Gypsyism as a Cultural Discourse on Otherness: The Spanish Gypsy and Other Gypsy Representations in Early Modern England
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In common opinions, gypsies are believed to have originated from the ancient Egyptians. However, the modern-day research identifies them as having shared a common ancestry with the dom, the low caste of India. Around the turn of the fifteenth century, they first appeared in the British Isles, and were soon hybridized with indigenous English vagrants. In Tudor punitive laws, they were subject to severe punishment, but owing to their transgressive exoticism, they have attested a tenacious survival history. Around the late sixteenth century, London theatres began to tap their colourful attractiveness. In 1621 when Jonson’s masque The Gypsies Metamorphosed was wildly successful, the vogue for gypsy plays exploded. The Spanish Gypsy capitalizes on the popularity of Jonson’s masque. Nevertheless, the play has not received a due critical appraisal from the perspective of gypsyism, despite its title and weight of the gypsy scenes. This paper posits the gypsy characters at the centre of its analysis, and argues for three discursive mechanisms: i.e. glamourization, institutionalization, and criminalization. Gypseian representation in the play is supported by the theatrical effect of chromatic contrast. In the earlier stage, the gypsy characters are glamourized, and their romantic charisma is produced in a bright backdrop. However, utopian dream of freedom inspired by gypseian nomadology is short-lived. Through Juan’s criminalization, the play completes its stigmatizing direction of the discursive shipment. Due to a single member’s incrimination, all gypsies are lumped together into criminals and committed to the dark prison. Until their disguise is unmasked, their appeals for innocence are utterly dismissed; a symbolic event which testifies that gypsyism as a cultural discourse does not draw on facts or realities but on the upperhand settlers’ stereotypical ideas about gypseian otherness. The play shares with other gypsy productions a general logic whereby gypsy episodes lead to the final scene: i.e. romanticization of gypsydom is stopped, the jolly band of the gypsies is systematically demonized, and they are ultimately excluded from the established society. In these respects, gypsyism as an exclusionary discourse is part of disciplinary apparatuses to subjugate the gypseian otherness under the control of the established order.
Abstract
In common opinions, gypsies are believed to have originated from the ancient Egyptians. However, the modern-day research identifies them as having shared a common ancestry with the dom, the low caste of India. Around the turn of the fifteenth century, they first appeared in the British Isles, and were soon hybridized with indigenous English vagrants. In Tudor punitive laws, they were subject to severe punishment, but owing to their transgressive exoticism, they have attested a tenacious survival history. Around the late sixteenth century, London theatres began to tap their colourful attractiveness. In 1621 when Jonson’s masque The Gypsies Metamorphosed was wildly successful, the vogue for gypsy plays exploded. The Spanish Gypsy capitalizes on the popularity of Jonson’s masque. Nevertheless, the play has not received a due critical appraisal from the perspective of gypsyism, despite its title and weight of the gypsy scenes. This paper posits the gypsy characters at the centre of its analysis, and argues for three discursive mechanisms: i.e. glamourization, institutionalization, and criminalization. Gypseian representation in the play is supported by the theatrical effect of chromatic contrast. In the earlier stage, the gypsy characters are glamourized, and their romantic charisma is produced in a bright backdrop. However, utopian dream of freedom inspired by gypseian nomadology is short-lived. Through Juan’s criminalization, the play completes its stigmatizing direction of the discursive shipment. Due to a single member’s incrimination, all gypsies are lumped together into criminals and committed to the dark prison. Until their disguise is unmasked, their appeals for innocence are utterly dismissed; a symbolic event which testifies that gypsyism as a cultural discourse does not draw on facts or realities but on the upperhand settlers’ stereotypical ideas about gypseian otherness. The play shares with other gypsy productions a general logic whereby gypsy episodes lead to the final scene: i.e. romanticization of gypsydom is stopped, the jolly band of the gypsies is systematically demonized, and they are ultimately excluded from the established society. In these respects, gypsyism as an exclusionary discourse is part of disciplinary apparatuses to subjugate the gypseian otherness under the control of the established order.
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