Ballads and Performance: The Multimodal Stage in Early Modern England

"She’s Crafty, She Gets Around: Women’s Craft and Commodification in Ballads"

Others of these type include: “The Shooemaker Outwitted,” c. 1684-1700, Pepys 3.271, EBBA 21285, in which a “Crafty Lass of Surry” tricks the shoemaker into marrying her by borrowing gay apparel so he thinks she has money; “The Crafty Miss, Or an Excise-Man Well Fitted,” c. 1671-1702, Pepys 3.274, EBBA 21288, in which the excise man flashes his recently procured “fourscore pounds” to procure the company of the crafty miss, who, the morning after their sexual encounter absconds with his money and his gelding, leaving him behind with her stolen mare, for which he was arraigned; “Taylor’s Lamentation,” c. 1675-1696, Crawford 556, EBBA 32988, a first person narrative of how a “crafy [sic] Miss” stole his belongings when he cheated on his wife with her, the upshot of which is that his wife now rules over him; and “An Answer to the Advice to the Ladies of London,” c. 1685-1688, Pepys 4.86, EBBA 21750, which remarks on ladies’ “craft and subtilty” in refusing to acquiesce to advances, such that they further inflame the passions of men, with the example of a woman who finally allows the “fop” to come visit her, whereupon he discovers that she’s married and has to pay his way out of a sound beating from her husband.

This page is referenced by: