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Dissembling Disability: Performances of the Non-Standard Body in Early Modern England

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Dissembling Disability: Performances of the Non-Standard Body in Early Modern England - Dissembling Disability: Performances of the Non-Standard Body in Early Modern England. Row-Heyveld, Lindsey Dawn https://iro.uiowa.edu/discovery/delivery/01IOWA_INST:ResearchRepository/12730596670002771?l#13730827500002771 Row-Heyveld, L. D. (2018). Dissembling Disability: Performances of the Non-Standard Body in Early Modern England [University of Iowa]. https://doi.org/10.17077/etd.zso0fphw https://iro.uiowa.edu Copyright 2011 Lindsey Row-Heyveld Downloaded on 2021/09/28 04:31:53 -0500 - DISSEMBLING DISABILITY: PERFORMANCES OF THE NON-STANDARD BODY IN EARLY MODERN ENGLAND by Lindsey Dawn Row-Heyveld An Abstract Of a thesis submitted in partial fulfillment of the requirements for the Doctor of Philosophy degree in English in the Graduate College of The University of Iowa 1 July 2011 Thesis Supervisor: Professor Claire Sponsler 1 ABSTRACT The fear of able-bodied people pretending to be disabled was rampant in early modern England. Thieves were reputed to feign impairment in order to con charity out of well-meaning Christians. People told stories about these deceptive rogues in widely circulated prose pamphlets, sung about them in popular ballads, and even recorded their purported actions in laws passed to curb their counterfeiting. Feigned disability was especially prevalent—and potent—on the stage. Over thirty plays feature one or more able-bodied characters performing physical impairment. This dissertation examines the theatrical tradition of dissembling disability and argues that it played a central role in the cultural creation of disability as a category of identity. On the stage, playwrights teased out stereotypes about the non-standard body, specifically the popular notion that disability was always both deeply pitiful and, simultaneously, dangerously criminal and counterfeit. Fears of false disability, which surged during the English Reformation, demanded a policing of boundaries between able-bodied and disabled persons and inspired the first legal definition of disability in England. Rather than resolving the issue of physical difference, as the legal and religious authorities attempted to do, the theater revealed and reveled in the myriad complications of the non-standard body. The many plays that feature performances of dissembling disability use the trope to interrogate issues of epistemological proof, ask theological questions about charity and virtue, and, 1 especially, explore the relationship between the body and identity. Fraudulent disability also had important literary uses as well; playwrights employed this handy theatrical instrument to construct character, to solve narrative problems, to draw attention to the manufactured theatricality of their dramas, and, often, to critique the practices of the commercial theater. Expanding beyond the medical perspectives offered by the few studies that have considered early modern disability, I argue that these performances emerge out of a complex network of literary, religious, and social concerns. For all that 2 fraudulent disability may have been itself a type of fraud, trumped up by the state, the church, and the theater for their own diverse ends, it still wielded enormous influence in shaping notions of the non-standard body that are still current. Abstract Approved: ____________________________________ Thesis Supervisor ____________________________________ Title and Department ____________________________________ Date 2 DISSEMBLING DISABILITY: PERFORMANCES OF THE NON-STANDARD BODY IN EARLY MODERN ENGLAND by Lindsey Dawn Row-Heyveld A thesis submitted in partial fulfillment of the requirements for the Doctor of Philosophy degree in English in the Graduate College of The University of Iowa 1 July 2011 Thesis Supervisor: Professor Claire Sponsler Copyright by LINDSEY DAWN ROW-HEYVELD 2011 All Rights Reserved 2 Graduate College The University of Iowa Iowa City, Iowa CERTIFICATE OF APPROVAL _______________________ PH.D. THESIS _______________ This is to certify that the Ph.D. thesis of Lindsey Dawn Row-Heyveld has been approved by the Examining Committee for the thesis requirement for the Doctor of Philosophy degree in English at the July 2011 graduation. Thesis Committee: ___________________________________ Claire Sponsler, Thesis Supervisor ___________________________________ Miriam Gilbert ___________________________________ Adam Hooks ___________________________________ Blaine Greteman ___________________________________ Douglas Baynton To the memory of Huston Diehl (1948-2010) 2 ii I am unable, yonder begger cries, To stand, or move; if he say true, hee lies John Donne “A lame beggar” 3 iii ACKNOWLEDGMENTS In completing a project focused on charity, I have received much charity myself. I offer here poor thanks for the rich generosity of the many people who helped make this project possible. First and foremost, Huston Diehl gave life to this dissertation. She encouraged my first forays into early modern disability studies at the beginning of my graduate career, provided great insight and enthusiasm as I began to shape the project, and perceptively guided the completion of the first several chapters. She did all of this with her characteristic warmth, humor, and sharp scholarly eye, even as my progress through graduate school paralleled the progress of her cancer. Her unfailing support and encouragement of me—as a scholar and as a person—is a gift I could not hope to repay and one that has sustained me even in her absence. I have benefitted greatly from the hard work and generosity of Claire Sponsler, who oversaw the final stages of this dissertation; its completion would not have been possible without her thoughtful assistance and pragmatism. Adam Hooks provided invaluable advice about my dissertation and my job search. Doug Baynton supplied me with engaging, challenging perspectives on disability studies throughout my graduate career. Blaine Greteman graciously agreed to be on my dissertation committee at the last minute. While she was still at Iowa, Gina Bloom rightly insisted that I could not avoid 4 Richard III; the paper she fostered eventually grew into Chapter 4 and I greatly appreciate her help in beginning this project. Above all, Miriam Gilbert championed my work and challenged my thinking, cheering me on from the very beginning to the very end. I am especially grateful for her unwavering support and kindness. David Wood and Allison Hobgood have been great friends and great colleagues since the moment I met them. I am tremendously thankful for their generosity and their cheerleading. iv I want to express my ongoing thanks to Brad Shaw and Brian Hartley. I never would have considered pursuing a career in higher education without the encouragement—and inspiration—they have provided me. This dissertation is largely a product of the time afforded me by the Ballard/Seashore Dissertation Year Fellowship granted by the University of Iowa Graduate College, and I am grateful for their funding of my work. My thanks extend to the University of Iowa Department of English for the Freda Dixon Malone Dissertation Research Scholarship, which facilitated research necessary to complete Chapter 3. My parents and my brothers have gifted me with their faithful support for years. They are the ones who first modeled for me a love of literature and a devotion to charity. Even from thousands of miles away, Joanne Nystrom Janssen invested her time, intellect, and care in me and in my project. Her generous collaboration is responsible for the best parts of this dissertation, and her constant encouragement kept me going through the worst parts of it. I am privileged to be her scholarly partner and her friend. Because Zachary Row-Heyveld told me that he would break up with me if I didn’t go to graduate school, I went. And only because of his patience, hard work, and endless faith in me have I managed to finish. He has taught me more about charity—about love— than a world of books. 5 v TABLE OF CONTENTS INTRODUCTION ...............................................................................................................1 CHAPTER I. ACT THE FOOL: THE TRADITION OF FRAUDULENT DISABILITY IN JOHN MARSTON’S ANTONIO’S REVENGE AND BEN JONSON’S BARTHOLOMEW FAIR ..............................................................15 Rogue Revenge: Counterfeiting Disability in Revenge Tragedy and Antonio’s Revenge ..........................................................................................18 The Dramatic Relationship of John Marston and Ben Jonson .......................37 A Fool and His Money are Soon Parted (by a Madman): Fraudulent Disability in Bartholomew Fair .....................................................................43 II. FEMINIZED DISABILITY AND DISABLED FEMININITY IN FAIR EM AND JOHN FLETCHER’S THE PILGRIM ...........................................61 Fictions of Contradiction: Women and Fraudulent Disability .......................65 Fair Play: Fair Em and Disability Drag ..........................................................76 The Pilgrim’s Progress and Regress: Variations on Women Counterfeiting Disability ...............................................................................89 III. “THIS LAMENESS WILL NOT SERVE”:LABOR, GENDER, AND DISABILITY IN THE FAIR MAID OF THE EXCHANGE AND THOMAS DEKKER’S THE SHOEMAKER’S HOLIDAY ..........................104 Men at Work: Disability, Masculinity, and the Labor Economy .................106 “Take my crooked habite”: Disability and Masculine Commerce in The Fair Maid of the Exchange ...................................................................111
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