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Masculinity, Desire, and Disarmament in Four of Shakespeare's Comedies

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Masculinity, Desire, and Disarmament in Four of Shakespeare's Comedies Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Spring 5-17-2013 Masculinity, Desire, and Disarmament in Four of Shakespeare's Comedies Jennifer L. Basye Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Basye, Jennifer L., "Masculinity, Desire, and Disarmament in Four of Shakespeare's Comedies." Dissertation, Georgia State University, 2013. https://scholarworks.gsu.edu/english_diss/109 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. MASCULINITY, DESIRE, AND DISARMAMENT IN FOUR OF SHAKESPEARE’S COMEDIES by JENNIFER BASYE Under the Direction of Dr. Calvin Thomas ABSTRACT This dissertation sets out to explore Lacan’s idea of the paradoxical condition of the masculine gender construction. As privileged, favored, powerful, entitled, and hegemonic as it may seem, mascu- linity does not come without its awareness of what Lacan has most accurately labeled the “threat or even […] the guise of deprivation.” In fact, this construction not only assumes threat and deprivation to its identity but goes so far as to rely upon these potential attacks as necessities in order to perform it- self. In other words, the masculine role can only be identified, recognized and/or mean when presented with a threat. As with any identity, masculinity is not autonomous nor is it essential in signification; it must confront that which is not masculine, that which is always a potential threat to its identity, if it is to appear in any way privileged, favored, powerful, entitled, hegemonic or whatever any culture construes masculinity to be. This argument is applied to four of Shakespeare’s comedies in terms of the male char- acters’ ability or reason to speak. INDEX WORDS: Masculinity, Desire, Anxiety, Freud, Lacan, Shakespeare, Comedy, Language, Perfor- mance, Gender MASCULINITY, DESIRE, AND DISARMAMENT IN FOUR OF SHAKESPEARE’S COMEDIES by JENNIFER BASYE A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2013 Copyright by Jennifer Basye 2013 MASCULINITY, DESIRE, AND DISARMAMENT IN FOUR OF SHAKESPEARE’S COMEDIES by JENNIFER BASYE Committee Chair: Calvin Thomas Committee: Paul Schmidt Wayne Erickson Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University May 2013 iv DEDICATION This dissertation is dedicated to Arthur. v ACKNOWLEDGEMENTS First of all, I would like to thank my committee, directed by Dr. Calvin Thomas. I offer special thanks to Dr. Paul Schmidt for taking on this project later in its process and to Dr. Wayne Erickson for his continued involvement after his retirement. I would not have completed this dissertation without the personal support of many. My parents, Barbara and Kenneth, deserve significant acknowledgment. I only wish that my father could have seen this day. Thank you, Mom, for more than I could list on this one page. I extend thanks to my brothers, Samuel and Benjamin, and my sister-in-law, Tammie. Thank you for listening to my ideas and stories. Also, I would like to acknowledge Shannon Gilstrap and Aslo for their encouragement, support, humor, and house throughout this entire journey. I offer many thanks to my fellow GTA’s at Georgia State Uni- versity. I also offer many thanks to my friend, Rachel Wall. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................................................ v INTRODUCTION ................................................................................................................................... 1 CHAPTER 1. PETRUCHIO IS KASTRATED: THE TAMING OF THE MASCULINE ......................................... 24 CHAPTER 2. AS YOU (MAY NOT) LIKE IT, ORLANDO: MALE FANTASY AND ITS LACK OF ANXIETY ......... 53 CHAPTER 3. THE MASQERADE OF VENICE: FEIGNING FEMININITY AS MEANS TO MASCULINE POWER IN MERCHANT OF VENICE ....................................................................................................................... 77 CHAPTER 4. SCREWED INTO HIS TRUE PLACE: MASCULINE (LACK OF) CONTROL IN TWELFTH NIGHT, OR WHAT YOU WILL .............................................................................................................................. 101 CONCLUSION ................................................................................................................................... 125 WORKS CITED .................................................................................................................................. 133 7 INTRODUCTION “There is an antinomy here that is internal to the assumption [assomption] by man (Mensch) of his sex: why must he assume the attributes of that sex only through a threat or even in the guise of a deprivation?” -Jacques Lacan Signification of the Phallus (par. 1) This dissertation sets out to explore Lacan’s above question – the paradoxical condition of the masculine gender construction – in four of Shakespeare’s comedies. As privileged, favored, powerful, entitled, and hegemonic as it may seem, masculinity does not come without its awareness of what La- can has most accurately labeled the “threat or even […] the guise of deprivation” (Signification par. 1). In fact, this construction not only assumes threat and deprivation to its identity but goes so far as to rely upon these potential attacks as necessities in order to perform itself. In other words, the masculine role can only be identified, recognized and/or mean when presented with a threat. As with any identity, masculinity is not autonomous nor essential in signification; it must confront that which is not mascu- line, that which is always a potential threat to its identity, if it is to appear in any way privileged, favored, powerful, entitled, hegemonic or whatever any culture construes masculinity to be. What is most signifi- cant about masculinity is that this codependence creates an anxious paradox for the masculine identity, which Western history and culture have deemed most independent and dominant. Specifically, the four Shakespearean comedies that I have chosen for the purposes of this explo- ration invite such a study. Taming of the Shrew, As You Like It, The Merchant of Venice, and Twelfth Night end with an ironic twist—the male characters that get the rewards that they have sought throughout the play do not display any sort of triumph in their lines. More oddly still, the male character (Duke Orsino, Twelfth Night) that is denied the object of his desire ends the play with a lengthy speech 8 that hints at a sort of waiting and making due with what he has received as a substitute.1 In contrast, Petruchio (Taming), Orlando (As You Like It), and Antonio (Merchant)2 3 all remain dumbfounded after getting or reclaiming their objects of desire. In fact, Antonio’s final line speaks (or does not speak) for the nearly silent or stricken response given by the others: “I am dumb” (5.1.279).4 This theme within these for plays opens questions about masculinity and what allows or orders its performance. From a psychoanalytic perspective, these characters’ masculinity thrives more on not having than having, thereby leading to the assumption that the masculine construction requires a degree of denial, threat, and, most significantly, desire to perform. These qualities of masculinity parallel the desire, deferment, and lack of satisfaction that post-structuralism has found to be the main constituents of language itself. The psychoanalytic approach to identity construction involves an exploration of how a subject posits himself within the symbolic realm that, according to theoretical studies after the linguist turn, constitutes human existence: Nothing exists outside the text, and nothing exists outside of language. Lacan famously maintains that the unconscious is structured like a language, an argument that presup- poses language’s crucial significance in identity formation. If nothing human exists outside of language, no human identity can perform without it. From this linguistic foundation, Lacan affirms that language is desire and therefore consistently and constantly unsatisfied. Metaphors and metonyms constitute the 1 Orsino’s final lines indicate a sense of deferment, waiting, and settling for Cesario: “Pusue him, and entreat him to a peace; / He hath not told us of the captain yet. / A solemn combination shall be made / Of our dear souls. Mean time, sweet sister, / We will not part from hence. Cesario, come –/For so you shall be while you are a man; / But when in other habits you are seen, / Orsino’s mistress and queen” (Twelfth Night, 5.1.380-88). Orsino must accept Viola as a second choice to Olivia, his most consistent object of desire. Also, his language indicates a deferment of information from Malvolio. Yet, at the same time, he is giving orders and directing Viola, as if he is in the height of masculine authority. 2 Petruchio’s final lines are as follows: “Why there’s a wench! Come on and kiss me, Kate,” and “Come, Kate, we’ll to bed. We three are married, but you two are sped” (5.2.180, 84-5). These lines indicate more of a submission to Kate’s (not
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