Hospitality and Allophilia: Imagining a Multicultural England in The Shoemaker's Holiday
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The present essay explores early modern English nationalism depicted in Dekker’s Shoemaker’s Holiday. Dekker’s comedy was produced contemporaneously with Shakespeare’s Henry V and these two texts share rich intertextual features including nationalist fashioning of their narratives. While Shakespeare’s Henry V illustrates the nationalist desire developed into expansionist imperialism, Dekker’s domestic comedy defines English nationhood by otherizing incoming aliens. Hospitality in Holiday becomes a convenient probe to its nationalist politics because, as a border-crossing phenomenon by welcoming aliens into the national community, it shows how the nation negotiates its multicultural boundary. Yet “hospitality” in the play is inseparably bound up with “hostility” by forming an ambiguous social discourse. Dekker’s play is teeming with acts of welcoming, generosity, and giving, but they are economically conditioned. In particular, the play’s hospitality reveals its grim politics when it represents admittance of alien figures into the metropolitan community. In Dekker’s festive comedy, aliens are welcomed and accepted only when they are exploited by Englishmen; the play’s instances of hospitality and allophilia represent, paradoxically, thinly veiled xenophobia. Thus the King’s final nationalist speech, as in Henry V, could be properly delivered only after the narrative excludes all the alien figures from the stage.
Abstract
The present essay explores early modern English nationalism depicted in Dekker’s Shoemaker’s Holiday. Dekker’s comedy was produced contemporaneously with Shakespeare’s Henry V and these two texts share rich intertextual features including nationalist fashioning of their narratives. While Shakespeare’s Henry V illustrates the nationalist desire developed into expansionist imperialism, Dekker’s domestic comedy defines English nationhood by otherizing incoming aliens. Hospitality in Holiday becomes a convenient probe to its nationalist politics because, as a border-crossing phenomenon by welcoming aliens into the national community, it shows how the nation negotiates its multicultural boundary. Yet “hospitality” in the play is inseparably bound up with “hostility” by forming an ambiguous social discourse. Dekker’s play is teeming with acts of welcoming, generosity, and giving, but they are economically conditioned. In particular, the play’s hospitality reveals its grim politics when it represents admittance of alien figures into the metropolitan community. In Dekker’s festive comedy, aliens are welcomed and accepted only when they are exploited by Englishmen; the play’s instances of hospitality and allophilia represent, paradoxically, thinly veiled xenophobia. Thus the King’s final nationalist speech, as in Henry V, could be properly delivered only after the narrative excludes all the alien figures from the stage.
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