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ABSTRACT Title of Dissertation: MAKING ENGLISH LOW: A ABSTRACT Title of Dissertation: MAKING ENGLISH LOW: A HISTORY OF LAUREATE POETICS, 1399-1616 Christine Maffuccio, Doctor of Philosophy, 2018 Dissertation directed by: Professor Theresa Coletti Department of English My dissertation analyzes lowbrow literary forms, tropes, and modes in the writings of three would-be laureates, writers who otherwise sought to align themselves with cultural and political authorities and who themselves aspired to national prominence: Thomas Hoccleve (c. 1367-1426), John Skelton (c. 1460-1529), and Ben Jonson (1572-1637). In so doing, my project proposes a new approach to early English laureateship. Previous studies assume that aspiration English writers fashioned their new mantles exclusively from high learning, refined verse, and the moral virtues of elite poetry. In the writings and self-fashionings that I analyze, however, these would-be laureates employed literary low culture to insert themselves into a prestigious, international lineage; they did so even while creating personas that were uniquely English. Previous studies have also neglected the development of early laureateship and nationalist poetics across the fifteenth, sixteenth, and seventeenth centuries. Examining the ways that cultural cachet—once the sole property of the elite—became accessible to popular audiences, my project accounts for and depends on a long view. My first two chapters analyze writers whose idiosyncrasies have afforded them a marginal position in literary histories. In Chapter 1, I argue that Hoccleve channels Chaucer’s Host, Harry Bailly, in the Male Regle and the Series. Like Harry, Hoccleve draws upon quotidian London experiences to create a uniquely English writerly voice worthy of laureate status. In Chapter 2, I argue that Skelton enshrine the poet’s own fleeting historical experience in the Garlande of Laurell and Phyllyp Sparowe by employing contrasting prosodies to juxtapose the rhythms of tradition with his own demotic meter. I approach Ben Jonson along the path paved by his medieval precursors. In Chapter 3, I argue that in Bartholomew Fair Jonson blends classical comic form with unwieldy city chatter, simultaneously investing the lowbrow with poetic authority and English laureateship with tavern noise. Like Hoccleve and Skelton, Jonson reappears as a product and producer not only of the local literary system to which he was immediately bound, but of a national culture, in no small measure lowbrow, at least two centuries in the making. MAKING ENGLISH LOW: A HISTORY OF LAUREATE POETICS, 1399-1616 by Christine Maffuccio Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2018 Advisory Committee: Professor Theresa Coletti, Chair Professor Kent Cartwright Professor Theodore B. Leinwand Professor Kellie Robertson Professor Gregory A. Staley ©Copyright by Christine Maffuccio 2018 ii Table of Contents Table of Contents ................................................................................................................ ii Introduction ......................................................................................................................... 1 Histories of Laureateship ................................................................................................ 4 Making English Low ..................................................................................................... 21 Chapter 1: Thomas Hoccleve’s Local Laureateship ......................................................... 30 The Man of Law’s Chaucer .......................................................................................... 36 Harry Bailly’s Chaucer ................................................................................................. 40 The Speaker of the Male Regle ..................................................................................... 61 The Thomas of the Series ............................................................................................. 71 Chapter 2: John Skelton’s Temporal Laureateship ........................................................... 86 Refrains in The Garlande of Laurell ............................................................................. 91 Skeltonics in Phyllyp Sparowe .................................................................................... 112 Chapter 3: Ben Jonson’s Comic Laureateship ................................................................ 134 Jonson, Comedy, and Horace circa 1599 ................................................................... 141 Jonson, Comedy, and Horace, 1603-1614 .................................................................. 150 The Language of Comic Laureateship in Bartholomew Fair ..................................... 176 “Non aliena meo pressi pede” ..................................................................................... 193 Bibliography ................................................................................................................... 196 1 Introduction ! Today, the title “English Poet Laureate” refers both to the poet’s official post and to the authorial persona that the poet takes up and refashions. The post itself was not instituted until 1668, when Charles II issued a patent to “nominate constitute declare and appoint” John Dryden as England’s first “Poet Laureate.”1 But the laureate persona had been popping up in English literary writing for nearly three hundred years, having been imported from Italy in the fourteenth century. Long before an English monarch had constituted such an office, and so unhampered by formal obligations, early English writers were inventing and reinventing their own ideas of the laureate’s role. These were not always very precise and the title “poetic laureate” was not always claimed, because even writers who thought that they had, or could achieve, this status often focused on their other literary identities. Hence, although the idea of laureateship is difficult to nail down in early English writing, it did hold sway, perhaps all the more intriguingly because of its elusiveness. Long before the English poet laureateship became official in 1668, it had coursed through nearly three hundred years of literary history. These years witnessed the widespread elevation of the English language and English-language literary writing; the introduction of print; the expansion of the book trade; the growth of an educated, literate readership; and increased and increasingly effective censorship. The idea of poet !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Quoted in Broadus, Laureateship, 61. 2 The criticism on this topic is extensive. For a snapshot of approaches, see the essays in the 2007 special 2 laureateship survived and even prospered amidst changes that rendered many other authorial identities (e.g. classical auctor, vernacular maker) unrecognizable or irrelevant, and that facilitated the emergence of new identities (e.g. sonneteer, professional playwright). To study English poet laureateship between 1399 and 1616 is thus to study a medieval and early modern continuity. Tracing an authorial role that traversed more than two centuries through a period traditionally separated into the categories “Middle Ages” and “Renaissance,” I join those critics who have been reexamining the usefulness of those categories and the viability of the border between them.2 Francesco Petrarch’s self-presentation as laureate loomed large over early conceptions of the role. Drawing on Petrarch, I define a poet laureate as an author who, on the one hand, transcends the particularities of time and place by participating in an ancient, international tradition of all laureates; and, on the other hand, assumes the role of a national spokesman by exemplifying the time and place of his coronation. To adapt Ben Jonson’s words about William Shakespeare, a poet laureate is “for all time” and “of an age.”3 If his authorial identity exists in both contexts, the laureate’s challenge is to bridge them. In the texts that I study, the would-be laureates were not explicitly “writing England”—that is, they were not writing English chronicles, epics, or history plays, drawing maps of England or theorizing its law.4 Nonetheless, they “wrote” England implicitly by writing themselves. Between 1399 and 1616, to be such a laureate in !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 2 The criticism on this topic is extensive. For a snapshot of approaches, see the essays in the 2007 special issue of JMEMS “Medieval/Renaissance: After Periodization,” edited by David Wallace and Jennifer Summit. 3 Jonson, “To the Memory of My Belovèd,” 43-44. 4 This expression is repeated by many scholars of early modern nationalism. For example, Hadfield, Literature, Politics and National Identity; Helgerson, Forms of Nationhood; McEachern, Politics of English Nationhood; Shrank, Writing the Nation. 3 England was to balance an authorial persona atop several tentative premises. The first was that England did merit having any poet laureate at all. This basic premise rested on others: that Englishness could be distinguished and expressed through cultural practices; that English-language literary writing could produce an appropriate cultural figurehead; and that at least some English writing, that of a laureate, could hold its own in a prestigious literary history that dated back to antiquity. Between 1399 and 1616, these premises were
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