women and the gender boundary in the elizabethan...

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Women and the Gender Boundary in the Elizabethan England HAMADA Ayano The women who were active and self-reliant in sixteenth- and early seventeenth-century England are reflected in the female main characters in Shakespeare’s plays who freely speak out, behave as they like, and pursue their fortunes. The patriarchal society in those days imposed on women the three virtues obedience, silence, and chastity in order to preserve the social order. The basis of this idea was that because of their inferiority women should be governed by men. However, humanistic education, which English humanists like Thomas More advocated, was given not only to boys but also to girls in the noble families, so that girls could be good wives and good mothers. Following More’s ideas, Juan Luis Vives tutored Mary I to respect the three virtues, especially silence. On the other hand Elizabeth I was instructed by Roger Ascham, who encouraged her to master eloquence, not to be silent. Thanks to her oratory skills, Elizabeth could deliver elaborate public speeches and successfully created a unique androgynous image among the people, thereby controlling her male subjects and the country. Her androgynous quality is mirrored in the women in Shakespeare’s plays who disguise themselves in male attire, such as Rosalind in As You Like it and Viola in Twelfth Night. Disguise provides the heroines with eloquence, activeness, determination, and self-reliance. ῌ῍

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Women and the Gender Boundary

in the Elizabethan England

HAMADA Ayano

The women who were active and self-reliant in sixteenth- and early

seventeenth-century England are reflected in the female main characters in

Shakespeare’s plays who freely speak out, behave as they like, and pursue

their fortunes. The patriarchal society in those days imposed on women the

three virtues�obedience, silence, and chastity� in order to preserve the

social order. The basis of this idea was that because of their inferiority

women should be governed by men. However, humanistic education, which

English humanists like Thomas More advocated, was given not only to boys

but also to girls in the noble families, so that girls could be good wives and

good mothers. Following More’s ideas, Juan Luis Vives tutored Mary I to

respect the three virtues, especially silence. On the other hand Elizabeth I

was instructed by Roger Ascham, who encouraged her to master eloquence,

not to be silent. Thanks to her oratory skills, Elizabeth could deliver

elaborate public speeches and successfully created a unique androgynous

image among the people, thereby controlling her male subjects and the

country. Her androgynous quality is mirrored in the women in

Shakespeare’s plays who disguise themselves in male attire, such as

Rosalind in As You Like it and Viola in Twelfth Night. Disguise provides

the heroines with eloquence, activeness, determination, and self-reliance.

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Ros. Were it not better,

Because that I am more than common tall,

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That I did suit me all points like a man?

A gallant curtle-axe uopn my thigh,

A boar-spear in my hand, and�in my heart

Lie there what hidden woman’s fear there will�

We’ll have a swashing and a martial outside,

As many other mannish cowards have

That do outface it with their semblances. �+. -. ++.�,,�

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Ros. I could find in my heart to disgrace my man’s

apparel and to cry like a woman ; but I must comfort the

weaker vessel, as doublet and hose ought to show itself

courageous to petticoat ; there-fore courage, good Aliena.

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ought to show itself courageous to petticoat ; therefore courage.’�

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Ros. Break an hour’s promise in love! b�c

Orl. Pardon me, dear Rosalind.

Ros. Nay, and you be so tardy, come no more in my

sight. I had as lief be woo’d of a snail.

Orl. Of a snail?

Ros. Ay, of a snail ; for though he comes slowly, he

carries his house on his head ; a better jointure I think than

you make a woman. Besides, he brings his destiny with him.

Orl. What’s that?

Ros. Why, horns! which such as you are fain to be

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beholding to your wives for. But he comes arm’d in his

fortune, and prevents the slander of his wife.

Orl. Virtue is no horn-maker ; and my Rosalind is

virtuous.

Ros. And I am your Rosalind. �.. +. ..�0/�

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Ros. Well, in her person, I say I will not have you.

Orl. Then, in mine own person, I die.

Ros. No, faith, die by attorney. The poor world is almost

six thousand years old, and in all this time there was not

any man died in his own person, videlicet, in a love-cause.

wxy men have died from time to time, and worms have

eaten them, but not for love.

Orl. I would not have my right Rosalind of this mind,

for I protest her frown might kill me.

Ros. By this hand, it will not kill a fly. w.. +. 3+�+++y

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Ros. Now tell me how long you would have her after

you have possess’d her.

Orl. For ever and a day.

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Ros. Say “a day,” without the “ever.” No, no, Orlando,

men are April when they woo, December when they wed ;

maids are May when they are maids, but the sky changes

when they are wives. I will be more jealous of thee than a

Barbary cock-pigeon over his hen, more clamorous than a

parrot against rain, more new-frangled than an ape, more

giddy in my desires than a monkey. I will weep for nothing,

like Diana in the fountain, and I will do that when you are

dispos’d to be merry. I will laugh like a hyen, and that

when thou art inclin’d to sleep.

Orl. But will my Rosalind do so?

Ros. By my life, she will do as I do. �.. +. +.-�/2�

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Vio. Too well what love women to men may owe ;

In faith, they are as true of heart as we.

My father had a daughter lov’d a man

As it might be perhaps, were I a woman,

I should your lordship. �,. .. +*.�3�

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+ Leah S Marcus, “Shakespeare’s Comic Heroines, Elizabeth I, and the Political Uses of

Androgyny,” in Women in the Middle Ages and the Renaissance : Literary and

Historical Representations, ed. by Mary Beth Rose �Syracuse : Syracuse University

Press, +320�, pp. +-/�-0.

, TUVWXYZ[�\]�� Q^ The Riverside Shakespeare, ed. by G. Blakemore

Evans �Boston : Houghton Mifflin Company, +31.� 4_`N�

- Peter Stallybrass, “Patriarchal Territories : The Body Enclosed,” in Rewriting the

Renaissance : the Discourses of Sexual Difference in Early Modern Europe, ed. by

Margaret W. Ferguson, Maureen Quilligan, and Nancy J. Vickers �Chicago : The

University of Chicago Press, +320�, pp. +,-�.,.

. David M. Robb, ‘The Iconography of the Annunciation in the Fourteenth and

Fifteenth Centuries,’ The Art Bulletin, +2 �+3-0�, pp. .2*�.2,.

/ The Hours of Catherine of Cleves with Introduction and Comments by John Plummer

�New York : George Brazillier, +300 ; rpt., +31/�, plate 3,.

0 Christa Grossinger, Picturing Women in Late Medieval and Renaissance Art

�Manchester University Press, +331�, p. .2.

1 Geffrey Whitney, A Choice of Emblems, Leyden �+/20�, ed. by Henry Green �London :

+200 ; rpt. New York : Benjamin Bloom, +301�, p. 3-.

2 ��%�\]!4,a�bXcd�� efK�a�/g u/v/w� ss �long s� /sKhi

Xcd+(j8/kl�� 2m��,n48:��

3 Thomas Combe, The Theatre of Fine Devices �London : +0+.�, with an Introduction

by John Doebler �San Marino, CA : The Huntington Library, +32-�, XVIII.

+* Retha M. Warnick, Women of the English Renaissance and Reformation �Westport, CT :

Greenwood Press, +32-�, pp. ,-�,/.

��

++ Thomas More, The Utopia of Sir Thomas More in Latin from the Edition of March

+/+2, and in English from the First Edition of Ralph Robynson’s Translation in +//+,

with additional translations, introduction and notes by J. H. Lupton �Oxford :

Clarendon Press, +32/�, pp. +--�-..

+, ����������� ��������� Juan Luis Vives, The Education of A

Christian Woman : A Sixteenth-Century Manual, ed and trans. by Charles Fantazzi

�Chicago : The University of Chicago, ,***�, p. /2.

+- Ibid., p. 1,.

+. Ibid., p. 2/

+/ Loc. Cit.

+0 Ibid., p. ,+3.

+1 H. M. Prescott, Spanish Tudor : The Life of Bloody Mary �London : Constable, +3.*�,

pp. -*-�..

+2 Roger Ascham, The Schoolmaster �+/1*�, ed. by Lawrence V. Ryan �Ithaca, NY :

Cornell University Press, +301�, p. +1.

+3 Ibid., /0.

,* Walter J. Ong, Chapter V, “Latin Language Study as a Renaissance Puberty Rite,” in

Rhetoric, Romance, and Technology : Studies in the Interaction of Expression and Culture

�Ithaca : Cornell University Press, +31+�, pp. ++-�.+.

,+ Kathi Vosevichi, ‘The Education of a Prince�ss� : Tutoring the Tudors’ in Women,

Writing, and the Reproduction of Culture in Tudor and Stuart Britain, ed. by Mary E.

Burke, Jane Donawerth, Linda L. Dove, and Karen Nelson �Syracuse, New York :

Syracuse University Press, ,***�, p. 1*.

,, ����� +�������� �������� Elizabeth I : Collected Works, ed.

by Leah. S. Marcus, Janel Mueller, and Mary Beth Rose �Chicago : The University of

Chicago Press, ,***�, p. 31.

,- Ibid., p. -,0.

,. Marie Axton, The Queen’s Two Bodies : Drama and the Elizabethan Succession

�London : Royal Historical Society, +311�, pp. -2�-3.

,/ William Harrison, The Description of England : The Classic Contemporary Account of

Tudor Social Life, ed. by George Edelen �Ithaca, New York : Cornell University Press,

�������� !"#$%�&%' ��

+302 ; rpt., New York : Dover, +33.�, p. ,,2.

,0 Frederic A. Youngs, Jr., The Proclamations of the Tudor Queens �Cambridge :

Cambridge University Press, +310�, pp. +0+�1*.

,1 Harrison, p. +.1.

,2 PhilipStubbes, The Anatomie of Abues, with the Introductory note by Peter Davison

�+/2- ; New York : Johnson Reprint Corpotraion, +31,�, F. /.

,3 Juliet Dusinberre, Shakespeare and the Nature of Women �New York : St. Martin’s

Press, +31/ ; rpt., +330�, p. ,,/.

-* RobertGreene, ‘Penelope’s Web’ in The Life and Complete Works in Prose and Verse of

Robert Greene, ed. by Alexander B. Grosart, V, p. ,+-.

-+ ������� ���� � ������� +31*�� �������

-, The Riverside Shakespeare, notes on the line +/*�/+.

-- ��� � ������� +332�� �������������

-. Vives, pp. +-+�-,.

-/ Ibid., pp. +..�/,.

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