In familial societal order, reproduction of relation of production is a agency of keeping integrity within a capitalistic society that economic base and trade good dealingss play chief function in finding whole construction of society. Morose is a sample of a proper agent in this society who intends to engender an inheritor by matrimony. He tries to do harmoniousness in such a society by imputing the function of reproduction to adult females. Jonson by picturing market forces of early modern London through character of Morose, finally reinforce traditional differentiation of statue and gender. Morose wants to set up his statue in capitalist society, and to make so, he decides to get married a soundless adult female to continue his laterality over her.
To beef up his economic bases, Morose, as an agent of traditional familial societal dealingss, decides to acquire married. Marriage for him is non a personal relationship, but merely a agency of happening a beginning of reproduction to ease transmittal of his wealth and statue. He tries to get married a deaf-and-dumb person adult female merely to be able to bear kids. Silence of adult female in early modern England was indicant of her celibacy, so generative female organic structure was a construction to move based on male power. To continue economic base of a familial societal construction, reproduction of dealingss of power is needed and Morose as an agent of this capitalistic society, needs to repress Epicoene, as an agent of reproduction. Morose, to warrant his laterality over her, tries to choose a deaf-and-dumb person Epicoene, one who submit male laterality.
Morose ‘s scheme against new commercial relation is his disinheritance of Dauphin from his wealth, because Dauphine attempts o set up a new rank non through traditional familial societal order, but through title-buying. Morose becomes angry when observes Dauphine ‘s higher rank and statue and provinces: “ he would be knighted, forsooth, and though by that mean to reign over meaa‚¬A¦ ” ( II 99 ) .. Dauphin ‘s title-buying besides indicates commercialisation of the societal hierarchy. In early modern period of capitalistic society, even familial societal place is based on commercial dealingss. In fact societal harmoniousness in familial societal relation can be either preserved by production and reproduction, or by commercial dealingss of power and frustrating procedure of reproduction that is done by Dauphine.
Dauphine is the agent of trade good dealingss of commercial capitalist economy. His title-buying warrants his distance from traditional landed values and encompassing new commercial relationship. When he overcomes Morose, we assume he undermines the function of adult females as productive forces and matrimony as an establishment to continue rank and statue, but it is non so. He merely transmits subjection of female by male parent and hubby to her new dimension of her entry to economic society. He merely wants to beef up male statue in commercial capitalist economy. In fact Jonson uses trade good dealingss in character of Dauphine to overthrow familial societal order, but when we observe Dauphin frustrates procedure of Morose ‘s matrimony through Epicoene, we become cognizant of Dauphine ‘s preoccupation with familial dealingss of production.
Dauphin ‘s title-buying indicates of his deficiency of stable individuality that consequences in his societal mobility and his societal rank in a manner different from familial hierarchy. Even his name denotes contradictory societal place. Marjorie Swann in her essay “ Refashioning society in Ban Jonson ‘s Epicoene ” states that “ Dauphin Eugenic, translated as “ well-born inheritor ” , but the “ vitamin E ” added to Dauphin creates feminine signifier of the word ” ( 299 ) . He both maintains his place in traditional hierarchy of statue and besides exploits new chances for promotion. He has contradictory societal kineticss, on one manus he accepts societal power of reproduction by thwarting Moros ‘s effort to engender an inheritor, on the other manus, his success indicates in capitalistic society rank possibly transformed by dealingss between work forces. Dauphin ‘s subjection of female is far beyond Morose, he wholly omits adult females from patriarchal capitalist society.
Morose and Dauphine are two characters, represent Jonson ‘s Manichaean place. From one side, he depicts market forces of early modern London, but finally gives manner to traditional differentiation of position and gender. On the other manus, with picturing triumph of Dauphin, he eradicates traditional familial values. His resistance to traditional preoccupation with rank and statue through matrimony does non intend he is in favour of new commercial province. He believes new capitalistic manner of life provides new chance for female to destabilise society. This impression will be investigated through character of Mistress Otter and Collegiate.
Collegiate are deputy of manner and rebelliousness of norms of traditional behaviour in new London society. They do non accept their function as procreating and childbearing, so they reject a cardinal map of a type female. They are emblem of sexual lack, so they have no function in traditional hierarchical society. They are a good type in a society based on trade good relation, and do non subject traditional patriarchal laterality of reproduction and presume an air of freedom in commercial society. One of this Collegiate is Mistress Otter, who has abandoned the stenosiss of patriarchal matrimony
Mistress Otter is socially ambitious tradesman, who wishes to fall in the Collegiate. For under the footings of her matrimony with captain Otter, she has wholly found laterality over her hubby. She has achieved independency in her married life and her matrimony has found new dimension non based on traditional agencies of reproduction, but her false freedom has taken her under more powerful authorization of forces external to matrimonial family. Capitan Otter does non derive his authorization as a hubby, but instead reveals that his married woman is owned by the metropolis. She has deserted the household family and has steeped in commercial society.
Mistress Otter ‘s societal ambitious is related to her working trade good relation. She seeks her new individuality in ware society that is non existent, because she is non a whole in this society, merely a “ piece ” , something that has non existent being because she does non have what she buys. Captain Otter asserts “ all her dentitions were made, the Blackfriars, both her superciliums, the strand, and her hair in Silver street ” ( IV 80 ) . She puts on expensive, stylish apparels. These apparels signify the possible obliteration of traditional statues boundaries by commercial order. Early modern London interpelates her as a concept, but she assume her single place and pretends to be a “ whole ” .