The Ocean in the Atlantic: British Experience and Imagination in an Imperial Sea, Ca
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The Ocean in the Atlantic: British Experience and Imagination in an Imperial Sea, ca. 1600-1800 Heather Rose Weidner Chino Hills, California BA, Swarthmore College, 2000 MA, University of Virginia, 2002 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of History University of Virginia May, 2014 i Table of Contents Abstract ii Acknowledgements iii Abbreviations vi Images vii 1. Introduction: Maritime, Anxious, Godly, and Sociable 1 2. Sing a Song of Shipwrecks 28 3. Between Wind and Water 95 4. Wrecked 166 5. To Aid Poor Sailors 238 6. Conclusion: God speed the barge 303 Appendix 1 315 Appendix 2 322 Bibliography 323 ii Abstract For Britons in the seventeenth and eighteenth centuries, “the Atlantic” was not a field of study -- it was an ocean. In this dissertation I argue for an environmentally minded Atlantic history, one that is conscious of the ocean as both a cultural and a physical presence. The ocean shaped an early modern Atlantic vernacular that was at its essence maritime, godly, anxious and sociable. The ocean was a conduit to empire, so anything Britons imagined about the oceans, they imagined about their empire as well. Britons could never fully master their empire because they could never master the ocean; it was source of anxiety for even the wealthiest merchants. The fear of extremity – of wreck and ruin – kept those who crossed the ocean focused on the three most valuable Atlantic commodities: a sound reputation, accurate information, and the mercy of God. To explore this four-fold Atlantic culture I examine a variety of sources, from popular songs and sermons to merchants’ letters. These sources expose the connection between the physical experiences that shaped British bodies and the fears and images that shaped British minds. Songs told people that the life of a sailor was one of danger, scripture told them the seas were the mouthpiece for an often angry God, and those who ventured out onto the waters came home to tell stories of overwhelming hardships. By restoring the place of the ocean in the empire, I argue for an eighteenth century that was communal rather than individualistic, religious rather than secular, shipwrecked and nerve-wracked rather than proudly imperial. iii Acknowledgments At this rate, I shall not pity the writers of history any longer. If people like to read their books, it is all very well, but to be at so much trouble in filling great volumes, which, as I used to think, nobody would willingly ever look into… always struck me as a hard fate; and though I know it is all very right and necessary, I have often wondered at the person’s courage that could sit down on purpose to do it. Jane Austen Northanger Abbey I owe a considerable to debt to many people who provided the support, encouragement, understanding, and resources so that I could “sit down on purpose to do it.” I hope they know how truly grateful I am. Thank you to Swarthmore College for the excellence of the education it provides. Anything I did not learn was my fault. Particular thanks to Bob Duplessis who interested me in the early modern Atlantic and to the history department, as well as to Nora Johnson and Betsy Bolton in the English department who told me to go study history. I also thank Nat Anderson and Michael Cothren as mentors and teaching role models. I was encouraged to apply to the University of Virginia because I was told the history department had a reputation for collegiality. I have certainly found this to be the case. Every member of the department has been welcoming and generous with their time and talent. I especially thank Anne Schutte, Erik Midelfort, Sophie Rosenfeld, Stephen Innes, and Peter Onuf, as well as Jennifer Via who managed paperwork on my behalf down to the very last moment. J. Paul Hunter talked Robinson Crusoe with great enthusiasm and at short notice. Max Edelson and Cindy Wall gave me years of encouragement and feedback and this dissertation is immeasurably better because of them. Duane Osheim has been a source of support, encouragement, and inspiration since day one. iv To fellow graduate students Monica Black, Holly Eldred, Tom Fallace, Rachel Finney, Matthew Gillis, Laurie Hochstetler, Amanda Mushal, Vicky Meyer, Jehnie Reis, Laura Stokes, Danny Wasserman thank you for your insights and camaraderie. Special thanks to fellow SOPies, John Collins, Jason Eldred, Jessica Otis, and Anne Throckmorton, who read very early, very tedious versions of these chapters with patience and interest. During the process of researching this dissertation, I benefited from the expertise of the staff at many libraries and archives. Thank you to librarians and archivists at Alderman Library, the New York Public Library, Bristol Record Office, Somerset Record Office, the Bodleian, The National Archives, Folger Shakespeare Library, Special Collections at UVA, Friends Historical Library, and the Huntington Library which also provided valuable financial assistance. Much of my time in England was made possible by the generosity of the University of Virginia / Oxford Atlantic seminar. I am grateful to Perry Gauci, William Pettigrew, and the other members of Lincoln College for their hospitality. I also thank my hosts Grant and Janet Lewison in Kew, and Caz and Simon O’Doherty in Bristol. I have been privileged to be part of the intellectual communities at several academic institutions during this project’s last few years: Abilene Christian University, Lynchburg College, and Randolph Macon College. Particular thanks to colleagues Scott Amos, Kelly Elliott, Jeremy Elliott, Caron Genty, Lindsay Michie, Caroline Morris, Heidi Nobles, Tom Porter, Tracy Shilcutt, Nick Smith, and Greg Straughn. For a lifetime of support in all forms I thank Rose and Harry Weidner, Isabell Walters, John and Liz Walters, John and Sandy Zuchero, Jackie Newby, Larry and v Lucille Wright, and Carolyn Clark. There has been much that required managing. Because they managed for me and tended to needs I could not meet, I thank Dr. Paulino Yanez, Sharon Green, Darcy Wenz, and Gaye Gibbs. All the appreciation in the world to Steve and Janet Headley for being my family, Barbara Smith for being my teacher, Caroline Wilkinson because she is not vegetarian, James Wilkinson for the music, Desi and Frank Allevato because they were there too, Mark Reis for technical support, Anna Hess for forgetting I was not already done, Heather Baldwin for the laptop at the eleventh hour, Brad Zuchero because he gets it, Gail and Gary Goetschius because they drive, Kira Goetschius for coming to pack boxes 15 years ago and never leaving, and Catherine Osborne for being my art historian, actor, writer, literary critic, theologian, and friend on- call. Finally, to Paul Stephen Dudley, my other baby, who has heard the whole thing through twice; to Harry Weidner, who has spent many years and some long nights supporting my education (this is the last homework assignment, I promise); to Paul Halliday who has been generous with his time, expertise, encouragement, and historical vision, patient over far too many years, and unfailingly kind; and to Brian Dudley who is my best friend, favorite archive partner, sounding board, critic, last-minute research assistant, and guy who saved the day by making the drive to Charlottesville in 28 minutes -- thank you. This dissertation is for my mother who read to me. Nancy R. Weidner, 1950 - 2007 vi Abbreviations HL Huntington Library MJB Memoirs of Joseph Banfield, not before 1796 NYPL New York Public Library OED Oxford English Dictionary SRO Somerset Record Office TMC Thomas Moffatt Correspondence, 1717-1716 vii Images 1. Image of a giant fish, M.P., A description of a strange (and miraculous) fish (London,1635); Anon., A Description of a strange (and miraculous) fish (London, 1690). 2. Image of a giant fish, Timothy Granger, A Moste true and marveilous straunge wonder, the lyke hath seldom ben seene, of XVII Monstrous fisshes, taken in Suffolke, at Downam bridge, within a myle of Ipswiche (London, 1568). 3. Image of a whale with a man inside, Anon., A true and wonderfull relation of a whale (London, 1645); Anon., Strange news from the deep being a full account of a large prodigious whale (1677) 8. 4. Image of a whale, Anon., Strange news from the deep being a full account of a large prodigious whale (1677). 5. Image of a whale, Anon., Wonders from the deep, or a true and exact account… of the monstrous whale (London, 1677) 3. 6. Image of a whale, Anon., A true report and exact description of a mighty sea- monster or whale (London, 1617). 7. Image of a sea-monster, Eye witness, A true and perfect account of the miraculous sea-monster, or wonderful fish… (London, 1674). 8. Exotic woman, Anon., A Sayler new come over (London, 1631). 9. Man with a peg leg, Anon., A Sayler new come over (London, 1631). 10. Image of a ship at the top of a seafaring ballad, Anon., The English seamans resolution, (London, 1663-1665). 11. Crescent flags, Anon., A true relation of the life and death of Sir Andrew Barton (London, 1658-1664). 12. Well-dressed people at the top of a seafaring ballad, Anon., The sea-mans leave taken of his sweetest Margery (London, 1626-1681). 13. Ships engaged in combat at the top of recruiting ballads and ballads describing battles, Anon., Newes from Argeir (London, 1621); L.P., The Sea-mans compass (London, 1650). 14. Images on ballads about sailors and love, Anon., The seamans adieu to his dear (London, 1641-1674); Anon., The seamans renown in winning his fair lady (London, 1670).