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Charles II and the Restoration Theatre of Consensus Christopher William Nelson Louisiana State University and Agricultural and Mechanical College

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Charles II and the Restoration Theatre of Consensus Christopher William Nelson Louisiana State University and Agricultural and Mechanical College Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2012 Perception, power, plays, and print: Charles II and the restoration theatre of consensus Christopher William Nelson Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Theatre and Performance Studies Commons Recommended Citation Nelson, Christopher William, "Perception, power, plays, and print: Charles II and the restoration theatre of consensus" (2012). LSU Doctoral Dissertations. 416. https://digitalcommons.lsu.edu/gradschool_dissertations/416 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PERCEPTION, POWER, PLAYS, AND PRINT: CHARLES II AND THE RESTORATION THEATRE OF CONSENSUS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Theatre by Christopher W. Nelson B.A., Samford University, 1997 M.F.A., Indiana University, 2003 M.A., The University of Alabama, 2006 May 2012 DEDICATION For Carrie and James ii PREFACE The use of dates in this study will be in the new style; thus, the beginning of each year will be assumed to be January 1. Also, I have used modern published editions of plays where possible. Otherwise I have cited the highest quality reproduction of the originals that I could locate. iii TABLE OF CONTENTS DEDICATION………………………………………………………………..................... ii PREFACE………………………………………………………………………………….. iii ABSTRACT………………………………………………………………………………... vi CHAPTER 1 INTRODUCTION………………………………………………………................. 1 The Restoration and Hegemonic Spectacle………………………............... 10 Consensus………………………………………………………………….. 12 Charles II as Restoration Theatre…………………………………... ……... 14 Historical Overview………………………………………………………... 20 Consensus: Perception, Power, and Personality…………………………… 24 Consensus Fails…………………………………………………….. ………33 The Argument of Consensus and Hegemony……………………………… 38 2 PERCEPTION IN PRINT: THE RESTORATION PRESSES AS IDEOLOGICAL STATE APPARATUS…………………………………………………………. 40 Print in the Early Restoration……………………………………………… 42 The Political Tradition of Print in Renaissance England………….. ……... 44 Forms of Restoration Writing…………………………………….……….. 47 Power and the Printing Press………………………………………. ……... 50 Print and Hegemonic Consensus…………………………………... ……... 51 Pamphlet Dialogues………………………………………………... ……... 67 “Rump” Writings…………………………………………………... ……... 78 Print and Plays Connect: Cromwell’s Conspiracy and The Rump..... ……... 89 Royalist Print and the Failure of Consensus……………………….. ……... 100 End Notes…………………………………………………………………. 103 3 THE FIRST RESTORATION PERFORMANCES: ADAPTATIONS, REVIVALS, AND TRANSLATIONS…………………………………………………………………. 104 The Restoration Revival: A King and No King…………………….. ……... 111 Shakespeare in Adaptation…………………………………………. ……... 117 Davenant’s The Law Against Lovers………………………………. ……... 122 Davenant’s Macbeth……………………………………………….. ……... 129 Early Restoration Translations: The Adventures of Five Hours…………… 137 Katherine Phillips’s Pompey………………………………………. ……... 143 End Notes………………………………………………………………….. 155 4 CONSENSUS AND THE RHYMED HEROIC PLAY…………………………… 156 The Rhymed Heroic Plays of Orrery and Dryden ………………… ……... 159 The Early Heroic Plays of Roger Boyle, Earl of Orrery…………… ……... 166 iv Orrery’s The Generall……………………………………………… ……... 172 The History of Henry the Fifth…………………………………….. ……... 180 Consensus Cracks in Mustapha……………………………………. ……... 190 Dryden Takes up the Mantle………………………………………………. 201 Dryden Tries the Heroic Play: The Indian Queene………………… ……... 212 The Indian Emperour………………………………………………. ……... 220 End Notes………………………………………………………………….. 234 5 CONSENSUS AND COMEDY: LAUGHTER AND “LOVE” IN THE THEATRE OF CONSENSUS……………………………………………………………................ 236 Sodom: Criticism of Charles II in Closet Drama…………………………... 240 Social Comedy and the Consensus Sequence ……………………………... 245 Comedy as Royalist Propaganda: Robert Howard’s The Committee……... 246 Abraham Cowley’s Cutter of Coleman Street……………………………... 253 John Lacy’s The Old Troop………………………………………………... 263 6 CONCLUSION: CHARLES II AND RESTORATION THEATRE….................... 274 Consensus Failure and Print……………………………………….. ……... 280 Consensus and Ideological State Apparatus……………………………... 282 Disaster and Debauchery: The Collapse of Consensus……………. ……... 289 Final Thoughts……………………………………………………………... 292 End Notes………………………………………………………………….. 293 WORKS CITED…………………………………………………………………………… 294 VITA……………………………………………………………………………………….. 306 v ABSTRACT This dissertation aims to establish the importance of Charles II in the shaping and evolution of Restoration theatre. Even more so than the playwrights themselves, Charles II determined the future of the theatre, both by his conscious efforts to do so, as well as unintentionally through his own behavior and image. The tradition of Restoration theatre began in 1660 with Charles’s efforts at establishing a consensus theatre, in which it would appear that he enjoyed unanimous support for his return to England from exile. Consensus theatre was determined by the perception of Charles’s rule and character, his power to manipulate the new theatre companies and which playwrights wrote and what they wrote, and his person, or popular image. This attempt at consensus began to fail within a few years of Charles’s coming, although his image continued to dominate the theatre, even if only through sometimes negative reactions to his personal image. This influence on theatre continued until his death in 1685. vi CHAPTER 1: INTRODUCTION On April 22, 1661, England’s King Charles II passed through the London streets to celebrate his return from exile, his family’s restoration to the English throne, and his formal acceptance of the English crown, which was to be bestowed upon him the following day. On his way from the Tower of London to the Palace at Whitehall, he rode past cheering throngs of celebrants, and at intervals along the route he passed beneath four specially erected triumphal arches. Along the way he was entertained, celebrated, and hailed by special entertainments of many kinds, including poems, songs, and dramatic representations. England had never seen anything quite like it. Although Charles had returned from exile to rule the kingdom nearly a year previously, sufficient time had been given to shape this highly anticipated event into an unprecedented spectacle. Diarist John Evelyn witnessed the scene personally: This magnificent train on horseback, as rich as embroidery, velvet, cloth of gold and silver, and jewels, could make them and their prancing horses, proceeded through the streets strewed with flowers, houses hung with rich tapestry, windows and balconies full of ladies; the London militia lining the ways, and the several companies, with their banners and loud music, ranked in their orders; the fountains running wine, bells ringing, with speeches made at the several triumphal arches…(Evelyn 1: 354-5) Samuel Pepys wrote about the processional, which he also witnessed, in his own diary: “So glorious was the show with gold and silver, that we were not able to look at it—our eyes at last being so much overcome with it” (Pepys 2: 83). After the coronation, Pepys remarked that “Now after all this, I can say that besides the pleasure of the sight of these glorious things, I may now shut my eyes against any other objects, nor for the future trouble myself to see things of state and shewe, as being sure never to see the like again in this world” (88). Even though this celebration came very early in Charles II’s reign, this event was “the single most expensive and elaborate ceremony of Charles II’s life” (Keay 7). Thus was the coronation of great import to Charles II and his supporters at the beginning of the reign, an event 1 the likes of which were all the more crucial since it represented not only the restoration of Charles personally but of the monarchy itself. Borne of sentiments still loyal to the crown, spectacles such as this were public apparatuses designed to create and perpetuate hegemony among the English subjects, subjugating them in a festival atmosphere of spectacle that would keep them from rebelling against the new regime and, if successful in the extreme, would allow Charles to enjoy the type of near-absolutism that his Stuart predecessors had striven for, and which his cousin Louis XIV of France eventually achieved. Indeed, according to Richard Ollard, “The pursuit of obvious pleasures and the cultivation of a certain elegance in the externals of life were, so far as those closest to him could see, [Charles’s] principal concerns” (Ollard 113). Ollard notes also that “Part of Charles II’s power of historical attraction derives from the consistency with which he put pleasure before virtue” (100). This attitude can only be marginally surprising given that Charles, after his father and predecessor Charles I had been tried and executed for treason, had lived in relative poverty while living in exile abroad, and had narrowly escaped losing his life attepting to regain the crown before escaping from Oliver Cromwell’s soldiers after the Battle of Worcester in 1651. Much of what spectacles
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