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Shakespeare Alterations of the Exclusion Crisis, 1678-1682: Politics, Rape, and Authorship

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Shakespeare Alterations of the Exclusion Crisis, 1678-1682: Politics, Rape, and Authorship Thèse de doctorat ès lettres Directeur de thèse: Professeur Lukas Erne Shakespeare Alterations of the Exclusion Crisis, 1678-1682: Politics, Rape, and Authorship Université de Genève, Faculté des lettres Département de langue et littérature anglaises Décembre 2011 Emma Lesley Depledge ii ii TABLE OF CONTENTS Preliminaries List of Illustrations....................................................................................................... iv List of Tables............................................................................................................... iv Acknowledgements....................................................................................................... v Note on Dates and Texts.............................................................................................vii Introduction ................................................................................................................ 1 The Late 1670s and Titus Oates’s Claims of a Popish Plot............................................ 4 The Immediate Impact of the Popish Plot...................................................................... 9 The Exclusion Crisis................................................................................................... 11 The Tory Reaction...................................................................................................... 16 Defining Rival Political Factions ................................................................................ 19 Shakespeare and the Exclusion Crisis: Politics, Rape, and Authorship ........................ 23 Chapter One: Shakespeare in Performance and Print, 1660-1677 ................................................. 28 Shakespeare, Performance, and the Significance of Drolls .......................................... 33 Shakespeare, Performance, and the Patent Theatres .................................................... 42 Shakespeare in Print ................................................................................................... 52 Chapter Two: Shakespeare and the Exclusion Crisis: The Decision to Alter his Works ............... 64 The New-Plays Repertory, 1678-1682 ........................................................................ 66 Material Conditions: Writing for the Exclusion Crisis Stage ....................................... 70 Censorship Conditions................................................................................................ 75 The Topicality of Shakespeare’s Plots and Characters................................................. 84 Thomas Shadwell’s Timon of Athens, or The Man-Hater (1678)................................. 92 Chapter Three: The Politics of Shakespeare Alterations of the Exclusion Crisis ........................... 104 Reading the Politics of Shakespeare Alterations........................................................ 109 Taking Hold of the Reigns: Altering Richard II and Henry VI .................................. 112 Family Politics: Bad Fathers and Pious Children....................................................... 137 The Politics of Effeminacy: Male-Female Relations.................................................. 151 Chapter Four: The Politics of Rape in Shakespeare Alterations of the Exclusion Crisis ............. 158 Whig and Tory Rape Rhetoric................................................................................... 160 iii Rape and Rebellion................................................................................................... 167 The Politics of Failed Rape in Nahum Tate’s The History of King Lear (1681) ......... 174 ‘Lazy Trifler[s]’ and Male Virility in Tate’s The Ingratitude of a Common-Wealth (1682)....................................................................................................................... 184 The Politics of Rape in Thomas Durfey’s The Injured Princess, or the Fatal Wager (1682)....................................................................................................................... 193 Chapter Five: Authorship and Alteration: Shakespeare on the Exclusion Crisis Stage and Page .... 198 Prologues, Epilogues, and the Attribution of Alterations to Shakespeare................... 203 Selling Shakespeare Alterations in Playbills.............................................................. 209 Reclaiming Authorship in Readerly Paratexts ........................................................... 218 Conclusion ............................................................................................................... 227 Works Cited ............................................................................................................ 230 iv List of Illustrations Figure One: Frontispiece to The Wits (1662) ............................................................. 63 Figure Two: Jacques Callot, ‘The Hanging’ (‘La Pendaison ’, 1663)........................ 157 List of Tables Table 1: Performances of Shakespeare’s Plays, 1660 - 1677..................................................... 56 Table 2: Charting Shakespeare Performances, 1660 - 1677....................................................... 60 Table 3: Shakespeare Alterations, 1660 - 1677 ......................................................................... 61 Table 4: Shakespeare in Print, 1660 - 1677............................................................................... 62 Table 5: New Plays, 1678 - 1682.............................................................................................. 98 Table 6: Performance and Publication History of Shakespeare Plays Altered, 1678 - 1682 ..... 102 Table 7: Censored Plays, 1678 - 1683..................................................................................... 103 Table 8: References to Shakespeare in Exclusion Crisis Alterations........................................ 226 v Acknowledgments I have incurred a number of debts while working on this project. ‘Shakespeare Alterations of the Exclusion Crisis, 1678-1682: Politics, Rape, and Authorship’ began as an MA thesis at the University of Leicester where it was supervised by Michael Davies and Sarah Knights. Michael’s inspirational BA teaching left me enamoured with Restoration literature, and he helped to shape my interest in Exclusion Crisis politics. Sarah offered insightful suggestions, invaluable feedback and warm encouragement throughout. My thanks go to both. I wrote my thesis on a part-time basis while employed as a junior faculty member at the University of Geneva, and I am deeply grateful to Lukas Erne and the University of Geneva for giving me this wonderful opportunity. I have benefitted greatly from interactions with members of the Geneva Doctoral Workshop for Medieval and Early Modern Studies, and from discussion of texts and ideas explored in the thesis with various BA classes from 2006 to 2011. I warmly thank both groups for their enthusiasm and insightful comments. The Swiss National Science Foundation awarded me a six-month junior research scholarship in 2008, thereby enabling me to consult playbooks and Exclusion Crisis prints and pamphlets at The William Andrews Clark Memorial Library, Los Angeles. I am deeply grateful to the SNSF for funding my research and would also like to thank the friendly Clark Library staff for all of their precious help. Further funding enabled me to participate in a seminar on ‘Shakespeare for Sale’, led by Adam Hooks, at the Shakespeare Association of America’s annual meeting in 2011, and a seminar on ‘Civil War in Shakespeare, his Contemporaries, and his Successors’, led by Mihoko Suzuki and Miki Suehiro, at the World Shakespeare Congress in Prague in 2011. I would like to vi thank both sets of seminar participants, particularly Pete Kirwan and Vimala Pasupathi, for the feedback they offered on draft versions of my fourth and fifth chapters. I am further grateful to the work of scholars of Shakespeare’s Restoration afterlife, particularly Michael Dobson. My readers will not find a single allusion or reference to ‘Tatification’ or any of the other disparaging remarks early critics made about Shakespeare alterations of the Restoration. If I have felt able to omit discussion of the critical backlash that once tainted study of these fascinating plays, it is thanks to Dobson who paved the way for analyses of the plays that go beyond aesthetic value judgements or angry defences of Shakespeare. I am also indebted to Susan J. Owen’s immensely useful work on Exclusion Crisis drama, and to Robert D. Hume and Judith Milhous’s scholarship for its illuminating insights into Restoration theatre history. I would additionally like to thank Pascale Aebischer, both for encouraging me, and for introducing me to my fantastic PhD supervisor, Lukas Erne. Working with Lukas has been an absolute pleasure, and I have benefitted greatly from his advice, his constant encouragement and enthusiasm, and the detailed feedback he has provided on drafts of my work. Lukas has helped me to develop my ideas, my critical thinking, and my academic writing, and he has been endlessly patient and supportive. I could not have asked for a more dedicated supervisor, and I am eternally grateful to him for his constant kindness and for always giving so generously of his time. I also wish to thank Guillemette Bolens, Michael Dobson, Indira Ghose, and Paul Hammond for agreeing to serve on my jury de thèse . Last but by no means least, I wish to thank my family, particularly André, for their love and support.
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