Betwixt and Between in Epicene

The Children of Her Majesty’s Revels performed in an adolescent transition from boy to manhood much as the Ladies Collegiate enact a quasi-middle position between rank of court and country gentlewomen, “an order between courtiers and country madams. (1.1.3-4) By means of economic status Mrs. Otter has transgressed her gender (natural order) by being referred to as “Captain Otter (1.4.30); she consequently emasculates her husband in the process. However, her audacity does not go unpunished because she is penalized by trumping Mr. Otter and through her possible alien connection, is therefore referred to as sexually promiscuous, “that gave rise entertainment. She entertains at home.” (1.4.28-29).

The signs of gender encroachment are in much evidence throughout the play. Surely if men and women can pass as each other there is no saying what other infringements upon the established order of things can ensue. If women attempt (and must?) to conceal the intricate preparations for becoming more lady like, what else could they likely plan to metamorphosize into? In Korda’s talk she comments on the invisibility of women’s work to perfect themselves; their poise, beauty and demeanor must be manufactured but in secret, but the means of production should be erased if the final outcome can be paraded. However, a women’s success at transformation and possibly false representation is contingent upon purchasing the devises (creams, potions, wigs, etc.)…all the boxes of the trades. In fact, she must make her way around the town and participate in the marketplace in order to shape herself. Ultimately, social and economic power is fully realized and rewarded through Dauphine’s ability to conceal rather than expose the steps and details of genre construction. Throughout, ambiguous and intermediate assignments of social rank, gender and economic status fuel the twists and turns of the play and which revolve around its ironic and final comic resolution.

Where is the Spectacle?

What is Jonson saying about the type of audience whom one would encounter in the theatre or en route or who would be watching Epicene during its performance?

Now? When there are so many masques, plays, Puritan preachings, mad folks, and other strange sights to be seen daily, private and public.” (2.2.33-35)

What do we come to the theatre for? To find love and beauty?

“In these places a man shall find whom to love, when to play with, whom to touch one, whom to hold ever.” (4.1.59-61)

invite into the Cockpit and kiss our hands all the play time and draw their weapons for our honors? (4.3.46-47)