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• W774348520 abstract "1At the end of Coriolanus, when Tullus Aufidius and Caius Martius return to Corioles after abandoning their invasion at the gates of Rome, Aufidius accuses Martius of treason and tells the men of Corioles, has betrayed your business, and given up, / For certain drops of salt, your city, Rome- / [. . .] He whined and roared away your victory, / That pages blushed at him, and men of heart / Looked wond'ringly each at others (5.6.93-102). [1] All quotations of Shakespeare's plays are from The Norton Shakespeare, edited by Stephen Greenblatt, et al. Incredulous, Martius cries, Hear'st thou, Mars? to which Aufidius responds, Name not the god, thou of tears (5.6.102-3). This is stunning. Martius acquired his agnomen by almost superhuman martial feats in the very city where he is being accused of unmanliness. Singlehandedly, he has fought within the city gates and, as he reminds Aufidius, defeated many Volscians, including the general himself. How, then, can Aufidius so brazenly impugn his manhood? What is perhaps more stunning, however, is the critical reaction to moment. Almost universally, critics read Martius' reaction to the appellation boy as a signal of his or emasculation. For example, Bruce Smith claims that the contrast between open and closed bodies prompts Coriolanus to imagine his stabbing death at the hands of the Volsces as an act of emasculation (16). Janet Adelman argues that the language here represents a kind of castration (121n), and Coppelia Kahn appears to agree with Aufidius' assessment of Martius as something less than manly: this god is but a boy, finally, a 'boy of tears' (Estate 158). But Martius' actual words are Cut to pieces, Volsces. Men and lads, / Stain all your edges on me (5.6.112-13). Martius is not imagining emasculation; he is inviting annihilation. Nor does he fear a violent encounter. He says that he wishes he had with him six Aufidiuses, / Or more, his tribe, to use [his] lawful sword (5.6.128-9).2The interpellation of warrior as a boy demonstrates the (perhaps unjust) nature of a socioculturally inscribed gender identity. Martius has proved himself a man (1.3.15) in combat countless times, but that is not incontrovertible. Despite demonstrating his manliness again and again, despite submitting himself to over twenty-five wounds, despite vanquishing all his enemies, Martius' masculinity is not assured. This episode demonstrates the interminability of corporeal interpretation. Bodies are texts. They can be read and re-read. And since is inscribed on the body, can be read and re-read. Thus, Martius must constantly demonstrate his manliness in order to remain a man. This essay considers the effect of continual masculine action on characters such as Martius Coriolanus. It examines the various expectations placed on male bodies in the early modern period, the repeated challenge of proving one's masculinity, and the various critical reactions to violent action in Shakespeare's plays. Early modern ideas regarding manhood and the gendering of bodies have been misinterpreted by many recent critics, and the myths of gender renversement and masculine anxiety have been greatly overstated. In contrast, the complex relationship between the body and the construction of has been downplayed, and the important sociocultural expectation of masculine bodily sacrifice has not been fully appreciated. The connection between honor and violence extends well beyond the aristocracy and provides an important foundation for early modern English society, but most critics diminish the significance of masculine service and death.3In Coriolanus, Caius Martius is considered Rome's greatest warrior, despite (or perhaps because of) the fact that he is wont to come home wounded (2.1.106). Another wound on Martius' body is an occasion for joy, as is demonstrated when Menenius asks Volumnia if her son has been wounded. …" @default.
• W774348520 created "2016-06-24" @default.
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• W774348520 date "2014-07-01" @default.
• W774348520 modified "2023-09-24" @default.
• W774348520 title "Manhood Fresh Bleeding: Shakespeare's Men and the Construction of Masculine Identity" @default.
• W774348520 hasPublicationYear "2014" @default.
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