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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2006.9
- 수록면
- 421 - 442 (22page)
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If we look into the Renaissance plays which deal with magic or magicians, it is obvious that magic practitioners are presented differently depending on their sex. Although female magicians/witches are shown practicing as wide a variety of magic as male magicians/wizards are, they are usually described negatively while the male magicians are positively. What is it that prompted the Renaissance playwrights to characteristically portray the female magicians in a negative light? Focusing on Robert Greene's Friar Bacon and Friar Bungay, Christopher Marlowe's Dr. Faustus, and Shakespeare's Macbeth and The Tempest, this paper will attempt to clarify the causes that influenced Renaissance playwrights in their negative descriptions of female magicians and its meaning.
Magicians of both sexes in Renaissance plays practice many kinds of magic. First of all, they can often control nature: Prospero in The Tempest, Faustus in Dr. Faustus and the three witches in Macbeth can call forth winds and storms, while the witch Sycorax in The Tempest could control the moon and tide. In addition, these magicians can often call on spirits, Mephistopheles and Hercules as well as being able to control the bodies and minds of human beings, as do the witches in Macbeth, Faustus and Friar Bacon.
Although female magicians are portrayed as neither inferior in their magical abilities nor as practicing only black magic, they are usually described as ugly, shabby and evil old hags while male magicians, such as Prospero, Faustus and Bacon, are usually portrayed in a favorable light as wearing stylish mantles and hats. Also the ugly and disgusting ingredients that the female witches make use of in their spells contrast sharply with mysterious magic wands and antique books that male magicians are often shown as using. Moreover, witches are often portrayed as outcasts while the male magicians are usually described as important members or even rulers of society.
The great differences in the Renaissance playwrights' descriptions of male and female magicians can be understood as a reflection of the political and social atmosphere of the period. Ruled and supported by James I, who was known to be strongly antagonistic against witches, the Renaissance playwrights, especially Shakespeare when he penned the witches in Macbeth and The Tempest, followed their liege's attitude toward witches.
The long history of witch hunts in Europe may also have influenced the Renaissance playwrights; there was a strong and lunatic antagonism against female practitioners of magic in 16th and 17th century England. This probably came about due to the long-established male view of aggressive and independent women, such as witches, as the evil forces to be eliminated. As members of male dominated society, the Renaissance playwrights might have been unable to ignore this view of women when they configured the female magician on the stage.
Thus, it is obvious that the Renaissance playwrights just followed their ruler's and their contemporaries' patriarchal gender ideology and contributed to it when they described female magicians negatively and male magicians positively. It means that although they might have succeeded to reflect the beliefs of their contemporaries as well as the social atmosphere of the period faithfully, they failed to fulfill one of the most important functions of literature-criticizing social prejudices/evils and distortions of values to lead the society in a desirable direction.
Magicians of both sexes in Renaissance plays practice many kinds of magic. First of all, they can often control nature: Prospero in The Tempest, Faustus in Dr. Faustus and the three witches in Macbeth can call forth winds and storms, while the witch Sycorax in The Tempest could control the moon and tide. In addition, these magicians can often call on spirits, Mephistopheles and Hercules as well as being able to control the bodies and minds of human beings, as do the witches in Macbeth, Faustus and Friar Bacon.
Although female magicians are portrayed as neither inferior in their magical abilities nor as practicing only black magic, they are usually described as ugly, shabby and evil old hags while male magicians, such as Prospero, Faustus and Bacon, are usually portrayed in a favorable light as wearing stylish mantles and hats. Also the ugly and disgusting ingredients that the female witches make use of in their spells contrast sharply with mysterious magic wands and antique books that male magicians are often shown as using. Moreover, witches are often portrayed as outcasts while the male magicians are usually described as important members or even rulers of society.
The great differences in the Renaissance playwrights' descriptions of male and female magicians can be understood as a reflection of the political and social atmosphere of the period. Ruled and supported by James I, who was known to be strongly antagonistic against witches, the Renaissance playwrights, especially Shakespeare when he penned the witches in Macbeth and The Tempest, followed their liege's attitude toward witches.
The long history of witch hunts in Europe may also have influenced the Renaissance playwrights; there was a strong and lunatic antagonism against female practitioners of magic in 16th and 17th century England. This probably came about due to the long-established male view of aggressive and independent women, such as witches, as the evil forces to be eliminated. As members of male dominated society, the Renaissance playwrights might have been unable to ignore this view of women when they configured the female magician on the stage.
Thus, it is obvious that the Renaissance playwrights just followed their ruler's and their contemporaries' patriarchal gender ideology and contributed to it when they described female magicians negatively and male magicians positively. It means that although they might have succeeded to reflect the beliefs of their contemporaries as well as the social atmosphere of the period faithfully, they failed to fulfill one of the most important functions of literature-criticizing social prejudices/evils and distortions of values to lead the society in a desirable direction.
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