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University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE . NOTE: Some pages may have indistinct print. Filmed as received. University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyter's Green High Wycombe, Bucks, England HP10 8HR 78-1440 MACKAY, Helen Honeycutt, 1940- PASTORAL INFLUENCES ON ROBERT GREENE'S SOCIAL VIEWS IN HIS ROMANCES AND COMEDIES. The University of North Carolina at Greensboro, Ph.D., 1977 Literature, English Xerox University Microfilms r Ann Arbor, Michigan 48106 @ 1977 HELEN HONEYCUTT MACKAY ALL RIGHTS RESERVED PASTORAL INFLUENCES ON ROBERT GREENE'S SOCIAL VIEWS IN HIS ROMANCES AND COMEDIES by Helen H. Mackay A Dissertation Submitted to the Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 1977 Approved by Dissertation Adviser Al-PROVAL PAGE This dissertation has been approved by the following committee of the Faculty of the Graduate School at the University of North Carolina at Greensboro. Dissertation Adviser Committee Members 'd/fNU^ $2 £4/^^ „ , \T«<te 1% n?? ... Date of Acceptance by CommitteeH ii ABSTRACT MACKAY, HELEN HONEYCUTT. Pastoral Influences on Robert Greene's Social Views in His Romances and Comedies. (1977) Directed by: Dr. Christopher Spencer. Pp. 262. Robert .Greene, as a professional author and dramatist, was keenly attuned to audience expectations and to the literary trends of his day. One of the most notable of those trends in the 15&0'S was pastoral, which in England was not so much a genre but an idea which could be incor­ porated into virtually any other literary form. Furthermore, it was an idea which had intrinsic social Implications in that its main thrust usually involved the retreat of an aristocrat to the world of humble folk, especially shepherds. While there the nobles would associate with the shepherds, engaging in the same pastoral pursuits, and accepting a surprisingly equal social exchange. Most authors glibly accepted this as a pretty convention, often even giving it an allegorical thrust. Greene, however, seems to have been attracted to pastoral primarily because of this social leveling, because he used pastoral concepts and, later, forms, as a means of enabling nobles and commoners to mingle freely, and, in so doing, to demonstrate the nature of true nobility. This true, or innate, nobility he saw as independent of social class, as based only upon the "gifts of Nature"— beauty, virtue, and, most importantly, wit. Chapter I is concerned with the social frame of reference afforded Greene by the circumstances of his life, as well as by the social condition of England in his day. It also includes a brief examination of the pastoral mode as it came to Greene. Chapters II and III are devoted to sixteen of Greene's prose romances from Mamillia (15&3) through Never Too Late (1590), showing that almost all of them reflect pastoral ideas or motifs, and that such motifs may be correlated with the development of his social views. Through examin­ ing the romances in their chronological order of composition, these chapters postulate a curve beginning with social conservatism in the romances of 1583-87* moving to a more liberal outlook in 1588-89—the years in which he employed pastoral most fully—and finally settling back into a new conservatism in 1590-92, but now with the life of the common man at the center of his work. Chapters IV and V examine Greene's five comedies, Alphonsus of Aragon, Orlando Furioso, Friar Bacon and Friar Bungay, A Looking Glasse for London and England, and James IV, as well as a generally-accepted attributed play, George (a Greene. By fitting the comedies into the framework previously established for the prose, these chapters show that pastoral motifs and social ideas follow the same pattern of correla­ tion as that of the prose. Chapter VI concludes that Greene was very much a child of his age in his acceptance of its social hierarchy. His major divergence from conservative social views lay in his regard for the commoner as worthy of dignified literary treatment. ACKNOWLEDGMENT S My sincere appreciation goes to each of the five members of ray committee for tbeir support and assistance in too many ways to mention. I am particularly indebted to Dr. James Wimsatt and Dr. Russell Planck for their help with matters of literary tradition and history. Dr. Christopher Spencer, my adviser for this disser­ tation, deserves more gratitude than I can express for his encouragement, constructive suggestions, promptness in returning material, and especially for his willing listening ear. iii TABLE OP CONTENTS Page APPROVAL PAGE ii ACKNOWLEDGMENT S iii CHAPTER I. ROBERT GREENE AND HIS SOCIAL MILIEU 1 Greene's Life ............... 7 Class Structure in Elizabethan England ... 26 The Pastoral Tradition 38 II. PASTORAL AND SOCIAL ELEMENTS IN THE ROMANCES OF 1583 - 1587 56 Mamillia 61+ The Myrrour of Modestie 72 Gwydonius 73 ArpastoTnd Morando . 80 Farewell to Follie 8I4. Penelopes Web and Euphues His Censure ... 89 III. PASTORAL AND SOCIAL ELEMENTS IN THE ROMANCES OP 1588 - 1590 93 Perimides the B1aeke-Smith 9U Pandosto 163 Orpharion and Aleida ............ 110 CiceronTs Amor . 111 Menaphon ............. 117 Never Too Late, I and II 129 IV. PASTORAL AND SOCIAL ELEMENTS IN ALPHONSUS OP ARAGON, ORLANDO FURIOSO, AND FRIAR BACON AND FRIAR BUNGAY . 138 Alphonsus, King of Aragon ......... 11+5 OriandoTurioso .............. 156 Friar Bacon and Friar Bungay ........ 170 V. PASTORAL AND SOCIAL ELEMENTS IN A LOOKING GLASSE, JAMES IV, AND GEORGE A GREENE . 200 A Looking Glasse for London and England . 201 The Scottish History of James IV ...... 212 George A Greene, the Tinner ofHfakefield . 236 i? CHAPTER Pag© VI. CONCLUSION 2I4.7 BIBLIOGRAPHY- 255 v 1 CHAPTER I ROBERT GREENE AND HIS SOCIAL MILIEU During the past one hundred years of scholarship on the works of Robert Greene, a few critics from time to time have spoken of the democratic tone of his social views# As early as 1878* his Russian biographer Nicholas Storojenko spoke of the "democratic tendency" which he saw in Greene's Quip for an Upstart Courtier, and which he felt constituted its main departure from its source, the poem "Debate Between Pride and Lowliness." Where, for instance, shall we find in the poem that love for the working-classes which Greene shows, and the fine indignation against their oppressors which he expresses? The democratic tendency which flows through the whole of Greene's pamphlet throws a new light on several of the characters and episodes.' In 1968, David Bevington explored apparent democratic feeling in Friar Bacon and Friar Bungay and George A Greene, saying for example: "George inveighs not only against violation of property rights, but against the very concept of degree. He acknowledges two ranks of society, kings and non-kings. 1Nicholas Storojenko, Robert Greene: His Life and Works: A Critical Investigation, trans. E. A. Brayley Hodgetts (Moscow: n.p., 1070J, in The Life and Complete Works in Prose and Verse of Robert Greene, M. A.,' eel. Alexander B. Grosart -1BB6; rpt. New York: Russell, 1961+), I, lij.3. ^David Bevington, Tudor Drama and Politics: A Critical Approach to Topical Meaning (Cambridge: Harvard Univ. Press, 19otJ), p. 226. 2 Such statements, however, have usually come in the form of undeveloped assertions, and with regard to only one or two works. No one has explored Greene's social ideas on the basis of his complete corpus. This study attempts to fill this gap by examining Greene's works in their chronological order of composition, as nearly as it can be determined. The journalistic and hortative nature of the coney-catching and repentance tracts of his last two years makes them unfruitful sources for social examination; therefore I have largely omitted them, as well as such experiments as The Royal Exchange and The Spanish Masquerado. On the basis then primarily of his prose romances and his dramas, the social pattern which develops may be pictured as a curve, beginning with conservatism in 1583-8? seen in a respectful fascination with the aristocracy, moving at approximately the mid-point of his career in 1588-89 to a greater degree of liberalism, and finally hardening back into conservatism from 1590-92 but now with the life of the common man as its center.
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