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Women and the Gender Boundary
in the Elizabethan England
HAMADA Ayano
The women who were active and self-reliant in sixteenth- and early
seventeenth-century England are reflected in the female main characters in
Shakespeare’s plays who freely speak out, behave as they like, and pursue
their fortunes. The patriarchal society in those days imposed on women the
three virtues ῌ obedience, silence, and chastity ῌ in order to preserve the
social order. The basis of this idea was that because of their inferiority
women should be governed by men. However, humanistic education, which
English humanists like Thomas More advocated, was given not only to boys
but also to girls in the noble families, so that girls could be good wives and
good mothers. Following More’s ideas, Juan Luis Vives tutored Mary I to
respect the three virtues, especially silence. On the other hand Elizabeth I
was instructed by Roger Ascham, who encouraged her to master eloquence,
not to be silent. Thanks to her oratory skills, Elizabeth could deliver
elaborate public speeches and successfully created a unique androgynous
image among the people, thereby controlling her male subjects and the
country. Her androgynous quality is mirrored in the women in
Shakespeare’s plays who disguise themselves in male attire, such as
Rosalind in As You Like it and Viola in Twelfth Night. Disguise provides
the heroines with eloquence, activeness, determination, and self-reliance.
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Y As for my own part, I care not for death, for all men are
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Ros.
Were it not better,
Because that I am more than common tall,
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Ros.
Break an hour’s promise in love! bc
Orl.
Pardon me, dear Rosalind.
Ros. Nay, and you be so tardy, come no more in my
sight. I had as lief be woo’d of a snail.
Orl.
Of a snail?
Ros. Ay, of a snail ; for though he comes slowly, he
carries his house on his head ; a better jointure I think than
you make a woman. Besides, he brings his destiny with him.
Orl.
What’s that?
Ros. Why, horns! which such as you are fain to be
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beholding to your wives for. But he comes arm’d in his
fortune, and prevents the slander of his wife.
Orl.
Virtue is no horn-maker ; and my Rosalind is
virtuous.
Ros. And I am your Rosalind.
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Well, in her person, I say I will not have you.
Orl.
Then, in mine own person, I die.
Ros.
No, faith, die by attorney. The poor world is almost
six thousand years old, and in all this time there was not
any man died in his own person, videlicet, in a love-cause.
wxy men have died from time to time, and worms have
eaten them, but not for love.
Orl.
I would not have my right Rosalind of this mind,
for I protest her frown might kill me.
Ros. By this hand, it will not kill a fly.
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Now tell me how long you would have her after
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Orl.
For ever and a day.
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like Diana in the fountain, and I will do that when you are
dispos’d to be merry. I will laugh like a hyen, and that
when thou art inclin’d to sleep.
Orl.
But will my Rosalind do so?
Ros.
By my life, she will do as I do.
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Vio.
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Disguise, I see thou art a wickedness
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How will this fadge? My master loves her dearly,
And I ῌpoor monster῍ fond as much on him ;
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Than love that would seem hid : love’s night is noon.῎
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By maidhood, honor, truth, and every thing,
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Nor wit nor reason can my passion hide.
Do not extort thy reasons from this clause,
For that I woo, thou therefore hast no cause.
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I have said too much unto a heart of stone,
And laid mine honor too unchary on’t.
There’s something in me that reproves my fault ;
But such a headstrong potent fault it is
That it but mocks reproof.
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,-./0123456#78/9+: ;<=>?@A4BCDE
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+
Leah S Marcus, “Shakespeare’s Comic Heroines, Elizabeth I, and the Political Uses of
Androgyny,” in Women in the Middle Ages and the Renaissance : Literary and
Historical Representations, ed. by Mary Beth Rose ῌSyracuse : Syracuse University
Press, +320῍, pp. +-/ῌ-0.
, TUVWXYZ[\] Q^ The Riverside Shakespeare, ed. by G. Blakemore
Evans ῌBoston : Houghton Mifflin Company, +31.῍ 4_`N
-
Peter Stallybrass, “Patriarchal Territories : The Body Enclosed,” in Rewriting the
Renaissance : the Discourses of Sexual Difference in Early Modern Europe, ed. by
Margaret W. Ferguson, Maureen Quilligan, and Nancy J. Vickers ῌChicago : The
University of Chicago Press, +320῍, pp. +,-ῌ.,.
.
David M. Robb, ‘The Iconography of the Annunciation in the Fourteenth and
Fifteenth Centuries,’ The Art Bulletin, +2 ῌ+3-0῍, pp. .2*ῌ.2,.
/
The Hours of Catherine of Cleves with Introduction and Comments by John Plummer
ῌNew York : George Brazillier, +300 ; rpt., +31/῍, plate 3,.
0 Christa Grossinger, Picturing Women in Late Medieval and Renaissance Art
ῌManchester University Press, +331῍, p. .2.
1
Geffrey Whitney, A Choice of Emblems, Leyden ῌ+/20῍, ed. by Henry Green ῌLondon :
+200 ; rpt. New York : Benjamin Bloom, +301῍, p. 3-.
2 %\]!4,ab
Xcd efKa/g u/v/w ss ῌlong s῍ /s Khi
Xcd+(j8/kl 2m,n48:
3 Thomas Combe, The Theatre of Fine Devices ῌLondon : +0+.῍, with an Introduction
by John Doebler ῌSan Marino, CA : The Huntington Library, +32-῍, XVIII.
+*
Retha M. Warnick, Women of the English Renaissance and Reformation ῌWestport, CT :
Greenwood Press, +32-῍, pp. ,-ῌ,/.
!"#$%&%'
++
῍ῌ
Thomas More, The Utopia of Sir Thomas More in Latin from the Edition of March
+/+2, and in English from the First Edition of Ralph Robynson’s Translation in +//+,
with additional translations, introduction and notes by J. H. Lupton ῌOxford :
Clarendon Press, +32/῍, pp. +--ῌ-..
+, Juan Luis Vives, The Education of A
Christian Woman : A Sixteenth-Century Manual, ed and trans. by Charles Fantazzi
ῌChicago : The University of Chicago, ,***῍, p. /2.
+-
Ibid., p. 1,.
+.
Ibid., p. 2/
+/
Loc. Cit.
+0
Ibid., p. ,+3.
+1
H. M. Prescott, Spanish Tudor : The Life of Bloody Mary ῌLondon : Constable, +3.*῍,
pp. -*-ῌ..
+2
Roger Ascham, The Schoolmaster ῌ+/1*῍, ed. by Lawrence V. Ryan ῌIthaca, NY :
Cornell University Press, +301῍, p. +1.
+3
Ibid., /0.
,*
Walter J. Ong, Chapter V, “Latin Language Study as a Renaissance Puberty Rite,” in
Rhetoric, Romance, and Technology : Studies in the Interaction of Expression and Culture
ῌIthaca : Cornell University Press, +31+῍, pp. ++-ῌ.+.
,+
Kathi Vosevichi, ‘The Education of a Prince ῌss῍ : Tutoring the Tudors’ in Women,
Writing, and the Reproduction of Culture in Tudor and Stuart Britain, ed. by Mary E.
Burke, Jane Donawerth, Linda L. Dove, and Karen Nelson ῌSyracuse, New York :
Syracuse University Press, ,***῍, p. 1*.
,, + Elizabeth I : Collected Works, ed.
by Leah. S. Marcus, Janel Mueller, and Mary Beth Rose ῌChicago : The University of
Chicago Press, ,***῍, p. 31.
,-
Ibid., p. -,0.
,.
Marie Axton, The Queen’s Two Bodies : Drama and the Elizabethan Succession
ῌLondon : Royal Historical Society, +311῍, pp. -2ῌ-3.
,/
William Harrison, The Description of England : The Classic Contemporary Account of
Tudor Social Life, ed. by George Edelen ῌIthaca, New York : Cornell University Press,
ῌῌ
+302 ; rpt., New York : Dover, +33.῍, p. ,,2.
,0
Frederic A. Youngs, Jr., The Proclamations of the Tudor Queens ῌCambridge :
Cambridge University Press, +310῍, pp. +0+ῌ1*.
,1
Harrison, p. +.1.
,2
PhilipStubbes, The Anatomie of Abues, with the Introductory note by Peter Davison
ῌ+/2- ; New York : Johnson Reprint Corpotraion, +31,῍, F. /.
,3
Juliet Dusinberre, Shakespeare and the Nature of Women ῌNew York : St. Martin’s
Press, +31/ ; rpt., +330῍, p. ,,/.
-*
RobertGreene, ‘Penelope’s Web’ in The Life and Complete Works in Prose and Verse of
Robert Greene, ed. by Alexander B. Grosart, V, p. ,+-.
-+ ῌ +31* ῍ -,
The Riverside Shakespeare, notes on the line +/*ῌ/+.
-- ῌ +332 ῍ -.
Vives, pp. +-+ῌ-,.
-/
Ibid., pp. +..ῌ/,.
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