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Representations & Reflections Studies in Anglophone Literatures and Cultures Volume 7 Edited by Uwe Baumann, Marion Gymnich and Barbara Schmidt-Haberkamp Gunda Windmüller Rushing Into Floods Staging the Sea in Restoration and Early Eighteenth-Century English Drama With 2 figures V&R unipress Bonn University Press Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. ISBN 978-3-89971-968-0 ISBN 978-3-86234-968-5 (E-Book) Publications of Bonn University Press are published by V&R unipress GmbH. Supported by the Fazit Stiftung. Copyright2012byV&Runipress GmbH, D-37079 Goettingen All rights reserved, including those of translation into foreign languages. No part of this work may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, microfilm and recording, or by any information storage and retrieval system, without permission in writing from the publisher. Cover image: “The Indian Queen” (Anne Bracegirdle) by William Vincent, published by John Smith National Portrait Gallery, London Printing and binding: CPI Buch Bücher.de GmbH, Birkach Printed in Germany em Hätze – för Mariechen un Josef Contents List of Plays .................................. 1 Acknowledgments . .................. 11 List of Plays .................................. 13 1. Introduction . ............................... 15 1.1 From “sceptred isle” to “rushing forests” . ........ 15 1.2 A Nation “in an Island”: England’s Maritime Expansion . 17 1.3 Coming to Terms with the Sea: From Sea Literature to New Imperial Histories . .................. 23 1.4 The Theatre . .................. 31 1.5 Staging the Sea . .................. 36 1.6 Rushing into Floods as Performance: Colonial Discourses, Imaginative Geography and Collective Identity . ........ 40 2. Islands and Shores: Maritime Spaces as Horizons of Difference and Displacement ............................... 53 2.1 Geopoetics of Space . .................. 53 2.2 The Enchanted Island: Maritime Disaster, Discoveries and Departure ............................... 60 2.2.1 Restoration Spectacular and Colonial Setting . ........ 60 2.2.2 Prospero’s Dwelling: Authority and Gender Order . 68 2.2.3 Shipwreck and Brandy : Colonial Aspirations and Degeneration . .................. 82 2.3 A Common-Wealth of Women: From Covent Garden to “Happy Island” . ............................... 95 2.3.1 Voyage, Shipwreck and Utopia . ........ 95 2.3.2 Leaving London for the Sea: Colonial Ambitions . 98 2.3.3 The New World as “barren Island” . ........ 101 8 Contents 2.3.4 Role Reversals: Amazonian Commonwealth . ........ 105 2.4 Love’s Victim: “Domestic Virtues” on Foreign Shores . 113 2.4.1 Spatial and Historical Displacement . ........ 113 2.4.2 Shipwreck and Hostility: Britons Brave the Sea ........ 118 2.4.3 British Virtues versus Gallic Vices . ........ 121 2.5 The Successful Pyrate: Vicarious Tourism to Madagascar . 128 2.5.1 Diminishing Distance: “English Breed” in “Africk’s warmest Bed” ............................... 128 2.5.2 Pirate Utopia Exposed . .................. 131 2.5.3 Imperial “Toy Ambitions”: Remorse and Return . 136 2.6 Summary: Mapping the Sea . .................. 140 3. Staging Sailors: The Sea on Land . .................. 143 3.1 Manning the Sea: Mariners as “Third Sort of Persons” . 143 3.2 Establishing Otherness: “Plain Talking” and “Sea-Breeding” . 158 3.2.1 Setting the Tone: The Case of The Plain Dealer ........ 158 3.2.2 Rough and Boisterous: Restoration Tars . ........ 168 3.2.3 Rough, but Lovable: Changes to the Stage Sailor . 176 3.2.4 Innocent Tars: “nothing but Riddles on land” ........ 184 3.3 Modelling Mariners: Marriage and Manliness . ........ 196 3.3.1 Mariners and Masculinity . .................. 196 3.3.2 Rough Tars Incorporated: Rituals and Integration . 201 3.3.3 Stage Sailors as Counterparts: “I’ll shew you how to manage a Beau” .............................. 209 3.3.4 Worthy Tars: Sailors as Role Models . ........ 212 3.4 Coda: From Plain Dealer to “Happy Heroes” . ........ 223 4. Theatres of Escape: Plots of Difference and Proximity . ........ 235 4.1 The Stage as “Emporium”: Maritime Expansion and its “Place in the Town” ............................... 235 4.2 “Running Away by Water”: Fates of Escape and Visions of New Worlds . ............................... 246 4.2.1 Failed Escapes, Shattered Dreams and Reluctant Returns . 246 4.2.2 The Widdow Ranter: “Basking Under the Shade” . 250 4.2.3 Feathers and Veils: The Lure of the Other . ........ 257 4.3 “What wind brought you hither?”: Commodifying Desire . 265 4.3.1 Matrimonial Refugees . .................. 265 4.3.2 “a-husband-hunting into America”: Oroonoko’s Comic Women .............................. 267 Contents 9 4.3.3 “pray heav’n it be English!”: Escape and Return in A Bickerstaff’s Burying . ..................... 275 4.4 Polly: Reversals and Mimicries . .................. 283 4.4.1 “what brought you on this side of the water?”: Encounters and Reunions . .................. 283 4.4.2 Planters and Pirates: Colonial Analogies . ........ 288 4.4.3 “I am no coward, European!”: Counter-Spectacles . 294 4.4.4 Polly’s Double Vision . .................. 298 4.5 Summary ............................... 301 5. Conclusion . ............................... 303 Bibliography . ............................... 311 Acknowledgments In the writing of this book I have come to owe much to many. First of all, I would like to thank my supervisor Prof. Dr. Barbara Schmidt-Haberkamp, who not only introduced me to the “bottomless pit” that is the eighteenth century, but who was also a constant source of support and encouragement for this project far above and beyond the call of duty. I would also like to thank Prof. Dr. Rolf Lessenich, who has been a meticulous and careful critic. Additionally, I am very grateful for the generous support of the British Society for Eighteenth-Century Studies as well as the Maria von Linden-Programme at the University of Bonn, who provided me with travel grants, and thus offered me the opportunity to present and discuss my work at several of the society’s annual meetings at St.Hugh’s College, Oxford. I am particularly grateful to the FAZIT-Stiftung for providing me with a generous bursary that contributed toward the publication costs of this book. More personal thanks are due to Joana Stausberg, Marc Petersdorff and Wiebke Kuttner, who sympathised, distracted, reassured and proofread. They are, also, a great joy to be with. My parents’ support throughout it all has been tremendous – they did not only encourage all my academic and not-so academic endeavours, steadfastly caring and supportive, but they also taught me early on to cherish mimicry: Thank you. Thank you. Lastly, my person-without-whom is Daniel Holder, “I am blessed to stand with you and sing.” List of Plays John Dryden /William Davenant, The Tempest, or The Enchanted Island (1667) William Wycherley, The Plain Dealer (1676) Edward Ravenscroft, King Edgar and Alfreda (1677) Thomas D’Urfey, Sir Barnaby Whigg: or, No Wit like a Woman’s (1681) Thomas D’Urfey, A Common-Wealth of Women (1685) Nahum Tate, Cuckolds-Haven: or, an Alderman no Conjurer (1685) Aphra Behn, The Widdow Ranter (1688/1689) Edward Ravenscroft, The Canterbury Guests (1694) William Congreve, Love for Love (1695) Thomas Southerne, Oroonoko (1696) Charles Gildon, Love’s Victim, or, the Queen of Wales (1701) George Farquhar, Sir Harry Wildair (1701) John Dennis, Gibraltar: or, The Spanish adventure (1705) Susanna Centlivre, The Basset Table (1705) Susanna Centlivre, A Bickerstaff’s Burying; or, Work for the Upholders (1710) Charles Shadwell, The Fair Quaker of Deal: or, the humours of the navy (1710) Charles Johnson, The Successful Pyrate (1712) John Gay, Polly (1729) 1. Introduction 1.1 From “sceptred isle” to “rushing forests” This royal throne of kings, this sceptred isle […] This fortress built by Nature for herself […] This precious stone set in the silver sea (King Richard II, 2.1.40 –46, c. 1595) Thy Trees, fair Windsor! now shall leave their Woods, And half thy Forests rush into my Floods, Bear Britain’s Thunder, and her Cross display, To the bright Regions of the rising Day; Tempt Icy Seas, where scarce the Waters roll, Where clearer Flames glow round the frozen Pole; Or under Southern Skies exalt their Sails, Led by new Stars, and borne by spicy Gales! (Windsor Forest, 385–392, 1713) Moving from John of Gaunt’s well-known invocation of England as “this scep- tred isle”1 in William Shakespeare’s King Richard II to Alexander Pope’s epic poem Windsor Forest and its image of forests “rushing into floods” one traces a remarkable shift with regard to England’s representation. From a view of Eng- land as a “precious stone”, “set” solitarily in the sea, the image has changed to an invocation of the expansive potential of England’s insularity. The former image invokes the vision of a static “natural fortress” being secured by the “silver sea”, whereas the latter trembles with anticipation of movement and foreign “bright 1 William Shakespeare, King Richard II, ed. Andrew Gurr, The New Cambridge Shakespeare (Cambridge: CUP, 2003). 16 Introduction regions”.2 Here, the nation’s forests transform into vessels that are set to carry a global vision across the Thames and into the seas that are no longer envisioned as unmoved “silver” waters, but as moving and a promise
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