Joseph Addison’un Cato ve George Lillo’nun Londralı Tüccar Eserlerinde Tragedyanın Maskülenleşmesi

On sekizinci yüzyıl, modern Batı dünyasının toplumsal cinsiyet ve biyolojik cinsiyet kavramlarının gelişiminde fazlaca etkili oldu. Bu makale, Addison’un Cato adlı oyununun sonradan düzenlenmiş hali olan Cato. A Tragedy. By Mr. Addison. Without the Love (1764) ve Lillo’nun Londralı Tüccar (1731), adlı eserleri üzerinden, on sekizinci yüzyıl İngiliz tragedyasının maskülen karakterini analiz edip aynı zamanda aşk sahnelerine yönelik görmezden gelmenin ve hakir görmenin sebep ve sonuçlarını incelemektedir. Komedi kadınların ve onlara ait değerlerin açıkça hor görüldüğü bir tür olma özelliğini kazanmış iken tragedya ise erkeksi değerlerin ve patriarkal kuralların sıkı sıkıya kollandığı bir tür olmuştur. Toplumun hem normlarını hem de ideallerini gösteren Cato ve Lonralı Tüccar oyunları, maskülen değerlerin evrimine de tanıklık etmektedirler.

Masculinization of Tragedy in Joseph Addison’s Cato and George Lillo’s The London Merchant

During the 18th century, the development of gender and sexuality in the modern Western world was under tremendous impact of visual and literary culture. Considering this, by examining Addison’s Cato. A Tragedy. By Mr. Addison. Without the Love Scenes (1764) (Latin version) and Lillo’s The London Merchant (1731), this article analyzes the masculine features of the characters of 18th-century tragedies in England and investigates the reasons behind the dismissal and belittlement of love scenes and feminine qualities in those tragedies. In comedies, women and their qualities were openly ridiculed, while in tragedies, masculine values and patriarchal rules were overtly protected. Depicting societal norms and ideals, Cato and The London Merchant portray the evolving notions of masculinity.

Keywords:

Cato, The London Merchant, Eighteenth Century Tragedy, Joseph Addison George Lillo,

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