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Representations of Race, Rape, and Consent in Early Modern English Drama

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Representations of Race, Rape, and Consent in Early Modern English Drama Representations of Race, Rape, and Consent in Early Modern English Drama By Kirsten N. Mendoza Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English June 30, 2018 Nashville, Tennessee Approved: Dr. Leah Marcus, Ph.D. Dr. Kathryn Schwarz, Ph.D. Dr. Lynn Enterline, Ph.D. Dr. Melissa E. Sanchez, Ph.D. Copyright © 2018 by Kirsten N. Mendoza All Rights Reserved For my parents, Liz and Ed, who showed me what it means to hope and to dedicate yourself fully to achieve your dreams ii ACKNOWLEDGEMENTS I have been most fortunate to experience this incredible and humbling journey with a supportive community of friends, family, mentors, and fellow scholars. Over the last five years, I have come to realize that thinking deeply is a project of building connections with other people. It is only fitting that I begin with a recognition of those who have been central to this project—my dissertation committee. The questions that undergird this dissertation come from my thinking through a single comment that Kathryn Schwarz gave on a seminar paper from my very first year of graduate studies. Thank you, Kathryn, for consistently believing in me and in my passion for this project since its inception. You always managed to somehow turn my frustration—no matter how severe—to a productive source of energy and excitement. Whether it was in her feedback on my Master’s thesis on Othello or our many conversations on the direction of this project, Leah Marcus always insisted that I keep questions of race central to my work, especially when I was tempted to turn elsewhere. She has been a critical and generous reader and a most caring and supportive mentor. Lynn Enterline has been instrumental to fostering and encouraging my questions about what is unseen, invisible, and latent within representations of sexual violence and has constantly challenged me to think deeply about my choice of drama for this project. Throughout the many conversations that we have shared over the last few years, Melissa Sanchez helped me to think through the knots of my dissertation while reminding me that this is just the start to the larger project. Melissa has been generously supportive of my work and of my professional goals, and for these I am deeply grateful to her. To Katie Crawford, thank you for being another important source of community and support and for showing me how my political and social concerns of the present as well as my personal experiences can direct my research and strengthen my teaching. To Jessie Hock, thank you for inspiring me with your work and for your mentorship. Whenever I saw you typing away at Revelator, I received an extra boost of motivation during those tiring, final few months of writing. To Mark Schoenfield, your seminar during my first year of graduate studies was crucial to the development of my interest in legal cases that became a focal point for my research. This final year with all its milestones would not have been possible without the generosity, support, advice, insights, and encouragement of Scott Juengel. My family is forever indebted to you. This project would not have been possible without the generous support of the American Council of Learned Societies, the Huntington Library, and the Folger Institute. I extend my gratitude to the Graduate School at Vanderbilt University; through a summer language enhancement grant and summer research award, the Graduate School provided me with the funds to acquire skills in English paleography and then with the opportunity to employ what I had learned in my perusal of legal records and depositions at the Somerset Archives. With my utmost gratitude, I would like to thank the Department of English at Vanderbilt University for giving me the gift of being able to dedicate myself to learning, thinking, and creating knowledge. I am forever grateful to them for this challenging but rewarding (and even magical) life that I have been living over the last five years. To Marzia Milazzo, Allison Schachter, Ben Tran, Pav Aulakh, Jonathan Lamb, Vereen Bell, Peter Lake, Nancy Chick, Bridget Orr, Vera Kutzinski, Dana Nelson, and Mark Wollaeger, thank you for iii challenging me to be a better scholar and teacher and for taking part in my intellectual and emotional growth. Thank you to the Robert Penn Warren Center for the Humanities and to the Women’s and Gender Studies Program at Vanderbilt for giving me the opportunity to pursue intellectual, political, and social justice concerns and inquiries with an interdisciplinary community of scholars. Many thanks to Ed Friedman for welcoming me warmly to Vanderbilt and for his constant support of my career. Throughout my years in higher education, I have been fortunate to receive the guidance of many inspiring scholars. Wendy Hyman, in particular, has been an amazing mentor and role model for me, and I thank her for reminding me of the importance of generosity in academia: “pay it forward.” To Lori Newcomb, Andrea Stevens, Bob Markley, James Knapp, and Tara Lyons, you believed in me and encouraged me to continue pursuing my studies. Thank you for your advocacy and positive influences on my life. To Pamela Caughie, Suzanne Gossett, Paul Jay, Jeffrey Glover, and Jose Capino, thank you for challenging me to grow and for being part of my journey. I want to thank Ayanna Thompson, Kim Coles, Jessica Boon, Urvashi Chakravarty, Jane Degenhardt, Miles Grier, Meghan Hall, Mira Kafantaris, Leighla Khansari, Emily Lathrop, Atesede Makonnen, Cynthia Martin, Carol Mejia LaPerle, Elisa Oh, Henry Turner, and Emily Weissbourd, the members of the Folger seminar group “Gender, Race, and Early Modern Studies,” for their community, enthusiasm, and rigor. Special thanks go to Owen Williams for helping our seminar group make the most of our time at the Folger. To Marion Pratt, I extend my heartfelt appreciation for her support of my academic pursuits and life goals. To Heather Wolfe, thank you for your boundless patience and encouragement as I struggled with transcribing Tudor and Stuart handwriting. To my friends and colleagues— Sari Carter, Anna Young, Sophia Clark, Samantha Rogers, Joanna Huh, Don Rodrigues, Stephanie Straub, Martin Brown, Henry Gorman, Joseph Jordan, Kristen Navarro, Rachel Gould, Lauren Mitchell, Thea Autry, Kira Braham, Magana Kabugi, Katie Mullins, Deann Armstrong, Faith Barter, Wietske Smeele, RJ Boutelle, Dan Fang, Jane Wanninger, Kylie Korsnack, Sara Veselka, Alena Lavoie, and Megan Mayfield—you have been there for me on this journey and I will always be grateful for the camaraderie, motivation, laughter, and support that we have shared. Thank you, Romy and Josh Frank, for your friendship and guidance. My life has been richer because of you and your beautiful family. To my Ninong Ben and Aunt Grace, thank you for celebrating my successes and for always believing in me. To Mama, your stories captivated me when I was a girl and inform my convictions as an adult. To my baby brother, although you are almost seven years younger, you have motivated me with your courage, work ethic, and manifold accomplishments. To Amanda Lehr, you never cease to inspire me with your eloquence, wit, and insights. Thank you for feeding my curiosity in all things early modern and medieval and for your love, which I value most. To Shelby Johnson, thank you for your brilliance as a scholar, your wisdom and tenacity, your love and courage. You have modelled the kind of scholar, friend, and human being I aspire to be. We are blessed to have you in our family. To my father, Ed Mendoza, your patience and selflessness are unparalleled. And, to my mother, Liz Mendoza, whenever I am exhausted and feel beaten, I think of your many sacrifices, which fortify my will to keep going. I could iv not have finished this dissertation without the monthly visits from you and Dad to care for the little one and to give Oliver and me extra time to research and write. And, lastly, this dissertation is most indebted to two people—my Leo and Oliver. The first is too young to understand the challenges that faced our family over the last few years; but, in his unassuming ways, he inspired me beyond measure. And, to Oliver, all that is precious to me—all that gives my life meaning—comes from your steadfast love and faith in us. We are a team, and there is no one I would rather share this with than you. This work is ours. v TABLE OF CONTENTS Page DEDICATION…………………………………………………………………………… ii ACKNOWLEDGEMENTS…………………………………………………………….. iii INTRODUCTION………………………………………………………………………... 1 An Inevitable Consent: Rape Laws and Lived Experiences……………………... 3 Rape, Race, and Sexuality………………………………………………………… 13 Looking Ahead…………………………………………………………………….. 16 Chapter 1. Chaste Demands: The Problem of the Simultaneous, or Racializing History in Christopher Marlowe’s Tamburlaine Parts I & II……………………………………….. 20 Of Agency, Change, and Slavery…………………………………………………. 25 “My poore pleasures are devided thus”: Multivalence in Consent……………… 36 Chastity: A World without Possibility…………………………………………… 48 Olympia’s Race: Loss and Fictions of Purity……………................................. 55 2. “And then I loved thee”: Of Consensual Submission and the Limits of Community in Shakespeare’s The Tempest……………………………………………………………. 63 Willing Vulnerability……………………………………………………………… 65 Defining Community through Narratives of Consent…………………………... 71 Rethinking Illicit Sex and Miranda’s Volition……………………………….….. 88 “Thou Forget’st”: The Malleability of Consent…………………………………. 97 3. “The base fruit of her burning lust”: The Knotty Discourses of Race and Sexuality in Shakespeare’s Titus Andronicus ………………………………………………………… 111 Interracial Desire and White Allegiances………………………………............ 113 Dark Networks…………………………………………………………………… 126 Lavinia’s Spring with Winter Mixed……………………………………………. 134 A Model of Modern Racial Paradigms…………………………………………. 143 4. Cultivating Race through Consent and Self-Possession in John Marston’s The Wonder of Women, or The Tragedy of Sophonisba………………………………………..
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