John Skelton and Poetic Authority is the first book-length study of Skelton for almost twenty years, and the first to trace the roots of his poetic theory to his practice as a writer and translator. It demonstrates that much of what has been found challenging in his work may be attributed to his attempt to reconcile existing views of the poet's role in society with discoveries about the writing process itself. The result is a highly idiosyncratic poetics that locates thepoet's authority decisively within his own person, yet at the same time predicates his 'liberty to speak' upon the existence of an engaged, imaginative audience. Skelton is frequently treated as a maverick, but this book places his theory and practice firmly in the context of later sixteenth as well asfifteenth-century traditions. Focusing on his relations with both past and present readers, it reassess his place in the English literary canon.

"Magnifience" by John Skelton is a satirical poem that skewers the hypocrisy and moral decay of the English court during the reign of King Henry VIII. Through the antics of the parrot, who serves as a witty and outspoken commentator on the affairs of state, Skelton offers a biting critique of the corruption and excesses of the royal court. With its clever wordplay and irreverent humor, "Speke Parrot" provides a window into the political and social climate of the time, while also showcasing Skelton's mastery of poetic form and language. As a scathing indictment of the abuse of power and privilege, "Speke Parrot" remains a timeless work of satire that continues to resonate with readers today.

The Oxford Handbook to Tudor Drama is the authoritative secondary text on Tudor drama. It both integrates recent important research across different disciplines and periods and sets a new agenda for the future study of Tudor drama, questioning a number of the central assumptions of previous studies. Balancing the interests and concerns of scholars in theatre history, drama, and literary studies, its scope reflects the broad reach of Tudor drama as a subject, inviting readers to see the Tudor century as a whole, rather than made up of artificial and misleading divisions between 'medieval' and 'renaissance', religious and secular, pre- and post-Shakespeare. The contributors, both the established leaders in their fields and the brightest young scholars, attend to the contexts, intellectual, theatrical and historical within which drama was written, produced and staged in this period, and ask us to consider afresh this most vital and complex of periods in theatre history. The book is divided into four sections: Religious Drama; Interludes and Comedies, Entertainments, Masques, and Royal Entries; and Histories and political dramas.

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Introduces Skelton and his work to readers unfamiliar with the poet, gathers together the vibrant strands of existing research, and opens up new avenues for future studies.

The essays in this collection, contributed by an internationally distinguished group of scholars, bring up to date many aspects of the criticism of the English Interludes. The development of these plays was a significant part of the history of the growth of English drama in the sixteenth century to the extent that they may be regarded as its main stream. Arising by means of a felicitous combination of the development of printing and the growth of a professional theatre, plays of this type quickly became a forum for the presentation and exploration of many contemporary themes. They became a useful means of disseminating a wide variety of opinions and public concerns as well as exhibiting at times the intellectual brilliance of the Renaissance. The essays here are concentrated upon power, particularly in its religious and political aspects, gender and theatricality. The political and religious upheavals of the Reformation under the Tudor monarchy form a background as well as a focus at times. In particular the position of women in sixteenth-century society is examined in essays on several plays. There is also discussion of the development of theatrical techniques as playwrights worked closely with small acting companies to reach a wide audience ranging from the royal court to the common streets. This was achieved, as a number of essays make clear, through a variety of entertaining theatrical devices.

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