『베니스의 상인』: 남장여성을 중심으로

Transvestite Heroines of The Merchant of Venice

In the early modern England transvestism was severely censured for disrupting sexual boundaries and was blamed as the main cause and symptom of disorder of society in general. But in Elizabethan dramas transvestism was represented as both liberating and monstrous, representing either androgynous vision or devious aberration. The Merchant of Venice is one of the plays that have male-attired heroines but its depiction of transvestite heroine is exceptionally benign. With her wealth and high status Portia is already the most powerful woman in Venice, but with her own wit and tactics she accomplished what no other male citizen of Venice could have done, which was to save Antonio s life from the murderous grip of Shylock. This was possible only because she was dressed in male clothing because the public place such as a courtroom was a prohibited space for women. But with Portia, clothing is just clothing and does not enhance her ability or power. As is proved in the First and Second Act, Portia has always been a better man in her marriage life and has governed her house firmly and shrewdly even after her wedding. Therefore her accomplishment as a Balthazar is a proof that sex role is an artificial and unnatural differentiation and femininity and masculinity are not to be so easily explained away. After Portia fought with shylock to win Antonio back, she fought with Antonio to win Bassanio back, to keep him to herself. With the ring plot Portia succeeded in taking the initiative in marriage and monopolizing her husband, which also proves her inherent ability and power.