ABSTRACT
In this chapter I compare the paratextual framing of George Gascoigne’s poetic anthologies, A Hundreth Sundrie Flowres (1573) and The Posies of George Gascoigne Esquire (1575). Initially, these books appear to promote two different views of print culture. However, they in fact both adopt the techniques of the typographic imaginary to demonstrate accommodation and negotiation between print and manuscript practices. Building up the trope of the fractured manuscript coterie, Gascoigne positions his work in an allusive relationship with an important formal model for the printed anthology, Tottel’s Miscellany (1557). He activates and extends the alternative typographic value initiated with Caxton.
