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Jesús Correa Sánchez Departamento De Filología Inglesa

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Jesús Correa Sánchez Departamento De Filología Inglesa WILLIAM MOUNTFORT’S GREENWICH PARK (1691): A CRITICAL EDITION Jesús Correa Sánchez TESIS DOCTORAL Dirigida por la Dra. María José Mora Sena Departamento de Filología Inglesa: Literatura Inglesa y Norteamericana Universidad de Sevilla Sevilla, 2015 Table of Contents Acknowledgements ............................................................................................................................... 3 Abbreviations ......................................................................................................................................... 5 A Note on Citations .............................................................................................................................. 7 1. Introduction ...................................................................................................................................... 9 2. William Mountfort and Greenwich Park ........................................................................................ 17 2.1. William Mountfort and his Time ........................................................................................... 17 2.2. Mountfort’s Greenwich Park on the Restoration and 18 th Century Stage .......................... 31 3. Restoration Comedy and Greenwich Park ....................................................................................... 35 3.1. The Socio-political Background: The New Monarchs’ Moral Crusade ........................... 35 3.2. Restoration Comedy: A Brief Overview .............................................................................. 39 3.3. “If they think us worth that, they will soon shew the change”: An Approach to the Idea of “the Change in Comedy” .............................................................................. 47 3.4. Greenwich Park and “the Change” in Restoration Comedy ................................................ 56 4. Greenwich Park: A Critical Edition .................................................................................................. 73 4.1 The Text and the Editorial Policy .......................................................................................... 73 4.1.1 Establishing the Text ............................................................................................................ 74 4.1.2. Treatment of the Copy-text ................................................................................................ 77 4.1.3. Details of Treatment of the Copy-text .............................................................................. 82 4.1.4. Annotation ............................................................................................................................. 84 4.2. Greenwich Park: A Comedy .......................................................................................................... 85 5. The Rhetorics of Space in Greenwich Park ................................................................................... 201 5.1. Theoretical Perspectives ....................................................................................................... 202 5.2. The Urban Geography of Early Modern London ............................................................ 209 5.2.1. The Expansion of London in the 17 th Century: From the West End to Greenwich 210 5.2.2. The Experience of the City: Public and Private Spaces in Early Modern London .. 215 5.2.3. Public Spaces, Display and Gender ................................................................................. 221 5.3. Greenwich Park and the Genre of Topographical Comedy ............................................... 226 5.3.1. Space and Class in Greenwich Park .................................................................................... 230 5.3.2. Public and Private Identities ............................................................................................. 236 6. Conclusions ..................................................................................................................................... 241 7. Works Cited .................................................................................................................................... 245 1 2 Acknowledgements My most sincere gratitude is due to Dr. María José Mora Sena, my supervisor and mentor. Her invaluable teaching throughout both my graduate and postgraduate career constantly worked as a motivation for me, particularly the excellent course on literary edition which she taught along with Dr. Manuel Gómez-Lara and Dr. Juan Antonio Prieto-Pablos. Dr. Mora’s extensive knowledge on Restoration drama and on editing gave always answers to my enquiries, even the most peculiar ones; her patience always showed me the way to proceed in such a challenging and lengthy process as writing a PhD dissertation; her curiosity, which I have tried to emulate, always impelled me to keep digging beyond surface in the archaeological process of editing; her support and encouragement always helped me to keep looking ahead, even in very difficult periods; her academic expertise made me appreciate the literary value of Restoration comedies, while her elegant sense of humour made me appreciate its entertaining nature; her invaluable proofreading, to conclude, enriched this dissertation decisively. I am also grateful to Dr. Rafael Portillo, Dr. Manuel Gómez-Lara and Dr. Juan Antonio Prieto-Pablos, for their extraordinary postgraduate courses I attended, and for their priceless advice and help throughout the different stages of this work. I feel the most sincere admiration for each of them. I want likewise to express my gratitude to Dr. Francisco Alonso Almeida (Universidad de Las Palmas) for his precious seminar on editing, as well as to Dr. Julia Fernández Cuesta for her clarifying comments on Early Modern English. A great thank you goes to Dr. María Jesús Pérez Jáuregui and Antonio Roso Ponce for their help. Ana Luisa Martín Bejarano’s assistance with administrative procedures, form-fillings and deadlines has also proved invaluable to me: her always warm attention allowed me to focus 3 exclusively on writing and researching, and I can only thank her deeply. I cannot fail to mention the librarians and their managers at the Biblioteca de Literatura Inglesa, Lengua Inglesa y Literatura Hispánica for their assistance and constant understanding. I would like to sincerely thank my parents and siblings, who have persistently supported me and my academic work as far as I remember. Their encouragement and pride in our achievements have always been an enormous motivation for me. My hometown, Cazalla de la Sierra, always occupies a place in my memory; may this dissertation be a humble tribute to it and its people. The warmest appreciation goes to Pilar Roig and Antonio Cobo, who have likewise been a continuous source of support and affection since I first met them. I am certain that Antonio will be most proud of me on this day. The next words of gratitude are for Pilar, my friend and wife, who has been generously by my side since the beginning of this project. I profoundly admire her courage in facing life and her optimism, which served as inspiration for me in this and other endeavours. She never ceased to believe in me, and I will never forget her endless determination in pushing me forward when I needed it most. I could not have had better support than her tender words and her patience through the bad times, and her smile through the good ones. I am truly more than indebted to Pilar, the most generous person I have ever met. With my deepest love, this work and all it represent is for her. Our son Guillermo’s life has symbolically run parallel to this dissertation, and despite his young age, he has already heard about William Mountfort. This dissertation is for him, too; I hope he can read it some day and enjoy it as much as his father did. 4 Abbreviations act. active adj. adjective adv. adverb b. born bap. baptised BBTI The British Book Trade Index c. century ca. circa Canting Crew B.E. A New Dictionary … of the Canting Crew colloq. colloquial(ly) d. deceased D1 Greenwich Park , first duodecimo edition (1710) D2 Greenwich Park , second duodecimo edition (1720) EBBA Fumerton et al ., English Broadside Ballad Archive EME Early Modern English ellipt. elliptical(ly) fig. figurative(ly) fl. flourished gen. general(ly) hist. historical l. line Lat. Latin LE Weinreb & Hibbert, The London Encyclopedia LS Van Lennep, The London Stage, Part 1: 1660-1700. n. noun n.p. no page OED Oxford English Dictionary p. page pl. plural prob. probably publ. published Q Greenwich Park , quarto edition (1691) RTSA Butler, et al., Restoration Theatre Song Archive spec. specifically v. verb 5 6 A Note on Citations When a play is cited in the text, the year of performance followed by that of publication has been added within parentheses, unless both dates coincide. For the rest of the texts, the date given is that of publication. Titles of plays have been modernised, except when they appear as part of a quotation. Quotations from plays are followed by reference to act, scene and line number/s within brackets, separated by dots (e.g., 2.4.26-29). When there is no line numbering, the page number has been added to the reference (e.g., 2.4, p.41). In the case of multi-volume works, number of volume precedes the reference to act, scene and page/line number (e.g. 1: 2.4, p.41). Prefaces, dedications, prologues and epilogues are cited only by page number. Quotations from critical texts are referenced by page number.
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