The audience might good inquire what makes it possible for Alice to convert non merely Mosby but Michael, Greene, and indirectly Shakebag and Black Will, to perpetrate slaying. Undoubtedly, as antecedently witnessed, Alice entreaties to their monetary greed but furthermore her persuasive pretense goes a long manner to foster her ain terminals. The exchange between Alice and Arden in Scene xiii, speaks foremost to the deepnesss of Alice ‘s alluring nature.
Alice begins her seduction using the linguistic communication of lovers: “ 1000 ” and “ thee ” accent the familiarity of matrimony in Alice ‘s first inquiry: “ Couldst 1000 non see us friendly smile on thee? ” The adjectival, at the same time, an dry hint to Alice and Mosby ‘s true purposes. Continuing with her scheme of question ; Alice poses several rhetorical inquiries, deviating attending from her ain injudiciousness, to impeach Arden of imprudence and misgiving: “ Hast 1000 non recently found me over-kind? / Didst 1000 non hear me call they murder thee? / Called I non assist to put my hubby free? ” The use of sentence construction is brooding of Alice ‘s connotations ; the pleonasm “ over-kind ” testament to Alice ‘s attempts to pacify Arden whilst at the same clip suggestive of the parody she is playing. The climaxing riming pair ballads accent to both her effort to breed Arden ‘s trust and the nexus between her deficiency of sexual freedom and Arden. Confirming her unpatriotic nature, Alice is willing to let Arden to see Mosby, Shakebag and BlackWill as unreliable whilst she protests her artlessness. The power moral force at drama here is evocative of the exchange between Alice and Mosby in Scene 1 Line 175 – 225 ; Alice craft and manipulative plants to rule.
Alice ‘s fraudulence, both chilling and enchanting at the same clip, is further enhanced by the fact that Alice ‘s function would hold been played by a male child on the Elizabethan phase – a contemplation on how adult females were frequently presented by dramatists ‘ of the clip. Lines 108 -111, to a great extent accented through antithesis and anaphora, excessively emphasise this fraudulence:
“ If I be merry, thou straightways thinks me light ;
If sad, thou sayest the sullens problem me ;
If good attrired, thou thinks I will be gallivanting ;
If homely, I seem blowsy in thine oculus. ”
The parallel apposition in each line allows Alice to show herself in a positive visible radiation as “ merry ” ; “ sad ” ; “ good attired ” and “ homely ” and so counter each declaration with an accusal that Arden regards her as “ light ” ; “ sullen ” ; “ gadding ” and “ blowsy ” . These are non accusals Arden has voiced against Alice but accusals Alice is bear downing him with doing. The anaphoric repeat of the conjunctive Markss the sarcasm inherent in Alice ‘s presentation of these two versions of herself ; antithesis underscoring the disparity between these two versions. Claiming that there is nil she can make to alter Arden ‘s unfair sentiment of her, Alice quick to play the victim, equates her life to a life decease, to a great extent emphasised through rime and synecdoche: “ … I seem blowsy in thine oculus / Thus am I still, and shall be while I die, / Poor dame abused by thy misrule ” . Accusation Arden of handling her as if she were of a lower societal standing, Alice claims she is abused and ill presided over ; stoping the line with the word she most wants to emphasize — her misrule ; touching to Arden ‘s deficiency of authorization as caput of the family and, read in a lodger context, her ideas on matrimony.
“ Love is God and matrimony is but words, ” Alice ‘s words in Scene 1 Line 101-102 confirm that she believes love to be of greater significance than matrimony ; reinforced when she claims: “ Curses are words, and words is air current. ” One of the chiefly explored subjects in Arden of Faversham is the Renaissance perceptual experience of matrimony. Alice likens her function as married woman to that of slave: “ Henceforth I ‘ll be thy slave, no more thy married woman. ” Syntactic arrangement and rhythm ballad farther accent on the metaphor. The rhetoric of bondage is farther expounded in line 105 ; the Paronomasia underscoring the imagination of a concatenation and Alice as enslaved by Arden. Alice ‘s exclaiming here marks a tonic displacement, her scheme alterations from carrying Arden to doubt himself to a dramatic passionate effusion when she exclaims “ No, ears and all were ‘witched. Ah me accurst, / To associate in wishing with a frenetic adult male! ” Alice ‘s protestations are farther embellished with an analogy to witchcraft, the sentence structure — “ accurst ” at the terminal of the line — underscoring Alice ‘s claim that she is cursed and chained, initial rhyme puting focal point on her captivity to a “ frenetic ” adult male who ‘s senses ( ears ) are bewitched. As Alice becomes more passionate so Arden becomes more compliant. Alliteration and beat emphasis the sarcasm in line 107: “ For with that name I ne’er shall content thee ” . On the one manus Alice claims Arden will ne’er be content with her as a married woman because what he truly wants is a slave, but Alice excessively will ne’er be content every bit long as she portions Arden ‘s name.
Alice ‘s challenge to marriage can be expounded to include Elizabethan political orientation, a universe position suspended from a rigorous societal construction — sovereign as caput of province ; hubby as caput of the family. In Elizabethan England, to kill 1s hubby was a political offense ; it struck to bosom of Renaissance Ideology and questioned the Elizabethan patriarchal dominant constellation. Alice ‘s entreaty to a demand for sexual freedom is cardinal to her motive as upheld by her words in Scene 1 Line 274-276: “ But Mosby ‘s love. / Might I without control / Enjoy thee still, so Arden should non decease. ” On some flat Alice holds non merely Arden but Elizabethan society at big responsible for her evildoings ; if she were non bound by a loveless matrimony she would non be false, manipulative and homicidal. In some respects this two reflects the thought that Arden is in some sense to fault for his ain decease.
Alice ‘s response to Arden in line 116: “ The celestial spheres can witness of our harmless ideas ” would hold been considered profane by an Elizabethan audience. Again initial rhyme draws attending to Alice ‘s mention to heaven, and since the audience is cognizant of her falsity besides to her deficiency of fear for all that the construct signifies ; disputing thoughts of Providence.
Challenges to the bing societal order recur as a predominant yarn throughout the drama. An Elizabethan adult male ‘s societal standing could be influenced by his married woman ‘s celibacy and sexual unity ; in visible radiation of this Arden would hold been viewed as a Cuckold ; connoting public dirt and raising perturbing societal and political hint. Arden appears to be a basically conflicted character as on the one manus he appears to be a naif cuckold, whilst on the other he is described as a adult male of personal businesss, worldly and adept. Unremittingly ambitious, Arden is chesty and see his societal standing supra Mosby as cogent evidence that he is the better adult male. It is Mosby ‘s twit of Arden ‘s horns which sparks the violent affray instantly predating this infusion. Arden ‘s motivations speak to his true feelings for Alice ; Arden does non contend Mosby to retain Alice, but instead to protect his societal standing ; imparting justification to Alice ‘s impression of a loveless matrimony. In this light Arden is show as both victim and scoundrel. Arden ‘s response to Alice ‘s accusals is as Alice intended it to be, he doubts himself: “ But is it for truth that neither 1000 nor he / Intendedst maliciousness in your misdemeanor? ” Alliteration highlights the contrast between maliciousness and misdemeanour – once more there is the sense of weighing up the state of affairs. Arden is convinced by Alice ‘s gambit ; thereby corroborating his Cuckoldry and evident credulousness in the face of his married woman ‘s matter with Mosby. Arden would be seen by an Elizabethan spectator as releasing appropriate control of his family thereby perpetrating a disloyalty to the conventional impression of masculine position and sabotaging societal parametric quantities. Arden ‘s complacency raises inquiries as to his motivations for pacifying Alice, pacifying her for the interest of her societal standing and wealth, a effect of his aspiration and philistinism. Alice describes Arden as “ frenetic ” – a adult male distracted by emotion — might Alice here be mentioning non merely to Arden ‘s intuitions but besides to his chase of philistinism?
Arden ‘s state of affairs is summed up in more ways than one in lines 117 -120. He implores Alice to excuse him and, stressed by initial rhyme, to forgive and bury his mistake. Ironically his mistake is non in impeaching Alice but in forgiving her. He goes even further to propose that Alice “ Impose [ me ] repentance, and I will execute it, ” one time more highlighted through initial rhyme ; Alice plans to pull out the ultimate repentance from Arden, the sarcasm further developed in lines 120-122, accentuated through the triplex: “ For in thy discontent I find a decease, / A decease torturing more than decease itself. ” It is exactly Arden ‘s complacency and Alice ‘s discontent and that will take to his decease.