The Renaissance Beard: Masculinity in Early Modern England*

Abstract

This essay builds on Judith Butler's recent theoretical work in Bodies that Matter by suggesting that the sexual differences that “mattered” in early modern England are not exactly the same as those that “matter” today. In particular, it suggests that facial hair often conferred masculinity during the Renaissance: the beard made the man. The centrality of the beard is powerfully demonstrated by both portraits and theatrical practices. Indeed, virtually all men in portraits painted between the mid-sixteenth and the mid-seventeenth century have some sort official hair. Beards were also quite common on the Renaissance stage, and the essay goes on to analyze the use of false beards as theatrical props. These are not, however, the only “texts “from the period that equate being a man with having a beard. Similar formulations appear in a wide range of sources: medical treatises, physiognomy books, poetical works, and tracts on gender. In many of these texts, moreover, facial hair is not simply imagined as a means of constructing sexual differences between men and women; it is also a means of constructing distinctions between men and boys. Thus, it would appear that boys were considered to be a different gender from men during the Renaissance. This division had important ramifications for theater practice. It meant, for example, that boy actors would have been as much “in drag” when playing the parts of men as when playing the parts of women. Finally, we need to bear in mind that if facial hair thus served as an important means of materializing masculinity in early modern England, it was also crucially malleable and prosthetic. As a result, we can say that both masculinity and the beard had to be constantly made (to) matter.

Shaving and Masculinity in Eighteenth-Century Britain

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From an Archaeology of Iconoclasm to an Anthropology of the Body

“…Women's lives in the early modern period have been examined by, for example, Gowing (2003), Wiesner (2000), and Mendelson and Crawford (1998). Masculinities and male bodies have been examined for medieval Europe (e.g., Hadley 1999) and early modern England (e.g., Breitenberg 1996;Fisher 2001).…”

Non-Verbal Meaning in Caroline Private Theatre: William Cavendish's and James Shirley'sThe Varietie(c.1641)

“…Manly has a beard, analogous to his famous predecessor Leicester, while Simpleton is apparently shaved. In contemporary theatrical convention, a beard signifi ed masculinity; 8 Manly's appearance is therefore 'more grave and manly' from head to toe. Moreover, in a treatise on the origin of names, Cavendish had argued that 'Manly' derived from 'courage' and 'valour'.…”