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Asuka Kimura the Representation of Widows and Widowhood in English

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Asuka Kimura the Representation of Widows and Widowhood in English Asuka Kimura Asuka Kimura The Representation of Widows and Widowhood in English Drama, 1576-1642 Submitted for the award of PhD in English Language and Literature UCL September 2016 1 Asuka Kimura I, Asuka Kimura, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Asuka Kimura 11 December 2016 2 Asuka Kimura Abstract This study examines the representation of widows and widowhood in plays written or performed between the opening and closure of the London commercial theatres. My purpose is two-fold. First, I consider how widows might have appeared on the early modern stage by discussing the material conditions of theatre of the period, including costume, props, gestures, actors, the audience, and theatre structure. Second, I highlight both similarities and differences between the Elizabethan, Jacobean, and Caroline representation of widows by discussing plays in each period in relation to their social, political, religious, and theatrical contexts. Chapter One examines the physical appearance of real-life and stage widows by discussing their costume, accessories, and other attributes. Chapter Two considers the development of two basic types of the lamenting and lusty widow in Elizabethan plays by focusing on widows’ gestures. Chapter Three highlights the transition from the late Elizabethan to early Jacobean periods by examining the representation of the husband’s ghost. Chapter Four considers three plays performed by the King’s Men in the mid- 1610s in relation to the adolescent body of the boy actor, uses of the stage balcony, and metatheatrical references to the ‘lusty widow’ trope respectively. Lastly, Chapter Five explores the detailed descriptions of widows’ households and Henrietta Maria’s cultural influence on the representation of ungovernable widows on the Caroline stage. This study not only reasserts the complexity of widow characters, but also tries to demonstrate how a focus on widows can deepen our understanding of early modern theatre in general. By reconstructing how playwrights and acting companies might have represented widows’ ambiguous position in early modern patriarchal society on the contemporary stage, I aim to make a distinctive contribution to current critical interest in the material conditions of early modern theatre as well as feminist studies of early modern drama. 3 Asuka Kimura Table of Contents Acknowledgements 5 List of Illustrations 6 A Note on the Text 9 List of Abbreviations 11 Introduction 12 Chapter One Alternative History: Mourning Garments and Other Attributes of Widows in Sixteenth- and Seventeenth-Century England 30 Chapter Two Lamenting Widows and Lusty Widows: The Construction of Basic Types of Widows in Elizabethan Drama 88 Chapter Three From Elizabethan Tragedy to Early Jacobean Satirical Comedy: Chapman’s and Middleton’s Challenges to Elizabethan Conventions 138 Chapter Four Wilful Widows and Widows’ ‘Will’: Widows as Romantic Heroines in Mid-Jacobean Plays by Webster and Middleton 184 Chapter Five ‘Shall I not be master of my own house?’: Widows as Formidable Mistresses in Caroline Drama 239 Conclusion 306 Appendix: List of Plays with Widow Characters, 1538-1642 314 Bibliography 329 4 Asuka Kimura Acknowledgements My profoundest thanks go to my primary supervisor, Professor Helen Hackett, whose patience, continuous encouragement, immense knowledge, and above all, warm-heartedness supported my research and life in London throughout my Ph.D. My research interest was rather vague at the beginning, and she helped me shape it into the current form by asking insightful questions and offering me new perspectives. Without her guidance, I could not have reached this stage. My gratitude is beyond words. My sincere thanks also goes to Professor Alison Shell, my secondary supervisor, whose deep understanding of early modern culture and religion I am much indebted to. Her professional, incisive comments always encouraged me to think more deeply and use early modern sources more carefully. I am grateful to her patience and kindness, taking some time to supervise my dissertation despite her tight schedule. I also would like to thank Karen Hearn, Maria Kanellou, Christine Gottlieb, Anouska Lester, Sam Plumb, and Emma Whipday among others for sharing their precious knowledge and experiences, which helped me deepen my discussion in various ways. 5 Asuka Kimura List of Illustrations I would like to thank the following libraries and institutions for kind permissions to reproduce the images, as well as for supplying photographs: bpk; Brasenose College, University of Oxford; the British Library; the Folger Shakespeare Library; the National Gallery, London; National Museum of Wales; the National Portrait Gallery; the National Trust; the Royal Collection Trust; the Society of Antiquaries of London; the Victoria and Albert Museum; Westminster Abbey. Every effort has been made to secure necessary permissions to reproduce copyright material in this work. Fig. 1. Brass from the tomb of Eleanor de Bohun, duchess of Gloucester, 1399. Copyright: Dean and Chapter of Westminster. Fig. 2. Tomb effigy of Philippa de Mohun, duchess of York, 1431. Copyright: Dean and Chapter of Westminster. Fig. 3. Lady Margaret Beaufort, unknown artist, second half of the sixteenth century, NPG551. © National Portrait Gallery, London. Fig. 4. Mary, Queen of Scots, François Clouet, c. 1520-72, RCIN403429. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2014. Fig. 5. Almswomen in the funeral procession of Mary, Queen of Scots, artist and date unknown. © The British Library Board, ADD.35324 f15v. Fig. 6. Bridget Russell, countess of Bedford, as the chief mourner in the funeral procession of Mary, Queen of Scots, artist and date unknown. © The British Library Board, ADD.35324 f16r. Fig. 7. Almswomen in Lady Lumley’s funeral procession, artist and date unknown. © The British Library Board, ADD.35324 f19v. Fig. 8. Anne Howard, countess of Surrey, as a chief mourner, her train-bearer, and six principal mourners in Lady Lumley’s funeral procession, artist and date unknown. © The British Library Board, ADD.35324 f21v. Fig. 9. Lady Helena Gorges as the chief mourner in Queen Elizabeth’s funeral procession, artist and date unknown. © The British Library Board, ADD.35324 f37r. 6 Asuka Kimura Fig. 10. Countesses and daughters of earls and barons, and maids of honour and of the privy chamber in Queen Elizabeth’s funeral procession, artist and date unknown. © The British Library Board, ADD.35324 f38v. Fig. 11. Anne of Denmark, unknown artist, c. 1628-44, NPG4656. © National Portrait Gallery, London. Fig. 12. Elizabeth Stuart, Queen of Bohemia, Gerrit van Honthorst, 1642, NG6362. Photo © The National Gallery, London. Fig. 13. Called Lady Penelope D’Arcy, later Lady Gage and Lady Hervey (c. 1594-1661), unknown artist, c. 1640-61, NT851802. © National Trust Images. Fig. 14. Henrietta Maria, Wife of Charles I as Widow, unknown artist, 1649- 50, private collection. Costume for Births, Marriages and Deaths. Phillis Cunnington and Catherine Lucas. London: A & C Black, 1972. Plate 30(b). Print. Fig. 15. Ring, seventeenth-century painting with eighteenth-century setting, museum number M.1-1909. © Victoria and Albert Museum, London. Fig. 16. Joyce Frankland (1531-1587), Benefactress, Gilbert Jackson, 1629. By kind permission of Brasenose College, University of Oxford. Fig. 17. Katheryn of Berain, ‘The Mother of Wales’ (1534/5-1591), Adriaen van Cronenburgh, 1568, NMW A19. © Amgueddfa Cenedlaethol Cymru – National Museum of Wales. Fig. 18. Anon., Mistris Turners Farewell to All Women ([1615]). By kind permission of the Society of Antiquaries of London. Fig. 19. Title page of Anon., The Just Downefall of Ambition, Adultery, Murder ([1616]). © The British Library Board, C.40.c.69. Fig. 20. ‘An English Widow’. Reproduced in Cesare Vecellio, Habiti antichi et moderni: The Clothing of the Renaissance World, Europe, Asia, Africa, the Americas. Eds. Margaret F. Rosenthal and Ann Rosalind Jones. London: Thames & Hudson, 2008. Page 422. Print. Fig. 21. ‘The Thyrd Sorowe’, from Robert Copland, The Seven Sorowes that Women Have When theyr Husbandes be Dead ([1565(?)]). © The British Library Board, C.20.c.31.(5.), sig. B1v . Fig. 22. ‘The Fyfth Sorowe’, from Robert Copland, The Seven Sorowes that Women Have When theyr Husbandes be Dead ([1565(?)]). © The British Library Board, C.20.c.31.(5.), sig. B3v. 7 Asuka Kimura Fig. 23. Detail from title page of Samuel Rowlands, Tis Merrie When Gossips Meete (1613). By kind permission of the Folger Shakespeare Library. Fig. 24. Detail from title page of Samuel Rowlands, Well Met Gossip: or, Tis Merry When Gossips Meet (1656). © The British Library Board, C.117.b.52. Fig. 25. Katherine Manners, duchess of Buckingham, later marchioness of Antrim (d. 1649), Anthony van Dyck, c. 1628-35, NT1175913. © National Trust Images. Fig. 26. Ring, 1550-1600, made in England, museum number 13-1888. © Victoria and Albert Museum, London. Fig. 27. Ring, c. 1600, made in England, museum number M.18-1929. © Victoria and Albert Museum, London. Fig. 28. Thomas Killigrew and William, Lord Crofts (?), Anthony van Dyck, 1638, RCIN407426. Royal Collection Trust / © Her Majesty Queen Elizabeth II 2014. Fig. 29. Handkerchief, 1600-20, made in Flanders, museum number 484- 1903. © Victoria and Albert Museum, London. Fig. 30. Handkerchief, c. 1600, made in Italy, museum number 288-1906. © Victoria and Albert Museum, London. Fig. 31. The Entombment, Simone Martini, 1335/40, Staatliche Museen zu Berlin, 1070A. © bpk / Gemäldegalerie, SMB / Jörg P. Anders. Fig. 32. ‘The Actors Names’, from John Webster, The Tragedy of the Dutchesse of Malfy (1623). © The British Library Board, 644.f.72, sig. A2v. Fig. 33. Ewer and Basin, London, 1610-11, museum number M.10&A-1974. © Victoria and Albert Museum, London. Fig. 34. Title page of Henry Peacham, Coach and Sedan (163[6]). © The British Library Board, 012314.ee.88 (title page). 8 Asuka Kimura A Note on the Text Original spellings have been retained, but I have used brackets to expand contractions, and have modernized u/v and i/j.
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