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By Elizabeth Heale (auth.)

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P. 71) Tymetes also departed by ship. His absence produces doubt and misunderstanding foregrounding the instability of writing, its lack of a seemingly authenticating voice and presence. Tymetes’ first letter from abroad is in his own blood, bringing his bodily presence as a proof of his sincerity to his lady. His second, written in ink and charging Pyndara to avoid the shame of Cressida by remaining faithful to him, produces, rather than assuages, distrust. Each lover doubts the other’s writing; ‘For some doe weepe that feele no wo’, Pyndara tells her lover: The more you seeme to me in wofull wise to playne, The sooner I perswade my selfe that you do nought but fayne.

G. being stoong with hot affection, could none otherwise relieve his passion but by gazing. And the Dame of a curteous enclination deigned (now and then) to requite the same with glancing at him. Hir old lover occupied his eyes with watching: and hir brother perceyving all this could not absteyne from winking, … . But most of all hir husband … was constreyned to play the fifth part in forward frowninge. (pp. 58 From looking, the clandestine lovers progress to riddling, and from there to ‘better acquaintance’.

21), and ‘Bootes, shoes or Pantables’ in St Martins (p. 21). In spite of the fun of the poem, there is a savage irony. 80 Passing by Ludgate prison, she remarks: I dyd reserve, that for my selfe, yf I my health possest. And ever came in credit so a debtor for to bee. (p. 24) 40 Autobiography and Authorship in Renaissance Verse So marginal is her economic significance in this public world that she cannot even aspire to sufficient credit to get into debt. 81 Her version of her female self, economically marginal and without a secure domestic place, but able and willing to assert that self publicly through her pen, gives us the most unusual example of a new kind of autobiographical self-presentation and narrative that emerges from the midcentury miscellanies.

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