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ProQuest Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Name Michelle M. Butler Dissertation Title “All havlL all havlL both blithe and glad”: Direct Address in Early English Drama. 1400-1585 Degree _________Doctor of Philosophy in English___________________ Date __________ Fphniary 28. 2003_______________________________ APPROVED O V / I Dr. Anne Brannen, Associate Professor APPROVED Pen <■»! Dr. n, Professor APPROVED (.LlChUA/ ivid Klausner, Professor, University o f Toronto APPROVED Chair, English Department ACCEPTED I Dr. Constance Ramirez, Dean of McAnulty College and Graduate School of Liberal Arts Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. “All hay 11, all hayII, both blithe and glad”: Direct Address in Early English Drama, 1400-1585 Michelle M. Butler A Dissertation Submitted in Partial Fulfillment of the Requirements for the degree of Doctor of Philosophy Director: Dr. Anne Brannen Duquesne University 2003 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3094786 ___ ® UMI UMI Microform 3094786 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Brian— “I do love nothing in the world so well as you—is not that strange?”—Much Ado About Nothing 2 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgements My debts are legion. I want to thank my dissertation committee, Dr. Anne Brannen (chair), Dr. Jay Keenan, and Dr. David Klausner for serving on this committee and for their helpful comments on this work. I would also like to thank Dean Constance Ramirez and the Duquesne English Department for arranging for David to attend my defense, and of course David himself both for being willing to serve on my committee as an outside reader and for personally attending my defense. Jay’s help is also deeply appreciated, both on this project and as a drama production mentor. My debts to my committee chair are almost innumerable, but perhaps chiefly I appreciate the freedom provided to pursue this atypically broad project and crucial guidance in constructing it. I would also like to thank Dr. Alan Somerset for sending me a photocopy of a relevant chapter in his dissertation. Thanks as well to Jen Roderique, who shared the completion of every chapter by phone, encouraging and excited. Thanks to my children, Paul, who sympathized, “That sounds like a lot of work, Mama,” when I described what I still needed to do with my dissertation, and Sam, who has literally been with me during the entire project. Many thanks and much love to Brian. I also want to thank and recognize my parents, who I suspect aren’t entirely certain what I do for a living but are proud of it anyway. Dragonlady and Quasimodo (don’t ask, it’s a long story) are due for some kind of parenting medal. They sent four of seven kids not only to college (first generation) but graduate school — Mia: Ph.D., Duke University; Michelle: Ph.D., Duquesne University; Molly: Ph.D. (ABD), Harvard University; and Margie, Pharm.D. Candidate, University of Pittsburgh School of Pharmacy — from a thousand-person farming- and-factory town in Illinois. We are grateful that they were willing to allow us to make use of educational opportunities offered to us. I also thank these three younger sisters for their encouragement and support, enjoying with me Fun From Early Drama during my reading time, when we were surprised and pleased to find in two separate sixteenth-century plays a version of something we remember being told as children (“thou horesone goose/ Thou woldest lysse thyne arse yf it were loose” Jack Juggler 618-19). I found, however, no cursed brooms, nor the manual cleaning of turkeys, so those, apparently, belong to our family alone. 3 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table of Contents CHAPTER 1: INTRODUCTION________________________________________________________________5 CHAPTER 2: ASIDES_______________________________________________________________________ 29 CHAPTER 3: DIRECT ADDRESS BY SPECIAL PERSONAGES---------------------------------------------------- 71 CHAPTER 4: COMPOUND DIRECT ADDRESS------------------------------------------------------------------------- 100 CHAPTER 5: DIRECT ADDRESS BY CHARACTERS IN MEDIEVAL DRAMA -------------------------------123 CHAPTER 6: DIRECT ADDRESS BY CHARACTERS IN SIXTEENTH-CENTURY DRAMA ------------- 163 CHAPTER 7: CONCLUSION________________________________________________________________ 205 WORKS CITED: PRIMARY TEXTS (BY PLAY TITLE)------------------------------------------------------------- 210 WORKS CITED: PRIMARY TEXTS (BY AUTHOR)------------------------------------------------------------------218 WORKS CITED: PRIMARY TEXTS (BY EDITOR).................................... 222 WORKS CITED: PRIMARY TEXTS (BY EDITION TITLE).......................................................................... 226 WORKS CITED: SECONDARY SOURCES------------------------------------------------------------------------------ 231 4 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 1: Introduction "Now will I praise those godly men, our ancestors, each in his own time... All these were glorious in their time, each illustrious in his day. Some of them have left behind a name and men recount their praiseworthy deeds " (Sirach 44: I. 7-8) Direct address is widely acknowledged as a fundamental technique in early English, particularly medieval, drama. The observation that early English drama does not have the convention of the ‘fourth wall,’ and frequently speaks directly to and interacts with the audience would not be news to scholars of this drama; many have mentioned it. A.R. Braunmuller, for instance, in 1990, says that “[s]uch later-Tudor Vices as Ambidexter (Cambises) or Revenge (Horestes) continue the medieval drama’s easy familiarity with the audience. Directly addressing the spectators or commenting ‘aside’ to them, these characters elide or obscure the differences between play and spectator” (83). Meg Twycross, in 1994, notes the preponderance of direct address in medieval plays, saying, “The true amount of direct address in these plays becomes apparent only when they are performed” (55). Suzanne Westfall, in 1997, comments that “early modem theater is full of what modem readers w ould consider breaches of fourth wall in the form of prologues and epilogues, verse designed to contact the audience directly with recommendation for their behavior, pleas for applause and reward, and straightforward flattery” (53). The sources in which these comments appear — The Cambridge Companion to Medieval English Theatre. A New History of Earlv English Drama, and The Cambridge Companion to English Renaissance Drama — demonstrate how accepted these ideas are among scholars of early English drama; edgy or highly controversial suggestions, areas of intense scholarly debate, do not tend to make it into the introductory guidebooks that we construct for our fields. The position of direct address as a foundational, widely used technique in early English drama is 5 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. solid, perhaps as firmly in place as an assumption of our scholarship as it was in the dramaturgy in which it figures so prominently. Since the understanding that direct address is a fundamental technique in early English dramaturgy is widely held, it is therefore surprising that almost no scholarship exists that focuses upon direct address. Doris Fenton’s 1930 study, The Extra-Dramatic Moment in Elizabethan Plavs Before 1616. is the sole full-length consideration of this issue. Even if this study were thoroughly brilliant and pretematurally insightful about the uses of direct