Proserpine (play) - Themes

Themes

Mary Shelley expanded and revised the Roman poet Ovid's story of Proserpine, which is part of his larger Metamorphoses. The tale is based on the Greek myth of Demeter and Persephone, which explains the change of the seasons through Persephone's visits to the Underworld: when she is confined to Hades's realm, autumn and winter cover the earth, and when she returns to live with her mother, spring and summer bloom. The myth depicts the victory of male violence over female procreation. Like Percy Shelley, John Keats, and Lord Byron, Mary Shelley was interested in rewriting the classical myths; however, like other Romantic women writers, she was particularly interested in challenging their patriarchal themes. In revising the Proserpine myth, she placed women and their power at the centre of the narrative. For example, Ovid represents Proserpine as "an unreflective child, willfully straying after flowers in infantile abandon" while "Shelley portrays Proserpine as a thoughtful, empathetic adolescent" who wants to find flowers for her mother. Ovid’s version of the myth focuses on violence, particularly the abduction and rape of Proserpine, while Shelley’s play focuses on the suspenseful search for Proserpine. Her version highlights Ceres and the nymphs’ grief and Proserpine’s own desire to escape from the Underworld instead of the rape (the rape happens offstage). In contrast, other nineteenth-century adaptations often expanded the rape scene, romanticising it and turning it into a scene of courtship.

Women and women’s issues dominate Mary Shelley's drama—no male characters appear, with the brief exception of Ascalaphus. However, as Romanticist Marjean Purinton argues, there is a strong masculine presence in the play even without male characters, suggesting "the ubiquitous presence of patriarchal power in the domestic sphere". Although the myth is fundamentally about rape and male tyranny, Shelley transforms it into a story about female solidarity and community—these women are storytellers and mythmakers who determine their own fate. Ceres's love—a mother's love—challenges the power of the gods. Shelley tells the story almost entirely from Ceres's point of view; "her play elegiacally praises female creativity and fecundity as ‘Leaf, and blade, and bud, and blossom.’ " Shelley writes active, rather than passive, roles for Proserpine and Ceres. For example, it is Ceres's anger, not her grief, that brings "winter's blight". However, Proserpine’s abduction is prefigured in the story of Arethusa and, as literary scholar Julie Carlson points out, the women can only join together after Proserpine has been abducted.

In Shelley’s version of the myth, paradise is lost not through the fault of women but through the interference of men. Pluto's "egotistical, predatory violence" is juxtaposed with Ceres’s "loving kindness, her willingness to sustain life, her unswerving devotion to her child". Sex, in this myth, is represented as a separation from the feminine and a forced surrender to the masculine. Pluto’s domination of Proserpine symbolises "a culture based on acquisition and brutality, a culture that covertly justifies (when it does not overtly celebrate) male mastery".

Proserpine and Midas are often seen as a pair of contrasting plays. Proserpine is a play of female bonding, while Midas is a male-dominated drama; male poets participate in a contest in Midas while in Proserpine female characters participate in communal storytelling; "where Midas lives in his golden palace imagining himself at the center of an all-powerful court, Ceres laments leaving the pastoral enclave she shares with Proserpine for Jove’s court"; Midas focuses on gold, while the women in Proserpine enjoy flowers; and "where the society of Midas is marked by egotism, greed, and strife, the female society of Proserpine values community, gift-giving, and love".