Wednesday, September 19, 2007

1.) How do the interactions of the various threesomes within A Chaste Maid in Cheapside complicate the stock characters of gallant, cuckold, etc.? (What effect, for example, does Allwit's knowing and complacent -- and even opportunistic -- cuckoldry have on the dynamic of the Sir Walter/Master Allwit/Mrs. Allwit triangle?) How do these various triangles illuminate the construction of masculinity and manhood within the play? Further, how might the various values placed on potency, authority, social status, material capital, education, and consumer clout reflect actual negotiations with social change and identity formation?

2.) In his diatribe against prostitutes in Act 2, Hippolito (quite problematically) declares that "The sin of many men is within you." Bellafront later echoes a more materially-oriented version of this statement when she declares that whores "breed rank diseases." How do narratives of both morality and social concerns inform the bleak view of prostitution within
The Honest Whore? Is there also an implicit critique within Hippolito's speech of the prostitute as a failure in the commercial market? (For example, Hippolito states that "Like bears and apes, you're baited and show tricks / For money; but your bawd the sweetness licks" (II.i).)

1 comment:

John Y. said...

It seems to me that Allwit's awareness makes the entire triangle rather farcical; why such a sustained attack on marriage throughout the play? Putting it beside something like Othello, the difference is stark. Do you think class is a factor in determining the Allwits' conception of marriage (i.e. is the lower class conception of marriage conflicting with an upper-class conception of marriage)?

Both Dekker and Middleton, I think, illustrate some sort of "new masculinity," wherein Allwit and Candido live by entrepreneurial savvy, rather than by aggression. Do you think we are supposed to look upon this "new masculinity" favorably?