Communication between members of the Renaissance court was confined to vague language filled with contradictions and hidden meaning. Huang argues that George Gascoigne's Hundredth Sundrie Flowers subverts this predominant ethic of obfuscation, using courtly language as a means to accomplish its very critique as inadequate and dangerous in its lack of clarity and openness. Huang will study how this anthological work challenges accepted modes of representational discourse, principally the belief in courtly language as the only appropriate literary standard.