I agree with absolutely everything in this thread of discussion. Even so, my long-standing fascination with both Shakespeare and late medieval / early renaissance history makes it impossible for me to to reblog without throwing in my extra few cents:
In my mind, there are few cases that better demonstrate the tensions between medieval norms and medieval realities than that of Margaret Beaufort. Like many other women of her time, she had only one child surviving to adulthood: Henry Tudor (later Henry VII and the founder of the Tudor dynasty). In that, Margaret wasnât so remarkable: infant mortality made this a common enough outcome, though undoubtedly a tragic one.
Where Margaretâs case was exceptional is that Henry was also her only known pregnancy, without so much as a stillbirth, infant death, or even another pregnancy ever being mentioned in connection to her. In her own time, it was commonly assumed that her experience of childbirth at a very young age was what accounted for her barrenness, and even to us today, it doesnât seem implausible to assume some kind of physical trauma that prevented later pregnancies from taking place, given all the medical knowledge weâve accumulated about the risks of childbirth at either extreme of age.
But there was more to this. The vast Beaufort estate that came with Margaretâs young hand were so valuable that, to 15th/16th century English minds, it perfectly explained Edmund Tudorâs motives for having been so reckless with the health of his wife: having an heir of his own would ensure that her lands would stay with him, in the name of any children they might have together, whereas the lands would pass to someone else if she should die before having a child. Of course, most men in that situation would have waited anyway, as a child whose mother died in childbirth was much less likely to survive anyway, so contemporaries portrayed Edmund Tudorâs actions as short-sighted and foolhardy at best, amoral and cruel and worst. But Fate must have a sense of irony, because Edmund died before his son was even born, while Margaret lived, and as aristocratic women tended to do in those circumstances, she was remarried to Henry Stafford, 1st Duke of Buckingham.
Since Margaret was Staffordâs first (and only) wife, he would have depended on her to give him any heirs at all, to whom he could pass on the lands he already had, let alone any of Margaretâs own (and it would be logical to assume that the Beaufort inheritance would have been no less tempting to Stafford than it was to Tudor). He must have at least hoped for children from her, and at the time, there wasnât any reason to expect she was totally barren either: there was the traumatic birth to consider, but she was more physically mature when she remarried, and there was room to hope that widowhood had given her time to recover. And yet, despite all this, it seems few people (if any) were surprised that Margaret did not bear any more children. It didnât seem to doom her relationship with her second husband either: on the contrary, Margaret enjoyed a happy relationship with Stafford for well over a decade until his death, so if there was any bitterness on his part over his lack of heirs, he must have managed it well. Even in the contemporary sources (who donât tend to be charitable towards female figures), any blame for her barrenness is laid squarely at the feet of the various men who were her guardians in her early life, who clearly abused their authority over her for their own benefit, rather than to safeguard Margaretâs well-being as guardians are supposed to do (one of them being Edmund Tudor himself⌠he wasnât supposed to even be in the running for her wardship, but Henry VI actually outright broke a promise he had made to Margaretâs father to let Margaretâs mother be her guardian in the event of his death).
This indicates to me even more strongly that late-medieval / Tudor people would have not only been sympathetic towards what Margaret and women like her had suffered, but also understood that neglectful attitudes towards the health and happiness of dependents have consequences. Shakespeareâs own words make this clear, at the beginning of the play:
Paris: Younger than she are happy mothers made.
Capulet: And too soon marrâd are those so early made.
Tudor audiences would have understood these lines as the words of a benevolent father protecting his daughter from the advances of an overeager young suitor, invoking what seems to have been a Tudor-era trope that early marriages do not make for happy endings⌠not for the woman, not for her family or husband, and certainly not for the children she might otherwise have borne. Because Capulet came off as the âgood fatherâ in the beginning of the play, it makes it all the more shocking when his attitude changes and he becomes the all-too-familiar figure of the cold, uncaring patriarch who regards his children only as pawns*. I imagine the juxtaposition would have invited Tudor audiences to feel Julietâs sense of betrayal as if it were happening to them.
* Jane Grey, the famed ânine daysâ queenâ was also rumored to be such a victim of her parentsâ ambition: they also saw fit to force her into a marriage that she seriously objected to, and historical records point a fairly consistent picture of their callous disregard towards her wishes and genuine happiness.
II. Consent in Medieval Marriages
Twelve and fourteen are actually also important numbers in their own right, and Shakespeareâs choice to place Juliet between those two ages has an important symbolic meaning. Late medieval Catholic doctrine defined marriage as a sacrament, like the Eucharist (Communion), or Holy Orders. Many of the sacraments require those who receive them to understand what theyâre getting into for the sacrament to have the desired effect. To guarantee understanding (at least from a theological perspective), you would have to be above âthe age of reasonâ, the age at which you were considered to be able to think for yourself. Conservative definitions of the âage of reasonâ sometimes defined it as the age of fifteen or fourteen (or older), but was later fixed at twelve. Since marriage was one of these sacraments, a marriage where both spouses had not fully and knowingly given their consent was no marriage at all.* Therefore, twelve was considered the absolute lower age limit at which a person could marry without compromising the very spiritual foundation of the marriage itself, while fourteen was considered a safer age at which to assume the person had full control of their reasoning capacities.
The other side of the âconsentâ coin when it came to marriage was that consent wasnât just a necessary condition to finalize a marriage, it was also sufficient condition. If a man and a woman had given their knowing consent to marry one another, and if they had intentionally verbalized this promise to one another and consummated their marriage, then no earthly power could invalidate this pact for any reason (outside of a few very specific ones, like incest) without risking damnation. Witnesses were convenient as a way to prove that the marriage had taken place, if a family member or some segment of society disapproved of the match, but they werenât needed in order to make the marriage spiritually valid. Basically, the Catholic Church at this stage somehow ended up putting the idea of consent at the very heart of the idea of what made a marriage valid or not, and this had consequences not only because of the threat of hellfire, but also because Church law was secular law when it came to domestic matters like marriage and divorce. And then it came to pass that the English Reformation left this specific area of the doctrine mostly untouched, so the Tudors would have had similar ideas surrounding the question of consent and marriage as did their late medieval forbears.
This theological point is not only the whole raison dâetre for the most central plot device in the play, but also adds an extra note of pathos to Julietâs situation and an extra layer of moral judgment towards Lord Capuletâs behavior. If she did not insist on keeping her marriage vow, or if she married Paris knowing full well that she had already been married, both of those would be mortal sins for which she would risk damnation. And by extension, because he used duress against Juliet to try to make her comply with his sinful wish, Lord Capulet has also damned himself (albeit unknowingly, but even so, the narrative clearly presents forcing his daughterâs marriage as something he should know better than to do, anyway).
Until this point, Julietâs marriage is characterized as an impulsive decision such as only foolish youth could make, but ironically, in that confrontation with Lord Capulet, this slip of a young girl is now portrayed as conducting herself with far more spiritual maturity and grace than any of the adults around her. Her parents are failing in their duty towards her by putting their dynastic concerns ahead of her health and happiness (when itâs been made clear they already know this is a Bad Idea), and her Nurse, who actually knows about the secret marriage and all the reasons why it cannot be taken back, is actively pleading with her to just forget it and pretend Romeo never was. Julietâs choice here is monumental, because it involves not only disregarding her parents, but also an active decision to completely break with the woman who has been with her for literally everything in her life up to that point, a break so thorough that even Nurse herself doesnât know that itâs happened. This dramatic turning point is a bittersweet portrait of the girl losing her innocence and growing up into an adult, from one angle, and from another angle itâs a paean to the pure-hearted idealism (different from the limpid innocence of childhood in that itâs willful and risk-taking, and fiery in quality) that can only be found in the young. Either way, it does Julietâs character AND Shakespeareâs dramatic talents a massive disservice to portray her situation as something so simplistic or reactionary as lovelorn pining after an absent boyfriend, or rebelling against her parents, or âstaying true to her own heartâ.
This wasnât just a plot device for the stage: many real-life lovers leaned on this feature of the Churchâs teachings, when faced with the opposition of their families and communities, and in many cases, the Church was indeed forced to side with the couple, however reluctantly. Margery Paston, the daughter of a genteel landowning family in the 15th century, and Richard Calle, the Paston familyâs longtime housekeeper, were one such case of a real-life Romeo and Juliet: they mutually fell in love, and married in secret when they came up against heavy opposition from Margeryâs family. The Pastons responded by separating them, firing Calle from his job and having him sent to London, while Margery remained in Norfolk under house arrest. There, she seems to have been subjected to ongoing and intense pressure to walk back her marriage⌠if the couple had been married formally in church, this would not have been possible, but secret marriages were vulnerable to challenges like this because they were secret. A witness would have helped her and Calleâs case and made it more airtight, but even if the couple had had any, apparently the Pastons had succeeded in intimidating them into silence.
But even though the Pastons seemed to be winning, itâs hard to believe that bystanders wouldnât have objected to at least some of what the Pastons were doing to try and get their way. Otherwise, Calle could not have written Margery in 1469, during their separation, saying âI suppose if you tell them sadly the truth, they will not damn their souls for usâ. Their situation was objectively quite bleak. For the months they were apart, it was made very clear to both Margery and Calle that, if the couple continued to insist on their marriage, the Pastons would disown Margery and throw her out of the house, therefore leaving her with few options for survival, let alone to find her way to Calle over a distance of a hundred miles. He mournfully acknowledges that their gamble might fail, and their worst fears might come true, but there is also defiance in his resignation, as he concludes, âif they will in no wise agree [to respect our marriage], between God, the Devil and them be it.â
Margery, for her part, was no less determined. When Margery was finally brought before the local bishop, he turned out to be sympathetic towards the Paston family, and gave Margery a long speech about the importance of pleasing her family and community (so much for the theological importance of consent, but then, clerical hypocrisy was nothing new to medieval people). But Margery remained steadfast (in fact, I am inclined to think from her next words that the bishopâs words only goaded her to greater resolve) and when she spoke, she not only continued to insist that she had said what she had said, but according to her mother she âboldlyâ added, âif those words made it not sure [âŚ] she would make it surer before she went thence, for she said she thought in her conscience she was bound [in marriage to Calle], whatsoever the words were.â Her wording left absolutely no room for doubt in the mind of even the most flexible theologian. And when Calle was cross-examined and his testimony found to match that of Margeryâs, the bishop of Norfolk had no choice but to rule in the coupleâs favor.
Margeryâs mother did indeed make good on her word: she did both disown Margery and throw her out of the house. She seemed to have done it more to save face, however, than to actually punish her daughter, since she does seem to have made arrangements behind the scenes for Margery to stay with sympathetic neighbors. In the end, Calle was right, the Pastons were not willing to risk their own souls. Margery and Richard Calle got their happy ending, and had at least three children (and we know about them because we know Margeryâs mother left them money in her own will).
* This also meant that Edmund Tudor actually would have been Margaret Beaufortâs first husband, not her second. It was true that she had already been âin a marriageâ before being married later to Tudor, but strictly speaking, it was only a precontract (what we today would think of as an engagement) with signficance limited to the secular realm; there are a lot of reasons this would not have really been considered a marriage at the time, but the most theologically pertinent one is that the brideâs consent could not have been involved, because she was too young to be able to give it. Consequently, this paper marriage was easily dissolved as soon as her guardians thought it more politically expedient to marry her to Edmund Tudor. And for all intents and purposes, Margaret Beaufort herself considered Tudor to be her first husband, not John de la Pole.
tl;dr: the study of Shakespeare cannot be separated from historical and societal understanding of the times he lived in, and frankly, itâs a terrible shame that English classes donât emphasize this more, because then youâre throwing out about 80% of the meaning his works actually hold.
turnnoffyourmind
theartofmadeline
tangentwithtanner
vaporwave
amandla
