Bibliographie
Astley, John, The Art of Riding, London, 1584.
Bach, Rebecca Ann, Birds and Other Creatures in Renaissance Literature: Shakespeare, Descartes, and Animal Studies, New York, Routledge, 2018.
Blundeville, Thomas, The Four Chiefest Offices Belonging to Horsemanship, London, 1566.
Boehrer, Bruce, Thomas, Animal Characters: Nonhuman Beings in Early Modern Literature, Philadelphia, University of Pennsylvania Press, 2010.
Boehrer, Bruce, “Shakespeare and the Social Devaluation of the Horse”, The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker, Basingstoke, Palgrave, 2005, p. 91-101.
Carnegie, David, John Webster: The Duchess of Malfi, The Shakespeare Handbooks, Basingstoke, Palgrave Macmillan, 2014.
Dessen, Alan C., and Leslie Thomson, A Dictionary of Stage Directions in English Drama 1580-1642, Cambridge, Cambridge University Press, 1999.
Edwards, Peter, Horse and Man in Early Modern England, London, Continuum, 2007.
Edwards, Peter, The Horse Trade of Tudor and Stuart England, Cambridge, Cambridge University Press, 1988.
Frost, Briony, “‘O’erwhelmed with Noise’: Sound-Houses and Sonic Experiments in Ben Jonson’s Epicene”, Shakespeare Bulletin, 35, 4, Winter 2017, p. 541-574.
Fudge, Erica, Brutal Reasoning: Animals, Rationality, and Humanity in Early Modern England, Ithaca, Cornell University Press, 2006.
Fudge, Erica, Perceiving Animals: Humans and Beasts in Early Modern English Culture, Basingstoke, Macmillan, and New York, St. Martin’s, 2000, rpt. Champaign, University of Illinois Press, 2002.
Greenberg, Marissa, “Revenge Tragedy”, A New Companion to Renaissance Drama, ed. Arthur F. Kinney and Thomas Warren Hopper, Hoboken, NJ, Wiley-Blackwell, 2017, p. 403-416.
Gurr, Andrew, Playgoing in Shakespeare’s London, 2nd ed., Cambridge, Cambridge University Press, 1996.
Keffer, Ken, “Riding Out the Renaissance with Montaigne”, Romance Notes 37, 1997, p. 339-345.
Leguin, Elisabeth, “Man and Horse in Harmony”, The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker, Basingstoke, Palgrave, 2005, p. 175-196.
Marlowe, Christopher, Tamburlaine the Great, ed. J. S. Cunningham and Eithne Henson, Revels Student Editions, Manchester, Manchester University Press, 1998.
Montaigne, Michel de, Essays, trans. John Florio, London, 1613.
Raber, Karen, Animal Bodies, Renaissance Culture, Philadelphia, University of Pennsylvania Press, 2013.
Robinson, Gavin, “The Military Value of Horses and the Social Value of the Horse in Early Modern England”, Horse as Cultural Icon: The Real and Symbolic Horse in the Early Modern World, ed. Peter Edwards, Karl A. E. Enenkel and Elspeth Graham, Intersections, Leiden and Boston, Brill, 2011, p. 351-376.
Rubinstein, Frankie, A Dictionary of Shakespeare’s Sexual Puns and Their Significance, 2nd ed., Basingstoke, Macmillan, 1989.
Shannon, Laurie, The Accommodated Animal: Cosmopolity in Shakespearean Locales, Chicago, The University of Chicago Press, 2013.
Shakespeare, William, Richard iii, ed. Thomas Cartelli, Norton Critical Edition, New York, Norton, 2009.
Sidney, Sir Philip, An Apology for Poetry (or The Defence of Poesy), ed. Geoffrey Shepherd, rev. and exp. R. W. Maslen, Manchester, Manchester University Press, 2002.
Smith, Bruce R., The Acoustic World of Early Modern England: Attending to the O-Factor, Chicago, The University of Chicago Press, 1999.
Smith, Bruce R., “Finding Your Footing in Shakespeare’s Verse”, The Oxford Handbook of Shakespeare’s Poetry, ed. Jonathan Post, Oxford, Oxford University Press, 2013, p. 323-339.
Smith, Emma, “Character in Shakespearean Tragedy”, The Oxford Handbook of Shakespearean Tragedy, ed. Michael Neill and David Schalkwyk, Oxford, Oxford University Press, 2016, p. 89-103.
Sullivan, Ceri, “A horse, a horse, my kingdom for a horse!”, Notes and Queries, 60, 3, 2013, p. 400-401, doi:10.1093/notesj/gjt118.
Thirsk, Joan, Horses in Early Modern England: For Service, for Pleasure, for Power, Reading, University of Reading, 1978.
Usher, Penelope Meyers, “‘I Do Understand Your Inside’: The Animal Beneath the Skin in Webster’s Duchess of Malfi”, Medieval and Renaissance Drama in England, 30, 2017, p. 105-125.
Watson, Robert N., “Horsemanship in Shakespeare’s Second Tetralogy”, English Literary Renaissance 13, 3, 1983, p. 274-300.
Webster, John, The Duchess of Malfi, ed. John Russell Brown, 2nd ed., The Revels Plays, Manchester, Manchester University Press, 2009.
Webster, John, The Duchess of Malfi, ed. Leah S. Marcus, Arden Early Modern Drama, London, Arden Shakespeare, 2009.
Webster, John, The Duchess of Malfi, ed. Michael Neill, Norton Critical Edition, New York, Norton, 2015.
Womack, Peter, “Off-Stage”, ed. Henry S. Turner, Oxford Twenty-First Century Approaches to Literature, Oxford, Oxford University Press, 2013, p. 71-92.
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Notes
John Webster, The Duchess of Malfi, ed. Michael Neill, Norton Critical Edition, New York, Norton, 2015. All in-text citations refer to this edition. All other early modern sources will be quoted with modernized spelling and punctuation.
Editors often identity Ferdinand’s line as an echo of Richard’s famous words, “A horse, a horse, my kingdom for a horse” in William Shakespeare’s Richard iii, ed. Thomas Cartelli, Norton Critical Edition, New York, Norton, 2009, v.iv.7. However, Ferdinand’s line more closely echoes “A horse, a horse, a fresh horse!” in anonymous, The True Tragedie of Richard the Third, ed. Cartelli, xviii.1. Both lines are dramatic inventions; see Ceri Sullivan, “A horse, a horse, my kingdom for a horse!”, Notes and Queries, 60, 3, 2013, p. 400-401, p. 400, doi:10.1093/notesj/gjt118.
Thomas Blundeville’s The Four Chiefest Offices Belonging to Horsemanship, London, 1566, recommends wet hay to treat convulsive muscles and sinews (p. 21r), inflammation of the throat (p. 45v), difficulty breathing with a cough (p. 47v), and “foundering behind”, or being wind-broken, for which a horse should eat “in winter wet hay, and in summer grass” (p. 91v). Such prescriptions were popularized by Gervase Markham, whose books of horsemanship were reprinted throughout the late sixteenth and seventeenth centuries.
If the dry cough that results from “some gross and tough humor” goes untreated, a horse may “break his wind altogether” (Blundeville, Four Chiefest, p. 46v).
I follow Neill in reading act i as one extended scene (J. Webster, The Duchess of Malfi, ed. M. Neill, p. 14n).
The work of Erica Fudge, “certainly the preeminent contemporary thinker about animals and animal-human relations in early modern England” (Rebecca Ann Bach, review of Brutal Reasoning: Animals, Rationality, and Humanity in Early Modern England by Erica Fudge, Shakespeare Quarterly, 58, 3, Autumn 2007, p. 402-404, p. 402), underlies this essay and much of the scholarship cited throughout. See Erica Fudge, Perceiving Animals: Humans and Beasts in Early Modern English Culture, Basingstoke, Macmillan, and New York, St. Martin’s, 2000, rpt. Champaign, University of Illinois Press, 2002, and Brutal Reasoning: Animals, Rationality, and Humanity in Early Modern England, Ithaca, Cornell University Press, 2006.
Eighty-six, according to Penelope Meyers Usher, “‘I Do Understand Your Inside’: The Animal Beneath the Skin in Webster’s Duchess of Malfi”, Medieval and Renaissance Drama in England, 30, 2017, p. 105-125, p. 105.
Inga-Stina Ewbank, “Webster’s Realism, or, ‘A Cunning Piece Wrought Perspective’”, John Webster, ed. Brian Morris, London, Ernest Benn, 1970, in J. Webster, The Duchess of Malfi, ed. Neill, p. 260, 262.
For a discussion of this critical history and an embodied approach to tragic character, see Emma Smith, “Character in Shakespearean Tragedy”, The Oxford Handbook of Shakespearean Tragedy, ed. Michael Neill and David Schalkwyk, Oxford, Oxford University Press, 2016, p. 89-103.
Laurie Shannon, The Accommodated Animal: Cosmopolity in Shakespearean Locales, Chicago, The University of Chicago Press, 2013, p. 1.
Karen Raber, Animal Bodies, Renaissance Culture, Philadelphia, University of Pennsylvania Press, 2013, p. 10.
Bruce Thomas Boehrer, Animal Characters: Nonhuman Beings in Early Modern Literature, Philadelphia, University of Pennsylvania Press, 2010, p. 17.
Joan Thirsk, Horses in Early Modern England: For Service, for Pleasure, for Power, Reading, University of Reading, 1978; Peter Edwards, The Horse Trade of Tudor and Stuart England, Cambridge, Cambridge University Press, 1988; Peter Edwards, Horse and Man in Early Modern England, London, Continuum, 2007.
Quoted in Andrew Gurr, Playgoing in Shakespeare’s London, 2nd ed, Cambridge, Cambridge University Press, 1996, p. 35. Citing Edward Howes’ 1631 additions to Stow’s Annales, Gurr also notes that the “ordinary use of caroches” began in 1605 (p. 266, n. 36).
Briony Frost, “‘O’erwhelmed with Noise’: Sound-Houses and Sonic Experiments in Ben Jonson’s Epicene”, Shakespeare Bulletin, 35, 4, Winter 2017, p. 541-574, p. 553. Frost talks about the Whitefriars but conditions in the Blackfriars were similar.
Here, I am nodding to Bruce R. Smith, The Acoustic World of Early Modern England: Attending to the O-Factor, Chicago, The University of Chicago Press, 1999. According to the account of one Neapolitan chronicler, the historical Duchess of Malfi took a carriage during her feigned pilgrimage to Loreto, possibly prompting Webster’s line that “she make[s] religion her riding hood” (iii.iii.60); see John Webster, The Duchess of Malfi, ed. Leah S. Marcus, Arden Early Modern Drama, London, Arden Shakespeare, 2009, p. 17.
J. Webster, The Duchess of Malfi, ed. L. S. Marcus, p. 4.
Peter Womack, “Off-Stage,” ed. Henry S. Turner, Oxford Twenty-First Century Approaches to Literature, Oxford, Oxford University Press, 2013, p. 71-92, p. 89, original emphasis.
Alan C. Dessen and Leslie Thomson, A Dictionary of Stage Directions in English Drama 1580-1642, Cambridge, Cambridge University Press, 1999, s.v. “horse”, “noise”, and “trample”.
On “flying” in equestrian ballet, see Elisabeth LeGuin, “Man and Horse in Harmony”, The Culture of the Horse: Status, Discipline, and Identity in the Early Modern World, ed. Karen Raber and Treva J. Tucker, Basingstoke, Palgrave, 2005, p. 175-196, p. 190-192.
“Alas, your shears do come untimely now / To clip the bird’s wings that’s already flown” (iii.ii.84-85).
See William Painter, The Second Tome of the Palace of Pleasure, Containing Store of Goodly Histories, Tragical Matters, and other Moral Argument, Very Requisite for Delight and Profit, London, 1567, in J. Webster, The Duchess of Malfi, ed. M. Neill, p. 152-153; Simon Goulart, Admirable and Memorable Histories, trans. Edward Grimston, London, 1607, in J. Webster, The Duchess of Malfi, ed. M. Neill, p. 162.
David Carnegie, John Webster: The Duchess of Malfi, The Shakespeare Handbooks, Basingstoke, Palgrave Macmillan, 2014, p. 56. In the first part of Tamberlaine the Great, which was performed in 1587, horses breath and movement are described in terms of thunder: “from [horses’] nostrils breathe / … dreadful thunderbolts” and “Tartarian steed[s] … stamped on others with their thund’ring hooves” (Christopher Marlowe, Tamburlaine the Great, ed. J. S. Cunningham and Eithne Henson, Revels Student Editions, Manchester, Manchester University Press, 1998, v.i.297-298, 331-332). These examples are especially relevant in light of Duchess’s possible allusion to this play, as discussed below.
Robert N. Watson, “Horsemanship in Shakespeare’s Second Tetralogy,” English Literary Renaissance 13, 3, 1983, p. 274-300, p. 295. In this study of equestrian metaphors in Shakespeare’s history plays, Watson argues that just as a horse, no matter how noble and rational, needs a rider moved by neither emotion nor appetite, so too the true king must exert control over himself, or be thrown off by his own moral shortcomings, and over his people, who invariably need rei(g)ning (in). While this essay emphasizes embodiment rather than psychology, it shares Watson’s appreciation for the way early modern dramatists made virtue of theatrical necessity.
See Marissa Greenberg, “Revenge Tragedy”, A New Companion to Renaissance Drama, ed. Arthur F. Kinney and Thomas Warren Hopper, Hoboken, NJ, Wiley-Blackwell, 2017, p. 403-416.
J. Webster, The Duchess of Malfi, ed. M. Neill, p. 13n.
J. Webster, The Duchess of Malfi, ed. John Russell Brown, 2nd ed., The Revels Plays, Manchester, Manchester University Press, 2009, p. 86n.
Michel de Montaigne, Essays, trans. John Florio, London, 1613, p. 236.
Montaigne, Essays, p. 256.
Frankie Rubinstein, A Dictionary of Shakespeare’s Sexual Puns and Their Significance, 2nd ed., Basingstoke, Macmillan, 1989.
The OED dates the first usage of “tilt” as the covering of a cart or wagon in 1620, but the connection to cloth-covered booths, or tents, such as the courtiers discuss in relation to Castruchio’s wife, goes back much further (OED, s.v. “tilt”, n.1). This sense fits with the wider equestrian context of the dialogue more so than the covering of boats (J. Webster, The Duchess of Malfi, ed. M. Neill, p. 15n).
Rebecca Ann Bach, Birds and Other Creatures in Renaissance Literature: Shakespeare, Descartes, and Animal Studies, New York, Routledge, 2018, p. 3.
See Christopher Marlowe, Dr. Faustus (1594), Ben Jonson, The Alchemist (1610), and William Rowley, Thomas Dekker and John Ford, The Witch of Edmonton (1621).
K. Raber, Animal Bodies, p. 30.
W. Painter, The Palace of Pleasure, in J. Webster, The Duchess of Malfi, ed. M. Neill, p. 128. Bosola echoes this description at iii.ii.242-261.
W. Painter, The Palace of Pleasure, in J. Webster, The Duchess of Malfi, ed. M. Neill, p. 132.
F. Rubinstein, A Dictionary, p. xv-xvi.
Bruce Thomas Boehrer, “Shakespeare and the Social Devaluation of the Horse”, Culture of the Horse, ed. K. Raber and T. J. Tucker, p. 91-101. See also Gavin Robinson, “The Military Value of Horses and the Social Value of the Horse in Early Modern England”, Horse as Cultural Icon: The Real and Symbolic Horse in the Early Modern World, ed. Peter Edwards, Karl A. E. Enenkel and Elspeth Graham, Intersections, Leiden and Boston, Brill, 2011, p. 351-376.
John Astley, The Art of Riding, London, 1584, p. 57.
J. Webster, The Duchess of Malfi, ed. M. Neill, p. xxxi.
C. Marlowe, Tamburlaine the Great, part 1, iv.ii.14-15.
E. LeGuin, “Man and Harmony”, p. 176.
Bruce R. Smith, “Finding Your Footing in Shakespeare’s Verse,” The Oxford Handbook of Shakespeare’s Poetry, ed. Jonathan Post, Oxford, Oxford University Press, 2013, p. 323-339.
Ken Keffer, “Riding Out the Renaissance with Montaigne”, Romance Notes 37, 1997, p. 339-345.
Sir Philip Sidney, An Apology for Poetry (or The Defence of Poesy), ed. Geoffrey Shepherd, rev. and exp. R. W. Maslen, Manchester, Manchester University Press, 2002, p. 87.
Henry Fitzgeffrey, Certain Elegies, Done by Sundry Excellent Wits (1618), quoted in J. Webster, The Duchess of Malfi, ed. L. S. Marcus, p. 6.
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