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Neoplatonic Identities: Literary Representation and the Politics of Queen Henrietta Maria's Court Circle

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Neoplatonic Identities: Literary Representation and the Politics of Queen Henrietta Maria's Court Circle Neoplatonic Identities: literary representation and the politics of Queen Henrietta Maria's court circle by Karen Ruth Britland Submitted in accordance with the requirements of the degree of PhD The University of Leeds School of English August 2000 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. ii Acknowledgements I owe a debt of gratitude to Professor Martin Butler for his support and encouragement during the last four years. I am particularly grateful to him for his generosity in sharing with me his own work. Thanks, too, to Mr David Lindley and to Professor Diane Purkiss, especially for their words of wisdom at times when I wanted to strangle Henrietta Maria. Katharine Craik and Sarah Poynting have also been very generous and have offered support that has been most appreciated. I was fortunate to receive a Leverhulme Study-Abroad Studentship in 1998-9 which allowed me to undertake research for this thesis in Paris. Many thanks go to the Leverhulme Trust, and particularly to Jean Cater whose good humour and efficiency will go down in legend. Thanks, too, to Professor Bernard Cottret for his warm welcome in France and for allowing me to attend his seminars at the Sorbonne. I would also like to thank Tim Amos, Adam Smyth, and Ross Parry for their weird enthusiasms for Renaissance culture, and Sarah Graham and Fiona Richards for always being there with cake. Thanks are also due to my brother, Ian, for the suggestion that every honourable thesis should end with the conclusion, 'It didn't work'. Most of all, however, I want to thank my Mum and Dad, without whom I would never have been daft enough to do this in the first place. This thesis is dedicated to them. iii Abstract Author: Karen Ruth Britland Title: Neoplatonic Identities: literary representation and the politics of Queen Henrietta Maria's court circle Degree: PhD Date: August 2000 My thesis investigates Queen Henrietta Maria's cultural activities at the Caroline court, paying particular attention to her connections with France and with French politics. In contrast to previous studies of her life, I am concerned not only with her position as a Catholic in a Protestant country, but with her status as a culturally and politically active woman. I discuss the significance of her importation of French cultural fashions on to the English stage (most notably the innovation of the female actor), and investigate notions of female identity put forward in her masques and pastoral plays. By tracing the influences of both neoplatonism and reformed Catholic theology in the Queen's theatrical productions, I. demonstrate how courtly women came to be privileged as the arbiters of taste and judgement, and show how this led to a perception of them as properly political agents. I also demonstrate that the Queen's court masques promoted a 'counterpublic' space inside the court from which ideas independent of King Charles's own policies could be expressed. I investigate Henrietta Maria's involvement in international current affairs, illustrating how her political alignments could be manifested in her court productions. Finally, I discuss her position as an exile at the French court during the English civil war, showing how, despite her lack of funds, she managed to maintain a political, religious, and social presence in France. iv Table of Contents page Acknowledgements ii Abstract Contents iv List of Illustrations v A Note on Procedures vi Introduction Bones of Contention: Re-membering Henrietta Maria 1 Chapter 1A Fairy-tale Marriage: The Myth of the Caroline Romance 28 Chapter 2 'La verite de la Religion': Pastoral Cares at the English Court 52 Chapter 3 Translated to the Skies: The Generation of Meaning in Caroline Court Masques 81 Chapter 4 Eternity and Maternity: The Possibility of Difference in the Queen's Masques 106 Chapter 5 Royal Subjects: Intriguing Voices in The Shepherds' Paradise 139 Chapter 6A Means to an End : Divine Providence and The Temple of Love 170 Chapter 7 Making Connections: Fleshing Out the Plot of 1635 192 Chapter 8 Uninvited Guests: Spectres at the Feasts of the Last Masques 216 Conclusion Historical Exiles: Henrietta Maria's Return to France 242 Appendix Professional Singers? The Question of Madame Coniack 258 Bibliography 262 V List of Illustrations page Figure 1 Daniel Mytens, with additions by Van Dyck, Charles I and Henrietta Maria, 1630-2 95 Figure 2 Robert van Voerst's engraving of Van Dyck's Charles and Henrietta Maria, 1634 95 VI A Note on Procedures Dating There were two calendars in use during the seventeenth century. Continental Europe used the Gregorian, or New Style, system of dating, while England maintained the Julian, or Old Style, and was thus ten days behind the rest of Europe. I have used Old Style dating for English events, and have indicated both dates when discussing Continental affairs. I have also taken January, rather than March, to be the beginning of the calendar year. Thus, for example, the performance of Tempe Restored is given as February 1632, rather than 1631/2. Editions I have quoted Jonson from Herford and Simpson's edition of his works (1925-50), and Carew from the edition of Rhodes Dunlap (1949). I have chosen not to use Cedric C. Brown's edition of Townshend because of its lack of a line count, preferring instead to quote Townshend, along with Davenant, from Orgel and Strong's convenient Inigo Jones: The Theatre of the Stuart Court (1973). INTRODUCTION Bones of Contention: Re-membering Henrietta Maria Thus saith the Lord GOD unto these bones; Behold, I will cause breath to enter into you, and ye shall live. Ezekiel 37.5 Henrietta Maria no longer has a tomb. Indeed, she barely has a grave. What is left of her body is bricked up behind a wall in the crypt of Saint Denis cathedral with the muddled bones of her royal relations, torn from their sepulchres during the French Revolution of 1789. As the citizenry rose against their King, they tried to wipe out the memory of centuries of monarchical rule by razing the tombs of Louis XVI's ancestors and dismembering the bodies. The attack on the crypt at Saint Denis was a violent bid for cultural forgetting, an attempt to wipe out centuries of privilege and oppression by erasing the remains. At the same time, it was a bid to control remembering; the spectres of the Bourbon kings can only ever now return in the shadow of the Revolution that dismembered them. ' My thesis invokes the return of a Bourbon princess by seeking to know how her scattered remains have been articulated through and across history. It is also concerned with the nature of remembrance per se, and poses questions about the legitimacy of historiographical representation. The image of the defiled crypt of Saint Denis illustrates at once the physical reality of my subject, and yet furnishes a metaphor for the impossibility of ever satisfactorily reconstructing her. Henrietta Maria's skeleton cannot be re-membered, neither can her history. Just as her remains were scattered around Saint Denis cathedral, so her image has been dispersed across a multitude of texts; her bones are confused with the bones of her relations and her history is a jumble of received interpretations, imaginations and suppositions. Thus,, while this thesis is structured as a 'The ransacking of Saint Denis was authorised by a decree of the Revolutionary Convention of Ist August 1793. It was part of an official attack on France's ecclesiastical, feudal and royal past, occurring alongside a policy of dechristianisation and preceding the removal of the images of kings from the front of Notre Dame cathedral in October 1793. See Simon Schama, Citizens: A Chronicle of the French Revolution (London: Viking, 1989), p. 829; William Doyle, The Oxford History of the French Revolution (Oxford: Clarendon Press, 1989), pp. 260-1. 2 historical biography, inserting 'nerv' evidence into an already extant narrative that seeks to shed light upon the Queen's character and life, it also aims to unpack the strategies at work behind cultural representation to show how the production of an identity and the production of a history are closely intertwined. The common perception of Henrietta Maria is one of a petulant, spoilt child, whose love of Catholic spectacle helped to provoke England to rise against its King. This view is not just prevalent in popular culture, it is also to be found in the work of historians whose descriptions of Henrietta Maria as a frivolous pleasure-seeker lend an air of intellectual authority to her unflattering public image: Henrietta Maria must have had a lightweight mind, because important (and usually male) historians have said that this was so. My aim here is certainly to challenge this opinion and to recast Henrietta Maria as a figure who had an impact upon history. However, I am also interested in the notion of history per se; in the way its narrative has traditionally been organised around great events and people in order to create a coherent, teleological notion of the past. This type of history, with its emphasis on the retrievable interiority of a unified subject, not only progresses in a linear fashion towards the future, but allows its readers to conceive of themselves as unified subjects, held in the present through their relationship with a knowable past. Through an investigation into Henrietta Maria's neoplatonic fashion, with its emphasis on the world as a shadowy illusion, and through a consideration of the fragmented nature of women's identities in a culture which privileges an implicitly masculine form of self-presence, I want to problematise this notion, considering history as a fluid concept, as the work of memory, mourning, and ghosts.
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