John Skelton

Skeltonics are the brief, lively lines packed with quick rhymes that became Skelton's trademark. They typically appear in groups of two, three, or more lines that share the same rhyme, creating a rhythm reminiscent of spoken word or rap. This form matches his satirical style flawlessly—it's tough to sound pompous in Skeltonics.

His ongoing criticism of Cardinal Wolsey in poems such as *Colin Clout* and *Why Come Ye Not to Court?* put him in the political crosshairs. At that time, Wolsey was effectively in charge of England, and Skelton's ridicule was both public and ruthless. Seeking sanctuary at Westminster provided him with legal protection against arrest, and he reportedly remained there until his death in 1529.

That's the story, and Skelton himself tackled it in his writing. He defended his relationship by saying he had secretly married the woman, which didn't quite satisfy church authorities. Whether that's true or not, it certainly reinforced his reputation as someone who played by his own rules.

*Philip Sparrow* is a lengthy poem from the perspective of a young girl named Jane Scrope, who is grieving the loss of her pet sparrow, killed by a cat. The poem incorporates elements of the Latin mass for the dead, blending liturgical language with a playful tone that is genuinely moving. It's one of the more unexpected poems from the Tudor period.

Skelton tutored the young Henry before he became king, and Henry later gave him the title of 'orator regius' — essentially the royal spokesman or poet. However, Skelton's criticism of Wolsey, who had Henry's backing for much of his reign, created tension. While he never lost the title, he wasn't exactly a court favourite in his later years.

Partly due to taste, later Renaissance writers appreciated classical polish and decorum, making Skelton's rough, tumbling style seem chaotic in comparison. Critics such as Philip Sidney and Alexander Pope dismissed his work. It wasn't until the twentieth century that poets and scholars, prioritizing energy and originality over smoothness, helped restore his reputation.

The language is late medieval English, so some of the vocabulary might feel unfamiliar at first, but the rhythm and humor make it enjoyable. His satirical poems, in particular, have a straightforwardness that resonates even today. A solid modern edition with light footnotes is all you really need.

Most English poets of his time were either influenced by Chaucer or copying styles from abroad. Skelton took a different path — he created his own meter, wrote with a journalist's sharp eye for current events, and blended highbrow knowledge with lowbrow humor in a way that was entirely unique. He truly stands out as one of a kind.