Proserpine (play) - Genre

Genre

Proserpine is a verse drama in blank verse by Mary Shelley which includes two lyric poems by Percy Shelley. In the early nineteenth century, lyric poetry was associated with male poets, and quotidian poetry (i.e., the poetry of the everyday) with female poets. The division of labour in Proserpine reflects this trend. Percy’s poems help emphasise the mythic nature of Proserpine’s story; he continued this transcendental description of Proserpine in his Prometheus Unbound. Mary's drama consists of carefully described objects, such as flowers. Furthermore, her characters do not speak in soliloquy—except in Percy’s poems—rather, "nearly every speech is directed feelingly toward another character and is typically concerned with describing another’s emotional state, and/or eliciting an emotional reaction." Dialogue in Proserpine is founded on empathy, not the conflict more typical of drama. Mary Shelley also refused to embrace the visual sensationalism of early nineteenth-century theatre, focusing instead on "scenes of heightened emotion".

Scholars have disputed whether or not Mary Shelley intended her play to be staged. Most concur that it was never meant for performance, agreeing with Romanticist Alan Richardson that the play is "lyrical drama" or "mental theater" in the style of Romantic closet drama "with its emphasis on character over plot, on reaction over action, and its turn away from the theater". However, eighteenth-century theatrical scholar Judith Pascoe challenges this conclusion, pointing to detailed stage directions in the manuscript: "Ceres and her companions are ranged on one side in eager expectation; from the cave on the other, enter Proserpine, attended by various dark & gloomy shapes bearing torches; among which Ascalaphus. Ceres & Persephone embrace;–her nymphs surround her." From this evidence, she argues that Shelley intended her play to be staged.

Literary scholar Jeffrey Cox has argued that Proserpine, along with Midas, Prometheus Unbound and other plays written by the Leigh Hunt circle, were "not a rejection of the stage but an attempt to remake it". Turning from the traditional genres of tragedy and comedy of manners, these writers reinvented drama by writing masques and pastoral dramas. He argues that Midas and Proserpine are a pair of mythological dramas that demonstrate "the forces of oppression". For him, Proserpine "celebrates a pastoral world...threatened by male sexual violence and the tyranny of a sky god".