Keeping Boys and Men: Marvelous Pageboys in Romantic Tragicomedy Mary Trull St Olaf College
[email protected] Modern critics have found the feminine pageboys of early Jacobean drama, those pretty, clever, ambiguously sexual darlings of fashionable gentlemen, compelling and puzzling figures. Catherine Belsey writes that ‘the drama helped… to construct an image we still recognize of “petty pretty pratlyng parling” little boys, capable of mischief, disarming precocity or deep sadness, and also of inviting adult indulgence’.1 The appeal of these feminine boys is difficult to categorize according to either early- or late-modern accounts of identity and desire. Moreover, in many plays of the early 1600s, pageboys embody a degraded service that contrasts with a nostalgically evoked feudal ideal. The genre of romantic tragicomedy emerging in the years 1608-13 gave pageboys a new dramatic function: they became miraculous figures exemplifying virtuous service. Romance, as critics have noted, gives the tragicomedies of this period their emphasis on wonder and on miraculous plot twists; but satire also invests these plays with elements of cultural critique and self-reflexivity. Why do pageboys, in particular, embody this mix of genres, affects, and social tensions in this period? Recent scholarship on twentieth-century ‘cuteness’ as a ‘minor aesthetic category’, in the words of Sianne Ngai, opens a door to seeing how the diminutive, abject, and appealing aspects of pageboys operates in a context of early modern concerns over wealth and commodification.2 While the aesthetic mode of cuteness registers discomfiting aspects of twentieth-century consumerism, the compelling, sexually ambiguous boys of tragicomedy offer a marvelous and reassuring resolution to concerns about wealth and 1 Catherine Belsey, ‘Shakespeare’s Little Boys: Theatrical Apprenticeship and the Construction of Childhood’, in Rematerializing Shakespeare: Authority and Representation on the Early Modern Stage, ed.