autolycus's trumpery

8/12/2019 Autolycus's Trumpery

1/18

ice University

Autolycus' TrumperyAuthor(s): David KaulaSource: Studies in English Literature, 1500-1900, Vol. 16, No. 2, Elizabethan and JacobeanDrama (Spring, 1976), pp. 287-303Published by: Rice UniversityStable URL: http://www.jstor.org/stable/449769.

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2/18

Autolycus'Trumpery

DA VID

KA ULA

Autolycus, he

entertaining

ogue who

appears

as

part

of the

Bohemian scene

in The

Winter's

Tale,

is

a

character

with as

many

sides

as

the

"many

knavish

professions"

e

has runthrough incehe waswhippedout ofcourt ndlosthis ob as

servant o PrinceFlorizel.

n

the atter

art

of the

play

he wearsthree

differentisguises

nd

adroitlyctsout several

oles,

s

singing ester,

vagabond,peddler, utpurse,

nd courtier. rom one

standpoint

is

importance

o

the

play

s

minimal,

ince

his

only

contribution o the

plot is to get the old Shepherd

nd

his son

on

boardFlorizel's hip

with the "fardel"

containing the crucial

evidence

of

Perdita's

identity.

ut he

also serves he

more

general

dramaticfunction

f

ushering

n

thefestive

tmosphere

f

the

Bohemian

setting

withhis

songsofdaffodils, oxies,and thepleasuresofspringtime,nd of

providing

realistic

counterpoise

o

the yrical nd

mythological

pastoralism

of the

sheep-shearing

cene. The sources fromwhich

Shakespeare

reated

Autolycus

eem to be as

diverse

s

the roles he

makeshim

perform. s

Autolycus imselfxplains,he oweshis

name

and

his character

s a

"snapper-up

of

unconsidered

trifles"to

Autolycus heson

ofMercury,whomOvid in

the

Metamorphoses

describes s "such a

fellow s

in

theft nd

filchinghad no

peere."'

Among

his

other

possible progenitors re

the vice of theTudor

interludes,

uch

picaresque

heroes

as Lazarillo de

Tormes and

Nashe's Jack

Wilton, nd thepetty hieves

nd con-men f

the oney-

catchingpamphlets.2

What

wish to

considerhere s

yet nother lement n

Autolycus'

composition,

ne which has not

been identified efore

nd which

may

throw

urtheright

on

his

significance

n

the

play.

It

emerges

most

clearly

n his

soliloquy

n

the

heep-shearingcene fter

e has

sold all

his

peddler'swaresto

the

gullibleshepherds nd

"picked nd

cutmostof their estival urses":"I have soldall my rumpery:ot a

counterfeit

tone,

not a

ribbon,

lass,

pomander, rooch, able-book,

'Quoted in The Winter's

Tale, New Arden

edition by J.

H. P. PaffordLondon,

1963),p.

165. The

translation s Golding's.

2See

Winter's

Tale,

New Arden

edition,

pp. xxxiv-xxxv,xxix-lxxxi,

nd Kenneth

Muir,

Shakespeare's ources London,

1957),pp. 248-249.

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3/18

288

AUTOLYCUS' TRUMPERY

ballad, knife, ape,

glove, shoe-tie, racelet, orn-ring, o

keep my

packfrom asting. heythrongwhoshouldbuyfirst,s ifmy rinkets

had

been hallowed,

and

brought benediction o

the

buyer

. ."

(IV.iv.600-605).3 This

characterization f Autolycus'

wares as

"hallowed" trinketss anticipated n the ines of the servantwho

announces

his

arrival

t the

festival: He hathribbons f ll the olors

i'

th' rainbow . . inkles,

addises, ambrics,awns.Why,hesings m'

over,

s

if

they

were

gods

or

goddesses;youwould

think smock

were

a

she-angel,

he so

chants

to

the leevehand, nd the

work

bout the

square

on't"

(IV.iv.205-212). he sacred owerAutolycusnjectsnto

his wares ssuggestedswellbyhisOrpheus-like bility omesmerize

his

customers

withhis

songs

and

make them

partwiththeirmoney.

He

sings

his

ballads as

if

all men's

earsgrew

ohis

tunes" IV.iv.186);

the ballad he shows to the

Clown "so drewtherest

f

theherd o me

that all

their

other senses

stuck

in

ears"

(IV.iv.612-613).

Such

implications also appear

in the

word

"trumpery,"

which Shake-

speare

uses here

for hefirst ime n his

plays

and

employs

nly

once

again,

in

The

Tempest,where

he

applies

it

to theglittering

pparel

which

fatallydivertsTrinculo and Stephano from their

plot to

murderProspero IV.i.186). The OxfordEnglish Dictionarycites

Autolycus' ine,

"I

have sold

all mytrumpery,"

o llustrate ne of ts

definitions f the

term: "worthless

tuff, rash,

ubbish"

(2.a).

It

provides another

definiton, owever,which

in

the context eems

more

appropriate: Applied contemptuously

o

religious

practices,

ceremonies, maments,

tc.

regarded

s idle

or

superstitious"

2.c)-a

definition

supported by

examples

from three

sixteenth-century

Protestant

writers,

nd one from

Paradise

Lost

(III.475).

Another

termAutolycus pplies tohiswares,hishallowed"trinkets,"ould

have

the

same

connotations

n

Elizabethan

usage: "Applied

esp.

to

the

decorations

f

worship,

nd to

religious ites, eremonies,

eliefs,

etc. which the

speaker

thinksvain or trivial"

sb.'3)-a

definition

likewise llustrated

y

several

xamples

from

Protestantwriters.

In his

note on the word

"hallowed"

in

the New Arden

ditionof

The

Winter'sTale, J. H. P.

Pafford emarks hat t means

"made

sacred-as

bybeing

touched

gainst

ome

relic

or

blessed y church

dignitary.

r.

[Harold] Brooks

uggests hat his nd thereferenceo

'benediction' ssociates thecomic cheat Autolycuswith thatother

traditional

comic cheat on the

pre-Shakespearian

stage-the

Pardoner."

Pafford

hen istssome

Tudor moralities

n

which

this

type

s satirized.4What

Pafford's

ote

nd

thedefinitions

n

the

OED

3QuotationsfromThe Winter's

Tale are taken

from

he

Signet

edition by

Frank

Kermode New York, 1963).

4Winter's

ale, New

Arden

edition,p. 123.



4/18

DA VID KA ULA

289

imply,but do not state,s that heterminology utolycus pplies to

his wares belongs to the verbal arsenal of anti-Catholicpolemical

writing n Reformation ngland. Again and again such words as

"trumpery"nd "trinkets" ppear n theProtestant iatribes gainst

what were considered the mercenary nd idolatrous practicesof

selling indulgences, rucifixes, osaries,medals,candles, and other

devotional objects.After he accessionof Elizabeth such practices

were illegal

in

England,

of

course, but they were

still

prevalent

enough

n

theCatholic underground

o

attract he pecial attention

of

the uthorities. hus

in

response

o

thepapal bull

of

xcommuni-

cation issuedagainst Queen Elizabeth n 1570,thegovernmenthe

following year enacted

a

statutewhich prohibited, mong

other

things, he mportationntoEngland of

any

token r

tokens, hing

r

things,alledby henameof n

Agnus

Dei,

or

any crosses, ictures, eads

or

suchlikevain

and

superstitious hings

rom he

bishop

or see of

Rome

...

which said Agnus

Dei is

used to be especiallyhallowed and

consecrated,

s it is

termed, y

the said

bishop

in his

own

person,and the said crosses,pictures,beads and suchlikesuperstitious hingsbe also hallowed either by the said

bishop

or

by

others

having power

or

pretending o have

power

for the

same....5

In

describinguch tems

he

Protestant riterseem o beespecially

addicted

to

the word

"trumpery," robably because, through

ts

derivationfrom

romperie,

t

suggestsdeception

or

trickery. hey

also

habitually roduceAutolycus-like

ists f

such

wares.

Thus in

A

declaration fegregious opish impostures, pamphlet hakespeare

consulted

n

writing ing Lear,6

amuel Harsnetdenounces

craftie

priests,

nd leacherousFriers"

who

"enritch

heir

urses,by selling

their

Pope-trumperyas Medals, agnus dei,

Blessed

beades, holy

water,

halowed Crosses,

periapts, mulets,

smocks

of proofe,

nd

such)

at a

good

rate."Harsnet lso uses

"trinkets"

n

this

ense

when

he

fulminates gainst "all the trinkets,oyes,& pedlarsware

n

the

Popes holy budget."7

In

attackingthe selling of pardons and

indulgences,William Tedder, recanted atholic priest, laims that

5"An Act against the bringing

n

and putting

n execution of bulls and other

instruments rom the

see of Rome" (13

Eliz. I, c.2), in G. R. Elton, The Tudor

Constitution Cambridge,

1965), p. 421. An Agnus Dei is a small

wax medallion

stampedwith

the

figure

f a lamb

bearing

cross.

6See KennethMuir,

"Samuel Harsnett nd King

Lear,"

Review

of

English Studies,

N.S., 2 (1951), 11-21, nd Shakespeare's

Sources,pp. 147-161.

7Adeclaration fegregiouspopish impostures

1603), pp. 137-138, 25.



5/18

290

AUTOLYCUS'

TRUMPERY

"it is scant

possible to get thesegreat

ndulgences, ut bywearing

paire ofBeades,ora Chaine, Medall,Crucifixe, icture,AgnusDei,

or such like tromperie."8n his

sermons n theBook of

Revelation

GeorgeGifford

dentifies he "merchants"who

serve

he

Whore

of

Babylon

(Rev. 18:3) as Catholic

priests,who are "known bytheir

wares, uen

popish marchants, uen all

thatmade gaine of thetrash

and trumperies hich were olde

very

eere

n

the

poperie,bywhich

men

sought

helpe

for heir oules."9Yet

another xample appears

n

an

anti-papal atire ntitled he popes

parliament, hereJohn

Mayo

displays

"a whole

packe

of Romish

trumperies,

nd

Antichristian

illusions," and where he has the Pope declare: "Are all our

ornaments,

rders, nd ceremonies, uttoies, rash, nd trumperies?

all our Saints

and pictures,

ut dumbe

stockes nd foolerie?"10

As Autolycus s repeatedly poken

of as a "peddler" with his

"pack"

of

"wares,"

so another

Protestant

writer,

rancis

Bunny,

employs the same

terminology

n

condemning

the

traffic

n

devotionalobjects:

And besidessuch pedlaryware,

Agnus dei, blessedgraines,and such paltry tuffe,entabroad in greatpacks into all

places

to abuse theworld, rethought o haue many

vertues,

and to

be

of

great

fficacie or

many ood purposes:

But

pray

you myMasters

f

Rome,

when did

S.

Peter

bestowhis

time

making

uch

trifles,

r

n

packingvp such wares to sell vnto

Christians all Christendome

uer)

as

it were in

pedlers

packs?"I

Anotherpamphlet which uses such

language and seems

especially

appropriateto Autolycus s one written y theAnglicanminister

John

Rhodes and

published

n

1602underthe

title,

An answere

o

a

8The

recantations s theywere seuerallie

pronounced

by WylliamTedder and

Anthony yrrel

1588),p. 20.

n

theFolio textof he

Winter's ale the

word s likewise

spelled "tromperie,"which

makes ts derivation rom

romperie

more

obvious.

9Sermons pon the whole

booke of the

Revelation

1596), p. 352.

'0The popes

parliament

(1591), sig. Aiiii, p. 3. Some

other

writerswho use

'trumpery"n the

nti-Catholic

ense reSpenser,who

refers

o

"popishe

trumperie"

in

A

Viewof the

Present

tate

f

reland, d. W. L. Renwick

London,

1934), .

1

10;Jan

vander

Noot: "theirtoo too

muche knowne

trumperies,

nd lack an

Apes

plays" (A

theatre . . of voluptuousworldlings, r.T. Roest 1569],f.

44V);

John Racster: The

inuocationof Saints,

praier

for

he

dead,

or

any

such

trumpery"WWilliam

abasters

seven motives

[1598],

f.

8v);

and

George Downame: "innumerable

traditions,

superstitions,

rumperies

nd fooleries"

A

treatiseconcerningAntichrist1603], .97).

See also E. K.'s note to the

May

eclogue

of

Spenser'sShepheardes

Calender, nd

D.

Douglas Waters'

Spenser and

Symbolic Witchcraft

n

The

Shepheardes

Calender,"

SEL,

14

1974),

3-15.

"A

comparison

betweene he

auncient

fayth f

the

Romans,

and thenew Romish

religion

1595), p. 76.



6/18

DA

VID KA ULA

291

Romish

rime.At

thebeginningRhodes

explainsthathe

tookpart n

a

search n which certainCatholicitemswerediscovered,ncluding

"Toy in Rime,

entituled,

A propernew Ballad,

wherein

re certaine

Catholike uestions

.. to

the

Protestant."

e then

ells

us his

reason

for

writing

he

pamphlet:

onely

f

zeale

to thetrueth,

nd of oue tosuchsimple oules,

as might

be snaredwith such

pretty

ayts s thisBallad

is,

haue taken little

paynes

n answering he ame

as well

as I

could....

I

am perswaded,

here re

many uch

Pamphlets,

together

ithother ike Romish

wares, hat re

sent broad

amongthecommonpeople,bothProtestantsnd Papists n

London

and

in

the countrey,

& that,

by certainwomen

Brokers

nd Pedlers as

of

ate

n Staffordshire

herewas)

who

with baskets

n their rmes,

hal come and offer

ou other

waresvnder colour,

nd so

sell you these,where

hey ee

and

know any likelyhood o vtter

hem....

vnder he habit

of

such,

many young

Iesuites, and

olde Masse-priests ange

abroad,and drawe disciples

after hem.'2

From this t would appear

that the "peddling

"

of such wares

was

carried n ina more hanmetaphorical ense.AsRhodes refersothe

ballad as

a

"pretty

ayt"

to

ensnare

"simple

soules,"

so

Autolycus

uses

his ballads

to

captivate

the

herd

of

simple shepherds.

n

the

central

portion

of

the

pamphlet

Rhodes

reproduces

he Catholic

ballad,

after ach

stanza

giving

his rebuttal

n

a

stanza

of his

own.

At

the nd hespeaks

of

t as an

example

of

"trumpery"

nd

produces

he

usual

Autolycus-like

atalogue:

"My

chiefest

urpose

herein

was,

that

the simple

and

ignorant

might

haue

benefit

hereby,

whom

Papistsabuse by sendingvntothem, uchliketrumpery,y Popish

pedlers....

Their

Popes

wares

call

these

things:

Pardons,Agnus

Deies,

Beades,holy

Candels, Paxes,

Crosses,Crucifixes,

ith

undrie

sorts fbookes.

One

other

amphlet

n

thisvein

worth

oticing

is

a translation

rom

he Frenchof Jean

Chassanion,published

n

1604under

he

itle:

The

merchandises

fpopish

priests. aying

open

to the

world,

how

cunningly hey

heate

and

abuse

poorepeople,

with

theyr

alse,

deceitfull,

nd

counterfeit

ares.

Adopting

the

metaphor

fCatholic

priests

s the merchants"who

serve heWhore

ofBabylon,Chassaniondwellsat length n the "cunningsleights"

and "queint

and dexterious"

methods

by

which

they

ure

their

customers

ntobuyingtheir

ounterfeit ares,whichhe inevitably

refers o as "trumpery":

Is it not

an extraordinarieptitude,

o sell

'2An answere

to a

Romish rime

1602), sig.

A2.

'3An answere

to a

Romish

rime, ig.

FlV.



7/18

292

AUTOLYCUS' TRUMPERY

well, and

in

selling, obe well payd, nd that he

buyer finally) hall

haue nothing t all, but themeere ight f hiswares? . . thesemen,

like to uglers r Mummers,re deeply kild n

thiskindeofdealing,

and

know

very eadily,

o

sell,

&

resellthe ole

sight f their rump-

ery..'I Although

Autolycus oes not practise

heprecisekind of

fraud describedhere-that of selling the mere

sight of his wares

without the substance-he does suggest the

counterfeit ature of

some of them when he says:

"I

have sold all

my trumpery: ot a

counterfeit

tone,

not a ribbon, glass

.

to

keep my pack from

fasting."

All these nalogiesappear to ndicate hat neofAutolycus' everal

roles

s

thatof the cunning

merchant f popishwares.Shakespeare

may

be

alerting

is audiencethathe represents

ore han n ordinary

peddler when, ust beforehe first ppears singing

his

wares,

the

Clown and Perdita

make these

nigmatic

omments:

Clown.

You

have of these

peddlers

hat

have

more

n

them

than

you'd

think, ister.

Perdita.

Ay,

good brother, r go about

to think. IV.iv.216-

218)

As thiskind of merchant utolycuswould be a

vehiclefor atirizing

the

well-publicized

ctivities

f

the

missionary

riests

n

England,

or

those

who,

under the

habit of

peddlers, rangeabroad,

and drawe

disciples

fter hem."

Although

nusual

in

Shakespeare's lays, uch

anti-Catholic atire

would not be

entirely

nique

to The Winter's

Tale,

since

Shakespeare

had

already done something

ike this in

Macbeth,wherehe has thedrunkenPorter im some gibes at the

Jesuit echnique

f

equivocation.'5

n

thatplay

the atirehas a more

than

limited

topical

interest

ince

equivocationappears

in

various

guises throughout

the

play and

is

closely

linked to

the

moral

predicament f its hero. The question

to

ask

about

Autolycus

s

whether his

"popish"

associations likewise serve a

broader

function-whetherthey have

a

significant

elationshipto other

matters

resented

n the

heep-shearing

cene and other

parts

of

the

play.

One of themainpurposes f the heep-shearingcene s todisplay

Perdita

nd Florizel nd

their

rdent

ove for ach

other,

lovewhich

is to

play

such

an

important art

in

retrieving

eontes from he

wintry

ondition

of

penance

in which he

has existed

since

the

"The merchandises f popish

priests 1604), sig. C3v.

"See HenryN. Paul, The Royal Play ofMacbeth New

York,1950), p. 237-245, nd

Macbeth,New Arden ditionby KennethMuir (London, 1964),

pp. xvi-xix.



8/18

DA

VID

KA ULA 293

supposed

death of Hermione and in

bringing

about the happy

reconciliations f the last twoscenes. Perdita s a special focusof

attention

n the

scene, as

her

beauty, nnocence, anid generosity

inspire the admiration

of nearly ll who see her, even the hostile

Polixenes.Fromone

standpoint,

utolycus eems o be a counterpart

to Perdita,

for

as

she dressesup

as

Flora,distributes lowers,nd

displays a spring-like itality, o he earlier ings

of

(laffodils,

he

coming

n

of

the

sweet

' th'

year,"

nd the

reviving

f

the

ed

blood

after

winter. n

examining

hetwocharactersmore losely,however,

we

can see that hedifferences

etween hem re moreplentiful nd

emphaticthan the similarities.Perditaherself hows that she is

dubious

of

Autolycus,

nd

therebymplies a potential ntagonism

between them,when she says shortly before he is to appear:

"Forewarn him that he use no scurrilous words

in's

tunes"

(IV.iv.215). Later Florizel ndicateswhat she thinks f the "'knacks"

his

fatherurges him

to

buy

for her from the "peddler's silken

treasury":

She

prizes

not

such

trifless these re"

(IV.iv.361).

WVhat

she

does prize are

the less

material "gifts"

ocked

up

in Florizel's

heart.On the other

ide,

Autolycus

hows

how

littlehe

thinks f

Perdita nd her harms n theonly commenthemakesabouther n

the

play.

To him

she is

merely

the

"clog"

at

Florizel's heels

(IV.iv.684).

The contrasts etween he two

characters re indeed several nd

follow consistent

attern.

f

Autolycus eals

n

manufactured

ares

such as

silks, beads,

and

bugle-bracelets,

erdita

distributes

uch

natural hings s flowers nd sendsherbrother o market o buy

fruits

and

spices.

While he sells trinkets hichartificiallynhance female

beauty, he dislikes"painting" bothin the flowergardenand the

boudoir IV.iv.101).

While

he is forever

ontriving

ow to

get

money

through icking pockets, uttingpurses,

nd

selling

his

trumpery,

she

freely

ffers er

flowers,

nd thewealth he

is

associated

with

s

not ordinarymoneybut "fairy

old" (III.iii.122). While he proceeds

through

series f

disguises

o deceivehis

victims,

he

s

embarrassed

bybeing "prankedup"

as

a

goddess

nd wishes o appear only

n

her

true

guise

as a

"poor lowly

maid"

(IV.iv.9-10).

While he

sings

of

tumbling

withhis "aunts"

n

thehay nd peddlesbawdyballads

with

refrainsike"Jumpher, nd thumpher," heand Florizel re models

of chaste

though certainly

ot

tepid)

love.

If

we

were

ooking

for

Freudian

meanings

we

might

ind

hem n

Autolycus' rick f utting

the hepherds' urses.

As he

himself emarks, hey

were

o

entranced

with

his

songs "'twas

nothing

to

geld

a

codpiece

of a

purse"

(IV.iv.615).

Far from

hampering

heforces

f

generation,

erdita n

the

other

hand

is

given

the

spect

of a

fertilityoddess through

her



9/18

294 AUTOLYCUS'

TRUMPERY

association

with Flora and Proserpina, and she also

shows her

willingness o "breed" with Florizel IV.iv.103).

The

general distinctionbetweenAutolycus and Perdita,

then,

seemsto be

one between he rtificial nd

the natural, he

predatory

and the

charitable, he icentious nd the haste.But there s

more o

the contrast han this.

Shortlybefore

Autolycus enters he scene

Perdita s

praisedby he ther

haracters or er inging, ancing, nd

other

ccomplishments, ordoing

everythingfeatly." lorizeltells

her nhis

"wave o'

th'

ea" speech: whenyou sing,/ 'd have

you buy

and sell so; so

give alms,/ Pray so

.

.

."

(IV.iv.137-139).After his,

Autolycus nd his particular alents re announced: his singingso

that all men'sears

grew

o

his tunes,"his

chanting

verhis wares s

if

"they were

gods and goddesses." Clearly, as the

religious

connotations of

these lines suggest,

Shakespeare

s

asking

us to

compare

the two characters

n

termsof their different

modes of

singing and praying, hetypes f

spirituality hey epresent.

t is

in

terms f this ontrast

hat

Autolycus' popish"

associations ssume

broader ignificance.

n

chanting ver

his

wares s if

they

were

gods

and

goddesses"

or

in

"hallowing"

his

trinketso that

hey ppear

to

convey "benediction,"Autolycus s turning hem ntoobjectsof

idolatry.

As he

himself bserves,what he

appeals

to

in

his

selling

techniques

s the enses f

his

customers,

heir

ullible eyes

nd

ears,

whichapprehend nly the xternal

ppearance

of

things,

n

contrast

to

genuinefaith,

which focuses

n

the

nvisible

piritual

eality,

he

"euidence of

things

which

are not sene"

(Heb.

1:

:1).16

In

the

anti-

Catholic

polemics

of the

Elizabethanperiod Catholicism"

s

treated

as

virtually ynonymous

with

"idolatry,"

ince it was

thought

o

dependfor ts ppeal on the glitteringhewofoutward hings,'

1

on

ceremonies,mages, elics, hanting,

r

everything

ummed

p

by

he

word

trumpery.

In

the

fficial

lizabethan

homilyAgainst erillof

idolatrie,

nd

superfluous eckingof

churches, n extended iatribe

against

the "lewde

paynting,gilding,

and

clothing

of Idoles and

Images," theCatholicChurch s

equated with heWhore f

Babylon,

who "doeth

after

he ustome

f ..

harlots) aint

her

elfe,

nd

decke

and

tyre

er selfewith

gold, pearle,

tone,

nd all kindeof

pretious

iewells, hat he

shiningwith

the

utwardbeauty nd glory f

them,

mayplease thefoolishfantasie f fonde ouers, ndso entise hem o

spirituall

fornication ith her."'8

As

a

purveryor

f

artificial ids

to

'6Biblicalquotations

here re

takenfrom he

Geneva-Tomson

Bible

(ed.

1599).

'7Gifford,

ermonsvpon

Revelation,p.

326.

18Certaine

ermons

or

homilies appointed

to be

read

in

churches,

d.

MaryEllen

Rickey nd Thomas

B. Stroup Gainesville,

Fla., 1968),

econd

Tome, p. 69.There

re

many ther uch

descriptions

f

he

bejewelled

nd "painted"

Whore fBabylon n

the



10/18

DA VID KA ULA

295

femalebeauty,

Autolycus eals

in thiskind

ofexternal ecoration r

"painting"-the "painting"whichPerdita, n her argumentwith

Polixenes

over the cultivation

f flowers, igorously

ejects:

I'll not put

The dibble

in earth, o

set one slip of them;

No more thanwere painted,

would

wish

This youth

hould say

twerewell,and only therefore

Desire to breed

by me.

(IV.iv.99-103)

As thehomilypiouslyobserves hat vsuallyspirituallynd carnall

Fornication oe together,"'9

o

Autolycus'

onnectionwith spiritu-

all

fornication"

s

implied by

his

promiscuous

affairswith

his

"aunts"

and "drabs" and

his

bawdy

ballads.

One

effect

e has

on

his

customers

s to

stimulate

awdy

hatter

etween

heClown and

his

two girl

friends. onsistentwith

this

s

hismetaphorical elding

of

the

hepherds,

is

encouraging

licentiousness

mong

them

which

s

actually

form f

barrenness,

he ntithesis f Perdita'sfecundity.20

A

common practice

n

the Protestant olemics

s

to

compare

the

Whoreof Babylonwith her opposite, the Brideof Christor true

church,

represented

y

the

Bride of

the

Lamb in Revelation

19:7,

21:2)

and theBride n theSong of Solomon.2'

Thus after

escribing

the

glittering

Whore n the

passage

quoted

above,

the

homilyAgainst

idolatrie

delineates

he Bride:

anti-Catholicpolemics (Spenser's

Duessa comes to mind,

"Purfled with

gold

and

pearle

of richassay" [FQ Iii. 13]).Some other xamplesappear in Gifford,ermons

vpon

Revelation, pp.

325-326,

nd

Robert

Cawdrey,

A treasvrie

r store-hovse

f

similies 1600),

pp. 501-502.

19Certaine

ermons,

. 19.

The homily laborates

n the ocus classicus

of this

dea,

the attack n

idolaters

n

thefirst

hapter f

Romans.

20The onnection

between

dolatrynd barrenness

s indicated y

Samuel

Gardiner

in a passage

on

the Whore

ofBabylon:

"for

s

theopen strumpet,

ho without

ny

difference,

dmitteth

ll

companions

alike that ome

vntoher, s alwaies

barren,

nd

without

fruite fwombe:

So

theRomish strumpet

dmitting nto the lappe

and

bosome

of theChurch, confused

haos

of

very

ascall

rudiments

i.e.,

traditions

nd

ceremonies],

no

maruaile it is that

they

Catholics]

are

barrenof

grace,and

the

immortall eedeof Godsmostholyword annotregeneratendbetterheir ffections"

(A pearle of

price 1600],

pp. 8-9).

We notice

thatfruits nd

seeds, ncluding

"rice,"

figure rominently

n

the hopping

ist Perditagives

to her brotherIV.iii.37 ff.),

he

moneyforwhichAutolycus

ilches. hese together

ithherflowers re the hings

he

plans

to distribute

t the festival,

n

contrast o Autolycus'

fancy rinkets.

21John ale

refers

o the two figures

n the

title

f his commentary

n Revelation,

The Image of

Both

Churches

1545),

n

Selected

Works,

d.

Henry

Christmas

or

he

Parker ociety Cambridge,

1849).

Such

a

comparison

s

standard rocedure

n all

the

Elizabethan

commentaries

n Revelation.



11/18

296 AUTOLYCUS'

TRUMPERY

Whereas

n

thecontrary art, he trueChurch

of

GOD,

as a

chaste matron, spoused (as the Scripture eacheth) oone

husband, our Sauiour lesus Christ,

whom

alone shee

is

content nely to please and serue, nd

lookethnot to

delight

the yes

r

phantasies f nyother trange ouers,

r

wooers

s

contentwithhernaturall dornments,

ot

doubtingby

uch

sincere

implicitie,

est

to

please him,

who

can

well

skillof

the

difference

etweene

painted visage,

and

truenaturall

beauty.22

Perdita is similarlydistinguishedby her fidelity, implicity, nd

unpainted natural beauty,and indeed the play affords everal

indications hat

her

betrothal

o

Florizel

s

meant

o

represent,n

one

level

of

symbolism, heunion between hrist nd

his

Bride.Lest

this

seema desperate xercise

n

allegory-hunting,

t

s well torecallthat

the

analogy

between human

matrimony nd

the

union between

Christ nd the

church

was an Elizabethan

commonplace,

nd that

one was often nterpreted

n

terms f theother. t s stated oth n the

Bible- 'Husbands, loue your

wiues, euen

as Christ loued the

Church"

(Eph. 5:25)-and

in

the

marriage ervice

f the

Booke of

Common Prayer,which beginswith thepronouncement hat holy

Matrimonie

. . is

an honorable state, nstituted f God in paradise,

in

the ime fmans nnocencie, ignifying ntovs themysticall nion

that

s

betwixt

hrist nd his Church." Shakespearefirstntimates

the

nalogy

when Perdita

nd Florizel ppear at thebeginning fthe

sheep-shearing cene,

when

she says:

Your high self,

The gracious marko' the and, you have obscuredWitha swain's wearing; nd me, poor lowly maid,

Most

goddesslike

prankedup.

(IV.iv.7-10)

Florizel

has descended rom is exalted evel to appear in theguiseof

a

shepherd,

notion he

further

ccentuates

when he

compares

himself

o the

gods

who

humbled "theirdeities o love," including

"Golden

Apollo," who, ikehimself, ecame "poor humble wain"

(IV.iv.25-31). Perdita and Florizel are stating n the language of

pastoralromance ndpagan mythology hatcanbesaid with qual

validity fChrist:his humbling his deity o love and adopting the

guise

of a

shepherd.

f

the nalogy between hrist nd the icentious

gods

seems

dubious,

Florizel

himselfmakes the crucial distinction

when

he claims thathis love is morechaste than theirs:

22Certaine

ermons,

. 69.



12/18

DA

VID

KA

ULA

297

Their transformations

Wereneverfor piece ofbeautyrarer,

Nor in

a way so

chaste....

(IV.iv.31-33)

Later

in

the

scene,

whenPolixenes

reveals

himself nd disrupts

he

betrothal

eremony,

e

applies courtly

nd dynastic

values rather

than Christian nes when

he rebukes

lorizelforpresuming

oplay

the

hepherd, ndhe also

reverses od's

acknowledgement

fhis

son:

"This

is mybelouedSonne,

n whome

amwel pleased"

Matt.3:17):

Markyourdivorce,youngsir,

Whom son

I

dare

not

call;

thou

art

too

base

To be acknowledged.

hou,

a scepter's

heir,

That

thus affect'st

sheep-hook IV.iv.421-424)

Despite

the

paternal

ispleasure,

owever,

lorizel

emains rue ohis

devotion

nd

is "nothing ltered":

What I was, am" (IV.iv.468)-

again

like

Christ,

who is the "same

yesterday,

nd to

day,

and

for

euer" (Heb. 13:8).

As forPerdita,n herfirstinesshedescribes erself s following

courseopposite

to Florizel'sdescent

rom

igh

to

ow:

"and

me,

poor

lowly

maid,/Mostgoddesslike

ranked

p."

Perdita

s

a

"poorlowly

maid" exalted

to the

level of the divine

suggests

another

figure

traditionally

quated

with the

Bride of

Christ,

the

Virgin

Mary,

specifically

s

she

speaks

of

herself

n

the

Magnificat:

For he

hath

looked

on the owlinesse

f his handmaiden....

He hath

.. exalted

the

owly" Luke

1:48, 2).23

erdita

s called

a

"goddess" gain

when

she

appears

before

eontes

V.i.131),

and

is

thusdistinguished

rom

the sham "gods and goddesses" nto whichAutolycus onverts is

trinkets. everal other superlatives

are

applied

to her: Florizel

"prizes"

hermore

han

ll

worldly

onors nd

possessions

IV.iv.376-

380);

she

s

the fairest"

rincess,

he

most

peerless iece

of

arth,"

"woman/

Worthmorethan ny

man" and

the rarest

f

ll

women,"

a

"paragon"

(V.i.87,94,

111-112,

53).

This

terminology

uggests

he

various biblical

accounts

of

the Bride of Christ

as

a

creature f

incomparable eauty

nd

worth,

he

paragon

of

creation,

uch

as the

23Thisreading

s from

heBishops'

Bible,

which comes somewhat loser

to

"poor

lowlymaid"

than

heGeneva-Tomson,

Forhee hath

ooked

on thepoore

degree

fhis

seruant,"

hough

lements

f both

ppear

inPerdita's

hrase.

n traditional

conology

Mary nd

theBride

fChrist

re fused

n the

igure

f

theBride

n the ong

ofSolomon.

Perhaps

the

fruits,pices,

nd flowers

ssociated

withPerdita

re

meant o

suggest

he

same temswhich

figure

o prominently

n

theSong.

One of the mblems

fthe

Bride,

the "garden nclosed"

(Cant. 4:12),

would

be equivalent

to the"rural garden"

with

which

Perdita s

implicitlydentified

s itschoicest

flowerIV.iv.84).



13/18

298

AUTOLYCUS'

TRUMPERY

Bride in theSong of Solomon: the

"fairest mong women" (Cant.

5:9); thepearlofgreat rice r heavenly ingdom,morevaluable than

all

worldly

reasure Matt. 13:45-46); nd the Bride of the Lamb or

NewJersusalemn Revelation,whose

"shiningwas like stone

most

precious" Rev.21:11). Leontes' servant, ho is

responsible

or

much

of this

eulogizing

of

Perdita,

lso

says

of her:

This is a creature,

Would she begin a sect,mightquench thezeal

Of

all

professors lse;

make

proselytes

Ofwho she but bid follow. V.i.106-109)

Again a

distinction

s

implied between

hekind of

worshipPerdita

inspires nd theenchantment utolycus

xercises

ver

the "herd"

who follow

him.

fPerdita nd Florizel

beget wonder" V.i. 133), nd

if

the

discovery

of

her

identityproduces "admiration"

in

the

beholders

V.ii.

12),

what

Autolycus

ures

his

customers

nto

dmiring

is

a

mere

llusion:

"No

hearing,

no

feeling, utmysir'ssong,and

admiring

the

nothing

of

it"

(IV.iv.616-618).24

FromtheProtestanttandpoint, heBrideof Christwas thought o

signify

the

true Christian

church,

recently

resurrected

y

the

Reformersftereveral enturies f

obscuritynd persecution uring

theperiod

of

papal

darkness. ewel

maintains hat

he

newChurch f

Englandisnot

actuallynew but restoration f theprimitive hurch

of

the

postles

nd

early athers, "pure

virgin, potted

s

yet

withno

idolatry

nor with

any foul

or

shameful

fault,"

n

contrast o the

corrupted

atholic

Church,

he

most

gorgeous

harlot

Babylon.

25

If

Perdita is intendedto shadow forth he Bride ofChrist, hen she

would

logicallyrepresent

his

rue

Protestant" hurch s opposed to

the dolatrous Catholic"

church

epresented

yAutolycus,muchas

Una and Duessa and her

accomplice

Archimago

re

contrasted

n

these cclesiastical erms

n

Book

I

of The

Faerie

Queene.26

ater

n

24A parallel to the sortof

"admiration"

Autolycus ngenders ppears

in

Harsnet's

Declaration. n

attacking group ofCatholic exorcists,

arsnet laims that

heir

im

was "by playing

ouer ll thetrinkets,

oyes, pedlarsware

of

thePopes holy

budget...

to

aduance

the

credit,

f the

Catholique

church,

nd to

bring

nto admiration

heyr

owne persons, nd priestly ower,that o theymight atch thepooreGudgins, they

fished o

industriously or" p. 125). t s while the hepherds

re "admiring"

the

ong

that

Autolycuspicks and cuts their

urses.

25John

ewel,

An

Apologyof theChurchofEngland,tr.Ann Bacon

(1564),

d.

J.

E.

Booty Ithaca, N.

Y., 1963),pp. 121,

127.

26For

penser's

use

of

this ymbolism ee JosephineWaters

ennett,

he

Evolution

of

"The

Faerie Queene" (Chicago,

1942),pp. 108-123;

.

Douglas Waters, uessa as

Theological Satire

Columbia, Mo., 1970); and John

Erskine

Hankins,

Source and

Meaning in

Spenser'sAllegory Oxford,1971),pp.

99-119.



14/18

DA VID KA ULA 299

the sheep-shearing

cene something rather curious

happens

to

Perdita,however,whenPolixenes removeshis disguiseand tries o

prevent the betrothalfrom taking place. Reversing his earlier

adulation

of

Perdita s the

prettiest

ow-born ass

that ver/

Ran on

the greensward" IV.iv.156-157),

he

speaks

of

her

scornfully s

a

"fresh piece/

Of

excellent

witchcraft,"

this

knack," and

an

"enchantment,/Worthy nough

a herdsman"

IV.iv.426-427, 32,

438-439).

What Polixenes is

doing

is

implicitly

dentifying

erdita

with what he himself little arliercalled the cheap

"knacks" in

Autolycus' ack

IV.iv.353),

he

gaudy

trifles" he herself

ejects, he

trumpery ith whichAutolycus nchants he "herd."27 wo ofthe

terms

e applies

to

her, witchcraft"

nd

"enchantment,"

ften

ccur

in the nti-Catholic

olemics,theWhore

of

Babylonbeingone who

deceives ll nationswith her

"inchantements"Rev. 18:23).

William

Perkins accuses the

Catholic priesthoodof practising

"Magicke,

sorcerie,

r

witchcraft,'28

Cawdrey

ikewise alls

them

"Magicians,

Witches,

and

Sorcerers,"

9

and Gifford

employs

the

witchcraft

metaphor

when he writes hat heWhore

f

Babylon

hath

played he

witch, nd byherwitchcraftathbewitched ll nations, nd seduced

them o commit

whoredome

withher."30Like Leontes arlier,who n

his jealous fury ransformedhe chaste Hermione into

a spotted

"adult'ress" nd called

Paulina

a

"witch,"

Polixenes

n

his

paternal

rage sblindtoPerdita's

rue piritualworth nd converts er

nto

her

antithesis.31

After

his,

o

escape

thewrath f Polixenes the

two

overs

isguise

themselves

nd take to a

ship.

Florizel

changes garments

with

his

former ervant

Autolycus,

nd Perdita

s

told to

"muffle

our

face"

and"disliken/ he truth fyour wnseeming" IV.iv.655-657). ince

Perdita's disguise

seems rather

uperfluous,

t

may

be intended o

have

a

symbolic

function.

Perhaps

its

significance

s

that,

ike

the

27Theword "trifle" s associatedwith Polixenes' view

of

Perdita

n Leontes' later

remark o Florizel: "I'd beg your

precious mistress,/Whichhe counts but a trifle"

(V.i.222).

28A eformed atholike 1598),

p. 345.

29Treasvrie f similies,p. 538.

30Sermons pon Revelation, p. 363. Harsnet also uses the

metaphor in the

Declaration,pp. 150-151.

5'A similar onversion ppears n Othello,

where

ago functions

s the vil magician

or Archimagowho destroys thello's

faithnDesdemonaby ransforminger rom he

chastebride nto the

cunning

whore," he

fairdevil" who

bewitched im.

Hamlet's

mother s another

emale

igure

who is

transformed,hough

n her

ase

the

onversion

is more than

an

illusion.

Clearly, he

theme

f

the

"two

images"

of

the

Bride

nd the

Whore is

one to which

Shakespeare

attached

considerable

significance.

For

his

handling

of

t n another

lay

see

my rticle,

'Mad

Idolatry'

n

Shakespeare's

Troilus

and Cressida,"

Texas Studies n Literature nd

Language,

15

1973),

25-38.



15/18

300

AUTOLYCUS'

TRUMPERY

wanderingUna, Perditamust

conceal her beautybeneath veil and

journey n thewilderness, hisbeing thefate f the true hurch n a

time of spiritual darkness nd

persecution, r, as the prospering

Autolycus says,

a

"time when

the unjust man doth thrive"

(IV.iv.678).32 imilarly, s Una's

finalreunionwithher parents nd

betrothal to Redcrosse are

accompanied by allusions to the

presentationftheBride nd

her marriage o Christnear the nd of

Revelation,33

o

thediscovery fPerdita's dentitys surrounded ith

apocalyptic

vertones. ne

of

the

gentlemen

who

describe he

happy

scene ays: they

ooked

s

they

ad heard

f

world

ransomed,

r

one

destroyed"V.ii. 15-17)-wordswhich uggest he reation f"a newe

heauen, and a new earth"

nd

thepassing away

of

"the first eauen

and

the

first

arth"

Rev. 21:1).

A little ater he

ther

Gentleman

ays:

"The oracle

s

fulfilled; heKing's

daughter

s

found;

uch

a

deal of

wonder s broken ut within his

hour thatballad-makers annotbe

able

to

express

t....

This

news,

which

s

called

true,

s so like

an

old

tale that heverity

f

t s in

strong uspicion" V.ii.24-3 ).

We notice

several

choeshere

f

the arlier

inesof

FatherTime

when, overing

the ixteen-yearap

in

themiddle

of

the

play,

he

speaks

of

Perdita s

now

grown

n

grace

Equal

with

wondering.

What

of her

ensues

I

list

not

prophesy;but let Time's news

Be

known

when tis

brought

orth.

IV.i.24-27)

The

news Time chooses not

to

prophesy

s

finally rought

orthn

the fullness

of

time, ust

as the

unlikely promises

of the

Old

Testament,

hat

"old tale," are

fulfilled y the "good

news"

of

the

comingof theredeemer-newswhich,howevermuch "wonder" t

causes,

s

neverthelessMost

true"V.ii.35).The referenceo "ballad-

makers"recalls

he

mock

wonderswith

which

Autolycus

mazed the

shepherds

n

his

ballads-wonders he

insisted were

"Very

true"

(IV.iv.268).

321n

Una's case,

this symbolism

s

based on the

Bride's

veil

in Cant. 5:7 and the

woman's flight nto the wilderness

n

Rev. 12:6.

Perdita and Florizel'scomparable

flight nto a

wildernesss suggested yhis lines: "as th'unthought-onccident s guil-

ty/

o

what

we

wildlydo,

so we

profess/

urselves o

be

the laves f

hance,

nd

flies/

Of everywind thatblows"; and Camillo's: "a wild dedicationofyourselves To

unpathed

waters"

IV.iv.542-545, 70-571).

Una is

likewise

Long

tost

with tormes,

and bet

with

bitter

ind,"

nd

forced To

wander,

where

wilde

fortune ould

me

ead"

(FQ,

I.vii.28,50).

Implicit

n

the magery

f

bothpassages s the amiliar mblem fthe

church s

a

ship "ofte

ossed nd tourmoyled ith

outragious tormes nd tempestes"

(John Day, in

preface o Henry Bullinger,

A

hzndred

ermonsvpon the Apocalips

[1561], sig. Aiii).

"See

especially

Q, I.xii.22-23,where,with

the

removal fherveil,Una's "heavenly

beautie" shines

forth.



16/18

DA VID KA ULA 301

After isplaying

is

virtuosity

s peddler

nd

cutpurse

n the heep-

shearing cene,Autolycus ecomes less interestingnd significant

character.Having

sold all

his

wares,

he

nextadoptsthedisguise

of

supercilious ourtier, arodying

he nfuriated olixenesby telling

the

old

Shepherd

nd

his

son what terrible

unishments

re

n

store

for hem.At thispoint

he

unintentionally

ontributeso theworking

out

of

the

nvisible

providential

esign,

or

the "secret urposes"

of

thegods, by getting

he two

shepherds

n

board Florizel's

hip

with

theprecious"fardel." Although

he

ridicules them s "two moles,

theseblind

ones"

(IV.iv.843),

he

is

actually ust

as blindhimself, nd

endsup "doing good" despitehimselfV.ii.132).Then in Sicilyhe

finally ppears as their ocial

inferior, he recipient f their imple

charity

nd

"gentle"

courtesy. aving

revertedo

his

original

role as

Florizel's ervant, e resumes is properplace

within

he ocial

order

after

is

period

of

vagabondage

and

trumpery-peddling.

Autolycus' "popish"

associations seem

to

be

limited

to

his

peddler's ole,

nd to

try

o

extend

hem o

his

other

ctivities

would

be

to commit ne

of

the ardinal

insof

Shakespeare

riticism,

he in

of

over-allegorizing.

ome

of

the

motifs

onnected

with

thatrole

do

come into play again, however, n the final scene, n the events

surrounding

the resurrection

f

Hermione. After

eading

the

spectators

nto

chapel,

Paulina draws side a curtain nd reveals

he

supposedly

ifeless tatue.

She calls it

"my poor image,"

and warns

the

nraptured

eontes

not

to kiss

t

esthe

stain

himself

with

oily

painting" (V.iii.57, 82).

"Image"

and

"painting"

are

suggestive

words, both because

one of

them echoes the "painting"

Perdita

rejected

n

her rgumentwithPolixenes,

nd

because

n

Elizabethan

usage they

re redolentwith connotations

f

idolatry.

he

homily

Against dolatrie ombines hetwowordswhen t condemns

"gylte

or

painted

Idole

or

Image"

and

the "lewde

paynting, ilding,

nd

clothing

of Idoles and Images.

34

In

the Protestant olemics the

biblical

injunctions gainst

the

making

nd

worshipping

f

mages

are

repeatedly

irected

gainst

Catholic devotional

practices,uch

as

the

etting p

of

saints'

tatues

n

churches.

n

comparing

he

ways

f

Christ and

Antichrist,

or

instance,

Thomas Becon writes

that

"Christe n his holie

lawe

...

forbiddethomake, ette orthe,

r kepe

any mageto beworshipped,"whereas Antichristaieth,t s awful

not onely to haue images

to sette them vp in Temples,

Chapels,

Oratories,

c.

butalso to

worshippe heim,

o

kneelebeforeheim, o

kisse them, o praie before hem,yea,

8c

o them."35 hus

Leontes,

34Certaineermons, p. 61, 66.

"The actes of Christe nd Antichriste1577), sigs.

Ei-EiV. For

an attack n saints'

images in particular ee Certain ermons, . 54.



17/18

302 AUTOLYCUS' TRUMPERY

who has come to think f Hermioneas "sainted" V.i.57), must be

warned gainstkissingher mage esthe "stain" himself,nd Perdita,

when shekneelsbefore he tatue, rays o t, nd makes moveto kiss

it,

is

aware

of

performing hat might be seen as

"superstitious"

actions:

And

give me leave,

And do not say tis superstition hat

I kneel, nd then mplore her blessing.Lady,

Dear queen, that nded when I but began,

Giveme thathand ofyoursto kiss. V.iii.42-46)

Like

Leontes, Perdita must be warned against

kissing the statue

because

it s

freshly ainted,

he

"color's/

Not

dry"

V.iii.47). Their

attitude

f

gazing

wonder

t the

sight

of the

statue,

while

certainly

understandablend dramatically ffective,ears

resemblance o the

mindless "admiration" of Autolycus' ustomers

n

listening o his

tunes.

As Autolycus ays

f

the atter,

No

hearing,

o

feeling, utmy

sir's

song,

and

admiring

the

nothing

of

it,"

so Leontes observes f

himself nd Perdita:

I

am asham'd;

does not

the stone rebuke

me

For being more stone than t?

0

royal piece

There's magic

in

thymajesty,which has

My

evils

conjured

to

remembrance,

nd

From

my admiringdaughter ook the spirits,

Standing

ike stone with thee.

V.iii.37-42)

The implication s thatboth setsof admirershave through heir

ecstasy

ecome

ike

dumb dols themselves- idoles

..

of

stone,

nd

of

wood,

which neither

an see,

neither

eare,

nor

goe" (Rev. 9:20).

The important ifferences,

of

course, hat

Leontes and

Perdita re

fully

ware

of

what

they

re

doing

and comment

n their

ttitudes,

and

what

they

re

admiring

s much more han n

illusory mage

or

'"nothing."w36

36Leontes nd Perdita's adoration

of

Hermione's painted

image may provide

the

explanation

for

hakespeare'smuch-debated hoice

of

"thatrare talianmaster, ulioRomano" as itsfictitious aker V.ii. 104). Romano" is close to"Roman." The Third

Gentleman escribes im s having n almostgod-like reative ower: had he himself

eternitynd could put breath ntohis work, he] would beguile Nature

f her

ustom,

so perfectly

e

is

her

ape"; and Paulina: "her dead likeness do

well

believe/ xcels

whatever etyou ooked upon,/Or hand ofman hathdone"

V.iii. 15-17).According o

the Reformers,his s thekindofpowerthePope

blasphemously laimed

forhimself:

"the Pope is said to haue an heauenly power and

authority, nd thereforelso to

chaunge

the

nature

f

thinges, y turning he ubstance

f

ne

thing

nto

nother.And



18/18

DA VID KA ULA

303

To move them

from otentially dolatrous o

genuine adoration,

Paulina proceeds o convert mage ntoreality, ead stone nto iving

flesh.To

accomplish this pparentmiracle he must

depend

not on

illicit spells ormagical deceptionbut

on

the

spiritualdedication

f

thebeholders:

It

is

required/

ou

do

awake your

aith"

V.iii.94-95).

As theReformers ould say, t snot the

doration

f

magesor other

outward ceremonies

but

the

strengthening f

faith which makes

spiritualregeneration ossible.AfterHermione

descendsfromher

pedestal, aulina

is

then ble to tellPerdita o

"kneel,/

And

prayyour

mother'sblessing" (V.iii.119-120). Such

kneeling and praying no

longer mackof dolatry. he blessingHermione hen sks thegods

to bestow

n

her

daughter

s

a last reminder

f

the

differenceetween

thiskind of

spirituality

nd the

sham "benediction"

Autolycus

old

with his

hallowed

trumpery.

University fWestern ntario

of nothinghe can make something" HenryBullinger,Of theend oftheworld,tr.

Thomas Potter?

1575],

ig.

HiV;Thomas

Bell repeats his ccusation n

The hvnting f

theRomish

foxe 1598], p.

3-5).The point

the

Reformers

ade about the

Pope is the

one implied

bout Romano,who did not

reallymake

Hermione. uch powerproperly

belongsonly to a higher

Maker.Shakespeare

may haveselectedRomano

because his

first amewould also give

him "papal"

associations, inkinghim both

withJulius

Caesar,

whom theReformersaw as

the

progenitor

f thepopes (see Junius'

marginal

note to Rev.

7:18

in

theGeneva-Tomson

Bible), and with one of the more

notorious

Renaissance popes, Julius

I.

autolycus's trumpery

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