Tragedy of Miriam

“The Tragedy of Mariam” was set in an ancient context, but Elizabeth Cary uses this portrayal to condemn and analyze the suppression of women in a historically and typically patriarchal society. The play highlights how Mariam is restricted from having private space in a public realm. She is denied any private interludes with her husband and basically has no personal or clandestine relationships with any other individual. Mariam struggles with the idea of what is expected of her from society and her true beliefs that are nonconformist. When typical female stereotypes are challenged, as in the play, the traditional idea that a woman should be completely dependent on her husband clashes with the idea that women can reestablish themselves and the role that they play in society. Mariam and Salome are prime examples of these differing roles. Mariam wants to establish herself as a person separate from her husband while Salome wants to reestablish the system entirely. In “The Tragedy of Mariam” each woman stands individually in her fight against the patriarchal society. Mariam’s portrayal opposes the conservative role that women should play.
In the first scene, it is evident that that Mariam has conflicting feelings about hearing of the death of her husband Herod. She is torn between the freedom she feels and the loss of Herod’s love for her. However tragic his “death” at the time may have been Mariam ultimately gets over her initial sadness as a result of Herod’s killing of her brother and grandfather. In addition to that Herod also left orders that stated that in the event of his death Mariam should be put to death as well. How oft have I with public voice run on To censure Rome’s last hero for deceit: Because he wept when Pompey’s life was gone, Yet when he liv’d, he thought his name too great. (lines 1-4)

Excuse too rash a judgment in a woman: My sex pleads pardon, pardon then afford, Mistaking is with us but too common. (lines 6-8)
The above lines connect the idea of female dialogue with wrongdoing and also with punishment. Mariam not only questions the respectability of her own discourse, but also uses a reactionary defense mechanism that blames her lack of censure on the diminutive status of her gender. When Herod liv’d, that now is done to death, Oft have I wish’d that I from him were free: Oft have I wish’d that he might lose his breath, (lines 15-18)

That love which once on him was firmly set: Hate hid his true affection from my sight, And kept my heart from paying him his debt. And blame me not, for Herod’s jealousy (lines 20-23)

To learn to love another than my lord: To leave his love, my lesson’s former part, I quickly learn’d the other I abhorr’d. But now his death to memory doth call
The tender love that he to Mariam bare: (lines 28-32)
Cary utilizes an anaphora to reinforce Mariam’s attitude toward her husband. She refrains from thinking poorly of Herod, but nonetheless feels guilty despite the fact that she hadn’t been adulterous. The above lines also indicate that Mariam despises Herod’s hypocrisy, but is doing the same. Mariam is left to decide whether she should continue being the good wife or to let Herod know that she doesn’t agree with his actions and that she wants to define herself as a person apart from him. In the end, she decides to not be just life Herod and withdraws herself from his bed which reinforces her belief to separate herself. The heart of Mariam. Curse is my fate: But to speak no more to me, in vain ye speak To live with him I so profoundly hate. (lines 136-138)

But now that curtain’s drawn from off my thought, Hate doth appear again with visage grim; And paints the face of Herod in my heart, In horrid colors with detested look: (lines 157-160)
Mariam knows that it would be simpler to stand down, but she chooses not to be the perfect picture of a meek and docile renaissance woman. She believes that her chastity, upstanding reputation and personality will be enough to defend herself. Mariam opposes conventional models of conduct that negate the idea that a woman can speak out against her husband no matter what his actions are. Mariam vows that she won’t let the typical and stereotypical role of the woman cloud her judgment and views. Mariam’s actions are a direct result of Herod’s reasoning to have her killed. And though her thoughts reflect with purest light, Her mind if not peculiar is not chaste. For in a wife it is no worse to find, A common body that a common mind.

And every mind, though free from thought of ill That out of glory seeks a worth to show, What any’s ears but one therwith they fill Doth in a sort her pureness overthrow. Now Mariam had (but that to this she bent) Been free from fear, as well as innocent. (lines 241-250)
The above passages are spoken by the chorus. They condemn Mariam because they deem her to be impure because she shared her word with another other than her husband. It is said that she should have revealed her speech to “none but one” (line 238) which is her husband. It is also interpreted that Mariam is killed because her speech isn’t restricted solely to her husband. Additionally, Mariam’s death could be attributed to her general candidness in public or her blatant insubordination of Herod as his wife. The passage also foreshadows Herod’s distrust of Mariam that states “She’s unchaste, her mouth will ope to ev’ry stranger’s ear” (lines 432-433). This particular statement links Mariam’s uncensored language to sexual desire. During this times, a woman’s chastity was considered to property of her father or her husband as a commodity that could be bought and sold in a marriage contract. The chastity and honesty which she had were not hers, but her husband’s. Therefore, she did not have to legal authority to give her body to anyone else. In this our land we have an ancient use, Permitte first bu our law-giver’s head: Who hates his wife, thoug for no just abuse, May with a bill divorce her from his bed. But in this custom women are not free, Yet I for once will wrest it; blame not thou The ill I do, since what I do’s for thee, Though other blame, Silleus should allow. (lines 333-340)

Or cannot women hate as well as men? I’ll be the custom-breaker; and begin To show my sex the way to freedom’s door, And with an off’ring will I purge my sin; The law was made for none but who are poor. (lines 308-312)
Mariam is portrayed as one who breaks the convention of the silent woman and contests her husband’s power though maintaining her physical and moral assets. In contrast, Salome is an example of a woman who has an excess of speech and sexuality but doesn’t have the practical knowledge to support it. Salome’s excessive speech is representative of her excessive sexuality. Trapped in her subordinate position by Mariam and by the Jewish marriage laws that prevent women from suing for divorce, Salome schemes to get rid of her husband, Constabarus, and Mariam. Cary questions the logic and justice of the patriarchal social system through Salome as she is made to speak crudely but eloquently against the injustice of Jewish law. Salome ends her argument with “My will shall be to me instead of law” (line 454). In this way, Salome establishes herself outside of the convention of law and tradition. Salome not only acts as though she were equal or even superior to her husband, but she also advises him to be quiet. Salome is adamant in her belief that women, just like men, should have the right to divorce her husband. Pheroras, Why speaks thou no, fair creature? Move thy tongue, For silence is a sign of discontent: It were to both out loves too great a wrong If now this hour do find thee sadly bent. Graphina. Mistake me not, my lord, too oft have I Desir’d this time to come with winged feet, To be enrapt with grief when ‘tis too nigh. You know my wishes ever yours did meet: If I be silent, ‘tis no more but fear That I should say too little when I speak: But since you will my imperfections bear, In spite of doubt I will my silence break: (lines 41-52)
In contrast to Mariam and Salome, Graphina, a handmaid loved by Herod’s younger brother, Pheroras, embodies the ideal of womanhood. She is chaste, silent,, and obedient. Pheroras however believes that her silence is a sign that she is unhappy. Graphina, unlike Mariam, responds to please her husband and wipe his doubts clear.
Elizabeth Cary’s perspective is prominent throughout the passages mentioned. The chorus is presented in a way that diminishes the credibility of Mariam and views her as the unfaithful wife but Cary gives Mariam the last word and symbolic triumph over Herod. The play’s conclusion enacts the wronged wife’s ultimate revenge fantasy. The conflict amongst the women is quickly dissolved and Herod learns almost immediately of the true nature of his wise, chaste and virtuous wife. Herod is shown, to Mariam’s supporters’ great satisfaction, to regret immediately the death of his innocent wife. It can also be said that Cary used her own life experience as a model when writing as she had made a public declaration that she had converted to Catholicism that inadvertently caused her abusive husband to renounced her as his wife and cut her off from all financial support.
Though gender equality in marriage is never achieved in the play, Cary does demonstrate that women can indeed hate as well as men. Mariam justly criticizes Salomé for her adulterous relationship with Silleus, then later refers to the darker-skinned Salomé as “thou mongrel, issued from rejected race.” Salomé’s reply, “What odds betwixt your ancestors and mine? Both born of Adam, both were made of earth, And both did come from holy Abraham’s line,” demonstrates Cary’s capacity to represent a variety of perspectives within her text with detachment. Mariam herself is accused of adulterous behavior by the embittered Doris for displacing her as Herod’s lawful wife. So here, it shows how Cary reflects her own view of women. They can be defiant in a sense, but to extend their displeasure to the point of murder and adultery is by far crossing the line. Salome’s view of a woman’s role is clearly years beyond her time, but nevertheless sets the stage for the progression of women’s rights.