The Senses in Early Modern England, 1558–1660
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The senses in early modern England, 1558–1660 Edited by Simon Smith, Jacqueline Watson, and Amy Kenny MANCHESTER 1824 Manchester University Press www.manchesteruniversitypress.co.uk The senses in early modern England, 1558–1660 MUP_Smith_Printer.indd 1 02/04/2015 16:18 MUP_Smith_Printer.indd 2 02/04/2015 16:18 The senses in early modern England, 1558–1660 edited by simon smith, jackie watson and amy kenny Manchester University Press MUP_Smith_Printer.indd 3 02/04/2015 16:18 Copyright © Manchester University Press 2015 While copyright in the volume as a whole is vested in Manchester University Press, copyright in individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or in part without the express permission in writing of both author and publisher. Published by Manchester University Press Altrincham Street, Manchester M1 7JA www.manchesteruniversitypress.co.uk British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for isbn 978 07190 9158 2 hardback First published 2015 The publisher has no responsibility for the persistence or accuracy of URLs for external or any third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. Typeset in Ehrhardt by Koinonia, Manchester MUP_Smith_Printer.indd 4 02/04/2015 16:18 Contents Contributors page viii Note on the text xi Acknowledgements xii Introduction 1 Simon Smith, Jackie Watson and Amy Kenny Part I Tracing a sense 1 Staging taste 19 Lucy Munro 2 ‘Dove-like looks’ and ‘serpents eyes’: staging visual clues and early modern aspiration 39 Jackie Watson 3 ‘Filthie groping and uncleane handlings’: an examination of touching moments in dance of court and courtship 55 Darren Royston 4 ‘Thou art like a punie-Barber (new come to the trade) thou pick’st our eares too deepe’: barbery, earwax and snip-snaps 74 Eleanor Decamp 5 Seeing smell 91 Holly Dugan Part II The senses in context 6 Robert Herrick and the five (or six) senses 113 Natalie K. Eschenbaum 7 ‘Did we lie downe, because ’twas night?’: John Donne, George Chapman and the senses of night in the 1590s 130 Susan Wiseman 8 Love melancholy and the senses in Mary Wroth’s works 148 Aurélie Griffin MUP_Smith_Printer.indd 5 02/04/2015 16:18 vi Contents Part III Aesthetic sensory experiences 9 ‘I see no instruments, nor hands that play’: Antony and Cleopatra and visual musical experience 167 Simon Smith 10 ‘Gazing in hir glasse of vaineglorie’: negotiating vanity 185 Faye Tudor 11 ‘Tickling the senses with sinful delight’: the pleasure of reading comedies in early modern England 201 Hannah August Afterword 217 Farah Karim-Cooper Select bibliography 220 Index 234 MUP_Smith_Printer.indd 6 02/04/2015 16:18 Illustrations Please note that illustrations are not available in this digital edition due to restrictions from the rights holder(s). This listing is for information only. 1 Frontispiece illustration from Tenor of the whole psalmes in foure partes (1563). By permission of the Folger Shakespeare Library. 2 2 Frontispiece illustration from Thomas Heywood, Philocothonista, or, the Drvnkard, Opened, Dissected, and Anatomized (1635). General Collection, Beinecke Rare Book and Manuscript Library, Yale University. 23 3 Micah Hahn, for the Institute for Art and Olfaction, ‘Galaxolide’, in Molecules Series 1. By permission of the Institute for Art and Olfaction. 92 4 Pomander in the shape of a ship, the Walters Art Museum, Baltimore 44.464. By permission of the Walters Art Museum, Baltimore. 99 5 Silver pomander in the form of a book, Science Museum A641827. © SCM / Science & Society Picture Library – All rights reserved. 100 6 Pendant perfume-ball, British Museum AF.2863. Image © Trustees of the British Museum. 100 7 Pomander case, British Museum 1854,0124.1. Image © Trustees of the British Museum. 101 8 Silver pomander in the form of a female head, British Museum 1978,1002.220. Image © Trustees of the British Museum. 104 9 Gilt pomander, Science Museum A629413. © SCM / Science & Society Picture Library – All rights reserved. 105 10 Sofonisba Anguissola, Self-Portrait (1554), Kunsthistorisches Museum Vienna. By permission of the Kunsthistorisches Museum Vienna. 188 11 Sofonisba Anguissola, Bernadino Campi Painting Sofonisba Anguissola (1557–79), Pinacoteca Nazionale, Siena. By permission of the Ministero dei Beni e delle Attività Culturali e del Turismo, Italy. 193 12 Artemisia Gentileschi, Self-Portrait as the Allegory of Painting (1630), Royal Collection, Windsor. By permission of the Royal Collection Trust /© Her Majesty Queen Elizabeth II 2014. 195 MUP_Smith_Printer.indd 7 02/04/2015 16:18 Contributors Hannah August holds a PhD from the London Shakespeare Centre at King’s College London, and has taught at King’s, at the universities of Otago and Victoria in New Zealand, and for Globe Education at Shakespeare’s Globe. Her research interests include the history of reading and early modern drama in print and performance. She works as a writer, reviewer and researcher in Wellington, New Zealand. Eleanor Decamp completed her DPhil in English Literature at the University of Oxford. Her thesis was runner up in the Shakespeare Association of Ameri- ca’s J. Leeds Barroll Dissertation Prize 2013. She is preparing a monograph with Palgrave Macmillan on barber-surgery and early modern English Litera- ture, and is co-editing and completing a chapter for a collection on medieval and early modern theories of blood. As joint coordinator of The Blood Project, a medical humanities venture, she co-convened an international conference at Oxford on the competing perceptions of blood between the fourteenth and seventeenth centuries, which included a production of The Croxton Play of the Sacrament (www.thebloodproject.net). Eleanor’s interdisciplinary research interests include medicine and literature, early modern stagecraft, popular and material cultures in the period, and the London guilds. Holly Dugan is Associate Professor of English at the George Washington University, Washington DC. Her research focuses on gender, sexuality and material culture in early modern England. She is the author of The Ephemeral History of Perfume: Scent and Sense in Early Modern England (Johns Hopkins University Press, 2011) and co-editor, with Lara Farina, of The Intimate Senses, a special issue of Postmedieval. Natalie K. Eschenbaum holds a PhD in English from Emory University, Georgia, USA. She is Associate Professor of English at the University of Wisconsin – La Crosse, where she teaches writing, Shakespeare and the English Renaissance. Her current research focuses on expressions of sensation and the affect of disgust in seventeenth-century literature. She is co-editing (with Barbara Correll) Disgust in Early Modern English Literature, which includes a MUP_Smith_Printer.indd 8 02/04/2015 16:18 Contributors ix co-authored introduction and her essay, ‘Desiring Disgust in Robert Herrick’s Epigrams’ (forthcoming from Ashgate). Aurélie Griffin is Lecturer in English Literature at Université Jean Monnet, Saint-Etienne. She is the author of a dissertation entitled ‘The Countess of Montgomeries Urania de Lady Mary Wroth: une poétique de la mélancolie’, to be published by Classiques Garnier, and of several articles on Lady Mary Wroth and Sir Philip Sidney. In 2013, her dissertation was awarded premier prix de thèse de l’Institut du Genre, CNRS. Farah Karim-Cooper is Head of Higher Education and Research at Globe Education, Shakespeare’s Globe, and Visiting Research Fellow of King’s College London. Recently, she led the research and co-managed the design and construction of the Sam Wanamaker Playhouse (the Globe’s new indoor Jacobean theatre). She is author of Cosmetics in Shakespearean and Renaissance Drama (Edinburgh University Press, 2006); co-editor with Christie Carson of Shakespeare’s Globe: A Theatrical Experiment (Cambridge University Press, 2008); co-editor with Tiffany Stern ofShakespeare’s Theatres and the Effects of Performance (Arden/Bloomsbury, 2013); co-editor with Andrew Gurr of Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse (Cambridge University Press, 2014); and author of the forthcoming The Hand on the Shakespearean Stage: Gesture, Touch and the Spectacle of Dismemberment (Arden/Bloomsbury). Amy Kenny holds a PhD in Early Modern Literature and Culture from the University of Sussex for her thesis on Shakespeare’s representation of the family. She has dramaturged for 15 productions at Shakespeare’s Globe and conducted over 80 interviews with actors and directors there on architecture, audiences and performance. She has lectured at King’s College London, the University of Sussex, Shakespeare’s Globe, the University of Concordia and Biola University, and has published on dramaturgy and women in early modern England. She is currently Lecturer at University of California, Riverside. Lucy Munro is Lecturer in Shakespeare and Early Modern Drama at King’s College London. She is the author of Children of the Queen’s Revels: A Jacobean Theatre Repertory (Cambridge University Press, 2005) and Archaic Style in English Literature, 1590–1674 (Cambridge University Press, 2013), and the editor of plays by Sharpham, Shakespeare and Wilkins, Brome and Fletcher. She is currently editing The Witch of Edmonton for Arden Early Modern Drama. Her previous research on topics connected with the senses has appeared in essays on music and sound for The Oxford Handbook of Early Modern Theatre, ed. Richard Dutton (Oxford University Press, 2009) and stage blood and body parts for Shakespeare’s Theatres and the Effects of Performance, ed. Farah Karim- Cooper and Tiffany Stern (Arden/Bloomsbury, 2013). MUP_Smith_Printer.indd 9 02/04/2015 16:18 x Contributors Darren Royston is Artistic Director of Nonsuch History and Dance, and Tutor in Dance and Movement at the Royal Academy of Dramatic Art, London. He works as a choreographer and dance consultant, including with the National Theatre, Royal Shakespeare Company and Old Vic in the UK, and with Universidad Pablo de Olavide in Seville.