ミドルトンの『魔女』のレディー・フランセス・ハワード : ‘wrong’および‘abuse’の多用性を中心に

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タイトル別名
  • ミドルトン ノ マジョ ト シ レディー フランセス ハワード wrog オヨビ abuse ノ タヨウセイ オ チュウシン ニ
  • ミドルトン ノ マジョ ノ レディー フランセス ハワード : wrong オヨビ abuse ノ タヨウセイ オ チュウシン ニ
  • Midoruton no Majo no Redi Furansesu Hawado : wrong oyobi abuse no tayosei o chushin ni
  • Middleton's "The Witch" and Lady Frances Howard : frequent usage of ‘wrong’ and ‘abuse’

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The Witch (written before 1617), a tragi-comedy by Thomas Middleton, paints a picture of a society where sex, magic and intrigue are closely related to each other in ordinary life, and where people have an idiosyncratic view of `honesty', i.e. chastity. Throughout the play, such words as `wrong' and `abuse' and their variant forms are frequently found in the discourse of the characters; therefore, I intend to analyse it in terms of the plot, historical background, and language. The characters in this play can be divided into five groups: (1)Sebastian and Isabella, (2)Antonio and Isabella, (3)Antonio and Florida, (4)Francisca and Aberzanes, and (5)the Duke and the Duchess. The main plot focuses on (1) and (2), arousing the audience's curiosity as to who will first cause Isabella to lose her virginity. Of these groups, (5) is the focus of the sub-plot, which shows how the Duchess carries out her revenge against her husband, after she was forced to drink up from a cup made from the skull of her father, who was defeated by the Duke. A side-plot unfolds around (4), revealing the aftermath of Francisca's pregnancy. These events are interspersed with the scenes in which the witches appear, the absurdity of which eases the tension felt by the audience. Wrongdoing is evident in each plot, signalled by such words as `wrong'and `abuse'. Sebastian complains about the injustice of Isabella's marriage to Antonio. The Duke abuses his father-in-law's skull as a wine cup, while the Dutchess manipulates the men surrounding her, making use of her sexual appeal. Francisca pins the guilt on Isabella, who reprimands her for her affair with Aberzanes. In terms of the relationship between these fictional characters and the real personages on whom they may have been based, Antonio resembles Robert Devereux, 3rd Earl of Essex, whereas Sebastian is most likely similar to Robert Carr, Viscount Rochester, (later Earl of Somerset), although different in some crucial areas. Francisca, the Duchess and Isabella may all be partially modelled on Lady Frances Howard, although the first of them has the closest affinity with her, in terms of name, age and character. Furthermore, in various parts of the play can be found what appears to be references to the death of Sir Thomas Overbury, who is said to have been poisoned while confined in the Tower of London. The witches of the title are reminiscent of an astrologist, alchemist, and wise woman whom Frances consulted for advice on obtaining a divorce from the Earl of Essex; the additional implication is that they are women who bewitch men using every trick and wile. However, the author satirises the way women themselves fall into the trap they set in trying to cozen men. The most significant demonstration of this takes place in the final scene, in which the Duchess is astonished to see Almachildes, whom she had attempted to kill, and it is revealed that Hecate's black magic was not, after all, effective.

identifier:104101

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