Death of the Modern: Gender and Desire in Marlowe's "Hero and Leander"

David Lee Mmer

The Death of the Modern.: Gender and Desire in Marlowe's "Hero and Leander"

. , . simuhtlons are u.mkrtaken in fuH awareness of the .1bst'm.:e of the life

bday we reg.n<l the culture of early 1w:.Hi· ern with antagonism as well as ;1dmir.atkm. Thi.s used to be "the Re·

·· Now ,1 postmodern historicism is its moment less as the rebirth of

of the intertwining "md cuhura! forms of European

modernity. This ls postmodern ' but first of all he·

high modemi.sm of as the lived death

of European absolute figure this general death ls the Holocaust:

the v;tst of a cultural trn· dition, a Great Decath that stands between us

,:md others in whoni 1,ve make we novv no are. Consider the

the in ;m bdated histmidsm.:

We continue to see of and the n;:itura l

but we have become tuting Above to w·hkh we Me as profoundly skull is nonetheless a C(mst run,

of constt· we sense that the culture

as our face is to our a thing made. as those vast

from \Vhose power Freud drew his of ~·"w"'"'''"" sense t.()o ;,ve arr at the of the culrnral rmw1> ment initiated in the Renaiss~rnce and that the in \Yhich om social and world seerns to be are those structural visible it \\'»>s first in the midst of the .mxieties and contradictions <H:tendant upon

collapse of this phase of our and

,md contradictions attendant upon its rise. culture is to fer! vvhat it was like w form our tnvn

>ve are ar onn~ more rooted ;md more

meinento our relation to a order, to Renaissance

recounts his gradu;d disillusionment w·ith the notion of ,1u-·-···-~··--" that first motivated reluctant conclusion that "the human itself . the "'""""" ... ' cal product of the of power in a he relates an convers,,1tion vvith a senger on a plane, that shovvs wh~tt is ~•t stake for personally in "the illusion that l am the of own "The ,·mecdote bears witness for Greenhlatt "that in our cultu1e to aban· don "'Thus the and culmrni forces

with to itself are intuited as

culrnre, Fm the anecdote in to mime on thi"

lhe death of cultuH\ the that it nmst !:w

Yet once cast bark inw the 1n it GUI

the n'1·1r"'""''fl •.. u

side of Western nu'1n,u.11:>u

peHing as den;ltmed

with an to address the tn · somt' level the to know M to the death its

impart ll as ;1

assessment of Freud's

<is our face is to our rnadt:, as tempor.iry.

as those vast European ern-his of repression. We

cult ura! move­in \Vbkh

and more

the meinento mori ir riosmrnw:ms relation to a dying order.

Reirunssomce Sdf~Foshionin9, t with the notion of""''.~"·"'"

death of Western

the critk au-

its own reruissance: it Gm he reeled in ·with in another anecdote! !t is

a difference that recdV\'S the narne

some !eve! the t.o knovv

seem <ill the more z:cm1· inhabited and r•>r·rn:.r;

of our own world.

n"'"'"''""''"' the death that no.sse:ss<~.s us··-io ma".t(~f it on "·«·'""''" its effects. The Holocaust throws this

out of prnpor· resno11se and

of

moment

enough to it as a assessment of Freud's

has not come to terms with Lacan's to the new histtw-i· dsm. !n a recent he contrasts the universa!isrn

of " which intimate

be no more tha.n to loG>re its Hl(~oreHcal. reticence often

for the

with a

Dt•ath of the Modem 16!

share for a speech be analyzed as an effect of

~""""'~'··• the imputation he-of its own strnctures

··V·•·-··~"'·~~·"'·""'"'"' that aH ~·'-.!""''"" intuit<:

and late modernity is the birth of with 1nay

feminism can never determination of gender

tenders, any more than it can definition of in the

within a supplementary in "'"'"""' of serve both to

<.m:estmn " But

character of the an aumr~ntK of death. My of M;ulowe's "I·kro and

prooftext for this argument is at fme level arbitrary, maint.:iin that the apparition of in the is ;.1 strncrnrat effort of the to As such it cam:mt

to a contest for to an ... ~"'"''i.,"'"~ installed in the absolute

that would not be driven to resume th.ls

"Hero tells the of••

On Hellespont, guilty of blood,

in

Hke the dties,

tme also seems """""''"~•·"'1 <'l glance at the scene and its matched pair of

At Sestos Hero Hern

beautiful young, '""'""'""divine Musaeus

""l'l<:"''"'"' balance: at Sestos a ct>nain imbalat

metry. The tragedy is not: " Leander is "Amorous , .. I

This

of Hero, but \vit:h the c\:H

" l f poem foil narration. nan:ative serves in turn as a in erotic fascination. But the

Hern is finally "in view." This imbalance is effect of a tr

is shared by the na and the scene of

When teander our gaze Unless

discursive site for this po.int on one of the structure admire Leander from Hem's side f.if t

from a third and msun1:::n,··e1v by Neptune and the nanator. From ti:

viewed as tr masculinity h'1 the vv:>nR111

this

an urmamed sh•e11l1erde'SS

in being hoid ! (407--8), Later in the

Death of the Modem 161

Leander dwelt at a certain imbalance is Within

is nm Hem's, •md where she is "Hero is "Amorous ... beautiful young"~the Hne

~m extra This fomu! !mhahmce prr;p:n1t>.;

p;:ntem one critic has no­

can stand alone: vve should notke as weH that the action does not. in ..,,,..,,.,.r""''t'r'n of Hern, but with the

dimax vvith rhe long·deiayed l'-v·u"""'" of Hem's body

;, If poem converts topography imo m1rrative serves turn as <l to freeze aH movement

in emtic fasdnaHon. But the tableau is no longer for only Hern is finaHy "in view."

imbalance is the

an unnamed shepherdess, Mercury in heing bold I To those no should

'rtetto:ld" (407~$). Later ln the poem Leander. trying to swim the He+

is also a psychological lovers. for it is the

the HeHespont within as well as berween the

not of hut of delay. of ,,..,,.1~----r.·,,. .. , the "true-loves' blood" of fh';;:t

descent into hell with \Vbkh it r:rnu,.,-·-·

N1ar1ovve is returns n""'~''""''* we may caiL in the h is a SCC!le'

are chargt·d ra1'lt1·rr.,. of {;<>zing on

as if their

Death of the Modern 'iU

We learn tirst th.3t He.m was Apollo, who "offered as a sit for men to dower his throne. I ~Vhere she

for Hero in these lines is utterly pa:» sense of for she .1ssurrH:s the

of the sun god. he iiliH)duced at the of Adonis \Vlth a reference to Prhieton that

usurpation ln of Apollo. The her on the rmwds <lt !he feast: she em::hants their minds

Yet iJ Hem's

race. heat. gaHop

as the moon, "Mazing run forth to see

mmmtains to the plain.

someho\v, into nr •. .,,,,,,, ........ it makes like Diana's

a hunnesS:-the simile that confirms effects ans ... vers whh another momentum on behalf of

"incensed·• Strangely, all culminate not an ex·

OW•SW•n of he;;u" but in frozen, staring fascination. We know what the centaurs had in mind, but

upon her." The fully this sense of headlong flight brought up short:

166 David Lee lvfiller

en<>ct stiil another revers.:1! in the and he:r t>eit\Ol.<lers into prey, he.n,,0

;u:nbush. import tremendous

sive au of gazing. Yet no sooner h.1s the r>assz1ge almost unbearable than it shifts tone

<,rnrnt·1e .. ·•·! and tooken" by a

A•vait the sentence of He whom she favors There

sh:up satires; but wo For faithful love vviH never turn to hate. And great were denied, Pined as they went, and thinking cm died.

\Ve are aH at once in the •w'"'",,'"'"" µ«:->:i.1vu evenrnates not in rape or scending tones of satire.E The for Hero's is '"''"" .. '

bet..veen Hero from

The motive of ridicule has entered early into l'vfar!owe·s of Hero. in the we .lre toki

Her glory strove

Tn please the careless ;md disdainful Of proud Adonis, that her lies.

is first converted imo sensual awe inspired is then

a s;:itirk of tone. Here the same effects are neously, "Strove" av,""'"'~"-~ sense of power and exertion

the line break is an nn.nu·c•

discover that "Venus in her tMked

nakei:L ivkanwhik Adonis is nmre conu?ited than ment of as hard as powerful of Hem's blazon is often rontrasH•d with : eroticism of rv1arlowe's nJrrator,

Smne say, for her the fairest And in he< was stmok But this is trne: so like W<lS one ilH:

As Hern was

And oftentimes into hc~r boson1 t1ev. his

betvn:<:n Hem

""'''"''11."' from

Death of the ;\fodem 161

bees swann at her mouth for honey, ''And. tx·at from on her

as she ;,valks. The

l<lter hurn!Hation. !n their portrait of

hl<•zon comment

Somt; And

for her the fairest in her w,ls

But this is true: so like tv;:is one the As he Hero was his mother.

rnmor of Cupid's irnagined Hem w~ts his

And oftentimes inw her bosom About her neck his arms And his childish ht•ad upon her bre;1'>!.

And with still there took rest,

of

1'8 David Lee lviiller

He launches into an ""'-<'"•w"k''"'

tlmvn resistance .. laden ·with the

thost~ two A stream of liquid Made ;nilk-\vhite To high court.

We are not nation, or desire. Instead

1V>rC>1rn•' "two tralucent cisterns"; the

might trace

as her tears becoxm~ "a sueam of liquid pearl": in the channels of her tears ;:i path w t:he ccm:rt

"Were l the saint he

while .,_,,·'"'"'n assumes his point of view: in

Hero's anne;ar;;nu·p

Aud as she those ·wonb, ca.me smnevvllat ne<ir him.

110 David Lee Miller

Hero addresses herself across an inner divide that rh~""'0"1'-.t"·1Q

physkai separating bodie~L Leander the image~tbe of desire in an attitude of reverence-

across this: gap, and Hem's desire her chastity guise. Hero's is unmasked. hovvever. \vhen it

This umnas!dng shames her because it conscious control. !n effect, Hero is baned from "'"'''"'11u•ix

position by narratot, reader who identifies with the masculine point of view: the ""'"n'·'-'"·

the desiring which is ah;o that of the speaking position the and the L

The thre,1t that bars feminine access to the position of ,.,,..~,,- .. ,., is precisely the fate that awaits Hero as an

and shame< But her intuition of this double bind dilemma: "Hero<s yielded." we read, "but her words ('.no)< She trfos to control of negotiating distance between resistance and surrender as a defenat

She flirts with '"'"'"'"""·'

me, such words as these! should abhor, And ! like them for the orator."

With Leander stooped to have embniced But from his spreading arms cast her, And dms besp;;1ke him:: youth, finbe;u To touch the which ! wear."

Like the feminine slant rhyme th.?it eludes mupiet from Leander's grasp, the only thing she .:1sks him not to

the line break wittily are her in what seems a non Hero then starts to

desire soon begins to speak the lines:

'Tar from the town all is whist and Save that the sea, playing on yeUow

forth a rattling murmur to land, sound aBures golden Morpheus

fn silence of the to visit My turret stands," 1•

s anger

as ff in of a culprit, <Uid

But her speech is once su and "Cupid

a

'an inner divide that to the Jeir Leandf."r praying for is wof in an attitude of reverence-" t and Hero's desire addresses her,,,..,.,., ... Y

' is however, when it ing shames her because it

Hero is from assu.ming the ;md

"but her weirds made war" negotiating the

defenaL

dosure. Hem slip$ asks him not to

In sHente of the night to visit us} turret

'T;u from

Hero flushes whh anger, ranging as if in search of a and she n:ie<; to recover

But her this time bv a kind ·'

her rw·'"""''"'

111 David Lee Miller

to the extent that she o:·ases to bt• available as an Lac.1n observes th<it strnctun:s, "a within an immense myth ... besides

the complex seems only to he so abridged ;m that in the end it cannm be ··rn But Oedipus turns om to be hard not to telL It turns out, in fatt, to he a

The

about the futility of ;1ny effort to teU a The ,1 diff erem plot

Feminine

or '"""'""'"" ""' all testH)ring to the assertion. notorious anecdote about Sir W.1lter Ralegh mustrates

fie lov~~d a wench nuids of honour up

) who ,'.H

tailing the <:onquest <1s an ornarnent to of on t

ii1.

:r f:'s to 1$ipus cu• 'II'''"·" lffeii 'ii;~ fx seer11s ~~hvavs bt K. . .,,,-

Death of the Modern 173

vnqu•c"'' as an ornament to his own disnmrse like teardrops on his arm, or Leander """."'';"'"

This nans·formatkm of feminine resis· Purcell

His Darnsel":

Sir Waher enjoying d<1msei one He tickled and her to so great a height ·rhat could not contain. 'twas the end of matter,

out, "O sweet Sir Walter, Osweer

s1veet sir Walter. 0 switter swatter swiner swatter svvittcr swatter

swatter switter swatter.

smooths the ethical surface of the lnn his mote ve11HJ1F·

still a in ·which violent

doesn't work for WfJn1en

114 David Lee l\ifi/ler

wom;;;m in and mouth"; and in r900 A.n, Freud introduces his nf dre;un-

wnrk \Vith the dream of "Irma's I ''in vvhich a fo1nale '""'''""'" about to

has1w what was choking the

sm::cessor ··was on!:' of' those 1,vhose resistanct: to "the cure" would becmne a cennal diknuna for

him t(i develop

Freud's desire for lrma as a conqm:·st at once sexual and too from the text of hb

to and tr;:msibrms the drcult of ma<;niline its

beside Rakgh. Aubrey. and Purcell in an econ-cm1y of tbat appropriates and then fr•minine bodies and voices in \Ve might call the

, As Leander takes <>exual of '-'"""'"'"' th<' discursive of this niumph in an aston-

ishing simile:

Love is not foH of pi Hy. ,,s 1nen But deaf and Fven as a bin! Fonh She trembling strove; this strifr: of hers, Ii K(' i bat

Wl1kh m;;1de the unkHO\Vfl

story, tradition

symbol u in which "Philomd berometh dumb" l't

when mournful Cupid turns Hen)'s tt:ar

arnL Even the reference 1,vork l used to c~

reemKts cultural the 1ereus,"w

Which made dn~ unknmvn

Death of tl;e l'vfodem 115

another world

at odds with desire. Reduced to ;;b-wHl be "unknown"

Yet

"' .,_,"""' is (!)01.C

the destruction of '' a world of at

Still. if the birth of this new cosmos confirms the nvts· subjen in his iI <1lso ;uous~' his For the

structure that him also excludes him frorn the he

or

the refrrene<! work I used to check the detaUs of the this cuhtu-a! theft of the for Pilifome! "see

116 David Lee M Wer

with Hero's tears, the Fates to His rebuff leads to the inset

to Then the main The

to love ends as an through to

resumes, and we Must:~s· sons" in

that Hero has of the inset thus •'"~"=···~''"'"'''k

out of ;,vhkh the feminine is rape, Hero's faint both

nn<.;o<;;,m .md confirmil the

in which a circuit of 1naSl::uline desire rhc.,Y'"•fl'>Y after another {including the

t«n~lt1•i>n of

,1rnnl':1P;; in for "towered courts" than "d·•a""'~ il> not, like Hero's, presented as the

available to her, but in economk terms. as her

for

as destined for When she demands ,;i taste of

nectar as the of this dov,·er \Vhile arnbition

social into her p.!; ground he laid." 1

' The outcome is "was mute, ! And neither would deny,

overcomes muteness long enough t• the is nm hers. and c

plot moves quickly to pausing to that

"Jove-born nectar. When

as Men.:::in:y scorns

remarkah!,·

Death of the ;\fociern 111

nect,n as the price of this her thirst for immortality is seen as ambition, \vhile ambition is seen as '··";"''"'"''''

"AU ""'omen are ambitious naturally,'' says the narrator (.p8), l'v1eanwhil.e assault is as an effort to this

climber into her prnper shephen:is ground he laid."!! The outcmne ls predictable, The sn1~nrH,.r!'!e;'"'

"was mute. I And neither wouid

was substitution of masculine

.u1d from to from Mercury to the himself. At the

'""~····'~'"'" scene ·i of the n1asculine site from which m:ters his own

as the ornaments of

nant of "masculine" or "feminine" itkn1 with <matomy than with T<

of desire and of to be "fer

in point (1f view in

social order treats as vvomen. Denied a position of the poet must woo patrons,

infused an artifact's to f and] uu:>:>r::>"

or as Sarnuei Johnson vvoal<l bter mind

sisters

is

n•mt. of "masculine·· or "feminine" less to do, finaliv, with anatomy \Vith positiorrnH~y. To be ''masculine" is to be tl;e

of desire of to be The narrative point of view in ''Hero is masculine in

sense even when it seerns

reason, "'"'"""''"'",. determinant of sexual

in the

then, is not th<lt har· but that

of

HeUe:srKmt mirrors . "stm the rising

an ohsta· ""' ,..,..,.,. to itself the fuH

of the sub·

.. , knevv nm how to frame her look to him who i.n a moment took 1 That whi<h so

(791·"'9)). As she tries l'o the at Hem and sh.::· w

fully revealed,

from her countenance behold A tvdllght As from an nrlem And round about the

forth the ruddy

And her all

Yet even .in the mmuent that "'"''""'."" to redothe her in an

Hero is now· power her lov and of the coda emK.t

in conier to the ruthless and emphatic

Death of the Modem 11U

in one sense extterne, contains the most bt'.aUtiful ,·md

book .. " Hmv continues:

and is nmv in the power of

of the coda enact 1ilst eight In time with car and

lover's passion. the rush of emotion,

rush

corner to the finishing whh the daring<-" ....... , .... and "dang'd:'i>

"'"n"'"' "" this the narrative point of view,

of in the "Dream

tion recovers son of a ··mher." Bm this narcissistic the death and as the Other's douMe-~a ::>v•;'···'"'" this doubting of the subject bmh recovers and loses itself, as if mascuHne desire were an

Hero as and

trean11ent traced the breakdown of this '"'""'"·'""' current: readings resistance to feminine ,,.,,,,..,,..,,"'·'''""'"' stance of "repetition compulsion," which Freud sees as an exr:messtOtl. of the death drive. Yet the insistence of tr:i1nstt~i,t·111ce

,md

transference, and in this sense it th<n structure in act of perceiving iL A cenr.ral question for has hoiv to break out of this dosed drde of an

this essay l :nn in!k·htcd w Elil;; fall 1988 critichm ~emfo;v s

also w nwml:>t>fN of the

it seems that Freud is them. Why else

Death of the Afodem 183

ptan:, while as a result of tra1isfr'rence the same stnKture reappears whenever seeks to intervene. As Sm:,•uuH: out, this in the castrJtion scene. for the m.::de child\; a n:<>uh of the phallic "v''t"''"'

SC'<1ie

re1nafos within mtribming to GreeT•·

d:w rezisoru;

even name the difference to which this essay has~"'"··•~,, .. •

the p~~nunnn of an c;.ntk:r dra.ft

H•'l"·"""'" for him:h ar (;rccnhbtt''< Dclici!t<::ssen m LA, ,rnd ,, convcr;;,1uon on whi< h l am sti!l nut,

C;tlhninc argw:o for !he value of ;1 hbwrkism k<>rHM

J,mu:sm1 am!. Mid desttihes dw tww hi:mmcbm ,ts sud1 ;i in ''lhc !vl,mer of " J p,1pu ,1t the 191)!5 mectin){ of th« M~:ffiern As0<ndatim1,

j, GrccnM;nL fi.<·rwimmn: ~cit-J"(t\:/Jt•tmmn

c1go, i9Sn}, 174.,75, A. full ,JCnnmt of ilw mie lhi~ ii~Me work ;;}((ec<ls tlw snJfW of th1s i.·s:,ay, bm l nc.r« in !ary on !·loll>cin\ "The i\mba.<;s;:uh:it:>,'' which open~

fincb \he n\ hum:m cu!tun; im;m;it<:<l in :rn,.rn,,<1rnl1it •;kuH in ! !w 10.1'<'ll'fiYUri'O,

,md!!Hl

m ~farlovu11 drnma, -, lhid., 256-57,

4 Frn1d, Beyond lh<" Plet;Stue

7

196!}, 8-10. The of my mtdkcwal debts in 1.hi5 t:'<say is to the Pfrm.mte hemt" !rims.

ed. Mars1ul! Hlalwnore. 11;il:lsL 136-58. !n thB llK'li!tm.ion on the· fort -d.1 >row, Dernd;i's subtk:tk;; ;m: mnn: in.11\

sil"!k. l ihWt' al:m from 'T1<:ud: The De:Hh of A11tc>m·o1!r;1-

l<)~-i8. whkh "'·'·"'""""

The Circuirltion M Sodai fn· ern1.:>r:mh forthi$

essay aho appears on page ~ as p.ut ol a m it~ !icttom:i! 1r.1u:s. it reads, !mwevi~r. hk.c a con· ft'll~ion of Gn~1:::nh!a1t'> motives for to mhn': or ":..imu.!ate'' rlw Renaissance it.s:e!f.

Lm·im and 1tw AJvf'nWH: 1Jf

''vlass., 19871, 128-59. f;reenhbtL ;m<l Renaissanu;. Cuhut()'," in Liiemr.v

1wrw.1H<lfl('C Text.$, <·cl. P.mki.< PMkcr and D.,;vid Quim \l)altimor1» H,186). 217. Gn:cnbbtt suggest> in

<lssodated wi!!i the '"mk of l;Kque~ Lacm" may of ib

8 !hkL UL

For ;; lucid tre«tmem of thev.: issues >ef· Eliz,1r1<:th \·kese, CrnH: Tlw f'rm·ua• of Fnninh.t Criticism Hi\!. 1986).

for the r.~;1der\ cwwenienc(' ;md most standard editions .;;ti!!

to .:ivoid rl'H: '.>esti«tl d1visiuns lhllt

~,farhm«:'s wxr l'n::>m Tlw !Vonim An· Abr,1m~ {New York. 1<179), I: 725-+-J.

See Lou!~ L \fanz'h i!nroductivn h• Chrb!.npher />.l,>rinwt Hem 11nd Lemulet: A

hirsimiJe ufthe Fir.~t falin{JfL London f5'1f§ 1N

bet!, "'!Je;;um Nmml!:f: Th': Conmmction ul Unfinished P<:wm .. " flJ! 51 \Sumrn•cr 19841: 1.1>

Lt J. ft SH:mv', Mutlowe: A Criricol (C;ut

tion, Manz called Sream~.'s "Hem ;iml Le:mik avaiiabk nn tlH~ p<.Km\ '!<me, ;;:nd tei in Keach !se1: lL 1.1 hek1w), \t still

!~$ See Steam:. Cnnq:zl JH:>-1~. on tlw cm and "The of the Lnd:;/'

14 Se<: Wi!!.iam Ke;Kh. Elizabt~rhwi Eroric: l\Gfmti 15 n1mnvmts 0n this p;;ss&g<:: Jrf' indd:llt'fi to

17

Difference: !V!.'lscu!in" .n1d h·mimne a i:i.1per Ass:oci~1tion,

(Nt!W York, l~J85}, 118·~46.

t.$ L,H.:;m, Freud's Pape-rs 1m e

fonestrr (New York, vi88!; dit"fl by Fdm;m;

S<J essential to the w:ry dinwnskm is reve.ited from the st,1n ol hem!\; w1 end. That !:; bec.1use tlw complex <X

pteiie:nt state of \Ve5tern civilization" iFreud's comilmed rdiance on the hJ!'i bee11 Frtndi., British, .,;no Amnkan feminists; pert ,1 trcm ham. of this Stnanm: (iearharL ~The Sf<'.M' of"~'"""""·"'"''

Dora." in Bernheim.er ;md Ket«W<\ eds,, See Luc\:' <•I t}w 01tun \I 198:;}. 1·n,.16-

John flrief LinJs, ei:t Ri<:h::nd Bilr!;;er t

Lh-es exists in m;u.,,~, .. ,.,,1 O:wnien'i('S. lhe\e nrcui:nstarnss may ha11t• >i toll()' of the paR>;;g«: H•<rbcr sugge;:ts in hiii !111 " h is hec2us:e· h thar the matt•ti.ll come~ acmss so l am indd•ted tn i\fawn•1 Smith fot t!11Ji tefere

histoncbm (contra

h\>tmi( bm "' >;uch ""'~"""''...i ar !ti\; 1t;88 rm:eHng of 1he

e~si1\i, hut I nutt• in ;, whkh <)pf:ns d1;1pter 1 nf fknaissmKe S;:[t:.

imAHliUr~srw:>s of hum;m (u!rnre mii.matNl in skl\ll in the

·e Prindp!e. tLm\. )MlK'~ StFKhey {New York, .tt1i!l dehts In rhb ¢ss;1y h in Der·

" !'\:l FremL'' HilM.

(Ba!t\mmc. 19851. 1.~6-s8. !11 this

Dearh of the Modern 185

hxsimiie of th<: first fdirinrL Vmdim 1598 !New York, 1wz!, •md \Vbrimi

bell. ·· 'Desmit Nonultf: The Cfmstmnkm nf J>.brlowt:'s Hero ami Leao<frt as an Unfinished Pt~em:· EUJ 51 \Summer 19i$.*): n<rw.

iz j IL SH:anc, lv!arfowe.: A Critical Swdy In hi\ introdu1>

tion, M.!rtz called Ste;me's "Hero ;mtl Le;rnder" "nmiiuJ•·,i,, the hes~ esi;ay

available on this p;x:111's 'tone. "'' and .>ttitu<le' ": witb the ter in Kead1 {SC<' n. q helow i, it suJl de~;;rve>; 1h;11 Jsr.e;snwnL

I} Src Ste;rne, C:ritical '$If>'' u., un the um!r.1st betWN'll ''Hem and Leander" am! '"I he Ri!pt: of t!ir L<ick.''

14 See 'Wilham Kt•a•·h, Eliwl}efh(m fn1tic Narr111ive~ (New llrt!!hwidc 1977), 94.

15 ronm<«nts on thi% p.1ssag<; :m:. lm:lditrd to Pamtb Md:k. Diffen~m~e; Masnili.ne ;md f'f;minine on i'vfarlowe's Hemond U:awier:· •l paper at the igll>B o.! rhe Sourh /\tlannc \kxkrn

''"""'"'~·~with m0;•;r of 1'vLulowe's Here am! in the two mstann:s foi­

n«<l"<""'""'"'"' of tbe 1598 ;•<lit.ion for re;mm> th;H slmultl

(f'kw York. u;;85}, ulhi6. J;i.i.ques Lw.m, fr<"ud's Fmrnskr CNew York, 19881; dted by reni.1rks. rhe '· ... m:rm><

i:ondmw<l rrlfam:e on the !ms heen «I''""':1nr,,.•rt

is " in ln Dom',

;1nd Claire Kehane

!"tench. l>ritbh. ;md •\meri<«l.<l feminist;, most notably Luc« hi)l;way; ka a tr;:rKhant of this mdehtetl m th{;' wvrk of ~ee

Suzanne GearlMrL "The Sn•ne <>f r!w lfo,1n!>wered Qm,stions of Dora.·· m lkrnhein1er ;1nd Keh;Jnt'. et:k, in Dow«~ Cils~\ H»5-;q. See Lue<' fhe o! tlw Orfwr Wim:um. rx,n1s. Gillian C Gill Whaca, ti:;S5). 1n·16.

Brier Uw,·.~, eit !Uth;m! l.>arher ('ft>Nwa, 198)), 165-66. WJ£. nm for tno>t of the m..:i1ni;1! from Hriel

Lives ''xists in mam;salpt J> hlo~ n•>W;; for Womrs !ttfwrwe Oxm1iemes. nwsc C\fet!lnst;mces m.iy hi!¥(' to do with the duhho1.)HC tntte ol' the pa$sage: B.1rbt:r suggcst:s in his inmxlm·tkm to the edition cited that ''It is hecau~c is aml w Wmx! th;:i! the material comes ·;i,(ros<; w ($'1·

I am lr1debted to :-.r;;rcd Smith for this tt~foreme. l dw !In: in ii !«XI tnn·

1it6 David Lee .MWtr

!Musk<ll Heritag<~ n-no856J. Access

w the text <s lK'(:<1usc the s<mg ,lppc.us In !he \\'i)rk!; of lfr:nry f'ln· t:ef! (London, 19.u). n.: rs. in ;i boivdlcrize<l version, "Su \Valier !The

in lnsthaH with he!' nose in 1he air:

an: ynu, you h,wc no kistm::.'' "H<lW can ym1 :;it tht:rc:. how f<>n you >it there, Surtvundcd by ihb smother?

No will l st.md Such tre,,itmem at yom band,

Tomorrow l g<) home w mntlwr~"

Franklin B, Zimmem<;m, Henry l'ilrrl'll U.59-Jo\lS; An offifa

JHu:>ic (i..omlnn, 1963i, u·), nrirc> the howdletiz;\timi of the Pmc1..:!l texL The Second l1ook cd rhc Pleasant !l<'lusio1i Cnmpanfon

text. wbk:h I have bcl'n un;ab!e to consult, is the

Charles Sernhdmcr m 1 lw intn:x.lm:tirm w lkmheirm:r and Kdnne, t•ds., In D<1ta't

Caw.:, '':'I· ~·4 Veith, ::,; and Sigmund Freud. The of Dreams, Wm!L and

ed. James (New York, 19651, nB--s+ lS Fteud, [}team~. q9. ! <Vn imkbt0d for this obsen;:itkm tn ;m t'ss;w ;1 'iil:I·

denr, Mary A.ndersmL amt for with th<' G'•m1;.m text t'' .1riother student. N1:u1!etiai:1er, Ttw German reJd.s: ··sie ;mtworwt: \\'enn du VVus>tcst. W<lt

hall<:' un H,11>, lvLlgen un teih, e'>>thnun mkh zu1ammcrl"

l Freud, Gesamrmdrc \\;erkit [Lnmion. Hl4~ l. 4'"'.S: 11r1.

;;6 Fwrn:! dcscrihes dream ih the wad" to tlu: m1eons1·ious m Du1<1riu.,

647, ;q

Mti011 of \\·i;unen in fklinn, ed. Hdl!mm .rnd i'>brg<m:t rn,a"'"'''' moH'. 19lhl, fio~w. and "Still Practice. A1Wres1ed fow:ird ii Feminl~t Aesthc!.ic" Tuisa Studies m Women's Lili!rnmre l 1984!: 79-·f}'J,

i9 Edward fhe !vh'ridimi 1-fondlmok ol CkiMka! (New Ym'k. 1970};

4n.

50 /\" R. tltaimrn!kr, "M,1rlnv.-,•'s Amorous Fa~e•

58, i:omment!\ in th,u ·-;, sm1tHirall>.t t.hat MMlowe 's nu in: consists ui , axis w!m:h stretches fmm the im.:krworld o

w th<· eanh \the maul to h Jove. whither Satnm :rnrl w.udcd trash amt the <nh.c•t·•"~" Oft.he hask p;;ttenL"

3'1 !n continuation of the m1rrative Le.mder';; drowned ,, fate in which !fa

of fenl,1k ·· amhitioo" ~i <mce mon~ froin the NnrWti A1

reverses the serist: of the line by it as "Not ;mibirious for rkhes ot \T foUmvtng lilw. "ShaU disnm!cnt nm into

55 and Johnson ;m: dt(W lh'.Jm Critio:il {New York, HJ?!), 161, p6.

.H The Complete Wp;i;:s M11tfowt'.

2: Si9··

[tdmethyJ;unin1 !l;'d me w i.mporrnnct in the nf nw 1wrvm1s disc

path·m lrm;:i w:is ;1 ynu11g whfow: if! wJ: of my tre:itment in her c1st~. wiur ! i::.md<l bi' f;Kt of her widowhood, wllld1 her fr1emh w how l to a the.1111

wom.m, whom ! h.1d as ;1 p;inem in the <ln'.t wirl,,w": and "!!ma\; n.mM be satlsfa<:

(d. the which t had rm meat

In die inm:idunion to hh Sh11k•'''"'"m"''<

in the Renahsam:t Gearh.;in, "Unamwerr·d {)11esti<ms," l!L

fr.;1m fowrm and !}v!usic11 H'"'''"'"" ngress Cml no. ;n1-750&;6).

Hit'. ~xmg Rppe,in i11 Tile Works of a !xiwdltriirn version, "Sir Walter

to an ;e;:say

Access

Put· rnw

hdp with the Germ<m text tn another u1w1~n•<. "Sie /mtwort<•t: Wem1 du

un ldh. es!idmun mich <«tt~.;uuuJ{~i"

Death of the Modem 181

f\. R. BrnrmmUer. "i\farlowc's /\momus Lm:!> m Hero 11mJ Leander." RES ~\t { 1<178)'

58. comments in that ",1 strncwralist nilh: ... would ;;bscrve """""<~ ''"' f()nsba-s of iK.tiorn .. of and ~HJ

a.xb whirh ~trNdws from the i.mdt·rw·•uld ( V'>'hit!wr jnn: and whence Sat.urn and Ops) w the earth idv: maid. m he;wen (whnin· dw m·n;ff, M•F"""··u

w.;irded tr:hh and dw of 'the l\luscs rnmie< cart !J.t understood ,is pan of the ha~dc pattern,'"

:i,1 hi CL1p:rnan\ rmllinu;itfrm of the t1;:irr:11iw Hero falls frnm hei tt>w<:r (l!l

Lcamfor's drmvned a fate in wbirh the po{?m'> venK;;l dimension rea>'>crts it> lns:istem nf frmak "ambition·· m ;.:kslrc

Here l depart onn: mon: from the Norwn f<:xt, whi<.:h """'"'""''m'''~"h' rewrscs the S«US(' of the l!tw "in it as "'Not ambition~ fm riches or fe>JiJ.-.,,_.;"'" line, "ShaH dt!Kontellt nm im.o

am:l Johnson are dted from Critical (New Ymk. !9'/ 1 ). 161, p6.

The , "" """ '"' \Vnt k.1 .i:. S39 Stcill1'?, Ctiticol

f;n." a non

since Plato. ed. Haz.ard Adams

would h.iw tv take. ¥count uf m;my fwthct the a;;sodatmns that dl'aw the two '\tathildt>s, heud's

inlu the· dn•.1mwmk's traffic in worm:"lL On ·····~'''~"'"' rnmirk~ <m.: these: "Thus rhi'> suh5tan<«'

led m•: m di(: fa< tm 10 >vhich ! attrihutc the gre;ite<;l

of the 1wrvcms dismders wforh i< W;lS my al1t1 m nu<:. l!nu \VJS .t young widow; if l w:imcd w find ;m t;xcuse for the failure

of my treaiment m her case, what l rould bt''>t appt:il m would 110 doubt bt: rhis fact of het \Vldowhuod, whkh her friends would he so ni see changed. And how ! a d1eam lik<" thi5 1s put wgNher! The other wonun. whorn l h;id ;ls .1 in the dream inste;•d of !rnu, w;*s .1lw ;1 yen.mg

wi<lnw .. ; and "Irma's !Mins could he her widowhood ltf. the