331 Cicero 7, 165, 308, 309, 317, 440, 474 Civilization of the Renaissance in Italy, The (Burckhardt) 156–157 Index 501 classical tradition 7, 81, 116– 119, 156, 158, 302, 440–441 Cleanness 10, 119–120, 203, 312, 409 Clement VII (pope) 214–215 “Clerk’s Tale, The” (Chaucer) 87, 100, 101, 243, 317, 334, 343 “Cock and the Fox, The” (Henryson) See Morall Fabillis: “The Cock and the Fox” (Henryson) “Cock and the Jasp, The” (Henryson) 279 Codex Exoniensis See Exeter Book Codex Regius 299 Coleridge, Samuel Taylor 359 Colonne, Guido delle 117, 257, 441, 442 “Come, let me write ‘And to what end?’ To ease” (Sidney) See Astrophil and Stella: Sonnet 34 (Sidney) “Come away, come sweet love” (Dowland) 104, 120–121 “Come sleep! O sleep the certain knot of peace” (Sidney) See Astrophil and Stella: Sonnet 39 (Sidney) comitatus 121, 150, 456, 458 Commedia (Dante) See Divine Comedy (Dante) “Comming to kisse her lyps— such grace I found” (Spenser) See Amoretti: Sonnet 64 (Spenser) complaint 121, 168, 445 by Barnfield (Richard) 133, 134 by Chaucer (Geoffrey) 121–122, 320, 441 by Gascoigne (George) 474 by Gower (John) 124 by Langland (William) 329, 330 in pastourelle 311 by Raleigh (Sir Walter) 69, 287 by Shakespeare (William) 121, 252, 398, 401 by Sidney (Sir Philip) 65, 66 by Spenser (Edmund) 185 by Whitney (Isabella) 103 by Wyatt (Sir Thomas) 276, 277 “Complaint by Night of the Lover Not Beloved, A” (Surrey) See “Alas so all things now hold their peace ” (Surrey) “Complaint of Chaucer to his Purse, The” (Chaucer) 121– 122, 238, 467 Compleat Angler, The (Walton) 293 concatenatio 314–315 conceit 122, 420 by Campion (Thomas) 89 by Daniel (Samuel) 142, 143, 144 by Davies (Sir John) 212 by Drayton (Michael) 223, 224 by Gascoigne (George)   473 by Shakespeare (William) 372, 379, 384, 388 by Sidney (Sir Philip) 41, 43, 44, 52, 55, 64, 141, 421 by Skelton (John) 237 by Spenser (Edmund) 8, 16, 17, 19, 20, 21, 22, 175 by Wyatt (Sir Thomas) 122, 283 Confessio Amantis (Gower) 122–125, 210 and Chaucer (Geoffrey) 100, 123, 204, 262, 469 dream vision in 273 and Hoccleve (Thomas) 219 Ovid and 118, 123, 124, 302 Trojan War in 117 and The Weddynge of Sir Gawen and Dame Ragnell 460, 469 confessional poem 238 consolatio (consolation) 125, 145 Consolation of Philosophy, The (Boethius) 87, 125–127 and Chaucer (Geoffrey) 100, 111, 441, 443 Fortune in 126, 190, 236, 278 and James I 236 lament in 239 Orpheus in 416 translation of 6, 26, 111, 267–268 Constable, Henry 127 “To St Mary Magdalen” 436–437 Constantine the African 254 contempt for the world 127, 298 contemptus mundi 127 contrasto 311 “Cook’s Tale, The” (Chaucer) 100, 173, 340, 431 Copernican theory of universe 420 Copy of a Letter, The (Whitney) 2, 228, 444, 464 corona 127–128, 142, 144 “Corpus Christi Carol” 128, 271 Cotton, Sir Robert 128 Cotton Nero A.x 119, 203, 312, 409 Cotton Vitellius A.xv 26, 77, 128, 170, 232 Countess of Pembroke’s Arcadia, The (Sidney) 34, 43, 107, 109, 116, 117, 398, 408 couplet 129, 163, 335, 424, 425 court culture 129–130 See also patronage Chestre (Thomas) on 413–414 in fabliau 172 Gascoigne (George) on 202, 356 Gawain-poet on 203, 409–412 Greville (Sir Fulke) on 98 in King Horn 235 Marlowe (Christopher) on 310 Raleigh (Sir Walter) on 247 satires on 352 Shakespeare (William) on 380 Sidney (Sir Philip) on 47, 130, 142, 421 Wyatt (Sir Thomas) on 276, 277, 424–425, 465 courtly love 129, 130–131, 273 in “Alisoun” Andreas Capellanus on 32 Aneirin on 482 in Arthurian literature 30, 130, 409–412, 413–414 Barbour (John) on 94 Barnfield (Richard) on   134 Blind Hary on 455 Charles d’Orléans on 191 Chaucer (Geoffrey) on 100, 274, 275, 292 Dafydd ap Gwilym on 443 Elizabeth I and 130, 131, 161 in “Foweles in the Frith” 192 Gower (John) on 210 hagiography and 213 Henryson (Robert) on 216, 344 in “In Praise of Mary” 227 lovesickness in 254 Marie de France on 159, 241 Reynard literature on 343 Sidney (Sir Philip) on 47 Skelton (John) on 473 in sonnets 420 Spenser (Edmund) on 16, 17 Surrey (Henry Howard) on 297 Wyatt (Sir Thomas) on 23, 84–85, 250, 259, 297, 419, 435 Crowley, Robert 131–132 and Langland (William) 322, 331 “Of Unsaciable Purchasers” 295–296 translations by 464 “Crowned King, The” 132–133, 330 Crusades 115 Cú Chulainn 77, 133, 154–155 Cultural Materialist critics 157 “Cupid lay by his brand and fell asleep” (Shakespeare) See Shakespeare’s sonnets: Sonnet 153 “Curious wits, seeing dull pensiuenesse, The” (Sidney) See Astrophil and Stella: Sonnet 23 (Sidney) Cynewulf 1, 26, 171 Cynthia, with Certain Sonnets (Barnfield) 74, 133–137 Cynthia, with Certain Sonnets: Sonnet (Barnfield) 134, 135 Cynthia, with Certain Sonnets: Sonnet (Barnfield) 135 Cynthia, with Certain Sonnets: Sonnet (Barnfield) 135 Cynthia, with Certain Sonnets: Sonnet 11 (Barnfield) 135–136 Cynthia, with Certain Sonnets: Sonnet 13 (Barnfield) 136 Cynthia, with Certain Sonnets: Sonnet 14 (Barnfield) 136 Cynthia, with Certain Sonnets: Sonnet 17 (Barnfield) 137 Cynthia, with Certain Sonnets: Sonnet 19 (Barnfield) 137 cywydd 137, 138, 332, 442 D dactylic foot Dafydd ap Gwilym 137, 138– 139, 332 “Trouble in a Tavern” 442–443 Daniel, Samuel 139 Delia 139, 142–145 and Drayton (Michael)   223 ekphrasis used by 158 and Herbert (Mary Sidney) 139, 216 danse macabre 239, 240 Dante Alighieri 8, 11, 100, 103, 111, 126, 170, 219, 220, 308, 309, 341, 415, 426, 436, 440 502 Index Dark Lady 139–140, 358, 390, 391, 395, 396, 397, 400, 401, 421 Darnley, Henry, Lord 104, 146, 266, 267 Davies, Sir John 140 Gullinge Sonnets 140, 212 and Herbert (Mary Sidney) 216 dawn song See alba “Death of Robin Hood, The.” See “Robin Hood’s Death and Burial” Decameron (Boccaccio) 87, 100, 193, 204, 317, 342 Defense of Poesy, The (Sidney) 43, 49, 51, 63, 127, 140–142, 166, 288, 401, 408 deibide 300, 304 Delia (Daniel) 139, 142–145 Delia: Sonnet (Daniel) 145 Delia: Sonnet (Daniel) 143–144 Delia: Sonnet 31 (Daniel) 144 Delia: Sonnet 32 (Daniel) 144 Delia: Sonnet 33 (Daniel) 144 Delia: Sonnet 34 (Daniel) 144 Delia: Sonnet 45 (Daniel) 144– 145, 163 “Deliver me from my enemies” (Herbert) See Sidneian Psalms: Psalm 59 (Herbert) “Deor” 125, 145, 171, 239, 352, 466, 477 “De principe bono et malo” (More) 146, 282 “Description of Spring, Wherein Every Thing Renews, Save Only the Lover” (Surrey) See “Soote Season, The” (Surrey) “Descriptions of the contrarious passions in a lover” (Wyatt) See “I find no peace, and all my war is done” (Wyatt) “Desire, though thou my old companion art” (Sidney) See Astrophil and Stella: Sonnet 72 (Sidney) Destruction of Troy, The 10, 117 “Deus Deorum.” See Sidneian Psalms: Psalm 50 (Herbert) Devereux, Penelope 36, 38–39, 49, 51, 53, 62, 63, 74, 408, 421 Devonshire Manuscript 297 “Devouring Time, blunt thou the lion’s paws” (Shakespeare) See Shakespeare’s sonnets: Sonnet 19 Dialogues (Gregory the Great) 6, 170 Diana (Constable) 127, 436 “Diana—on a time—walking the wood” (Barnfield) See Cynthia, with Certain Sonnets: Sonnet (Barnfield) didactic romance 346 Discovery of Guiana (Raleigh) 288 “Divers doth use” (Wyatt) 146 Divine Comedy (Dante) 8, 100, 103, 220, 308, 309, 341 Domesday Book, The 290 “Domine Probasti.” See Sidneian Psalms: Psalm 139 (Herbert) Donne, John 54, 217, 224, 310, 403, 421 “Doubt of Future Foes, The” (Elizabeth I) 146–148 “Doubt which ye misdeeme, fayre love, is vaine, The” (Spenser) See Amoretti: Sonnet 65 (Spenser) Douglas, Gavin 69, 118, 148, 215, 352, 450 Douglas, James 93, 94 Dowland, John 148–149 “Come away, come sweet love” 104, 120–121 Dowriche, Anne Edgecumbe 149, 444 The French History 149, 196–197 Drayton, Michael 149, 277 and Barnfield (Richard) 74 Ideas Mirrour 149, 223–225 Idea the Shepheards Garland 149, 223, 225 on New World 288 Dream of Scipio (Cicero) 308, 309 Dream of the Rood, The 1, 27, 95, 149–151, 198, 350, 462 dream vision 9, 151–152, 272, 273 by Barnfield (Richard) 133 by Blind Hary 455 by Charles d’Orléans 191 by Chaucer (Geoffrey) 89, 90, 91–92, 151, 204, 219, 220, 243, 307 in “The Crowned King” 132 by Douglas (Gavin) 148 in The Dream of the Rood 95, 150, 198, 350 by English Chaucerians 163 by Henryson (Robert) 281 by James I 230, 236 by Langland (William) 151, 273, 283, 310, 320–330 in Mum and the Sothsegger 283 in Pearl 151, 312, 314 by Skelton (John) 199, 201 Druids 133 Dunbar, William 152–153, 274 aureation used by 69 and Blind Hary 86 and flyting 153, 190 and Henryson (Robert) 215, 216 “Lament for the Makaris” 153, 215, 237, 239–240, 353 rhyme royal used by 343 satires by 352 as Scottish Chaucerian 153, 352, 353 Dyce, Alexander 200 Dyer, Edward 107 E eardstapa 456 early Irish sagas 133, 154–155, 296 early Irish verse 155–156, 211 early modern v Renaissance 156–158 “Earth upon Earth.” See “Erthe toc of the Erthe with woh” Easter Sonnet (Spenser) See Amoretti: Sonnet 68 (Spenser) eclogue 158 See also pastoral Eclogues (Virgil) 28, 74, 118, 158, 173, 450 ecphrasis See ekphrasis Eddas See Old Norse/Icelandic Eddas and sagas Edgecumbe, Anne See Dowriche, Anne Edgecumbe Edgerton manuscript 434 Edmund of Abingdon 290 Edward I (king of England) 93, 345, 439–440, 455, 456 Edward II (king of England) 208, 345 Edward III (king of England) 24, 25, 84, 110, 208, 221, 277, 323, 408 Edward IV (king of England) 208, 458–459 Edward VI (king of England) 129–130, 159, 215, 266 Egerton manuscript 478 ego 48 ekphrasis 19, 158 Elder Edda 299 elegy 158–159, 445 by Chaucer (Geoffrey) 89 consolatio in 125 by Henryson (Robert) 344 by Herbert (Mary Sidney) 402, 437 pastoral 158, 159, 225,   418 by Raleigh (Sir Walter) 336 “The Ruin” 159, 349 “The Seafarer” 353 by Skelton (John) 318 by Spenser (Edmund) 159, 401 by Surrey (Henry Howard) 418, 419 “The Wanderer” 158–159, 456, 457 “The Wife’s Lament” 470, 471 “Wulf and Eadwacer” 477 “Elegy on the Duke of Richmond” (Surrey) See “So Cruel Prison” (Surrey) “Eliduc” (Marie de France) 159, 264 Elizabethan sonnet See English sonnet Elizabeth I (queen of England) 130, 159–162, 215 and Barnfield (Richard) 74, 133, 134 and Campion (Thomas) 130 and courtly love 130, 131, 161 and Davies (Sir John) 140 “The Doubt of Future Foes” 146–148 and Dowland (John) 148 and Drayton (Michael) 225 and Gascoigne (George) 202, 256 and Greville (Sir Fulke) 98, 211 and Herbert (Mary Sidney) 130, 168, 169, 174, 216, 403, 404, 438, 444 and James I (king of England and [as James VI] of Scotland) 230 and Mary I 159, 160, 266, 475, 476 and Mary, Queen of Scots 146–148, 160, 161, 266 “On Monsieur’s Departure” 161, 301–302 panegyrics for 304 and Raleigh (Sir Walter) 130, 247, 268–269, 336 and role of women 157 and Shakespeare (William) 162, 319, 357, 389–390, 449 and Sidney (Sir Philip) 44, 53, 62, 69, 130, 142, 408, 421 and Southwell (Robert) 422–423 and Spenser (Edmund) 22, 23, 31, 130, 133, 161, 173, 174, 176, 184, 268, 269, 401, 402, 421, 424, 444 in Tower of London 160, 439, 475 translations by 87, 126 unmarried status of 160– 161, 301, 462–463 on Venus and Adonis 185, 448 “When I Was Fair and Young” 462–463 Index 503 as writer 146–148, 159, 160, 161, 301–302, 444, 462–463, 475–476 “Written on a Window Frame [or Wall] at Woodstock” and “Written with a Diamond” (Elizabeth I) 444, 475–476 Ellesmere manuscript 102 Emaré 243, 344, 346 emblem 139, 162, 197, 401, 464 encomium 13, 162, 304 Encomium of Lady Pecunia, The (Barnfield) 74 endecasillabo 85 Eneados (Douglas) 148 England’s Helicon 120, 293, 309, 310 English and Scottish Popular Ballads (Child) 70, 72, 87 English Chaucerians 162–163 English sonnet 163, 420 See also Spenserian sonnet by Barnfield (Richard) 134 by Constable (Henry) 437 by Daniel (Samuel) 142 by Drayton (Michael) 223, 224, 225 by Greville (Sir Fulke) 98 quatorzains in 335 by Raleigh (Sir Walter) 268, 416 by Shakespeare (William) 163, 188, 358, 361–364, 373, 377, 379–381, 384, 390, 401, 421 by Sidney (Sir Philip) 35, 39–41, 48, 50, 58, 59, 62, 109, 188, 335 by Surrey (Henry Howard) 4, 34, 163, 255, 355, 429 volta in 452 by Wyatt (Sir Thomas) 163, 283, 479 enjambment 65, 145, 163 “Entre ses mains & en son plein” (Mary, Queen of Scots) See Casket Letters: Sonnet (Mary, Queen of Scots) “Enuious wits, what hath bene mine offence” (Sidney) See Astrophil and Stella: Sonnet 104 (Sidney) envoi (envoy) 70, 103, 121, 163, 164, 165, 167, 187, 191, 354–355, 443 “Envoy to Bukton” (Chaucer) 163, 164–165 “Envoy to Scogan” (Chaucer) 163, 164, 165 eorls 435 epic 113, 114, 165–166 See also epyllion epic romance 346 epigram 89, 146, 162, 166, 282, 293, 296, 419 “Epitaphe on Sir Philip Sidney, An” (James VI) 166 Epithalamion (Spenser) 11, 13, 16, 167–168, 421, 424 epithalamium 71 epode 427 epyllion 168, 217, 265 “Erthe toc of the Erthe with woh” 127, 168 estates satire 122, 124, 207, 283, 351–352, 435 “Et maintenant elle commence voir” (Mary, Queen of Scots) See Casket Letters: Sonnet (Mary, Queen of Scots) eucrasia 191 “Even now that Care” (Herbert) 168–169, 403, 404, 444 “Ever living God the mighty lord, The” (Herbert) See Sidneian Psalms: Psalm 50 (Herbert) exegesis 23, 102, 169–170, 193, 216, 260, 323, 462 exemplum 170 by Chaucer (Geoffrey) 100, 170, 195, 292, 305–306, 334, 469 in Cleanness 119–120 by Gower (John) 34 by Langland (William) 320 by Lydgate (John) 34 by Mannyng (Robert) 214 by Shakespeare (William) 337 by Sidney (Sir Philip) 142 Exeter Book 26, 27, 145, 170– 171, 239, 349, 353, 456, 466, 470, 476, 477 “Expense of spirit in a waste of shame, Th’“ (Shakespeare) See Shakespeare’s sonnets: Sonnet 129 F fable 172 See also beast fable by Chaucer (Geoffrey) 100, 101–102, 172, 343 as exemplum 170 by Henryson (Robert) 172, 215, 278–282 by Marie de France 76, 172, 264, 292, 343 by Spenser (Edmund) 402 Fables (Aesop) 76, 118, 172, 257, 273, 278, 279, 292, 468 fabliau 172–173, 272, 273 by Chaucer (Geoffrey) 100, 101, 173, 204, 273, 275, 276, 341, 342, 442 “Get up and bar the door” 210 Faerie Queene, The (Spenser) 173–186, 425 alexandrine in as allegorical narrative Amoretti compared to 12, 13, 16 on Arthur 29, 31 author’s progress on 11, 22, 23, 424 canto in 103, 424 carpe diem in 104 chivalry in 116, 178 on Elizabeth I 22, 23, 31, 133, 161, 173, 174, 176, 184, 268, 424, 444 as epic 166, 424 Raleigh (Sir Walter) on 268–269, 424 on seven deadly sins 179, 356 on Spanish Armada 423 on virtues 452 Faerie Queene, The: Book (Spenser) 173, 174, 175, 178–181, 184 Faerie Queene, The: Book (Spenser) 174, 175–176, 181–184 Faerie Queene, The: Book (Spenser) 174, 176–177, 184–186 Faerie Queene, The: Book (Spenser) 174, 177 Faerie Queene, The: Book (Spenser) 174, 177–178 Faerie Queene, The: Book (Spenser) 174, 178 Faerie Queene, The: Book (Spenser) 174 “Fair is my love, and cruel as she’s fair” (Daniel) See Delia: Sonnet (Daniel) Fair Youth (Fair Lord) See Lovely Boy Fall of Princes, The (Lydgate) 89, 101, 186–187, 191, 258, 277 “Farewell: thou art too dear for my possessing” (Shakespeare) See Shakespeare’s sonnets: Sonnet 87 “Farewell False Love” (Raleigh) 187 “Farewell Love, and all thy laws for ever!” (Wyatt) 188, 479 femineus amor 254 feminist critics on Chaucer (Geoffrey) 90, 91, 92, 102, 263, 275–276, 342, 442, 468, 469–470 on Floris and Blauncheflur 190 on Gower (John) 125 on Judith 233 on Langland (William) 328 on Marie de France 83, 264 on Renaissance 157 on Shakespeare (William) 449 on Sidney (Sir Philip) 289 on Sir Gawain and the Green Knight 412 on Skelton (John) 318 on Spenser (Edmund) 181 on “The Wife’s Lament” 471 on “Wulf and Eadwacer” 478 on Wyatt (Sir Thomas) 146 feudalism 156, 290, 323, 326 See also three estates feudal oaths 131, 188–189, 240, 290 “Fie, school of Patience, fie, your lesson is” (Sidney) See Astrophil and Stella: Sonnet 56 (Sidney) Field, Richard 448 fili 155 First Examynacyon, The (Askew) 71 Fled Bricrenn 154 Floris and Blauncheflur 189– 190, 255, 346 Flower and the Leaf, The 152 “Fly, fly, my friends, I have my death-wound, fly” (Sidney) See Astrophil and Stella: Sonnet 20 (Sidney) flyting 190, 287 Flyting of Dunbar and Kennedy, The 153, 190 Flyting with Kennedy, The 153 folk ballads See ballad (folk ballads) formal alliterative poems 9–10, 11 Formulary (Hoccleve) 219 Fortune 190–191 Fortunes Stabilnes (Charles d’Orléans) 191 “Forward violet thus did I chide, The” (Shakespeare) See Shakespeare’s sonnets: Sonnet 99 four humors 54, 191–192, 206, 254, 291, 380–381 fourteeners 192 “Foweles in the Frith” 192– 193, 272 “Fox and the Wolf, The” (Henryson) See Morall Fabillis: “The Fox and the Wolf” (Henryson) frame narrative 87, 99, 100, 111, 193, 204 Francis I (king of France) 419, 428 “Franklin’s Tale, The” (Chaucer) 87, 100, 101, 121, 193–196, 416 504 Index Frauenlied 470, 478 French History, The (Dowriche) 149, 196–197 French language 23–24, 124, 191, 210, 240, 270, 290,   348 Freud, Sigmund 48 “Friar’s Tale, The” (Chaucer) 100 Froissart, Jean 164 “From fairest creatures we desire increase” (Shakespeare) See Shakespeare’s sonnets: Sonnet “From you have I been absent in the spring” (Shakespeare) See Shakespeare’s sonnets: Sonnet 98 “Full many a glorious morning have I seen” (Shakespeare) See Shakespeare’s sonnets: Sonnet 33 Fumerton, Patricia 36 futhark alphabet 94–95, 197– 198, 296, 298, 350 fyttes 208 G Galen 254 Garland of Laurel (Skelton) 129, 199–202, 417 Garland of Laurel: “To Margery Wentworthe” (Skelton) 200 Garland of Laurel: “To Mistress Isabell Pennel” (Skelton) 200–201 Garland of Laurel: “To Mistress Jane Blennerhasset” (Skelton) 201 Garland of Laurel: “To Mistress Margarete Hussey” (Skelton) 201–202 Garnet, Henry 422 “Garwuf” (Marie de France) See “Bisclavret” (Marie de France) Gascoigne, George 202–203 “Lullabie” 256 Piers Plowman tradition and 331 and Raleigh (Sir Walter) 336 “Seven Sonnets for Alexander Neville” 356–357 “Woodmanship” 473–474 Gawain 28, 29, 30, 31, 77, 115, 189, 346, 409–412, 414, 459–460 Gawain Cycle 115, 273, 299, 412 Gawain-poet 28, 86, 119, 151, 203, 312, 409, 426 gender critics on Chaucer (Geoffrey) 92, 102, 276, 442 on Shakespeare (William) 359, 366–367, 449 on Sidney (Sir Philip) 289 on Sir Gawain and the Green Knight 412 on Skelton (John) 318 on Wyatt (Sir Thomas) 434 General Prologue to the Canterbury Tales (Chaucer) 203–208 blazon in 85 descriptions in 99, 100, 101, 261, 292, 306–307, 340, 467 on four humors 192 locus amoenus in 422 Lollardism in 330 personification in 316–317 physiognomy in 319 as satire 204, 207, 208, 320, 351, 435 on social class 195, 435 Geoffrey of Monmouth 28, 29, 30, 95, 348 Georgics (Virgil) 173, 416, 450 Geste des Bretons (Wace) See Roman de Brut (Wace) Gest of Robyn Hode, A 208–209, 345 “Get up and bar the door” 190, 209–210 Giovo, Paolo 139 gnomic verse See Anglo-Saxon riddles Golding, Arthur 302, 373 Goodeere, Sir Henry 149 Gower, John 25, 210, 351 and Charles d’Orléans 191 and Chaucer (Geoffrey) 163, 204, 210, 244, 261–262, 469 classical tradition and 117, 118 Confessio Amantis See Confessio Amantis (Gower) and Dunbar (William) 153 and James I (king of Scotland) 236 on Peasants’ Revolt 316 and Skelton (John) 199 and Surrey (Henry Howard) 34 Graelent 412 “Grave Marked with Ogham, A” 211, 296 Great Rising/Great Revolt See Peasants’ Revolt (1381) Greenblatt, Stephen 183 Gregory the Great (pope) 6, 170, 269–270, 355–356, 426 Greville, Sir Fulke 211 Caelica 97–98, 211 and Sidney (Sir Philip) 211, 407, 408 “Grief, find the words; for thou hast made my brain” (Sidney) See Astrophil and Stella: Sonnet 94 (Sidney) “Guigemar” (Marie de France) 211–212, 242, 264 “Guildeluec and Guilliadun” (Marie de France) See “Eliduc” (Marie de France) Guillaume de Lorris 32, 306, 309 “Gull, The” (Dafydd ap Gwilym) 138 Gullinge Sonnets (Davies) 140, 212 Gwerful Mechain 461 H hagiography 213, 273 Anglo-Saxon 26, 233 on Arthur 30 by Chaucer (Geoffrey) 100, 101, 263 as exemplum 170 and romance 213, 346 half-line 9, 26, 95, 98, 213, 228, 477 Handlyng Synne (Mannyng) 213–214, 261 Hansen, Elaine Tuttle 470 “Happy ye leaves when as those lilly hands” (Spenser) See Amoretti: Sonnet (Spenser) “Hávamál” 299 “Having this day my horse, my hand, my lance” (Sidney) See Astrophil and Stella: Sonnet 41 (Sidney) Heneage, Sir Thomas 187 Hengwrt manuscript 102 Heninger, S K 293, 294 Henry I (king of England) 25, 189 Henry II (king of England) 290, 302 Henry III (king of England) 302 Henry IV (king of England) 24, 25, 121, 125, 164, 165, 210, 230, 249, 282 Henry V (king of England) 3–4, 132, 219, 230 Henry VI (king of England) 92, 440, 458 Henry VII (king of England) 129, 417, 459 Henry VIII (king of England) 129, 214–215, 266 “Corpus Christi Carol” on 128 “The Holly and the Ivy” by 104 and More (Sir Thomas) 282 and Skelton (John) 215, 352, 417, 445 and Surrey (Henry Howard) 33–34, 418, 428–429, 463, 479 and Wyatt (Sir Thomas) 188, 215, 283, 285, 419, 424–425, 430, 434, 453, 466, 478 Henryson, Robert 215–216, 352, 353 aureation used by 69, 216 “The Bludy Serk” 86 and Boccaccio (Giovanni) 87, 433 and Dunbar (William) 152, 215, 216 The Morall Fabillis of Esope the Phrygian 76, 86, 215–216, 278–282 rhyme royal used by 216, 343 “Robene and Makyne” 104, 216, 311, 344 The Testament of Cresseid 216, 353, 433, 447 Henry the Minstrel See Blind Hary heptameter 192 Herbert, Mary Sidney 216–217, 444 and Daniel (Samuel) 139, 142, 143, 216 and Drayton (Michael) 223, 225 “Even now that Care” 168– 169, 403, 404, 444 Sidneian Psalms 109, 168–169, 216, 402–407, 437–438, 444 and Sidney (Sir Philip) 35, 216, 402–407, 408, 437–438 “To Thee Pure Sprite” 216, 402, 437–438 “To the Thrice-Sacred Queen Elizabeth” 438–439 translations by 109, 168– 169, 216–217, 402–407, 437–438 “Here, hold this glove—this milk-white cheverel glove” (Barnfield) See Cynthia, with Certain Sonnets: Sonnet 14 (Barnfield) Herebert, William, “What is he, this lordling, that cometh from the fyht” 461–462 hermeneutical Latin Hero and Leander (Marlowe) 168, 217–218, 265, 310, 448 heroic couplet 129, 218, 222, 425 Heroic Cycle 154 heroic quatrain 425 Heroides (Ovid) 2, 103, 217, 229, 245, 302 hexameter 1, Heywood, John 266 “A Ballad on the Marriage of Philip and Mary” 70–71 Index 505 Higdon, Ranulph 118 Historia Brittonum (Nennius) 28, 29, 432, 481 Historia destructionis Troiae (Collona) 117, 257, 441, 442 Historia Regum Britanniae (Geoffrey of Monmouth) 28, 95, 348 History of King Richard III (More) 282 Hoccleve, Thomas 118, 218– 219, 352 and Chaucer (Geoffrey) 163, 219, 238 envois by 163 La Male Règle 219, 238–239 “Holly and the Ivy, The” (Henry VIII) 104 Holy Sonnets (Donne) 421 Homer 7, 174, 433 homophobia 307 “Honeysuckle, The” (Marie de France) See “Chevrefoil” (Marie de France) Hopkins, John 464 Horace 7, 104, 164, 165, 351, 355, 374, 387, 447 hortus inclusus 248 House of Fame, The (Chaucer) 111, 151, 199, 201, 219–220, 273, 450 Howell, Andrew 246 “How like a winter hath my absence been” (Shakespeare) See Shakespeare’s sonnets: Sonnet 97 “How oft when thou, my music, music play’st” (Shakespeare) See Shakespeare’s sonnets: Sonnet 128 Huguenots 196–197, 336, 408 humanist movement 440 Hundred Years’ War (1337– 1453) 3–4, 24, 110, 132, 221, 277, 316, 408 Hundreth Sundrie Flowres, A (Gascoigne) 202, 256, 356 hyperbole 15, 64, 65, 200, 221, 273, 332, 370, 383, 384, 392 I iambic foot 1, 222 iambic hexameter iambic pentameter 85, 222, 295, 419 “I Care Not for These Ladies” (Campion) 88, 222–223 Icelandic Eddas See Old Norse/ Icelandic Eddas and sagas id 48 Ideas Mirrour (Drayton) 149, 223–225 Ideas Mirrour: Sonnet (Drayton) 224 Ideas Mirrour: Sonnet (Drayton) 224 Ideas Mirrour: Sonnet 12 (Drayton) 223–224 Ideas Mirrour: Sonnet 13 (Drayton) 224 Ideas Mirrour: Sonnet 61 (Drayton) 223, 224–225 Ideas Mirrour: Sonnet 63 (Drayton) 225 Idea the Shepheards Garland (Drayton) 149, 223, 225 identity romances 346 Idylls of the King, The (Tennyson) 29 “I find no peace, and all my war is done” (Wyatt) 225–226, 331 “If my dear love were but the child of state” (Shakespeare) See Shakespeare’s sonnets: Sonnet 124 “I Have a Gentil Cok” 226–227 Iliad (Homer) 174, 433 “I might—unhappy word—O me, I might” (Sidney) See Astrophil and Stella: Sonnet 33 (Sidney) “I never drank of Aganippe well” (Sidney) See Astrophil and Stella: Sonnet 74 (Sidney) “In faith, I not love thee with mine eyes” (Shakespeare) See Shakespeare’s sonnets: Sonnet 141 informal alliterative poems 10 Inglis (language) 274 Inglis, Esther 444 “In his hands and in his full power” (Mary, Queen of Scots) See Casket Letters: Sonnet (Mary, Queen of Scots) “In loving thee thou know’st I am forsworn” (Shakespeare) See Shakespeare’s sonnets: Sonnet 152 “In martial sports I had my cunning tried” (Sidney) See Astrophil and Stella: Sonnet 53 (Sidney) “In nature apt to like when I did see” (Sidney) See Astrophil and Stella: Sonnet 16 (Sidney) “In Praise of Mary” 227 inscriptio 162 “In Te Domini Speravi.” See Sidneian Psalms: Psalm 71 (Herbert) “In that proud port, which her so goodly graceth” (Spenser) See Amoretti: Sonnet 13 (Spenser) “In the old age black was not counted fair” (Shakespeare) See Shakespeare’s sonnets: Sonnet 127 “I on my horse, and Love on me doth try” (Sidney) See Astrophil and Stella: Sonnet 49 (Sidney) “I Sing of a Maiden” 227–228, 271, 272, 451 Italian sonnet 163, 228, 419, 420, 421 by Barnfield (Richard) 134 by Constable (Henry) 127 octave in 295 sestet in 354 by Shakespeare (William) 362, 363, 382, 385, 386, 401 by Sidney (Sir Philip) 35, 38–44, 46, 49, 51–55, 57, 59, 60, 62–68, 109 by Spenser (Edmund) 11–23 by Surrey (Henry Howard) 228, 464 volta in 452 by Wyatt (Sir Thomas) 226, 228, 250, 332, 425, 465, 479 “It is most true that eyes are formed to serve” (Sidney) See Astrophil and Stella: Sonnet (Sidney) “It is reported of fair Thetis’ son” (Barnfield) See Cynthia, with Certain Sonnets: Sonnet (Barnfield) “I W To Her Unconstant Lover” (Whitney) 2, 228–229 and Shakespeare (William) 357 “A Sonnet on Ticho Brahe” 420 Jane Seymour (queen of England) 160, 200, 215, 418, 428 Jean II See John II (king of France) Jean de Meun 32, 306, 309 “Jesus, My Sweet Lover” 231 John II (king of France) 408 “Jolly Jankyn” 231–232, 271 Jones, Richard 464 Jonson, Ben 162, 421 Judith 114, 232–233 Junius manuscript 26, 170 Juvenal 351 K Kahn, Coppelia 337 Kelly-Gadol, Joan 157 Kennedy, Walter 153, 190 kenning 26, 97, 234, 299 Kiernan, Kevin 79 King Horn 189, 234–235, 346 Kingis Quair, The (James I) 163, 230, 236, 343 Knighton, Henry 84 “Knight’s Tale, The” (Chaucer) 100, 239, 254–255, 257, 275, 316, 340, 443 “Knolege, Aquayntance, Resort, Fauour with Grace” (Skelton) 237 Knox, John 266, 267 Kyd, Thomas 265, 287 Kyng Alisaunder 118 kyrielle 232, 237, 239 J L Jaggard, William 358 James I (king of Scotland) 215, 230, 352 The Kingis Quair 163, 230, 236, 343 James III (king of Scotland) 281–282, 454 James IV (king of Scotland) 152 James VI (king of Scotland)/ James I (king of England) 230–231 “The Bonny Earl of Murray” on 88 and Davies (Sir John) 140 “An Epitaphe on Sir Philip Sidney” 166 and Greville (Sir Fulke) 211 and Herbert (Mary Sidney) 217 and Mary, Queen of Scots 266 and Raleigh (Sir Walter) 336 laboratores 435 Lady of May (Sidney) 408 lai See lay La Male Règle (Hoccleve) 219, 238–239 lament 158, 239, 447 See also alba; complaint; elegy in Beowulf 79, 239 by Chaucer (Geoffrey) 90, 165, 239, 244, 245, 291, 340, 442 in “Deor” 145, 239, 352 by Drayton (Michael) 225 by Gascoigne (George) 256 by Gower (John) 122 by Herbert (Mary Sidney) 438 by Malory (Sir Thomas) 115 in “My Lief is Faren in Londe” 283 in “The Old Woman of Beare” 300–301 506 Index lament (continued) by Shakespeare (William) 239, 252, 318, 337, 369, 370, 371, 373, 382, 448 by Sidney (Sir Philip) 47, 48, 55, 63, 67 by Skelton (John) 318 by Spenser (Edmund) 185, 239 by Surrey (Henry Howard) 297, 418, 419, 464 by Vaughan Lock (Anne) 267 in “The Wife’s Lament” 470 in “The Wily Clerk” 472 in “Wulf and Eadwacer” 476 by Wyatt (Sir Thomas) 146, 424, 465 “Lament for the Makaris” (Dunbar) 153, 215, 237, 239–240, 353 Landevale 412 Land of Cockaygne 352 Langland, William 240 Piers Plowman See Piers Plowman (Langland) and St Erkenwald 426 “Lanval” (Marie de France) 30, 240–241, 264, 412 Latin (language) alphabet of 197 Boccaccio (Giovanni) using 87 Gower (John) using 210 hermeneutical prestige of 124, 449 and vernacular 449 Virgin lyrics in 451 Lattre Examynacyon, The (Askew) 71 “Laüstic” (Marie de France) 241–242, 264 lay 242–243 by Chaucer (Geoffrey) 91, 100, 101, 195, 243, 347, 416 by Marie de France 30, 82–83, 112–113, 159, 211–212, 240–242, 243, 264 Sir Orfeo 414–416 by Spenser (Edmund) 167 Layamon 29–30, 243 The Brut 10, 95, 243 classical tradition and 117 “Leave me, O Love” (Sidney) See Certain Sonnets 32: “Leave me, O Love” (Sidney) leechbooks 110 legenda 213 Legend of Good Women, The (Chaucer) 89, 111, 118, 151, 199, 201, 202, 229, 243–245, 255, 302, 353 Leicester, Robert Sidney, earl of 216, 245–246, 424 “Lenten ys come with love to toune” 246–247, 271, 343 “Lenvoy de Chaucer a Bukton” (Chaucer) See “Envoy to Bukton” (Chaucer) “Lenvoy de Chaucer a Scogan” (Chaucer) See “Envoy to Scogan” (Chaucer) Leofric (bishop) 170–171 “Let dainty wits crie on the Sisters nine” (Sidney) See Astrophil and Stella: Sonnet (Sidney) “Let me not to the marriage of true minds” (Shakespeare) See Shakespeare’s sonnets: Sonnet 116 “Let not my love be called idolatry” (Shakespeare) See Shakespeare’s sonnets: Sonnet 105 “Letter to Raleigh” (Spenser) 173–174, 175, 178, 268 “Levavi Oculos.” See Sidneian Psalms: Psalm 121 (Herbert) Lewis, C S 133 Liber Exoniensis See Exeter Book “Lie, The” (Raleigh) 247 Life of Jack Wilton, The (Nashe) 287 Life of the Renowned Sir Philip Sidney, The (Greville) 211 “Like as the waves make towards the pebbled shore” (Shakespeare) See Shakespeare’s sonnets: Sonnet 60 “Lion and the Mouse, The” (Henryson) See Morall Fabillis: “The Lion and the Mouse” (Henryson) list-sonnet 422 “Litany in Time of Plague, A” (Nashe) 247–248, 287 “Little Love-god, lying once asleep, The” (Shakespeare) See Shakespeare’s sonnets: Sonnet 154 locus amoenus 151, 248, 422 Lollardism 208, 248–249, 263, 283, 319, 320, 322, 323, 327, 330 “London, hast though accused me” (Surrey) 249–250, 429 “London work” (Chaucer) See General Prologue to the Canterbury Tales (Chaucer) Longas Macc n-Uisnig 155 “Long Love that in my Thought Doth Harbor, The” (Wyatt) 250, 256 “Look in thy glass and tell the face thou viewest” (Shakespeare) See Shakespeare’s sonnets:   Sonnet “Lord Randal” 250–251 Lovelich, Henry 30–31 Lovely Boy 137, 140, 251, 358–359, 361, 362, 363, 367, 370, 372, 379, 380, 382, 385, 388, 389, 421 Lover’s Complaint, A (Shakespeare) 121, 251–253, 358, 401, 448, 473 Lover’s Confession, The (Gower) See Confessio Amantis (Gower) “Lover Showeth How He Is Forsaken of Such as He Sometime Enjoyed, The” (Wyatt) 253–254 See also “They Flee from Me” (Wyatt) lovesickness 254–255 Love’s Martyr (Chester) 318, 319 “Love that doth reign and live within my thought” (Surrey) 255–256 “Loving in truth, and fain in verse my love to show” (Sidney) See Astrophil and Stella: Sonnet (Sidney) “Lullabie” (Gascoigne) 256 “Lullay, Lullay, Like a Child” (Skelton) 256–257 lute song See ayre lycanthropy 83 Lydgate, John 257–258 aureation used by 69, 258 and Chaucer (Geoffrey) 163, 187, 257 and Dunbar (William) 153, 239 envois by 163 The Fall of Princes 89, 101, 186–187, 191, 258, 277 and Gower (John) 210 and Hoccleve (Thomas) 219 and Skelton (John) 199 and Surrey (Henry Howard) 34 translations by 186 Virgin lyrics by 450 “Lyke as a huntsman after weary chace” (Spenser) See Amoretti: Sonnet 67 (Spenser) lyric romance 346 M Mabinogin 30 “Mac Dathó’s Pig” 154 “Madam, Withouten Many Words” (Wyatt) 259 madrigal 88, 99, 103, 107, 149, 259, 310 Magnificence (Skelton) 417 “Maiden in the Mor Lay” 260– 261, 451 makars 274, 352, 353 Malone, Edmond 359 Malory, Sir Thomas 28–29, 115, 347, 459–460 “Manciple’s Tale, The” (Chaucer) 101–102 Mann, Jill 207 “Mannerly Margery” (Skelton) 190 Mannyng, Robert, of Brunne 261 Handlyng Synne 213–214, 261 “Man of Law’s Tale, The” (Chaucer) 87, 100, 123, 249, 261–263, 334, 343 manuscript 263–264 Marcus, Leah 475 Marie de France 25, 264 on Arthur 30, 240, 264 “Bisclavret” 82–83, 264 “Chevrefoil” 112–113, 243, 264 “Eliduc” 159, 264 fables by 76, 172, 264, 292, 343 “Guigemar” 211–212, 242, 264 “Lanval” 30, 240–241, 264, 412 “Laüstic” 241–242, 264 Marlowe, Christopher 265, 287, 356 blank verse used by 85, 265 Hero and Leander 168, 217– 218, 265, 310, 448 “The Passionate Shepherd to His Love” 104, 265, 293, 309–310, 311 translations by 118, 265, 302 Marxist critics 102, 157, 275, 469 Mary I (queen of England) 130, 214, 266, 389 and Elizabeth I 159, 160, 266, 475, 476 Heywood (John) on 70–71, 266 Mary, Queen of Scots 230, 266–267 Casket Letters 104–106, 267 and Elizabeth I 146–148, 160, 161 “Maye Eclogue” (Spenser) See Shepheardes Calender, The: “Maye Eclogue” (Spenser) McLane, Paul E 402 medial caesura 98 medieval lyric 271 Index 507 Meditations on Sin (Vaughan Lock) 267 melancholy 44, 53, 90, 123, 245, 246, 254, 302, 381, 382, 383, 447 Melisata (Ravencroft) 436 Melville, Elizabeth 444 memento mori 127, 168, 239, 247, 298, 447 “Men call you fayre, and you doe credit it” (Spenser) See Amoretti: Sonnet 79 (Spenser) “Merchant’s Tale, The” (Chaucer) 87, 100, 101, 111, 196 Meres, Francis 74, 358 Merlin (Lovelich) 30–31 Metamorphoses (Ovid) 2, 89, 90, 100, 107, 118, 168, 220, 288, 302, 362, 365, 372, 373, 416 metaphysical poetry 224 Meters of Boethius (Alfred the Great) 26, 267–268, 480 “Methought I saw the grave, where Laura lay” (Raleigh) 268–269 metonymy 68, 269, 291, 429 metrical charms 110 metrical preface to the Pastoral Care 6, 26, 269–270 Middle English language 111, 120, 201, 270–271 Middle English lyrics and ballads 271–272 contempt for the world in 127 “Erthe toc of the Erthe with woh” 168 by Herebert (William) 461 “In Praise of Mary” 227 “I Sing of a Maiden” 227– 228, 271, 272 “Jesus, My Sweet Lover” 231 “Jolly Jankyn” 232, 271 laments 239 “Lenten ys come with love to toune” 246, 271 “Maiden in the Mor Lay” 260–261 “My Lief is Faren in Londe” 283 “The Wily Clerk” 472 Middle English poetry 272–274 alliteration in 9, 10, 11, 29, 272, 273 Bevis of Hampton 81 chiasmus in 113 Floris and Blauncheflur 189 “Foweles in the Frith” 192, 272 by Mannyng (Robert) 213, 214 The Owl and the Nightingale 302–303 Pearl 273, 312 Pierce the Ploughman’s Crede 319 romance 273, 346–347 Sir Orfeo 414 Middle Irish poetry 154, 156 Middle Scots (literary language) 274 Middle Scots poetry by Barbour (John) 73, 93–94 by Blind Hary 454 by Douglas (Gavin) 148, 215 by Dunbar (William) 152, 215, 274 by Henryson (Robert) 215, 216, 433, 447 by James I 215, 236 Midsummer Night’s Dream, A (Shakespeare) 368 “Miller’s Tale, The” (Chaucer) 6, 87, 100, 173, 274–276, 316, 340, 482 “Mine Own John Poins” (Wyatt) 276–277, 425, 465, 474 minor epic See epyllion Minot, Laurence 277 “The Siege of Calais” 408 minstrels 92, 101, 155, 208, 347 Mirour de l’Omme (Gower) 25, 122, 210 Mirror for Magistrates, A 136, 266, 277–278, 459 mirrors for princes 93, 125, 187, 278, 304, 442 “Monk’s Tale, The” (Chaucer) 101, 187, 191 monumentum aere perennius 387 Morall Fabillis of Esope the Phrygian, The (Henryson) 76, 86, 215–216, 278–282 Morall Fabillis: “The Cock and the Fox” (Henryson) 279, 280–281 Morall Fabillis: “The Fox and the Wolf” (Henryson) 279, 281 Morall Fabillis: “The Lion and the Mouse” (Henryson) 279, 281–282 More, Sir Thomas 129, 282, 330, 440 “De principe bono et malo” 146, 282 Morte d’Arthur (Malory) 28–29, 115, 347 Morton, John 282 “Most glorious Lord of lyfe, that on this day” (Spenser) See Amoretti: Sonnet 68 (Spenser) “Most happy letters fram’d by skilfull trade” (Spenser) See Amoretti: Sonnet 74 (Spenser) “Most Welcome Love” (Heneage) 187 Mum and the Sothsegger 10, 249, 282–283, 320, 330 Murray, James Stewart, earl of 88 “My Galley Charg’d with Forgetfulness” (Wyatt) 283 “My Lief is Faren in Londe” 283–284 “My love is as a fever, longing still” (Shakespeare) See Shakespeare’s sonnets: Sonnet 147 “My love is lyke to iyse, and I to fyre” (Spenser) See Amoretti: Sonnet 30 (Spenser) “My Lute Awake!” (Wyatt) 284–285, 479 “My mistress’ eyes are nothing like the sun” (Shakespeare) See Shakespeare’s sonnets: Sonnet 130 “My mouth doth water, and my breast doth swell” (Sidney) See Astrophil and Stella: Sonnet 37 (Sidney) “My Radcliffe” (Surrey) 285 “My Sweetest Lesbia” (Campion) 88, 285–286 “My tongue-tied muse in manners holds her still” (Shakespeare) See Shakespeare’s sonnets: Sonnet 85 N Nashe, Thomas 287, 352 “A Litany in Time of Plague” 247–248, 287 nationalism 3, 11, 29, 72, 81, 93, 134, 161, 173, 191, 423, 454–456 nature poem 246 “Nature That Washed Her Hands in Milk” (Raleigh) 287–288 Nennius 29, 432, 481 Neoplatonism 14, 21, 22, 40, 120–121, 386 New Critics 359 New Historicist critics 157, 469 Newman, Thomas 34 New World 288, 336, 339 “New yeare forth looking out of Janus gate” (Spenser) See Amoretti: Sonnet (Spenser) “Nightingale, The” (Sidney) 288–289 Noínden Ulad 154–155 “No more, my deare, no more these counsels trie” (Sidney) See Astrophil and Stella: Sonnet 64 (Sidney) “No more be grieved at that which thou hast done” (Shakespeare) See Shakespeare’s sonnets: Sonnet 35 Norman Conquest, The (1066) 25, 270, 272, 289–290 Norton, Thomas 85 “Not at first sight, nor with a dribbèd shot” (Sidney) See Astrophil and Stella: Sonnet (Sidney) Nowell Codex See Cotton Vitellius A.xv “Now Goth Sonne Under Wod” 269, 271, 290–291 “Now that of absence the most irksome night” (Sidney) See Astrophil and Stella: Sonnet 89 (Sidney) “Nun’s Priest’s Tale, The” (Chaucer) 76, 101, 172, 279, 280, 284, 291–293, 316, 343 “Nymph’s Reply to the Shepherd, The” (Raleigh) 293–294, 310, 311 O “O, call not me to justify the wrong” (Shakespeare) See Shakespeare’s sonnets: Sonnet 139 “O, how I faint when I of you write” (Shakespeare) See Shakespeare’s sonnets: Sonnet 80 “O, never say that I was false of heart” (Shakespeare) See Shakespeare’s sonnets: Sonnet 109 “O absent presence, Stella is not here” (Sidney) See Astrophil and Stella: Sonnet 106 (Sidney) oaths See chivalric oaths; feudal oaths Occleve, Thomas See Hoccleve, Thomas “Ocean To Cynthia, The” (Raleigh) 336 octave (octet) 295, 354 Octonaries (Inglis) 444 “Ode, An” (Barnfield) 133, 134 Odes (Horace) 7, 104, 355, 373–374 “Ode to the Virginian Voyage” (Drayton) 288 “O Dieux ayez de moy compassion” (Mary, Queen of Scots) See Casket Letters: Sonnet (Mary, Queen of Scots) Odyssey (Homer) 174 oferhygd 78, 79, 295 ofermod 75, 76, 78, 295 508 Index “Of his returne from Spain” (Wyatt) See “Tagus, Farewell” (Wyatt) “Of this worlds Theatre in which we stay” (Spenser) See Amoretti: Sonnet 54 (Spenser) “Oft with true sighs, oft with uncalled tears” (Sidney) See Astrophil and Stella: Sonnet 61 (Sidney) “Of Unsaciable Purchasers” (Crowley) 295–296 ogham 113, 133, 197, 211, 296–297 “O goddis haue of me compassioun” (Mary, Queen of Scots) See Casket Letters: Sonnet (Mary, Queen of Scots) “O grammer-rules, O now your vertues show” (Sidney) See Astrophil and Stella: Sonnet 63 (Sidney) “O Happy Dames” (Surrey) 297 “O joy, too high for my low style to show” (Sidney) See Astrophil and Stella: Sonnet 69 (Sidney) “O kiss, which dost those ruddy gems impart” (Sidney) See Astrophil and Stella: Sonnet 81 (Sidney) Old English language 26, 197– 198, 270, 297–298 See also Anglo-Saxon poetry; AngloSaxon riddles Old Irish poetry 154, 156 “Old Man’s Prayer, An” 298– 299 Old Norse/Icelandic Eddas and sagas 145, 234, 299–300, 304, 352, 477 “Old Woman of Beare, The” 300–301 ollaves 296, 352 “O Lord, in me there lieth nought” (Herbert) See Sidneian Psalms: Psalm 139 (Herbert) “One day I wrote her name upon the strand” (Spenser) See Amoretti: Sonnet 75 (Spenser) “On Monsieur’s Departure” (Elizabeth I) 161, 301–302 “On thee my trust is grounded” (Herbert) See Sidneian Psalms: Psalm 71 (Herbert) oratores 435 Orchestra, or a Poem of Dancing (Davies) 140 Origen 7–8 Orpheus 66, 416 Orpheus and Eurydice (Henryson) 216 “O thou, my lovely boy, who in thy power” (Shakespeare) See Shakespeare’s sonnets: Sonnet 126 Ovid 118, 302, 440 and Andreas Capellanus 32, 302 and Chaucer (Geoffrey) 89, 90, 100, 102, 219, 245, 302 and Dafydd ap Gwilym 138, 443 and epyllion 168 and Gower (John) 123, 124, 302 and Lydgate (John) 187 and Marie de France 240 and Marlowe (Christopher) 217, 265, 302 and Shakespeare (William) 118, 302, 362, 365, 372, 373, 448 and Sidney (Sir Philip) 57, 62, 107, 288, 302 and Sir Orfeo 416 and Whitney (Isabella) 2, 3, 103, 229, 302, 444 and Wyatt (Sir Thomas) 188 Owl and the Nightingale, The 302–303 oxymoron 36, 55, 56, 64, 66, 107, 135, 286, 317, 384 P paean 22, 49, 56, 58, 277, 304 Pamphilia to Amphilanthus (Wroth) 421 panegyric 74, 162, 304, 336 “Pangur Bán” 304–305 paradox 317 “Pardoner’s Tale, The” (Chaucer) 84, 87, 101, 170, 299–300, 305–307, 334, 352 Parliament of Fowls, The (Chaucer) 87, 111, 151, 236, 273, 303, 307–309, 343, 349 paromologia 47 “Parson’s Tale” (Chaucer) 102, 356 Passionate Pilgrim, The (Jaggard) 309, 358, 394 “Passionate Shepherd to His Love, The” (Marlowe) 104, 265, 293, 309–310, 311 passus 310–311, 321 pastoral 311 See also eclogue Arcadia as setting for 28, 107, 178 by Barclay (Alexander) 73, 74 by Barnfield (Richard) 74, 75, 133 carpe diem in 104 by Constable (Henry) 127 by Daniel (Samuel) 139 by Drayton (Michael) 149, 225 locus amoenus in 248 by Marlowe (Christopher) 310, 311 New World in 288 by Raleigh (Sir Walter) 293–294, 311 by Spenser (Edmund) 118, 173, 178, 401, 402, 423 by Virgil 173, 311, 450 Pastoral Care (Gregory the Great) 6, 26, 269–270 pastoral elegy 158, 159, 225, 418 pastoral songs 259 pastourelle 311, 344 Patience 10, 119, 203, 312, 409 patronage 311–312 Chaucer (Geoffrey) under 89 Dafydd ap Gwilym under 138 Daniel (Samuel) under 139, 142, 216 Drayton (Michael) under 149, 216, 223 Dunbar (William) under 153 Elizabeth I offering 160, 424 Herbert (Mary Sidney) offering 216, 217 Heywood (John) under 70 Hoccleve (Thomas) under 219, 238 Layamon under 95 Lydgate (John) under 187, 257 Nashe (Thomas) under 247 Petrarch under 331 Shakespeare (William) under 216, 251, 357, 364, 370, 371, 377, 387, 421, 448, 449 Sidney (Sir Philip) offering 408 Skelton (John) under 445 Spenser (Edmund) under 174, 216, 424 Taliesin under 432, 447, 458 Virgil under 450 Worde (Wynkyn de) under 475 Wyatt (Sir Thomas) under 331 Pearl 119, 151, 203, 273, 312–315, 409 Pearl-poet See Gawain-poet Peasants’ Revolt (1381) 84, 249, 291, 292, 315–316, 320, 327, 330, 440 Pembroke, countess of See Herbert, Mary Sidney Pembroke, William Herbert, earl of 251, 357 pentameter personification 9, 76, 172, 316–317 Petrarch 317, 419, 440 and Boccaccio (Giovanni) 87 on courtly love 131 and Daniel (Samuel) 142, 144, 145 and Herbert (Mary Sidney) 216–217 and Lydgate (John) 187 and Raleigh (Sir Walter) 287 and Shakespeare (William) 358, 382, 384, 421 and Sidney (Robert) 245 and Sidney (Sir Philip) 37, 38, 42, 52, 317, 421 and Skelton (John) 237 and Spenser (Edmund) 317 and Surrey (Henry Howard) 4, 255, 256, 297, 317, 355, 422, 429 and Wyatt (Sir Thomas) 226, 250, 283, 317, 331–332, 465, 466 Petrarchan conceit 20, 41, 122, 142, 144, 237, 384, 421 Petrarchan ideals and Greville (Sir Fulke)   98 and Mary (Queen of Scots) 106 and Raleigh (Sir Walter) 268, 269, 287 and Sidney (Sir Philip) 35–36, 41, 43, 49, 52, 55, 62 and Spenser (Edmund) 16, 19, 20, 317 and Wyatt (Sir Thomas) 146 Petrarchan paradox 27, 226, 317 Petrarchan sonnet See Italian sonnet Philip II (king of Spain) 71, 160, 161, 266 Philip IV (king of France) 456 Philip VI (king of France) 408 Philip of Valois (duke of Orléans) 221 “Philip Sparrow” (Skelton) 317–318 Philobiblon (Bury) 341 “Philomela” (Sidney) See “Nightingale, The” (Sidney) phlegm 54, 191, 380 “Phoenix and Turtle, The” (Shakespeare) 318–319 Index 509 “Phyllyp Sparrowe” (Skelton) See “Philip Sparrow” (Skelton) “Physician’s Tale, The” (Chaucer) 101, 195 physiognomy 319, 467 pictura 162 Pierce the Ploughman’s Crede 10, 319–320, 330 Piers Plowman (Langland) 240, 300, 320–330, 345 alliteration in 9, 273 on Black Death 84, 322, 325–326, 329 dream vision in 151, 273, 283, 310, 320–330 editor of 131 Lollardism in 208, 249, 283, 322, 323, 327 passus in 310–311, 321 Peasants’ Revolt and 316, 320, 327 as satire 240, 323, 324, 329, 352 on seven deadly sins 325, 327, 356 texts inspired by 10, 208, 282, 283 Piers Plowman : Prologue (Langland) 322–323 Piers Plowman: Passus (Langland) 323–324, 326 Piers Plowman: Passus (Langland) 324–325 Piers Plowman: Passus (Langland) 325–327 Piers Plowman: Passus (Langland) 327 Piers Plowman: Passus 17 (Langland) 327–329 Piers Plowman: Passus 19 and 20 (Langland) 329–330 Piers Plowman tradition 132, 163, 249, 320, 322, 330–331, 402 “Pillar perished is whereto I leant, The” (Wyatt) 331–332 Pindar 39 Pindaric ode 427 plague See Black Death Plato 52, 140–141, 387, 452 Platonic idea 46, 52, 53, 59, 60, 368 Plowman’s Tale, The 330, 402 pneumonic plague 83 Poetic Edda 299 Poets of the Nobility 332 Poets of the Princes 332 Poins, John 276 Polychronicon (Higdon) 118 “Poor soul, the center of my sinful earth” (Shakespeare) See Shakespeare’s sonnets: Sonnet 146 popular romance 347 Posies (Gascoigne) 256, 356 postcolonial critics 181, 190 Poynz, John See Poins, John printers 106–107, 142, 161, 208, 334, 474–475 “Prioress’s Tale, The” (Chaucer) 101, 332–334, 343 “Prisoned in Windsor, He Recounteth His Pleasure There” (Surrey) See “So Cruel Prison” (Surrey) procreation sonnets (Shakespeare) 358, 360–364, 365, 390 Prose Edda 299 Protestantism 157 Askew (Anne) on 71–72 on chivalry 116 Crowley (Robert) on 295 Dowriche (Anne Edgecumbe) on 196–197 of Elizabeth I 146–147, 160, 161, 169, 175, 177, 197, 403, 404, 438, 444, 475–476 of Henry VIII 215 Herbert (Mary Sidney) on 403, 404, 407 of Huguenots 196–197, 336 in Piers Plowman tradition 322, 330 of Raleigh (Sir Walter) 336 of Sidney (Sir Philip) 36, 45, 109, 403, 408, 438 Spenser (Edmund) on 401, 402 Vaughan Lock (Anne) on 267 Prothalamion (Spenser) 251 Psalm 42 21 Psalm 128 20 Psalm translations 109, 131, 168–169, 216, 402–407, 437–438, 464–465 psychoanalytic critics 47–48, 283, 359, 469 Ptolemaic theory of universe 420 “Publishing Shame: The Rape of Lucrece” (Kahn) 337 Purity See Cleanness Puttenham, George 334 Art of English Poesie 32–33, 311, 334, 355, 418, 479 Pynson, Richard 102, 115, 334, 475 pyrrhic foot Q quadriga 170 quatorzain 335 quatrain 71, 237, 335, 424, 425 queer critics 102, 276, 307, 359, 412, 442 Quiet of Mind, The (Wyatt) 331 Quintilian R racism 392 Radcliffe, Thomas 285 Raleigh, Sir Walter 130, 336– 337, 439 “As You Came from the Holy Land” 69 “Farewell False Love” (Raleigh) 187 “The Lie” 247 “Methought I saw the grave, where Laura lay” 268–269 “Nature That Washed Her Hands in Milk” 287–288 on New World 288, 336 “The Nymph’s Reply to the Shepherd” 293–294, 310, 311 and Sidney (Robert) 245, 246 “Sir Walter Raleigh to his Son” 416–417 and Spenser (Edmund) 8, 12, 173–174, 175, 178, 268–269, 424 “What is our Life?” 462 Rape of Lucrece, The (Shakespeare) 158, 337–340, 357, 368, 423 Ravencroft, Thomas 435–436 “Reason, in faith thou art well served, that still” (Sidney) See Astrophil and Stella: Sonnet 10 (Sidney) “Reeves Tale, The” (Chaucer) 87, 100, 173, 274, 340–342 refrain 342 Regiment of Princes (Hoccleve) 118, 163, 219, 238 Regula Pastoralis (Gregory the Great) 6, 269–270 Reis, Edmund 246 Remedia Amoris (Ovid) 32, 302 Renaissance alliteration used in chiasmus used in 113 chivalry in 114–115, 116 classical tradition in 117, 156, 440–441 clothing in 61 conceit used in 122 cosmography in 52 courtly love in 131 education of women in   157 emblem in 162 four humors in 54, 191, 254 kingship theories in 34 lovesickness in 254, 255 mirrors for princes in 278, 304 pastoral in 311 on reason 40, 46 on sight 40 solstice custom in 167 vernacular in 156 Renaissance Self-Fashioning (Greenblatt) 183 Republic, The (Plato) 140–141, 387, 452 “Resignation” 125, 477 reverdie 192, 246, 342–343, 428 Reynard literature 76, 101, 273, 278, 292, 343 rhyme royal 343, 425 in ballade 70 by Chaucer (Geoffrey) 111, 165, 308, 332, 343, 441, 443 by Gower (John) 124 by Henryson (Robert) 216, 343 by James I 236, 343 by Lydgate (John) 187 in A Mirror for Magistrates 278 by Shakespeare (William) 251, 337, 343 by Skelton (John) 237 by Wyatt (Sir Thomas) 343, 434 Rich, Penelope Devereux See Devereux, Penelope Richard II (king of England) 25, 84, 122, 125, 164, 203, 210, 249, 278, 316, 323, 332, 409, 426, 440, 443, 469 Richard III (king of England) 459 Richmond, Henry Fitzroy, duke of 214, 418–419, 428, 463 riddles 5, 49 See also AngloSaxon riddles rime couée 344, 414, 431 ritornello 259 “Robene and Makyne” (Henryson) 104, 216, 311, 344 Robert I the Bruce (king of Scotland) 73, 93, 261, 345 Robert II (king of Scotland) 73, 93 Robin Hood ballads 70, 81–82, 208–209, 300, 343, 345, 346, 432 “Robin Hood’s Birth.” See “Birth of Robin Hood, The” “Robin Hood’s Death and Burial” 345–346 romance 346–347 See also courtly love chivalric oaths in 113 chivalry in 114, 115–116, 347 510 Index romance (continued) classical allusions in 117 hagiography and 213, 346 hyperbole in 221 lovesickness in 254 rime couée in 344 Roman de Brut (Wace) 25, 28, 29, 95, 243, 261, 348–349, 454 Roman de la Rose 32, 90, 100, 111, 125, 151, 244, 306, 309, 469 Rome, ancient 116, 117, 118 Room of One’s Own, A (Woolf) 444 Rosseter, Philip 88, 99 roundel (rondeau) 104, 349 “Ruin, The” 159, 171, 239, 349, 457 Ruins of Rome, The (Spenser) 427 runic alphabet See futhark alphabet Ruthwell Cross 149, 198, 349–350 S Sackville, Thomas 85, 266, 277 Sæmundar Edda 299 Saracen 81, 114, 190, 234–235, 263, 351, 427 satire 273, 351–352 by Chaucer (Geoffrey) 100, 164, 165, 204, 207, 208, 342, 351, 435 by Davies (Sir John) 140, 212 epigram as 166 fabliau as 172 flyting as 190 by Gascoigne (George) 473, 474 by Gower (John) 122, 351 by Langland (William) 240, 323, 324, 329, 352 by Marlowe (Christopher) 218 Mum and the Sothsegger 282, 283 by Nashe (Thomas) 287, 352 Pierce the Ploughman’s Crede 319, 320 in Piers Plowman tradition 330 in Reynard literature 343 rime couée in 344 Sir Gawain and the Green Knight 412 by Skelton (John) 199, 352, 417 by Wyatt (Sir Thomas) 276, 277, 425, 430, 465, 478 Scogan, Henry 165 scop 78, 145, 155, 352, 466– 467, 478 Scots literature See Middle Scots poetry Scott, Sir Walter 152, 271 Scottish Chaucerians 163, 352–353 aureation used by 69 Douglas (Gavin) 148, 352 Dunbar (William) 153, 352, 353 Henryson (Robert) 216, 352, 353, 433 James I 230, 236, 352 “Seafarer, The” 127, 171, 239, 353–354, 457, 471, 477 Seager, Jane 444 “Second Nun’s Tale, The” (Chaucer) 101, 213, 334, 343 Secreta Secretorum 118 Seneca 424 septicemic plague 83, 84 Series (Hoccleve) 219 sestet 354 sestina 354–355 Sétanta See Cú Chulainn “Set me whereas the sonne doth perche the grene” (Surrey) 23, 355 seven deadly sins 355–356, 452 Chaucer (Geoffrey) on 102, 305, 356 Elizabeth I on 147 Gower (John) on 123–124 Langland (William) on 325, 327, 356 Mannyng (Robert) on 214, 261 in “An Old Man’s Prayer” 298 in Pierce the Ploughman’s Crede 319 Shakespeare (William) on 398 Spenser (Edmund) on 179, 356 Surrey (Henry Howard) on 249 “Seven Sonnets for Alexander Neville” (Gascoigne) 356– 357 Shakespeare, William 357 alliteration used by 9, 363, 384 antiblazon used by 85, 393 and Barnfield (Richard) 74, 137 and Boccaccio (Giovanni) 87 on chronicles 116, 386 classical tradition and 117 and Constable (Henry) 127 and Daniel (Samuel) 144 and Elizabeth I 162, 319, 357, 389–390, 449 and Henryson (Robert) 433 on Hundred Years’ War 221 iambic pentameter used by 222 laments by 239, 252, 318, 337, 369, 370, 371, 373, 382, 448 A Lover’s Complaint 121, 251–253, 358, 401, 448, 473 and Marlowe (Christopher) 265 and More (Sir Thomas) 282 and Ovid 118, 302, 362, 365, 372, 373, 448 “The Phoenix and Turtle” 318–319 The Rape of Lucrece 158, 337–340, 357, 368, 423 rhyme royal used by 251, 337, 343 on Spanish Armada 423 and Spenser (Edmund) 12, 251, 374 and The Tale of Gamelyn 431 and Vaughan Lock (Anne) 267 Venus and Adonis 137, 168, 265, 357, 368, 448–449 and Wyatt (Sir Thomas) 188 Shakespearean sonnet See English sonnet Shakespeare’s sonnets 9, 27, 163, 357–401, 421 See also Dark Lady; Lovely Boy Shakespeare’s sonnets: Sonnet 360 Shakespeare’s sonnets: Sonnet 144, 360–361 Shakespeare’s sonnets: Sonnet 361–363 Shakespeare’s sonnets: Sonnet 12 363–364 Shakespeare’s sonnets: Sonnet 15 364 Shakespeare’s sonnets: Sonnet 18 364–365, 390 Shakespeare’s sonnets: Sonnet 19 365–366, 372 Shakespeare’s sonnets: Sonnet 20 366–367, 379 Shakespeare’s sonnets: Sonnet 23 27, 367–368, 387 Shakespeare’s sonnets: Sonnet 29 368–369, 390 Shakespeare’s sonnets: Sonnet 30 9, 369–370 Shakespeare’s sonnets: Sonnet 31 370 Shakespeare’s sonnets: Sonnet 33 370–371 Shakespeare’s sonnets: Sonnet 34 371 Shakespeare’s sonnets: Sonnet 35 371–372, 390 Shakespeare’s sonnets: Sonnet 36 371, 372 Shakespeare’s sonnets: Sonnet 53 386 Shakespeare’s sonnets: Sonnet 54 382 Shakespeare’s sonnets: Sonnet 60 372–373 Shakespeare’s sonnets: Sonnet 64 373–374 Shakespeare’s sonnets: Sonnet 65 374–375 Shakespeare’s sonnets: Sonnet 71 376 Shakespeare’s sonnets: Sonnet 73 375–376 Shakespeare’s sonnets: Sonnet 74 376 Shakespeare’s sonnets: Sonnet 80 377 Shakespeare’s sonnets: Sonnet 83 368 Shakespeare’s sonnets: Sonnet 85 377–378 Shakespeare’s sonnets: Sonnet 86 378–379 Shakespeare’s sonnets: Sonnet 87 379 Shakespeare’s sonnets: Sonnet 89 379 Shakespeare’s sonnets: Sonnet 90 379–380 Shakespeare’s sonnets: Sonnet 91 380–381 Shakespeare’s sonnets: Sonnet 93 381–382 Shakespeare’s sonnets: Sonnet 94 382 Shakespeare’s sonnets: Sonnet 96 371 Shakespeare’s sonnets: Sonnet 97 382–383 Shakespeare’s sonnets: Sonnet 98 383–384 Shakespeare’s sonnets: Sonnet 99 384–385 Shakespeare’s sonnets: Sonnet 104 385, 390 Shakespeare’s sonnets: Sonnet 105 385–386 Shakespeare’s sonnets: Sonnet 106 386–387 Shakespeare’s sonnets: Sonnet 107 423 Shakespeare’s sonnets: Sonnet 109 387 Shakespeare’s sonnets: Sonnet 115 387–388 Shakespeare’s sonnets: Sonnet 116 388–389 Index 511 Shakespeare’s sonnets: Sonnet 124 389–390 Shakespeare’s sonnets: Sonnet 126 251, 390–391 Shakespeare’s sonnets: Sonnet 127 391–392, 397 Shakespeare’s sonnets: Sonnet 128 392–393 Shakespeare’s sonnets: Sonnet 129 393, 397, 398 Shakespeare’s sonnets: Sonnet 130 85, 393–394, 397 Shakespeare’s sonnets: Sonnet 138 394–395 Shakespeare’s sonnets: Sonnet 139 395–396 Shakespeare’s sonnets: Sonnet 140 396–397 Shakespeare’s sonnets: Sonnet 141 397 Shakespeare’s sonnets: Sonnet 144 390, 394, 397–398 Shakespeare’s sonnets: Sonnet 146 398–399 Shakespeare’s sonnets: Sonnet 147 139, 399–400 Shakespeare’s sonnets: Sonnet 152 400 Shakespeare’s sonnets: Sonnet 153 401 Shakespeare’s sonnets: Sonnet 154 140, 401 “Shall I compare thee to a summer’s day?” (Shakespeare) See Shakespeare’s sonnets: Sonnet 18 Shepheardes Calender, The (Spenser) 74, 118, 158, 173, 225, 330, 401–402, 408, 423, 450 Shepheardes Calender, The: “Maye Eclogue” (Spenser) 402 “Shipman’s Tale, The” (Chaucer) 87, 101, 173 Ship of Fools (Barclay) 73, 318, 352 Sidneian Psalms (Sidney and Herbert) 109, 168–169, 216, 402–407, 437–438, 444 Sidneian Psalms: Psalm 50 (Herbert) 403–404 Sidneian Psalms: Psalm 58 (Herbert) 404–405 Sidneian Psalms: Psalm 59 (Herbert) 405 Sidneian Psalms: Psalm 71 (Herbert) 406 Sidneian Psalms: Psalm 120 (Herbert) 406–407 Sidneian Psalms: Psalm 121 (Herbert) 407 Sidneian Psalms: Psalm 139 (Herbert) 407 Sidney, Robert See Leicester, Robert Sidney, earl of Sidney, Sir Philip 407–408 antithesis used by 27 apostrophe used by 28, 42, 44, 46, 52, 54, 59, 60, 64, 65, 66, 221 Astrophil and Stella See Astrophil and Stella (Sidney) ballades by 70 blazon used by 36, 64, 85, 108 Certain Sonnets 107–109, 335, 408 chiasmus used by 41, 52, 55, 62, 113 classical tradition and 117 The Defense of Poesy 43, 49, 51, 63, 127, 140–142, 166, 288, 401, 408 and Drayton (Michael) 223, 225 and Greville (Sir Fulke) 211, 407, 408 and Herbert (Mary Sidney) 35, 216, 402–407, 408, 437–438 “The Nightingale” 288–289 and Shakespeare (William) 391, 398 Sidneian Psalms 109, 168–169, 216, 402–407, 437–438, 444 and Spenser (Edmund) 11, 12, 159, 177, 401, 408, 424 translations by 107, 109, 168–169, 402–407, 437–438 and Vaughan Lock (Anne) 267 and Wyatt (Sir Thomas) 35, 36, 37, 188 “Siege of Calais, The” (Minot) 408 Siege of Jerusalem, The 10, 11 Siege of Thebes, The (Lydgate) 117, 257, 346 Siege of Troy, The 73, 346 “Sighing, and sadly sitting by my love” (Barnfield) See Cynthia, with Certain Sonnets: Sonnet 11 (Barnfield) “Since brass, nor stone, nor earth, nor boundless sea” (Shakespeare) See Shakespeare’s sonnets: Sonnet 65 “Since there’s no help, come, let us kiss and part” (Drayton) See Ideas Mirrour: Sonnet 61 (Drayton) Sir Gawain and the Green Knight 28, 31, 119, 203, 273, 312, 346, 409–412 alliteration in 9, 10, 213, 412 beheading game in 77, 133 and “The Birth of Robin Hood” 81 carol in 104 chivalry in 28, 31, 114, 189 manuscript of 264, 409 Trojan War in 117 “Sir Landevale” 240 Sir Launfal (Chestre) 240, 344, 412–414 Sir Orfeo 242, 243, 255, 346, 414–416 “Sir Walter Raleigh to his Son” (Raleigh) 416–417 “Si Vere Utique.” See Sidneian Psalms: Psalm 58 (Herbert) Skeat, Walter 99 Skelton, John 352, 417–418 flyting by 190 Garland of Laurel 129, 199–202, 417 and Henry VIII 215, 352, 417, 445 “Knolege, Aquayntance, Resort, Fauour with Grace” 237 “Lullay, Lullay, Like a Child” 256–257 “Philip Sparrow” 317–318 and Shakespeare (William) 319 and Spenser (Edmund) 401 “The Tunning of Elinour Rumming” 445 “Womanhood, Wanton” 473 Skeltonics 199, 201, 202, 318, 417, 418, 445 Snorra Edda 299 Snorri Sturluson 299 “So Cruel Prison” (Surrey) 418–419 “Some glory in their birth, some in their skill” (Shakespeare) See Shakespeare’s sonnets: Sonnet 91 Somerset, Edward Seymour, duke of 160, 418, 428 “Sometime I Fled the Fire” (Wyatt) 419, 479 Song (Leicester) 245–246 Songes and Sonnettes See Tottel’s Miscellany Song of Roland 114 sonnet 419–420 See also English sonnet; Italian sonnet; Spenserian sonnet; strambotto antithesis in 27 blazon in 85, 420, 421 couplet in 129, 163 enjambment in 163 envois in 163 hyperbole in 221 metonymy in 269 paradox in 317 quatrains in 335 sestet in 354 synecdoche in 429 volta in 452 Sonnet 16 (Petrarch) 142 Sonnet 140 (Petrarch) 250,   255 Sonnet 164 (Petrarch) Sonnet 165 (Petrarch) 144 Sonnet 190 (Petrarch) 465 Sonnet 297 (Petrarch) 144 “Sonnet on Ticho Brahe, A” (James VI) 420 sonnet sequence 27, 127–128, 317, 420–421 “Soote Season, The” (Surrey) 421–422 “So shall I live supposing thou art true” (Shakespeare) See Shakespeare’s sonnets: Sonnet 93 Southampton, Henry Wriothesley, earl of 251, 357, 421, 448 Southwell, Robert 422–423, 439 “The Burning Babe” 95–96, 423 Spanish Armada 157, 161, 196, 423 “Speak, Echo, tell; how may I call my love?” (Barnfield) See Cynthia, with Certain Sonnets: Sonnet 13 (Barnfield) Speculum ecclesiae (Edmund of Abingdon) 290 Spenser, Edmund 130, 423– 424, 427 Amoretti 11–23, 85, 142, 173, 317, 421, 424 ballades by 70 and Barclay (Alexander) 73–74 and Barnfield (Richard) 74, 133, 137 and Drayton (Michael) 149, 223, 225 ekphrasis used by 19, 158 Epithalamion 11, 13, 167– 168, 421, 424 The Faerie Queene See Faerie Queene, The (Spenser) and Herbert (Mary Sidney) 216 laments by 239 and Raleigh (Sir Walter) 8, 12, 173–174, 175, 178, 268–269, 424 rhyme royal used by 343 and Shakespeare (William) 12, 251, 374 512 Index Spenser, Edmund (continued) The Shepheardes Calender 74, 118, 158, 173, 225, 330, 401–402, 408, 423, 450 and Sidney (Sir Philip) 11, 12, 159, 177, 401, 408, 424 translations by 283 Spenserian sonnet 16, 18, 19, 22, 74, 142, 420, 421, 424 Spirituall Sonnettes (Constable) 436–437 spondee “Sporting at fancie, setting light by love” (Barnfield) See Cynthia, with Certain Sonnets: Sonnet (Barnfield) “Spring has arrived with love.” See “Lenten ys come with love to toune” “Squire’s Tale, The” (Chaucer) 101, 196 staffe 33 “Stand Whoso List” (Wyatt) 424–425, 465 stanza 33, 425, 427 Steele Gas, The (Gascoigne) 331, 336 “Stella, since thou so right a princesse art” (Sidney) See Astrophil and Stella: Sonnet 107 (Sidney) “Stella, thinke not that I by verse seeke fame” (Sidney) See Astrophil and Stella: Sonnet 90 (Sidney) “Stella, while now by Honour’s cruell might” (Sidney) See Astrophil and Stella: Sonnet 91 (Sidney) “Stella oft sees the very face of woe” (Sidney) See Astrophil and Stella: Sonnet 45 (Sidney) St Erkenwald 10, 203, 425–426 Sternhold, Thomas 464 “Sternhold and Hopkins.” See Whole Book of Psalms Collected into English Meter, The strambotto 285, 426–427, 453 “Strife is grown between Virtue and Love, A” (Sidney) See Astrophil and Stella: Sonnet 52 (Sidney) strophe 259, 427 subscriptio 162 Sultan of Babylone, The 351, 427 “Sumer is icumen in” 343, 422, 428 Summer’s Last Will and Testament (Nashe) 247 “Summoner’s Tale, The” (Chaucer) 100, 173 sumptuary laws 176, 206 “Sunset on Calvary.” See “Now Goth Sonne Under Wod” superego 48 Surrey, Henry Howard, earl of 129, 163, 228, 428–429, 439 “Alas so all things now hold their peace ” “The Assyrians’ king in the peace with foul desire” 33–34 and Barnfield (Richard) 134 blank verse developed by 85, 429, 450 and duke of Richmond 214, 418–419, 428, 463 “London, hast though accused me” 249–250, 429 “Love that doth reign and live within my thought” 255–256, 429 on manuscripts 312 “My Radcliffe” 285 “O Happy Dames” 297 Puttenham (George) on 33 “Set me whereas the sonne doth perche the grene” 23, 355 and Sidney (Sir Philip) 35, 37 “So Cruel Prison” 418–419 “The Soote Season” 421– 422 translations by 250, 255, 317, 355, 421, 429, 450 “When Windsor Walls” 418, 463–464 and Wyatt (Sir Thomas) 250, 256, 285, 297, 429, 479–480 “Wyatt Resteth Here” 479–480 Sweet Nosegay, A (Whitney) 103, 444, 464, 471 sylva 248 synecdoche 59, 64, 113, 291, 362, 383, 429 T “Tagus, Farewell” (Wyatt) 430 tail rhyme 86, 430–431 See also rime couée Táin Bó Cúailgne 154, 155 “Tale of a Wayside Inn” (Dafydd ap Gwilym) See “Trouble in a Tavern” (Dafydd ap Gwilym) Tale of Gamelyn, The 163, 431–432 “Tale of Melibee, The” (Chaucer) 101, 196 “Tale of Sir Thopas, The” (Chaucer) 101, 273 Taliesin 332, 432–433 “The Battle of Argoed Llwyfain” 75, 432 “Urien of Yrechwydd” 447 “The War-Band’s Return” 458 Tallis, Thomas 130 Tennyson, Alfred Lord 29 “Tenth Satire” (Alamanni) 276, 277 tercet 425 Testament of Cresseid, The (Henryson) 216, 353, 433, 447 “That time of year thou mayest in me behold” (Shakespeare) See Shakespeare’s sonnets: Sonnet 73 “Then hate me when thou wilt, if ever, now” (Shakespeare) See Shakespeare’s sonnets: Sonnet 90 Theocritus 310, 311 “There Were Three Ravens.” See “Three Ravens, The” “They Flee from Me” (Wyatt) 36, 146, 253–254, 433–435, 479 “They that have power to hurt and will none” (Shakespeare) See Shakespeare’s sonnets: Sonnet 94 “This holy season fit to fast and pray” (Spenser) See Amoretti: Sonnet 22 (Spenser) This Waverand Warldis Wretchidnes 153 Thorpe, Thomas 358, 360 “Those lines that I have writ before lie” (Shakespeare) See Shakespeare’s sonnets: Sonnet 115 “Thou Blind Man’s Mark” (Sidney) See Certain Sonnets 31: “Thou Blind Man’s Mark” (Sidney) three estates 122, 207, 322, 323, 351–352, 435 “Three Ravens, The” 435–436, 445–446 “Three Things There Be” (Raleigh) See “Sir Walter Raleigh to his Son”   (Raleigh) “Thrush and the Nightingale, The” 246, 303 “Thy bosom is endeared with all hearts” (Shakespeare) See Shakespeare’s sonnets: Sonnet 31 Thynne, William 102 timor mortis 127, 298 Titus Andronicus (Shakespeare) 118 “To Adam, His Scribe” (Chaucer) 436 “To all those happy blessings which ye have” (Spenser)   See Amoretti: Sonnet 66 (Spenser) Tolkien, J R R 79 “To Margery Wentworthe” (Skelton) See Garland of Laurel: “To Margery Wentworthe” (Skelton) “To me, fair friend, you can never be old” (Shakespeare) See Shakespeare’s sonnets: Sonnet 104 “To Mistress Isabell Pennel” (Skelton) See Garland of Laurel: “To Mistress Isabell Pennel” (Skelton) “To Mistress Jane Blennerhasset” (Skelton) See Garland of Laurel: “To Mistress Jane Blennerhasset” (Skelton) “To Mistress Margarete Hussey” (Skelton) See Garland of Laurel: “To Mistress Margarete Hussey” (Skelton) “To nothing fitter can I thee compare” (Drayton) See Ideas Mirrour: Sonnet 12 (Drayton) Topcliff, Richard 422 “To Rosamunde” (Chaucer) 221 “To St Mary Magdalen” (Constable) 436–437 “To the Angel Spirit of the most excellent Sir Philip Sidney” (Herbert) See Herbert, Mary Sidney “To Thee Pure Sprite” (Herbert) 216, 402, 437–438 “To the Thrice-Sacred Queen Elizabeth” (Herbert) 438–439 Tottel, Richard 430, 434, 439, 479 Tottel’s Miscellany (Songes and Sonnettes) 439 Surrey’s (Henry Howard) poems in 4, 33, 85, 285, 297, 355, 422, 439, 463, 479 Wyatt’s (Sir Thomas) poems in 146, 188, 226, 253– 254, 331, 430, 434, 439, 452, 479 Tower of London 130, 290, 439–440 Anne Boleyn in 215, 440 Constable (Henry) in 127 Elizabeth I in 160, 439, 475 James I in 230 More (Sir Thomas) in 282, 440 Peasants’ Revolt rebels in 316, 440 Raleigh (Sir Walter) in 336, 439 Southwell (Robert) in 422, 439 Surrey (Henry Howard) in 428 Wyatt (Sir Thomas) in 465, 478 Index 513 “Trafferth Mewn Tafarn” (Dafydd ap Gwilym) See “Trouble in a Tavern” (Dafydd ap Gwilym) translation tradition 440–441, 450 Alfred the Great and 6, 87, 267–268, 449 Barclay (Alexander) and 73, 318 Campion (Thomas) and 88, 285 Caxton (William) and 107, 115, 118 Chaucer (Geoffrey) and 87, 90, 111, 126, 306, 317, 443 classical tradition and 118 Crowley (Robert) and 131, 464 Daniel (Samuel) and 139, 142 Douglas (Gavin) and 118, 148, 450 Elizabeth I and 87, 126 Herbert (Mary Sidney) and 109, 168–169, 216–217, 402–407, 437–438 Herebert (William) and 462 Lydgate (John) and 186 Mannyng (Robert) and 213–214 Marlowe (Christopher) and 118, 265, 302 Sidney (Sir Philip) and 107, 109, 168–169, 402–407, 437–438 Spenser (Edmund) and 283 Surrey (Henry Howard) and 4, 85, 250, 255, 317, 355, 421, 450 Wyatt (Sir Thomas) and 250, 276–277, 283, 317, 331–332, 421, 424, 429, 465–466 tree alphabet 296 “Trial of the Fox, The” (Henryson) 279 Trivet, Nicholas 100, 263 trochaic foot Troilus and Cressida (Shakespeare) 117 Troilus and Criseyde (Chaucer) 195–196, 244, 441–442 aubades in 69, 442 chivalry in 115, 442 dedication of 210 envoi in 163 and Henryson (Robert) 216, 433 influences on 32, 111, 117, 317, 441, 443, 450 lovesickness in 255, 442 rhyme royal used in 343, 441 and Surrey (Henry Howard) 419 Troilus Stanza See rhyme royal Trojan War 116, 117 “Trouble in a Tavern” (Dafydd ap Gwilym) 442–443 Troy Book (Lydgate) 117, 163, 257, 346 “Truce, gentle Love, a parley now I crave” (Drayton) See Ideas Mirrour: Sonnet 63 (Drayton) “Truth” (Chaucer) 443 Tucker, M J 201 Tudor court culture See court culture Tudor women poets 444–445 “Tunning of Elinour Rumming, The” (Skelton) 445 “Twa Corbies, The” 436, 445–446 “Two loves I have of comfort and despair” (Shakespeare) See Shakespeare’s sonnets: Sonnet 144 Tyler, Wat 316 Tyndale, William 8, 330 U ubi sunt 127, 145, 239, 353, 447, 457 Ulster Cycle 154 University Wits 287 “Unto the hills, I now will bend” (Herbert) See Sidneian Psalms: Psalm 121 (Herbert) Urien (king of Rheged) 75, 432, 447, 458 “Urien of Yrechwydd” (Taliesin) 447 Usk, Thomas 321 Utopia (More) 282 V vado mori 239 vassal 188–189 Vaughan Lock, Anne 421, 444 Meditations on Sin 267 Vendler, Helen 373, 386 Venus and Adonis (Shakespeare) 137, 168, 265, 357, 368, 448–449 Vercelli Book 26, 149, 170 vernacular 449 Alfred the Great and 6, 26, 449 Anglo-Norman as 24, 25 Bible translation in 249, 449 Blind Hary and 86 Caxton (William) and 107 Chaucer (Geoffrey) and 111, 163, 353 Douglas (Gavin) and 148 in Floris and Blauncheflur 189 in “In Praise of Mary” 227 James I (king of Scotland) and 236 Langland (William) and 322 Layamon and 95 Mannyng (Robert) and 261 Marie de France and 264 Petrarch and 317 in Renaissance 156 romances in 347 Spenser (Edmund) and 423 Virgin lyrics in 451 Wace and 348 Viaticum 254 Vickers, Nancy 339 Vikings 5–6, 75–76, 77, 235, 295 virelai 104, 349, 450 Virgil 118, 158, 311, 440, 450 on Arcadia 28 and Barnfield (Richard) 74, 450 and Chaucer (Geoffrey) 89, 219, 220, 450 locus amoenus used by 248 and Marlowe (Christopher) 310 and Shakespeare (William) 339, 450 and Sir Orfeo 416 and Spenser (Edmund) 118, 173, 174, 401, 450 and Surrey (Henry Howard) 4, 85, 429, 450 Virgin lyrics 1–2, 111–112, 227–228, 257, 260–261, 272, 273, 290–291, 332–333, 450–452 virtues 452 “Vision upon the Conceipt of the Faery Queene, A” (Raleigh) See “Methought I saw the grave, where Laura lay” (Raleigh) vocalic rhyme See assonance volta 163, 452 Völuspá 299 “Vous la croyez, las! Trop je lapperỗoy (Mary, Queen of Scots) See Casket Letters: Sonnet (Mary, Queen of Scots) Vox Clamantis (Gower) 210 Voyage of St Brendan, The 25 “Vulcan Begat Me” (Wyatt) 427, 452–453 Vulgate Cycle 30 W Wace 454 Roman de Brut 25, 28, 29, 95, 243, 261, 348–349, 454 Wallace, The (Blind Hary) 73, 86, 454–456 Wallace, William 345, 455, 456 Walton, Izaak 293 “Wanderer, The” 171, 456– 458, 477 consolatio in 125 contempt for the world in 127 as elegy 158–159, 456, 457 lament in 239 and “The Ruin” 349 and “The Seafarer” 353–354 ubi sunt in 447 and “Widsith” 466 and “The Wife’s Lament” 471 “War-Band’s Return, The” (Taliesin) 458 Wars of Alexander, The 10, 118 Wars of the Roses 458–459 “Was it the proud full sail of his great verse” (Shakespeare) See Shakespeare’s sonnets: Sonnet 86 Watson, Thomas 60, 74, 265 “Weary yeare his race now having run, The” (Spenser) See Amoretti: Sonnet 62 (Spenser) Weddynge of Sir Gawen and Dame Ragnell, The 459–460, 469 Welsh poetry See also Aneirin; Dafydd ap Gwilym; Taliesin on Arthur 28, 30 cywydd used in 137, 138, 332, 442 Welsh women poets 460–461 Wentworthe, Margery 200 “Werewolf, The” (Marie de France) See “Bisclavret” (Marie de France) wergild 77, 461 Weston, Elizabeth Jane 444 “What, have I thus betrayed my liberty?” (Sidney) See Astrophil and Stella: Sonnet 47 (Sidney) “What guyle is this, that those her golden tresses” (Spenser) See Amoretti: Sonnet 37 (Spenser) “What is he, this lordling, that cometh from the fyht” (Herebert) 461–462 “What is our Life?” (Raleigh) 462 “When, in disgrace with Fortune and men’s eyes” (Shakespeare) See Shakespeare’s sonnets: Sonnet 29 “When forty winters shall besiege thy brow” (Shakespeare) See Shakespeare’s sonnets:   Sonnet 514 Index “When I consider every thing that grows” (Shakespeare) See Shakespeare’s sonnets: Sonnet 15 “When I count the clock that tells the time” (Shakespeare) See Shakespeare’s sonnets: Sonnet 12 “When I have seen by Time’s fell hand defaced” (Shakespeare) See Shakespeare’s sonnets: Sonnet 64 “When in the chronicle of wasted time” (Shakespeare) See Shakespeare’s sonnets: Sonnet 106 “When I Was Fair and Young” (Elizabeth I) 462–463 “When I was forced from Stella ever dear” (Sidney) See Astrophil and Stella: Sonnet 87 (Sidney) “When men shall find thy flower, thy glory pass” (Daniel) See Delia: Sonnet 33 (Daniel) “When my abode’s prefixed time is spent” (Spenser) See Amoretti: Sonnet 46 (Spenser) “When my good Angel guides me to the place” (Sidney) See Astrophil and Stella: Sonnet 60 (Sidney) “When my love swears that she is made for truth” (Shakespeare) See Shakespeare’s sonnets: Sonnet 138 “When Nature made her chief work, Stella’s eyes” (Sidney) See Astrophil and Stella: Sonnet (Sidney) “When Sorrow—using mine own fire’s might” (Sidney) See Astrophil and Stella: Sonnet 108 (Sidney) “When to Her Lute Corinna Sings” (Campion) 88, 463 “When to the sessions of sweet silent thought” (Shakespeare) See Shakespeare’s sonnets: Sonnet 30 “When Windsor Walls” (Surrey) 418, 463–464 Whitney, Isabella 444–445, 464 “The Admonition, by the Author” 2–3, 302 “A Careful Complaint by the Unfortunate Author” (Whitney) 103 “I W To Her Unconstant Lover” 2, 228–229 “Will and Testament” 471–472 “‘Who is it that this dark night’“ (Sidney) See Astrophil and Stella: Eleventh Song (Sidney) Whole Book of Psalms Collected into English Meter, The 464–465 “Who List His Wealth and Ease Retain” (Wyatt) 425, 465 “Whoso List to Hunt” (Wyatt) 122, 419, 465–466, 479 “Who will in fairest book of Nature know” (Sidney) See Astrophil and Stella: Sonnet 71 (Sidney) “Widsith” 352, 466–467 “Wife of Bath’s Prologue and Tale, The” (Chaucer) 6, 100, 123, 164, 195, 196, 300, 353, 460, 467–470 “Wife’s Lament, The” 171, 239, 470–471, 472 Wilde, Oscar 359 “Will and Testament” (Whitney) 471–472 William the Conqueror (king of England) 3, 24, 270, 289–290, 439 “Wily Clerk, The” 271, 472–473 “Windsor Elegy” (Surrey) See “So Cruel Prison” (Surrey) wisdom poetry See Anglo-Saxon riddles “With how sad steps, O Moon, thou climb’st the skies” (Sidney) See Astrophil and Stella: Sonnet 31 (Sidney) “With what sharp checks I in myself am shent” (Sidney) See Astrophil and Stella: Sonnet 18 (Sidney) “Womanhood, Wanton” (Skelton) 473 “Woman’s face with Nature’s own hand painted, A” (Shakespeare) See Shakespeare’s sonnets: Sonnet 20 women poets 25, 444–445, 460–461 women’s education 157 women’s song See Frauenlied women translators 440–441 “Woodmanship” (Gascoigne) 473–474 Woolf, Virginia 444 Worde, Wynkyn de 102, 115, 208, 334, 474–475 word emblems 162 Wordsworth, William 359 “Written on a Window Frame [or Wall] at Woodstock” and “Written with a Diamond” (Elizabeth I) 444, 475–476 Wroth, Lady Mary 421 “Wulf and Eadwacer” 171, 239, 476–478 Wyatt, Sir Thomas 163, 228, 439, 478–479 “And Wilt Thou Leave Me Thus” 23–24 and Barnfield (Richard)   134 “Blame Not My Lute” 84–85 “Divers doth use” 146 “Farewell Love, and all thy laws for ever!” 188, 479 “I find no peace, and all my war is done” 225–226, 331 “The Long Love that in my Thought Doth Harbor” 250, 256 “The Lover Showeth How He Is Forsaken of Such as He Sometime Enjoyed” 253–254 “Madam, Withouten Many Words” 259 on manuscripts 264, 312 “Mine Own John Poins” 276–277, 425, 465, 474 “My Galley Charg’d with Forgetfulness” 283 “My Lute Awake!” 284– 285, 479 “The pillar perished is whereto I leant”   331–332 Puttenham (George) on 33 rhyme royal used by 343, 434 and Sidney (Sir Philip) 35, 36, 37, 188 “Sometime I Fled the Fire” 419, 479 “Stand Whoso List” 424– 425, 465 and Surrey (Henry Howard) 250, 256, 285, 297, 429, 479–480 “Tagus, Farewell” 430 “They Flee from Me” 36, 146, 253–254, 433–435, 479 translations by 4, 85, 250, 276–277, 283, 317, 331–332, 421, 424, 465–466 virelai used by 450 “Vulcan Begat Me” 427, 452–453 “Who List His Wealth and Ease Retain” 425, 465 “Whoso List to Hunt” 122, 419, 465–466, 479 “Wyatt Resteth Here” (Surrey) 479–480 Wycliffe, John 170, 248–249, 320, 323 Wynnere and Wastoure 151 wyrd 27, 349, 480 Y yellow bile 191 “Ye that pasen by the weye” 271, 481 “Ye tradefull Merchants, that with weary toyle” (Spenser) See Amoretti: Sonnet 15 (Spenser) Y Gododdin (Aneirin) 30, 481–482 “Yonec” (Marie de France) 242, 264 “You believe her—alas—I perceive it too well” (Mary, Queen of Scots) See Casket Letters: Sonnet (Mary, Queen of Scots) Younger Edda 299 “You’re not alone when you are still alone” (Drayton) See Ideas Mirrour: Sonnet 13 (Drayton) “Your words, my friend—right healthful caustics—blame” (Sidney) See Astrophil and Stella: Sonnet 21 (Sidney) “You that search for every purling spring” (Sidney) See Astrophil and Stella: Sonnet 15 (Sidney) “You that with allegory’s curious frame” (Sidney) See Astrophil and Stella: Sonnet 28 (Sidney) Ysengrimus 343 Ysopet (Marie de France) 76, 264 Z zeugma 304–305, 483 ... to British poetry before 1600 / [edited by] Michelle M Sauer    p cm — (Companion to literature)   “The Facts On File Companion to British Poetry before 1600 is part of a four-volume set on British. ..T h e fa c t s O n F i l E Companion to British Poetry Before 1600 CD michelle M Sauer The Facts On File Companion to British Poetry before 1600 Copyright © 2008 Michelle M Sauer All rights... Facts On File Companion to British Poetry before 1600 is part of a four-volume set on British poetry from its beginning to the present This particular volume covers poetry written during the Anglo-Saxon,