Here we must read between the lines of history, but it is probably safe to say that Elizabeth never had any intention of following through on any of the courtships she entertained throughout her lifetime. Knowing the history of the tudor dynasty under Henry viii, it seems likely that Elizabeth would have been wary of marriage. Her own mother, Anne boleyn, had been executed by henry for failing to produce a male heir. Elizabeth was above all incredibly intelligent and knew how to manipulate people to her wishes. And so, she used her whit and likeable personality to do what she must have realized was her only option; she pretended to court suitors endlessly in order to buy herself time. In her book, a feminist Perspective on Renaissance Drama, allison Findlay touches on the skillful way elizabeth kept these courtships going for so long. Her insistence on seeing any prospective marriage partner, in order to ascertain whether they pleased her, continued the public display of willful desire (Findlay 175).
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Wiltenburgs allusion to popular literature definitely has characters like The roaring Girls Moll Cutpurse in mind; but what is interesting about Moll is that unlike many rebellious female characters in drama of the period, her day story is based in fact. While we may never know exactly what the real Mary Frith was like, we can gather some idea of her real life character from the play itself. Further, the validity of the plays depiction of her is given credence through Friths approval. She reportedly appeared in at least one live performance of the play during her lifetime (Middleton xviii). While we may think of queen Elizabeth as a figure more grounded in reality than that of Moll Cutpurse, the fact is historians know only slightly more about her personal life than we do about Mary Frith. What we do know of Elizabeth is closely tied to what was packaged as part of her public relations campaign rather than the reality of her everyday life. Much of Elizabeths life was a pageant used to mislead and manipulate her subjects to suit her needs, and to avoid her own usurpation. She came to the throne in 1558, after the death of her sister queen Mary i (Luminarium 1). From the moment she ascended to the queenship, she was met with pressure to take a husband. From would-be suitors abroad, from her enemies, from her own privy council; the expectation that Elizabeth would marry as soon resume as possible must have been overwhelming to her.
This laundry list of reasons for womens cross-dressing immediately brings to mind the character of Moll Cutpurse; she carries out several of these actions in the play itself. While woodbridges examples seem to have middle class women in mind, this list is easily translatable to women of a noble status as well. For while queen Elizabeths use of cross-dressing is often less physically apparent than that of Moll, the effect is the same. By appropriating maleness, women are able to harness the power party that is associated with the male sex, giving them greater authority in their lives. This female struggle for autonomy cuts across lines of class and social status, presenting itself as a universal issue shared by all women of the period. In her book, Disorderly women and Female power, joy wiltenburg addresses the effect that female subversion had on the early modern society of England and the manner in which it was commonly received by that society. To" part of her introduction to the topic: The cultural perception of womens power as disorder, and of their disorderliness as power, reflects male anxieties about the success of patriarchal rule. At the same time, the partial mirror of popular literature may provide a glimpse, though a distorted one, of some womens strategies for coping with that rule (Wiltenburg 7).
At this time in Englands history, ideas regarding the inferiority of womens bodies and minds were commonly accepted, and maleness was viewed as an essay indisputably superior state. In a society where the feminine is seen as a defective version of the masculine, perfection can only be achieved through maleness. Therefore, it is no surprise that women seeking independence commonly did so through the process of adopting a masculine persona. The historical record is scattered with accounts of independent women asserting themselves through the use of cross-dressing and other appropriations of maleness. In his article, gender Trouble and Cross-Dressing in Early modern England, david Cressy explores the phenomenon of womens cross-dressing during the period. He builds on previous studies by other historians of the period in order to draw his conclusions. Linda woodbridge has identified not simply isolated and ambiguous cases of women masking in mens weeds but a full-blown female transvestite movement in early modern England. Its indications were everywhere, she finds, not just in literary polemic and satire but in real life too, becoming a fairly permanent feature of the jacobean landscape. Women dresses as men, woodbridge suggests, for a variety of admirable reasons: to plead at law, regain a fortune, or practice a profession barred to women; to advance a stratagem, win back lovers, or fight a duel; to travel alone, avoid rape or molestation, and.
She was kind of a badass. The end., seizing Control: Appropriations of Maleness in the lives of The roaring Girls Moll Cutpurse and queen Elizabeth i of England. The use of gendered persona and cross-dressing by women during the early modern period served a variety of purposes, many differences of which were closely tied to class. In The roaring Girl, moll Cutpurse employs cross-dressing as a form of personal expression, as well as a practical means for maintaining control over the men in her life. In contrast, queen Elizabeth i asserted power through the the use of male-gendered pronouns in her texts, thereby commanding the respect of a prince. It is interesting to note that while these two women represent vastly different social castes of the time period, their personal goals and the means by which they achieve them bear many similarities. Both Elizabeth and Moll need to assert themselves in order to maintain control over their lives, and they do so through surprisingly similar methods. By appropriating traditionally male gender roles through both speech and clothing, both Moll and Elizabeth successfully prove themselves worthy of commanding respect within the patriarchal society of the early modern Period. English women of the early modern period possessed few tools with which to assert their independence.
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Hatchette) Whether to be rich, Enriched, or Enriching. The Writer's Gift - moira Allen a writer's Gotta have standards. Recommended reading Copyright 2018 by moira Allen. All materials on this site are the property of their authors and may solution not be reprinted without the author's written permission, unless otherwise indicated. For more information please contact moira Allen, Editor Please read our new Privacy Statement. Long time no post. So i went back to school in January and just finished my bachelors in English, hurrah!
Subsequently, the only writing ive done recently has been school-related. That being said, this paper is possibly one of the best academic pieces ive ever written and Im quite proud. Tell me what you think! If you havent read, the roaring Girl, some of the points I make on Moll might escape you, but I tried to write it (as you always should when doing academic writing) so that even if your reader isnt already familiar with all youre talking. Anyway, here it is! PS: by the way, moll Cutpurse is based on a real-life figure, a woman named Mary Frith.
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Fill in the much, many, a lot of, few, little, a few or a little. There are different animals in the zoo. We have time left. There are very buses at the bus stop. Do you have any cakes left? There isnt snow this year. They dont have pets at home. We see new paintings at the exhibition.