Abstract
It is proper … that not only arms but indeed also the speech of women never be made public; for the speech of a noblewoman can be no less dangerous than the nakedness of her limbs.1
So Francesco Barbaro wrote in his early fifteenth-century treatise, On Wifely Duties . Although it predates the performance of Jonson’s The Masque of Blackness by almost two hundred years, this statement remains representative of prevalent attitudes towards women in the early seventeenth century; the danger of the female voice and body is powerfully constant. Barbaro neatly encapsulates the perceived connection between public female speech and a dangerously liberated female sexuality in the open display of the gendered body. Denied access to speech in the court masque, the aspects of the genre which allow the female nobility to perform are also those which simultaneously confine this performative presence to the physical. Yet, as Barbaro’s insistence on the danger posed by the female body implies, whether voiced or silent, such a presence constitutes a threat which must be monitored or controlled. From the familiar position of the silenced woman, the noble female masquer finds an expression through the second half of Barbaro’s formulation, in the equally expressive and threatening presence of the female body on the masquing stage. In the course of this process, these tools of apparent restraint are themselves rendered ambivalent and liberating.
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Notes
Cited in 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 Quillingan and Nancy J. Vickers (Chicago: University of Chicago Press, 1986), pp. 123–42 (p. 127).
See Barbara Kiefer Lewalski, Writing Women in Jacobean England ( London and Cambridge, MA: Harvard University Press, 1993 );
Leeds Barroll, ‘The Court of the First Stuart Queen’, in The Mental World of the Jacobean Court, ed. by Linda Levy Peck ( Cambridge: Cambridge University Press, 1991 ), pp. 191–208.
C.H. Herford, Percy and Evelyn Simpson (eds), Ben Jonson 11 vols (Oxford: Clarendon Press, 1925–52), I, p. 448. Henceforth H&S.
See, in particular, Hardin Aasand, “‘To Blanch an Ethiop, and Revive a Corse”: Queen Anne and The Masque of Blackness’, Studies in English Literature, 1500–1900, 32 (1992), 271–85;
Kim F. Hall, ‘Sexual Politics and Cultural Identity in The Masque of Blackness’ in The Performance of Power: Theatrical Discourse and Politics, ed. by Sue-Ellen Case and Janelle Reinelt ( Iowa City: University of Iowa Press, 1991 ), pp. 3–18;
Marion Wynne-Davies, ‘The Queen’s Masque: Renaissance Women and the Seventeenth-Century Court Masque’, in Gloriana’s Face: Women, Public and Private, in the English Renaissance, ed. by S.P. Cerasano and Marion Wynne-Davies ( Hemel Hempstead: Harvester Wheatsheaf, 1992 ), pp. 79–104.
Ben Jonson, The Masque of Blackness, in Ben Jonson: The Complete Masques ed. by Stephen Orgel (London and New Haven: Yale University Press, 1975), p. 48, 1. 18. All further references to this edition will appear in parentheses within the text.
Jonathan Sawday, The Body Emblazoned: Dissection and the Human Body in Renaissance Culture ( London and New York: Routledge, 1995 ), p. 189.
Andrew J. Sabol, Four Hundred Songs and Dances from the Stuart Court Masque ( London: University Press of New England for Brown University Press, 1982 ), p. 21.
Stephen Orgel, ‘Review of Andrew Sabol, Four Hundred Songs and Dances from the Stuart Court Masque’, Criticism, a Quarterly for Literature and the Arts 21 (1979), 362–5, (p. 365 ).
Mark Franko, ‘Renaissance Conduct Literature and the Basse Dance: The Kinesis of Bonne Grace’, in Persons in Groups: Social Behaviour as Identity Formation in Medieval and Renaissance Europe ed. by Richard C. Trexler (Binghamton, NY: Medieval and Renaissance Texts and Studies, 1985), pp. 55–66 (p. 55).
Mark Franko, The Dancing Body in Renaissance Choreography (c.14161589) ( Birmingham, AL: Summa Publications, 1986 ), p. 38.
Stephen Orgel, The Jonsonian Masque ( New York: Columbia University Press, 1981 ), p. 69.
Francis Bacon, The Advancement of Learning, II. xvi. 3, cited in Michael Bath, Speaking Pictures: English Emblem Books and Renaissance Culture ( London: Longman, 1994 ), p. 51.
D.J. Gordon, ‘The Imagery of Ben Jonson’s The Masque of Blackness and The Masque of Beautie’, Journal of the Warburg and Courtauld Institutes, 6 (1943), 122–41.
Samuel Daniel, The Vision of the Twelve Goddesses, in A Book of Masques in Honour of Allardyce Nicol ed. by T.J.B. Spencer and Stanley Wells (Cambridge: Cambridge University Press, 1967), 11.31–5.
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McManus, C. (1998). ‘Defacing the Carcass’: Anne of Denmark and Jonson’s The Masque of Blackness. In: Sanders, J., Chedgzoy, K., Wiseman, S. (eds) Refashioning Ben Jonson. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-26714-9_5
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