The Tragedy of Mariam, by Elizabeth Cary

Questions:   Who was Joseph Swetnam and how does he figure in writing by women in the early 17^th century? What views of women did he and other male writers of his time assume? When and where did Senecan tragedy start being performed in England? Explain what is meant by this term, “Senecan tragedy,” and why the English liked it.   

Then, turning to the text of Tragedy of Mariam, take in Mariam's first soliliquy, the opening of the play. Consider how she characterizes her marriage. Then, still in Act 1, find a passage that contains a revealing interchange between two characters. Explain what is revealing or interesting about the interchange. Do the same for Acts 2 and 3. You will have commented on three passages by the end of your response. Your questions about the play and its context are of course welcome.  

BABL Questions

            Joseph Swetnam wrote An Arraignment of Lewd, Froward, and Unconstant Women in 1615. Seventeenth century literature about women was “overwhelmingly male-authored” and blamed women and women only for sexual temptation (481). However, his pamphlets did inspire some women to print responses in defense of their gender.

            Seneca was a Roman playwright whose tragedies, written in Latin, resurfaced in drama in England during the 1550’s. His works were a category of tragedy, known as Senecan tragedies. They center off of set-piece speeches, in which the most exciting events are told by an actor, rather than shown. The English liked the lively action, even though it was not performed. This made the plays refined enough for the upper class to enjoy.

The Tragedy of Mariam Acts I-III

Mariam’s marriage to Herod is not one to be envied. She says, “Oft I have wished that I from him were free.. Oft I have wished his carcass dead to see” (Act I, Scene i, Lines 16-18). Although she does not hate him after his death as much as she did when he lived, she would “rather still be foe than friend” (Line 61).

Lines 19-22 describe how their marriage fell apart. They did once love each other, but his jealous temper made her hate him, and so he hated her in return. What first interests me about this passage is the abab rhyme scheme. Instead of couplets, which traditionally symbolize unity and thus a working romance, the alternating lines symbolize two people on different pages. They make their rhymes and live their lives separately. This passage explains how distant and non-existent Mariam and Herod’s relationship had become.

In Act II, Pheroras marries his slave Graphina. At the end of his opening monologue, Pheroras asks Graphina if her “silence is a sign of discontent,” and she reassures him that it is not (Act II, Scene i, Lines 41-47). While Graphina appreciates that Pheroras never took advantage of her, as most masters would, their marriage does not completely equalize their relationship. This passage pairs powerful diction with subservient distinction. For example, Pheroras calls Graphina a “fair creature” (Line 41). The first word implies romance and a valued quality, while the second relegates her to a sub-human status. Graphina replies, “Mistake me not my lord,” which mixes a command with a subservient address (Line 45). The normal social class distinctions no longer apply to these lovers. However, this may indicate that the power in their relationship is unstable, and will become problematic.

In Act III Pheroras is worried about his marriage and Salome is celebrating the coming death of Constabarus (Scene ii, Lines 19-32). They begin by moaning or exalting over their respective romantic situations and not responding to each other. This illustrates the play’s messages about marriage in the context of different relationships, which makes the messages more universal. The contrast between the two character’s attitudes shows how they view love and marriage differently.