ALFRED LORD TENNYSON'S THE PRINCESS IS RIFE WITH AMBIGUITIES AND contradictions that prevent a straightforward interpretation of text. A Victorian frame surrounds medieval tale of Prince and Princess, one ultimately transformed from a fierce feminist into a broken nurse; men rather than women tell a story centering on women's issues; and narrative displays deeply puzzling oddities of tone, genre, and structure: these are just a few of poem's complicating elements. While it is not surprising, therefore, that little critical consensus exists as to whether finally presents a conservative or a progressive vision of gender relations in The Princess, what is less debatable is that contending male and female in text have decidedly implications. (1) The poem initially promotes expectations of a full exploration of the woman question that was then beginning to preoccupy Victorian society, but, as scholars of recent decades have noted, feminist discourse is silenced and patriarchal values upheld in end. (2) Terry Eagleton, in a provocative Marxist and Lacanian reading of poem, interprets transformation of lovers as an attempted resolution of both Prince's and mid-nineteenth century state's Oedipal complexes, former struggling with a barbaric, nakedly militaristic, blatantly sexist father and latter with internal and external changes in class, economic, and political relations. (3) Eagleton suggests that sexuality and politics are conflated in The Princess and that to address one is to address them both. Ultimately, Prince and Princess are reintegrated into symbolic order through ideological equation. . . feminine male x masculine female = masculine male + feminine female, couple thereby embracing conven tional (if somewhat humanized) gender roles and propagating restabilized bourgeois state as well (p. 79). However, despite poem's apparent surface liberality, Eagleton maintains that univocal masculine discourse retains complete control throughout: [The Princess] displays no dialectic of discourses whatsoever.... There is no sense in which one discourse inheres within, contradicts, interrogates or 'de-centres' another (pp. 86, 82). At no point, then, does a genuine interplay of voices occur that could produce true change. In what is perhaps most comprehensive study to date of poem's treatment of voice and gender, Donald Hall reaches a similar conclusion in Fixing Patriarchy, an examination of Victorian literary and cultural context that traces how feminist discourse incrementally changed a deeply resistant male hegemony over course of nineteenth century. Hall observes that women's increasingly audible demands for improved legal, political, educational, and professional status in 1840s challenged established gender roles assigning men public and women private spheres. Feminist discourse and gender experimentation were perceived as threats to patriarchal status quo, which in turn attempted to discursively fix such trouble by re-establishing a clearly delineated heterosexual binary: The perimeters and properties of Victorian masculinities were imperfectly secured through ongoing processes of differentiation, denigration, and appropriation, were constantly adjusted through negotiation with demands voiced by those to whom silence had been formerly ascribed, and were finally as fretted and fractured as class and gender ideologies of era, ones that only appear seamless to us when we mistake bombast for self-assurance. (Hall, pp. 3-4) Such bombast through appropriation of female Other is evident in The Princess, a representative cultural product of its times: Tennyson was neither unique, nor particularly blameworthy--he was simply caught in binaries of his day, as well as those of a particular model and dynamic of dialogue, in which two or more cannot be heard at once: following rules of competitive engagement, one must rise above cacophony, silencing others (Hall, p. …
Read full abstract