I think that it is important to make a distinction between the
Public theaters like
the Globe, the Rose etc which were largely outdoor theaters on
the south
side of the river; and the Private theaters, which were
indoors in London itself.
They represent distinctly different traditions of English
theater. The Private
theaters are closely related to the masque and highlight
spectacle and Entre'acte
entertainments that featured musical performances among other
forms of enter
tainment.
I think it is quite possible that this intriguing women could
have performed in
this venue of the Private theaters, like Blackfriars Theater.
I think it is unlikely
that she would have been associated with the Public theaters.
Some sources: 'Shakespeares Blackfriars Playhouse' Irwin
Smith; 'Early English Stages' Glynne Wickham
Damian
'Not entirely sure it is fair to make a strong distinction
between
'respectable' and 'working', some women were there to pick
pocket,
show-a-leg, or shill for some house in sou'ark; others to
see the show
with friends or family. Life for a single girl lacking
family support
was
hard then (as it is now). Some amount of adult-relations
was to be
expected then (as now); so long as it was done
circumspectly it was
accepted by most (some in the pulpit would have made their
moans of
course).'
I thought my use of 'working girl' in inverted commas
indicated (in a
slightly tongue-in-cheek manner) that I meant prostitutes?
Women have
always worked, whether what they do is regarded as 'work'
or not. In
this period women's status was in a state of change,
reaching a
highpoint of legal rigidity in the 18th century. But, yes,
indeed, at
this point women's status was generally held to be tied to
a male,
either as daughter, wife, sister etc. a 'femme couvert'.
Very rarely a
woman achieved the legal status of 'femme sole' i.e.
entirely
responsible for herself (a notable example of this was
Lady Margaret
Beaufort, mother of Henry VII, a redoubtable lady in every
way). In
reality, however, there are many instances of women being
very involved
in areas that they were generally barred from, as you
pointed out, e.g.
taking over businesses when husbands died (even instances,
I am
assured, of women claiming a vote on these grounds, not
sure if
successfully). Widows could be high prizes in the marriage
stakes if
they came with money and/or business interests, but were
otherwise
viewed doubtfully as not being sufficiently under suitable
male
control. Useful education was usually denied women, deemed
neither
necessary or desirable. There are always, of course,
notable exceptions
to this generality, women of high rank could receive
education but not
always in useful areas.
Standards of moral behaviour were as always not quite
according to the
rule, but in general loose sexual behaviour, in women, was
not
acceptable as it also showed some kind of escape from male
control.
As for the audiences in public theatres, all one needed
was the price
of entry, the time and, often, the permission of whoever
was in charge
of you - this applied to plenty of men as well as women.
And on portraits, Dana:
'It was not cheap to have your portrait done, and those
who could
afford it
were likely to be busy people as well, so surrogates were
generally
employed for the bulk of the detailing part. It was thus
useful for an
artist to have props available, and we sometimes see the
same items in
several portraits.'
Well, the instrument used as a model might have been a
prop kept by the
artist, but the choice of what items were included your
portrait was
down to the sitter, as this was an indication of how one
wished to be
viewed. So that theorbo must have been part of the image
Lady Mary
wished to promote, whether it was hers or not. And
certainly a person
of wealth or rank (or both) was not required to sit around
for hours
while the artist (in fact a mere craftsman, usually of
lower status)
daubed away.
Karen
[1]karen.h...@gmail.com
--
References
1. mailto:karen.h...@gmail.com
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