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THE ELIZABETHAN STAGE AS TRIBUTARY: MERCANTILISM, NATIONALISM, and SOCIAL MOBILITY in THREE POPULAR DRAMAS a Thesis Submitted To

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THE ELIZABETHAN STAGE AS TRIBUTARY: MERCANTILISM, NATIONALISM, and SOCIAL MOBILITY in THREE POPULAR DRAMAS a Thesis Submitted To THE ELIZABETHAN STAGE AS TRIBUTARY: MERCANTILISM, NATIONALISM, AND SOCIAL MOBILITY IN THREE POPULAR DRAMAS A Thesis Submitted to the College of Graduate Studies and Research In Partial Fulfillment of the Requirements For the Degree of Master of Arts In the Department of English University of Saskatchewan Saskatoon By Adam Benn Keywords: Dekker, Heywood, Renaissance Drama, Mercantilism, Nationalism, Tudor Theatre. Copyright Adam Benn, August, 2011. All rights reserved. Permission to Use In presenting this thesis in partial fulfilment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other use of material in this thesis in whole or part should be addressed to: Head of the Department of English 320 Arts Building University of Saskatchewan 9 Campus Drive Saskatoon, Saskatchewan S7N 5A5 Canada Benn i ABSTRACT This thesis examines the relationship between social mobility, early mercantilism, and nationalism in three Elizabethan Popular Dramas: Thomas Dekker's The Shoemaker's Holiday, and Thomas Heywood's The Fair Maid of the West, Part I, and The Four Prentices of London. I attempt to answer why these plays respond favourably to social mobility despite the rigid hierarchical philosophies which condemn this practice. Popular Drama's representation of social mobility and audience wish-fulfillment is often thought of as celebratory of the middle-class; though this is partially true, I argue that these fatuous pieces of popular wish-fulfillment are also sophisticated structures designed to mould their audience's behaviour. Furthermore, the behaviour that these plays promote is intended to support the power and development of the nation-state, economically and socially. The ideologies which legitimize social mobility in these plays are always mercantilism and nationalism. The first chapter of my thesis establishes the historical and theoretical apparatuses that inform my remaining three chapters. My reading of these plays is informed by the economic history of Elizabethan England, and my research on the subject is drawn from a combination of contemporary and historic sources. I provide a wide range of economic sources because discussion of the Elizabethan economic history is lacking in literary criticism. The subsequent three chapters are designed as case studies which examine each individual play according to the theoretical and historical model outlined in the first chapter. Benn ii ACKNOWLEDGMENTS I would like to thank my supervisor Dr. Joanne Rochester, my specialist reader Dr. Brent Nelson, my rota reader Dr. William Bartley, and my external reader Dr. Sharon Wright for their helpful comments. I am also grateful to Dr. Ron Cooley, Dr. Lisa Vargo, Dr. Peter Hynes, and Dr. Doug Thorpe, who provided me with financial and academic assistance through their administrative roles in the English Department. I also appreciate the extra support and guidance of Dr. Kevin Flynn and Dr. Allison Muri – both were invaluable and selfless in guiding me through the gauntlet of graduate school. Most importantly, I would like to the thank my mother, Belinda Benn. My education in and out of university was made entirely possible by her loving support and guidance. Thank you as well to Lisa Gaylor, who put up with way more of my stress levels than a normal human could, and for getting me through some tough experiences. James Mulcahy’s technical support was unmatched, and his moral support was essential to my sanity and success. I would also like to thank all my friends and fellow English majors who helped me throughout my masters degree via kind words and encouragement, listening to me rant, or reading over my work: Jason Breiter, Daniel Krahn, Caitlin Iles, Terry Enns Joel Stevenson, Adam Pottle, and Graham Jensen, and apologies to those I forgot, but rest assured you are appreciated. This thesis is dedicated to Bradley Weiers, the only Renaissance man I’ve ever met. Lastly, I would like to thank Bernanke and all the boys at the Fed for proving that we have learned nothing from history. Benn iii TABLE OF CONTENTS PERMISSION TO USE…………………………………………………………………...…i ABSTRACT………………………………………………………………………….…..….ii ACKNOWLEDGEMENTS……………………………………………………….…….….iii TABLE OF CONTENTS……………………………………………………………....…...iv INTRODUCTION……………………………………………………………………..……1 CHAPTER ONE: WORKING TERMS AND HISTORICAL CONTEXTS 4 1.1 Working Definitions of Middle-Class and Popular Drama………………….……..4 1.2 Defining Nationalism……………………………………………………….….…...5 1.3 Economic Discourse and a Brief Outline of Early Mercantilist Thought..................8 1.4 Social Mobility and the Domestic………………………………...………….……19 CHAPTER TWO: THE APPROPRIATION OF LOCAL LABOUR 26 2.1 Class Criticisms and Contemporary Perspective ……………………….................28 2.2 Methods of Tempering Social Mobility …………………………….......................31 2.3 The Function of Hammon …………………………………………...............……35 2.4 Eyre's Mobility and the Case of the Dutch……………………………..............…38 2.5 The Royal Seal of Approval and Mercantile Success ………………….................41 CHAPTER THREE: DISPLACING ANXIETY IN THE FAIR MAID OF THE WEST 46 3.1 The Anxieties Surrounding Bess………………………………………....................50 3.2 Bess' Domestic Triumphs…………………………………………………................54 3.3 Gender and Economy Abroad ……………………………………………...............57 3.4 Mullisheg and Moroccan Trade …………………………………………….............60 CHAPTER FOUR: FOREIGN MILITARY CAMPAIGNS AND IDENTITY MARKERS IN THE FOUR PRENTICES OF LONDON 67 4.1 Criticisms and their Alternatives ………………………………………………......70 4.2 The Nation's Construction of Identity …………………………………………......74 4.3 Islamic Physical Confrontations and Normal Cultural Confrontations ……….. .....78 4.4 The Impetus for the Imitation of Apprentices …………………………………..... 82 CONCLUSION…………………………………………………………………………..... 85 LIST OF REFERENCES……………………………………………………………..…......88 Benn iv Introduction The purpose of this thesis is to investigate the relationship between social mobility, early mercantilism, and nationalism by examining three Elizabethan Popular Dramas: Thomas Dekker's The Shoemaker's Holiday (1599), and Thomas Heywood's The Fair Maid of the West, Part I (1597), and The Four Prentices of London (1592). By situating these plays within their historic economic context, I will examine how social mobility is not only legitimized but celebrated, despite the prominence of hierarchical and divine-right philosophies which condemn it. These plays employ middle-class characters to examine potential justifications for social mobility. Furthermore, the plays are related by a pervasive mercantile ideology. In an effort to legitimize itself, mercantilism is often conflated with nationalism; through this process, the welfare of the state is equivocated with the success of mercantilism. The plays are oriented toward the middle-class, drawing upon their demographic context in order to mutually construct and ordain both mercantilism and nationalism. For example, the economic success of particular characters is predicated upon their service to national interests, and serving national interests legitimizes their economic success. The characters in these plays are permitted to ascend the social ladder only if they contribute to the economic well-being of the nation. Those characters who engage in social mobility simultaneously promote and facilitate nationalist and mercantile ideologies. The first chapter will provide definitions of the concepts and potentially elusive terms that this thesis employs. Using the term middle-class to represent an Elizabethan demographic is an anachronism, and as such requires an explanation of who and what constitutes the middle- class in the period. It is also necessary to define Popular Drama: Popular Drama is a sub-genre of City Comedy, which is an Elizabethan and Jacobean genre broadly defined by its use of Benn 1 London as its setting and the middle class for its characters. At this point in the thesis, I will spend a brief period troubling some common? assumptions about City Comedy as a genre, particularly how the genre supposedly treats the middle class. The subsequent section of this chapter outlines my working definitions of both nation and nationalism. I situate these definitions both theoretically and practically within an Elizabethan context. The following section on mercantilism encompasses the majority of the chapter. Because mercantilism is a relatively obscure topic within literary criticism, I provide an account of its theoretical arguments, historical developments, practical applications, and key Elizabethan supporters. The final section addresses social mobility's relationship to domestic issues, including marriage, family, and apprenticeship. Within these plays, marriage is often a site where anxiety about
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