Feminine Transgression and Normal Domesticity
This chapter looks at domestic life in The Duchess of Malfi and Arden of Faversham. Each of these plays is dominated by a female character and each has as its core a private domestic space. In each play, this space is ultimately destroyed by murderous impulses. In most other respects, the two plays are very different, but looking at them together permits a consideration of the relationship between women and the domestic sphere to which they were often relegated and of the different forms that feminine transgression may take.
- Anonymous. 1973. The Tragedy of Master Arden of Faversham, ed. M.L. Wine. London: Methuen.Google Scholar
- Beer, Barrett L. 2004. Seymour, Edward, Duke of Somerset [Known as Protector Somerset] (c. 1500–1552), Soldier and Royal Servant. Oxford Dictionary of National Biography. Oxford University Press, September 2004. http://www.oxforddnb.com.ucc.idm.oclc.org/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-25159 (Online edition).
- Guy-Bray, Stephen. 2014. ‘Fellowships of Joy’: Angelic Union in Paradise Lost. Early Modern Culture 10. http://emc.eserver.org/1-10/guy-bray.pdf.
- Lopez, Jeremy. 2003. Theatrical Convention and Audience Reaction in Early Modern Drama. Cambridge: Cambridge University Press.Google Scholar
- Orlin, Lena Cowen. 1994. Private Matters and Public Cultures in Post-reformation England. Ithaca, NY: Cornell University Press.Google Scholar
- Power, Andrew J. 2017. Arden of Faversham: Roles and Requirements. In New Oxford Shakespeare: Critical Reference Edition, vol. 1, ed. Gary Taylor, et al. Oxford: Oxford University Press.Google Scholar
- Spenser, Edmund. 1912. Spenser: Poetical Works, eds. J.C. Smith and E. de Selincourt. Oxford: Oxford University Press.Google Scholar
- Webster, John. 2015. The Duchess of Malfi, ed. Michael Neill. New York: W. W. Norton.Google Scholar