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Hinnie2019.Pdf This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Figuring the Feminine in the Bannatyne Manuscript (c. 1568) Lucy R. Hinnie PhD in English Literature The University of Edinburgh 2018 ‘Mercy!’ cried Gandalf. ‘If the giving of information is to be the cure of your inquisitiveness, I shall spend the rest of my days answering you. What more do you want to know?’ ‘The names of all the stars, and of all living things, and the whole history of Middle Earth and Over- heaven and of the Sundering Seas,’ laughed Pippin. ‘Of course! What less? […]’ - J. R. R. Tolkien, ‘The Palantír’, The Lord of the Rings. For my parents, for everything; for Peter for being there; and for Andy, who would have written even more. Table of Contents Declaration of Originality 1 Acknowledgements 2 Abstract 6 Notes on Editions Used 8 INTRODUCTION 9 A Note On Methodology 13 ‘The Littill Yle / þat Clepid is Albione’ – The Manuscript’s Scottish Context 14 The Bannatyne Method – Editorial Structure and Divisions 17 ‘The Woman Question’: Defining the Querelle des Femmes 20 The Inclusion of the Querelle in Bannatyne’s Discourse 29 Continental Influences 32 Current Querelle Scholarship 36 CHAPTER ONE ~ ‘Leful Love’ in the Time of Mary Queen of Scots 40 Categorisation of the Fourth Section 40 Religious Reformation and ‘Residual Mariology’ 48 Chapter Conclusion 56 CHAPTER TWO ~ Wicked Wives and Vicious Men – The Short Poems 58 Epigrams Against Women 58 The Case Against ‘fals vicius men’ 73 Chapter Conclusion 89 CHAPTER THREE ~ ‘Vther Solatious Conceits’ – Misogynist Comedy 90 Gender and Monstrosity 90 A Musical Mistress 93 Figuring ‘The Economy of Gender’ 97 Transgressive Sexuality 105 Woman as Vessel, Woman as Victim 118 The Comedy of Courtliness 135 ‘I sall be hussy gif I may’ – Role Reversal in ‘The Wyf of Auchtermuchty’ 146 Bannatyne ‘Punches Down’ – Theories of Comedy 154 Chapter Conclusion 160 Appendix 162 CHAPTER FOUR ~ The Makar and the ‘Ladeis Fair’ – William Dunbar 163 Dunbar’s Poetic Voice 163 Readings of the Poems 170 Chapter Conclusion 206 CHAPTER FIVE ~ Discourse Through Dialogue: Fabliaux, Farce and The Idea of the Feminine 209 Context of the ‘Miscellaneous’ Verse – Omissions and Oddities 209 ‘Townish’ Friars and Hungry Women 212 ‘Though Latin It Be Nane’ – Dunbar’s Wedo 217 Gendered Dialogues and Sexual Negotiation 228 ‘Jok and Jinny’ 229 ‘The Commonyng betwixt the master and the heure’ 231 ‘Robene and Makyne’ 234 Idealised Women ~ ‘The Garmont of Guid Ladies’ 237 Dramatic Dialogue ~ Ane Satire of the Three Estates 240 Chapter Conclusion 252 CONCLUSION 254 Index of Poems Cited 260 Bibliography 263 Primary texts 263 Secondary texts 263 Declaration of Originality This thesis is presented for the degree of Doctor of Philosophy to the Department of English Literature, School of Literatures, Languages and Cultures, part of the College of Arts, Humanities and Social Sciences at the University of Edinburgh. I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, the work presented is entirely my own. Signed Lucy R. Hinnie September 2018 1 Acknowledgements My first and foremost thanks must go to Dr Sarah Dunnigan, who has been my mentor and academic inspiration ever since a rainy Edinburgh day in 2006, where my ears pricked up at the mention of Dunbar. She shows faith, patience and kindness in all things, and her capacity for thoughtful insight, provocative questions and sharing her own vast knowledge has been my inspiration throughout my studies. Working alongside her is a true privilege and I count myself very lucky to have received such superlative supervision and moral support. Sarah – thank you so very much. My second supervisor, Professor Greg Walker, has encouraged my interest in medieval studies ever since my attendance in his Medieval Drama course in 2010 – no mean feat, as the class took place at 9am. From Greg I have learned the value of a sense of humour in scholarship and for that, and the thoughtful feedback, I thank him most sincerely. I would like to recognise the generous and thoughtful feedback of my thesis examiners, Professor John McGavin and Dr David Salter. Their combined scrutiny of my work has improved it exponentially, and it was a pleasure to discuss this research with them. Professor McGavin gave me particularly helpful guidance regarding translation, and for this, I offer my thanks. 2 There are so many other people that have been there for me, in a vast array of ways. I wish to give my thanks to them all in turn, just as they have given me their time, care and support over the last six years. My heartfelt thanks go: - to my parents, Wendy and Ben Hinnie, for always having faith in me and trusting my judgement; - to my other mother, Alison Crocket, for seeing in me what I didn’t always see myself; - to Lindsay Crocket and Kirsty MacAulay, the family I chose, for the sisterhood; - to my uncle John, the original Dr Hinnie, for the book tokens and support; - to the British Federation of Women Graduates for the 2016 Caroline Spurgeon Scholarship which allowed me to complete this research; - to the Scottish International Education Trust for their generous financial support from 2011–2018, without which this thesis would not have been possible; - to Anne-Marie Simpson and Dr Klaus Janda, for the beginning of everything; - to Dr Elizabeth Elliott, for always being there in true friendship; - to Dr Kate Ash-Irisarri, for the coffee, the kindness and the time; - to Dr Kylie Murray, for the fire and the impetus; - to Professor Rowena Murray, for the focus, and for asking ‘is that writing?’; - to Dr Johanna Green, for being a role model and inspiration for part-time study; - to Dr Theo van Heijnsbergen for his invaluable research and support; - to Professor David Parkinson for the Nanaimo bars and the encouragement; 3 - to Debbie Hannan, for the bright colours and the soft fabrics, without which my life would be duller; - to Catherine Crompton-Watson, for being a beautiful tropical fish; - to Nina de la Parra, for always being herself, particularly in Bochum; - to Jason Cabassi, Karen Koppett and the Zedheads for the company and camaraderie on many long commutes; - to Douglas Alexander, Callum Casebow, Annie Crompton-Watson, Jenny McKeever and Rosie Grahame, for the sunsets, the whisky and the laughter; - to the Dunnigang: Dr Phoebe C. Linton, Dr Jane Bonsall, Danielle Howarth and Anna McKay, for the medieval sisterhood; - to those who were there from the early days: Dr Sarah Sharp, Dr Justine Seran and Dr Jessica Legacy, for the endless lunch dates and solidarity; - to Philippa Peall for the ‘en’ dashes, and for making me a better writer with her unsurpassable proofreading skills; - to Dr Iain Laird and Debra Choong for being ‘family’ like Vin; - to Kate Allan, Carole Haxton and Jacquie Nicholson for their mentoring support, which helped keep me afloat and focussed when times were hard; - to Bex McFadyen and my wee pal Edie, for all the cat-sitting and support; - to the cafes of Glasgow (most notably, Papercup, the Good Coffee Cartel and the Hyndland Café) and the Glasgow Women’s Library for their hospitality; - to Dr Meg Oldman, Dr Carissa Harris and Dr Rachel Moss for their kindness and friendship, and the trails they have blazed for emergent scholars; - to Sasha Ezzi-Irani, Katrino Reid and Dr Claire Fisher for keeping me moving, grounded and centred; 4 - to the Twitter community for their company during the long stretches of writing: you have helped me more than they know; - to Dr Keely Fisher, for access to her research; - to Lena Lersch, for her wonderful translation; - and last but by no means least, to the late Professor Ronnie D. S. Jack, for inspiring awe. He is so very missed. A final note of indebtedness must go to my partner, Peter Burke (no, not that one), who has been there for the last ten years as my biggest cheerleader, my sounding board, my erstwhile ‘hussy’ (see Chapter Three!) and, most of all, my dear friend. His pride and faith in me never fail to astonish, and I cannot adequately express my incredulity at his unwavering commitment to our relationship, and of course, our beloved cats. Thank you for being my twin high-maintenance machine and for always making sure I feel loved, supported and capable. Our inimitable felines Molly and Tommen have themselves been a focus of comfort and support (in their own special way) and I will miss afternoons spent at my desk with them sleeping on my notes, my keyboard and my laptop. I wish also, in no small measure, to thank myself. It has often seemed a long and arduous six years, with a lot of soul-searching, self-doubt and ponderous nights of the soul, punctuated by loss, uncertainty, precarity, periods of ill health and black dogs.
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