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Stuart Academic Drama: an Edition Of STUART ACADEMIC DRAMA: AN EDITION OF THREE UNIVERSITY PLAYS David L. Russell A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1979 BOWLING GREEN UiliV. LIBRARY 11 1979 David L. Russell All Rights Reserved Ill Abstract The purpose of this study was to make available to scholars the edited texts of three hitherto unpublished Jacobean dramatic works of probable university origin: Heteroclitanomalonomia, G i gan t oma chia, and A Christmas Messe, all anonymous plays. The procedure involved transcribing the seventeenth-century manuscripts (now located in the Folger Shakespeare Library, Washington, D.C.), providing editorial notes to clarify any obscurities, and preparing introductory material describing the plays and placing them in their literary milieu. The project required a study of literary editing prac tices and of Renaissance paleography. Since the value of the plays is more extrinsic than intrinsic, a survey was made of the existing research on Renaissance drama, in general, and on university drama, in particular. The plays have thus been examined from both generic and historical perspectives. The material presented here is intended to lessen a much-neglected gap in the study of English Renaissance litera­ ture: that of the university drama. The plays are repre­ sentative of collegiate dramatic activity and they possess historical significance as issues of a rich and vital culture; IV ACKNOWLEDGEMENTS The author gratefully acknowledges the patience and assistance of his committee members, Dr. Lester Barber, Dr. James Harner, Dr. Edgar Daniels, and Dr. John Burt. For his kind help with the Latin translation, Professor Boleslav Povsic deserves special mention. The author’s family and friends have always added the strength of their support. And for her faith, encouragement, and unfailing love, the author is indebted most of all to his wife, Patti V TABLE OF CONTENTS page INTRODUCTION.................................................. 1 PART 1: COMMENTARY.......................................... 5 I. A Survey of University Drama,1 603-1642............6 II. The Allegorical/Debate Play. ................... 20 III. The Academic Grammar Play: Heterociitahomalonomia ...................... 31 IV. Allegorical Satire?: Gigantomachia............... 45 V. All in Jest: A Christmas Messe.................. 53 PART 2: TEXTS. .................... 63 Editorial Policy ................................... .64 I. He ter oc 1i tanomalonomi a .................... 66 II. Gigantomachia....................... 132 III. A Christmas Messe................................ 169 BIBLIOGRAPHY................................................ 204 INTRODUCTION The purpose of this edition is to provide edited texts of three English language plays which have strong university ties. The three Stuart plays represent distinctly different influences on the Renaissance academic drama, while at the same time possessing a common generic bond. Hetero- clitanomalonomia is part of a minor, but interesting, sub­ genre we can call the academic grammar play. It demonstrates the predominance of language or rhetoric studies in the period and its very subject is of purely academic interest. Gigantomachia displays the continuing interest of the Ren­ aissance in classical mythology. And A Christmas Messe follows a more homely tradition, a farcical personification of the mundane. Yet all three contain a similar plot structure—a struggle between two equally strong forces, both partly right and partly worng in their claims, and, ex­ cept in the case of Gigantomachia, a resolution coming from a non-partisan arbiter. (Gigantomachia's "arbiter" is Jove’s thunderbolt—brute, fearsome force, and hardly unbiased.) All three are allegorical to varying extents, albeit their messages rarely exceed the frivolous. Two contain gibes against the freshmen and various other topical allusions 1 2 which confirm their university origin. Gigantomachia1s origin is much less certain and, except for certain similarities to other academic dramas in its approach, and some minor pedagogical references, there is nothing concrete on which to establish it as a college play. But outside of the uni­ versities, only the Inns of Court can lay any real claim to Gigantomachia, and there we are on much less solid ground. Drama at the Inns of Court was characteristically much more closely aligned to the classical models, following a five-act structure, using blank verse, limiting the number of char­ acters appearing on the stage, admitting no on-stage violence, and generally observing the unities.That Gigantomach1a violates all these premises argues against such an origin. The manuscripts of these plays are to be found in the Folger Shakespeare Library Ms. J.a.l., a commonplace book containing seven entertainments. In addition to the three presented here, the volume includes Ben Jonson's Christmas, His Mask; John Sansbury's Periander; a Latin work, Risus Anglicanus; and a short prose drama entitled Boot and Spur. The Jonson mask has been eliminated from the present edition because it is not of academic provenance and has been pre­ viously edited. Periander forms part of a St. John's College, Oxford, production of 1607 called popularly The Christmas Prince. That whole work has been edited by F. S. Boas for the Malone Society, though Boas used a manuscript of Periander owned by St. John's and was unaware of the existence 3 of the Folger copy at the time. Alfred Harbage later compared the two manuscripts and discovered the Folger to be slightly less complete (abbreviated by 60 lines, although containing 2 three lines not in the St. John's manuscript). There seems no advantage to editing an inferior copy of an already edited play of such minor significance. Since this edition has been limited to English works, Risus Anglicanus has been omitted. But the decision to omit Boot and Spur is perhaps more arbitrary and requires more detailed explanation. This short entertainment follows the allegorical pattern of the three included here, complete with representational characters (Boote, Spurre, and so on). It is equally frivolous, consist­ ing primarily of puns and lacking consequential action. Gerald Bentley wisely refuses a commitment, and declines to speculate further than the possibility that it is a college play. Bentley notes its relationship to another known Cam­ bridge work and assigns the work tenuously to Cambridge on 3 the basis that "other items in the commonplace book are." In the entire commonplace book, only Periander has been established as unquestionably a college play—and it belongs to Oxford. The Jonson mask is, of course, not from the uni­ versities, and the remaining five are complete mysteries, although see the introduction to A Christmas Messe, below, for a discussion of the possible assignment to Oxford. The works to which dates can be assigned (Periander, 1607; Christmas, His Mask, 1616; and A Christmas Messe, 1619) are 4 distributed over a dozen years, which precludes dating as a possible link, except that we can probably safely refer to all of them as "Jacobean." The point of all this is that it is impossible to infer anything about these varied pieces from the fact that they are bound in a single volume. The binding occurred long after their composition, and surely accident more than logic brought them together under one cover. Since our concern is English academic drama, it is that criterion which governed the final decision. Like Gigantomachia, Boot and Spur is in the vein of a university play, but it, too, contains no academic allusions. And further, its subject matter—a prose allegorical drama about footwear—raises considerable doubts as to its place of origin. There is little concrete evidence to suggest that it is a university product. ^A. Wigfall Green, The Inns of Court and Early English Drama (New York: Benjamin Blom, 1965), p. 19. 2 "Elizabethan and Seventeenth-Century Play Manu­ scripts ," PMLA, 50 (1935), 687-99. 3 The Jacobean and Caroline Stage (1941-56; rpt. Oxford: Clarendon, 1949-68), V, 1345. Ç PART 1: COMMENTARY I. A SURVEY OF UNIVERSITY DRAMA, 1603-1642 One published book and one unpublished dissertation constitute the principal works on English Renaissance uni­ versity drama. The first is F. S. Boas’ University Drama in the Tudor Age, a long-admired study; the second is Carl Stratman's "Dramatic Performances at Oxford and Cambridge, 1603-1642," intended to pick up where Boas left off. There are a handful of articles scattered about scholarly journals, G. C. Moore Smith being among the more prominent contributors. Lip service is paid by others in assorted historical surveys, but the field has been largely neglected—and particularly in recent years. Those mentioned here all date from the first half of the present century. There is, perhaps, an all-too-obvious explanation for this neglect. The quality of the university drama is decidedly second-rate (and in many cases this must be considered a generous valuation). The themes are didactic, the plot con­ structions imitative, the verse doggerel; it is a fair estim­ ation of the university drama to say it was amateurish and uninnovative. Marlowe may have done some inspired writing while at Cambridge, and Lyly was strongly influenced by the college drama, but the English universities were hardly the fountainheads of the nation's literary achievement—and 6 7 certainly not its dramatic achievement. But, after all,
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