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Reading the Natural and Preternatural Worlds in Early Modern Drama

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Reading the Natural and Preternatural Worlds in Early Modern Drama READING THE NATURAL AND PRETERNATURAL WORLDS IN EARLY MODERN DRAMA Katherine Walker A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature in the College of Arts and Sciences. Chapel Hill 2018 Approved by: Mary Floyd-Wilson David Baker Reid Barbour Megan Matchinske Garrett Sullivan Jessica Wolfe © 2018 Katherine Walker ALL RIGHTS RESERVED ii ABSTRACT Katherine Walker: Reading the Natural and Preternatural Worlds in Early Modern Drama (Under the direction of Mary Floyd-Wilson) Analyzing almanacs, how-to manuals, and receipt books and drama, “Reading the Natural and Preternatural Worlds in Early Modern Drama,” argues that the stage is in dialogue with vernacular natural philosophical print. The project shows how this archive, taken up by early modern playwrights, complicates our understanding of the methods of deduction in the period and those who might contribute their experiential knowledge of natural and preternatural phenomena to the period’s sciences. In chapters on Mother Bombie and The Wise Woman of Hogsdon, All’s Well That Ends Well, Doctor Faustus, Bartholomew Fair, and Macbeth, the dissertation reads drama equally invested as vernacular print in producing knowledge. The stage offered a means for playing with the modes of interpretation articulated in manual literature, and drama offered an approach that accounted for the intervention of magical agents in the creation of knowledge. The dissertation demonstrates that the frame of science studies can direct our inquiries more accurately towards the many stakeholders in the creation of knowledge on the early modern stage. In focusing on marginalized knowledge, this project explores how the early modern stage was an active venue for participating in the intellectual landscape of the period. Broadening the archive to these under-studied texts, the contributors in the production of knowledge also dilates to include unlikely figures. The project thus captures the uncanny “cunning” of figures such as white witches, female healers, criminals, and clowns. iii To my co-adventurer, This dissertation is dedicated to you, Ryan. iv ACKNOWLEDGEMENTS I remain deeply grateful to the incredibly generous mentors and friends who have offered their support throughout my graduate studies. My dissertation director Dr. Mary Floyd- Wilson continues to serve as so much more than a fabulous advisor: through her support for this project to encouraging me to apply for fellowships and conferences, Dr. Floyd-Wilson has significantly shaped my work and the questions I bring to early modern literature. I aspire to reflect her stellar mentorship and scholarship in my own career. Dr. Reid Barbour fostered my early inquiries into the historical, philosophical, and scientific influences on literature, and vice versa. His insightful, positive feedback on articles and book proposals constitutes a significant contribution to my progress as a scholar, and his advice will not soon be forgotten and will always serve as a model. Dr. Jessica Wolfe cultivated my curiosity about the relationship between verse and contemporary knowledge practices, and I find myself returning to questions we raised in her fascinating courses on Renaissance technologies. Many of the genres covered in this project were first brought to my attention by Dr. Wolfe. Dr. David Baker encouraged me to consider questions of genre and audience in the archives to which I turn in this dissertation. Dr. Megan Matchinske contributed valuable advice and helped distill the project’s many questions into a coherent narrative. My outside committee member Dr. Garrett Sullivan, Jr. deserves special mention for his generosity of time and attention to the project in its early stages and throughout the revision process. Dr. Sullivan v worked diligently with me to rework the last chapter on Macbeth, while his scholarship and questions have shaped the project as a whole. I have also benefited from the correspondence, collaboration, and encouragement of scholars, librarians, and colleagues at both UNC and at other institutions. Dr. Ariane Balizet at Texas Christian University was, and still is, a wonderful mentor. Drs. Jessica Boone, Gregg Flaxman, Shayne Legassie, and Jane Thrailkill at UNC pushed me to consider early modern literature and science from a variety of critical angles, and each offered their time and support for my research. Dr. Jane Danielewicz taught a writing workshop course that reminded me of how to step away from the project and extract the most valuable contributions for different audiences. Dr. Pamela Smith at Columbia University read Chapter One of this project and brought significant insight into the history of science and the language of belief to my understanding of the period’s theories of epistemology. Drs. Derek Miller, Natasha Korda, Rebecca Larouche, Russ Leo, Jennifer Munroe, Hillary Nunn, Andrew Sofer, and many others read or heard portions of this project presented and generously provided feedback. Their careful attention to my work has improved its contours vastly. I have benefitted from participating in two Folger Shakespeare Library seminars, and my colleagues in the seminars and the librarians at the Folger were crucial influences on this project and for additional current and future endeavors. This project also benefited from financial support for the many archives I was able to visit while researching. Besides the Folger, I wish to thank the staff at the Newberry Library, the Huntington Library, and the British Library for their patience in helping a young scholar who would often ask: “How do I search for the weird science?” Fellowships and grants from the Department of English and Comparative Literature at UNC, the Program in Medieval and vi Early Modern Studies, the Jerry Leath Mills Grant, the Graduate School, and UNC’s King’s College London Fund provided the financial support for this project’s research and completion. I have been blessed with so many wonderful colleagues both at UNC and other institutions. In particular, the friendship of Sam Bednardchik, Joseph Bowling, Kevin Chovanec, Heidi Craig, Bridget Donnelly, Suzanna Geiser, Mary Learner, Kenneth Lota, Ben Mangrum, Leslie McAbee, Ian Murray, Susan O’Rourke, Rebecca Pomeroy-Shores, Melissa Reynolds, James Stewart, Doreen Thierauf, Jacob Watson, and Rae Yan are the best fellow graduate students one could have. Jennifer Park served as a mentor in my early stages of the graduate program and I remain awed by her research and grateful to her advice throughout my time at UNC. Ani Govjian and I share so many happy memories that I find myself at a loss for how to express my appreciation for her optimism and humor. Adam Engel and I decided our first year that we were best friends, and our jokes and conversations continue to provide me with the much needed breath of fresh air required during any large project. My early modern writing group, headed by the brilliant Joseph Gamble, remains a valuable source of critical exchange. Finally, I must acknowledge my family, who have supported me from my first love for reading, when my parents would pick up old editions of Shakespeare at garage sales. My father, Steve, has imparted his sense of curiosity and humor in how I approach both texts and the world at large. My brother Jake continues to impress me with his drive and has enabled my reflections on the fact that, whatever path one follows in life, one should do so with passion and enthusiasm. My mother, Darlene, remains my most influential mentor. I hope someday to exhibit even a little of her resilience, wit, and class. If unable to account entirely vii for the innumerable ways mentors, friends, and family have enabled the completion of this work, so much more am I unable to express fully my gratitude to my partner Ryan. Reading more drafts than I can tally, driving me across the country for conferences, and sharing my passion for the uncanny in early modern culture and beyond, Ryan is the primary reason for this project’s materialization. For that support, and many more reasons, this dissertation is dedicated to him. viii TABLE OF CONTENTS LIST OF FIGURES INTRODUCTION……………………………………………………………………….........1 “As things transcending nature”…………………………………………………………..1 The Experiential Stage…………………………………………………………………….5 Early Modern Cheap Print……………………………………………………………….13 Renaissance Almanacs…………………………………………………………………...20 Cunning Knowledge Onstage…………………………………………………………....30 Observation and Understanding………………………………………………………….35 Literature Review………………………………………………………………………...45 Chapter Outline…………………………………………………………………………..68 CHAPTER 1: The Cunning Woman’s Craft: Magic and Deception in Mother Bombie and The Wise Woman of Hogsdon.……………………………………………………………….75 Introduction………………………………………………………………………………75 Superstitious Cunning……………………………………………………………………79 The Uncanny Cunning Woman and the Prophetic Arts………………………………….83 “For her learning is more naturall”: Cunning Women in Popular Genres……………….88 Mother Bombie and the Role of the Cunning Woman in Early Modern Society………..92 “What reading can this simple Woman have?”: The Wise Woman of Hogsdon………..108 Conclusion……………………………………………………………………………...120 ix CHAPTER 2: From ‘Baser Stars’ to Self-Fashioned Remedies: All’s Well That Ends Well and Astrological Knowledge.……………………………………………………………….122 Introduction……………………………………………………………………………..122 Mapping the Stars in Early Modern
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