What is in a Heroine’s Name? Beatrice-Joanna in The Changeling
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This article discusses the significance of the name of the female protagonist of Middleton and Rowley’s The Changeling, and addresses the play’s engagement with early modern discourses of gender, patriarchal authority, rank and national identity. It identifies literary allusions, both to Dante’s Beatrice, and to Joan of Arc, as depicted in Shakespeare’s Henry VI, Part I. It considers The Changeling (1622) in relation to the revenge tragedy subgenre for which Thomas Kyd’s The Spanish Tragedy (ca. mid-1580s; pub. 1592) had established a pattern for dramatists around thirty years prior to the writing of The Changeling. That Kyd’s play also shares The Changeling’s Spanish setting—within a tradition of perverse, Italianate settings in English drama—is of considerable importance to a proper understanding of the Middleton-Tourneur play, its plot, and the villainous couple at its heart: De Flores and the female villain, Beatrice-Joanna. Such dramatic conventions involving the setting were, moreover, topically aggravated through widespread Protestant animosities against a proposed marriage alliance—the ‘Spanish Match’ crisis—between Spain and England in the 1620s, as noted by other critics. Lastly, a case is presented, involving the historical, Spanish queen figure of Juana la loca—Joan(na) the Mad (1479-1555)—which highlights the roles of gender-conflict, madness and marriage alliances with England, pertinent in the context of The Changeling’s themes and of the play’s setting in Alicante, also the place of residence of the English merchant, John Reynolds, author of the play’s source.
Abstract
This article discusses the significance of the name of the female protagonist of Middleton and Rowley’s The Changeling, and addresses the play’s engagement with early modern discourses of gender, patriarchal authority, rank and national identity. It identifies literary allusions, both to Dante’s Beatrice, and to Joan of Arc, as depicted in Shakespeare’s Henry VI, Part I. It considers The Changeling (1622) in relation to the revenge tragedy subgenre for which Thomas Kyd’s The Spanish Tragedy (ca. mid-1580s; pub. 1592) had established a pattern for dramatists around thirty years prior to the writing of The Changeling. That Kyd’s play also shares The Changeling’s Spanish setting—within a tradition of perverse, Italianate settings in English drama—is of considerable importance to a proper understanding of the Middleton-Tourneur play, its plot, and the villainous couple at its heart: De Flores and the female villain, Beatrice-Joanna. Such dramatic conventions involving the setting were, moreover, topically aggravated through widespread Protestant animosities against a proposed marriage alliance—the ‘Spanish Match’ crisis—between Spain and England in the 1620s, as noted by other critics. Lastly, a case is presented, involving the historical, Spanish queen figure of Juana la loca—Joan(na) the Mad (1479-1555)—which highlights the roles of gender-conflict, madness and marriage alliances with England, pertinent in the context of The Changeling’s themes and of the play’s setting in Alicante, also the place of residence of the English merchant, John Reynolds, author of the play’s source.
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