Women against Marriage: Wiliam Rowley’s The Birth of Merlin
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William Rowley’s The Birth of Merlin depicts women characters that utilize linguistic skills to disrupt the expectations of marriage held by other male characters in the play. Modestia rejects marriage because she sees it as fleeting and voluntarily chooses what she sees as the more stable, everlasting life attained in a nunnery. In the process, she persuades her sister Constantia to follow suit, ultimately breaking their father’s and their suitors’ expectation of marriage as a loving union between man and woman that produces heirs to continue the family name. As the demonized seductress, Artesia manipulates verbal cues and signs to trick both King Aurelius and Prince Uter, in order to achieve her goal of invasion. In doing so, Artesia disrupts Aurelius’ expectation of marriage as token of peace and love, and Uter’s hope for continuing a romantic relationship with her. The women therefore suggest a subversive reading of marriage in early modern English literature.
Abstract
William Rowley’s The Birth of Merlin depicts women characters that utilize linguistic skills to disrupt the expectations of marriage held by other male characters in the play. Modestia rejects marriage because she sees it as fleeting and voluntarily chooses what she sees as the more stable, everlasting life attained in a nunnery. In the process, she persuades her sister Constantia to follow suit, ultimately breaking their father’s and their suitors’ expectation of marriage as a loving union between man and woman that produces heirs to continue the family name. As the demonized seductress, Artesia manipulates verbal cues and signs to trick both King Aurelius and Prince Uter, in order to achieve her goal of invasion. In doing so, Artesia disrupts Aurelius’ expectation of marriage as token of peace and love, and Uter’s hope for continuing a romantic relationship with her. The women therefore suggest a subversive reading of marriage in early modern English literature.
참고문헌 (8)
- Fleissner, Robert F., "The Misattribution of ‘The Birth of Merlin’ to Shakespeare", The Papers of the Bibliographical Society of America, 73, pp.248~ (1979)
- Isaac, Megan Lynn, "Legitimizing Magic in the Birth of Merlin", Early Theatre, 9(1), pp.109~122 (2006)
- Johnson, Sarah E., "Away, Stand Off, I Say: Women’s Appropriations of Restraint and Constraint in The Birth of Merlin and The Devil is an Ass", Early Modern Literary Studies, 15(1) (2009)
- Karpinska, Monika, "Bawdily Manipulations: Spheres of Female Power in The Birth of Merlin", Early Theatre, 9(1), pp.123~129 (2006)
- Karpinska, Monika, "Early Modern Dramatizations of Virgins and Pregnant Women", Studies in English Literature, 50(2), pp.427~444 (2010)
- Nicol, David, "The Encyclopedia of English Renaissance Literature, vol. 3", pp.843~847 (2012), Wiley-Blackwell
- Obermeyer, Anita, "Merlin’s Conception by Devil in William Rowley’s Play the Birth of Merlin", Arthuriana, 24(4), pp.48~79 (2014)
- Rowley, William, "The Birth of Merlin, or the Childe Hath Found His Father, The Shakespeare Apocrypha", pp.349~382 (1908), Clarendon Press