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SPECTACLE in EARLY MODERN ENGLISH DRAMA Meg F. Pearson

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SPECTACLE in EARLY MODERN ENGLISH DRAMA Meg F. Pearson ABSTRACT Title of Dissertation: SPECTACLE IN EARLY MODERN ENGLISH DRAMA Meg F. Pearson, Doctor of Philosophy, 2006 Dissertation directed by: Professor Theodore B. Leinwand, Department of English The early modern English theater abounds with sights that were prepared, designed, and built to be seen. Playwrights conjured evocative and terrifying spectacles for their productions on the London stages between 1576 and the early 1640s, and publishers preserved those moments in printed plays with stage directions. Early modern play scripts call for flayed skins, arrows shot through hearts, tritons in flowing rivers, Zeus's thunderbolts, fiery hellmouths, brazen heads that speak, vengeful ghosts, bridled kings, cannibalistic feasts, enlivened statues, hungry bears, sea battles, naked puppets, vomiting wives, cursing monsters, and the hand of God. Determining how these spectacles operate is the purpose of this dissertation. I argue that spectacle--the hypervisual shows demanded by playwrights in stage directions and dialogue cues--is a fundamental tool of early modern dramatists. In the hands of certain playwrights, spectacle defamiliarizes the known world, making it strange and evocative in order to guide the audience to re-imagine their understanding of such objects and events. Spectacles such as mythological figures, broken bodies, talking dogs, and military machines compel audiences to recognize but then reassess what those images signify. Each of the dissertation's four chapters focuses on a spectacle that is indicative of a larger pattern in dramatic literature. Chapter One, “Herculean Efforts: Spectacle of Rebellion," studies the liminal figure of Hercules in Thomas Heywood’s The Silver Age (1611), Jasper Heywood’s 1561 translation of Seneca’s Hercules Furens; and Thomas Heywood’s The Brazen Age (1613). Herculean spectacle suggests an unnerving connection between spectacular control and rule. The second chapter, "Spectacular Suffering: Edward II and Titus Andronicus," suggests that broken bodies on stage are more compelling when they do not adhere to the decorum that accompanied punishments on the scaffold. Chapter Three, "Bad Dog: Spectacle in The Witch of Edmonton," investigates the unsettling tension between morality and spectacularity that centers around Dog, a devilish talking canine in Thomas Dekker, Thomas Rowley, and John Ford’s 1621 true-crime drama. Finally, "Spectacular Collapse? Tamburlaine, Parts I and II," argues that Tamburlaine’s shows demonstrate the instability of spectacular power as they become increasingly illegible SPECTACLE IN EARLY MODERN ENGLISH DRAMA by Meg F. Pearson Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2006 Advisory Committee: Professor Theodore Leinwand, Chair Professor Kent Cartwright Professor Theresa Coletti Professor Maynard Mack, Jr. Professor Frank Hildy (Dean's Representative) ©Copyright by Meg F. Pearson 2006 ACKNOWLEDGEMENTS Many teachers have encouraged me over the years, and I owe them all thanks. I would especially like to thank the members of my advisory committee at the University of Maryland. Ted Leinwand, my director, has been unflagging in his support for this topic and unfailingly generous with his time. He has done everything in his power to make me a better writer and a stronger scholar. Kent Cartwright's propensity for difficult questions and enthusiasm for dramatic literature have made him a valuable reader and a wonderful counselor. I have enjoyed every conversation with him. Theresa Coletti illuminated the rich world of medieval drama in her classes, but her subtle wit and thoughtful advice lit the way for me throughout my graduate career at Maryland. I did not have the pleasure of knowing Sandy Mack until I was his teaching assistant, but his inspiring pedagogy and his insistence upon excellence quickly made him a cherished mentor. I am also very grateful for Frank Hildy's curiosity and insights throughout this project's development. The University of Maryland has been very good to me. In addition to my instructors, I have been supported, advised, and motivated by professors such as Gary Hamilton, Jane Donawerth, Bob Levine, and Kandice Chuh, to name only a few. I also owe great thanks to the Center for Renaissance & Baroque Studies, particularly to Adele Seeff and Karen Nelson, who have supported me in more ways than I can count. Finally, I would like to thank my excellent colleagues, especially Brandi Adams, Ray Bossert, Allyson Fetterhoff, and Erin Sadlack for all of their help with this project and for their friendship. ii My family's enthusiasm for my academic career has sustained me. My thanks to the McRaes and to the Wilsons for always taking an interest in my work. I could not have finished this dissertation at all without the indefatigable optimism of my aunt, Tina Sloan McPherson. My father Billy Pearson and my brother Will have always supported me unquestioningly. I dedicate this project and this degree to my family, especially to those who did not live to see its completion. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ii TABLE OF CONTENTS iv INTRODUCTION 1 CHAPTER 1 26 Herculean Efforts: Spectacle as Rebellion CHAPTER 2 74 Spectacular Suffering: Edward II and Titus Andronicus CHAPTER 3 123 Bad Dog: Spectacle in The Witch of Edmonton CHAPTER 4 166 Spectacular Collapse? Tamburlaine the Great, Parts I and II BIBLIOGRAPHY 215 iv INTRODUCTION "See heere my shew, look on this spectacle" Thomas Kyd, Spanish Tragedy (~1585-89) The early modern English theater abounds with sights that were prepared, designed, and built to be seen. Playwrights conjured evocative and terrifying spectacles for their productions on the London stages between 1576 and the early 1640s, and publishers preserved those moments in printed plays with stage directions. Their ubiquity indicates how significant spectacle was to the construction of plays. Early modern play scripts call for flayed skins, arrows shot through hearts, tritons in flowing rivers, Zeus's thunderbolts, fiery hellmouths, brazen heads that speak, vengeful ghosts, kings bridled to chariots, cannibalistic feasts, enlivened statues, hungry bears, sea battles, naked puppets, vomiting wives, cursing monsters, and the hand of God. Determining how these spectacles operate is the purpose of my dissertation. Over the course of four chapters, I will argue that spectacle--the hypervisual shows demanded by playwrights in stage directions and dialogue cues--is a fundamental tool of early modern dramatists. Playwrights employed spectacle to dazzle and move their spectators, but also to challenge them. In the hands of certain playwrights, spectacle defamiliarizes the known world, making it strange and evocative in order to guide the audience to re- imagine their understanding of objects and events. Spectacles such as mythological figures, broken bodies, talking dogs, and military machines compel audiences to recognize but then reassess what those images signify. In doing so, spectacle argues for a more theatrical understanding of these events. 1 In spite of its abundance, few critics have interpreted or analyzed theatrical spectacle from this period. Yet once we attend to spectacle, we may contextualize it within a theatrical and cultural tradition. First, the word "spectacle" itself--from the Latin specto, meaning 'to look at'--was a familiar one in the period.1 Renaissance poets, playwrights, and essayists used the word to describe objects worthy of admiration or contempt. Popular devotional literature of the period presented the "weighty spectacle" of the crucified Christ to encourage doleful contemplation. Poetry celebrated the inspirational power of spectacle, as when Ben Jonson reveled over the firing of armaments in "An Epigram. To William Earle of Newcastle": "This were a spectacle! A sight to draw / Wonder to Valour!" Plays, of course, were self-conscious about the term. When Hieronimo finds his son's body hung upon an arbor in The Spanish Tragedy, he asks, "But stay, what murdrous spectacle is this?" Marlowe's Tamburlaine barrages his enemies with one "bloody spectacle" after another until they submit. Spectacle infuses new life into a staged object or event by obliging the spectator to renegotiate his or her relationship with what is being seen. Drawing from "representational and rhetorical codes," codes that are literary, historical, or folkloric, playwrights can present the figure of Zeus, for example, and assume that the image is intelligible.2 What makes a moment spectacular is when a recognizable image--a classical character, regal pomp and splendor, a figure of myth or legend--appears on the boards of the early modern stage, and audiences are asked to negotiate the recognizable along with the unforeseen. The result, a show both familiar and strange, is a spectacle 1 Oxford English Dictionary, 2nd ed., s.v. "spectacle." 2 Karen-Edis Barzman, "Early Modern Spectacle and the Performance of Images," Perspectives on Early Modern and Modern Intellectual History: Essays in Honor of Nancy S. Struever, ed. Joseph Marino and Melinda W. Schlitt (Rochester, NY: U of Rochester P, 2000) 289. 2 that can be read multiple ways. Spectacle challenges the familiar, the normal, and indeed, the normalizing, by staging and changing events and objects. In the process, spectacle can redefine for the audience what they see before them. Consider as an example the decapitated heads found in so many plays. The heads of convicted criminals could be seen all over London, whether at the execution of a nobleman or atop the London Bridge. Those heads represent capital punishment; they are displayed as reminders that treason equals death. In the playhouses, heads function as a memento mori--The Famous History of Sir Thomas Wyatt and Thomas, Lord Cromwell both feature severed heads as evidence of execution3--but they can also suggest an uneasy triumph by representing the frightening other; or they may destabilize the meaning of decapitation altogether. In Macbeth, Macduff enters the final scene "with Macbeth's head" and uses the head to establish that Scotland's troubled times have ended.
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