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Emotion in the Tudor Court: Literature, History, and Early Modern Feeling

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Emotion in the Tudor Court: Literature, History, and Early Modern Feeling Emotion in the Tudor Court Rethinking the Early Modern Series Editors Marcus Keller, University of Illinois, Urbana- Champaign Ellen McClure, University of Illinois, Chicago Feisal Mohamed, University of Illinois, Urbana- Champaign Emotion in the Tudor Court Literature, History, and Early Modern Feeling Bradley J. Irish northwestern university press evanston, illinois Northwestern University Press www .nupress .northwestern .edu Copyright © 2018 by Northwestern University Press. Published 2018. All rights reserved. Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 ISBN 978-0-8101-3640-3 (cloth) ISBN 978-0-8101-3639-7 (paper) ISBN 978-0-8101-3641-0 (ebook) Cataloging-in-Publication data are available from the Library of Congress. Except where otherwise noted, this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/. In all cases attribution should include the following information: Irish, Bradley J. Emotion in the Tudor Court: Literature, History, and Early Modern Feeling. Evanston: Northwestern University Press, 2018. The following material is excluded from the license: Illustrations and portions of chapters 1 and 2 as outlined in the acknowledgments. For permissions beyond the scope of this license, visit http://www.nupress .northwestern.edu/. An electronic version of this book is freely available, thanks to the support of libraries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high-quality books open access for the public good. More information about the initiative and links to the open-access version can be found at www.knowledgeunlatched.org. To Frank Contents Acknowledgments ix List of Abbreviations xi Introduction 3 Chapter 1 The Disgusting Cardinal Thomas Wolsey 19 Chapter 2 The Envious Earl of Surrey 55 Chapter 3 The Rejected Earl of Leicester, the Rejected Sir Philip Sidney 93 Chapter 4 The Dreading, Dreadful Earl of Essex 137 Notes 179 Index 231 Acknowledgments Emotion in the Tudor Court originated during my doctoral studies at the University of Texas at Austin, where I had the great fortune of being supervised by Frank Whigham. An unequaled scholar, mentor, and friend, it is to him that I dedicate this final product. I am grateful to the countless instructors who have provided me with the tools to undertake such a project. As an undergraduate at Boston University, my thought was shaped by Laurence Breiner, William Car- roll, Geoffrey Hill, Christopher Martin, Erin Murphy, and James Siemon. My graduate career was tirelessly supported both by the rest of my dis- sertation committee— James Loehlin, Jason Powell, Wayne Rebhorn, and Marjorie Curry Woods— and by the vibrant community of University of Texas scholars, including Samuel Baker, Douglas Bruster, Jean Can- non, Ann Cvetkovich, Linda Ferreira- Buckley, Gregory Foran, Elizabeth Hedrick, Hala Herbly, Jessica Kilgore, Jonathan Lamb, Eric Mallin, Noël Clare Radley, and Hannah Wojciehowski. At Arizona State University, I have the privilege of working alongside a generous and talented group of colleagues. I am especially indebted to my friend and regular collaborator Cora Fox, whose critical eye has never failed to sharpen both my thinking and its presentation. I owe thanks also to Heather Ackerman, John Henry Adams, Karen Adams, Aaron Baker, Sally Ball, Lee Bebout, Dan Bivona, Robert Bjork, Ron Broglio, Joe Buenker, Gregory Castle, Deborah Clarke, Jessica Early, Melissa Free, Maureen Daly Goggin, David Hawkes, Kalissa Hendrickson, Julia Him- berg, Cynthia Hogue, Tara Ison, George Justice, Devori Kimbro, Kristen Larue- Sandler, Devoney Looser, Mark Lussier, Ruby Macksoud, Edward Mallot, Heather Maring, Bruce Matsunaga, T. M. McNally, Keith Miller, Ian Moulton, Richard Newhauser, Krista Ratcliffe, Alberto Ríos, Kristin Rondeau- Guardiola, Bradley Ryner, Sarah Saucedo, Karen Silva, Robert Sturges, Linda Sullivan, Ayanna Thompson, Victoria Thompson, Elly van Gelderen, and Doris Warriner. I am equally grateful for the wisdom and guidance of scholars elsewhere— many of whom I only know electronically. I thank Simon Adams, Amanda Bailey, Katie Barclay, Lisa Feldman Barrett, Todd Borlik, Susan Broomhall, Sukanta Chaudhuri, Mario DiGangi, Thomas Dixon, Natalie Eschenbaum, Charles Ess, Tiffany Florvil, Lisa Ford, Erika ix x Acknowledgments Gaffney, Terry Gifford, Stephen Guy- Bray, Andrew Hadfield, Paul Ham- mer, Peter Herman, Allison Hobgood, Lalita Hogan, Patrick Hogan, Peter Holland, Paulina Kewes, Arthur Kinney, Roger Kuin, Russell Leo, Kath- erine Little, Andrew Lynch, Steven May, Richard Meek, Gail Kern Paster, Curtis Perry, Mark Rankin, Will Rossiter, Gary Sherman, Cathy Shrank, Raymond Siemens, Freya Sierhuis, Malcolm Smuts, Alan Stewart, Rich- ard Strier, Erin Sullivan, Stephanie Trigg, Michael Ullyot, Owen Williams, Heather Wolfe, Michael Woods, and Daniel Woolf. I thank Cassie Miura and Marjorie Curry Woods for their assistance with the translation of foreign quotations. Part of my work was funded by a grant from Arizona State University’s Institute for Humanities Research Fellows Program. I thank Sally Kitch, Jennifer Quincey, Rena Saltzman, and the IHR staff for their support. A portion of chapter 1 was published as “Coriolanus and the Poetics of Disgust,” Shakespeare Survey 69 (2016): 198– 215. A portion of chap- ter 2 was published as “The Rivalrous Emotions in Surrey’s ‘So Crewell Prison,’” SEL Studies in English Literature 1500– 1900 54, no. 1 (2014): 1– 24. I am thankful for the right to reprint this content here. I am grateful to Lambeth Palace Library for permission to quote from their holdings. I am especially indebted to Gianna Mosser and the staff of North- western University Press for their tireless support of this project. I owe great thanks to Anne Gendler, Maggie Grossman, Liz Hamilton, Mar- ianne Jankowski, Paul Mendelson, Steven Moore, JD Wilson, and the anonymous readers of my manuscript. I also thank Marcus Keller, Ellen McClure, and Feisal Mohamed for including me in the Rethinking the Early Modern series. Finally, this work, and all my work, would be impossible without the endless love of my family. To my parents, my grandmothers, Olivia and Penelope, and Jenny— thank you. Abbreviations BL British Library, London. CP Cecil Papers, Hatfield House, Hertfordshire. CSPS Calendar of Letters, Despatches, and State Papers, Relating to the Negotiations between England and Spain. Ed. G. A. Bergen- roth et al. 17 vols. London, 1862– 1954. Folger Folger Shakespeare Library, Washington, D.C. L&P Letters and Papers, Foreign and Domestic, of the Reign of Henry VIII. Ed. J. S. Brewer et al. 23 vols. London, 1862– 1932. ODNB Oxford Dictionary of National Biography. Oxford: Oxford University Press, 2004. http: / /www .oxforddnb .com. OED Oxford English Dictionary Online. Oxford: Oxford University Press, 2015. http: / /www .oed .com. TNA The National Archives, Kew. When quoting from manuscripts, I have aimed for semi- diplomatic tran- scription. When necessary for the sake of clarity, minor punctuation has been silently added. All unattributed translations are mine. When quoting from calendars of state papers, I cite by document number. xi Emotion in the Tudor Court Introduction Nowadayes, as the early moderns were fond of saying, there’s no doubt that scholarship has gotten emotional— and this mood shows little sign of passing, if recent work is any indication. In both the sciences and humanities, countless scholars are now participating in the “affective turn,” an interdisciplinary movement that traces the social, psychological, and material contours of emotional experience, a subject long taken for granted in many corners of the modern academy.1 In literary and cultural scholarship of early modern England, the fruits of this research cluster are already apparent.2 Though there has long been interest in certain discrete areas of Renaissance emotional thought— such as attitudes toward grief, or the discourse of melancholy3— about a decade ago there began to emerge a body of work, marshaled by Gail Kern Paster’s Humoring the Body: Emotions and the Shakespearean Stage (2004) and her mutually edited (with Mary Floyd- Wilson and Katherine Rowe) collection Reading the Early Modern Passions: Essays in the Cul- tural History of Emotion (2004), that sounded a new charge for emotion as an object of explicit historical study in the period.4 Grounded in a rigorously historicist treatment of Galenic humoral physiology—which envisioned a materially porous boundary between the environment and self— this scholarship seeks to “discover the phenomenological charac- ter” of Renaissance affect, by imagining “the early modern embodiment of emotion in terms that challenge the post- Cartesian divisions between thought, soma, and world.”5 A boom of important scholarship followed in this mode, variously attending to the Galenic context of early modern emotion.6 Complementing the interest in humoralism, other historicist work on early modern emotion has taken a variety of forms: Robert Cockcroft, Wendy Olmsted, Lynn Enterline, and R. S. White consider Renaissance affect through the lens of the contemporary rhetorical tra- dition; Susan C. Karant- Nunn, Joseph Campana, and Steven Mullaney explore the emotional consequences of the Reformation; and Daniel Juan Gil, Jennifer C. Vaught, and Cora Fox emphasize the relationship between literary works and the period’s changing emotional modes.7
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