What Is Florinda's Patriarchy?
A woman’s abhorrent behaviour within the patriarchy would get them killed (qtd. in Natalie Dejonghe, 6). Although, Florinda’s broken chastity challenges patriarchy through her female agency. For example, Florinda is apparent that she will not “obey [to] those unjust commands” (5) of marrying “old sir fifty” Don Vincentio a wealthy older man decided by her father. Don Vincentio symbolizes patriarchy as the traditional system through his family wealth of five hundred years. This contact between father and husband stabilizes reputation and honour between two households. Upon her discontent, Don Pedro (a figure of patriarchy replacing the absent father here) directs her to marry his best friend Antonio, “giving [him the] opportunity to free [Florinda] from Don Vincentio” (1.1.150). The verb “free” suggests man can only save a woman’s entrapment in patriarchy proving its instability as a social structure that excludes woman. Yet, unknown to Don Pedro is Florinda’s agency to direct Belvile as “the “object of [her] bounty” (3.1.213) to marry. Instead, Don Pedro “approve[s] of [Florinda’s] choice (5.1.399) in which
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he no longer upholds his sister's s chastity but agrees with her agency. Here then, chastity is a social construct for male dominance over woman here to legitimise patriarchy as an idea not representing the self.
Whereas, Ann Pacheco reiterates that “Florinda’s attack on patriarchal compulsion points to the internal contradictions which work to destabilize ideologies of gender” (325). Pacheco is convincing here as Florinda, unlike Lavinia in Titus Andronicus, is much stronger in using her voice as a resistance to “destabilize ideologies of gender”. In Act 3.5, as Florinda is in “an undress” (informal loose clothing), a drunken Willmore assumes she is a courtesan with her “cobweb door set open” (analogous to her broken chastity) and seizes her. Yet, Florinda strongly objects to Willmore’s force by “[crying] murder, rape or anything” (3.5.49-50), if he does not let her go. Wilmore reacts to “rape” with “you lie, you baggage, you lie” (line 51) which destabilises his ideology of female’s clothing as overpowering women. This relates to the law in c.1597 where rape becomes an attack on the female body as opposed to men’s property (Natalie Dejonghe, 13).
Furthermore, while seeking refuge from Don Pedro, Blunt “[pulls] her rudely” and demands “getting [a] kiss…” (4.5.48) soliciting rape.
However, Florinda’s witty comment that “must [she] be sacrificed for the crimes…infamous of [her] sex” (4.5.56) shows her frustration at man’s need to overpower woman and destabilises ideology of men believing the rape victim is submissive. Yet, by producing Belvile’s ring, her perpetrators, back off because now she is “a maid of honour”. This strongly relates to the “internal contradictions” of patriarchy as a “maid of honour’s” chastity is upheld while any other woman’s is not. Therein, from Pacheco’s argument, this demonstrates that chastity is a social construct reconstituting ideas that men act upon rather than representing their individual selves. Inverted gender roles redirect men as objects to the female characters’
gaze.
he no longer upholds his sister's s chastity but agrees with her agency. Here then, chastity is a social construct for male dominance over woman here to legitimise patriarchy as an idea not representing the self.
Whereas, Ann Pacheco reiterates that “Florinda’s attack on patriarchal compulsion points to the internal contradictions which work to destabilize ideologies of gender” (325). Pacheco is convincing here as Florinda, unlike Lavinia in Titus Andronicus, is much stronger in using her voice as a resistance to “destabilize ideologies of gender”. In Act 3.5, as Florinda is in “an undress” (informal loose clothing), a drunken Willmore assumes she is a courtesan with her “cobweb door set open” (analogous to her broken chastity) and seizes her. Yet, Florinda strongly objects to Willmore’s force by “[crying] murder, rape or anything” (3.5.49-50), if he does not let her go. Wilmore reacts to “rape” with “you lie, you baggage, you lie” (line 51) which destabilises his ideology of female’s clothing as overpowering women. This relates to the law in c.1597 where rape becomes an attack on the female body as opposed to men’s property (Natalie Dejonghe, 13).
Furthermore, while seeking refuge from Don Pedro, Blunt “[pulls] her rudely” and demands “getting [a] kiss…” (4.5.48) soliciting rape.
However, Florinda’s witty comment that “must [she] be sacrificed for the crimes…infamous of [her] sex” (4.5.56) shows her frustration at man’s need to overpower woman and destabilises ideology of men believing the rape victim is submissive. Yet, by producing Belvile’s ring, her perpetrators, back off because now she is “a maid of honour”. This strongly relates to the “internal contradictions” of patriarchy as a “maid of honour’s” chastity is upheld while any other woman’s is not. Therein, from Pacheco’s argument, this demonstrates that chastity is a social construct reconstituting ideas that men act upon rather than representing their individual selves. Inverted gender roles redirect men as objects to the female characters’
gaze.