메리 로쓰의 『팸필리아가 앰필란써스에게 부르는 노래』에 나타난 사랑과 권력
Love and Power in Mary Wroth's Pamphilia to Amphilanthus
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Love and Power in Mary Wroth's Pamphilia to Amphilanthus Jin-AhLee This paper aims to explore the interrelationship between love and power in Mary Wroth's Pamphilia to Amphilanthus, by analyzing Wroth's representations of Venus and Cupid in her sonnet sequence. Venus and Cupid respectively represent the feminine and masculine aspects of Pamphilia's love. As is allegorized in the episode of House of Love in Urania, Venus is related to the emotional aspects of love, and Cupid to desires, especially desire for power. The sonnet sequence dramatizes Pamphilia's inner struggles between these two aspects of love through her relationship with Venus and Cupid. In the first sonnet the sovereignty in love is given to Venus, and Cupid is a faithful subject to his mother. Yet as a female sonnet lover Pamphilia wants to subject herself to male Cupid to gain his favor, and she finds herself so intrigued by the infantile, self-centered and mischievous boy king Cupid. Even Venus as wanton and lascivious lover of Adonis is not a good model for Pamphilia who seeks to attain to constancy. The conflicts and contradictions between female and male aspects of her love often entrap her in the labyrinths of love. She thus seeks a new type of relationship in love, and in the “Crowne of Sonetts” turns to a just and esteemed monarch Cupid, which empowers her self-sovereignty as a woman and prince. Yet her passionate surrender to a mature Cupid does not secure her way out of the "strang labourinth" of love. Eventually Pamphilia can get out of the maze by relinquishing the paradigm of subjugation and dominance that regulates the ways of love in “the discource of Venus, and her sunn,” and attain to the virtue of constancy, which ensures her the sovereignty over her self as well as her kingdom.
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