1 The authoritative edition is by G. W. Pigman III, George Gascoigne:, A Hundreth Sundrie Flowres (Oxford: Oxford University Press, 2000), which incorporates the Posies. All subsequent references and quotations from either work are to this volume.

² Gascoigne wrote one of the earliest English sonnet sequences and perhaps the second corona of sonnets (both in the ‘Memories’, 1565, Pigman, George Gascoigne: A Hundreth Sundrie Flowres, 274–83).

³ Pigman, George Gascoigne: A Hundreth Sundrie Flowres, 4, 215.

⁴ Norman Sanders et al., The Revels History of Drama in English (London: Methuen, 1980), ii. 228.

⁵ Pigman, George Gascoigne: A Hundreth Sundrie Flowres, 449–50, note 141.1–2.

⁶ See Gillian Austen, George Gascoigne, Studies in Renaissance Literature, 24 (Woodbridge: D. S. Brewer, 2008), 68–74, 84–93, which discusses all of Gascoigne’s work and career.

⁷ His first excursion is recorded in ‘Gascoignes Voyage into Hollande, An. 1575’, Pigman, George Gascoigne: A Hundreth Sundrie Flowres, 319–28.

⁸ Adrian Weiss, ‘Shared Printing, Printer’s Copy, and the Text(s) of Gascoigne’s A Hundreth Sundrie Flowres’, Studies in Bibliography, 45 (1992): 71–104.

⁹ See Droomme of doomesday, pp. 215, 453, in J. W. Cunliffe, ed., The Complete Works of George Gascoigne, 2 vols. (Cambridge: Cambridge University Press, 1907, 1910; repr. New York: Greenwood Press, 1969), vol. II. Cunliffe’s first volume, The Posies, was superseded by Pigman’s authoritative edition with commentary in 2000; but his second volume remains the best edition for Gascoigne’s other works, apart from the Steele Glas/Complaynte of Phylomene, of which there is an annotated edition by William Wallace (see Further Reading); and the Noble Arte of Venerie, of which there is no modern edition except the one published as Turberville’s Book of Hunting (Oxford: Clarendon Press, 1908).

¹⁰ There is a modern spelling edition in Paul Salzman, An Anthology of Elizabethan Prose Fiction, World’s Classics (Oxford: Oxford University Press, 1987), excluding the letter from the printer, which can be found in the Pigman edition, 3–4.

¹¹ Susan C. Staub, ‘ “According to My Source”: Fictionality in The Adventures of Master F.J.’, Studies in Philology, 87 (1990): 101–35.

¹² Cunliffe, Complete Works, II, pp. 561–7. See also James McDermott, Martin Frobisher: Elizabethan Privateer (New Haven and London: Yale University Press, 2001), 129.

¹³ Pigman, George Gascoigne: A Hundreth Sundrie Flowres, 566, note 216.10–14.

¹⁴ The range of biographical readings is detailed in Austen, George Gascoigne, 74–6.

¹⁵ Gascoigne used the Reformed Prodigal persona as early as 1562 in ‘Gascoignes de Profundis’ (Pigman, George Gascoigne: A Hundreth Sundrie Flowres, 290–3).

¹⁶ See Austen, George Gascoigne, 93–101.

¹⁷ W. W. Greg and E. Boswell, eds., Records of the Court of the Stationers’ Company, 1576–1602, from Register B (London: Biographical Society, 1930), 86–7.

¹⁸ Cyndia Clegg, Press Censorship in Elizabethan England (Cambridge: Cambridge University Press, 1997), 122.

¹⁹ Robert W. Maslen, ‘Sidney, Gascoigne, and the “Bastard Poets”’, in Constance C. Relihan and Goran V. Stanivukovic, eds., Prose Fiction and Modern Sexualities in England, 1570–1640 (Basingstoke and New York: Palgrave Macmillan, 2003), 215–34.

²⁰ Katharine Wilson, Fictions of Authorship in Late Elizabethan Narratives (Oxford: Oxford University Press, 2006), 1–51 and passim.

²¹ Pigman, George Gascoigne: A Hundreth Sundrie Flowres, note 454.1, 731.

²² Austen, George Gascoigne, 11–14.

²³ Jayne Archer, ‘ “A notable kinde of rime”: The “fine invention” of Gascoigne’s Certayne Notes of Instruction (1575)’, in Gillian Austen, ed., New Essays on George Gascoigne (New York: AMS Press, forthcoming).

²⁴ The online OED is searchable under Gascoigne for examples of his neologizing.

²⁵ For a contrasting view, see Pigman, George Gascoigne: A Hundreth Sundrie Flowres, note 454.13–15, 732.

²⁶ See Gillian Austen, ‘George Gascoigne and the Transformations of Phylomene’, in Sabine Coelsch-Foisner, ed., Elizabethan Literature and Transformation, Studies in English and Comparative Literature, 15 (Tübingen: Stauffenberg-Verlag, 1999), 107–19 (108, 115).

²⁷ See the anonymous edition published by Cadman in 1585, 93.

²⁸ See Austen, George Gascoigne, 182.

²⁹ Eleanor Rosenberg, Leicester, Patron of Letters (New York: Columbia University Press, 1955), 171–2.

³⁰ Sandra Clark, The English Pamphleteers (Rutherford, NJ: Fairleigh Dickinson University Press, 1983), 89–95.

³¹ Heton corroborates Gascoigne’s heroism in his report to Lord Burghley, PRO SP For., 70/140, fol. 191, cited in Cunliffe, Complete Works, II, p. vi.

³² Jean Robertson identified Gascoigne as the translator, in ‘George Gascoigne and The Noble Arte of Venerie and Hunting’, Modern Language Review, 37 (1942): 484–5; Charles and Ruth Prouty identified the source text in ‘George Gascoigne, The Noble Arte of Venerie, and Queen Elizabeth at Kenilworth’, in James McManaway, Giles Dawson, and Edwin Willoughby, eds., Joseph Quincy Adams Memorial Studies (Washington: Folger Shakespeare Library, 1948), 639–64.

³³ Austen, George Gascoigne, 105–15.

³⁴ Charles T. Prouty, George Gascoigne: Elizabethan Courtier, Soldier, and Poet (New York: Columbia University Press, 1942, repr. 1968), 274.

³⁵ ‘Dan Bartholmew’ also breaks in this way in A Hundreth; see Pigman, George Gascoigne: A Hundreth Sundrie Flowres, 358. See also Prouty, George Gascoigne, 97.

³⁶ It is reprinted with original spelling in The Papers of Nathaniel Bacon of Stiffkey, ed. A. H. Smith and G. M. Baker (Norwich: Norfolk Record Society, 1983), 3–4.