시장에서의 성, 정숙함 혹은 매춘: 마스턴의 <네덜란드 창부>를 중심으로
Sexuality in the Market, Women's Honor or Prostitution: John Marston's The Dutch Courtesan
0
조회
0
다운로드
1
인용
0
참고문헌
키워드
초록
John Marston starts The Dutch Courtesan (1605) with the declaration that his play clarifies the difference between the love of a wife and that of a courtesan. Marston’s effort to make such a distinction was a way of negotiating the age’s anxiety over the blurring of such relatively clear boundaries. The beginning of the 17th century in England witnessed an explosive population growth and the advent of a commercial capitalism which helped London grow as the center of Europe. Such unprecedented change instilled the Londoners with a sense of pride in being at the center of the world, as well as with anxiety and fear as to how to tackle such drastic changes which they had never experienced before. The dramatists of the period, including Marston, put such a tension on stage by resorting to the familiar trope of women's bodies. Among the age’s various ways of controlling women's sexuality was the condemnation of the female propensity for consumption by equating it with sexual promiscuity, the portrayal of women in shops as sexual commodities for luring male customers,and finally the intense denunciation of prostitution for its breaking of the patriarchal hierarchy and its blurring of the boundaries of legitimate trades,which were thought to be exclusively male-oriented. Marston addresses his age’s anxiety by driving his play toward the idealization of Beatrice, a wife, and the demonization of Franceschina, a courtesan. Even though Franceshina distinguishes herself by her mastery of the art required for her career, she becomes the very incarnation of lust itself as the play progresses, and divorces herself from the principles of the market in which she works. Predictably, Beatrice becomes the embodiment of a sense of virtue,modesty, and honesty that is also far removed from reality. Eventually, both heroines of the play turn out to be the projected objects of male fantasies. The main plot of the play is, however, encircled and therefore complemented by the subplot, which shows the domestic life of a London merchant couple. They are the only married couple in the play, and, as a result, serve as a reference for the marriage Freevil imagines with Beatrice. The shop of the Mulligrubs is a place where the practice of a trade is inseparable from homemaking. Furthermore, Mistress Mulligrub implies that she willingly provides more than wine to her customers. Their shop-home is itself the market which Freevil struggles to wall off from his marriage. Despite their snobbish affectations and dullness, they still provide a framework by which we view Freevil's conception of marriage. Moreover, their significance can be better appreciated in light of the fact that they represent the exact point at which Marston and Shakespeare diverge on the same issue of sexual disorders of the age.
Abstract
John Marston starts The Dutch Courtesan (1605) with the declaration that his play clarifies the difference between the love of a wife and that of a courtesan. Marston’s effort to make such a distinction was a way of negotiating the age’s anxiety over the blurring of such relatively clear boundaries. The beginning of the 17th century in England witnessed an explosive population growth and the advent of a commercial capitalism which helped London grow as the center of Europe. Such unprecedented change instilled the Londoners with a sense of pride in being at the center of the world, as well as with anxiety and fear as to how to tackle such drastic changes which they had never experienced before. The dramatists of the period, including Marston, put such a tension on stage by resorting to the familiar trope of women's bodies. Among the age’s various ways of controlling women's sexuality was the condemnation of the female propensity for consumption by equating it with sexual promiscuity, the portrayal of women in shops as sexual commodities for luring male customers,and finally the intense denunciation of prostitution for its breaking of the patriarchal hierarchy and its blurring of the boundaries of legitimate trades,which were thought to be exclusively male-oriented. Marston addresses his age’s anxiety by driving his play toward the idealization of Beatrice, a wife, and the demonization of Franceschina, a courtesan. Even though Franceshina distinguishes herself by her mastery of the art required for her career, she becomes the very incarnation of lust itself as the play progresses, and divorces herself from the principles of the market in which she works. Predictably, Beatrice becomes the embodiment of a sense of virtue,modesty, and honesty that is also far removed from reality. Eventually, both heroines of the play turn out to be the projected objects of male fantasies. The main plot of the play is, however, encircled and therefore complemented by the subplot, which shows the domestic life of a London merchant couple. They are the only married couple in the play, and, as a result, serve as a reference for the marriage Freevil imagines with Beatrice. The shop of the Mulligrubs is a place where the practice of a trade is inseparable from homemaking. Furthermore, Mistress Mulligrub implies that she willingly provides more than wine to her customers. Their shop-home is itself the market which Freevil struggles to wall off from his marriage. Despite their snobbish affectations and dullness, they still provide a framework by which we view Freevil's conception of marriage. Moreover, their significance can be better appreciated in light of the fact that they represent the exact point at which Marston and Shakespeare diverge on the same issue of sexual disorders of the age.
참고문헌 (25)
- Agnew, Jean-Christopher, "Worlds Apart: The Market and the Theater in Anglo-American Thought", pp.1550~1750 (1986), Cambridge UP
- Archer, Ian W, "Material Londoners?, In Material London, ca. 1600", pp.174~192 (2000), U of Pennsylvania P
- Baker, Susan, "Sex and Marriage in The Dutch Courtesan, In Another Country: Feminist Perspectives on Renaissance Drama", pp.218~232 (1991), Scarecrow
- Bruster, Douglas, "Drama and the Market in the Age of Shakespeare" (1992), Cambridge UP
- Bodies, "Calling ‘things by their right names’: Troping Prostitution, Politics and The Dutch Courtesan, In Renaissance Configurations: Voices", pp.Palgrave, Spaces
- Fleck, Andrew, "The Custom of Courtesans and John Marston’s The Dutch Courtesan", ANQ, 21(3), pp.11~19 (2008)
- Horwich, Richard, "Wives, Courtesans, and the Economics of Love in Jacobean City Comedy, In Drama in the Renaissance: Comparative and Critical Essays", pp.255~271 (1986), AMS
- Howard, Jean E, "Mastering Difference in The Dutch Courtesan", Shakespeare Studies, 24, pp.105~117 (1996)
- Howard, Jean E., "Shakespeare and Genre, In A Companion to Shakespeare", pp.297~310 (1999), Blackwell
- Howard, Jean E, "The Evidence of Fiction: Women’s Relationship to Goods in London City Drama, In Culture and Change: Attending to Early Modern Women", pp.161~176 (2003), U of Delaware P
- Howard, Jean E, "Theatre of a City: The Places of London Comedy", pp.1598~1642 (2007), U of Pennsylvania P
- Kahn, Coppelia, "Whores and Wives in Jacobean Drama, In Another Country: Feminist Perspective on Renaissance Drama", pp.246~260 (1991), Scarecrow
- Keene, Derek, "Material London in Time and Space, In Material London, ca.1600", pp.55~74 (2000), U of Pennsylvania P
- Leinwand, Theodore B, "The City Staged: Jacobean Comedy", pp.1603~1613 (1986), U of Wisconsin P
- Marston, John, "The Dutch Courtesan. Drama of the English Renaissance II: The Stuart Period" (1976), MacMillan
- Middleton, John, "Michaelmas Term, In A Mad World, My Masters and Other Plays" (1995), Oxford UP
- Miller, Shannon, "Consuming Mothers", Consuming Merchants: The Carnivalesque Economy of Jacobean City Comedy, 1996, pp.26(3), 73~97
- Newman, Karen, "City Talk: Women and Commodification, In Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama", pp.181~195 (1991), Routledge
- O’Connor, John J, "The Chief Source of Marston’s ‘Dutch Courtezan", Studies in Philology, 57(4), pp.509~515 (1957)
- Pascoe, David, "The Dutch Courtesan and the Pofits of Translation, In The Drama of John Marston", pp.162~180 (2000), Cambridge UP
- Rubright, Marjorie, "Going Dutch in London City Comedy: Economics of Sexual and Sacred Exchange in John Marston’s The Dutch Courtesan", ELR, 40(1), pp.88~112 (2010)
- Shepherd, Simon, "Amazons and Warrior Women: Varieties of Feminism in Seventeenth-century Drama" (1981), St. Martin’s
- Sullivan, Garrett A., "All Things Come into Commerce’: Women, Household Labor, and the Spaces of Marston’s The Dutch Courtesan", Renaissance Drama, 27, pp.19~46 (1996)
- Wells, Susan, "Jacobean City Comedy and the Ideology of the City", ELH, 48(1), pp.37~60 (1981)
- Wheeler, John, "A Treatise of Commerce, In George Burton Hotchkiss" (2004), Lawbook Exchange