Audiences for early modern English plays inhabited an island kingdom. Therefore the drama's preoccupation with the sea comes as no surprise. Maritime settings abound in comedy, tragedy, history, and romance. Even the most ostensibly land-bound genres, such as city comedy, incorporate the ocean in ways that signal its importance to the nation's identity and, more specifically, its economy. (1) Indeed, A. F. Falconer speculates that the period's most famous playwright, Shakespeare, spent time at sea himself--so diverse and plentiful are the maritime references in Shakespeare's canon. (2) The ocean also figures prominently in the London Lord Mayors' shows, civic pageants staged to commend one citizen's ascendancy to the City's highest office. Oceanic images typically play an allegorical or a mythological role in these productions. The shows regularly incorporate "ship of state" metaphors into visions of civic governance. (3) Neptune makes occasional appearances to convey his mightiness, only then to submit to the new mayor's superior virtues. (4) Pageants sometimes call for the mayor to arrive by barge, a custom that recruits the Thames into the shows' penchant for waterworks. (5) Such imaginative features serve the general purpose of providing counsel for the incoming mayor and inspiring him to cultivate the qualities needed to see the City through the perilous waters of inevitable change. The successful mayor, these productions suggest, will distinguish himself as an upright, judicious, and knowledgeable captain of his proverbial ship and its charges. (6) The Lord Mayors' shows represent the mayor's leadership as critical to the capital's--and by extension the nation's--social, economic, and political health. But London's livery companies--those ancient institutions that commissioned the shows and, indeed, conferred the prestige of urban citizenship in the first place--also viewed themselves as critical to those ends. Scholars have characterized the Lord Mayors' shows as promoting "unity" among various civic interests. (7) However, these perspectives tend to leave underexplored the reality of competition among London's industries and, by extension, the ways in which guilds' specific interests registered in the pageants they commissioned. (8) This paper complicates the unity aesthetic by analyzing representations of English fishing in pageants commissioned by the Fishmongers' Company. I will home in on the three early modern shows surviving in print (9)--Thomas Nelson's The Device of the Pageant: Set forth by the Worshipfull Companie of the Fishmongers (1590), Anthony Munday's Chrysanaleia: The Golden Fishing: Or, Honour of Fishmongers (1616), and Elkanah Settle's The Triumphs of London (1700)--to analyze how one company used the civic pageant to argue for its industry's continued relevance in an economy increasingly dependent on the long-distance trade of luxury goods, goods different in value and kind from those yielded by the humble fishermen who supplied the Company. I argue that these productions affirm fishing, and sea labor in general, in a way that anticipates the maritime foundation of the British Empire and argues for the Fishmongers' importance within that economic scheme. I will suggest further that the London guilds, although sometimes viewed as fossilized in nostalgia, (10) in fact were highly responsive to change and, more specifically, attuned to the representational possibilities of the pageant for imagining a specific industry's role in a prosperous national future. The Fishmongers' wealth and position derived in part from their ability--or, more precisely, the ability of the fishermen with whom they worked--to extract fish from the surrounding waters. Significantly, the English fisherman's skill in sailing and navigation would one day become central to the success of the British Empire, a project that David Armitage characterizes as "Protestant, commercial, maritime and free." (11) Armitage roots these four interrelated ideals in the sixteenth and seventeenth centuries, when figures such as John Dee, Richard Hakluyt, and Thomas Mun began to conceive of the oceans as highways for the kinds of large-scale trade and colonization that would ensure Britain's prosperity for centuries to come. …

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“他们的劳动确实带来了丰富的黄金收益”：早期现代伦敦的鱼贩盛会和渔夫的劳动

早期现代英语戏剧的观众居住在一个岛屿王国。因此，该剧对大海的关注也就不足为奇了。海上场景充满喜剧、悲剧、历史和浪漫。即使是最表面上以陆地为主题的类型，如城市喜剧，也以表明海洋对国家身份，更具体地说，对经济的重要性的方式融入海洋。(1) 事实上，AF Falconer 推测该时期最著名的剧作家莎士比亚本人曾在海上度过时光——莎士比亚经典中的海洋参考是如此多样和丰富。(2) 海洋在伦敦市长的节目中也占有突出地位，举行的公民选美活动是为了表彰一位公民担任该市最高职位。海洋图像通常在这些作品中扮演寓言或神话角色。这些节目经常将“国家之船”的隐喻融入公民治理的愿景中。(3) 海王星偶尔露面以表达他的威严，然后才屈服于新市长的优越美德。(4) 选美有时会要求市长乘驳船到达，这种习俗使泰晤士河加入演出对水厂的偏爱。(5) 这种富有想象力的特征服务于为即将上任的市长提供建议并激励他培养通过不可避免的变化的危险水域来看待城市所需的品质的一般目的。这些作品表明，成功的市长会以正直、睿智、知识渊博的船长而著称。(6) 市长大人的表演表明市长的领导力对首都——乃至整个国家——社会、经济和政治健康至关重要。但伦敦的制服公司——那些委托演出并实际上首先授予城市公民声望的古老机构——也认为自己对实现这些目标至关重要。学者们将市长大人的节目描述为促进各种公民利益之间的“团结”。(7) 然而，这些观点往往没有充分探讨伦敦各行业之间竞争的现实，以及行会在他们委托的选美比赛中登记特定利益的方式。(8) 本文通过分析鱼贩公司委托的选美比赛中英国捕鱼的表现，使统一美学复杂化。我将关注在印刷品中幸存下来的三个早期现代节目（9）--托马斯·纳尔逊的《选美的装置：由鱼贩的虔诚公司（1590 年）提出》，安东尼·蒙迪的《Chrysanaleia：黄金钓鱼：或者，荣誉》(The Device of the Pageant: Set up by the Worshipfull Company of the Fishmongers (1590), Anthony Munday 的 Chrysanaleia: The Golden Fishing: Or, Honor Fishmongers (1616) 和 Elkanah Settle 的 The Triumphs of London (1700)——分析一家公司如何利用公民选美来论证其行业在日益依赖于奢侈品、商品的长途贸易的经济中的持续相关性在价值和种类上与为公司提供服务的卑微渔民所生产的产品不同。我认为这些作品肯定了捕鱼和一般的海上劳动，以某种方式预见了大英帝国的海上基础，并论证了鱼贩在该经济计划中的重要性。我将进一步建议，尽管伦敦行会有时被视为在怀旧中僵化，(10) 事实上，他们对变化高度敏感，更具体地说，他们适应了选美的代表性可能性，以想象特定行业在繁荣的国家中的作用未来。鱼贩的财富和地位部分源于他们从周围水域捕捞鱼类的能力——或者更准确地说，是与他们一起工作的渔民的能力。值得注意的是，英国渔夫的航海技术有一天会成为大英帝国成功的核心，大卫·阿米蒂奇将这一项目描述为“新教，