Creating the Feminine in Eve and Sin

In Book Two of Paradise Lost, Milton introduces Sin and Death into the world. Sin's personification as woman cannot be overlooked. While some interpretations create a parody of the Trinity with Satan, Sin and Death, I see a Trinity parody to God, Adam, and Eve. Like God, Satan has created these entities either in Heaven or while he resided in Hell. I believe that Satan has created his own version of Earth within the realms of Hell if Earth is a more reverent version of Heaven opened for humans to reside in. It appears that everything within Paradise Lost has its own compartments between Heaven, Earth and Hell. While they are all separate they mirror or parody each other in some way. 

In looking at Sin in Book Two, the initial description of her appearance remains to be anything but flattering. Her depiction as "woman to the waist, and fair,/ But ended foul in many a scaly fold/ Voluminous and vast, a serpent armed/ With mortal sting:" (Book two, 650-653) suggests her dual nature and purpose. As the epic continues, we learn that she was created in Heaven by Satan as something beautiful from his own mind, which may explain her fair womanly half. However, we also learn that she tempted many in Heaven and created pleasure with her perfect image. Her fairness may also suggest her vanity in herself, which may represent Satan's own flaw in his pride. Her monstrous lower half is described as a serpent. This monstrosity may be in reference to her temptation and seduction of those in Heaven, thus corrupting something that was once holy into something immoral and lesser. The fact that she produces a son in Death who rapes her can elude to two things: the first being that Sin leads to Death which is suggested after the fall of man, or in a more sexual context the Death she creates may be the "little death" as seen in the orgasm. Much like Duessa, her duality suggests that beautiful women are the epitome of temptation which results in Sin and ultimately Death.

Moving to Book Four, the reader is introduced to man as seen from Satan's point of view. While noting first the nakedness of the two figures, Satan then moves to describing their distinguishable qualities. Their gender remains their distinguishing factor, but they remain set apart more distinctly by their hair. Both Adam and Eve have long hair, but Adam's stops at his shoulders suggesting that he has more control over his hair in comparison to Eve. Eve has long, flowing curls that cannot be tamed, which suggests that while Adam has control over his desires and may try to dissuade Eve from doing what she desires, he is unable to do so because they are different in nature. As Eve's description continues, her hair reveals more about her nature: "As the vine curls her tendrils, which implied/ Subjection, but required with gentle sway,/ And by her yielded, by him best received,/ Yielded with coy submission, modest pride,/ And sweet reluctant amorous delay" (Book four, 307-311). While it is suggested that Eve may be submissive to her husband's will which mirrors God's will, her actions and her thoughts suggest otherwise. Eve focuses on what she can see such as her reflection and the serpent instead of relying on the words of God and Adam as her code of obedience. Eve challenges the patriarchy established by God and implemented by Adam which seems to go against her created nature. However, if we look at Adam's mild temper he doesn't appear to be as well versed in poetic language as Eve and fulfills a persona of God's puppet relaying all of what should be done and what is "good".

Satan's embodiment of a serpent to tempt Eve may seem random, but I believe it appeals to pre-established gender constructs of the tempting woman. As noted earlier, Sin is both half woman and half serpent, both beautiful and alluring. While Satan's presence is known in Eden both by Adam and Eve, in his disguised form he appeals to Eve's sense of vanity and reliance on desire. While Satan created Sin and Death, he embodies Sin to appease Eve and to seem more attractive. Eve seems to focus on the serpent's pretty poetic language in his compliments and mental challenges than what her actions will cause. The joining of man in Eve with Sin causes Death in the world. I believe that Satan took on the form of the beautiful serpent to appeal to Eve's ocular senses as well as to suggest that women are temptresses both in the form of the Sinful serpent tempting Eve as well as Eve tempting Adam to eat the fruit of the forbidden tree.

Milton's Morphing of Satan

     

      As I read through Paradise Lost for the second time in many years, I am beginning to look at the epic poem as well as the Bible itself in different contexts. As a society and around the world, religions are based off of one supreme being or deity as the ultimate ruler. While this may not sound strange given that is the way most governments are run, it has struck me that we are made in God's image but are made imperfectly. Could this suggest Christians worship and devout themselves to an imperfect God, the one who is supposed to be the omniscient, omnipresent, and omnipotent? In Milton's retelling of the epic from Satan's perspective, it would appear that God's creations are all imperfect and that imperfection stems from curiosity, free will, and jealousy.
      In the beginning of book one, the reader isn't presented with a strong sense of time. What has happened overlaps with what has yet to happen. The lack of time suggests a lack of human influence due to the fact that measurements of time were established by humans. As it would seem God and the universe he has created has no measurement of the vast expanse they reside in. They do not question it nor do they rely on it. It would appear that the imperfect nature of humans doesn't arise as an issue possibly until Lucifer's fall from Heaven. As the readers are presented with the poor unfortunate, yet remarkably beautiful angel of light, it would seem that he is a child placed in a permanent time out. While he understands the wrong he has done, it seems a bit excessive and it would appear that God is threatened by Lucifer questioning his authority and refusing to fall into suit. Christians understand from the Old Testament that God is a jealous god and is easily threatened by the worship of anything that takes his place in our hearts and minds. While Lucifer is simply a creation of God, it would appear that God understands the imperfection of his creation and therefore Himself which results in an extreme form of punishment.
      This Christian epic in itself is an oxymoron from its genre to its title. However, it causes readers to question such a literary device was used initially. From what I have read in both the Bible and Paradise Lost, it appears that both Satan and God present the story in different manners either to gain morality or sympathy, but both do so to gain followers. It would appear that imperfection produces imperfection and the idea that God is all powerful may turn the focus on Satan's capacity for power. This battle has no resolution thus far, and it would appear that the war continues to be ongoing between forces of good and evil. However, from reanalyzing the power struggle and agency between Satan and God, I am beginning to wonder if there will ever be a clear distinction of good without evil in a person and vice versa.

Roaring Girl and Gender Constructs

     In terms of my research project for the final semester, I plan on focusing on the monstrosity of cross dressing and what that entailed during the Renaissance period. For this week's post, I am focusing on how The Roaring Girl bends and subverts gender constructs. In terms of the play's name sake, Mary Firth or Moll Cutpurse as she is more fondly known, the play produces a different Mary than what history itself may suggest. I believe the authors did that on purpose to show the evolution of strict gender constructs as they moved out of the Renaissance period and into a new reign.

     Mary Firth in the play is known as Moll Cutpurse. She is at first presented as crude, mad, and unfit for any sort of socializing with decent company. While the play doesn't deal with aristocracy as so many other plays have, this play introduces the idea and involvement of the middle class. In this middle class, the city and its involvement are presented in an every day, every man context. These plays were not created for the sole purpose of entertainment for the higher class, but for the middle class as well. This play highlights their franchise and lives. In terms of Moll Cutpurse, this play highlights her virtue in spite of her historical reputation. Moll Cutpurse is presented as an outrage to society because she appears in men's clothing. However, I believe she does this to redefine the gender constructs placed on women at the time. She doesn't take on a fake persona as we may have seen in some of Shakespeare's plays such as Merchant of Venice and Twelfth Night. She allows herself to be exactly who she is and say exactly what she wants, the only difference is her clothing. If she remained in female attire and spoken her peace, she may have simply be seen as an outspoken women. Here I believe she is challenging the idea that women have to be delicate, domestic creatures when she puts on men's clothing and voices her beliefs in the public square.

     Another interesting way to view Moll is in terms of the other Mary in the play, Mary Fitzallard. Mary Fitzallard is another women deemed unfit for marriage, but this is determined by her financial worth. Moll is unfit because she dresses and acts like a man. All of what Moll does is a personal choice on how she presents herself. Mary is defined by her family, specifically what her father can offer in her marriage negotiations. By having the two women coinciding in the play, it presents the two options women had: stay in a domestic situation and be defined by your father and husband; or remove yourself from what society deems is acceptable and execute your life the way you seem fit. Mary Fitzallard comes to her love in another form of domestic disguise. It appears that she disguises herself because she is ashamed to take to him on her own accord because of what Sebastian's father or the public may think. Moll is just the opposite. She presents herself in outlandish outfits mixed with male and female articles and allows society to infer what they will. While both women are brave in their own respects, they cannot be categorized in the same female gender construct. Mary represents the Renaissance female whereas Moll may hint at the revolutionary female that is soon to emerge.

     This play, much like Witch of Edmonton, attempted to suppress women who were not to society's perfect mold. However, I believe that Moll succeeded in breaking the social and gender fetters placed on her and gained the freedom of agency away from domestic responsibilities. I believe that Moll acts as a foreshadowing to the stronger female figures that will arise from the crowds, both in the theater and in society.

Subjective Scapegoats and Evil's Personfication

     Gender continues to be a theme within all the texts we have looked at this semester. From Jew of Malta to Witch of Edmonton, gender confines certain characters to unmitigated disaster. In our text this week, Witch of Edmonton, gender intertwines with social standing to prove some women as witches and harlots and one man as a lost soul whom everyone forgives.

     In my first instance, I want to look at Elizabeth Sawyer, the "witch" among us. While this particular society doesn't see witches in the sense that we have seen elsewhere, Elizabeth Sawyer remains confined to her mundane doings by simple hearsay of the men in her town. After being brutally attacked in force and words by Old Banks, Elizabeth evokes a power, good or bad, to come and help her seek revenge on this old dog. When the devil appears, he conjures up the familiar sight of a black dog, much like a tangible personification of the names she placed on Banks. It appears that while Elizabeth isn't herself evil, the devil preys on her vulnerability and her desire to inflict revenge on Banks. By speaking a persona or identity into being, it becomes so in this society. Banks imposed Elizabeth to be a witch, and in her conjuring of the devil dog she believes she came one. Did she herself do any malicious deeds? Perhaps not, but the fact that all the moral corruption comes into light after her accusation seems to prove Old Banks' belief at least in the town's mind.

     In the second instance, I examine Susan Carter. Susan is another sympathetic female character in this play. It appears that Susan is blinded by affection for Frank Thorney, who is a shady character from his beginning scene. She believes that Frank harbors true affection for her, and therefore agrees to go through with their marriage. Frank Thorney's family has lost their wealth and soon their land, and Frank spends his days as a servant to Sir Arthur. The match is closely related to the Duchess and Antonio's relationship, however Antonio was devoted solely to the Duchess. After Frank has made it clear to Susan that he is leaving her she follows him to try and persuade him otherwise. Sadly, the tables turn and Susan is left in her final moments of life confined to the title of "whore". While Frank is the one who has been dishonest in many ways, it is Susan who pays the ultimate price. By Frank placing the word "whore" onto Susan's character, Susan carries that to her death bed longing for forgiveness from Heaven. Once again, a male character speaks a characterization into being, and the woman succumbs to it.

     However, in terms of women speaking harshly to men the words lack the same adhesive nature. After Frank has been discovered by Katherine for murdering her sister Susan, she calls him a villain. Frank disregards this and continues with his charade with Winnifred dressed as a page boy. Frank truly embodies what he deemed Susan, a whore. However, this society doesn't see him as a polygamist or adulterer, they see him as a lost soul. Frank constantly tries to put blame on the devil, or in this case the devil dog. By placing blame on everyone else but himself, Frank tries to evade death and play the victim instead of the villain. However, his life comes to a close as both he and Elizabeth are hanged for their crimes. Sadly, Frank is the one forgiven of his sins and wrongdoings while Elizabeth must suffer a wrongful sentence. The play addresses gender inequality and personifies sin as a constant companion to subconscious and unreasonable desires.

Women in the Renaissance Bibliography

Achinstein, Sharon. "Women on Top in Pamphlet Literature of the English
      Revolution." Feminism and Renaissance Studies. Oxford: Oxford UP, 1999.
      339-372. Print.

"The Art of Cuckholdom." Henry E. Huntington Library and Art Gallery.
      London, 1697. EEBO. Appalachian State University. 31 Mar. 2015.

Brown, Meg Lota, and Kari Boyd McBride. "Women and Work." Women's
      Roles in the Renaissance. Westport, CT: Greenwood, 2005. 89-124. Print.

Brown, Meg Lota, and Kari Boyd McBride. "Women and Pleasures." Women's Roles                 in the Renaissance. Westport, CT: Greenwood, 2005. 277-302. Print. 

"The Debtford Plumb Cake." British Library. London, 1700. EEBO.
      Appalachian State University. 31 Mar. 2015.

Friedman, Alice T. "Wife in the English Country House: Gender and the
      Meaning of Style in Early Modern England." Women and Art in Early Modern                   Europe: Patrons, Collectors, and Connoisseurs. University Park,
      PA: Pennsylvania State UP, 1997. 111-125. Print.
Hendricks, Margo. "A Painter's Eye: Gender and Middleton and Dekker's The
       Roaring Girl." Women's Studies18.2/3 (1990): 191. Academic Search                            Complete. Web. 10 Apr. 2015.

Hutson, Lorna. "The Housewife and the Humanists." Feminism and Renaissance
      Studies. Oxford: Oxford UP, 1999. 82-105. Print.

Klapisch-Zuber, Christine.  "The 'Cruel Mother': Maternity, Widowhood, and
      Dowry in Florence in the Fourteenth and Fifteenth Centuries." Feminism
      and Renaissance Studies. Oxford: Oxford UP, 1999. 186-202. Print.

"Marriage." Encyclopedia of Women in the Renaissance. 1st ed. 2007. Print.
Middleton, Thomas. "The Roaring Girle or Moll Cut-Purse." Henry E. 
        Huntington Library and Art Gallery. London, 1627. EEBO. Appalachian                         State University. 9 Apr. 2015.
Paul, Ryan Singh. "The Power of Ignorance and The Roaring Girl." English
           Literacy Renaissance 43.3 (2013): 514-540. Academic Search Complete.                      Web. 9 Apr. 2015.

Tscherny, Nadia. "An Un-Married Woman: Mary Edwards, William Hogarth,
      and a Case of Eighteenth-Century British Patronage." Women and Art in
      Early Modern Europe: Patrons, Collectors, and Connoisseurs. University
      Park, PA: Pennsylvania State UP, 1997. 237-254. Print. 

"The Unfortunate Forrestor" or "Fair Elener's Tragedy." British Library. London,                   1670-1679. EEBO. Appalachian State University. 31. Mar. 2015. 

From Murdered to Murderous

RSC's Arden of Faversham, Alice and Mosby

     It's interesting to move from a series of murdered mothers to murderous wives. In terms of The Duchess of Malfi, it impacted me as a reader that her and all but one of her children were killed unjustly. However, a maternal sympathy plea cannot be placed on Alice. Why is that? Does it impact the reader's reception because she isn't a depraved maternal figure?

     In looking at Alice as a cold blooded murderer, she deserved the execution she received in the end. However, I want to unpack her circumstance a bit further. First and foremost, Alice suffered an arrange marriage to her stepfather's friend. While we don't know underlying situations, it is reasonable to infer that Alice had nothing in common with the man she was betrothed to. Arden was older, of a lower status, and she assuredly had no sense of attraction to him. It would be understandable that a young lady of her situation would be miserable.

     Is Alice that different from the Duchess? The Duchess performs her duty of arranged marriage, and after the Duke has died she goes looking for love where affiliation by class and circumstance once resided. Alice was forced into an arranged marriage, but had found love elsewhere. Much like the Duchess, it would appear that she wanted the freedom of choice and freedom of her life that was unlawfully stripped of her. Both women are of higher circumstance and class than their lovers, but their choice to love men of a lower class than theirs shows an obvious distinction between love and obligation. By choosing men that they genuinely had feelings of love and attraction for both Alice and the Duchess proved that the idea of arranged marriages were no longer suitable for both parties involved.

     However, the Duchess' relationship with Antonio proved fruitful. Mosby and Alice's relationship only breed discontent, malice and death. It would seem more plausible to find sympathy with the Duchess and Antonio because their love, while stemmed from retaliation and rebellion, proved more pure and innocent than that of Mosby and Alice's relationship with one another which seemed to stem from lust. While I attempted to reconcile Alice as a sympathetic character in the play, she herself did strike the last mortal blow onto Arden. At least the Duchess saw her death as a way to be with her beloved and their children once more.

Bosola: Is He Sympathetic or Sinister?

     In The Duchess of Malfi, the main evil villains are Ferdinand and the Cardinal. These two men employ Bosola, a nobody, to do their dirty work to keep their hands clean so to speak. The connection between Bosola and the two brother seems to be a game of chess with Bosola as their peculiar pawn. Throughout the play it would appear that Bosola acts on their behalf simply for money, not for power or a position. However, as the play comes to a close it appears that he undergoes a shift in character, which raises my main question: is Bosola evil or is he simply looking to get ahead?

     Bosola remains insignificant in terms of the other characters in the play. Firstly, he is the only character to go by his last name. While the Cardinal and the Duchess are known strictly by their given title, Bosola's true identity is Daniel de Bosola. In comparison with the Cardinal and the Duchess, Bosola is not referred to in an impersonal manner due to rank or privilege. Both of these siblings are confined to their positions of power, because while they play crucial roles, their moral transformations lack depth in comparison with Bosola and Ferdinand. Bosola's treatment as an inferior calls into question the nature of his relationship with this family. It would appear that he lives in the shadows as the pawn of this powerful family. In the opening act of the play,  after his exchange with the Cardinal he establishes Ferdinand and the Cardinal as bad trees producing rotten fruit over stagnant waters. It would appear that Bosola's moral compass may in fact point North, but he continues to act as their pawn all the while confronting his conscious. While I am unsure why he associates with them, I believe that he realizes the error of his ways a moment too late.

     As the reader continues through the play, Bosola's true morality comes into view. At first, he presents himself as a mischievous man driven crazy with greed for gold. I would like to suggest the notion that Bosola isn't in fact evil. In his initial interactions with the Duchess, he merely gives her fruit that might arouse her morning sickness. It would be similar to a little brother playing tricks on his older sister or a boy tugging on a girl's pigtails during recess. No ill will is intended; he just seems agitating. While he undergoes a complete character shift as the stakes in the play continue to get higher, I believe he does everything out of greed. He associates himself with two men who will stop at nothing and who will pay the price to get the power they desire. I do not personally see his investment in this family apart from their wealth and power. In Act Two, Bosola is found flattering Castruccio, another man of power but who lacks common sense. It would appear that Bosola tries to attain a position in the house that deems him indisposable. Once again, I do not believe he flatters Castruccio with a malicious intent towards him, but merely to befriend a man of wealth and privilege.

     The straw that breaks the camel's back creates a crack in the cool, mischievious demeanor of Bosola. He concedes to the two brothers' will only under the pretense it is all in good fun and that no harm will come to her. While he does trick the Duchess into believing her family has perished, it becomes evident he did so with a heavy heart. In his exchange with Ferdinand he says, "Must I see her again?", and is distraught that he must inflict more pain on her. It appears that Bosola has a softer side for the tortured Duchess. He undergoes distress by causing her emotional suffering, which may suggest he has fallen under her enchantment along with Antonio and Ferdinand. However, he refuses to cause her anymore harm in his own person and takes on a disguise for their final meeting. In the final moments with the Duchess, Bosola questions her on much deeper matters than he does with Cariola. The contrast between the two women would suggest that Bosola did in fact have stronger feelings for the Duchess, whether they be romantic or otherwise. Here again, I implore you to consider if Bosola had ill intent or simply carried out his contract?

     Bosola's actions fall simply under his mercenary duties. In terms of morality, I believe that Bosola was driven simply by the idea of a reward. The Cardinal was driven to ruin his sister and her marriage to cleanse the family blood lines. While he didn't partake in the plans of her death, he did turn the other cheek. He allowed his brother to not only corrupt the sacrament of royalty and blood, but also the sacrament of the Ten Commandments. Ferdinand was the beast of the man whose temper and jealousy tore him to pieces. His subtle references to wolves after his sister's murder suggest that he wanted to unleash the wolf inside of him to feast on her carnage. Instead he himself went mad, driven over the edge by the removal of his obsession. Once Bosola receives word that he won't receive a reward and will be acquitted of charges that were unjustly placed on him, he removes the wool from his eyes and realizes the extent of the corruption he was submersed in. Bosola's actions while he was a hired hand simply showed that he focused solely on his advancement. However, towards the end of his employment the reader sees the man under the mask which reveals a man with a soul and a conscious, not just a cold blooded killer.

     In relation to this family, Bosola is corrupt because he was involved. I do not believe that he was in fact a sociopath filled with malice and lacking remorse. In conjuncture with the final scene of Bosola's life, I believe he found his redemption and tried to right several wrongs, including the purification of the church and royalty. Sadly, he too was defeated by the corruption of Ferdinand and the Cardinal without any way of righting his wrongs.