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Copyrighted Material Hunter: Renaissance Literature 9781405150477_4_001 Final Proof page 17 13.3.2009 3:58pm John Skelton (1460?–1529) Although there is little reliable information and vulgar erotic verse (‘‘The Tunning of about Skelton’s early life, he appears to have Elynour Rummyng’’). During his rectorship he studied at both Cambridge and Oxford, where also wrote two comic Latin epitaphs on mem- he was awarded the title of ‘‘laureate’’ (an bers of his congregation (‘‘Epitaph for Adam advanced degree in rhetoric) in 1488; he later Udersall’’ and ‘‘A Devout Trental for Old John received the same honor from the universities Clarke’’) which anticipate the satirical vein of of Cambridge and Louvain. Some time in the his later poetry. He also wrote Latin verse and 1490s, he went up to London and the court, made some translations from Latin. The tone where he wrote some occasional poems and and themes of his poems vary wildly within as dramatic entertainments. In 1498, Skelton well as between them, and he excels at using took holy orders and soon after became the commonplace situations as comic vehicles for tutor of Prince Henry (later King Henry learned disputes or reflections. A good example VIII). When Erasmus visited England in is ‘‘Ware the Hawk,’’ a poem about a neighbor- 1499, he described Skelton as unum Britanni- ing curate who has been hunting with his hawk carum litterarum lumen ac decus (‘‘the singular in Skelton’s church at Diss. The bird’s fouling of light and glory of British letters’’); while he the altar, chalice, and host becomes the occa- had his detractors as well, this shows that sion for a poetic sermon (carefully divided into Skelton was an established poet and scholar named sections) and a table of conclusions for and he has always been considered the most the erring hawk-owner to follow. In his last important English poet of the generation before major poem – ‘‘A Replication Against Certain Wyatt. In recognition of his royal service, he Young Scholars Abjured of Late’’ (1528) – was made rector of Diss, near the border of Skelton put aside his old conflict with Wolsey Suffolk and Norfolk. In 1512, he was given to join him in combating what they both saw as the title orator regius (‘‘royal orator’’) by the heresy of Lutheranism, which was beginning Henry VIII. to be debated at Cambridge in the mid-1520s Skelton was a tremendously versatile poet: he (see Walker). used established verse forms, such as the poetic ‘‘Philip Sparrow’’ is a fine example of dream vision of The Garland of Laurel, which is Skelton’s metrical skill and his flair for com- reminiscent of Chaucer,COPYRIGHTED but also experimented bining theMATERIAL traditional and the new. The poem with new forms and created his own (the ‘‘Skel- celebrates a mock mass – much as children tonic,’’ which consists of lines with two or three sometimes elaborately bury their dead pets – accents that rhyme successively; see ‘‘Philip for Jane Scrope’s sparrow, killed by a Carrow Sparrow’’ below). He wrote celebratory poems Abbey cat. The poem is in two parts: the first is for his royal employers (‘‘A Lawde and Prayse the girl’s lament, in her own voice, for Philip; Made for Our Sovereigne Lord the Kyng’’) and and the second is the poet’s commendation of sharp satires against courtly hypocrisy and, in Jane’s beauty. Fifteen years after composing the particular, Cardinal Wolsey (‘‘Speke Parrot,’’ poem, Skelton wrote an additional section, ‘‘Collyn Clout,’’ and ‘‘Why Come Ye Nat to replying to those who raised moral objections Courte?’’). He wrote sincere devotional poetry about part two. While part two is an intricately Hunter: Renaissance Literature 9781405150477_4_001 Final Proof page 18 13.3.2009 3:58pm 18 sensual application of the art of rhetoric, making Text explicit use of terminology from classical hand- The Complete English Poems, ed. John Scatter- books, its learning is undercut in part one by the good (spelling modernized). girl’s polymathic knowledge, which weaves to- Reading gether bird lore, musicology, the language of A. W. Barnes, ‘‘Constructing the Sexual Subject of the Bible and the Office for the Dead, English John Skelton.’’ literary history, and classical learning. Because Arthur F. Kinney, John Skelton, Priest as Poet: of its complex treatment of female sexuality, Seasons of Discovery. from the fictionalized points of view of Jane and John Scattergood, ‘‘John Skelton’s Lyrics: Trad- the poet himself, the poem and the history of its ition and Innovation.’’ Susan Schibanoff, ‘‘Taking Jane’s Cue: Phyllyp John Skelton (1460?–1529) reception have recently received sustained Sparowe as a Primer for Women Readers.’’ attention from feminist critics (see Barnes and Greg Walker, John Skelton and the Politics of the Schibanoff). 1520s. Philip Sparrow [Part I] I wept and I wailed, 1 Pla ce bo! The tears down hailed; Who is there, who? But nothing it availed 2 Di le xi! To call Philip again 3 Dame Margery, Whom Gib our cat hath slain. Fa, re, my, my. Gib, I say, our cat 9 Wherefore and why, why? Worried her on that For the soul of Philip Sparrow 30 Which I loved best. That was late slain at Carrow It cannot be expressed Among the Nuns Black. My sorrowful heaviness, 10 For that sweet soul’s sake, But all without redress; 10 And for all sparrows’ souls For within that stound, 4 Set in our bead-rolls, Half slumbering, in a sound 5 Pater noster qui, I fell downe to the ground. 6 11 With an Ave Mari, Unneth I cast mine eyes And with the corner of a Creed, Toward the cloudy skies; 7 The more shall be your meed. But when I did behold 40 My sparrow dead and cold, When I remember again No creature but that would 12 How my Philip was slain, Have rued upon me, Never half the pain To behold and see 20 Was between you twain, What heaviness did me pang: 8 Pyramus and Thisbe, Wherewith my hands I wrang, As then befell to me. That my sinews cracked Notes 6 PHILIP SPARROW ‘‘Hail Mary.’’ 1 7 From the opening of the antiphon of the Vespers for the reward. 8 Office of the Dead. The syllabic divisions suggest plainsong. Tragic lovers in a tale by Ovid (see gazetteer) in the 2 From Vulgate Psalm 114 (Psalm 115), the first psalm in the Metamorphoses. 9 Office of the Dead. The syllabic divisions suggest plainsong. i.e. bit on the throat. 3 10 The head nun at the abbey of Carrow. moment and/or sudden shock. 4 11 Lists of the dead for whom prayers were to be offered. barely. 5 12 ‘‘Our Father which ...’’ pitied. Hunter: Renaissance Literature 9781405150477_4_001 Final Proof page 19 13.3.2009 3:58pm 19 As though I had been racked, And from the smokes sour 22 So pained and so strained Of Proserpina’s bower; That no life well nigh remained. And from the dens dark 23 50 I sighed and I sobbed, Where Cerberus doth bark, 24 25 For that I was robbed Whom Theseus did affray, 26 27 Of my sparrow’s life. Whom Hercules did outray, O maiden, widow, and wife, As famous poets say; 13 Of what estate ye be, From that hell-hound Of high or low degree, 90 That lieth in chains bound, Great sorrow then ye might see, With ghastly heads three; And learn to weep at me! To Jupiter pray we Such pains did me fret That Philip preserved may be! John Skelton (1460?–1529) That mine heart did beat, Amen, say ye with me! 60 My visage pale and dead, Wan, and blue as lead: Do mi nus, The pangs of hateful death Help now sweet Jesus! 28 Well nigh had stopped my breath. Levavi oculos meos in montes. 29 Would God I had Zenophontes, Heu, heu, me, Or Socrates the wise, 30 That I am woe for thee! 100 To show me their device 14 Ad Dominum, cum tribularer, clamavi. Moderately to take Of God nothing else crave I This sorrow that I make But Philip’s soul to keep For Philip Sparrow’s sake! 15 From the marees deep So fervently I shake, 16 70 Of Acherontes’ well, I feel my body quake; That is a flood of hell; So urgently I am brought 17 And from the great Pluto, Into careful thought. 31 The prince of endless woe; Like Andromach, Hector’s wife, 18 And from foul Alecto, Was weary of her life, With visage black and blue; 110 When she had lost her joy, 19 20 And from Medusa, that mare, Noble Hector of Troy; That like a fiend doth stare; In like manner also 21 And from Megaera’s adders Increaseth my deadly woe, For ruffling of Philip’s feathers, For my sparrow is go. 80 And from her fiery sparklings, It was so pretty a fool, For burning of his wings; It would sit on a stool, Notes 13 22 social standing. Goddess of the Underworld (see gazetteer under ‘‘Perse- 14 ‘‘Woe, woe is me . In my distress, I cried unto the phone’’). 23 Lord’’ (second antiphon and Vulgate Psalm 119 from the Monstrous three-headed dog who guarded the entrance Vespers). to the Underworld. 15 24 marsh. Mythical king of Athens (see gazetteer). 16 25 Acheron, one of the rivers of the Underworld in Greek frighten. 26 myth. Mythical Greek demi-god and hero (see gazetteer). 17 27 Roman god of the Underworld, whose other name in vanquish. 28 Roman literature is Dis (see gazetteer). There is a pun ‘‘Lord .
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