Staging Monstrous Women: The Codification of Feminine Gender Norms in William Hatchett’s The Fall of Mortimer, An Historical Play
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William Hatchett’s The Fall of Mortimer, An Historical Play has long been interpreted as a satire of England’s first Prime Minister, Sir Robert Walpole, and his corrupt government. In adapting Bancroft’s 1696 play King Edward the Third, with the Fall of Mortimer Earl of March, An Historical Play, however, Hatchett proves just as interested in criticizing the character of Isabella, a stand-in for Queen Caroline, the wife of George II. Although Hatchett takes his storylines and much of his wording directly from Bancroft’s play, his alterations in the play render Isabella monstrous. Hatchett furthers his criticism of Caroline by contrasting the monstrous Isabella with Maria, an ideal female character who consistently acts to preserve the glory of patriarchy. Hatchett’s paradoxical use of Isabella—he downplays her role in the play’s events even as he positions her as the central target of his criticism—demonstrates Hatchett’s dislike and distrust for Caroline’s central role in George II’s government. Here, Hatchett breaks with much of the contemporaneous criticism of George II’s court, which largely ignored Caroline as it sought to condemn Walpole and the King. Hatchett’s Isabella thus serves not only as a scapegoat for Walpole’s governmental failure, but also as a target for Hatchett’s intense misogyny.
Abstract
William Hatchett’s The Fall of Mortimer, An Historical Play has long been interpreted as a satire of England’s first Prime Minister, Sir Robert Walpole, and his corrupt government. In adapting Bancroft’s 1696 play King Edward the Third, with the Fall of Mortimer Earl of March, An Historical Play, however, Hatchett proves just as interested in criticizing the character of Isabella, a stand-in for Queen Caroline, the wife of George II. Although Hatchett takes his storylines and much of his wording directly from Bancroft’s play, his alterations in the play render Isabella monstrous. Hatchett furthers his criticism of Caroline by contrasting the monstrous Isabella with Maria, an ideal female character who consistently acts to preserve the glory of patriarchy. Hatchett’s paradoxical use of Isabella—he downplays her role in the play’s events even as he positions her as the central target of his criticism—demonstrates Hatchett’s dislike and distrust for Caroline’s central role in George II’s government. Here, Hatchett breaks with much of the contemporaneous criticism of George II’s court, which largely ignored Caroline as it sought to condemn Walpole and the King. Hatchett’s Isabella thus serves not only as a scapegoat for Walpole’s governmental failure, but also as a target for Hatchett’s intense misogyny.
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