Summary
John Skelton remains a complex figure to categorize in literary history, challenging both temporal and stylistic boundaries. His work straddles the line between medieval traditions and the burgeoning ideas of the Renaissance, yet he cannot be easily defined by either. Skelton's poetry is rooted in his unique perspective, characterized by rich satirical elements and innovative use of language.
Skelton and the Humanists
Although Skelton is often labeled a Humanist scholar, his relationship with other Humanists was fraught with tension. While his contemporaries like Desiderius Erasmus focused on classical revivals, Skelton drew inspiration from medieval Latinists. Yet, like the Humanists, he expressed a keen interest in the human condition and the world around him.
The Medieval Influence: "The Bouge of Court"
"The Bouge of Court" exemplifies Skelton's adherence to medieval traditions with its use of rhyme royal and dream allegory, invoking celestial bodies in its prologue. The protagonist, Drede, embarks on a symbolic journey aboard the ship "The Bouge of Court," owned by Sans Peer and captained by Fortune. Here, he encounters personifications such as Danger and Desire, leading to conversations with embodiments of the seven deadly sins.
Harvy Hafter emerges as a particularly vivid character, a colorful embodiment of a confidence man, whose antics are described in lively detail:
But as I stood musing in my mind,
Harvy Hafter came leaping, light as lynde...
Ultimately, Drede's fear compels him to escape by jumping overboard, awakening from his dream to record his experiences.
Breaking from Tradition: Individuality in Allegory
Despite its medieval foundation, "The Bouge of Court" diverges from tradition through its distinct character portrayals. Skelton transcends typical allegorical figures, offering individualized characters defined by their speech and actions. His vivid settings and acute observations of court life provide a critical lens through which he examines societal norms, often highlighting the irony and chance inherent in the pursuit of royal favor.
Playfulness in "Philip Sparrow"
In "Philip Sparrow," Skelton's playful side shines through in Skeltonic verse. This poem, a whimsical lament for a pet bird, reveals Skelton's ability to blend fantasy with a satirical edge. Through Jane Scroop's voice, Skelton critiques and parodies literary traditions while celebrating the simple joys and sorrows of everyday life.
The poem is divided into three parts, beginning with Jane's monologue about her beloved sparrow, moving to a commendation of her character, and concluding with a defense against critics.
Exploring Realism: "The Tunning of Elinour Rumming"
"The Tunning of Elinour Rumming" captures the raw vitality of Tudor tavern life with unflinching realism. Skelton paints a vivid, if somewhat unflattering, picture of lower-class life, sparing no detail in his depiction of Elinour's establishment. Despite the coarse subject matter, Skelton's portrayal carries an undeniable energy and humor.
This poem's candid approach to its subject matter underscores Skelton's versatility and willingness to explore diverse themes and social classes.
Elusive Allegory: "Speak, Parrot"
"Speak, Parrot" is one of Skelton's most enigmatic works, characterized by its allegorical complexity. The poem is thought to be a compilation of pieces written at different times, possibly as a protective measure against accusations of treason. Skelton cloaks his criticisms in allegory, weaving references from the Book of Judges and employing a parrot as his narrative device.
The work's fragmented structure and use of gibberish add to its mystique, challenging readers to decipher its hidden meanings and political critiques.
Renouncing Tradition: "Colin Clout"
"Colin Clout" marks Skelton's break from medieval conventions, opting for direct social commentary through Skeltonic verse. Here, Skelton addresses church corruption and the intersection of religious and secular power, echoing Humanist calls for reform. By using Colin Clout as a narrator, Skelton offers...
(This entire section contains 815 words.)
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observations without taking responsibility for their accuracy, providing a flexible platform for his critiques.
The poem's structure, or lack thereof, reflects the chaotic state of the issues it addresses, mirroring the disarray within the church and state.
Direct Critique: "Why Come Ye Not to Court?"
In "Why Come Ye Not to Court?" Skelton delivers a direct attack on Cardinal Wolsey without resorting to allegory. He criticizes Wolsey's dominance over the kingdom and his focus on wealth and extravagance. The poem's free-flowing structure suggests it was composed over time, capturing Skelton's ongoing frustration with the political landscape.
Adopting the Laurel: "The Garland of Laurel"
"The Garland of Laurel," dedicated to Wolsey, suggests a reconciliation and returns to the medieval dream allegory. Skelton recounts a procession of poets bestowing the garland upon him, a symbolic acknowledgment of his place in literary tradition. This work stands as a testament to Skelton's self-awareness and confidence in his poetic legacy.
Skelton's Unique Legacy
John Skelton's work defies easy categorization, standing as a bridge between eras while also existing in its own distinct realm. Though his lyrical poetry was sparse, his innovative use of language and insightful critiques of society left an indelible mark. Skelton remains a unique voice, combining satirical sharpness with a deep understanding of human and societal complexities.