르네상스 영국의 여성 통치: 스펜서의 브리토마트와 로쓰의 팸필리아
Female Rule in Renaissance England: Britomart and Pamphilia
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This paper explores the issue of female rule in Renaissance England, comparing Britomart and Pamphilia who are strongly associated in their representations with Queen Elizabeth I. The male writer Edmund Spenser’s attitude toward female rule is ambivalent or contradictory, which indicates that the existence of female prince in patriarchal society of early modern England was an anomaly and might have disturbed the male writer in his depictions of his female prince. Spenser’s efforts to solve this problem are manifested in his creation of an Amazonian female knight who is the heir of the kingdom of Briton by the right of birth and at the same time whose epic mission is the dynastic mother. In The Faerie Queene Spenser fashions Britomart/Elizabeth in the disciplines of the dynastic motherhood and chastity that had been considered to be the most appropriate virtue for women, particularly for their role to extend patriarchal lineage. By praising Elizabeth as chaste mother Spenser contains her sovereignty in the frame of traditional female roles. This containment is well attested in Britomart’s repeal of female rule in Radigund’s kingdom and her dream vision in which she ultimately would share her sovereign power with her future husband Artegall. Pamphilia, a major heroine in Mary Wroth’s prose romance Urania, is another female ruler who is associated with Elizabeth I. Pamphilia whose feminine traits are contrasted with Britomart’s warlike features embodies constancy, which had been regarded as a very unwomanly virtue and relates her to Elizabeth I whose motto was “semper eadem.” Pamphilia’s constancy is preeminently manifested in her constant love of the most unfaithful lover Amphilanthus, but her love is never associated with dynastic motherhood or her queenship. Unlike Britomart as the hereditary heir to the throne of an absolute monarchy, Pamphilia has been chosen as the heir to his uncle’s kingdom, whose people had chosen her uncle as their king after he liberated them from a tyrant’s subjection. Wroth’s conception of Pamphilia’s queenship implies republicanism and constitutionalism, which would have been a seriously subversive challenge to James I’s absolute patriarchal monarchy. Wroth enlarges the realm of female self through Pamphilia’s autonomy, freedom, and constancy in the issues of love, marriage and female sovereignty, which in turn empowers Wroth’s authorship as a female writer in patriarchal early modern England.
Abstract
This paper explores the issue of female rule in Renaissance England, comparing Britomart and Pamphilia who are strongly associated in their representations with Queen Elizabeth I. The male writer Edmund Spenser’s attitude toward female rule is ambivalent or contradictory, which indicates that the existence of female prince in patriarchal society of early modern England was an anomaly and might have disturbed the male writer in his depictions of his female prince. Spenser’s efforts to solve this problem are manifested in his creation of an Amazonian female knight who is the heir of the kingdom of Briton by the right of birth and at the same time whose epic mission is the dynastic mother. In The Faerie Queene Spenser fashions Britomart/Elizabeth in the disciplines of the dynastic motherhood and chastity that had been considered to be the most appropriate virtue for women, particularly for their role to extend patriarchal lineage. By praising Elizabeth as chaste mother Spenser contains her sovereignty in the frame of traditional female roles. This containment is well attested in Britomart’s repeal of female rule in Radigund’s kingdom and her dream vision in which she ultimately would share her sovereign power with her future husband Artegall. Pamphilia, a major heroine in Mary Wroth’s prose romance Urania, is another female ruler who is associated with Elizabeth I. Pamphilia whose feminine traits are contrasted with Britomart’s warlike features embodies constancy, which had been regarded as a very unwomanly virtue and relates her to Elizabeth I whose motto was “semper eadem.” Pamphilia’s constancy is preeminently manifested in her constant love of the most unfaithful lover Amphilanthus, but her love is never associated with dynastic motherhood or her queenship. Unlike Britomart as the hereditary heir to the throne of an absolute monarchy, Pamphilia has been chosen as the heir to his uncle’s kingdom, whose people had chosen her uncle as their king after he liberated them from a tyrant’s subjection. Wroth’s conception of Pamphilia’s queenship implies republicanism and constitutionalism, which would have been a seriously subversive challenge to James I’s absolute patriarchal monarchy. Wroth enlarges the realm of female self through Pamphilia’s autonomy, freedom, and constancy in the issues of love, marriage and female sovereignty, which in turn empowers Wroth’s authorship as a female writer in patriarchal early modern England.
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