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A Queer Social History of Fishwives in Early Modern London

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A Queer Social History of Fishwives in Early Modern London ‘[T]heir Tales are sweet’: a queer social history of fishwives in early modern London. Rose Angelica Hadshar MA by research University of York History December 2016 How is it that no one will believe that the whale swallowed Jonah when every day Jonah is swallowing the whale? I can see them now, stuffing down the fishiest of fish tales, and why? Because it is history. Knowing what to believe had its advantages. It built an empire and kept people where they belonged, in the bright realm of the wallet . .1 Near London Bridge, where the river had frozen to a depth of some twenty fathoms, a wrecked wherry boat was plainly visible, lying on the bed of the river where it had sunk last autumn, overladen with apples. The old bumboat woman, who was carrying her fruit to market on the Surrey side, sat there in her plaids and farthingales with her lap full of apples, for all the world as if she were about to serve a customer, though a certain blueness about the lips hinted the truth.2 1 Jeanette Winterson, Oranges Are Not the Only Fruit., 2nd ed. (London: Vintage, 2001), 91–2; originally published in 1985. 2 Virginia Woolf, Orlando: A Biography (London: Granada Publishing, 1977), 23. 2 Abstract The history of fishwives has been studied from archival and from literary sources, but rarely have both bodies of evidence been analysed side by side. This thesis uses a wide range of contemporary sources, especially manuscript records and pamphlets, to refine the history of fishwives in and around London between roughly 1580 and 1630. First, this thesis argues that the term fishwife referred to a wide range of actors and practices. This significantly complicates our approach to the history of fishwives. Secondly, the thesis applies the insights of queer history to the case of fishwives, and argues that fishwives were seen as sexually non-normative. This shows that the queer dynamics that have been demonstrated in relation to elite and literary subjects also operated at lower social levels, though in different ways. Thirdly, the thesis situates the history of fishwives in relation to political culture, and argues that fishwives were conceived as part of and practically contributed to a national body politic. This thesis thus makes two key contributions. Substantively, fishwives are demonstrated to have been a more diverse and complicated group than has been realised. Methodologically, queer theory is shown to be useful to social historians, as it helps to illuminate the lives of working women. 3 List of Contents Abstract ................................................................................................................................ 3 List of Contents .................................................................................................................... 4 List of Illustrations ............................................................................................................... 6 Acknowledgements .............................................................................................................. 7 Author’s Declaration............................................................................................................ 8 Introduction: Fishing for trouble.......................................................................................... 9 Chapter 1: The meaning of the word ‘fishwife’ ................................................................ 18 Introduction: Women and work ..................................................................................... 18 Section I: ‘They change every day almost’: kinds of fishwives .................................... 20 Section II: Naming fishwives ........................................................................................ 37 Section III: ‘[L]ewd and evyll disposed women’: collapsing distinctions .................... 44 Conclusion: ‘It depends’ ................................................................................................ 53 Chapter 2: Swimming against the stream: fishwives and queer sexuality ......................... 55 Introduction: Wayward (fish)wives ............................................................................... 55 Section I: ‘[W]ee will sleepe for company’: women loving women in Westward for Smelts ............................................................................................................................. 56 Section II: How queer(ly) London fishwives worked ................................................... 73 Conclusion ..................................................................................................................... 81 Chapter 3: Bodies politic: a queer-born nation? ................................................................ 83 Introduction .................................................................................................................... 83 Section I: Waging love in Westward for Smelts ............................................................ 85 Part a: Queer queens .................................................................................................. 86 Part b: The wager plot as a call to war ....................................................................... 95 Part c: A 1620s moment........................................................................................... 101 Conclusion to Section I ............................................................................................ 107 Section II: A different foreign/politics......................................................................... 108 Part a: ‘[W]holsome for mans bodye’: political fish/food ....................................... 109 Part b: The popular politics of London fishwives.................................................... 117 4 Conclusion to Section II ........................................................................................... 122 Conclusion: welling up and trickling down ................................................................. 122 Conclusion: She who smelt it ........................................................................................... 124 Appendix .......................................................................................................................... 127 List of Abbreviations ........................................................................................................ 129 Bibliography ..................................................................................................................... 130 Primary Sources ........................................................................................................... 130 Manuscript Sources .................................................................................................. 130 Printed Sources......................................................................................................... 131 Secondary Sources ....................................................................................................... 138 Books and Articles ................................................................................................... 138 Websites ................................................................................................................... 152 5 List of Illustrations Figure 1: New Fish Street in Hugh Alley’s Caveat (1598), fo. 10. ................................... 24 Figure 2: Wainefleet Oysters, Cries of London, late sixteenth-century woodcut. ............. 24 Figure 3: Shrimps and maids, Mayds in your smocks, late sixteenth-century engraving. 25 Figure 4: Haddock, sprats and cod; Mayds in your smocks, late sixteenth-century engraving. ........................................................................................................................................... 25 Figure 5: Billingsgate in Hugh Alley's Caveat (1598), fo. 9. ............................................ 39 Figure 6: Westward for Smelts (London, 1620). ................................................................ 51 Figure 7: Kinde Kit, frontispiece of Westward for Smelts (London, 1620)....................... 66 Figure 8: Elinor Rumming, frontispiece of John Skelton, Elynour Rummin (London, 1624). ........................................................................................................................................... 71 Figure 9: ‘one hundred and <threskore>’, LMA, Jor. 22, fo. 385v. .................................. 74 Figure 10: Fishwife tables, LMA, Jor. 22, fo. 385v. ......................................................... 75 Figure 11: A fishwife, frontispiece of Westward for Smelts (London, 1620). .................. 94 Figure 12: III.iii, Francesco Sansovino, Cento Novelle (Venice, 1566), fo. 53v. .............. 98 Figure 13: ‘she did unclothe her al naked’, Here begynneth a propre treatyse (London, 1560), Diii. ......................................................................................................................... 99 Figure 14: Hic Mulier and Haec Vir, frontispiece of Haec-Vir (London, 1620). ............ 101 Figure 15: Hats, frontispiece of Swetnam, the Woman-hater (London, 1620). ............... 103 Figure 16: Mistris Turner and Lady Pride, Mistris Turners Farewell (London, 1615). .. 105 Figure 17: The importance of fishing, A briefe note of the benefits that grow to this Realme (London, 1593). ............................................................................................................... 110 6 Acknowledgements
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