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Politics of English Drama, 1603-1660 Staging Republic and Empire: Politics of English Drama, 1603-1660 by Judy Hyo Jung Park This thesis/dissertation document has been electronically approved by the following individuals: Cohen,Walter Isaac (Chairperson) Kalas,Rayna M (Minor Member) Lorenz,Philip A (Minor Member) Brown,Laura Schaefer (Minor Member) Murray,Timothy Conway (Minor Member) STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Judy Hyo Jung Park August 2010 © 2010 Judy Hyo Jung Park STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 Judy Hyo Jung Park, Ph.D. Cornell University 2010 This study argues that the classical legal concepts of dominium and imperium, ownership and rule, illuminate the political tensions of seventeenth century English drama. The concept of imperium was central to seventeenth century debates over the terms of international commerce, setting important precedents for the development of modern international law. Geopolitical disputes over dominium and imperium shadow the developing conflict between republican, monarchical, and imperial models of the English state from the Stuart monarchy to the post-revolutionary English republic. In the drama of the early to mid-seventeenth century, we can trace the emergence of designs for an imperial English state well before the Restoration and the eighteenth century. Moving from the reign of James I to the Protectorate under Oliver Cromwell, this study reevaluates the genres of tragicomedy, closet drama, topical drama, and operatic masques, analyzing Francis Beaumont and John Fletcher’s Philaster and A King and No King, Elizabeth Cary’s The Tragedy of Mariam, Philip Massinger and John Fletcher’s The Tragedy of Sir John van Olden Barnavelt, and William Davenant’s The Siege of Rhodes. The aim of this work is to contribute to a more nuanced understanding of the politics of pre-revolutionary seventeenth century drama, beyond the traditional focus on the antagonism between royalist and anti-royalist factions, and to redress the conventional neglect of English drama between the closure of the playhouses in 1642 and the restoration of the monarchy in 1660. BIOGRAPHICAL SKETCH Judy Hyo Jung Park received a B.A. in Literatures in English at the University of California, San Diego, and an M.A. and Ph.D. in English from Cornell University. She is currently Assistant Professor of English at Loyola Marymount University. iii For my family. iv ACKNOWLEDGMENTS I am indebted to the extraordinary members of my committee, whose intellectual brilliance and rigor are equal to their generosity and warmth. I cannot adequately express the depth of my gratitude to Walter Cohen. Walter has been an unstinting source of support as my chair. In the years I have known him as a teacher, a mentor, and a friend, he has shown me in his words and actions that the highest scholarly achievements are inseparable from a commitment to social good. To Laura Brown, I am grateful for her intellectual and personal grace and integrity. She is a consummate model for leading a compassionate and responsible life among humans and other social animals, a commitment reflected in her scholarship as well as her unflagging support for me as her student. To Tim Murray, I am indebted for his incisive critical interventions, and for the inspiring example of his intellectual courage and fire. His vigorous critical engagement has reminded me that thought should always be in the process of becoming, restlessly seeking new connections and new assemblages. To Rayna Kalas, a true Renaissance woman, I am thankful for her tremendous scholarly insight, and for the elegant force of her thought. My conversations with her have been a crucible in which my work has found its purer form. To Phil Lorenz, I am grateful for his sovereign command of critical theory and early modern literature, and for the breadth and reach of his scholarly achievement. I am also thankful for his friendship, and for his infectious enthusiasm for the world around him. v TABLE OF CONTENTS Biographical Sketch iii Dedication iv Acknowledgements v Introduction 1 Chapter 1 Tragicomedy and the Hybrid Republic in Beaumont and Fletcher’s Philaster and A King and No King 10 Chapter 2 “The world’s commanding mistress”: Race, Gender, and Empire in Elizabeth Cary’s The Tragedy of Mariam 75 Chapter 3 Staging Republic and Commerce: Massinger and Fletcher’s The Tragedy of Sir John van Olden Barnavelt 126 Chapter 4 “O’er-running kingdoms, stopping at a town”: Staging Empire at a Standstill in William Davenant’s The Siege of Rhodes 191 Bibliography 220 vi Introduction Yes, the feat is now done, and Law and Equity must both give way: the Trayterous Tragedie[n]s are upon their Exit, and poor King CHARLES at the Brinke of the Pitt; The Prologue is past, the Proclamation made, His Sentence is given, and we daily expect the sad Catastrophie; and then behold! The Sceane is chang’d: England but now [a] glorious Monarchy Degraded to a base Democracy. The Play thus done, or rather the WORKE Finish’d; the Epilogue remains, to wit the Epitaph of a slaughter’d King; which I reserve to another Opportunity; hoping Heaven may prevent you, ere your Sceane be finish’d; (as you did those poor Players lately in the middle of their’s; not onely depriving them of their present subsistence, but of the meanes of the future) but what doe we talke of such slight Injuries to them that are now undoing Kingdomes […]?1 —Mercurius Pragmaticus On 30 January 1649, the day of Charles I’s execution, an anonymous author (perhaps Marchamont Nedham) in the royalist newspaper Mercurius Pragmaticus reported on the imminent spectacle of judicial regicide as though it were a drama on the stage. The author was “hoping,” in this moment of mortal suspense (“ere your Sceane be finish’d”) for divine intervention, a deus ex machina that would prevent the 1 Mercurius Pragmaticus quoted in Leslie Hotson, The Commonwealth and Restoration Stage (Cambridge: Harvard University Press, 1928) 42. The original printed copy of the text can be found in the British Library: BL, E.540[15]. 1 king’s murder and transform the tragic plot of the English Civil War into the reconciliation of tragicomedy.2 Much as the author likens the spectacle of the execution to a tragedy, and the king to its tragic protagonist, the author seems to compare the royalists to “poor Players” whose performance in the theatre of war has been abruptly curtailed by defeat. However, the “poor Players” may also refer to the actors of the London stage, who, in the months preceding the execution, faced the redoubled efforts of parliamentarians to enforce their ordinances against Stage-Plays —above all the 1642 ordinance (An Ordinance of Both Houses of Parliament for the Suppressing of Publike Stage-Playes [2 September 1642]), which led to the arrest and imprisonment of the Players and the demolition of the “stages, boxes, seats, and galleries” in their playhouses.3 Paradoxically, the stages of the London theatres were dismantled only to construct the penultimate stage of the English Civil War, the scaffolds where Charles I made his exit. In both English history broadly conceived and in the more specialized history of seventeenth century English drama, 1642 is a momentous date. In English history it marks the start of the English Civil War; in the history of English drama, it marks the concomitant closure of the playhouses by Parliament’s order “that while these sad Causes and set times of Humiliation doe continue, publike Stage-playes shall cease, 2 In 1643, with the English Civil War underway, Marchamont Nedham began writing for the Mercurius Britannicus, a newspaper associated with parliamentary politics, but after his brief imprisonment, Nedham, it appears, changed his political allegiances when he began to contribute to the royalist newspaper, the Mercurius Pragmaticus. However, following the defeat of the royalist faction in the English Civil War, Nedham began work with the Mercurius Politicus, the official newspaper of the newly established English republic. Philip A. Knachel notes “That Nedham became a contributor to the [royalist] newspaper [the Mercurius Pragmaticus] is certain enough, though it is difficult to identify precisely which sections are his” (Knachel xxii). Philip A. Knachel, “Introduction” to Marchamont Nedham, The Case of the Commonwealth of England, Stated, Ed. Philip A. Knachel (Charlottesville: Published for the Folger Shakespeare Library [by] University Press of Virginia, 1969). 3 Hotson 43. 2 and bee forborne […].”4 However, 1649 (the year of the regicide and the victory of the pro-parliamentarian New Model Army) marks an important point of divergence between the history of English drama and English history. In the conventional periodization of early modern English drama, the significance of 1649 and of the Interregnum (1649-1660) is overshadowed by the 1642 closure of the playhouses, which seems to record a definitive break and the start of an eighteen-year gap in dramatic history, an enduring absence that persists until the Restoration and the revival of theatre under a renewed monarchy. When dramatic production between 1642 and 1660 is (reluctantly) acknowledged, as in the case of Cavalier drama, it is typically acknowledged in ways that imply the self-evidence of the gap in the history of drama. Alfred Harbage, for instance, argues that “Nearly all Cavalier plays are inferior in quality, and the historian’s penalty for dealing with a body of literature which Time has justly submerged is self-evident.”5 Yet, as the Mercurius Pragmaticus suggests with its decidedly theatrical representation of the political shock of Charles’s execution on 30 January 1649, drama retained its influence on the contemporary discourses of culture and politics between 1642 and 1660.
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