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TY - ELEC
A1 - Barber, Benjamin
ED - Jenstad, Janelle
T1 - London’s Early Modern Tourists
T2 - The Map of Early Modern London
PY - 2020
DA - 2020/06/26
CY - Victoria
PB - University of Victoria
LA - English
UR - https://mapoflondon.uvic.ca/TOUR1.htm
UR - https://mapoflondon.uvic.ca/xml/standalone/TOUR1.xml
ER -
RT Web Page
SR Electronic(1)
A1 Barber, Benjamin
A6 Jenstad, Janelle
T1 London’s Early Modern Tourists
T2 The Map of Early Modern London
WP 2020
FD 2020/06/26
RD 2020/06/26
PP Victoria
PB University of Victoria
LA English
OL English
LK https://mapoflondon.uvic.ca/TOUR1.htm
Programmer, 2018-present. Junior Programmer, 2015-2017. Research Assistant, 2014-2017. Joey Takeda was a graduate student at the University of British Columbia in the Department of English (Science and Technology research stream). He completed his BA honours in English (with a minor in Women’s Studies) at the University of Victoria in 2016. His primary research interests included diasporic and indigenous Canadian and American literature, critical theory, cultural studies, and the digital humanities.
Data Manager, 2015-2016. Research Assistant, 2013-2015. Tye completed his undergraduate honours degree in English at the University of Victoria in 2015.
Research Assistant, 2012-2013. Michael Stevens began his MA at Trinity College Dublin and then transferred to the University of Victoria, where he completed it in early 2013. His research focused on transnational modernism and geospatial considerations of literature. He prepared a digital map of James Joyce’s
Director of Pedagogy and Outreach, 2015–present. Associate Project Director, 2015–present. Assistant Project Director, 2013-2014. MoEML Research Fellow, 2013. Kim McLean-Fiander comes to
Janelle Jenstad is Associate Professor of English at the University of Victoria, Director of
Benjamin Barber is a PhD student at the University of Ottawa. His recently completed MA research at the University of Victoria analyzed the role of mimetic desire, honour, and violence in Heywood’s
Programmer at the University of Victoria Humanities Computing and Media Centre (HCMC). Martin ported the MOL project from its original PHP incarnation to a pure eXist database implementation in the fall of 2011. Since then, he has been lead programmer on the project and has also been responsible for maintaining the project schemas. He was a co-applicant on MoEML’s 2012 SSHRC Insight Grant.
King of England, Scotland, and Ireland
Pamphleteer and bookseller. Accused of printing scandalous material in
Playwright, poet, and author.
Writer and playwright. Buried at St. Botolph, Aldersgate.
Author.
The Old Bailey ran along the outside of the London Wall near
Newgate (Stow 304). It is labelled on the Agas map as Olde baily
.
St. Paul’s Cathedral was—and remains—an important church in London. In
Located in Broad Street Ward and Cornhill Ward, the Royal Exchange was opened in
The Bear Garden was never a garden, but rather a polygonal bearbaiting arena whose exact locations across time are not known (Mackinder and Blatherwick 18). Labelled on the Agas map as The Bearebayting
, the Bear Garden would have been one of several permanent structures—wooden arenas, dog kennels, bear pens—dedicated to the popular spectacle of bearbaiting in the sixteenth and seventeenth centuries.
Smithfield was an open, grassy area located outside the Wall. Because of its location close to the city centre, Smithfield was used as a site for markets, tournaments, and public executions. From
Whitehall Palace, the Palace of Whitehall or simply Whitehall, was one
of the most complex and sizeable locations in the entirety of early modern Europe. As the primary place of residence for monarchs from
[i]t lay on the left bank of the Thames, and extended from nearly the point where Westminster Bdge. now crosses the river to
Scotland Yard, and from the river back to St. James’s Park
(Sugden 564-565).
Our editorial and encoding practices are documented in detail in the Praxis section of our website.
Both texts were printed with London’s consumers of popular literature in mind.
Printed for. Donald Wing suggests a printing date of 1663, which is reasonable given the material evidence, although the ballad may have been in circulation some years earlier.F. Coles , in VVine- ſtreet, on Saffron-hill, near Hatton-Garden
The central event of both texts is the tricking and subsequent robbery of an unsuspecting, sight-seeing traveller from the country. The refrain and title of
AN honeſt Country foole being gentle bred(1).
The element of London’s conny
is a
dupe, a gull, the victim of a ’conny-catcher’
(conny
is also a rabbit
(conny-catcher
invokes the metaphor of predator and prey, which is apt
for the relationship between a thief and his mark. (
their cheife walks, where crowds hide them as they stalk the tourists (103). Greene explains how when the nip (purse cutter) and foist (purse stealer)Paules, theWeſtminſter, Exchange, Plaies, [and the] Beare garden
spie a Farmer or Marchant, whome they ſuſpect to be well monied, they followe him hardlooking for an opportunity to run into him and take his money in the confusion (103). Anticipating the circumstances of the robbery in
the woman Foiſt is the moſt daungerous, for commonlie there is ſome olde hand, or mout[h] fair ſtrumpet, who inueigleth either ſome ignorant man or ſome youth to folly: ſhe hath ſtraight(108). Infoiſts him of all that hee hath
The most striking difference between the content of the two texts is the tone of
their respective endings: one is a celebration, the other a condemnation of
London. The two poems represent alternate possible outcomes available to
London’s new arrivals. Rowlands’s stranger leaves London convinced that he has
encountered the devil (19–20), while
the Great Boobee imagines transcending the stigma of his past naiveté by
becoming an actor brave enough to play before the Bears (2.75–80). After what is likely a brusque and
disagreeable initiation, new arrivals must decide whether to chart a new course
in the frequently unforgiving urban landscape or return to their provincial
point of origin.
old worm-eaten farmer[s]who have died and left
five hundred a yearto their sons.
would strive to fashionto
whiff down these observations. For if he once get but to walk by the book (and I see no reason but he may, as well as fight by the book) Paul’s may be proud of him(88). The Great Boobee admires the gallants he meets recalling,
they were very gay(2.12). Ultimately, he comes to believe that if he can get a licence, he will, like the gallants, make a life in London. This is a more optimistic endnote than
The beginnings of the two poems provide hints regarding the decision each
traveller ultimately makes to either stay, or return to the country. The reason
for the Great Boobee’s and ſome Vaſhions for
to ſee
(1.30). The draw toward London is
its novelty. This motivation is echoed by William Fennor’s characterization of
young gallants, that never [give] over plodding with himself how he might
get into the books of some goldsmith, haberdasher, silkman, woollen- or
linen-draper
(443). Throughout the
early modern period, London experienced rapid growth owing primarily to its
important position in world trade (Sheppard
125). The lure of highly valued objects—great edifices, or finely
crafted goods—attract both businessmen and recently un-landed gentlemen to the
city. Fennor goes on to explain how an aspiring country gallant, dazzled by the
possibility of financial success and prestige of participating in the great
commerce of London, finds himself penniless after the city’s criminals are
through with him (444). The draw of
London—as a city frequented by kings and port to ships from around the world—for
marginally educated youths must have been enormous. Like the Great Boobee,
Rowlands’s
by an odde conceited humor led, / To trauell and ſome Engliſh faſhions ſee(3). This
odde conceited humoris legible as the simple mimetic curiosity inspired by large concentrations of people. The prestige of participating in London despite humble origins—and perhaps leaving a mark in a great city—is summed up by
or for want of a name [and literacy], the mark which you clap on your sheep(91).
Both