610:
sea as part of a privateering expedition against the
Spanish, she addresses the fact that her fellow privateers are acting in the name of their queen. According to scholar Barbara Fuchs, "Bess's expedition reflects some of the ambiguities between piracy and privateering". Ensuring the loyalty of privateers was a paramount concern for European governments of the period, as suspicions abounded that once a privateer had acquired enough wealth they could abandon the cause they were serving, possibly to enter into the service of another nation. In order to secure their loyalty, Elizabeth I frequently bestowed valuable gifts that symbolized and uplifted her image and reign to her privateers, most notably Sir Francis Drake.
484:
brave and loyal follower. Goodlack returns from the Azores, in the false belief that
Spencer has been killed in action. Spencer has named Bess his heir in his last will and testament—providing she has maintained her honor; otherwise the estate goes to Goodlack. With a strong financial motive to prove her unchaste, Goodlack tests Bess, insults and humiliates her; but she behaves with dignified restraint, winning his admiration. Under the mistaken impression of Spencer's death, Bess turns privateer: she uses her wealth to equip a ship, and leads Goodlack, Roughman, Clem and her crew in attacking Spanish and Turkish shipping.
519:. The English win the regard and approval of the rulers of the three states; like so many other men, The Duke of Florence becomes infatuated with Bess. Eventually the English party re-assembles in Florence. The Duke plays upon Spencer's sense of honor to make it appear that he has abandoned Bess and is indifferent to her. Now a married woman, Bess reacts with apparent rage; she wins the Duke's permission to punish Spencer, and the other members of their party regard her as a "shrew" and a "
491:, for provisions; Mullisheg, the king of Fez, hears of her beauty and invites her party to his court. ("Mullisheg" is a corruption of Mulai Sheik, the title of three Moroccan rulers in Heywood's historical era.) Mullisheg is taken with Bess, but she retains her virtue and inspires Mullisheg to more noble and honorable behavior. Spencer meets his old friends; he and Bess marry under Mullisheg's sponsorship.
500:
party to help them in their schemes. The
English realize their danger, and arrange proposed sexual liaisons for both Mullisheg and Tota; but they work a double version of the bed trick that is so common in English Renaissance drama. Mullisheg thinks he is going to have sex with Bess, and Tota with Spencer, but in the dark they actually sleep with each other.
526:(Critics have noted the differences in tone between the two parts. In the first, Bess is vigorous and active, disguising herself as a man and pursuing a privateer's career; in the second, she's largely passive. In the first part, she is emotionally honest, candid, and forthright; in the second, she feigns emotions she does not feel.
22:
609:
participated in, is directly referenced the first lines of the play, and scholars have analyzed how the play references Drake, privateering, its advantages and the relationship between
Elizabeth I and state-sanctioned piracy. In the play, when Bess (in not a dissimilar manner to Drake) takes to the
555:
Scholars have analyzed
Heywood's construction of gender dynamics in the play. Scholar Jennifer Higginbotham notes that throughout the course of the play, the term "lady" comes to supplant "maid" in defining Bess, which Higginbotham identifies as part of the play's broader concern with her chastity.
682:
The Royal
Shakespeare Company mounted Trevor Nunn's rollicking, well-received production in the 1986–7 season; it was the inaugural production of Stratford-on-Avon's Swan Theatre in December 1986, then played Newcastle upon Tyne before transferring to the Mermaid Theatre in London. It starred Sean
503:
The
English try to sneak away from the now-dangerous court, and almost succeed, though Spencer is caught. Bess and the others return to the court rather than abandon Spencer; in what amounts to a contest of noble behavior, the English overawe the Moroccans, and Mullisheg releases them to go their
499:
The second part opens with a new character, Tota, Mullisheg's wife. She resents the
English guests and feels slighted in the current court society. Mullisheg, too, is unhappy in his noble forbearance, and experiences a renewal of his attraction for Bess. Both try to subvert members of the English
483:
The tavern society in Fowey is as rough as that in
Plymouth; in particular, a bully called Roughman disrupts the business at Bess's tavern. In the belief that bullies are generally cowards, Bess disguises herself as a man to confront and humiliate Roughman; in response, he reforms and becomes her
463:
in 1597. At the play's start, Bess
Bridges is a young woman who works as a tapster in a Plymouth tavern; her beauty and charm and her reputation for chastity, "her modesty and fair demeanor," have made her a focus of attention for many male patrons. In particular, one Master Spencer has fallen in
467:
The early scenes portray the rough and tumble atmosphere of Bess's social millieu, as the town fills up with soldiers and sailors in preparation for the raid on the Azores. A man named Carroll insults and abuses Bess in the tavern; Spencer quarrels with him, fights him, and kills him. To avoid
556:
As an unmarried, financially well-off woman in her own right, Bess thematically alludes to Elizabethan anxieties surrounding Elizabeth I as a female head of state. The multiple relationships she holds with the male characters of the play and the multiple instances in which Bess
77:
to the 1597–1603 period. Significant differences in tone between the two parts suggest that they were written separately, perhaps widely separately, in time: "What slight evidence there is...indicates that Heywood wrote Part II some twenty-five or thirty years after Part I."
560:
allows her to repeatedly confront existing gender and power dynamics and enable several situations throughout the play when she is empowered to define her own social standing rather than allowing for the male characters around her to define her societal role or power.
176:) are two prominent examples of the type, though there are many others in what was a popular subgenre of the era. One modern editor has described the play as "adventure drama," characterized by "simple, straightforward emotions, black and white morality, absolute
568:
itself, which scholars have noted was especially pertinent given the historical anxiety over the status of Elizabeth I as an unmarried woman and her lack of biological heirs. Heywood's attribution also serves as a marker of the relationship England held with the
633:. Bestowed as a sign of Elizabeth I's favor and Drake's favorable standing with her, the jewel and the portrait it contained, to be worn on his person, was a continuing representation of his loyalty, devotion, and allegiance to the Crown.
137:
It appears that in preparation for the Court performance, a manuscript fair copy of both parts of the play was prepared, and that this fair copy later served as the copy text for the compositors who set the 1631 printed text into type.
94:
by the bookseller Richard Royston. The volume may have been typeset in the shop of Miles Flesher, a printer who worked repeatedly for Royston in the early 1630s. The quarto bears Heywood's dedications of the two parts to two friends:
673:
The play's picture of the role of women in society, and its treatment of cross-cultural issues (the West vs. Near East and Christianity versus Islam), have attracted the attention of interested modern critics.
645:
as villains in the play who are ultimately defeated has been interpreted by scholars as part of an Elizabethan dramatic tradition which emerged in response to raids on Christian
1012:
Casellas, Jesús López-Peláez (2007). "'What Good Newes from Barbary?' Nascent Capitalism, North-Africans and the Construction of English Identity in Thomas Heywood's Drama".
621:
in London, the Drake Jewel is a locket composed of enameled gold decorated with inset diamonds, rubies, and a hanging cluster of pearls. The exterior is an intaglio cut dual
928:
Dalton, Karen C. (2000). "Art for the Sake of Dynasty: The Black Emperor in the Drake Jewel and Elizabethan Imperial Imagery". In Erickson, Peter; Hulse, Clark (eds.).
564:
The attribution by Heywood of Bess as being from "the West" establishes the character of Bess (and indirectly, Elizabeth I) as a metaphorical symbol connected to the
246:.) The 1631 quarto is unusual in that it provides cast lists for the productions of both parts by Queen Henrietta's Men. The actors and the parts they played were:
994:
Jowitt, Claire (2011). "Elizabeth among Pirates: Gender and the Politics of Piracy in Thomas Heywood's The Fair Maid of the West, Part 1". In Beem, Charles (ed.).
426:
of the period. His age at the time he played Bess Bridges is unknown, though apparently he had already been married for several years by that point in his career.
697:
by Kevin Theis was staged by the CT20 Ensemble in Chicago in November 1994. The script is available through Dramatic Publishing at www.DramaticPublishing.com.
617:
in 1591 and 1594, is an example of Elizabeth I's gifts and the valuable ties of personal and political relationship they created. Currently on loan in the
412:
Hugh Clark, the actor who played the title character, specialized in female roles as a youth—he played the female lead in the company's production of
487:
Spencer, meanwhile, has escaped the Spanish in the Azores and has made his way to Morocco. Bess and her crew stop in Mamorah, then the port city of
464:
love with her, and she reciprocates his feelings—though Spencer's friend Master Goodlack cautions Spencer over Bess's low birth and her occupation.
183:
Heywood drew upon contemporary events for the atmosphere and ambience of his play. For plot materials he relied mainly on the general folklore and
629:, one of Elizabeth I's emblems, and the interior of the locket itself holds a miniature portrait of Elizabeth I, painted by English goldsmith
1108:
625:
of sardonyx; the bust of an African male in profile superimposed over that of a European female. The interior of the locket cover is a
507:
At sea, the English are attacked by French pirates; in the sea fight, the English party is separated. They land in Italy, Spencer in
573:, in which the English sought to venture out into in order to engage in mercantile pursuits while at the same time weakening their
158:, at least, draws upon what were then current events or contemporary history, and belongs to a group of similar Elizabethan plays;
539:
289:
126:. The plays are known to have been acted at Court in the winter of 1630–31. In one reasonable hypothesis, Heywood wrote
1417:
946:
Higginbotham, Jennifer (2011). "Fair Maids and Golden Girls: The Vocabulary of Female Youth in Early Modern English".
742:, edited by Robert K. Turner Jr.; Regents Renaissance Drama series, Lincoln, NE, University of Nebraska Press, 1967.
523:." Her rage, however, is only pretended, and the couple are re-united happily with their friends at the play's end.
1412:
387:
653:
from the 16th century onwards. Heywood, the son of a priest, used the play to "commemorate the heroic deeds of
589:
As part of her efforts to counter Spain's dominance in the Americas and Europe, Elizabeth I authorized numerous
1330:
Jean E. Howard, "An English Lass Amid the Moors: Gender, race, sexuality, and national identity in Heywood's
614:
468:
prosecution, Spencer and Goodlack leave with the departing fleet. Spencer sends Bess to a tavern he owns at
876:
722:
The RSC in Stratford-upon-Avon presented a new edit of the two parts in December 2023 at the Swan Theatre.
1110:
The Image of Moors in the Writings of Four Elizabethan Dramatists: Peele, Dekkar, Heywood and Shakespeare
701:
42:
618:
531:
665:
and lasciviousness; even overpowering their captors and managing to escape the tyranny of the Moors".
820:
1227:
Hall, Kim F. (1995). "An Object in the Midst of Other Objects: Race, Gender, and Material Culture".
448:
123:
1242:
Montrose, Louis A (1999). "Idols of the Queen: Policy, Gender, and the Picturing of Elizabeth I".
418:
315:
242:
222:
Only five cast lists survive for the whole history of Queen Henrietta's Men. (The others are for
87:
154:, rather than any of the other standard classifications; yet it is a comedy of a specific type.
854:
613:
The Drake Jewel, appearing in two of Francis Drake's portraits, both painted by Flemish artist
350:
73:
in terms suggesting she was still alive at the time of its authorship; scholars therefore date
70:
302:
230:
164:
1288:
Danson, Lawrence (2002). "England, Islam, and the Mediterranean Drama: Othello and Others".
809:
The Popular School: A Survey and Bibliography of Recent Studies in English Renaissance Drama
1427:
1422:
594:
476:(spelled "Foy" in the play); there she encounters Clem, the play's clown, who provides the
8:
1046:
Fuchs, Barbara (2000). "Faithless Empires: Pirates, Renegadoes, and the English Nation".
654:
626:
224:
598:
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1305:
1255:
1209:
1201:
1071:
1063:
1021:
971:
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263:
173:
50:
1341:, edited by Margo Hendricks and Patricia Parker, London, Routledge, 1994; pp. 101–17.
1317:
1213:
1075:
975:
630:
578:
198:; it is easily and naturally classed with several other "fair maid" plays of its era—
930:
Early Modern Visual Culture; Representation, Race, and Empire in Renaissance England
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1247:
1193:
1055:
955:
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712:
1393:
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374:
574:
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276:
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Bean as Spencer, Imelda Staunton as Bess, and Pete Postlethwaite as Roughman.
1406:
1350:
646:
606:
413:
104:
1381:
Turning Turk: English Theater and the Multicultural Mediterranean, 1570–1630
110:
The 1631 quarto was the sole edition of the work prior to the 19th century.
21:
488:
477:
236:
187:
literature of his period, rather than on any more formal literary sources.
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90:
on 16 June 1631; later that year, both parts were published together, in a
1301:
1059:
827:, 4 Volumes, Oxford, Clarendon Press, 1923; Vol. 3, p. 459, Vol. 4, p. 47.
1197:
1309:
1229:
Things of Darkness: Economies of Race and Gender in Early Modern England
1205:
1067:
1025:
1370:, Dover, DE, University of Delaware Press, 2005; pp. 20, 43, 76 and ff.
1259:
1184:
Packer, Daniel (2012). "Jewels of 'Blacknesse' at the Jacobean Court".
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was directed at Whitman College by Jack Freimann in its 1986-7 season.
423:
422:
c. 1626—before graduating to adult male roles, a transition common for
25:
1355:
Voyage Drama and Gender Politics, 1589–;1642: Real and Imagined Worlds
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195:
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rivals by raiding their American settlements and merchant shipping.
959:
516:
473:
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69:
involves historical events of 1596 and 1597, and refers to Queen
704:'s 2010 Fall Season includesd a production of the first part of
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512:
460:
184:
151:
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Turner's Introduction to his edition of the play, pp. xi–xiii.
597:) to attack Spanish shipping and settlements. The Anglo-Dutch
38:
The Fair Maid of the West, or a Girl Worth Gold, Parts 1 and 2
662:
658:
642:
469:
1166:
The Cult of Elizabeth: Elizabethan Portraiture and Pageantry
708:. Performances ran between 6 October and 27 November 2010.
1357:, Manchester, Manchester University Press, 2003; pp. 39–54.
845:
Warren G. Rice, "The Moroccan Episode in Thomas Heywood's
811:, Lincoln, NE, University of Nebraska Press, 1975; p. 112.
202:(c. 1602), often attributed to Heywood; and the anonymous
1383:, New York, Palgrave Macmillan, 2003; pp. 128–36, 141–3.
1368:
Traffic and Turning: Islam and English Drama, 1579–1624
1093:. University of Nebraska Press. pp. 7 (1.I.i.5–9).
1339:
Women, "Race," and Writing in the Early Modern Period
932:. University of Pennsylvania Press. pp. 178–205.
1168:. University of California Press. pp. 111–112.
1131:. University of Nebraska. pp. 9 (1.i.ii.3–12).
122:is unrecorded; but the play was revived c. 1630 by
998:. New York: Palgrave Macmillan. pp. 125–141.
1404:
1392:Sample reviews of the production can be seen at
1186:Journal of the Warburg and Courtauld Institutes
180:, and, above all, violent rapidity of action."
16:English play by Thomas Heywood (published 1631)
1394:http://www.compleatseanbean.com/fairmaid2.html
1231:. Cornell University Press. pp. 222–226.
807:Terence P. Logan and Denzell S. Smith, eds.,
787:Robert K. Turner Jr., "The Text of Heywood's
1275:Gloriana: The Portraits of Queen Elizabeth I
1153:(118). Omohundro Institute (published 2018).
945:
719:on from 1 April 2015 through 18 April 2015.
61:The dates of authorship of the two parts of
1290:Journal for Early Modern Cultural Studies
1116:. University of Exeter. pp. 121–122.
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1106:
1011:
740:The Fair Maid of the West Parts I and II
20:
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538:has more of the mannered feeling of a
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867:Warren E. Roberts, "Ballad Themes in
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996:The Foreign Relations of Elizabeth I
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657:as resisting the lure of a ‘false’
593:(state-sanctioned pirates known as
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455:in 1596 and before the so-called "
103:to Thomas Hammon, both lawyers of
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1145:Shields, David S. (Spring 2004).
693:A condensation and adaptation of
1107:Elaskary, Mohamed I. H. (2008).
713:Philadelphia Artist's Collective
447:, between two key events of the
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168:(c. 1588–89) and the anonymous
134:was being revived, or c. 1630.
86:The drama was entered into the
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686:The North American premier of
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65:are not known with certainty.
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641:The depictions of the Muslim
615:Marcus Gheeraerts the Younger
515:, and Bess and the others in
200:The Fair Maid of the Exchange
45:, a two-part play written by
889:Chambers, Vol. 4, pp. 12–13.
877:Journal of American Folklore
798:Vol. 22 (1967), pp. 299–325.
49:that was first published in
7:
702:American Shakespeare Center
636:
459:," the English raid on the
451:—after the English raid on
429:
118:The earliest production of
10:
1444:
880:Vol. 68 (1955), pp. 19–23.
619:Victoria and Albert Museum
1418:English Renaissance plays
1332:The Fair Maid of the West
1129:The Fair Maid of the West
1091:The Fair Maid of the West
869:The Fair Maid of the West
847:The Fair Maid of the West
789:The Fair Maid of the West
717:The Fair Maid of the West
706:The Fair Maid of the West
695:The Fair Maid of the West
688:The Fair Maid of the West
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441:The Fair Maid of the West
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192:The Fair Maid of the West
190:To a significant degree,
150:is normally classed as a
148:The Fair Maid of the West
63:The Fair Maid of the West
43:English Renaissance drama
30:The Fair Maid of the West
1127:Heywood, Thomas (1967).
1089:Heywood, Thomas (1967).
369:Forset; Duke of Ferrara
366:Forset; Spanish Captain
204:The Fair Maid of Bristow
141:
1413:Plays by Thomas Heywood
1273:Strong, Roy C. (1987).
1164:Strong, Roy C. (1986).
530:shows the freshness of
217:
208:The Fair Maid of London
170:Captain Thomas Stukeley
56:
858:Vol. 9 (1930). p. 134.
855:Philological Quarterly
760:Turner, pp. xviii–xix.
715:put the first part of
212:The Fair Maid of Italy
33:
1302:10.1353/jem.2002.0012
1060:10.1353/elh.2000.0002
825:The Elizabethan Stage
231:King John and Matilda
165:The Battle of Alcazar
124:Queen Henrietta's Men
24:
1277:. Thames and Hudson.
1198:10.1086/JWCI24395991
898:Turner, pp. 200–202.
778:Turner, p. xviii–xx.
88:Stationers' Register
907:Turner, pp. xi–xii.
659:Mohamettan religion
225:Hannibal and Scipio
1379:Daniel J. Vitkus,
678:Modern productions
605:, which privateer
439:The first part of
400:William Wilbraham
328:William Shearlock
130:at about the time
99:to John Othow and
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1366:Jonathan Burton,
1147:"The Drake Jewel"
669:Critical analyses
647:merchant shipping
607:Sir Francis Drake
449:Anglo-Spanish War
410:
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395:Duke of Florence
363:Christopher Goad
342:English Merchant
194:also partakes of
146:Dramaturgically,
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345:Duke of Mantua
316:William Robbins
290:Richard Perkins
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355:Kitchenmaid
284:Mr. Spencer
281:Mr. Spencer
258:Role, Pt. 2
255:Role, Pt. 1
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237:The Renegado
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1428:1600s plays
1423:1590s plays
1296:(2): 1–25.
1192:: 201–222.
796:The Library
542:era play.)
532:Elizabethan
419:The Wedding
388:John Sumner
243:The Wedding
114:Performance
82:Publication
71:Elizabeth I
1407:Categories
726:References
591:privateers
579:Portuguese
424:boy actors
310:Mullisheg
307:Mullisheg
264:Hugh Clark
105:Gray's Inn
26:Title page
1318:159653955
1214:190493942
1076:159659090
976:160218100
661:with its
443:opens in
334:Roughman
331:Roughman
196:melodrama
1310:40339519
1206:24395991
1068:30031906
1026:41055269
1014:Atlantis
655:captives
637:Religion
595:Sea Dogs
540:Caroline
517:Florence
474:Cornwall
445:Plymouth
430:Synopsis
1260:2902957
627:phoenix
575:Spanish
509:Ferrara
1337:, in:
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551:Gender
546:Themes
536:Part 2
528:Part 1
521:Medusa
513:Mantua
495:Part 2
461:Azores
435:Part 1
252:Actor
240:, and
210:, and
185:ballad
156:Part 1
152:comedy
132:Part 1
128:Part 2
120:Part 1
101:Part 2
97:Part 1
92:quarto
75:Part 1
67:Part 1
1314:S2CID
1306:JSTOR
1256:JSTOR
1210:S2CID
1202:JSTOR
1114:(PDF)
1072:S2CID
1064:JSTOR
1022:JSTOR
972:S2CID
964:JSTOR
663:harem
643:Moors
623:cameo
504:way.
470:Fowey
453:Cádiz
382:Tota
323:Clem
320:Clem
142:Genre
711:The
700:The
577:and
406:...
392:...
379:...
218:Cast
174:1596
57:Date
51:1631
1298:doi
1248:doi
1194:doi
1056:doi
1048:ELH
956:doi
952:109
649:by
601:of
489:Fez
472:in
416:'s
162:'s
28:of
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172:(
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