Woolfs Orlando and Marlowes Hero and Leander: Rejecting the Gender
Conventions of their Time
This essay will analyse the way in which Virginia Woolf and Christopher Marlowe reject the gender conventions of their time through their works Orlando and Hero and Leander, first published in 1928 and 1598 respectively. I will explore the topic in terms of the metamorphic gender change of Orlando in Orlando, and the inversion of gender conventions in Hero and Leander. Orlando is a faux-biography that records the fictional life of Orlando through a four hundred year time span. Woolfs Orlando rejects the gender conventions of the 1920s through the ambiguous nature of Orlandos gender, a change of gender, the impact of dress on gendered identity, and the employment of gender to mask homosexuality. Marlowes Hero and Leander is a mock-epic poem that rejects the gender conventions of Marlowes time through the feminine attributes of Leander, the unconventional style of courtship between Leander and Hero, the inversion of feminine and masculine desire, and through the provocation of homoerotic desire.
The opening line of Orlando states that there could be no doubt of his sex (11), which ironically introduces the theme of gender ambiguity to Orlandos character. Gender ambiguity is further pronounced through the description of Orlandos appearance in conventionally feminine terms: The red of the cheeks was covered with peach down; the down on the lips was only a little thicker than the down on the cheeks (12). His eyes are described like drenched violets, so large that the water seemed to have brimmed in them and widened them (12). This description of feminine beauty automatically brings his gender under speculation. Robert Kohn explores this further and argues that the text suggests Orlandos ambiguous gender through an allusion to Freuds symbolism of the flower as the female genital (185). As a young male, Orlando states that he feels the need of something which he could attach his floating heart to (15). The floating heart is a type of Mediterranean water lily that visually reflects the female genitals. It is also linked to a language of flowers, which is in Western society, a language of women (Kohn 185). By emphasising that there is no question about Orlandos gender, describing him in conventionally feminine terms, and by alluding to symbols of femininity, Orlando introduces the theme of gender ambiguity to the character of Orlando. Crucial to the action of Orlando is a change of gender. As Orlando woke from a deep sleep, he stood upright in complete nakedness before us we have no choice left but to confess he was a woman (97). Orlandos gender is not only ambiguous because of his feminine description, but also because of the biological gender change. As a male and a female, Orlando develops his personal identity in the act of writing a poem called The Oak Tree (14). Burns explains that the significance of The Oak Tree reaches farther than the poem and the presence of an actual oak tree on the estate, but it is also significant as a semiotic reference to the loss of male genitals. The Oak Tree serves as an allusion to John Lockes philosophy of personal identity in his Essay Concerning Human Understanding (1690). Locke states that when a body is physically changed (or like Orlando, biologically changed), the personal identity remains strong and unchanged. He provides an example of an oak tree, explaining that an oak, growing from a Plant to a Tree, and then loppd, is still the same Oak (330). Just as the oak, loppd of a branch, remains an oak, so too does Orlando still retain his identity when he is no longer with his male genitals (Burns 350). Locke extends his philosophy to state that clothes bear no relevance to personal identity. Woolf rejects this philosophy throughout Orlando, as she uses clothing as a significant distinction between Orlandos male and female form. Burns quotes Locke as he states that a person can be no more two persons than a man be two men, by wearing other Cloaths to Day than he did Yesterday (Burns 336). Burns states that clothes are of the utmost importance in determining Orlandos gender, as Orlando begins to experience life as a woman when she begins dressing as a woman, not at the moment of her biological gender change. Orlando remains in unisex clothing for some time after her gender change, but when she first dons a complete outfit of such clothes as women then wore she realises that before this moment she had scarcely given her sex a thought (108). This is further explained in the book through Orlandos experimentation with the contrasting experiences she has when wearing mens attire and womens attire. For the probity of breeches she exchanged the seductiveness of petticoats (153), and her identity varied depending on what she wore. To experience life as a woman she would dress in a flowered taffeta which best suited a drive to Richmond and a proposal of marriage (153). To experience life as a man she would don the attire of a nobleman complete from head to toe (153). Woolf rejects Lockes philosophy as she demonstrates through Orlando that identity remains unchanged in spite of biological change, and that clothes significantly contribute to the change of Orlandos identity. Marlowe rejects the gender conventions of courtship in Hero and Leander by depicting Leanders inadequacy and inexperience in his attempt to court Hero. Claude Summers presents the argument that Leanders unconventional manner of courtship is evident in Leanders attempt to veil his inexperience in love behind his experience as a rhetorician. Hero, having swallowed Cupids golden hook (333), is won over by Leanders rhetoric, which is made clear when she says who taught thee rhetoric to deceive a maid? (338). William Walsh supports the argument that Leanders experience in courtship is limited to his experience in rhetoric rather than through a first hand experience in love. By examining the text, he draws attention to the line: like a bold sharp sophister (197). The Norton edition explains that the term sophist is a reference to someone skilled in arguments (1009), but Walsh elaborates on this to highlight a more relevant meaning. He states that, in Marlowes time, a sophister was a second or third year undergraduate student at Cambridge University. Leanders only experience of courtship through rhetoric is further supported by his long-winded speech to Hero. Leander knows only how to speak of love and not how to act on love (Walsh 48). Hero and Leander presents unconventional notions of feminine and masculine desire through the inversion of gender roles. John Leonard explains that Heros desire for Leander is stronger than Leanders desire for Hero, which was unconventional in Marlowes society. When Hero resists Leanders advances, he is motivated to pursue her: Leander stooped to have embraced her, But from his spreading arms away she cast her (341-342), but when Hero yields to his advances, Leander withdraws. After Leander has attained Heros heart and body, he took leave, and kissed (576), as she wrung him by the hand and wept,/ Saying Let your vows and promises be kept./ Then, standing at the door, she turned about,/ As loath to see Leander going out (580-583). This could be attributed to Leanders inexperience in love, but Leonard suggests that it is because Heros willingness causes Leander to be impotent. Hero initiates intimacy: Therefore unto him hastily she goes/ And, like light Salmacis, her body throws/ Upon his bosom where, with yielding eyes,/ She offers up herself a sacrifice (529-533). The intimacy, once sought out by Leander, is now rejected. This becomes clear through the lines proceeding Heros initiation: Supposing nothing else was to be done, Now he her favor and good will had won (338-339). To add weight to this argument, Leonard highlights the allusion to Salmacis, whose name is synonymous with a loss of manhood. According to the Ovidian myth in Metamorphoses, Salmacis courted an unwilling Hermaphroditus and was spurned by him: The naid continually begged him to kiss her, at least like a sister,/ and started to put her hands on his ivory- coloured neck,/ when he shouted Stop, or Ill run away and abandon you here!(334-336). She prayed for them to never be parted, and the Gods delivered her with through a metamorphosis whereby the bodies of boy and girl/ were merged and melded into one (373-374). Hermaphroditus then prayed for the spring of Salmacis to emasculate any man entering its waters: whoever enters this pool as man, let him weaken as soon/ as he touches the water and always emerge with his manhood diminished! (385-386). Leonard explains that Marlowes simile implies the unmanning of Leander; through Leanders inaction towards Heros advances, he has become emasculated and experienced a loss of manhood (63). In Hero and Leander, Marlowe rejects his societys conventions of hegemonic eroticism by provoking homoerotic desire through Leander. Leander is described in terms of his feminie beauty; Amorous Leander, beautiful and young (51), with dangling tresses that were never shorn (55). He is also mistaken for a woman: Some swore he was a maid in mans attire,/ For in his looks were all that men desire (83-84). These lines reflect the way in which Leander provokes sexual desire in men rather than women (Levine 93). Homoerotic desire is most strongly reinforced in Hero and Leander through Leanders episode with Neptune. As Leander is seeking Hero, Neptune is sensually courting Leander: He watched his arms, and as they opened wide, At every stroke betwixed them he would slide And steal a kiss, and then run out and dance And, as he turned, cast many a lustful glance And throw him gaudy toys to please his eye, And dive into the water and there pry Upon his breast, his thighs, and every limb, And up again and close behind him swim, And talk of love. (667-675) At this point in the poem, Leander is caught between Neptune and Hero; between homoerotic desire and conventional heterosexual desire. Hero and Leander rejects the conventions of gender and sexuality in Marlowes time in the way that it provokes tension between heterosexual impulses and the fulfilment of homosexual desire (Turner 399-400). Summers suggests that although Marlowe wrote of homosexual eroticism more frequently than other writers in his day, it was accepted because his work was a reflection of classical work in which homoerotic writing was celebrated (134). Orlando employs a change of gender as a method of masking the homosexual relationships within the book. Woolf wrote Orlando as a writers holiday, drawing inspiration from her relationship with Vita Sackville-West for the character of Orlando (Dick 62). The gender change of Orlando enables Woolf to write about Sackville-Wests sapphic nature and lesbian relationships. The first gender change in Orlando occurs when a young male Orlando is in love with Sasha. As previously established, the change of gender leaves identity untouched and the object of Orlandos desire remains a woman. It was important for Woolf to mask the Sapphic nature of Orlando due to the recent events surrounding Raclyffe Halls novel, The Well, which was banned due to its endorsement of lesbian relationships. Woolf had been involved in the court proceedings, in support of Hall, and was acutely aware of the caution necessary to avoid the censors (Knopp 27). Parkes explains that Woolf takes advantage of the theatrical properties of sexual identity to mask the lesbian relationships in Orlando behind a change of gender. This is not to place less importance on the lesbian relationships but to avoid the book from the same fate as Halls The Well (435). This essay has argued that Woolfs Orlando and Marlowes Hero and Leander reject the conventions of gendered identity, courtship, notions of masculinity and femininity, and gendered sexuality, that were held by the societies of their time. Orlando highlights the ambiguity of gender through prescribing feminine traits to a male Orlando, and a gender change, which does not change his identity until a change of clothes has occurred. Hero and Leander highlights the inversion of gender roles through Leanders inexperienced style of courtship and the overpowering strength of Heros desire. Both texts reject the conventions of gendered sexuality of their time by provoking homoerotic desire and avoiding censors through androgynous characters, the faux-biographical and mock-epic form of writing, and in Orlando, the gender change.
Works Cited
Burns, Christy L. "Redressing Feminist Identities: Tensions between Essential and Consrtucted Selves in Virginia Woolf's Orlando." Twentieth Century Literature 40.3 (2004): 342-64. Print. Dick, Susan. "Literary Realism in Mrs Dalloway, to the Lighthouse, Orlando and the Waves." The Cambridge Companion to Virgina Woolf. Ed. Sue Roe, Susan Sellers. United Kingdom: Cambridge University Press, 2000. 62-65. Print. Knopp, Sherron E. "If I Saw You Would You Kiss Me?: Sapphism and the Subversiveness of Virginia Woolf's Orlando." Publications of the Modern Language Association of America 103.1 (1988): 24-34. Print. Kohn, Robert E. "Erotic Daydreams in Virginia Woolf's Orlando." The Explicator 68.3 (2010): 185-88. Print.
Leonard, John. "Marlowe's Doric Music: Lust and Aggression in Hero and Leander." Englsih Literary Renaissance 30.1 (2000): 55-76. Print.
Levine, Laura. Men in Women's Clothing: Anti-Theatricality and Effeminization, 1579-1642 Great Britain: Cambridge University Press, 1994. Print.
Marlowe, Christopher. "Hero and Leander " The Norton Anthology of English Literature: The Sixteenth Century/the Early Seventeenth Century. Ed. Reidhead, Julia. United States of America: Norton, 2006. Print.
Parkes, Adam. "Lesbianism, History, and Censorship: The Well of Lonliness and the Suppressed Randiness of Virgina Woolf's Orlando." Twentieth Century Literature 40.4 (1994): 434-60. Print.
Summers, Claude J. "Hero and Leander: The Arbitariness of Desire." Constructing Christopher Marlowe. Ed. J A Downie, J T Parnell. United Kingdom: University Press Cambridge 2000. 133-47. Print. Turner, Myron. "Pastoral and Hermaphrodite: A Study in the Naturalism of Marlowe's Hero and Leander." Texas Studies in Language and Literature 17.2 (1975): 397-414. Print.
Walsh, William P. "Sexual Discovery and Renaissance Morality in Marlowe's Hero and Leander." Studies in English Literature 1500-1900 12.1 (1972): 33- 54. Print.
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