Student ID: 51983617
7) Discuss the performance of gender in any two plays on the course
20/11/2020
Tutor: Dr Thomas Rist
EL2011 Encounters with Shakespeare
7) Discuss the performance of gender in any two plays on the course.
This essay will look at the performance of gender in two plays: John Lyly’s play Galatea1
(2012) and The Roaring Girl (2011)2 by Thomas Middleton and Thomas Dekker. When
discussing the performance of gender in these two plays, it is important to note that they deal
with two different types of cross-dressing. In the early seventeenth century, women's cross-
dressing did cause social anxiety, as it disrupted the established gender hierarchy. 3However,
as we see in these two plays, performing and dressing up as men, was not only an act of
rebellion and self-expression but also a way of disguising oneself for practical purposes.
If you consistently perform as a man over a long period of time, do you eventually
start to take on the words of a man and the thoughts of the patriarchy? In her article
Rehabilitating Moll’s Subversion in The Roaring Girl, Jane Baston argues that Moll is
experiencing an inner conflict concerning her attitude towards other women, her role as the
rebellious and roaring girl and her performance of masculinity 4 Specifically, one of Moll’s
1 John Lyly, edited by Leah Scragg, Galatea, (Manchester: Manchester University Press,
2012)
2 Thomas Middleton, Thomas Dekker, The Roaring Girl, (New York: Norton and Company,
2011)
3 Jane Baston, “Rehabilitating Moll's Subversion in The Roaring Girl.” Studies in English
Literature, 1500-1900, vol. 37, no. 2, 1997, 317–335. pp. 320-321. JSTOR,
www.jstor.org/stable/450836. Accessed 19 Nov. 2020.
4 Baston, Jane. “Rehabilitating Moll's Subversion in The Roaring Girl.” Studies in English
Literature, 1500-1900, vol. 37, no. 2, 1997,317–335. p. 328. JSTOR,
1
, Student ID: 51983617
7) Discuss the performance of gender in any two plays on the course
20/11/2020
Tutor: Dr Thomas Rist
EL2011 Encounters with Shakespeare
speeches about marriage and women seems to be in conflict with her character, her
eradication of gender norms through clothing, and her previous standpoints and behaviour.
Moll reinforces the dominant and traditional view of a woman’s role in marriage by stating
that: “a wife, you know, ought to be obedient, but I fear me I am too headstrong to obey"5.
Even though she does describe herself as headstrong and acknowledges that marriage is not
for her, she does not proclaim that she wishes to change or challenge the conditions of
marriage, nor does she voice any disapproval of the fact that a wife must be obedient.
Furthermore, Moll suggests that women are dishonest and trick men into marriage: “if every
women would deal with their sutor so honestly, poor younger brothers would not be so often
gulled with old cozening widows, that turn o’er all their wealth into a trust to some kinsman,
an make the poor gentleman work hard for a pension”6. Not only have Moll taken on the
clothing of men, but also some of their prejudices7 - the language and thoughts of the
impersonation have become a part of the person.
The thought of the male disguise becoming a part of the person who wears it is a thought that
generates concern in the minds of John Lyly’s disguised heroines. “It will neither become my
body nor my mind”8. Philida is determined to retain her female identity while acting out this
www.jstor.org/stable/450836. Accessed 19 Nov. 2020.
5 The Roaring Girl, Act II. Scene 2.2. ll. 38-40, p.36
6 The Roaring Girl, Act II. Scene 2.2. ll. 59 -62,p.36
7 Jane Baston, “Rehabilitating Moll's Subversion in The Roaring Girl.” Studies in English
Literature, 1500-1900, vol. 37, no. 2, 1997, 317–335. p. 328. JSTOR,
www.jstor.org/stable/450836. Accessed 19 Nov. 2020.
8 Galatea, Act I. Scene 3. l.16, p.50
2
