Displacing the Infanticidal Mother : Elizabeth I and Her Courtiers in Ovidian Narratives
저자
서홍원 (연세대학교)
발행기관
학술지명
권호사항
발행연도
1997
작성언어
English
KDC
840.000
자료형태
학술저널
수록면
139-163(25쪽)
제공처
소장기관
"I am Richard Ⅱ. know ye not that?" The words of Elizabeth, uttered a few months after the Essex uprising in 1601, indicate the degree of antagonism, real and imagined, that threatened her security in the final years of her life. The queen is alluding to the tragic king of Shakespeare's Richard II, who was forced to abdicate his throne because he had grossly mismanaged the country. Exeter's men had the play performed to gather support for their cause, shortly before they were discovered and arrested, and Elizabeth's angry reaction shows that the danger of Richard II as a political text was not lost on her. In fact, the queen would have been particularly sensitive to political appropriations of poetry and art, because she herself made use of such appropriations in consolidating her power over her subjects. At her accession, the City of London celebrated her as the new Deborah or "Protestant savior" in a pageant (Guy 250): at the height of her reign, the Cult of Elizabeth made her a living myth. As Jonathan Dollimore points out, however, representation of the dominant order or the subversion of it are not always separable, and one is often found in the other (1l-12). John Guy observes that Elizabeth's image in the City of London pageant was being "packaged" (251) to serve the radical Protestants of the city, whose hope for Elizabeth hardly coincided with what Elizabeth had in mind for herself. Similarly, in the case of the Cult of Elizabeth, pageants offered the queen "did not simply demonstrate . . . the good fortune of individuals; they also sought the queen's support for certain quite specific political and religious objectives," according to Philippa Berry (75). The Cult of Elizabeth, therefore, is potentially dissident, nudging the queen towards a desired direction which, should she refuse to follow, may inform of her shortcomings rather than her merits. It is no secret that Edmund Spensor's Faerie Queene (1590) is dangerously full of ambiguities, but traces of resistance, if not straightforward dissidence, can be found in the strangest of poems, as in Michael Drayton's Endymion and Phoebe (1595). This poem celebrates the queen's magnanimity through a Platonic union between Phoebe and Endymion. Why, then, does Endymion cower from Phoebe, invoking the prohibitive image of Phoebe's other identity as Diana, slayer of Actaeon? If Phoebe is the queen, and Endymion the subject, what are we to make of this reluctance of the subject to celebrate the mystical union between the two?
The answer to these questions lies in a closer examination of a group of Ovidian narrative poetry not necessarily within the bounds of the Cult of Elizabeth. In addition to Endymion and Phoebe, Christopher Marlowe's Hero and Leander (1593), William Shakespeare's Venus and Adonis (1593), Thomas Edwards's Cephalus and Procris (1595), John Weever's Faunus and Melliflora (1600), and Francis Beaumont's Salmacis and Hermaphroditus (1602) belong to this group.2) A characteristic feature of this group is the reversal of gendered roles in a love relationship. Elizabeth Donno says of Venus and Adonis, that "Venus was given the suasoria and became the wooer" ("Introduction" 10). It is now the male that is helpless. Our "heroes" are helpless young boys in peril of succumbing to the amorous advances of "froward" female figures.3) As Venus and Diana figure prominently in these poems, and as they strongly symbolize the queen, we may imagine in these poems a space sequestered for Elizabeth's subjects who were neither too close to, nor too far from her grace--not close enough to enjoy her trust, nor too far enough to avoid her anger.
The Elizabethan court was a site of volatile power formations and reformations. The peerage, that up till the reign of Mary had enjoyed considerable royal attention, had lost much ground to lesser nobles in the court.4) The nobilitas minor, the new nobility not in the ranks of the peers, were equally insecure, inasmuch as their prosperity depended almost wholly on the queen's favor. Dympna Callaghan says of the courtier that he was by necessity effeminate:
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