『에드먼튼의 마녀』에 나타난 17세기 초 영국 마을 하층 여성들의 연극적 경계 넘기
The Seventeenth Century English Lower-Class Women’s Theatricality and Transgression in The Witch of Edmonton
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This article analyzes how Winnifried and Mother Sawyer, the two female characters at the extreme edges of the 17th century Edmonton village in The Witch of Edmonton, react to its socio-economic forces and patriarchal ideology. I argue that both Winnifried, a pregnant maid to Sir Arthur Clarington who becomes the first wife of Frank Thorny, and Mother Sawyer, a poor old outcast who is called a witch, adopt transgressive theatrical strategies to be placed or displaced in the patriarchal and capitalistic Emonton village after the Enclosure Movement, but in a different way. Winnifried successively performs several roles such as submissive wife, page, and repentant Christian wife to secure her position as wife in Thorny’s patriarchal family. Her strategies are subversive in that she refuses to be a social victim by utilizing, in her self-fashioning theatrical performance, the very ideal virtues the 17th century Edmonton society prescribes for a wife or a servant. But she plays a role or disguises herself only to escape the shameful name of whore assigned to a pregnant single woman like her and to seek a secure position as a wife or a widow in village society. Paradoxically, her transgressive behaviors do not disrupt but validate the existing ideology of the patriarchal Edmonton village based on the wife/whore dichotomy. On the other hand, Mother Sawyer, another impoverished lower-class single woman, chooses to play a role of a witch in her own way to get revenge on her neighbors who revile her as a witch, rather than to die as a criminal witch. For her revenge, she first employs the devil dog as an actor, but fails because the actor dog can fulfill her revenge only in the realm of fantasy. Being led to the gallows by the authorities, she switches her role from a magical witch to a rebellious witch with her unruly bad tongue to defy the unjust legal system of her village and to criticize the corrupted authorities. In this way she dies as an actor playing at being a witch, not as a witch, heightening her status as a rebellious figure that threatens social order.
Abstract
This article analyzes how Winnifried and Mother Sawyer, the two female characters at the extreme edges of the 17th century Edmonton village in The Witch of Edmonton, react to its socio-economic forces and patriarchal ideology. I argue that both Winnifried, a pregnant maid to Sir Arthur Clarington who becomes the first wife of Frank Thorny, and Mother Sawyer, a poor old outcast who is called a witch, adopt transgressive theatrical strategies to be placed or displaced in the patriarchal and capitalistic Emonton village after the Enclosure Movement, but in a different way. Winnifried successively performs several roles such as submissive wife, page, and repentant Christian wife to secure her position as wife in Thorny’s patriarchal family. Her strategies are subversive in that she refuses to be a social victim by utilizing, in her self-fashioning theatrical performance, the very ideal virtues the 17th century Edmonton society prescribes for a wife or a servant. But she plays a role or disguises herself only to escape the shameful name of whore assigned to a pregnant single woman like her and to seek a secure position as a wife or a widow in village society. Paradoxically, her transgressive behaviors do not disrupt but validate the existing ideology of the patriarchal Edmonton village based on the wife/whore dichotomy. On the other hand, Mother Sawyer, another impoverished lower-class single woman, chooses to play a role of a witch in her own way to get revenge on her neighbors who revile her as a witch, rather than to die as a criminal witch. For her revenge, she first employs the devil dog as an actor, but fails because the actor dog can fulfill her revenge only in the realm of fantasy. Being led to the gallows by the authorities, she switches her role from a magical witch to a rebellious witch with her unruly bad tongue to defy the unjust legal system of her village and to criticize the corrupted authorities. In this way she dies as an actor playing at being a witch, not as a witch, heightening her status as a rebellious figure that threatens social order.
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