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Popular Song in Early Modern Drama 1580-1620

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Popular Song in Early Modern Drama 1580-1620 POPULAR SONG IN EARLY MODERN DRAMA 1580-1620 PAUL LEWIS FABER SUBMITTED IN ACCORDANCE WITH THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY THE UNIVERSITY OF LEEDS SCHOOL OF ENGLISH APRIL 2013 ii The candidate confirms that the work submitted here is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Paul Lewis Faber to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. © 2013 The University of Leeds and Paul Lewis Faber iii ACKNOWLEDGEMENTS I extend great thanks to the University of Leeds for awarding me a Fully-Funded International Research Scholarship without which it would have been impossible for me to move from Canada to England and study with my preferred supervisor. Professor David Lindley’s wealth of experience, sensible rigour and merry curiosity consistently set me at the best advantage during my studies at Leeds. I am sincerely grateful for his instruction. My ‘supervisor in reserve’ Professor Martin Butler always had an ear and a word for me even from under the mass of obligation that comes with bringing an enormous, multivolume project to term. Professor Michael Brennan and Dr. Christiana Gregoriou oversaw much of my teaching duties at the School of English and were continuous sources of candid yet positive discussion about teaching in the English classroom and in the modern arena. My PGR Tutor Dr. Robert Jones provided me with forthright, surgical, advice regarding after-PhD strategies along with the occasional drive-by salvo of encouragement. Various other members of the teaching staff at the School of English kindly made their unique energies available to me over the course of my studies. I thank Dr. Fiona Douglas, Dr. Dennis Flannery, Professor Paul Hammond, Dr. Alaric Hall, Dr. Lawrence Publicover, Dr. Jane Rickard, and Head of School Professor John Whale. I must also acknowledge senior administrators, Lindsey English, Pamela Rhodes and Nicola Wildman, whose professional patience enables us all. My parents, Mel and Kathleen, have been enthusiastic supporters of my work from the beginning and it has been a great pleasure sharing my thoughts with both of them as things have coalesced over the last ten years. My surrogate parents in Calgary, iv Manfred and Katherine, continue to provide both Amy and me with spiritual nourishment from afar as we strive with new lives here in the United Kingdom. In any endeavour, unconditional love, faith and support are things one can live without, in the same way one can live without a decent meal, a warm jacket and a quiet place to sleep: we emerge alive – but we are pale. Without Amy, I would be pale. v ABSTRACT This dissertation investigates the reciprocal relationship between the song culture of early modern England and its representation in drama of the late sixteenth and early seventeenth centuries. Unlike past studies, no preference is given to any particular playwright. Rather, the dissertation considers evidence from close to 100 plays in which songs, references to song, and elements of song culture are most abundant. The study begins with an exploration into the particular ability of early modern audience members to recognise and appreciate sophisticated references to song as they encountered them in drama. Next there is a discussion of some of the more famous characters of song culture whose narratives and reputations – effectively lost to us now – were regularly mined by playwrights. The third part of the study investigates song’s power as represented in fictive spaces. Chapter 4 examines dramatic representations of song performance by elites and their relationship to contemporary decorum. Lastly, Chapter 5 focuses on a point in London’s history where its dramatists appear to have been particularly keen to capitalize on song’s function as a consolidator of cultural identity. The overriding impression at the end of the study is of early modern playwrights basing representations of song and singing less upon contemporary beliefs surrounding music, its power, and its place in the cosmos, and more upon phenomenological observation of song as it operates in people and in their society. vi CONTENTS Acknowledgements iii Abstract v Contents vi Abbreviations viii Style, Sources and Referencing ix Introduction 1 Challenges 2 Terminology 6 The Dissertation 9 1 Song as Signifier 12 The Spectre of Subjectivity 17 Cognition and Culture 21 1.1 The Neuropsychology of Song 22 Song is Special 25 Encoding 25 Emotion 27 Repetition 30 Storage 31 Recall 34 Conclusion 38 1.2 Early Modern Music and Memorisation 38 Music and Song in Early Modern England 39 The Broadside Ballad 42 Early Modern Discourse From Bottom to Top 44 Ordinary Londoners 44 Elites 47 Song in Drama 50 Conclusion 52 2 The Popular Pantheon 54 Mary Ambree 54 Arthur of Bradley 57 The Friar and the Nun 67 2.1 Song-based Drama 74 The Downfall and Death of Robert Earl of Huntington (1599) 75 The Pleasant Comodie of Patient Grissill (ca. 1599) 83 The Blind Beggar of Bednal Green (1600) 95 Conclusion 103 3 The Power of Song 105 3.1 The Foundering of Orphic Power 108 Sirens 118 Lelia 119 Edith 120 Erictho 121 Franceschina 124 3.2 Exposing Song: Harmony’s Two Sides 128 The Little French Lawyer (ca. 1619) 132 vii 1 The Honest Whore (1604) 136 Much Ado About Nothing (1598) 140 Wily Beguiled (ca. 1602) 149 The Knight of the Burning Pestle (1607) 157 3.3 Extreme Exposures 165 Hamlet (1600) 165 Conclusion 178 4 Song: A Question of Decorum 179 4.1 The Conduct Books 184 4.2 Elite Singing in Drama 189 Gentlemen and Citizens 192 Drinking and Carousing 197 Private vs. Semi-Private or Exclusive Space 200 Effeminacy 206 Elite Women 211 Conclusion 228 5 Song: The Banner of Everyman 230 In Search of Plebeian Heroes: 1598-1600 232 The Shoemaker’s Holliday (1599) 239 The Gentle Craft and The Shoemaker’s Holiday 242 Songs in Support: The Three-men Songs 243 Songs in Support: Ballad Fragments 248 1 & 2 Robin Hood (1599) 257 The Blind Beggar of Bednall Green (1600) 260 Edward IV and the Tanner of Tamworth (ca. 1599) 263 ‘King-Commoner’ Motif 264 6 Conclusion 276 Appendix 279 Bibliography 282 Primary Texts 282 Secondary Texts 302 viii ABBREVIATIONS AI Hyder Rollins, An Analytical Index to the Ballad Entries (1557-1709) in the Registers of the Company of Stationers of London, 2nd edn (Hatboro: Tradition Press, 1967). References to Rollins’ index will supply entry numbers, e.g. AI #2109 DNB Dictionary of National Biography, online edition, ed. by Lawrence Goldman, Oxford University <www.oxforddnb.com> EBBA The English Broadside Ballad Archive, Director: Patricia Fumerton, University of California, Santa Barbara <http://ebba.english.ucsb.edu> EEBO Early English Books Online, ProQuest <http://www.eebo.chadwyck.com/home> OED Oxford English Dictionary, online edn, Director: Judy Pearsall, Oxford University Press <http://www.oed.com> PMOT William Chappell, Popular Music of the Olden Time, 2 vols (London: Cramer, Beale and Chappell, 1859) SD Stage Directions ix STYLE, SOURCES AND REFERENCING This dissertation is grounded in the referencing style of the Modern Humanities Research Association. Supplementary particulars are listed below. ADDITIONAL CONVENTIONS Original spelling will be retained except in the use of ‘u’, ‘v’, ‘i’ for ‘j’ and double consonants such as ‘vv’ for ‘w’ and ‘ff’ for ‘f’; these will be modernized. Capitalization and italics will be retained. Indentations will be retained as close as possible to the source text. Punctuation will be retained unless it interferes substantially with clarity. In such cases, the text will be modernized and mention of the change will be made in a note. Titles will be shortened where necessary for concision. SOURCES Scholarly editions used for this dissertation include plays from The New Cambridge Shakespeare, general editor Brian Gibbons (Cambridge: Cambridge University Press, 1984-pres.); The Dramatic Works in the Beaumont and Fletcher Canon, general editor Fredson Bowers, 10 vols (Cambridge: Cambridge University Press, 1979-96); and The Cambridge Edition of the Works of Ben Jonson, general editors David Bevington, Martin Butler and Ian Donaldson, 7 vols (Cambridge: Cambridge University Press, 2012) unless otherwise stated. For plays by Shakespeare and Fletcher, the New Cambridge Shakespeare editions are used. Quotations from other dramatic works are taken from modern scholarly editions where available unless the discussion references specific printings. References to plays available only in manuscript are taken from a x scholarly edition of any age if available. Quotations from songs are taken from primary sources where possible. Songs available to the author only via scholarly editions will be referenced accordingly. CITATIONS In cases where an editor has divided a play into scenes but not into acts, quotations from that edition shall be designated in the following manner: Sc. 1.23-4. In cases where an editor has divided a play into acts but not into scenes, quotations from that edition shall be designated in the following manner: II, lns. 5-6. WEBSITES AND ONLINE DATABASES Hundreds of physical primary sources were consulted for this dissertation via online databases. In the interests of clarity and concision, initial citations of these will include URLs from the containing database’s home page rather than complete URLs. For added convenience, the author has provided for examiners a digital version of the dissertation in which all initial citations of sources consulted via the Internet are implanted with a hyperlink. Readers need only click the underlined homepage URL included in the citation and they will be taken directly to the appropriate text and page.
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