Rhetoric, gender, and property in English Renaissance anatom ical and topographical poetry

377 Pages·2013·14.65 MB·English

Order Number 9S077TS
Rhetoric, gender, and property in English Renaissance
anatomical and topographical poetry
Hinckley, Catherine Chopp, Ph.D.
The Ohio State University, 1992
U MI
300 N. Zeeb Rd.
Ann Aitoor, MI 48106
RHETORIC, GENDER, AND PROPERTY IN
ENGLISH RENAISSANCE ANATOMICAL AND TOPOGRAPHICAL POETRY
DISSERTATION
Presented in Partial Fulfillment of the Requirements for
the Degree Doctor of Philosophy in the
Graduate School of The Ohio State University
By
Catherine Chopp Hinckley, B.A., M.A.
* * * * *
The Ohio State University
1992
Dissertation Committee: Approved by
David 0. Frantz
Phoebe S. Spinrad
Adviser
Christian K. Zacher Department of E|
For Jim
"You frame my thoughts and fashion me within
You stop my tongue, and teach my heart to speak"
ii
ACKNOWLEDGEMENTS
I am grateful to the following sources for the illustrations in
my dissertation. The Armada portrait (Plate I) and the frontispiece
to De Sphaera Civitatis (Plate II) are from The Riverside
Shakespeare. ed. G. Blakemore Evans (Boston: Houghton Mifflin,
1974). The Ditchley portrait (Plate III) and the Sieve portrait
(Plate XVI) are from Elizabeth I by Anne Somerset (New York: Alfred
A. Knopf, 1991). The April eclogue woodcut in Spenser's Shepheardes
Calender (Plate IV) is from Renaissance England: Poetry and Prose
from the Reformation to the Restoration, eds. Roy Lamson and Hallett
Smith (New York: Norton, 1956). Bunting's map of Europe (Plate V)
and the "Het Spaens Europa" map (Plate VI) are from The Discovery of
the World: Maps of the Earth and the Cosmos by Elizabeth Hale
(Chicago: U of Chicago P. 1985). The map "Aspecto Symbolico del
Mundo Hispanico" (Plate VII) is from Cartographical Curiosities by
Gillian Hill (London: British Museum Publications, Ltd., 1978). The
frontispiece to Poly-Olbion (Plate XIV) is from Representing the
Enalish Renaissance, ed. Stephen Greenblatt (Berkeley, Los Angeles,
and London: U of California P, 1988). The frontispiece to "Hymne" by
George de la Mothe (Plate XV) is taken from The Cult of Elizabeth:
Elizabethan Portraiture and Pageantry by Roy Strong (London: Thames
and Hudson, 1977). The above illustrations were xeroxed from those
texts without permission of the publishers, as I was instructed to do
by University Microfilms.
I have requested and am waiting for permission to use the
following engravings from The New Golden Land: European Images of
America from the Discoveries to the Present Time by Hugh Honour (New
York: Pantheon, 1975): "America" by Etienne Delaune, (Plate VIII);
"America" by Philippe Galle (Plate IX); "America" by Jan Sadeler
(Plate X); "Vespucci 'Discovering' America by Theodor Galle;
"America" by Crispi jn de Passe (Plate XII)and "America" by Maarten
de Vos (Plate XIII).
I would like to thank Dr. David 0. Frantz for directing my
dissertation and for his support of my project over the years and the
miles. I also owe thanks to Drs. Christian K. Zacher and Phoebe S.
Spinrad for their careful reading of the many drafts of the
dissertation. I am especially grateful to my Loyola Marymount
University colleague Dr. Rebecca Rumbo for her good humor and
encouragement when the project seemed impossible to finish.
I am deeply indebted to all the members of the Chopp and Hinckley
families for always believing in me. My greatest debt is to my
husband for his love, patience, and sense of humor. Jim, thank you
for helping me to persevere.
iv
VITA
February 16, 1962 ....................Bom - Berwyn, Illinois
1984 .............................. .. B.A., English. University of
Notre Dame. Notre Dame,
Indiana
1984-1987, 1988-1989..................Graduate Teaching Associate
in English, The Ohio State
University, Columbus, Ohio
1986 ................................ M.A., English, The Ohio
State University. Columbus,
Ohio
1987-1988 ............................ Graduate Administrative
Associate. Center for
Medieval and Renaissance
Studies, The Ohio State
University, Columbus, Ohio
1989-1992 ............................ Visiting Instructor in
English, Loyola Marymount
University, Los Angeles,
California
FIELD OF STUDY
Major Field: English
v
TABLE OF CONTENTS
DEDICATION................................................... ii
ACKNOWLEDGEMENTS............................................. iii
V I T A ......................................................... v
LIST OF PLATES.................................................viii
INTRODUCTION................................................. 1
Notes.............................................. 8
CHAPTER PAGE
I. "THE BLAZON OF SWEET BEAUTY’S BEST" IN RENAISSANCE
ANATOMICAL AND TOPOGRAPHICAL POETRY...................... 10
The Poetic Blazon in Anatomical Poetry.............. 16
The Poetic Blazon in Country-House Poetry.......... 49
The Heraldic Blazon in Country-House Poetry........ 82
The Heraldic Blazon in Anatomical Poetry .......... 99
Notes.............................................. 109
II. "THINGS GREATER ARE IN LESS CONTAINED": WOMAN AS MICROCOSM
OF THE WORLD........................................... 116
The Female Body as Cosmos.......................... 119
The Female Body as Body Politic.................... 137
The Female Body as Architecture .................... 150
The Female Body as L a n d ............................ 172
Notes.............................................. 219
III. "O MY AMERICA, MY NEW POUND LAND": DOCUMENTS OF EXPLORATION
AND COLONIZATION OF A FEMALE NEW WORLD................... 226
English Imperial ism and the Hakluyt Collections . . . . 229
The New World as Mother, Virgin, and Mistress.......... 237
The Female Land as Object of the Male G a z e ............ 256
Notes...................................................279
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IV. "DISCRIPTION OF THE . . . EARTH, WITH HER PARTES KNOWEN":
SURVEYING AND MAPPING THE FEMALE L A N D ......................285
Renaissance Anatomical Cartography...................... 285
A Female America in Renaissance Cartographic Decoration
and Art..................................................288
Mapping England: Queen Elizabeth's B o d y ................. 293
Science and Metaphor: Renaissance Cartography and
Surveying................................................301
Notes....................................................318
CONCLUSION........................................................324
APPENDICES
A. Excursus: Woman as Property in Renaissance England . . . 330
Notes ..................................................346
B......... Plates..............................................350
BIBLIOGRAPHY 367
LIST OF PLATES
PLATE PAGE
I. The Armada portrait of Queen Elizabeth I. c. 1500.
By George Gower.............................. 351
II. Frontispiece to John Case's De Sphaera Civitatis.
1588 .............................................. 352
III. The Ditchley portrait of Queen Elizabeth I,
c. 1592. By Marcus Gheeraerts the Younger. . . . 353
IV. Woodcut accompanying the April eclogue in Edmund
Spenser's The Shepheardes Calender. 1579..... 354
V. Map of Europe in the form of a virgin from Heinrich
Bunting's Itinerarium Sacrae Scripturae. 1581. . . 355
VI. Map of "Het Spaens Europa." or Europe in the form
of a queen. 1598. Artist unknown............ 356
VII. Map of Spanish Empire as a queen. Aspecto Symbol ico
del Mundo Hispanico. 1761. By Vicente de Memije. . 357
VIII. "America," 1575. Engraving by Etienne Delaune. . . 358
IX. "America," 1581-1600. Engraving by Philippe Galle. 359
X. "America," 1581. Engraving by Jan Sadeler.
after a drawing by Dirk Barendsz............. 360
XI. "Vespucci ’Discovering' America," late sixteenth
century. Engraving by Theodor Galle, after a drawing
by Stradanus {Jan van der Street)............ 361
XII. "America," early seventeenth century. Engraving by
Crispijn de Passe............................ 362
XIII. "America," 1594. Drawing by Maarten de Vos. . . . 363
viii
LIST OF PLATES (continued)
PLATE PAGE
XIV. Frontispiece to Michael Drayton's Poly-Olbion.
1612................................................. 364
XV. Title-page to George de la Mothe's Hymne to
Elizabeth I. 1584.................................... 365
XVI. The Sieve portrait of Queen Elizabeth I,
c. 1579. By Massys the Younger...................... 366
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