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LADY LIBERTINES and FEMALE FREETHINKERS in EARLY MODERN ENGLISH DRAMA and SOCIETY a Dissertation by YOUMI JUNG Submitted To

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LADY LIBERTINES and FEMALE FREETHINKERS in EARLY MODERN ENGLISH DRAMA and SOCIETY a Dissertation by YOUMI JUNG Submitted To LADY LIBERTINES AND FEMALE FREETHINKERS IN EARLY MODERN ENGLISH DRAMA AND SOCIETY A Dissertation by YOUMI JUNG Submitted to the Office of Graduate and Professional Studies of Texas A&M University In partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Margaret J.M. Ezell Committee Members, Nandra Perry Laura Estill Britt Mize James Rosenheim Head of Department, Maura Ives August 2019 Major Subject: English Copyright 2019 Youmi Jung ABSTRACT This dissertation reevaluates the role of early modern female libertines as sexual celebrities and analyzes how they performed their libertine sexuality in various types of literary and cultural texts. Female libertine performance should be conceived of differently than that of male libertines because women thrived as sexual celebrities both in variety of literary genres (such as plays, anonymous lampoons, memoirs, and secret histories) and in diverse media, including theatrical performances, painted/printed portraits, and extra-illustrated books. The focus of the dissertation is on female libertines whose public appearances took place between 1660 and 1700 but who have enjoyed culturally visible images for centuries: Nell Gwyn (1651?-1687), Barbara Palmer, countess of Castlemaine and later the duchess of Cleveland (bap. 1640, d. 1709), and Louise de Kéroualle, later duchess of Portsmouth (1649-1734). Their power and influence of transgressive sexuality, both political and cultural, becomes clearer when we stop dismissing them simply as Charles II’s mistresses, or labelling them as “whores.” In order to appreciate the full complexity of the past where early modern female libertines powerfully and radically challenge the early modern status quo, this dissertation locates how historical and fictional women performed at the intersection of visual culture, literature, theater, politics, and other cultural forms. Literary and cultural representations of female libertine transgression were collaborations between playwrights, authors, actresses, and inspiring lady libertines outside the theater. Playwrights wrote plays for celebrity actresses based on their public behavior. Actresses played libertine characters that often mirrored, played with, and parodied their public images. Audiences watched these performances with notions of transgressive female behavior in mind from the scandals surrounding the performers. Lady libertines of early modern England ii challenged the conventional role of women in the patrilineage and the notion of family based on heterosexual and monogamous relationship. These women, both historical and fictional, sometimes carefully engineered transgression to shock and aggressively assert their rejection of the social norms they were meant to follow. In addition, their public image and celebrity take on a life on their own when initially personally maneuvered libertine transgression become social and cultural currency that can be exchanged and commercialized in visual, oral, and print media. iii DEDICATION To my umma, Jaesoon Jeong (1960-2012) iv ACKNOWLEDGEMENTS What I am today both as a person and as a scholar would not be the same if I had not met Dr. Margaret Ezell six years ago. Dr. Ezell’s unwavering and enthusiastic support for my research throughout graduate years at Texas A&M University has empowered me to complete the dissertation with strong belief in the significance of the project. She introduced me to the wonderfully weird world of Restoration England and her scholarship has challenged me to seek innovative research ideas. I also learned that my “oddball thoughts” mattered through her guidance and friendship. She offered herself generously as an outstanding mentor, a teacher, and a friend whenever I felt lost in research and in personal matters. Thanks to her life-changing mentorship, I was able to find my voice. I would also like to thank my committee members, Dr. Laura Estill, Dr. Nandra Perry, Dr. Britt Mize, and Dr. James Rosenheim for their support and guidance. I am especially grateful for Laura’s unfailing encouragement to be fearless and smart, not to mention her thought- provoking perspectives and feedback on my research and writings. Friends and colleagues at Texas A&M University who made sure that I succeed and enjoy life in graduate school deserve my immense gratitude as well. My dear friend and an amazing scholar Gisele Lemos helped me get through difficult times in graduate school with her caring friendship. I learned a lot from my early modern sisters Nicole Hagstrom-Schmidt, Cait Coker, Yoojung Choi, Kate Ozment, and Lauren Liebe. Desirae Embree deserves special recognition for reading through my dissertation draft in the final stage and helping me proofread. Support from EGSA Writing Group buddies (Hyunjung, Ungyung, and Hyunjoo) to keep me writing regularly was invaluable. I am very grateful for Krista May and Katayoun Torabi at v World Shakespeare Bibliography who supported my research and dissertation and cheered for me. Todd Samuelson and Kevin O’Sullivan at Cushing Library & Archives assisted me to conduct book history research through exciting new acquisitions and fresh perspectives. Generous research support from the Department of English, College of Liberal Arts, World Shakespeare Bibliography, Melbern G. Glasscock Center for Humanities Research, Women’s and Gender Studies Program, and Cushing Memorial Library & Archives at Texas A&M University, and Folger Shakespeare Institute indeed made this dissertation quite interdisciplinary and original by allowing me to travel to various national and international archives to locate traces of early modern lady libertines. I would also like to thank National Portrait Gallery in London, British Museum, Royal Collection Trust, and Yale Center for British Art for granting me permission to use and publish their collection materials. Friends, mentors, and family have never stopped believing in me. Suyeon Yun put up with me through my darkest and the most fragile moments ever since we became friends. Junpei repeatedly and gladly reassured me for almost a decade that I am smart and incredible. Taehyung Kim, aka Tae Tae, has saved me from deep, dark abyss of depression. Yuni Kim has never once failed to make me feel better about myself with her cheerful spirit. Dr. Hyonjin Kim’s scholarship and mentorship taught me how to become a literary scholar and an amazing teacher. My aunt Kyung Park has encouraged me to follow my career and looked after me throughout my graduate years in the United States. Support from my little sister Yujin and father, appa, kept me going. All of what I am today is inconceivable if it had not been for my mother, the most incredible and amazing woman. I still vividly remember how her face used to lit up whenever I talk to her about my dream and crazy ideas. She has been one friend I was so lucky to have and my biggest fan. vi CONTRIBUTORS AND FUNDING SOURCES Contributors This work was supervised by a dissertation committee consisting of Professor Margaret J.M. Ezell and Professors Nandra Perry, Britt Mize of the Department of English and Professor James Rosenheim of the Department of History and Professor Laura Estill of the Department of English at St. Francis Xavier University. All work for the dissertation was completed independently by the student. Funding Sources Graduate study was supported by fellowships and assistantships from the Department of English at Texas A&M University. This dissertation was made possible in part by Melbern G. Glasscock Center for Humanities Research, Women’s and Gender Studies Program at Texas A&M University, College of Liberal Arts at Teas A&M University, Folger Shakespeare Institute, and Sara and John Lindsey Chair of Liberal Arts at Texas A&M University. vii TABLE OF CONTENTS Page ABSTRACT ........................................................................................................................ ii DEDICATION..................................................................................................................... iv ACKNOWLEDGEMENTS ................................................................................................. v CONTRIBUTORS AND FUNDING SOURCES ................................................................. vii TABLE OF CONTENTS ..................................................................................................... viii LIST OF FIGURES ............................................................................................................. x CHAPTER I INTRODUCTION ..................................................................................... 1 CHAPTER II NELL GWYN ........................................................................................... 19 II.1 It Girl: Nell Gwyn in Our Cultural Imagination ............................................... 19 II.2 Nell Gwyn’s Dramatic and On-Stage Roles ..................................................... 26 II.3 Nell Gwyn Becomes an Icon............................................................................ 43 II.4 Talking about Nell: Anecdotes, Life Stories, and Gossip .................................. 45 CHAPTER III COMPETING MISTRESSES: CLEVELAND AND PORTSMOUTH ....... 54 III.1 “Rochester’s Women”: The Need for a Feminist Epistemology of “the Mistress” .............................................................................................. 54 III.2 The Image War: Painted, Printed, and Circulated Portraits ............................... 57 III.3 Lampoons and
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