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Where Is the Court but Here?' Defining Elite Space in Early Modem Drama

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Where Is the Court but Here?' Defining Elite Space in Early Modem Drama University of Sheffield School of English Literature, Language and Linguistics 'Where is the Court but Here?' Defining Elite Space in Early Modem Drama Peter Sillitoe A thesis submitted for the degree of Doctor of Philosophy 12/04/2007 Abstract This thesis analyzes definitions of 'the court' throughout the early modem period by assessing a range of theatrical texts from the reign of Elizabeth through to the outbreak of the civil wars. The introduction makes clear that there were various ways of defining a court in Renaissance England, a society preoccupied with two competing types of 'court', the space viewed as either a moveable realm defined by the monarch's presence, or a fixed architectural setting. An examination of Marlowe's Edward II reveals that dramatists were able to exploit this definitional tension at the public theatres. Chapter 1, on the Elizabethan progresses, then illustrates how monarchical presence could govern the court's meaning. Four chapters on the Jacobean period consider the expansion of the court as a signifier of elite space during the reign of James I, the first viewing the importance of the king's status as ruler of two realms and multiple courts alongside moments of spatial contact between a continued progressing culture, Whitehall Palace, and entertainments for the king's welcome into London. The second Jacobean chapter then evaluates the cultural impact on court definitions of the consort, Queen Anna, and her embrace of architecture and progressing. The significance of a masquing culture beyond Whitehall Palace is the primary focus for the third Jacobean section, as I inspect the implications of this for elite space. The last Jacobean chapter probes a contradictory fixing of courtly space at Whitehall, a manoeuvre closely associated with the emergence of the court masque at the royal palace. Chapter 6 then scrutinizes the reign of Charles I, stressing that the dualism of court space did survive, yet was under threat from the neglect of royal progresses and further interest in architectural discourse, as witnessed in the Caroline court masque. The conclusion then reveals that, when royalist writers in the 1640s looked back to Charles's court at Whitehall, they highlighted a problem with the king's political discourse, as their praising of his palace meant that a sense of wonder had passed from monarchical presence to an architectural space. Contents Introduction: Defining Early Modem Court Space and Marlowe's Edward 11 1 Chapter 1 'Where the Prince Lieth': Courtly Space and the Elizabethan Progresses 34 Chapter 2 'In the Circuit of that Restless Space': Jacobean Court Culture, Early Progressing and Civic Entertainments 59 Chapter 3 'A Temple in their Sight': Queen Anna and Courtly Duality 88 Chapter 4 'The Finer Walled Places': Expanding Courtly Space in Aristocratic Entertainments and the Major Jacobean Progress III Chapter 5 Whitehall Masquing Culture and Jacobean Court Space 129 Chapter 6 'Pieces of Architecture ofa Palace Royal': Absolutist Court Space and Caroline Entertainments 178 Conclusion 'Majesty had wont to sit inthron'd within those glorious Walls': Whitehall, Monarchical Absence and Royalist Nostalgia 232 Bibliography 264 Thanks and Acknowledgements The completion of this thesis necessitates the acknowledgement of the support and guidance of a number of people, without whom this research could not have been completed. My supervisor at the University of Sheffield, Marcus Nevitt, devoted himself to my work and provided the most formative feedback of my academic career to date. His attention to detail and his continual provision of invaluable advice has been a source of support throughout my work. The first two years of my supervision were looked after by Mick Hattaway, I thank him for his advice and support during this period. I have also enjoyed the backing of my department, in particular, Sue Owen, Erica Sheen, Dominic Shellard and Cathy Shrank. My somewhat belated thanks also go to Peter Field, Andrew Hiscock, David Lindsey and Ceri Sullvan, who all started my interest in the early modem period. Thanks also to Jayne Archer, Jerome De Groot, Jeanette Dillon, Gabriel Heaton, James Knowles, Goran Stanivukovic, Jane Rickard, T.S., and the anonymous reader at Blackwell for some useful criticism on Marlowe. I would like to thank John Boulton for helping me to believe that the completion of a PhD was a logical choice and Hilary Boulton for endless support. I also thank my mother, Janet Holmes, for her love and affection, and my father for his continued support. Above all, my thanks go to my wife, EUy, for constantly reminding me that '[t]o climb steep hills / Requires slow pace at first'. lowe her an immense debt for her unfailing support throughout this period of study. 1 Introduction: Defining Early Modern Court Space and Marlowe's Edward II What is an ideology without a space to which it refers, a space which it describes, whose vocabulary and links it makes use of and whose code it embodies?l (Henri Lefebvre) This study highlights the performance space of monarchy, rather than the performance itself. Since the emergence of New Historicism, literary criticism has been fascinated with the staging of the monarch as a subject at the theatres, but my thesis builds upon recent research that has prioritized space as an exclusive field in the study of Renaissance literature and culture, offering a new emphasis on elite realms in the period.2 I explore and probe the definitional problems of 'the court' as depicted in Renaissance drama and culture, demonstrating that the problematic and overlapping distinctions circling around the word 'court' were available for appropriation by various groups just as many texts highlight the uncertainty of attempts at categorization. A strategic point underpinning my discussion is the understanding that the early modem court was a problematic space that often escaped exact description in public drama, court masques, progress entertainments, and other forms of literary and non-literary production. As I show, this is because contemporary descriptions included the idea of the court as the place where the monarch resided and, simultaneously, as a fixed and architectural, physical setting such as Whitehall Palace. While there were alternative ways of defining the court in the period, such as a stage space in performance, my work reveals that these two concepts of portability I Henri Lefebvre, The Production of Space, trans. by Donald Nicholson-Smith (Oxford: Blackwell, 1991), p. 44. 2 See, for example, David Scott Kastan, 'Proud Majesty Made a Subject: Shakespeare and the Spectacle of Rule', Shakespeare Quarterly 37:4 (1986), 459-475. For an update, see Kastan's Shakespeare after Theory (London and New York: Routledge, 1999), pp. 109-27. 2 and fixity dominate contemporary usage as I illustrate that the permanence of a static space such as a royal palace can be contrasted with the strategic moveability of monarchical progresses. Crucially, this study examines the inherent duality of 'court' as a descriptive term, excavating some of the accompanying spatial and cultural tensions in the period covering the reign of Elizabeth I through to the civil war. Although recent critical discourse, including the work of Leah Marcus, has attempted to define the court, it is apparent that the early modem anxiety produced by the indeterminate nature of court worlds can be explored in far more detail, and the mining of literary texts for this purpose is a primary aim of this dissertation.3 I highlight and respond to the cultural and ideological tensions attached to the open- ended nature of court space in the definitional sense in the period. In view of this, theatrical activity, including public and private drama, is of particular significance to this thesis, as much of this work articulates central concerns about the use of Renaissance court space because 'the court' had multiple links with the public theatre throughout our period, and masques and entertainments were the prime courtly form for theatrical display at physical courts and palaces. Critical studies of Renaissance spaces: intellectual contexts Correspondingly, although important research has theorized the concept of space in the period, including the excellent recent arguments of Janette Dillon and Russell West, my thesis highlights essential issues about the Renaissance court (or elite) space, such as an examination of the extent to which there was an ideological clash over the court's spatial and social meaning in Renaissance England.4 Although the 3 For a definition, see Leah S. Marcus, 'Jonson and the Court', in The Cambridge Companion to Ben Jonson, ed. by Richard Harp and Stanley Stuart (Cambridge: Cambridge University Press, 2000), pp. 30-42 (p. 30); Andrew McRae, Renaissance Drama (London: Arnold, 2003), pp. 105-06. 4 See Janette Dillon, Theatre, Court and City, 1595-1610: Drama and Social Space in London (Cambridge: Cambridge University Press, 2000). For the wider implications of space, see Russell 3 last ten years have witnessed an explosion of interest in the spatial dynamics of literature and culture, it is clear that the conundrum that circulates around elite space still awaits a full study. For instance, critical work of early modem space has been influenced by the theories of Henri Lefebvre, particularly his groundbreaking The Production of Space.5 However, although Dillon's study, for instance, is concerned with the interactions between courtly and civic space, I emphasize the competing definitions of court space throughout this thesis. In his study, Lefebvre theorizes that, (Social) space is not a thing among other things, nor a product among other products: rather, it subsumes things produced, and encompasses their interrelationships in their coexistence and simultaneity - their (relative) order and / or (relative) disorder. It is the outcome of a sequence and set of operations, and thus cannot be reduced to the rank of a simple object.
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