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Military Culture of Shakespeare's England MILITARY CULTURE OF SHAKESPEARE’S ENGLAND by DONG HA SEO A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute School of English, Drama and American & Canadian Studies College of Arts and Law University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines the development of military culture in, and its effects on, early modern English society. Militarism during the late Elizabethan and early Stuart periods was not reinforced by military institutions directly interfering with the private lives of individuals, or by controlling the thoughts and actions of the whole nation. It was, however, strongly influenced by the culture of a military elite, represented by leading noblemen such as Leicester, Sidney, Essex, and Prince Henry, who paid considerable attention to the theatrical aspects of formal and ceremonial occasions and how their military role was portrayed in art and literature. Unlike the usual traditional portrayal of these prominent figures as incompetent military leaders who rushed blindly forwards in pursuit of military glory, we will see that through their aristocratic patronage of various art forms they promoted their image as competent Protestant warriors, and helped the public to be receptive to a variety of military ideas. The principal motivation of this study is to consider a multiplicity of perspectives on how a military culture was constructed, through a variety of genres, and how particular views on military matters were integrated into popular culture. Literary critics and historians have previously examined certain aspects of militarism in this period but this study aims to take a holistic view of how the military culture developed and affected the public sphere. Acknowledgements First and foremost I would like to thank and acknowledge God from whom all blessings flow. In the process of writing this thesis, He is my strength, my hope and my trust. I am extremely grateful to my supervisor, Professor John Jowett for his astute guidance, warm encouragement, and painstaking care in reviewing my thesis. Without him, this thesis would never have been completed. I would also like to thank my former supervisor, Dr Robert Wilcher for his encouragement and advice. I would also like to record my thanks to Professor Kate McLuskie, Dr James Stredder, Dr Jami Rogers, Dr Peter Smith, Dr Paul Prescott, Dr Will Sharpe, Dr Lizz Ketterer, Dr Tara Hamling, Mike Jones, Joseph Curdy, Pauline Bateman and Philip Bateman, all of whom have helped me in my research. My sincere thanks are extended to Juliet Creese and Rebecca White for supporting me throughout my studies at the Shakespeare Institute. I am particularly indebted to Rev Graham Clay, Edna Clay, Marylynn Rouse, Don Foster, Ruth Foster and the congregation of Stratford-upon-Avon Baptist Church for their love and prayers. Special thanks go to my wife Gee-min Lee, and my lovely children Jin and Lynne, for their support and love over the last seven years. Finally, I wish to acknowledge the generous support I have received from the Republic of Korea Army and from the English Department at the Korea Military Academy. Table of Contents Introduction 1 Chapter 1 The late Elizabethan and early Stuart military 22 circles Chapter 2 Patronage of theatre, art, and music 71 Chapter 3 Representations of the military and 137 military issues on stage Chapter 4 Cheap print 207 Chapter 5 Religion 254 Conclusion 299 Bibliography 305 List of Illustrations 1. William Garrard, The Arte of Warre (1591) Appendix 3 and 30 Sir Clement Edmonds, Observations, Upon the Five Bookes of Caesars Commentaries (1600) 2. Elizabeth I by George Gower (1588), Marquess of Tavistock & the Trustees 95 of the Bedford Estates 3. Robert Dudley, Earl of Leicester by Nicholas Hilliard (c.1571-4), Private 101 Collection 4. Robert Dudley, Earl of Leicester (c.1585-1587) by Christoffel van Sichem, 101 National Portrait Gallery and Philip II of Spain by Antonio Mor (c. 1557) 5. Maurice of Nassau, Son of William of Orange and Sir Philip Sidney by Cornelis 102 Ketel, The Marquess of Bath 6. Engraving of “Maurice of Nassau and Sir Philip Sidney before Axel” (1616) 103 7. Robert Dudley, 1st Earl of Leicester (c.1564) attributed to Steven van der 104 Muelen, Private Collection 8. Robert Dudley by Federigo Zuccaro, British Museum 104 9. The Earl of Leicester by an unknown artist, The Parham Collection 106 10. Frontispiece of Teorica y Practica de Fortification by Captain Cristóbal de 107 Rojas (Seville, 1598) 11. Robert Dudley, Earl of Leicester by Hendrik Goltzius 108 12. The Earl of Essex by Nicholas Hilliard (c. 1591-5) and Hendrick Goltzius, 109 “Marcus Curtius” from the series The Roman Heroes (1586) 13. “The Earl of Essex” by Robert Boissard and “The Earl of Essex” by Thomas 110 Cockson 14. Henry, Prince of Wales by Robert Peake (c. 1604-10) 112 15. “Titus Manlius,” The Roman Heroes by Goltzius (c. 1586) 113 16. “Prince Henry” with the pike by Simon de Passe and “Prince Henry” by 114 William Hole 17. Gervase Markham, A Schoole for young souldiers in briefe the whole 116 discipline of warre (1615) 18. Militias in Clifton Hall, Nottinghamshire 117 19. William Byrd, “The souldiers sommons” and “The buriing of the dead” in 131 My Ladye Nevell’s Bookes, ed. Hilda Andrews (London: J. Curwen & Sons, 1926) 20. “Funeral Procession of Sir Philip Sidney” by Thomas Lant 132 21. Leicester’s Triumphal Entry in The Hague (1586) 143 22. Robert Dudley, portrait in The Bishops’ Bible (1568) 144 23. A stage battle from Leicester’s Triumphal Entry in The Hague (1586) 146 24. William Garrard, “Practises of training, appertaining to the charge of two 153 hundreth Men” in The Arte of Warre (1591) 25. “Queen Elizabeth on horseback” by Thomas Cecil (1625) 220 26. “Sir Philip Sidney” by Robert Vaughan from Nine Modern Worthies (1622) 220 27. Thomas Deloney, A New Ballet of the Straunge and Most Cruell Whippes 222 Which the Spanyards Had Prepared to Whippe and Torment English Men and Women (1588) 28. Title page from the Troubles of Geneva (1591) 232 29. Title page from the A Discourse More at Large the Late Ouerthrowe 233 Giuen to the King of Spaines at Turnehaut (1597) Introduction “War is always an expression of culture, often a determinant of cultural forms.”1 This thesis examines the development of military culture in, and its effects on, early modern English society. Its purpose is to argue that militarism during the late Elizabethan and early Stuart periods was reinforced, not by military institutions interfering with the private life of every individual or controlling the thoughts and actions of a whole nation, but by the culture of the military elite. This elite paid considerable attention to formal and ceremonial occasions and to their own image as leaders of fashion, in the arts as well as in military matters. Leading noblemen of the time took the lead in developing a military culture. There is always a cultural level to war and John Keegan‟s statement gives us a context in which to examine the ways in which war in early modern England was shaped by, and shaped, the culture of its participants. To do this we need to examine our understanding of culture. There is a multiplicity of definitions of culture but it usually means the way of life of a people, learned and transmitted from one generation to the next. In the narrow sense, culture is the entry into the way of life, activities, beliefs, and customs of a group of people with shared traditions. The culture of soldiers thus provides its members with a sense of identity and reinforces the values held in the military. In this context, it is difficult to see how military culture could be established as a determining agent in England in a period when there was no army and most military activity centred around bands of fighting men in noblemen‟s houses or hastily summoned defence forces. Keegan‟s understanding of war as “an expression of culture,” however, is a very useful concept in this setting because it helps us explain how military values became enacted, embodied, and practiced through a variety of cultural forms. In the four decades between 1585 and 1624, the threat and actuality of war overshadowed the lives of Englishmen. During this period, many English war-oriented plays were performed 1 John Keegan, A History of Warfare (London: Pimlico, 1994) 12. 1 and the great majority of early modern English military writings was printed. While literary scholars have done much to demonstrate the influence of military theories posited in the military literature in Shakespeare‟s plays, much of the historical criticism has been sceptical about the value of military books. Although each discipline has used concepts derived from the other to present its own arguments, I would maintain that they have led us to misunderstand the nature of early modern militarism as the attempt of contemporary aristocrats and gentlemen officers to monopolise the crown‟s favour to the neglect of common soldiers. This thesis, therefore, will undertake a fresh analysis of interactions between the Elizabethan and early Stuart aristocrats and the scholars, chaplains, artists, and musicians they patronised and will demonstrate how military culture, which was developed by a system of patronage, became an integral part of early modern English society and values.
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