By Akiko Kusunoki
This e-book examines the interactions among social assumptions approximately womanhood and women's real voices represented in performs and writings by way of authors of either genders in Jacobean England, putting the distinct emphasis on woman Mary Wroth.
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Additional info for Gender and Representations of the Female Subject in Early Modern England: Creating Their Own Meanings
Example text
Women in John Marston’s plays and Florio’s Montaigne The influence of Montaigne upon Marston is seen not only in his extensive borrowings of phrases and ideas from Florio’s translation of the Essays, but also in his attitude towards women; those of his plays written after the publication of Florio’s translation of Montaigne’s Essays are marked, as in Montaigne, by an acceptance of female physicality. In this respect, The Malcontent (Queen’s Revels, 1604) seems to represent a transitional phase.
Yet this ‘gem of women’ (3. 13. 131), a ‘blessed lottery’ (2. 2. 20 The disparaging report of Octavia given by Cleopatra’s messenger in Act 3 Scene 3 points out her lack of liveliness; he describes her as ‘a body rather than a life,/A statue than a breather’ (3. 3. 28–9). One might smile at the Egyptian Queen’s womanly rivalry towards Antony’s new wife, when Cleopatra endorses the messenger’s judgement in her favour by saying that he is able to say so because he has seen ‘some majesty’ (3. 3. 57).
3. 57). Yet it remains true that a sense of majesty is given to the human energy of spontaneous feelings. This energy is what the lovers admire each other for—an admiration testified to by the magnificence of their poetry—and it is just what Antony finds lacking in Octavia. In Rome, human energy is never fully liberated; just as men’s impulses are subjected to political calculations, so women’s impulses are fettered by the Roman ideal of good women, which, interestingly, corresponds to the 30 Gender and Representations of the Female Subject Jacobean ideal of womanhood.
