Do you agree with Juliet Dusinbierres claim that Renaissance Drama is feminist-in-sympathy? Include a Discussion of TWO or more of the set plays.

  This dangerous venture. Let old wives report

  I winked and chose a husband, Cariola,

 To thy known secrecy I have given up

More than my life – my fame   (1:3:48-58)

The Duchess is independent in the way that she marries Antonio, because unlike the male counterpoint that would usually courts his suitor, the duchess decides to appoint a husband for herself, and therefore in the process challenges patriarchal authority. The duchess challenges patriarchal authority because her description of her brothers as “her low footsteps” (1:3:50) illustrates that she cannot be controlled and that nothing will stand in her way of her marriage.  

Webster also demonstrates how women are equal alongside men to some extent where the Duchess is concerned because it appears that once the Duchess is married to Antonio, she wields immense control and influence over their relationship. This is seen in Act 3, Scene 2 when Antonio suggests:

ANTONIO   We’ll Sleep Together

DUCHESS    Alas, what pleasure can two lovers find in sleep?

CARIOLA    My lord, I lie with her often, and i know

            She’ll much disquiet you .

ANTONIO   See, you are complained of.

CARIOLA   For she’s the sprawling’st  bedfellow

ANTONIO   I shall like her

The better for that   (3:2:10-14)

The Duchess’s refusal to sleep with Antonio is significant here because it demonstrates not only that she mainly influences her relationship with Antonio but also that she will control her own sexual life and function as a woman.  

 Jonson’s Volpone also demonstrates that there is a struggle for women to achieve equality and freedom, as this is partly seen by the characterisation of Lady Politic-Would-Be and Celia. Webster shows how Lady Politic-Would Be is independent by the way that she likes to express her femininity as she says:

Come nearer. Is this curl

In his right place? Or this? Why is this higher

Then all the rest? You ha’ not washed your eyes yet?

Or do they not stand even i’ your head?

Where’s your fellow? Call her.   (3:4:10-14)

Lady Politic – Would Be’s questioning of her beauty is significant here because it demonstrates that not only is she critical of her own image as a woman but also that she wants to control her own femininity and identity.

Jonson also demonstrates to a certain extent through his portrayal of Celia that women are resistant towards men. This is particularly seen in Act 3 Scene 7 when Volpone tries to both seduce and rape Celia:

VOLPONE   Think me cold,

Frozen, and impotent, and so report me?

That I had Nestors hernia, thou wouldst think.

I do degenerate, and abuse my nation.

To play with opportunity thus long.

I should have done the Act and then have parleyed.

Yield, or I’ll force thee

CELIA   O Just God! (3:7:259-264)

Celia’s adornment of Christian values and religion is used to camouflage her resistance to men to a certain extent. Celia’s Christian values and beliefs play an important role in allowing her to prove her resistance because it demonstrates that apart from her husband, she is only responsible to God, and therefore this offers protection and comfort to her. Furthermore, both Celia’s refusal to “yield” (3:7:263) to Volpone and her cry for help could be viewed as a key turning point in the play. This is because not only is this the first time that a female character resists male authority but also it shows that women do have a voice.  Celia’s voice could mark a stage in the struggle for female equality because it shows that women are both capable of expressing their identity and silencing patriarchy.

However, at the same time, Webster and Jonson also show throughout their plays that there are limitations to achieving female equality. Webster and Jonson both show that patriarchy dominates the lives of women and therefore in doing so provides an obstacle to freedom. Jonson and Webster show how women are dominated by patriarchy by the way that both Celia and the Duchess are viewed as possessions and objects of men. Jonson shows that Celia is viewed as an object of Corvino because she is not allowed to leave her home and is therefore kept isolated from society.  This is supported by Michael Stout who has argued that “Celia is not a character to appeal to feminists for she is dependent on the actions of others. Celia is acted upon, rather than acting freely herself and is at the mercy of the male characters in the play.” Stout makes a strong argument here because throughout the play, Celia is largely portrayed typically as the chaste, virtuous and subservient woman who proves to be dominated by her husband and is domesticated.  Jonson also shows how Celia is treated as an object of her husband by the way that Corvino tries to sell his wife to Volpone, and therefore likens her to money as he asks “What is my Gold/The worse for, touching?” (3:7:40-41) Corvino’s reference to Celia as “gold” (3:7:40) is significant here in demonstrating how women are viewed as property because by situating women in economic terms, it allows men to use and abuse women, and hence enables them to become more prosperous and powerful.  In similar fashion, Webster also demonstrates that women are referred to in economic terms and treated as objects, as this is seen in Act 1 Scene 3 when the Duchess has a conversation with Ferdinand:

DUCHESS     Diamonds are of most value,

They say, that they have passed through most jewellers’ hands.

FERDINAND   Whores by that rule are precious. (1:3:7-9)

Ferdinand’s description of the Duchess as a form of jewellery that is “precious” (1:3:9) is significant in demonstrating how men try to reduce women to objects. This is because by trying to exert influence and dominance over women in this way; it not only allows men to become more prosperous but also more competitive and prestigious in society.

Webster also shows how women never really achieve equality as this is seen by the way that the Duchess is murdered towards the end of the play and does not outlive any of the male characters. Although, Webster’s play is a tragedy, it is significant that he alters the conventions in choosing a woman as his tragic hero. Webster’s choice of a woman for his tragic hero and the Duchess’ death in the play is important because it could demonstrate that women never really achieve freedom. Women never really achieve freedom because despite striving to achieve a voice, this ultimately proves too artificial and weak within a society governed and driven by men.

Renaissance Drama only contains feminist sympathies to some extent. Although Webster and Jonson in their plays show that women struggle to achieve freedom and equality alongside men, this ultimately proves limited and counterproductive as not only are female characters heavily influenced by patriarchy. However, they are also eventually oppressed and punished for any attempted actions or resistance against this.

Bibliography

Baldrick, Chris, The Oxford Dictionary of Literary Terms, 1990, 3rd ed.  (Oxford, 2008)

Bartels, Emily C, “Strategies of Submission: Desdemona, the Duchess and the Assertion of Desire”, Studies in English Literature, 1500-1900, 36:2, (1996), 417-33

Greenblatt ,Stephen et al. Norton Anthology of English Literature: The Sixteenth Century and Early Seventeenth Century(Volume B),  1962,  8th  edition, (London, 2006)

Hattaway, Michael (eds.) A Companion to English Renaissance Literature and Culture (Oxford, 2003)

Keenan, Siobhan, Renaissance Literature, (Edinburgh, 2008)

Maus, Katherine Eisaman, “Idol and Gift in Volpone”, English Literary Renaissance,

 25:3, (2005),429-53  

Mousley, Andy, Renaissance Drama and Contemporary Literary Theory, (London, 2000)

Stout, Michael Volpone By Ben Jonson, (Basingstoke, 1988)

 

---