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{Replace with the Title of Your Dissertation} View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Minnesota Digital Conservancy Monuments of Truth: Domesticity, Memory, and Politics in the English Civil Wars and Restoration A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Dana Schumacher-Schmidt IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advised by John Watkins May 2014 © Dana Schumacher-Schmidt, 2014 Acknowledgements For their time, helpful comments, and guidance I extend heartfelt thanks to the members of my committee: John Watkins, Rebecca Krug, Katherine Scheil, and Ruth Mazo Karras. As my adviser, John made sure I never had to wait long for detailed, insightful feedback on any chapter draft that I submitted and I am thankful for his continuous encouragement. Becky pushed me exactly when I needed it and helped me remember what I love about writing and about this project. The three weeks I spent in the Center for Writing Dissertation Writing Retreat made me a better writer, a better reader, and a better teacher of writing. Enormous thanks to Katie Levin for coordinating this program, which has helped so many students find their way to finishing. Graduate students and faculty in the English department’s medieval and early modern workshop read parts of several chapters and I am grateful for their questions and suggestions. I would especially like to thank Shirley Garner, Ben Utter, and Amanda Taylor for their thoughtful responses to my writing and thinking. I had the opportunity to share portions of this research at a number of conferences, including the Early Modern Women: New Perspectives symposium at the University of Miami, a seminar on” Early Modern Women and the Discourse of Death” at the Shakespeare Association of America conference, and a panel on “Early Modern Women and Food” at the Modern Language Association convention. I am thankful to have found such a welcoming, generous, and invigorating community of scholars in early modern women’s studies. Warmest thanks to my graduate school friends and colleagues, especially Jessica Narum, Amy Griffiths, Chris Flack, and Rachel McWhorter. Sharin’ Schroeder was my trusty writing partner on many occasions and my long-distance cheerleader in the final stages of my work. On many afternoon walks my husband Brian listened to me ramble on about spectacles, haunted houses, Puritans, and other bits and pieces of this project. His thoughtful questions, unwavering belief in me, and home-made bread and beer sustained me through the writing process. Finally, I owe a huge debt of gratitude to my parents, John and Margaret Schumacher, and to my brother, Johnnie Schumacher, for their infinite love and support. i Dedication This dissertation is dedicated to my great-grandmother Katharina Bellmann (1915-2013). ii Table of Contents Introduction………………………………………………………………………………1 Chapter One “This unnatural War came like a Whirlwind”: Remembering and Rebuilding in Margaret Cavendish’s A True Relation of My Birth, Breeding, and Life………………………….9 Chapter Two Domestic Violence, or How to Preserve the Past in The Court and Kitchin of Elizabeth, Commonly Called Joan Cromwell…………………………………....………..………...48 Chapter Three “What is Necessary to Be Remembered”: Lucy Hutchinson and the Politics of Restoration Memory………………………………………………………...………...…90 Chapter Four Seeing Through “Sacred Spectacles”: Memory and Composition in Lucy Hutchinson’s Order and Disorder…………….………………………………………………………140 Bibliography…………………………………………………………………………...209 iii Introduction In Margaret Cavendish’s military biography of her husband, The Life of ...William Cavendishe (1667), she criticizes those who have written of the late Civil War with but few sprinklings of Truth, like as Heat-drops on a dry, barren Ground; knowing no more of the Transactions of those Times than what they learned in the Gazettes, which for the most part (out of Policy to amuse and deceive the People) contain nothing but Falsehoods and Chimeraes. Cavendish sets her own work against these, as having been written “as faithfully and truly as my memory will serve me” based on “Eye-witness” experience. This prefatory positioning of her account attests to the fact that many of those who, like Cavendish, lived through the upheaval of the civil wars, the Commonwealth, and the Restoration, were moved to record victories and losses, both personal and public, that they had experienced as part of “the Transactions of those Times”. This dissertation focuses on written war memory and commemoration of “the late Civil War” and its aftereffects and traces how writers like Cavendish attempt to reframe the recent past and control access to it for imagined audiences in the present and in the future. Turmoil marks the years covered by this project, and throughout this period the authors I consider and the politically-defined communities to which they belong experience multiple turns of fortune’s wheel. While at some point all deal with injustice, injury, and instability that originates in war, they experience this most urgently at different times depending on their political allegiances. Thus the first two chapters of my dissertation consider royalist commemoration from the Commonwealth years, in the forms of autobiography and recipe book, that helped construct and sustain a community in exile and defeat prior to the return of the Stuart monarchy. The latter half of the 1 dissertation turns to the work of the republican Lucy Hutchinson, who struggles to come to terms with the Restoration as a source of personal and political grief. Both sections trace the meanings about war that individual authors make for themselves and express in their own stories, but in ways that link them up with and make them available for shared commemorative efforts, including publication and the use of particular keywords or vocabularies of metaphor. Throughout the dissertation, I show that writers from across the spectrum of religious and political affiliation and working in diverse genres nevertheless turn to languages of the domestic in order to collectivize their individual memories of the wars. In their discussion of approaches to the study of war memory and commemoration, T.G. Ashplant, Graham Dawson, and Michael Roper find that studies have tended to fall into two main paradigms. The first consists of arguments that construe the significance of war memory and commemoration as fundamentally political, while the second holds it to be significant primarily for psychological reasons, as an expression of mourning (7). I am interested in how commemorative texts written from the 1650s- 1670s blend the political and the psychological, specifically through a depiction of domestic relationships, activities, and spaces. Ashplant, Dawson, and Roper argue for a recognition of the intertwining of politics and mourning in war remembrance, writing “The politics of war memory and commemoration always has to engage with mourning and with attempts to make good the psychological and physical damage of war; and wherever people undertake the tasks of mourning and reparation, a politics is always at work” (9). My focus is on how these various memorial texts, emerging from defeated communities, situate themselves in the context of “official” meanings and understandings 2 of the wars and attempt to influence who or what can be commemorated and in what terms. Each author strives to foreground certain memories out of a clear sense that what is at stake in gaining recognition for their version of the past is a means for them and their community to move forward into the future. The need to imagine a future moment when things will be otherwise than they are now and from which writer and readers alike will be able to look back with a difference, whether that means the return of an earlier order or the initiation of something radically new, animates all of the commemorative texts considered in this dissertation. Studies of war memory and commemoration have tended to privilege the idealized figure of the masculine soldier with the effect that “the meanings and memories of others who have sacrificed and suffered--above all women--are relegated to the margins” (Ashplant, Dawson, and Roper 21). Margaret Cavendish and Lucy Hutchinson resist this relegation and instead attempt to demonstrate the centrality of their experiences to the narrative of the wars and their aftereffects through the Restoration. For example, Cavendish defends her authority to write on the subject in strong terms in the preface to The Life of…William Cavendishe: “Nor it is inconsistent with my being a Woman, to write of Wars, that was neither between Medes and Persions, Greeks and Trojans, Christians and Turks; but among my own Countreymen, whose Customs and Inclinations, and most of the Persons that held any considerable place in the Armies, was well known to me.” The wars are hers to record, as much as they are anyone else’s, because they were fought in her lifetime, in her home country, by people “well known” to her either personally or as members of the same cultural community. As Cavendish and Hutchinson reflect on the lived experiences of war, its causes and its meaning, they 3 support Joanne H. Wright’s questioning of the failure of military historians and historians of political thought to acknowledge women’s perspectives on war: “In thinking about women political writers and war writers in the seventeenth century, the challenge is not so much that no women were writing on war but that scant attention has been paid to this aspect of their writing” (2).1 Wright further argues that “To take women’s war writing seriously is to discover that women’s perspectives on war may sound different, and may come from a place outside or beyond the bounds of what we normally consider the sites for knowledge production, spaces that are personal, private, or domestic” (20). This dissertation shows the centrality of such spaces to war commemorations produced through the Restoration.
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