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Cultivating Heraldic Histories in Early Modern English Literature

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Cultivating Heraldic Histories in Early Modern English Literature CULTIVATING HERALDIC HISTORIES IN EARLY MODERN ENGLISH LITERATURE by Kathryn Karen Will A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in the University of Michigan 2014 Doctoral Committee: Professor Emerita Barbara Hodgdon, Co-Chair Associate Professor Steven G. Mullaney, Co-Chair Professor Helmut Puff Professor Valerie J. Traub © Kathryn Karen Will 2014 DEDICATION To my parents, Karen Goodreau and Randy Will, and my brother Alex. ii ACKNOWLEDGMENTS It will be impossible to thank everyone who helped me in ways intellectual, material, and emotional during this process, but I can at least try to make a start. Cultivating Heraldic Histories came to fruition thanks to the guidance and encouragement of my committee members, Steven Mullaney, Barbara Hodgdon, Valerie Traub, and Helmut Puff. The Andrew W. Mellon Foundation, University of Michigan English Department, and Rackham Graduate School provided financial support, and travel awards from English and Rackham funded multiple trips to the Shakespeare Association of America and Society for Textual Scholarship. My early research at various archives, including the Folger and Huntington Libraries, was made possible by grants from the UM Program in Medieval and Early Modern Studies and the Making Publics Project at McGill University. The matchless staff and readers at the Folger Shakespeare Library provided the ideal intellectual and social community during my time away from UM. Heather Wolfe deciphered handwriting, Erin Blake explained illustrations, and Georgianna Ziegler helped me discover materials I didn’t know I was looking for. My teatime conversations with visitors from across the globe helped me think through and refine my ideas. Nigel Ramsay shared his expertise while he worked on the Folger’s summer 2014 heraldry exhibition, Gerard Kilroy alerted me to valuable contextual materials, and Nedda Mehdizadeh and Katherine Schaap Williams became friends and lunch buddies. At UM, my friendships with Katie Brokaw, Rebecca Wiseman, Emma Garrett, Joanie Lipson Freed, and Caroline Miller kept me afloat. I also received valuable writing feedback from a terrific community of readers: thanks to Jonathan Smith, Ori Weisberg, Ari Friedlander, Stephanie Elsky, iii Andrew Bozio, Stephen Spiess, Leila Watkins, Angela Heetderks, Sarah Linwick, Cordelia Zukerman, Helen Ho, and Chung-Hao Ku for your thoughtful responses to my work. Laura Williamson Ambrose, Amy Rodgers, and Marjorie Rubright offered generous mentorship and continue to inspire me. I’m grateful to William Ingram, Linda Gregerson, Jeffrey Todd Knight, Cathy Sanok, Karla Taylor, and Theresa Tinkle for advice along the way, and I thank Steven Engel, Bonnie Campbell, and Lisa Curtis for their camaraderie. In the English office, Jan Burgess, Senia Vasquez, and Linda Deitert answered all my questions and helped me stay in the good graces of the department. More than anyone, my family helped me ride out the dissertation rollercoaster. My parents, Karen Goodreau and Randy Will, believed in my ability to see the work through and were always there to come home to. My brother Alex provided much-needed comic relief throughout the process. And last but not least, Nathan Kalmoe arrived in my life at just the right time—I couldn’t have completed this endeavor without him. Besides being my emotional rock and partner in adventure, he helps me see the value of my work, and he trusts in my abilities when my confidence falters. I may not need a knight in shining armor, but I’m glad I have him as my companion and champion. iv CONTENTS Dedication ii Acknowledgments iii List of Figures vi Introduction: The Social Life of Heraldry 1 Chapter One: The History of Heraldry: Communities and Conflicts 22 Early Heraldry: Materiality and Ideology 25 The Rise of the Heralds: Medieval Arms Regulation 34 The Medieval Heraldry Text 38 Tudor Heraldry and the Pedigree Craze 41 The Painter-Stainers: Heraldic Competitors 48 Early Modern Heraldic Texts 50 Chapter Two: Heraldic Literacy and the Evolution of Heraldic Satire 59 Heralds and Antiquarians: Professional Disputes in Print and on the Margins 65 Amateur Writers, Anonymous Readers 75 The Evolution of Heraldic Satire 86 Heraldry as Social Commentary 95 Chapter Three: Labored Devices: Heraldic Invention and the Populuxe Theater 106 The Painter-Stainers Company: Heraldic Artisans 108 Impresas as Speaking Properties 115 Staging Shields 122 Meta-Violence: The Spanish Tragedy and The Three Lords & Three Ladies of London 126 Staging Secrets: Your Five Gallants and Pericles 139 Shakespeare, the Upstart Crow 150 Chapter Four: “Heraldry in Their Mouthes”: Anglo-Welsh Historiography in The Valiant Welshman, Shakespeare’s Second Tetralogy & The Merry Wives of Windsor 162 Welsh Mythology and Gentility 165 English Derision 171 English Prophecy & Politics 176 Welshness, Heraldry, and Prophecy in 1 & 2 Henry IV 182 The Family of Britain in Henry V 194 Comic Heteroglossia in The Merry Wives of Windsor 198 Epilogue 202 Bibliography 211 v LIST OF FIGURES Figure 1. Michael Middleton’s coat of arms 19 Figure 2. Catherine Middleton’s coat of arms 19 Figure 3. Catherine’s impaled coat of arms 20 Figure 4. William and Catherine’s conjugal coat of arms Figure 5. Corporate arms of the College of Arms 58 Figure 6. Benjamin Wright, The Armes of All the Cheife Corporat[i]ons of London (1592) 99 Figure 7. Detail of readers’ comments in a copy of John Guillim’s A Display of Heraldrie, 3rd edn. (London, 1632), Ann Arbor: University of Michigan, Primary Source Microfilm X3203, reel 990 100 Figure 8. Reader’s drawing in John Guillim, A Display of Heraldrie, 4th edn. (London, 1660), Ann Arbor: University of Michigan, Primary Source Microfilm X440, reel 2656 100 Figure 9. Pages from a copy of Ralph Brooke’s Catalogue and Succession with arms tricked in, STC 3832 copy 2, Folger copy cs275 101 Figure 10. Copy of Gerard Legh’s Accedence of Armorie with partially colored arms: or, sable, gules, and vert are colored in throughout the book; argent and azure are not, STC 15391 copy 3, Folger copy cs92 102 Figure 11. List of gentlemen’s arms in “A Booke of Armes whearein firste are sett the Armes of all the citties of Englande secondlye the Armes of the gentlemen of every shire and lastlye the Armes of all the chiefe corporations of Englande wth the companyes of London,” Huntington ms HM3758 103 Figure 12. Images from Benjamin Wright’s broadside sheet depicting the arms of the London livery companies cut up, colored and pasted into the back of Huntington ms HM37538 104 Figure 13. Volvelle in a copy of Edmund Bolton’s Elements of Armories (1610), STC 3220 copy 2, Folger copy cs61 105 Figure 14. Page of paint recipes from a manuscript by herald John Guillim, Folger ms V.b.447 154 Figure 15. Ermine Portrait of Queen Elizabeth (1585) 155 Figure 16. A coat from John Bossewell’s Works of Armorie featuring “a Crosse engraled Ermyne” 155 Figure 17. Anonymous portrait of Henry VIII and family with heraldic tapestry backdrop 156 Figure 18. Tilt portrait of Robert Devereux, second Earl of Essex (Hilliard, 1587) 157 Figure 19. Tilt portrait of George, third Earl of Cumberland (Hilliard, 1590) 158 Figure 20. John of Gaunt’s coat of arms 159 Figure 21. Edmund Earl of Kent’s coat of arms 159 Figure 22. 1615 title page of The Spanish Tragedy featuring an illustration of Horatio hanging in the arbor 160 Figure 23. Second draft of Shakespeare’s coat of arms 161 vi Figure 24. Porsche logo 208 Figure 25. Saab logo 208 Figure 26. Peugeot logo 208 Figure 27. Manchester United logo 209 Figure 28. A.E.K. Athens FC logo 209 Figure 29. Philadelphia Union logo 209 Figure 30. NFL logo 210 Figure 31. NBC 3014 Sochi Olympics logo 210 Figure 32. LeBron James’ “Heart of a Lion” logo 210 vii INTRODUCTION The Social Life of Heraldry Unlike nearly all her predecessors, Catherine “Kate” Middleton—the wife of Prince William, Duke of Cambridge, and mother of Prince George, third in line to the English throne—was born without the mantle of English gentility. As The Guardian reported in its announcement of William and Kate’s engagement, Miss Middleton would be “the first commoner to marry an expected future king for 350 years, since Anne Hyde married the future King James II in 1660.”1 Indeed, rather than belonging to the aristocratic old guard, the Middleton family was decidedly mercantile: Kate’s father owned a mail-order party supply business. To be sure, it was a highly successful enterprise worth £30 million.2 Nonetheless, the Middletons were new money rather than old blood, and neither of Catherine’s parents bore an inherited coat of arms. Still, tradition demanded that Catherine have a coat to combine with her royal husband’s. Luckily, it was relatively easy for Michael Middleton to obtain a device to pass down to his daughter in time for the wedding. The guidelines set down by the College of Arms state, “There are no fixed criteria of eligibility for a grant of arms, but such things as awards or honours from the Crown, civil or military commissions, university degrees, professional qualifications, public and charitable services, and eminence or good standing in national or local life, are taken into account.”3 Like any other applicant, Kate’s father submitted his curriculum vitae for review and approval by the heralds— 1 Stephen Bates and James Meikle, “Prince William and Kate Middleton engagement announced,” The Guardian, November 16, 2010, http://www.guardian.co.uk/uk/2010/nov/16/prince-william-kate-middleton-engagement. 2 Geoffrey Levy and Richard Kay, “Money and the Middletons,” The Daily Telegraph, April 21, 2011, http://www.dailytelegraph.com.au/money-and-the-middletons/story-fn888nar-1226042856760.
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