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Reformation and Revelry

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Reformation and Revelry REFORMATION AND REVELRY THE PRACTICES AND POLITICS OF DANCING IN EARLY MODERN ENGLAND, c.1550-c.1640 by Emily F. Winerock A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy. Department of History University of Toronto © Copyright by Emily F. Winerock, 2012 Reformation and Revelry: The Practices and Politics of Dancing in Early Modern England, c.1550-c.1640 Emily F. Winerock, Department of History, University of Toronto Doctor of Philosophy, 2012 Abstract This study examines the cultural and religious politics of dancing in late sixteenth- and early seventeenth-century England. Although theologically dance was considered morally neutral, as a physical, embodied practice, context determined whether each occurrence was deemed acceptable or immoral. Yet, judging and interpreting these contexts, and thus delineating the boundaries between appropriate and inappropriate behaviour, was contested and controversial. Advocates argued that dance enabled controlled, graceful movement and provided a harmless outlet for youthful energy. Opponents decried it as a vain, idle, and lascivious indulgence that led to illicit sexual liaisons, profanation of the sabbath, and eternal damnation. The first chapter introduces early dance fundamentals, describing steps, genres, and sources. The chapter also discusses venues in which people danced, times of day and seasons that were most popular, and demographic details for dancers in western England. Chapter 2 demonstrates how, by varying details of their performance, dancers could influence a dance’s appropriateness, as well as express aspects of identity, such as gender and social rank. Chapter 3 examines how clergymen and religious reformers addressed and tried to undermine pro-dance arguments through their treatment of biblical dance references in sermons and treatises. Chapters 4 and 5 feature case studies of parochial clergymen and lay persons whose opinions about dancing became flashpoints for local ii controversies. They explain why prosecutions for dancing were so sporadic and geographically scattered: dancing practices rarely entered the historical record unless a “perfect storm” of community tensions and personal antagonisms created irreconcilable differences that led to violence or court cases. The dissertation argues that a category, such as festive traditionalist, is needed to describe those who conformed to or embraced Protestant worship but who strongly resisted attempts to “reform” their behaviour outside of the church. iii Acknowledgements I am indebted to the guidance and support of numerous individuals and institutions, especially to my thesis committee (Barbara Todd, Alexandra Johnston, and Natalie Zemon Davis) and my comprehensive exam committee (Nicholas Terpstra and Konrad Eisenbichler) at the University of Toronto, Kim Yates and Stephanie Treloar at the Centre for Reformation and Renaissance Studies, Pat Rader at the New York Public Library Dance Collection, and Carla Zecher at the Newberry Library in Chicago. Christopher Marsh’s similar conclusions in his chapters on dance in Music and Society in Early Modern England (2010) caused dismay initially, but this turned out to be a blessing in disguise, leading to his inclusion on the committee as external examiner. Renaissance dance historians and reconstructors in several countries have provided encouragement and assistance, especially Barbara Ravelhofer, Anne Daye, Hazel Dennison, Katherine Tucker McGinnes, Jennifer Nevile, Lynn Matluck Brooks, G. Yvonne Kendall, Alessandro Arcangeli, Nona Monahin, and Peter Durham. Several scholars offered advice on specific aspects of the dissertation, including Theresa Buckland on dance historiography, Olga Pugliese on Castiglione, and John Edwards on musical instruments. Bert Roest graciously translated the Dutch description of the cushion dance in Chapter 5; Brendan Cook and Emilie Brancato helped with Latin translations. Several chapters began as conference papers for the Renaissance Society of America, Sixteenth Century Society & Conference, Shakespeare Association of America, and Society of Dance History Scholars. Sam Kinser and participants in the Newberry Festive Culture seminar provided helpful feedback on the communion cloth incident in Chapter 5. Part of Chapter 2 appears in Worth and Repute: Valuing Gender in Late Medieval and Early Modern Europe (Toronto: Centre for Reformation and Renaissance Studies, 2011) and benefited greatly from the comments of the series editor, Konrad Eisenbichler, the volume's editors, Kim Kippen and Lori Woods, and the book’s reviewers. Archivists in county collections across England welcomed me, and I received financial support from the Mellon Foundation, the Institute of Historical Research in London, and the School of Graduate Studies, History Department, and Centre for Reformation and Renaissance Studies at the University of Toronto. Heather Kelly at the iv School of Graduate Studies descended like a fairy godmother to dispel seemingly insurmountable financial obstacles. This dissertation developed out of several earlier projects. As an undergraduate student at Princeton University, Anthony Grafton opened my eyes to the excitement of history, Michael Goldman encouraged me to explore the topic of dance, and Ze’eva Cohen and the Program in Theater and Dance supported my initial forays into dance history and reconstruction. At the University of Sussex, Alexandra Shepard guided my Master’s thesis and introduced me to the Records of Early English Drama collections. At the University of Toronto, Leslie Thomson’s course on staging at the Globe and Blackfriars theatres opened my eyes to critical misconceptions, and a reading course with Kenneth Bartlett on Renaissance humanism alerted me to many humanists’ mixed feelings about dance. Northwestern University has been my home away from home, and I owe Ed Muir, Will West, the History Dissertators' Group, and the lab of Randy Snurr particular thanks.. Derek Hirst at Washington University at St. Louis and Helen Ostovich at McMaster University have also supported the practical side of my research, inviting me to present dance workshops to their classes and early modern societies. To the many friends and family members who have read and commented on individual chapters, I offer my heartfelt thanks. This dissertation has been much improved by your efforts. Jennifer Polk oversaw the printing and delivery of drafts in Toronto, which made working from Chicago much easier, and kind friends in many places hosted and fed me during research trips and at conferences. I would also like to thank the members of my bridal party for allowing me to test my theory that the modern-day wedding march is a descendant of a Renaissance pavan. Last, but certainly not least, I am indebted to my grandfather, Stanley Elkins, for encouraging me to pursue the “family business” and to my parents, Susan Elkins and Jack Winerock; to my mother-in-law, Hanna Wilmer; and to my husband, Christopher Wilmer. Your boundless generosity, patience, and encouragement have helped me defeat Dissertationus at last. This work is dedicated to you. E. F. W. v Table of Contents List of Figures vii List of Tables viii Introduction 1 Chapter 1: Early Modern Dance Fundamentals: Types and Sources 42 Chapter 2: Dance Recommendations and Proscriptions in Secular Literature 119 Chapter 3: Dance References in Religious Texts 193 Chapter 4: Clerical Responses to Parochial Dancing 258 Chapter 5: Dancers as Political Actors on the Parochial Stage 305 Conclusion 356 Appendix 364 Bibliography 367 vi List of Figures Introduction Figure 1: Map of Counties in Area Examined. 17 Chapter 1 Figure 1: “Figure 8” Floor Patterns. 60 Figure 2: Half Hay for Three Dancers . 60 Figure 3: Orientation and Movement Symmetry. 62 Figure 4: Galliard Steps from Orchésographie (1589). 65 Figure 5: Galliard Step with Tassel from Le Gratie d'Amore (1602). 67 Figure 6: A Palace Interior with Ladies and Gentlemen Dancing … 68 Figure 7: Queen Elizabeth I Dancing with Robert Dudley … 72 Figure 8: Kemps Nine Daies Wonder (1600). 81 Figure 9: Betley Hall Window, 16th-17th century. Victoria & Albert Museum. 82 Figure 10: Morris dancers, detail from The Thames at Richmond … 83 Figure 11: Activities Accompanying Dancing. 90 Figure 12: Gender Breakdown for Prosecutions. 91 Figure 13: Gender Breakdown by Legal Consequence. 95 Figure 14: Dance Records Breakdown by Time of Day. 98 Figure 15: Dance Records by Type of Event. 101 Figure 16: Number of Dance Records by Site. 108 Figure 17: Musical Accompaniments for Dancing. 112 Figure 18: Demonstration of Pipe and Tabor Playing. 114 Chapter 2 Figure 1: The Reverence. Fabritio Caroso, Nobiltà di Dame (1600). 136 Chapter 4 Figure 1: Map of Case Study Locations. 261 Figure 2: All Saints Church in Bisley. 265 Figure 3: Detail from frontispiece. Michael Drayton, Annalia Dubrensia (1636). 272 Figure 4: St. John the Baptist’s Church in Mathon. 274 Figure 5: Excerpt of signatures from petition on behalf of Nicholas Taylor. 278 Figure 6: St. John the Baptist’s Church in Eldersfield. 282 Figure 7: Map of Parishes of the Clergy who Petition on Gerard Prior’s Behalf. 285 Figure 8: St. Michael’s Tower at Gloucester Cross, Gloucester. 297 St. Nicholas’ Church on Westgate Street, Gloucester. vii Chapter 5 Figure 1: St. Leonard’s Church in Tortworth, Gloucestershire. 307 Bird’s Eye View of Tortworth Church and Vicinity. Figure 2: Late Fifteenth-Century Church house in South Tawton, Devon. 308 Figure 3: Map of Locations where John Wilmot
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