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The Turning of the Shrew: Conversion As a Literary Methodology Ellen Mary Crosby, Department of English Mcgill University, Montreal April, 2016

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The Turning of the Shrew: Conversion As a Literary Methodology Ellen Mary Crosby, Department of English Mcgill University, Montreal April, 2016 The Turning of the Shrew: Conversion as a Literary Methodology Ellen Mary Crosby, Department of English McGill University, Montreal April, 2016 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts © Ellen Mary Crosby 2016 Crosby 2 Table of Contents Acknowledgements………………………………………………………………………..3 Abstract…………………………………………………………………………………....4 Introduction……………………………………………………………………....………12 Chapter 1: Another Dowry for Another Play….…………………………………………22 Chapter 2: The Role of the Superficial in Understanding Conversions………………….48 Chapter 3: The Relationship between Conversion and Typology……………………….69 Chapter 4: Writing in a Conversional Mode.….………………………………………....85 Conclusion…………………………………………………...………………………....104 Bibliography……………………………………………………………………………108 Crosby 3 Acknowledgements I would like to express my sincere appreciation of Dr. Paul Yachnin, my mentor throughout this project. Not only has he guided me through this journey, answering questions, providing feedback, and supplying me with any tools or resources I might need, but he was also the catalyst that led me to my subject. If it were not for Dr. Yachnin and the Early Modern Conversions Project, I would not have devised and then proposed this idea of understanding conversion as a literary methodology. Dr. Yachnin and the Early Modern Conversions Project also provided me with financial support, awarding me stipends amounting to $13,000 over the past two years. The McGill English Department also granted me a $2,000 scholarship last year, for which I am extremely grateful. I am also indebted to the professors in the English Department at McGill University who have helped me to hone my skills as a scholar and influenced my ideas concerning Shakespeare, early modern England, drama, and adaptation—especially Dr. Maggie Kilgour, Dr. Erin Hurley, and Dr. Fiona Ritchie. I would also like to thank Dr. Tabitha Sparks for her encouragement and guidance in the process of writing and submitting a Master’s thesis. Lastly, I would like to thank my family and friends for supporting me throughout my two degrees and two theses—I will forever appreciate their support and willingness to listen to me talk about texts most of them have never and do not ever want to read. Crosby 4 Abstract My research undertakes the rethinking of the modern theory of adaptation in terms of the phenomenon of conversion. I argue that the idea of conversion can be used as a critical methodology for understanding the relationship between source texts and rewritings of those texts. There are various kinds of rewritings; those that bring to the surface latent ideas in their source texts, that change their sources internally and lastingly, are better described as conversions than as adaptations. Conversion of a different kind was omnipresence in early modern England. Due to the religious vacillations between Catholicism and Protestantism from Henry VIII’s reign to that of James I, the people of early modern England were repeatedly faced with the decision to either convert religions or be persecuted for going against the monarch. Furthermore, the conversions that took place based on a monarch’s wishes, rather than on an epiphany, forced people to consider whether or not true conversion was possible and what the consequences of forced conversion might be. Given the prominence of conversion in the social and political world of early modern England, we can say that both Shakespeare and Fletcher were writing in a culture of conversion, which influenced the topics and themes of their plays as well as the way they wrote them. The ubiquity of conversion and the anxieties surrounding it manifested themselves on the Elizabethan and Jacobean stages. Indeed, Shakespeare’s Taming is not simply about Petruchio or about Katherina, neither is Fletcher’s Tamer only about Petruchio or Maria; rather, these plays are equally concerned with the process of taming, which is another kind of transformation, similar to conversion. It is from these playwrights that I take my lead in exploring the methodology of literary conversion. Crosby 5 I explain precisely why using the word ‘conversion’ is a more fitting term for classifying and understanding certain kinds of rewritings. I use the relationship between Shakespeare’s The Taming of the Shrew and Fletcher’s The Tamer Tamed as a case study to show exactly how a play can convert another play and thus how conversion can operate as a literary methodology. I will compare this method of conversion to that of adaptation by analyzing the relationship between Taming and the Gil Junger’s 1999 film, 10 Things I Hate About You as well as the relationship between Taming and its eighteenth-century adaptations, John Lacy’s The Taming of the Shrew, Sauny the Scot and David Garrick’s Catharine and Petruchio. By doing so, I will demonstrate the ways in which ‘conversion’ and ‘adaptation’ share some similarities yet are significantly different. I will thus establish the value of conversion as a way of understanding the relationship among certain kinds of literary texts. Both adaptations and conversions are valuable, but they are distinct, and the differences between these two kinds of texts are significant and are rooted in the religious connotation of the term conversion and the pseudo-scientific connotation of the term adaptation. Adaptation’s connotation seems to suggest some level of objectivity, most likely due to its association with the hard sciences. This assumed objectivity, of course, is not accurate, but that is the connotation the word ‘adaptation’ carries with it. Science is often invoked to imply the present moment or to gesture towards futurity; whereas, in the western world, religion is often associated with the past. Adaptation’s connotation makes it more fitting for texts such as 10 Things, which adapts Taming in order to demonstrate the social milieu of 1999 America. Similarly, Sauny and Catharine and Petruchio tell us about Restoration theatre practices, audiences, and bardolatry rather than changing the Crosby 6 way in which we understand Taming. Tamer, though, fundamentally alters Shakespeare’s text, and calling it a converting text rather than an adaptation lends Fletcher’s play the sense of durability and historical embeddedness that it has earned I also compare Taming to one of its contemporary plays, The Taming of A Shrew, whose author and date are unknown, making its relationship to Taming—whether both plays were written by Shakespeare or whether one was an adaptation or poor copy of the other—unclear. Through this analysis, I show that Shakespeare’s play, despite having the opportunity to produce answers to particular questions in the same way that A Shrew does, instead creates ambiguities. These ambiguities make Taming open to interpretation, and when Fletcher interprets Shakespeare’s titular shrew as deceitful rather than obedient at the play’s end, he durably and dialogically changes Shakespeare’s play. Shakespeare scholar Stanley Wells notes that several modern adaptations of Taming feature ironic portrayals of Katherina’s devotion speech, such as Mary Pickford’s famous wink to Bianca and The Widow in her 1929 film adaptation of Shakespeare’s play. Wells says that Fletcher “anticipated” these readings (203). Wells’s choice to use the word ‘anticipated’ assumes too much. Fletcher did not anticipate these kinds of stagings; rather, he saw the possibility of this kind of reading in Shakespeare’s play and exposed it, which irrevocably converted Taming and the way audiences would view it thereafter. Fletcher saw the potential for interpreting Katherina’s submission speech as a performance and wrote a play in which Katherina is not the submissive wife we are led to believe she will be in Shakespeare’s play. Wells is intuiting something important about Tamer, that it has a significant relationship with Taming and that this relationship is connected to the way in which several modern adaptations produce the play, but he is not Crosby 7 fully grasping what is taking place. Tamer gives light to the possibility that Katherina is being facetious, ironic, or is outright lying in her submission speech and thusly rewrites Taming. This Taming is new in that we are given a different character in Katherina, but it is also a returning to the old in that Katherina always could have been and had the potential to be the Katherina that Fletcher shows us. For this reason, Fletcher’s play is not merely a sequel to or adaptation of Shakespeare’s; Tamer converts Taming. Résumé Mon projet de recherche vise à repenser la théorie moderne d’adaptation en considérant le phénomène de conversion. Je soutiens que le concept de conversion peut être utilisé comme méthodologie critique pour mieux comprendre la relation entre le texte d’origine et ses versions ré-imaginées. Il y a plusieurs types de réécritures, et celles qui ramènent à la surface des idées latentes présentes dans le texte d’origine, qui altèrent leurs sources profondément et permanemment, peuvent plus justement être appelées conversions qu’adaptations. Un différent type de conversion était omniprésent en Angleterre au début des temps modernes. Les vacillations entre le catholicisme et le protestantisme dans ce pays du règne d’Henri VIII jusqu’à celui de Jacques I ont eu comme conséquence que le peuple anglais durant cette période fût souvent mis aux prises avec la décision difficile de soit se convertir à une différente religion, soit se faire persécuter pour le crime d’aller à l’encontre
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