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Folk Entertainment and Ritual In FOLK ENTERTAINMENT AND RITUAL IN SHAKESPEARE'S EARLY COMEDIES by W. Barry Thorne B.A., University of British Columbia, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts IN THE DEPARTMENT OF English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, I960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia, Vancouver 8, Canada. ABSTRACT The purpose of this thesis is to examine the elements of folk entertainment, pastime, and ritual in four of Shakespeare's early comedies, The Taming of the Shrew, The Two Gentlemen of Verona, Love's Labor's Lost, and A Midsummer Night's Dream, with a view to determining the pattern into which the playwright's use of these elements evolved, and to demonstrate their importance in the development of the sophisticated comedies,. This investigation considers these elements in their significance to the Elizabethan society and in their relation to the play in which they appear© The introduction defines those elements of social ritual and play which are later elaborated upon in their order of appearance in the plays examined. The significance of the evidence derived from such a detailed examination is cumulative, and the reappearance of certain elements in the four plays examined lends weight to the conclusions drawn in each chapter. These conclusions evaluate the role which ritual and entertainment play in each comedy, and the concluding chapter bases on the results of the entire study a more general account of this influence and its significance to Shakespeare's later career. The frequency of references to tra• ditional folk-drama and the structural use of its formal elements indicates the extent of Shakespeare's debt to the popular culture of his time and to a dramatic tradition which derives ultimately from primitive pagan rituala The basic elements of the traditional folk-drama most fre• quently met with in the early comedies centre on the motifs the Maying theme, the "flight to the woods", misrule, and the celebra• tion of the rebirth of the yeare In The Taming of the Shrewa situ• ations analogous to those of the Mummers' Wooing sequences further the main action, and The Two Gentlemen of Verona weds the courtly and popular tradition in its use of the "flight to the woods" theme* Maying themes become thematic and structural in Love's Labor's Lost and A Midsummer Night's Dream, where they supply the pattern of the action0 In these, as in later plays, Shakespeare uses polarity, e.g. everyday-holiday, to provide a dramatic perspective for the examination or revaluation of actions, concepts, or ideals* The use of misrule or holiday allows the dramatist to create an action, apart from the ordinary, in which to limit his approach at his discretion,, I have used the term "fertility" to indicate a state of ordered harmony in both macrocosm and microcosm which, in the Elizabethan view of nature, was considered favourable to life© This investigation corroborates previous studies indicating that Elizabethan drama is a hybrid growth blending the more consciously artistic elements of the classical drama with the mimetic aspects of a long standing popular tradition.. The vitality as well as the universality of Shakespeare's comedy may owe, perhaps, a great deal to the extent of his use of such traditional themes and rituals, TABLE OF CONTENTS Page INTRODUCTION 1 II CHAPTER ONE: The Taming of the Shrew and Mummers' 20 Wooing Sequences. Ill CHAPTER TWO: The Two Gentlemen of Verona and the 42 Popular Tradition. IV CHAPTER THREE: Love's Labor's Lost and a Ritualistic 57 Structure. V CHAPTER FOUR: A Midsummer Night's Dream and "May 110 and December", VI CONCLUSION 165 FOLK ENTERTAINMENT AND RITUAL IN SHAKESPEARE'S EARLY COMEDIES The purpose of this thesis is to make some assessment of the ritual and play elements in the Elizabethan drama, and to draw attention to the influence of ritual, pastimes, and entertain• ment in Shakespeare's early plays* I have limited the thesis to a discussion of the early comedies, in particular, The Taming of the Shrew, The Two Gentleman of Verona, Love's Labor's Lost, and A Midsummer Night's Dream. C.L. Barber, Enid Welsford, CR. Baskervill, E.K. Chambers, and several other scholars have recog• nized the importance of ritual and play elements in Elizabethan drama, and their researches reveal that, during the Renaissance period and earlier, there was much interplay between drama and the other forms of entertainment which often bore mimetic qual• ities. Their studies indicate that the English folk-play and church ritual, between which there was a reciprocal influence, morality plays, miracle plays, and also the popular pageantry of civic processions significantly influenced the growing profess• ional drama of the London stage during the last quarter of the sixteenth century, Because these forms had never remained static, 2. the influence was never a one-way reaction. In the beginning, as the church, with its progressive missionary tactics, had changed and adapted ancient pagan ritual, it had also been stamped in• delibly by the beliefs and actions which it had assimilated. The same cultural elasticity prevailed in the moralities, miracles, and pageants which attended the later years of the church. These forms borrowed from and influenced one another so that, as in the familiar Mummers' play, it is often hard to sift out the various components, or even to attribute them to one original source. In many cases, however, the observations of the scholars have not been directly related to the drama of Shakespeare. This is one of the tasks that I have undertaken in this thesis. The constant interaction between plays and entertainment in the Tudor Court was certainly a factor contributing to the growth and development of professional drama. As Miss Welsford observes, Hall's Chronicle indicates the juxtaposition of court masque and folk morris dances in morality plays, the close relation between plays and disguisings, and, finally, the fact that the distinction 1 between dramatic performances and revels was very slight. Just as the ritual and drama of the church influenced the professional stage, the dramatic revels and masques of the Court had a 1 Hall's Chronicle; Containing the History of England, during the Reign of Henry the Fourth and the Succeeding Monarchs, to the End of the Reign of Henry the Eighth, in Which are-Particularly Described the Manners and Customs of those Periods, London, Printed for J. Johnson, 1809, Bk XVIII, p. 719, cited in Enid Welsford, The Court Masque, A Study in the Relationship between Poetry & the Revels, Cambridge, At the University Press, 1927, p. 276, 3o significant effect upon the players. Children's companies, the actors in the private theatres, and the common players were fre• quently at Court, performing both ordinary plays and the more dif• ficult parts of the Court masques0 Probably because of this association, the players took to inserting masques and masque-like episodes into ordinary stageplays, and, because of the audience's natural curiosity about Court functions, and the beauty and inter• est of the new innovations, these spectacular interludes proved very popular,, Furthermore, the traditionally close association of music, dance, song, and the drama, as well as the universal pop• ularity of the spectacular, whether it be in pageantry or crimin• al executions, explains the stimulating variety of visual and auditory effect to be found in Elizabethan drama. Ritual, pageantry, and the dramatization of life and its ex• periences were an important aspect of the people's lives, and the tendency to regard life as a drama and the individual as an actor on a great stage or a figure in a tremendous tableau was manifested in all levels and areas of life. Furthermore, the period under survey was a time when the significance of ritual and belief was still very great, a time when ritual observances and their meanings were not merely anachronistic survivals but were still in the blood of the people. The delight in pageantry and the belief in the efficacy of ritual, were not confined solely to the lower 4. classes, but also played an important role in the lives of the aristocracy. As Chambers explains: Tudor kings and queens came and went about their pub• lic affairs in a constant atmosphere of make-believe, with a sibyl lurking in every court-yard and gateway, and a satyr in the boscage of every park, to turn the ceremonies of welcome and farewell, without which sovereigns must not move, by the art of song and dance and mimetic dialogue, to favour and prettiness. 2 It is the intense vitality of ritual and folk entertainment in Shakespeare's drama that I propose to examine in this thesis. Work has already been done by CR. Baskervill on the jig and on the prevalence of romantic drama before the Renaissance, by Enid Welsford on the origins in folk entertainment of the Court masque, and, finally, by CL. Barber on the importance of Maying and mis• rule celebrations in the "festive comedies.',' My own researches have indicated that Shakespeare's indebtedness to the culture of his time is even larger than has hitherto been suspected.
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