As the title indicates, this paper presents a rather loose collection, or perhaps a montage of observations I made while closely reading and thinking about Cary's famous closet drama. These observations concern, among other things, the heroine's self-fashioning as a Stoic subject; the resulting problems of continual identity, interiority, and subjection; the linguistic dimension of Herod's madness, which I (owing much of my outlook on things to Foucault) read as an instance of escalating epistemological crisis.
Table of Contents
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IV
V
Objectives and Core Themes
The paper examines Elizabeth Cary's "The Tragedy of Mariam" through the lens of neo-Stoic subjectivity and epistemological crisis, challenging traditional scholarly focus on gender by highlighting universal concerns regarding identity, self-mastery, and the reliability of signs in early seventeenth-century England.
- Neo-Stoicism as a framework for aristocratic and female self-articulation.
- The epistemological conflict between appearance and hidden interiority.
- The collapse of analogical thinking in the face of modern subjectivity.
- Political allegory and the subversion of patriarchal "woman's ways."
- The fatal impact of forced transparency versus strategic simulation.
Excerpt from the Book
The Tragedy of Mariam features a heroine who may be said to present a distinct variation on (neo-)Stoic subjectivity.
Already her first soliloquy is an example of self-inspection in order to achieve contentment. Examining her conflicting emotions as well as her memories of Herod and her marriage, Mariam is trying to suit her mind to her present situation. However, although she repeatedly recalls her reasons for joy at the news of Herod’s death, she is unable to “repulse that falling tear / That will against my will some grief unfold” [I / 53-4]. Her attempt at mastering her self, at accepting the new circumstances, fails because these circumstances claim contradictory demands on her: “Ill doth a widowed eye with joy accord,” while at the same time joy is the appropriate reaction to the death of her brother’s murderer.
Braden observes that, in Senecan Stoicism, humility and self-criticism form a peculiar alliance with aggressive arrogance (Braden 22f.): The Stoic’s awareness of his moral superiority inevitably breeds indignitas, a sentiment that – although justified - constitutes his potential weakness; for if he cannot master indignitas, he will be overcome by his anger. Mariam faces the same problem. Perceiving her moral (and also hereditary) superiority over Herod’s family, she considers her scorn permissible. When Salome alludes to her allegedly adulterous behaviour, Mariam is at pains to quench her outrage with the help of rational explanation: “Self-guilt hath ever been Suspicion’s mother, / And therefore I this speech with patience bear …” [I / 153-7]. In her final encounter with Herod, Mariam expresses a Stoic contempt for both worldly pleasures and the murderer of her relatives: “I neither have of power, nor riches want; / I have enough, nor do I wish for more. / Your offers to my heart no ease can grant …” [IV / 109-11]. Though she may not be completely indifferent to the tyrant, her subsequent utterances bear no sign of anger or any other overwhelming emotions (no exclamation marks, no apostrophe, etc.). Her speech appearing calm and rational, Mariam seems to have mastered herself.
Chapter Summaries
I: Introduces Stoicism as a lens for understanding Mariam’s self-articulation, arguing that the heroine attempts to achieve internal harmony through self-inspection rather than mere social compliance.
II: Explores the epistemological crisis through the characters' reliance on observation and logic, noting the discrepancy between appearance and underlying reality in the play.
III: Analyzes the interplay between Sohemus’ perception of Mariam and the heroine’s ethical constraints, highlighting her inability to utilize strategic simulation.
IV: Examines Mariam’s refusal to reconcile with Herod, arguing that her forced transparency and adherence to a strict conscience lead to her tragic self-destruction.
V: Concludes with Herod’s descent into madness caused by the collapse of his analogical episteme, where the world becomes an assemblage of silent, self-referential signs.
Keywords
Elizabeth Cary, The Tragedy of Mariam, Neo-Stoicism, Subjectivity, Interiority, Epistemological Crisis, Early Modern Literature, Senecan Tragedy, Gender, Patriarchal Authority, Simulation, Foucault, Analogical Episteme, Self-Mastery, Renaissance Noblewoman.
Frequently Asked Questions
What is the primary focus of this paper?
The paper provides a scholarly analysis of Elizabeth Cary’s play "The Tragedy of Mariam," focusing on how neo-Stoic philosophy and epistemological shifts shape the characters' identities and actions.
Which theoretical frameworks are used in the analysis?
The author utilizes neo-Stoic theory, Foucault’s historical and epistemological models, and perspectives from Renaissance cultural studies to re-examine the play.
What is the central research question?
The research explores how the play reflects the tensions between an individual’s internal subjectivity and the external pressures of patriarchal society and absolutist power.
How is the heroine’s subjectivity characterized?
Mariam is presented as a subject who practices self-inspection and attempts to find contentment within, though her ethical constraints prevent her from utilizing the strategic simulation necessary to survive in a tyrannical environment.
What role does Herod play in the epistemological crisis?
Herod represents a figure struggling with the "alienation in analogy," where his inability to distinguish between signs and reality leads to a total collapse of his power and authority.
Why is the concept of "strategic interiority" important?
Strategic interiority allows characters like Salome to navigate the world by masking their true intentions, whereas characters like Mariam are trapped by a forced transparency that leaves them vulnerable.
How does the author characterize "Stoicism suited to slaves"?
The author discusses this T.S. Eliot quote in the context of the Renaissance, suggesting that for noblewomen, Stoicism offered a way to reclaim self-determination despite their restricted political roles.
What is the significance of the "gap" in the play?
The gap refers to the growing disconnect between words, signs, and actual being, which characterizes the Early Modern epistemological shift described by the author.
What is the ultimate fate of Mariam according to this reading?
Her fate is determined by her inability to simulate, forcing her to sacrifice her life to maintain the integrity of her conscience and internal truth.
What is the main finding regarding "simulation"?
The paper concludes that while simulation is a survival skill in the courtly environment of the play, the heroine’s moral refusal to simulate leads to both her downfall and the preservation of her unique, continuous identity.
- Quote paper
- Gundula E. Rommel (Author), 2001, Loose Notes on Stoicism, Interiority, and Epistemological Crisis in Elizabeth Cary's "Tragedy of Mariam", Munich, GRIN Verlag, https://www.hausarbeiten.de/document/184713
