Key Themes in Gender, Class, and Social Order in Late Elizabethan Drama

Gender, Class, and Social Order in Late Elizabethan Drama

In late sixteenth and early seventeenth century England, social historians observed a notable degree of social mobility that affected both classes and genders. Individuals like William Harrison and Thomas Smith expressed their awareness of the significant changes in the social order, which were marked by upward and downward movements among the gentry and other social classes. Notably, this mobility led to unrest as societal distinctions became increasingly important. While historians generally agree that social mobility was prevalent during this period, there is a lack of consensus about how these changes interacted with gender dynamics.

Women in Tudor and Stuart England had a complex legal status characterized by the principle of 2potestate maritorum1, placing them under the authority of their husbands. However, women frequently managed their households and had significant control over such aspects as their husband1s will and children. This ambiguous status is illustrated in contemporary texts and debates regarding women's roles, indicating a tension between the perceived limitations placed on women and their actual agency within the domestic sphere.

The plays "Arden of Faversham" and "A Warning for Fair Women," along with Shakespeare's "Twelfth Night," explore the intersections of gender and class anxieties through their narratives and character dynamics. The domestic tragedies foreground the consequences of social mobility through gender conflicts, while Shakespeare's comedy conversely displaces these gender anxieties onto class relations. In both tragedies, men’s upward social mobility leads to victimization, while women are scapegoated, illustrating how these societal tensions were allegorically managed through the domestic sphere.

In "Arden of Faversham," the narrative centers on the actual historical murder of Thomas Arden, which is intricately tied to class tensions manifesting through the actions of his wife, Alice. Alice's discontent pushes her into an adulterous relationship with lower-class Mosby, ultimately leading to her conspiring against Arden. This illustrates a crucial point: her desire for social elevation transgresses the bounds of both domestic life and patriarchal control. Alice's assertiveness contrasts with the societal expectations of women, highlighting the fears surrounding female autonomy during the period. The play captures both her rebellion against her husband and the broader class resentments that fuel conflicts.

A similar configuration can be observed in "A Warning for Fair Women," which also illustrates class mobility's connection to gender dynamics. The male characters, much like in "Arden of Faversham," are portrayed as socially ambitious, yet they are ultimately vulnerable due to their desires for economic advancement, exposing their wives to risks and leading to familial discord. The undercurrents of these plays assert that economic greed makes men susceptible to revenge from those they oppress, thereby putting women in the position of often unintentional accomplices or victims in their downfall.

In contrast, Shakespeare's "Twelfth Night" employs comedy to address these anxieties, focusing less on violent tragedies and more on the complexity of social mobility and gender dynamics in a lighter frame. The play engages the notion of class through characters like Malvolio, who experiences derision because of his aspirations to ascend socially. He is depicted as out of place among the nobility, contrasting with characters like Viola, whose assumed masculinity allows her a route to social acceptance and romantic fulfillment. The comedic elements serve to diffuse anxieties about gender relations, providing a narrative where women ultimately have agency without facing the consequences present in the tragedies.

In summary, the exploration of gender and class within Elizabethan drama reveals deeply ingrained societal anxieties regarding social mobility and patriarchal control. The tragedies of the era highlight the scapegoating of women for male transgressions, while comedies such as "Twelfth Night" offer a more nuanced understanding that allows for the fulfillment of women’s desires in ways that circumvent traditional patriarchal constraints. This tension reflects a broader historical dialogue on gender and class, providing critical insight into the social fabric of late Elizabethan England.