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My Dere Chylde Take Hede How Trystram Doo You Tell”: Hunting in English Literature, 1486-1603

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My Dere Chylde Take Hede How Trystram Doo You Tell”: Hunting in English Literature, 1486-1603 “My dere chylde take hede how Trystram doo you tell”: Hunting in English Literature, 1486-1603 Dissertation Presented in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Graduate School of The Ohio State University By Erin Katherine Kelly, M.A. Graduate Program in English The Ohio State University 2013 Dissertation Committee: Luke Wilson, Advisor John N. King Richard Dutton Christopher Highley Copyright by Erin Katherine Kelly 2013 Abstract Hunting was a widely known and practiced pastime in early modern England. Aristocratic hunting was a complex practice that required knowledge of specific procedures and vocabulary, regardless of the prey being pursued. As such, hunting was an assertion of status in society and of one’s identity as a human, dominant over the animal kingdom. My dissertation examines the practice of the hunt in Tudor literature, expanding the chronological and generic focus of previous work. I argue that when early modern English authors cite hunting in their text, or structure a text around an incident or trope of hunting, they are doing so in an attempt to assert a kind of status for themselves, their text, their argument. I focus on moments where the hunt is traditionally and conventionally used as a trope: in a retreat to the country from the city or court, in religious satire, in the love chase, and in progress entertainments. My methodology is to expand on these traditional tropes, demonstrating how the author subtly uses the language and procedures of the practice of the hunt in order to assert his status. These authors go beyond simple metaphors or allegories, using what was a widely known and practiced pastime to their rhetorical advantage. My first chapter considers hunting in poems written during political exile or disadvantage, with sections on Sir Thomas Wyatt, Henry Howard, Earl of Surrey, George ii Gascoigne, and William Shakespeare. I argue that the authors use the hunt to reconnect with the court, by asserting their prestige and their mastery over the practice. My second chapter examines the use of hunting in religious polemic by William Turner to appeal to Henry VIII and nobles who are interested in further reform. Turner goes beyond the traditional satirical convention of calling one’s opponents foxes and wolves, developing the allegory with practical information about the hunt and about the system of forest laws in England. In my third chapter, I focus on the hunt as love chase, a conventional trope. I examine how Sir Thomas Wyatt, Michael Drayton, and Edmund Spenser enrich the metaphor with language and procedures from the actual practice of the hunt. With this addition, the poets are able to turn what seems like a failed hunt to their advantage, using their knowledge of the practice to get the better of their prey. The fourth chapter looks at the hunt on Elizabethan progress. Using the Kenilworth (1575) and Cowdray (1591) entertainments, I examine how the hunt is presented, demonstrating that it is a rich site of conflict and negotiation that Robert Dudley, Earl of Leicester, and Anthony Browne, Viscount Montague, use to navigate their relationship with the queen and that Elizabeth uses to assert and affirm her own status. Examining how writers use the practice of the hunt reveals the nuances of particular texts and demonstrates how important hunting was to early modern English authors. iii To my parents iv Acknowledgements I could not have completed this project without the help of quite a number of people. First of all, I would like to thank my advisors John N. King and Luke Wilson for their insight and guidance. I am grateful to John for continuing to work with me even after he retired and to Luke for being a steady presence in Columbus throughout the entire project. I would also like to thank Richard Dutton and Christopher Highley for their advice and encouragement. My work on this topic began while I was at the University of Virginia. My heartfelt thanks goes to Elizabeth Fowler for guiding me through the earliest version of this argument in her class on Renaissance lyric. I would also like to thank Clare Kinney for guiding me through the process of developing my ideas into a master’s thesis. While at The Ohio State University, I have continually benefited from the generous input of the members of the Renaissance Dissertation Group. My thanks to Alan Farmer for organizing the meetings of the working group during my time as a graduate student. The excellent feedback of the Renaissance faculty as a whole and of my fellow graduate students helped me refine and shape the project, and I sincerely appreciated the ability to share my work and to read the work of others on a regular basis. As a result of the generous support of a grant-in-aid from the Folger Shakespeare Library, I was able to participate in the dissertation seminar at the Folger at an early and v crucial point of the dissertation. I would like to thank Steven Zwicker and Derek Hirst, the leaders of the seminar, and all my fellow seminarians for their insightful comments on an early draft of my second chapter. My life as a graduate student would not have been complete without the support of some wonderful friends. Frederick Bengtsson has been my companion in Renaissance studies since my first day of college, and my desire to go to graduate school was spurred in part by our conversations over steak frites after class. Heather Miner has been a constant source of encouragement since our time together at the University of Virginia. My thanks to Amanda Gerber, Eugenia Gonzalez-Posse, Meghan Burke Hattaway, Doug Hattaway, and Lis Lindeman Ravert for all of their support during my time in Columbus. I must particularly thank Meghan and Doug for making Columbus home for me, both while I lived there and once I started commuting from Cincinnati. Finally, I would like to thank my family for all of their support, financial and otherwise, throughout my entire education. My parents instilled a love of reading in me at a young age, and they have always been my biggest cheerleaders. My thanks to Sarah, Ben, and Tommy for their love and enthusiasm and to my dog Stella for being a constant source of furry encouragement. vi Vita December 18, 1981 .................................................... Born, Cincinnati, Ohio 2004 ........................................................................... B.A. English, Harvard University 2007 ........................................................................... M.A. English, University of Virginia 2007-2013 .................................................................. Graduate Teaching and Research Associate, The Ohio State University Fields of Study Major Field: English vii Table of Contents Abstract ...................................................................................................................... ii Dedication .................................................................................................................. iv Acknowledgements ................................................................................................... v Vita ............................................................................................................................ vii Introduction ............................................................................................................... 1 Chapter 1: Hunting in Exile ....................................................................................... 26 Chapter 2: Chasing the Fox and the Wolf: Hunting in Religious Polemic ............... 86 Chapter 3: The Hunt as Love Chase: Success in Failure ........................................... 123 Chapter 4: Queen Elizabeth and the Hunt on Progress ............................................. 150 Conclusion ................................................................................................................. 190 Bibliography .............................................................................................................. 194 viii Introduction My dissertation is an examination of the hunt in the literature of Tudor England. I focus on moments where the hunt is traditionally and conventionally used as a trope: in a retreat to the country from the city or court, in religious satire, in the love chase, and in progress entertainments. My methodology is to expand on these traditional tropes, demonstrating how the author subtly uses the language and procedures of the practice of the hunt in order to assert his status. These authors go beyond simple metaphors or allegories, using what was a widely known and practiced pastime to their rhetorical advantage. Hunting has a long literary history, and by the time of the Renaissance it was a recognized and commonly used trope. Marcelle Thiébaux gives a general overview of the use of hunting in her book examining the chase in medieval literature. She argues that, when using the hunt, a writer was situating himself within a tradition that extends back to classical literature; “the hunt of love occurs at least as early as Plato’s Sophist where the hunt provides an overriding metaphor.”1 Thiébaux identifies “four principal types of experience traditionally expressed in the form of a hunt in literature: The sacred 1 Thiébaux, The Stag of Love: The Chase in Medieval Literature, 89. 1 chase, the mortal chase, the instructive chase, and the amatory chase.”2 She also describes the possible outcomes of these chases: “the hunter successful, the hunter turned victim and the
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