The Failure of Hegemonic Masculinity in the Romantic Gothic Dramas: Remorse, Manfred, and The Cenci
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The aim of this study is to examine the theme of the failure of hegemonic masculinity in Romantic Gothic dramas: Remorse (1813), Manfred (1816-1817), and The Cenci (1819). I will work from Coleridge, Byron, and Shelley’s major Gothic dramas written after the French Revolution as a way of investigating how the flaws of hegemonic masculinity are delineated and developed in order to redefine a new type of romantic masculinity. Male characters embodying traditional masculinity are represented as violent, vile, and even corrupt figures in Romantic Gothic dramas. These antagonists commit anti-ethical behavior without any sense of compunction, which shows the corruption of male power. These three Romantic Gothic dramas reflect the moral flaws of the male characters which lead to their demise. These moral flaws arise from their corrupt and aristocratic power, which they attempt to use to dominate the world. Against this backdrop of idealized femininity, oppressive masculinity is revealed as corrupt. For the Romantic poets, it was necessary to redefine idealized masculinity as a way to overcome their sense of destroyed illusions in reality. Idealized masculinity is related to the image of androgyny, which contains both masculine and feminine qualities in unity. This concept of androgyny comes from Plato’s Symposium. It is a “communitarian symbol of human interconnection” (Andrews 120 Chung Eun Lee 442). This study of these dramas in terms of the failure of hegemonic masculinity not only exposes the poets’ radical visions for an ideal society, but also reveals their sense of despair and frustration resulting from the gap between the ideal and reality.
Abstract
The aim of this study is to examine the theme of the failure of hegemonic masculinity in Romantic Gothic dramas: Remorse (1813), Manfred (1816-1817), and The Cenci (1819). I will work from Coleridge, Byron, and Shelley’s major Gothic dramas written after the French Revolution as a way of investigating how the flaws of hegemonic masculinity are delineated and developed in order to redefine a new type of romantic masculinity. Male characters embodying traditional masculinity are represented as violent, vile, and even corrupt figures in Romantic Gothic dramas. These antagonists commit anti-ethical behavior without any sense of compunction, which shows the corruption of male power. These three Romantic Gothic dramas reflect the moral flaws of the male characters which lead to their demise. These moral flaws arise from their corrupt and aristocratic power, which they attempt to use to dominate the world. Against this backdrop of idealized femininity, oppressive masculinity is revealed as corrupt. For the Romantic poets, it was necessary to redefine idealized masculinity as a way to overcome their sense of destroyed illusions in reality. Idealized masculinity is related to the image of androgyny, which contains both masculine and feminine qualities in unity. This concept of androgyny comes from Plato’s Symposium. It is a “communitarian symbol of human interconnection” (Andrews 120 Chung Eun Lee 442). This study of these dramas in terms of the failure of hegemonic masculinity not only exposes the poets’ radical visions for an ideal society, but also reveals their sense of despair and frustration resulting from the gap between the ideal and reality.
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