Leaky London: Permeability and Porosity of Spaces in Eastward Ho
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When London is foregrounded as the most important space in Eastward Ho, it seems that the play follows the genre of city comedy’s established code of spatial setting. But London is not the only space that matters in the play. The city is presented and experienced along with other three nonurban spaces: the court, the country and the New World. By focusing on such a theatrical representation of different spaces, this essay investigates the issue of space and spatial practices in early modern England with which to go beyond a dichotomous opposition of urban and nonurban spaces. I look into each space’s individual functions and meanings but also the interrelationships among the different spaces. The nonurban spaces at once compete with and hinge on London for thematic significance. The royal court proves itself an object of social desire for Gertrude who tries to become a gentle lady by marrying Sir Petronel. The country is also at tension with the city when Gertrude runs away from it and wants to live in the country castle. Sir Petronel and his companies attempted to sail to the New World, but got shipwrecked at the Thames. This botched venture shows the ways in which the imaginary concept of the New World is intertwined with the perceptions of contemporaries on London’s cosmopolitan quality. When the play finishes by bringing all the characters back to the centripetal city, what we encounter is a variegated picture of cosmopolitan London with mobility, permeability, fluidity, and diversity. Eastward Ho, I suggest, represents the city of London in early modern England not as a single and detached entity but as a porous and permeable space. The interrelationships of the city with the three nonurban spaces reveal that spatial practices are constantly negotiated and refashioned by individual character’s experience within and without it.
Abstract
When London is foregrounded as the most important space in Eastward Ho, it seems that the play follows the genre of city comedy’s established code of spatial setting. But London is not the only space that matters in the play. The city is presented and experienced along with other three nonurban spaces: the court, the country and the New World. By focusing on such a theatrical representation of different spaces, this essay investigates the issue of space and spatial practices in early modern England with which to go beyond a dichotomous opposition of urban and nonurban spaces. I look into each space’s individual functions and meanings but also the interrelationships among the different spaces. The nonurban spaces at once compete with and hinge on London for thematic significance. The royal court proves itself an object of social desire for Gertrude who tries to become a gentle lady by marrying Sir Petronel. The country is also at tension with the city when Gertrude runs away from it and wants to live in the country castle. Sir Petronel and his companies attempted to sail to the New World, but got shipwrecked at the Thames. This botched venture shows the ways in which the imaginary concept of the New World is intertwined with the perceptions of contemporaries on London’s cosmopolitan quality. When the play finishes by bringing all the characters back to the centripetal city, what we encounter is a variegated picture of cosmopolitan London with mobility, permeability, fluidity, and diversity. Eastward Ho, I suggest, represents the city of London in early modern England not as a single and detached entity but as a porous and permeable space. The interrelationships of the city with the three nonurban spaces reveal that spatial practices are constantly negotiated and refashioned by individual character’s experience within and without it.
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