Abstract: 'Freevill the Pimp and Beatrice's Ring: Circulation and Commodification in and out of The Dutch Courtesan' (Andrews)
Dublin Core
Title
Abstract: 'Freevill the Pimp and Beatrice's Ring: Circulation and Commodification in and out of The Dutch Courtesan' (Andrews)
Subject
The Dutch Courtesan, "Marston, John", Dutch Courtesan 2019, Toronto Dutch Courtesan, conference abstract, early modern drama, non-Shakespearean drama, Merchant of Venice, Much Ado About Nothing, xenophobia, female sexuality
Description
Abstract for Meghan C Andrews' paper, Freevill the Pimp and Beatrice's Ring: Circulation and Commodification in and out of The Dutch Courtesan'. Includes biography for Andrews.
Creator
"Andrews, Meghan C"
Date
2019-03-23, 17th century
Contributor
Dutch Courtesan 2019 project team
Relation
The Dutch Courtesan, Much Ado About Nothing, The Merchant of Venice
Format
.pdf (100KB)
Language
en-CA
Type
Text Object
Identifier
DC2019-0003
Coverage
Toronto (CA), London (UK), 2019-03-23, 1605, 17th century
Date Available
2019-06-30
Date Created
2019-03
References
The Dutch Courtesan, Much Ado About Nothing, The Merchant of Venice
Medium
Digital PDF
Bibliographic Citation
Andrews, Meghan C. 'Freevill the Pimp and Beatrice's Ring: Circulation and Commodification in and out of The Dutch Courtesan'. Abstract. 'Strangers and Aliens in London and Toronto: Sex, Religion, and Xenophobia in John Marston's The Dutch Courtesan'. DC2019-0003. Dutch Courtesan 2019. Toronto, March 2019. https://dutchcourtesan2019.library.utoronto.ca/items/show/13
Spatial Coverage
Toronto (CA), London (UK)
Temporal Coverage
2019-03-23, 1605, 17th century
Accrual Method
Materials solicited by the Dutch Courtesan project team.
Accrual Periodicity
Infrequently updated after 2019.
Audience
researchers, researchers of early modern drama, university instructors, undergraduate students, graduate students
Audience Education Level
Post-Secondary, Graduate, Post-Graduate
Instructional Method
large-group instruction, small-group instruction, independent research
Text Item Type Metadata
Text
‘Freevill the Pimp and Beatrice’s Ring: Circulation and Commodification in and out of The Dutch Courtesan’ (Panel 3: Sexual Worlds of Marston’s Theatre – 11:15AM-1:00PM, 23 March 2019)
Meghan C Andrews (Lycoming College)
Abstract: This paper re-situates The Dutch Courtesan in the theatrical landscape of 1604-5. I argue that examining its debts to Shakespeare’s suburban comedies, particularly The Merchant of Venice and Much Ado About Nothing, helps us better understand not just the play but also Marston’s navigation of the post-Poets’ War theatrical landscape and his move to the Queen’s Revels. Merchant’s influence is difficult to trace on the phrasal level, but I suggest that the symbolism of the circulation of rings, Freevill’s orchestration of Malheureux’s near-execution, and the partial
scapegoating of Franceschina were inspired by Shakespeare, who also views critically xenophobia and the commodification of individuals. Further, Freevill’s control over bodies and sexualities and mercenary attitude towards marriage characterize him as a combination of Portia and Bassanio’s
worst qualities, making explicit and uniting in one (male) figure the uneasy relationships Merchant often leaves implicit. Similarly, Marston’s repurposing of “Kill Claudio” for Franceschina and Malheureux (instead of Beatrice and Benedick’s descendants Crispinella and Tysefew) highlights male anxiety over female sexuality as empowering, and relative to Much Ado makes clear that London’s societal problem is not (male anxiety over) female chastity, but predatory male sexuality. Ultimately, I suggest that Shakespeare influenced Marston’s city comedy more than critics have recognized. But by extending Shakespeare’s critique of male attitudes, Marston created for himself a more moderate, mature position as a critic of sexual vice than he had previously inhabited, and helped his drama better fit the Queen’s Revels and that company’s relationship to the King’s Men’s repertory.
Meghan C. Andrews is Assistant Professor of English at Lycoming College. Her current book project, Shakespeare’s Networks, argues that Shakespeare’s social networks and institutional affiliations provide important but neglected local contexts key to understanding his works; her next project will focus on how the theatrical marketplace, print marketplace, and other early
modern institutions triangulated to shape early modern drama. Her work can be found in Shakespeare Quarterly; Renaissance Drama; Studies in English Literature, 1500-1900; and Marlowe Studies.
Meghan C Andrews (Lycoming College)
Abstract: This paper re-situates The Dutch Courtesan in the theatrical landscape of 1604-5. I argue that examining its debts to Shakespeare’s suburban comedies, particularly The Merchant of Venice and Much Ado About Nothing, helps us better understand not just the play but also Marston’s navigation of the post-Poets’ War theatrical landscape and his move to the Queen’s Revels. Merchant’s influence is difficult to trace on the phrasal level, but I suggest that the symbolism of the circulation of rings, Freevill’s orchestration of Malheureux’s near-execution, and the partial
scapegoating of Franceschina were inspired by Shakespeare, who also views critically xenophobia and the commodification of individuals. Further, Freevill’s control over bodies and sexualities and mercenary attitude towards marriage characterize him as a combination of Portia and Bassanio’s
worst qualities, making explicit and uniting in one (male) figure the uneasy relationships Merchant often leaves implicit. Similarly, Marston’s repurposing of “Kill Claudio” for Franceschina and Malheureux (instead of Beatrice and Benedick’s descendants Crispinella and Tysefew) highlights male anxiety over female sexuality as empowering, and relative to Much Ado makes clear that London’s societal problem is not (male anxiety over) female chastity, but predatory male sexuality. Ultimately, I suggest that Shakespeare influenced Marston’s city comedy more than critics have recognized. But by extending Shakespeare’s critique of male attitudes, Marston created for himself a more moderate, mature position as a critic of sexual vice than he had previously inhabited, and helped his drama better fit the Queen’s Revels and that company’s relationship to the King’s Men’s repertory.
Meghan C. Andrews is Assistant Professor of English at Lycoming College. Her current book project, Shakespeare’s Networks, argues that Shakespeare’s social networks and institutional affiliations provide important but neglected local contexts key to understanding his works; her next project will focus on how the theatrical marketplace, print marketplace, and other early
modern institutions triangulated to shape early modern drama. Her work can be found in Shakespeare Quarterly; Renaissance Drama; Studies in English Literature, 1500-1900; and Marlowe Studies.
Original Format
PDF
Files
Citation
"Andrews, Meghan C", “Abstract: 'Freevill the Pimp and Beatrice's Ring: Circulation and Commodification in and out of The Dutch Courtesan' (Andrews),” Dutch Courtesan 2019, accessed April 3, 2025, https://dutchcourtesan2019.library.utoronto.ca/items/show/13.
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