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Sacramental Magic and Animate Statues in Edmund Spenser, William Shakespeare, and John Milton

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Sacramental Magic and Animate Statues in Edmund Spenser, William Shakespeare, and John Milton RICE UNIVERSITY Sacramental Magic and Animate Statues in Edmund Spenser, William Shakespeare, and John Milton by Jill Renee Delsigne A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE Doctor of Philosophy APPROVED, THESIS COMMITTEE: Meredith Skura, Libbie Shearn Moody Professor of English Jef rey J. Kripal, J. Newton Rayzor Chair in Philosophy and Religious Thought, Chair of the Department of Religious Studies HOUSTON, TEXAS MAY2012 Sacramental Magic and Animate Statues in Edmund Spenser, William Shakespeare, and John Milton Jill Renee Delsigne ABSTRACT "Sacramental Magic" explores the animate statue in early modem romance as an emblem of the potential spiritually transformative power of objects. The tendency of New Historicism to "empty out" theology from Catholicism overlooks the continued power of sacred objects in Reformation literature. My dissertation joins the recent tum to religion in early modem studies-Catholic doctrine and religious experience explain the startling presence of benevolent animate statues in Spenser, Shakespeare, and Milton; one would expect these statues to be empty idols, but instead they animate, revealing a real presence of the divine. I first investigate Spenser's Egyptian lexicon for the Catholic veneration of sacred images in the Temple of Isis in the Faerie Queene. Embedding Britomart's dream vision of an English empire in Egyptian mythology creates a translatio imperii from Egypt to Rome to England, transferring not only political but also religious power. The Isis statue's transformation ofBritomart bears striking textual and visual correlations to John Dee's hermetic Monas Hieroglyphica. For Shakespeare, ermetic magic emblematizes the sacrament of penance. Shakespeare's claim "to make men glorious" suggests that Pericles transforms its audience by effecting, not merely signifying, grace. The play emblematizes the restorative aspects of reconciliation, the antidote to the seven deadly sins, with alchemical and medical imagery, culminating in Cerimon' s reanimation of Thais a through an Egyptian magic based on the hermetic ritual to ensoul statues. The Winter's Tale continues Shakespeare's meditation upon the emotional metamorphoses produced by reconciliation. I argue that Shakespeare creates an affective communion among the audience members and the characters, an effect similar to the workings of the Holy Spirit in a Mass, emblematized by the hermetic animation of Hermione. The final chapter examines the Catholic and hermetic parallels in Milton's "II Penseroso" and Comus. In both works, Milton traces a shared system of correspondences underlying Catholicism and hermeticism in order to explore the relationship between objects and the immaterial, through angelology, Ficinian music theory, the contemplative lives of nuns, the Catholic sacrament of Extreme Unction, and ritual exorcism. ACKNOWLEDGMENTS I would like to express my gratitude to Dr. Jane Chance, Dr. Meredith Skura, Dr. Joseph Campana, Dr. Jeffrey Kripal, Dr. Jerry Sullivan, and Dr. Wouter Hanegraaff for their invaluable comments on drafts of these chapters. I thank the Ritman Library in Amsterdam, The Netherlands, for providing me access to first editions of medieval and early modem hermetic works; I also would like to thank various grants from Rice University for sponsoring my research and conference presentations abroad. This book would not have been possible without the unconditional love and support of my family. I would also like to thank Dr. William D. Rice for his thoughtful discussion and for helping me to awake my faith. TABLE OF CONTENTS Introduction: The Mechanisms of Magic and Faith 1 What's Past is Prologue 14 Reading Catholic Art in Edmund Spenser's Temple of Isis 31 Pericles and Gower's Confession 67 Hermetic Miracles in The Winter's Tale 109 Climbing toward the "Spheary Chime": Angels and Astral Magic in Milton's Mask and "11 Penseroso" 137 Conclusion 179 Works Cited 185 INTRODUCTION THE MECHANISMS OF MAGIC AND FAITH "And (as Plato affirmeth) the arte of Magicke is the arte of worshipping God" -Sir Walter Raleigh1 Animate statues are at the center of Judeo-Christian theology and thus underpin part of the foundation of Western culture. The Book of Genesis begins with an animate statue, a sculpture made of clay and animated by God to create the first human, Adam. The Jewish legends of goloms (man-made statues of clay, animated by text on a scrap of paper) continue this theme. Christians believe that God himself became man in Christ, a total transformation of the physical body by the spiritual. Statues that animate, whether through wires and gears or through imagination and legend, put pressure on many of the issues of the Western intellectual tradition: the dualism of the body and the mind (or the object and the spirit), the sign and the signified, presence and absence, science and art, religion and magic, and rationality and irrationality. For medieval and early modem Catholics, both sacramental theology and the figure of the animate statue in saint legends posited a connection between the spiritual and the physical, a conduit through which the spiritual could manifest physically and through which humans could access the divine. The physical objects in sacraments are not empty reminders of God's grace but actually convey grace. Animate statues and the Catholic tradition of reverencing saints by praying before images place these sculptures at the intersection of paganism and Christianity, idolatry and faith, magic ritual and 1 Sir Walter Raleigh, The History ofthe World (London: 1614), EEBO STC (2nd ed.) I 20638, p. 201. 1 religious devotion. Many religious statues also provide a powerful continuity between the past and the present-not only as tactile objects that have endured for hundreds of years but also as representations of exemplary models of piety that can inspire and instruct the present faithful. Many Catholics also believe that religious statues stand at the boundary between the material world and the spiritual, as a channel to access the divine more effectively-many medieval statues and shrines became centers of pilgrimage because of stories of miracles performed there. For example, the chapel of Our Lady of Walsingham was one of the most important medieval pilgrimage sites in England, until 1538 when the shrine and wooden statue of the Virgin Mary were destroyed. In 1511, King Henry VIII himself walked barefoot from Barsham Hall to give a necklace to the statue. The next year, Desiderius Erasmus made the pilgrimage, later writing "Pilgrimage of Pure Devotion."2 At Boxley Abbey, another important pilgrimage site, the statue of Christ was animated with wires. The Smithsonian Museum houses one of the few surviving early modem animate statues that still work, a mechanical monk; according to the museum, the figure dates from the 1560s, most likely from Spain. The mechanical monk, though only about fifteen inches tall, is strikingly life-like, with piercing eyes and an expression of determined focus. When he comes to life, he slowly turns his head and seems to peer directly at the person in front of him as he begins to walk forward. He raises his rosary and cross, glancing at them and then back at the viewer. His mouth opens and shuts, and he audibly pounds his chest with his right hand in a mea culpa gesture, occasionally 2 Desiderius Erasmus, A dialoge or communication of two persons deuysyd and set forthe in the late[n] tonge, by the noble andfamose clarke. Desiderius Erasmus intituled [the] pylgremage ofpure deuotyon (London: 1540). EEBO, STC (2nd ed.) I 10454. 2 raising the cross and rosary he carries in his left hand to his lips. His fierce intensity of expression and slow, ritualistic movements seem to rule out the possibility that he is merely a toy, an after-dinner entertainment. Rather, the monk seems to articulate a perpetual call to penance and a demonstration of perfect discipline in prayer and ritual. This statue will complete the cycle of movements seven times when he is fully wound: according to Elizabeth King, "The uninterrupted repetition corresponds exactly to a trance-like performance of prayer, incantation."3 The eeriness comes in part from these ambiguous boundaries between prayer and incantation, faith and magic. My dissertation explores this ambiguous dichotomy along with the tensions between Catholicism and Protestantism. MAGIC AND THE DECLINE OF (CATHOLIC) RELIGION To understand the mechanical monk in terms that honor the beliefs of early modem Catholics, we must tum toward religion as a valid human experience that cannot be reduced to other factors, such as politics or economics. New Historicism has recently been criticized for its lack of attention to certain aspects of human experience, such as religion and the belief in magic. New Historicists have had a tendency to "empty" religion from cultural objects and practices, pushing for a secularist view of early modem theater and literature. This attitude has been particularly detrimental to understanding the relation between Catholics and Protestants in the period. 3 Elizabeth King, http://www. blackbird. vcu.edu/v 1n 1/nonfiction/king_e/prayer_introduction .htm 3 Greenblatt's most well-known example of the approach, "Shakespeare and the Exorcists," deals with both exorcism and the transition of Catholic vestments into theatrical props.4 In order to negotiate the definition of the sacred in the early modem period, Greenblatt analyzes a 1603 anti-Catholic pamphlet, A Declaration ofEgregious Popish Impostures to withdraw the harts of her Majesties Subjects from their allegiance, and from the truth of Christian Religion Professed in England, under the pretence of casting out devils, penned by Samuel Harsnett. Greenblatt adopts the anti-Catholic mindset of Harsnett to demystify religion and religious awe from exorcism, reducing it to a fraudulent spectacle (and thus related to a secularized theater). Harsnett does, however, pinpoint a fundamental aspect of Catholicism: the belief in the possibility that the spiritual can inhabit a material object or body.
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