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Forms of Religious Persuasion in Early Modern Drama

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Forms of Religious Persuasion in Early Modern Drama “Moving Graces”: Forms of Religious Persuasion in Early Modern Drama by Jacqueline Wylde A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Jacqueline Wylde 2018 “Moving Graces”: Forms of Religious Persuasion in Early Modern Drama Jacqueline Wylde Doctor of Philosophy Department of English University of Toronto 2018 Abstract How does one reach the hearts of others? This thesis situates the question in early modern England by investigating the activity of persuasion on the commercial stage, contending that, when plays sought to represent persuasion or be persuasive themselves, many of their tactics were borrowed from religious sources. The ongoing process of Reformation in England required an investment in persuasive methods for the purposes of religious education and conversion. Protestant reform may have instigated the persuasive practices, but the ensuing heterogeneity of belief enabled multiple confessional perspectives to compete for hearts and minds, creating a “culture of persuasion” that profoundly influenced early modern modes of communication, including dramatic ones. While religious conversion strategies could not be reproduced directly on the stage, I claim that playwrights made use of the form of such strategies. Overlaying these various forms with content relevant to the play, they capitalized on the persuasive meanings inherent in the forms without offending the censors or derailing the story. Chapter One begins with an investigation into the evangelical metrical psalms. I argue that the shape, sound and meaning of a musical psalm reverberates in a drinking song in The Shoemaker’s Holiday, evoking an ii exploration of the dynamics of inclusion and exclusion in the creation of community identity. In Chapter Two, the Duke’s interactions in the jail in Measure for Measure follow the same scripts as the private conferences associated with the Jesuits, prompting questions about the ethical limits of efficacious persuasion. Chapter Three explores the goodnight ballad, considering the appearance of one in Eastward Ho as central to the play’s ongoing negotiation between sincerity and satire. My historical formalist examination of theatrical appearances of now-unfamiliar forms of religious persuasion contributes to conversations about the operation of religious meaning on the stage and the role of the commercial theatre in a religious culture. When found in various theatrical guises on the stage, these forms retain their persuasiveness and act as dramatic agents of political, social, institutional and personal strategy, deployed both within the dramatic arc of the story and beyond to work on the emotions of the audience. iii Acknowledgements This dissertation sometimes felt like a solitary endeavour, but in truth, its constant progress and final fruition was due to the help, intervention, and support of an incredible community of hearts and minds. My research was funded by the Social Science and Humanities Research Council of Canada and by a University of Toronto Fellowship, and I am grateful to these institutions for the financial support. What a privilege it has been to work with my dissertation advisory committee. My supervisor, Lynne Magnusson, has been unflagging in her confidence in me and my work. She modelled intellectual rigor combined with a genuine generosity of spirit, and I am grateful for her guidance, her challenging questions, and her eye for detail. Paul Stevens’ enthusiastic encouragement was as invaluable as his deep understanding of Protestantism in early modern England, and Holger Schott Syme’s willingness to listen and ask penetrating questions, especially in the early stages of the project, helped open up and steer my thinking at critical junctures. I also thank Patricia Badir and Elizabeth D. Harvey for their thoughtful, tough, and engaging questions at the oral examination. Professor Badir’s external report sparked many ideas for the next stages of the project. Conversations with a broad community of scholars contributed to the development and enrichment of each chapter, especially in seminars at multiple Shakespeare Association of America conferences. Two of these seminars led to contributions in edited collections. Parts of Chapter One appeared as “Singing a New Song in the Shoemaker’s Holiday,” in Religion and Drama in Early Modern England: The Performance of Religion on the Renaissance Stage, edited by Jane Hwang Degenhardt and Elizabeth Williamson. Chapter Three’s discussion of Eastward Ho appeared as “Singing in the Counter: Goodnight Ballads in Eastward Ho,” in Forms of Faith: Literary Form and Religious Conflict in Early Modern England, edited by Jonathan Baldo and Isabel Karremann. I would like to thank all the editors for their guidance and acknowledge Ashgate Publishing and Manchester University iv Press for providing permission to reproduce the material. Discussions and responses at Theatres of Conversion: Early Modern Cities, Courts, and Playhouses, a seminar run by the Early Modern Conversions project were particularly helpful to the development of Chapter Two. It was Paul Yachnin’s generous mentorship at McGill that first led me to the metrical psalms, planting the seeds of the project. The English Department at the University of Toronto has been a collegial and stimulating intellectual home. I am particularly indebted to Suzanne Gregoire, for the years of commiseration and conversation about our projects, our lives, and things early modern, and to Katie Larson, who is a fount of knowledge both scholarly and institutional, a source of inspiration, and a dearly trusted friend. My graduate school compatriots gave me gifts of their friendship, knowledge, encouragement, editing eyes, and time, and for all this and more I thank Laura Stenberg, Marybeth Curtin, Ceilidh Hart, Emily Simmons, Alisha Walters, Darryl Domingo, Esther DeBruijn, Katherine McLeod, Rory McKeown, and Marilyn Simon. Andrew Theobald’s last minute editing help was greatly appreciated. I have been blessed with a community of family and friends who have provided me with care both emotional and practical. Jenny Thompson, Stephanie Donaldson, and Vanessa Dixon were part of my village, and made my work possible with their flexibility and willingness to help. It is my family that has been the most unfailingly supportive of my scholarly endeavours, even if the particularities of my work seemed far away from our everyday lives. I thank my brother Geoff, for his good humour and genuine inquisitiveness, and my sister Katie, for our ongoing, lifelong conversation about every possible thing. I do not have words to express the depth of my gratitude to my parents Barbara and Harry Wylde, who have made everything in my life and in my future seem possible and even an adventure. They taught me to be curious, to ask questions, and to persevere. My children, Alexander, Talia and Clara, all of whom were born while this dissertation was in progress, made sure that the years of this project were among the most joyful of my life. Finally, I dedicate this work to my husband Michael Minialoff, whose faith in me has never wavered. My achievements are made possible by his steadfast and sustaining love. v Table of Contents Acknowledgements .................................................................................................................. iv Table of Contents ..................................................................................................................... vi Introduction ............................................................................................................................... 1 I. Religious Forms, Theatrical Content and “The Turn to Religion” ................................... 6 II. Forms of Religious Persuasion ....................................................................................... 13 Chapter One: “Moved by the Concord of Sweet Sounds”: Playing the Singing of Metrical Psalms ........... 24 I. The Rise of the Metrical Psalms ...................................................................................... 29 II. Strategic Singing in The Shoemaker’s Holiday ............................................................. 49 III. Hanging up harps in The Merry Wives of Windsor ....................................................... 65 Chapter Two: Duke, Friar, Jesuit, Spy: Private Conference and Public Persuasions in Measure for Measure .................................... 78 I. “Catching in St. Peter’s Net”: Private Conference and the Jesuits .................................. 82 II. “I’ll teach you how you shall arraign your conscience”: Confession and Persuasion in Measure for Measure ........................................................................................................ 100 Chapter Three: Singing from the Scaffold: Staging the Goodnight Ballad ................................................... 120 I. The Goodnight Ballad: Confessions and Conventions .................................................. 126 II. Misogonus and Popular Musical Imitation .................................................................. 148 III. Singing Goodnight in Eastward Ho............................................................................ 156 Coda ...................................................................................................................................... 170 Works Consulted ..................................................................................................................
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