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Embodied Female Authorship in Early Modern English Literature

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Embodied Female Authorship in Early Modern English Literature SHOOK, LAUREN, Ph.D. Embodied Female Authorship in Early Modern English Literature. (2015) Directed by Dr. Michelle M. Dowd. 247 pp. Although early modern scholars often believe the female body to hinder women’s authorship, my dissertation, Embodied Female Authorship in Early Modern English Literature, argues that the female body enables authorship. Throughout the sixteenth and seventeenth centuries, authorship and its related terms, “author” and “authority,” were never static. Such malleability resonated with early modern perceptions of the female body as inherently shifty, a troubling notion to patriarchal ideologies that desired authority over women. Constituting male authorship through the female body was a way to stabilize masculine authority. Men became authors while women remained passive texts. My project, however, disrupts this patriarchal narrative of authorship. Drawing upon scholarship by Jeffrey Masten, Wendy Wall, and Margaret Ezell that rethinks early modern authorship as gendered, collaborative, and social, I shift focus away from the physical production of texts to consider authorship in terms of the generation of narratives--textual, historical, political, and theological. I examine common tropes of the female body (maternal body, female martyr, wife’s corpse, and female ghost) to restore “author” as a verb rather than a noun. Doing so historicizes female authorship as integral to gender, political, and religious hierarchies. Covering a wide generic breadth of texts ranging from the early Reformation to the Restoration (1546-1664), my project provides nuanced close-readings of women’s and men’s writing to illuminate the ubiquitous nature of embodied female authorship throughout early modern culture. My first chapter uses the metaphor of the pregnant male wit who labors to birth literary creations to re-read representations of the maternal body as producers of theological narratives in midwife manuals, Milton’s Paradise Lost, and Dorothy Leigh’s The Mother’s Blessing. Subsequent chapters reveal how the female martyr grounds religio-political narratives of Protestant Reformation in England; how the wife’s corpse offers narratives of chastity to correct those of sexual infidelity; and how the female ghost in Lucy Hutchinson’s Memoirs of Colonel John Hutchinson yields a restorative, spiritual narrative in the face of the Restoration. By locating authors in unsuspecting places, I imagine a more inclusive early modern authorship that bestows agency upon those subjects who most seem to lack such authority. My project proves that we must look to the female body to understand the full history of authorship. EMBODIED FEMALE AUTHORSHIP IN EARLY MODERN ENGLISH LITERATURE by Lauren Shook A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2015 Approved by ______________________________ Committee Chair © 2015 Lauren Shook APPROVAL PAGE This dissertation written by Lauren Shook has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro. Committee Chair ______________________________________ Committee Members ______________________________________ ______________________________________ ___________________________ Date of Acceptance by Committee _________________________ Date of Final Oral Examination ii ACKNOWLEDGEMENTS To the completion of this dissertation, I am full of gratitude for the mentors, friends, and family members who saw this work of labor to its fruition. I first thank the members of my dissertation committee: Michelle Dowd, Jennifer Feather, and Jennifer Keith. Michelle, my dissertation director, worked with me diligently on this project, reading and commenting upon multiple drafts of each chapter, even in their very nascent stages. Michelle challenged me to think about the relationship between gender and genre, showed me the importance of incorporating extensive close-readings into my writing, and supported my (sometimes too) enthusiastic desire to apply for everything. Jen Feather gave me the opportunity to brainstorm early formulations on the dissertation while I was enrolled in her graduate seminars. Jennifer Keith taught me new ways of reading poetry, which I find myself using in my writing and in my teaching. Finally, Lara Dodds, while not on my dissertation committee, has been with this project from start to finish. Lara first introduced me to John Milton and Lucy Hutchinson when I was an undergraduate and continued to show me the fabulous world of early modern women writers when I was a master’s student. The support, guidance, and confidence that Lara has given me cannot be fully expressed in words. I hope to be as good of a mentor to former students as Michelle, Jen, Jennifer, and Lara have been to me. I would be remiss not to thank my friends and family. My writing group, Leah Milne, Tina Romanelli, and Kt Leuschen, listened to me talk endlessly about my frustrations and celebrations over this project. I look forward to continue sharing iii scholarship with each of those fabulous, talented ladies. My church family at Starmount Presbyterian Church, especially Kathryn Campbell and Mary Vigue, offered me an inclusive and spiritually-rejuvenating church to call home while I worked on my PhD, and in the church’s own way, taught me to re-interpret texts and always productively question my interpretations. My best friends, Kt Leuschen, Cheryl Marsh, and Courtney Dueitt, have seen me through many life challenges (the least of which has been this dissertation). My family has always stressed the importance of higher education to me and made sure that I was able to my dream of obtaining my Ph.D. Lastly, my dissertation would not be completed without the love and support from my wonderful partner, Karen, who shared many Sunday-fundays with me and was always there with simple words of encouragement: “You’re a literary boss.” iv TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION: DEFINING EMBODIED FEMALE AUTHORSHIP ...........1 II. REDEEMING WORDS: EVE, MARY, AND MATERNAL AUTHORSHIP .......................................................................27 III. EMBODIED PROTESTANT AUTHORSHIP ...................................................86 IV. “TELL NO DYING-TALE”: THE TRAGIC AUTHORSHIP OF DEAD WIVES .......................................................................................113 V. GHOSTLY AUTHORSHIP...............................................................................175 BIBLIOGRAPHY ............................................................................................................226 v CHAPTER I INTRODUCTION: DEFINING EMBODIED FEMALE AUTHORSHIP Early modern authorship was an embodied process. In the seventeenth century, an increasing number of printed books included an authorial portrait as part of the frontispiece, making visible the authorial body responsible for the text; notable examples include Ben Jonson’s Workes (1616); Milton’s Poems 1645, and Margaret Cavendish’s Nature’s Pictures (1656). Poets often equated their poetry with children and vice versa. Jonson laments in “On My First Son” that his son was “‘his best piece of poetry;’”1 Robert Herrick proudly claims that his verses “are the children I have left” and “no verse illegitimate;”2 and Cavendish asks that readers not “condemn” her for “mak[ing] so much ado / About this book, it is my child.”3 The human body and books are one, and the body is used to construct authorship. Early modern authorship specifically requires the female body. In Sir Philip Sidney’s opening sonnet of Astrophil and Stella, the speaker laments writer’s block through the metaphor of a mother in labor: “Thus great with child to speak and helples 1 Ben Jonson, “On My First Son,” in Seventeenth-Century British Poetry 1603-1660, ed. by John P. Rumrich and Gregory Chaplin (New York: W.W. Norton and Company, 2006), line 10. 2 Robert Herrick, “Upon His Verses,” in Seventeenth-Century British Poetry 1603-1660, ed. by John P. Rumrich and Gregory Chaplin (New York: W.W. Norton and Company, 2006), lines 3, 6. 3 Cavendish, “An Apology for Writing So Much upon This Book,” in Seventeenth-Century British Poetry 1603-1660, ed. by John P. Rumrich and Gregory Chaplin (New York: W.W. Norton and Company, 2006), lines 1-2. 1 in my throes, / Biting my truant pen, beating myself for spite: / ‘Fool,’ said my Muse to me, ‘look in thy heart and write.’”4 Although male, Sidney takes on the role of the heaving mother in need of assistance to deliver his forthcoming sonnets, and the Muse is his midwife, coaching Sidney through the process. This moment epitomizes the trope of the pregnant male wit, a moment of “literary parthenogenesis” that many poets, regardless of gender, used to establish authorship.5 Shakespeare’s Iago mocks such language when he tells Desdemona that his “Muse labors / And thus she is deliver’d” (2.1.127-128).6 Even women writers take up this common trope. Margaret Cavendish asks that her readers be kind to her book, Poems and Fancies (1653), because it is her child, which she began writing “since [she] came into England, being eight Yeares out, and nine Months in” (X3r).7 Here, Cavendish parallels writing a book to human gestation. These examples from the works of male and female authors reveal a complex relationship between authorship and the female body that represents what I term embodied female authorship. Read one way, Sidney
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