THE PENITENTIAL PSALMS IN SIXTEENTH-CENTURY ENGLAND : BODIES AND TEXTS Katherine Cooper Wyma A Thesis Submitted for the Degree of PhD at the University of St Andrews 2013 Full metadata for this thesis is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this thesis: http://hdl.handle.net/10023/3579 This item is protected by original copyright This item is licensed under a Creative Commons Licence THE PENITENTIAL PSALMS IN SIXTEENTH-CENTURY ENGLAND: BODIES AND TEXTS by Katherine Cooper Wyma Submitted for the degree of Doctorate of Philosophy University of St. Andrews 1 February 2013 The Penitential Psalms ii ABSTRACT At the center of this thesis are seven psalms, commonly known as the Penitential Psalms. The Penitential Psalms were often used in connection to corporeal expressions of the sacrament, and though sacramental practices changed, they retained this association, and even became a catalyst for literary change and experimentation. In this thesis, I will show how these psalms were connected to the sacrament of penance throughout the medieval period, and well into the religiously tumultuous sixteenth century. This thesis explores four texts that take up the Penitential Psalms, adapting, refashioning, and reappropriating them to be used in different ways. The Introduction outlines the history of the Penitential Psalms and their interconnectedness with sacramental theology and practice; it further establishes the cultural and theoretical context within which the four examined texts must be considered. These sacramental ties with the Penitential Psalms are not found only in theological writings, but they also infused lay practice and experience, as I will show in Chapter One, where I examine the staunchly Protestant Actes and Monuments by John Foxe. Additionally, I argue that Foxe’s accounts of Marian martyrs point to Psalm 51 both as a text of protest and memorialization. Chapter Two then moves to Sir Thomas Wyatt’s A Paraphrase of the Penitential Psalms; there I examine the presence of the male body within the work, placing the text within the setting of a visual history that illustrates David’s illicit desire for Bathsheba. With this tradition in mind, I examine trajectories of ocularity within the narrative, tracing the redirection of sexual desire. Anne Lock’s Meditation of a Pentient Sinner is the center of Chapter Three. Meditation, when considered in relation to the dedicatory epistle, reveals connections to the standardized The Penitential Psalms iii penitential process, and I argue that Lock presents a modified form of repentance to her reader. The final chapter looks at The Sidney Psalter’s Penitential Psalms, which reveal an incoherent view of the penitential body merging with the body of the dead war-hero, Philip. It is within this penitential affect that the penitent displays and partitions his or her own body slipping into an otherness predicated by sin. The Penitential Psalms iv I, Katherine Cooper Wyma hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2008 and as a candidate for the degree of Doctorate of Philosophy in English Literature in May 2009; the higher study for which this is a record was carried out in the University of St Andrews between 2008 and 2012. I, Katherine Cooper Wyma, received no assistance in the writing of this thesis. 1 February 2013 The Penitential Psalms v I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Doctorate of Philosophy in English Literature in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date Signature of supervisor In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. I have obtained any third-party copyright permission that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to all of printed copy but embargo of all of electronic publication of thesis for a period of five years on the following ground: publication would preclude future publication. 1 February 2013 Signature of supervisor The Penitential Psalms vi ACKNOWLEDGEMENTS This thesis was written in a grey town on the North Sea. At times I felt the surge of inspiration and at other times I could see nothing but vast expanses of abandoned shore. Here, finally, are my gathered words, which I hope may prove more substantial than a child’s castle of sand. For this completed project, I owe thanks to many, not least my parents, who first taught me the joy of reading. My thesis supervisor, Dr. Alex Davis, has been a source of constant encouragement, inspiration, and wisdom. His help and advice are a large reason why this thesis exists, and I can’t say thank you enough for his indespensible advice. To Dr. Charles Huttar who first suggested Anne Lock’s work to me, I owe many thanks. Dr. Susan Felch was also instrumental in her advice at the start of this exploration. Dr. Lorna Hutson was also a valuable resource in the planning of this thesis. The postgraduate community at 66 North St. offered a constant refuge from scholarly angst and research ennui. To my grandmothers, who both died whilst I was in Scotland, I say thank you for teaching me the joys of cooking, which helped me to stay sane when I had spent too many hours in my head. For Jo Whitely, Rachel Holmes, Toria Johnson, Jess DeSanta, Faith and Isaac Acker, and Dominic McNeill, I am grateful for the many cups of encouragement. Ravenel Richardson, you made my first year spectacular. Ashley King, your rambling voicemails got me through many days. Lisa Clifford, thank you for staying up with me when I needed it the most. Rebecca George, I love your laugh. John and Jannah Dennison, spending time with you both helped me to complete this project. Linda Hume, Carrie Reinhardt, Sara Schumacher, Tanya Walker, and Lori Kanitz, you are wonderful women and I am so glad to know you. Jesse and Casey Sharpe, I am proud to call you both friends. Kristine Johanson, you are the best sunflower a girl could know. Will and Alison Gray, thank you for getting me started and for helping me finish. Ginger Stelle, I will forever think of you when I hear Joss Whedon’s, “Grr, argh.” Claire McLoughlin, thanks for teaching me about shortbread tins. Elisabeth Tapscott, we started together and are finishing together: here’s to many more times of discussion, laughter, and plates of cookies. Thank you my Jonathan. The words “soul mate” and “best friend” are used too often, but when used to describe you, they are true. Though you came along in the last stretch, without you, this thesis would not be the same. You have read every word of this thesis and have been my constant cheerleader, coach, and sideman. I know our life together will produce many more words. I love you. And one final thanks, to Frank Warren and the Post Secret project, which is what got me thinking about the need to speak secret sins. all shall be well The Penitential Psalms vii A NOTE ON THE TEXT In line with contemporary scholarly practice, I have modernized spelling in the following cases only: i/j, v/u and the long s. I have silently expanded contractions, except in the case of names in John Foxe’s Actes and Monuments. I have retained Foxe’s name abbreviations in order to present the text in a more authentic way. The Penitential Psalms viii ABBREVIATIONS LW Luther, Martin. Luther's Works. Edited by Jaroslav Pelikan and Helmut T. Lehmann. 55 vols. St Louis, MO: Concordia Publishing House and Philadelphia: Fortress Press, 1958-1986. TRP Tudor Royal Proclamations. Edited by P. L. Hughes and J. F. Larkin. 3 vols. New Haven, CT: Yale University Press, 1964, 1969. DNB Oxford Dictionary of National Biography. http://www. oxforddnb.com ELR English Literary Renaissance. The Penitential Psalms ix TABLE OF CONTENTS ABSTRACT ii DECLARATION PAGES iii ACKNOWLEDGEMENTS v A NOTE ON THE TEXT vi ABBREVIATIONS vii INTRODUCTION 1 CHAPTER I: MOMENTS OF OCULARITY AND MALE EROTICISM IN THOMAS 37 WYATT'S A PARAPHRASE ON THE PENITENTIAL PSALMS CHAPTER II: THE MISERERE WRITTEN IN ASHES AND INK: THE PRESENCE OF 91 PSALM 51 IN JOHN FOXE'S ACTES AND MONUMENTS CHAPTER III: MEDICINE, SOUL-SICKNESS, AND REPENTANCE IN ANNE 149 VAUGHAN LOCK’S A MEDITATION OF A PENITENT SINNER, UPON THE 51 PSALM CHAPTER IV: DRESSING THE BODY PENITENT IN THE SIDNEY PSALTER 205 CONCLUSION 274 BIBLIOGRAPHY 277 INTRODUCTION THE PSALMS AT THE INTERSECTION OF RELIGIOUS CHANGE On a late November day in 1530, several men were forced to process through the crowded streets of London.