포셔의 남장과 반지 트릭―『베니스의 상인』연구
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Jong-hwan Kim (Keimyung U)The issue of transvestism has become a critical focus in recent studies ofRenaissance drama, since it provides significant clues which allow theexamination of complex cultural phenomena and the relationship betweenmen and women.In The Merchant of Venice, Portia’s cross-dressing could be a mode of trans-gression because the blurring of sexual difference offers the possibility ofsubverting the patriarchal domination over women and interrogating theboundaries of gender in the age that gender differences were considerednatural. In the earlier part of the play, Portia is presented as an obedientwoman who serves to strengthen patriarchal authority. Yet, she is presentedas a different figure when she masquerades as a man in a lawyer’s attire.Portia transgresses patriarchal authority by means of cross-dressing and thering trick and, finally, controls the situations. In the trial scene, Portia, dis-guised as the male lawyer, is in complete control of the situation. The mas-querading as a man is the source of Portia’s power, because Portia’s trans-vestism makes her transgression of sexual boundary possible.In the lawyer’s attire and with the ring, Portia tests her husband’s fidelityand threatens the dominant patriarchal system. The ring seems to be “a tokenof her submission” to her husband, but, after the trial, it becomes a symbolof restriction, because losing the ring places Bassanio under the restraint ofPortia. Even in the ring trick, Portia’s manipulation of the situation is onlypossible with her disguise as a man in male attire. Portia, disguised as a manin lawyer’s attire, asks the ring from Bassanio that she had given him before.Bassanio is reluctant to give the ring but, finally, gives it to Portia/Balthazar.By means of the ring, Bassanio loses his power as a man, while Portia gains
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