A CRITICAL EDITION OF FOUR ENTERTAINMENTS.BY THOMAS MIDDLETON FOR THE DRAPERS'' COMPANY: THE SUNNE IN ARIES (1621), THE TRIUMPHS OF INTEGRITY (1623), THE TRIUMPHS OF HEALTH AND PROSPERITY (1626), AND AN INVENTION PERFORMED FOR...EDWARD BARKHAM (1622) by CHRISTINA J. BURRIDGE B.A., University of Leicester, 1972 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September 1978 ^ Christina J. Burridge 1978 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ENGL ISH The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 9 October 1978 i i ABSTRACT This thesis presents a critical old-spelling edition of Thomas Middleton's three: Lord Mayor's Shows for the Drapers' Company, The Sunne in Aries (1621), The Triumphs of Integrity (1623), The Triumphs of Health and Prosperity (1626), and the related An Invention (1622) for the Draper Lord Mayor, Edward Barkham. The general introduction to the edition sets these four pieces in the tradition of London civic pageantry. It discusses the history, nature, and organization of the Lord Mayor's Show and its social and political, as well as dramatic, context, concentra• ting particularly on the extent to which such shows can be said to re• present the growing political independence of London. The importance, often: underestimated, of the civic work to Middleton's career is demon• strated, and his contribution to the form summarized. The critical intro• duction to each text provides a detailed analysis of the entertainment, drawing on material in the Drapers' Company archives to examine the re• lationship between Company, dramatist, and others involved in the Show. Problems of production are accorded a special importance. The critical notes following each text explain specific references, relate images, ideas, and techniques to other works by Middleton and his contemporaries, and gloss difficult passages. The texts themselves have been edited in accordance with the princi• ples formulated by Sir Walter Greg, R. B. McKerrow, and Fredson Bowers. Each text is accompanied by: a textual introduction discussing the text and its copy, printing-house procedures, and any bibliographical problems i i i arising from this; a list of substantive changes; a textual commentary discussing such alterations, refusals to emend, textual cruces, etc.; a list of press-variants; a list of emended accidentals. A statement of editorial procedures follows the general introduction. An Invention is in MS and has therefore been treated more conservatively. The textual in• troduction outlines the history and state of the MS and the modifications of procedure followed. Appendix I is a brief consideration of the printing of Lord Mayor's Shows. Appendix II consists of extracts from the Drapers' Company re• cords relating to Middleton and the Shows he wrote for the Company. iv TABLE OF CONTENTS Page Abstract ii Table of Contents iv List of Figures vi Preface vii INTRODUCTION 1 I. 29 October: The Lord Mayor's Show 1 II. The Genesis of the Lord Mayor's Show: the Procession of October 29, the Midsummer Watch, and the Royal Entry 7 III. The Development of the Lord Mayor's Show 16 IV. The Lord Mayor's Show and Drama 18 V. Audience 23 VI. The Lord Mayor's Show and its Authors 25 VII. Devices, Machines, and Stages 29 VIII. Actors 46 IX. Finances and Organization : 48 X. The Political Context of the Lord Mayor's Show ... 59 XI. The Drapers' Company in the Early Seventeenth Century 66 XII. The Company and the Drama 68 XIII. "The Politics of Spectacle" 70 XIV. Middleton and Civic Pageantry 74 • Notes 86 EDITORIAL PROCEDURES 100 THE SUNNE IN ARIES 104 Critical Introduction 106 Textual Introduction 128 Text 135 Textual Apparatus 148 Critical Notes 152 Notes 168 Page THE TRIUMPHS OF INTEGRITY 172 Critical Introduction 173 Textual Introduction 189 Text 196 Textual Apparatus 209 Critical Notes 212 Notes 221 THE TRIUMPHS OF HEALTH AND PROSPERITY 224 Critical Introduction 225 Textual Introduction 238 Text 243 Textual Apparatus 253 Critical Notes 256 Notes 267 AN INVENTION 269 Critical Introduction 270 Textual Introduction 276 Text 282 Textual Apparatus 287 Critical Notes 291 Notes 293 SELECTED REFERENCES 295 APPENDIX I." 308 APPENDIX II 312 vi LIST OF FIGURES Page I. Plan of London showing the traditional route of the Lord Mayor's Show 5 II. Chrysanaleia: The Fishing Busse 36 III. Chrysanaleia: The King of the Moors 37 IV. Chrysanaleia: Merman and Mermaid 38 V. Chrysanaleia: The Chariot of Richard II 39 VI. Londons Tempe: The Chariot of Oceanus, Tethys on a sea-lion, an Indian boy on an ostrich 40 VII. Londons Tempe: The Lemnian Forge, the Field of Happiness, and the Palace of Apollo 41 VIII. A Greenman; from John Bate, The Mysteries of Nature and Art 57 IX. Title-page of The Sunne in Aries, Huntington Library copy 104 X. Title-page of The Sunne in Aries, National Library of Scotland copy (slightly enlarged) 105 XI. La Serre's engraving of the entry of Marie de Medicis (1638), showing the Cheapside Cross and the new Standard 122 XII. Title-page of The Triumphs of Integrity, Huntington Library copy 172 XIII. Title-page of The Triumphs of Health and Prosperity, Huntington Library.copy 224 XIV. Two pages of the Crane MS of An Invention 269 XV. Edward Barkham's crest 281 vii PREFACE Middleton's entertainments for the Drapers' Company form a small part of the civic pageantry of Renaissance London. By the early seventeenth- century the most significant of these public displays was the Lord Mayor's Show, a complex event whose development owed much to thft various medieval and Tudor ridings and entertainments, especially the Mayor's inaugural procession on 29 October, the Midsummer Watch, and the Royal Entry. The introduction to this dissertation concentrates on the historical, social, and political, as well as the dramatic context of civic entertainments in general and Middleton's for the Drapers in particular. Detailed analysis of these latter works is reserved for the introduction to the individual pieces, The Sunne in Aries (1621), The Triumphs of Integrity (1623), The Triumphs of Health and Prosperity (1626), and An Invention performed for... Edward Barkham (1622). Except for these four entertainments, all quotations from the works of Middleton are from A. H. Builen's edition (London, 1885); these have been checked against the original texts. I have substituted the modern use of 1/JL and u/v_ in quotations from Middleton's contemporaries and have expanded all MS contractions and abbreviations in the extracts from Company records quoted in the introduction, but have otherwise retained the spelling and punctuation of the originals. Those entries from the Drapers' Company records relating to Middleton's work for the Company are tran• scribed, according to Malone Society procedures, in the Appendix. v i i i I am greatly indebted to the Drapers' Company for its generosity in financing much of my graduate work and for permission to use its archives and library during my research. In particular, I wish to thank the Company's Education Officer, Mr. Robert Brown, for his kindness in pro• viding me with copies of documents and for his constant interest in my project. My thanks are due also to my advisor, Professor Joel H. Kaplan, whose help and encouragement at all stages have contributed greatly to the final result. Lastly, I wish to acknowledge the assistance of Pro• fessor S. K. Heninger, Jr. and Mr. Roy Stokes in checking information and offering advice. INTRODUCTION Search all chronicles, histories, records, in what language or letter soever; let the inquisitive man waste the dear treasures of his time and eyesight, he shall conclude his life only in this certainty, that there is no subject upon earth received into the place of his government with the like state and magnificence as is the Lord Mayor of the city of London. Thomas Middleton The flamboyant hyperbole of Middleton's claim reminds us that the Lord Mayor's Show reached its zenith in the thirty-five years from 1605- 39, a period corresponding approximately to the growth of London's consciousness of itself as a metropolis, a centre of political, financial, and cultural life, able to compete with any in Europe. The unparalleled magnificence of the Show became a visible symbol of London's prosperity and effective government; as another writer of the Show, Thomas Dekker, explained: "London in Forraine Countries is called the Queene of Cities, and the Queene-mother over her owne....As thus in State, shee her selfe is Glorious; so have all our Kings held it fit to make her chiefe Ruler eminent, and answerable to her greatnesse. I. 29 October : The Lord Mayor's Show The. Lord Mayor's Show was, from its inception, the major public manifestation of this "greatnesse." Designed to celebrate the formal inauguration of the Lord Mayor on 29 October, it was organized and paid for by the City Company to which the new Lord Mayor belonged. As the Haberdashers' Court of Assistants expressed it succinctly in 1586, its 2 2 function was "the honor of the Citie & worshipp of this Company." To this, all else was subordinate.