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The Female Dramatic Dedication in the Restoration Period (1660-1714)

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The Female Dramatic Dedication in the Restoration Period (1660-1714) THE FEMALE DRAMATIC DEDICATION IN THE RESTORATION PERIOD (1660-1714) Nora Rodríguez Loro TESIS DOCTORAL Dirigida por la Dra. María José Mora Sena DEPARTAMENTO DE LITERATURA INGLESA Y NORTEAMERICANA UNIVERSIDAD DE SEVILLA Sevilla, 2019 Acknowledgements This thesis could not have been possible without the research fellowship granted by the the Universidad de Sevilla (V Plan Propio de Investigación), as well as the additional funding made available for research stays at the University of Oxford, American University, the University of Cambridge and Cornell University. I would also like to express my gratitude to the Junta de Andalucía (programme ref. P11-HUM-7761) and Ministerio de Economía y Competitividad (programme ref. FFI2015-68376-P) for funding my participation at different conferences during the completion of my doctoral program. Many people have helped me in completing this thesis. The first person whom I would like to mention is my supervisor, Dr. María José Mora, who not only has assisted me during this process, but also believed in my qualities as a researcher from the first moment. I cannot thank her enough. I am similarly grateful to other members of the Departamento de Literatura Inglesa y Norteamericana of the Universidad de Sevilla, as well as the international scholars who sponsored me during my research stays, particularly Dr. Deborah C. Payne (American University), Dr. Paulina Kewes (Jesus College, University of Oxford), Sarah Meer and Hero Chalmers (University of Cambridge). My thesis has benefitted from their feedback as well as having access to the materials held at their universities. I would also like to acknowledge the help provided by the staff of the various libraries to which I have resorted during these years: Universidad de Sevilla, British Library, University of Oxford, American University, University of Cambridge and Cornell University. I am particularly grateful to the college librarians at Christ Church, Wadham, and Worcester, Oxford. My gratitude also goes to Ana Luisa Martín Bejarano for always providing invaluable help in administrative matters. On a personal level, I have to thank my parents, Roberto and Mercedes, who have always encouraged me to follow this path; my partner, Álvaro, and my friends Estrella and Paulina. I am also very grateful to all my other friends, who have been equally supportive. Contents 1. Introduction 1 1. 1 Restoration drama, actresses, female playwrights and 1 patronesses 1. 2 The corpus of female dramatic dedications 6 1. 3 The female dramatic dedication in the Restoration period 9 2 Studies on literary patronage and dedications 11 2. 1 Early studies of literary patronage 11 2. 2 Beyond economics: Redefining patronage 18 2. 3 The dramatic dedication and literary patronage 29 3. New historicism, gift-exchanges and symbolic capital in 38 dedications of plays 3. 1 New historicism and the study of dedications 38 3. 2 Pierre Bourdieu, symbolic capital and dedications 40 3. 3 Symbolic capital, epideictic rhetoric and the topoi of 58 dedications 4. The royal family 72 4. 1 Dedications addressed to the royal family in the reign of 72 Charles II 4.1.2 The extended royal family 105 4.2 Dedications addressed to the royal family after the Glorious 124 Revolution 5. The royal mistresses 143 6. The nobility 169 6.1 Dedications addressed to noblewomen in the reign of 169 Charles II 6.2 Dedications addressed to noblewomen after the Glorious 212 Revolution 7. Dedications addressed to gentlewomen and commoners 255 7.1 Dedications addressed to gentlewomen and commoners 255 7.2 Parodic dedications 272 8. Conclusions 279 9. Bibliography 285 Appendices 315 1. Introduction 1. 1 Restoration drama, actresses, female playwrights and patronesses The Restoration can be considered as a pivotal period in the history of English drama, especially as regards the role of women. After an eighteen-year hiatus as a result of the Puritan rule of the Interregnum, soon after the reopening of the theatres in London in 1660 women were involved in the theatre as actresses, playwrights, spectators and patrons. For the first time in the history of England, women were allowed to perform professionally.1 The patents granted to Killigrew and Davenant specified that women had to be part of the companies and not only occasionally employed for a particular production. From then on, they enjoyed the privilege of being recognised as His Majesty’s Servants.2 The Restoration was also the period when female playwrights first entered the professional sphere. Margaret Cavendish, duchess of Newcastle, published a volume of Playes in 1662 and yet another in 1668.3 Her works were more argumentative than 1 According to Elizabeth Howe, the exact date is assumed to be 8 December 1660, when an actress played Desdemona in a production of Othello by the King’s Company (19). The evidence is a prologue by Thomas Jordan included in A Royal Arbour of Loyal Poesie (1664): “A Prologue, to introduce the first Woman that came to act on the Stage, in the tragedy called The Moor of Venice.” According to Wilson, Jordan was closely associated with the Red Bull company and he may have written the prologue for this troupe after it became the King’s Company (All the King’s Ladies 5). The first woman to perform on the English stage was probably Mrs. Katherine Corey, who claimed on 11 March 1689 that “she was the first and is the last of all the Actresses that were constituted by King Charles the Second” (Milhous and Hume, A Register 272). 2 The King’s warrant to the patentees (dated August 21, 1660) ordered that thenceforth only women should play women’s parts, so that plays might be “esteemed not only harmless delights but useful and instructive representations of human life” (Hotson pp. 197-218, Nicoll pp. 70-71). 94). However, women were by no means equal to men: their status was significantly lower than their male counterparts, they were paid less and none of them became a theatre manager or a playwright. 3 Margaret Cavendish had a reputation for being eccentric. Pepys recorded a several anecdotes in his Diary, for instance the staging of a play by the duke, which Pepys attributes to the duchess, on 11 April 1667: “The whole story of this Lady is a romance, and all she do is romantick. Her footmen in velvet coats, and herself in an antique dress, as they say; and was the other day at her own play, The Humourous Lovers; the most ridiculous thing that ever was wrote, but yet she and her Lord mightily pleased with it; and she, at the end, made her respects to the players from her box, and did give them thanks. There is as much expectation of her coming to Court, that so [many] people may come to see her, as if it were the Queen of Sheba” (8: 163-164). !1 dramatic and were not intended to be performed. However, from the early 1660s a number of plays written by women began to find their way to the stage. In February 1663, Katherine Philips’s translation of Corneille’s La mort de Pompée was produced at the Theatre Royal in Dublin and printed in London that same year (Chernaik).4 The tragedy seems to have produced in London too, in 1667, followed by her translation of Horace (completed by Sir John Denham) in 1669 (Chernaik). Also in 1669 we find the first original play written by a woman and intended for performance: Frances Boothby’s tragicomedy Marcelia, which was staged at Drury Lane by the King’s Company probably in August and was licensed for publishing on 9 October (Van Lennep 163). About this time, Elizabeth Polwhele wrote two works which seem to have been professionally staged too: the manuscript of her tragedy The Faithfull Virgins, preserved at the Bodleian Library, Oxford, contains a permit to be acted by the Duke’s Company signed the Master of the Revels, whereas her comedy The Frolicks, written in the early 1670s was probably performed by the King’s Company.5 The 1670s brought the first woman playwright who made an income writing for the stage: Aphra Behn, who authored a total of nineteen plays. Then in the 1690s came the first wave of professional female playwrights: Susanna Centlivre, Delarivier Manley, Catharine Trotter, Mary Pix, the young lady “Ariadne,” author of She Ventures and He Wins (1695). All these female dramatists were issued from the middle class, given that women risked their reputation in writing professionally for the stage. They benefitted from the competition between the two playhouses and their need for new plays. Since the introduction of actresses and the emergence of professional female playwrights are certainly the most significant contributions of women to Restoration theatre, these two aspects have been largely studied. The first scholar to approach one of the roles played by women was John Harold Wilson, who examined the living 4 The edition included the prefatorial text “the printer to the reader,” in which Philips explains that “Pompey being a Translation out of the French of Monsieur Corneille, the hand that did it is responsible for nothing but the English” and also that she did not intend to have it staged, but “those that could not be resisted were resolved to have it acted” (A2). 5 There has been some disagreeing regarding the composition of the play: Montague Summers dated the play between 1661-1663 (Playhouse of Pepys 338-339), whereas Hume and Milhous argued that it was probably written in 1670, for the manuscript is dated 1671 (40-41). !2 conditions of women as professional players and the impact of their introduction on Restoration drama in All the King’s Ladies (1958).
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