In this sonnet, the 54th of “Amoretti”, by Edmund Spenser, the theatre is the metaphorical setting where love can take centre stage. The man and woman involved interact through the framework of a play, with the man being the sole actor, and the woman the only spectator. Since he is acting, the man’s actions are not authentic, but instead a presentation designed to impress. The theatre as a setting for interaction between the actor and spectator is a symbol for the courtship relationship between a man and a woman. In this poem, the theatre is where the actor takes the leading role, but is only putting on an act. The spectator in the theatre, the woman, is serious about the play, but is unimpressed by the falsehood the actor presents. After her lack of interest, the actor considers it her problem, and labels her “a senceless stone” (Line 14).
This setting of a theatre where the man is the actor suggests that the man plays the leading role in this relationship. In this sonnet, the woman sits idly by and observes his efforts. She certainly is important, but her part is to examine his performance and as the audience, determine whether or not she approves. Her approval, in the form of applause, laughter, or even a smile will encourage him, enabling him to perform to the utmost of his ability. If she instead responds unfavourably, the actor will lose his will to act. As in an intricate dance, he proposes each step, and she determines if following his lead is worth her while. Men taking the lead is common, and would have been expected in Spenser’s day.
The man in this sonnet is very passionate about his performance, pouring his heart and soul out for his lover. He plays all the parts, and does it with such finesse that any theatre-goer should be impressed. This actor is simply showing off for his girl. He does this however, not with meaningless party tricks or great athletic abilities, but through the beauty of theatre. Using this refined and artistic talent, the actor attempts to win his lover’s heart by impressing her.
The interaction between the actor and spectator is one of action and response. The actor performs a scene, to the utmost of his ability, and then waits for the response of the one-woman audience. A favourable reaction from the spectator will inspire the performer to further greatness, but an inappreciative response will take away his motivation (Lines 9-12). The time he spends dwelling on her “ [beholding him] with constant eye” (Line 9) suggests that he was disheartened by this indifference. Unfortunately, her responses only deteriorate from here. This woman “delights not in [his] merth” (Line 10), doesn’t care about his pain (Line 10), mocks his laughter, and even laughs when he cries (Line 11). Clearly something is wrong, since the actor appears to be doing all the right things, yet the spectator is not responding positively. Their “conversation” is not proceeding ordinarily.
This theatre is almost like a ritualistic conversation between two lovers. Though over a longer span of time, they both have a chance to participate in the discourse. This is accomplished by the leading and response model described above. In this way, they are able to communicate their feelings back and forth. As with most conversation methods however, with a lack of participation and understanding, this dialog will not accomplish it’s goal of communication. This is demonstrated in Line 11, where the civility of their relationship begins to disintegrate. It becomes very difficult to keep a conversation going when one party is acting, and the other is a “senceless stone”.
The biggest obstacle between the actor and spectator is that the man is not truly representing himself. His contribution is a play, an act, a fabrication. In his attempts to impress his lady, he goes too far, and puts on a “mask” (Line 6). This begins to push his audience away, since she can sense his insincerity. In fact, he goes so far as to “[disguise] diversly [his] troubled wits” (Line 4). He seems to modify his mood to fit whatever he believes will most impress his love.
In some cases this mood is mirthful, like a comedy, while in others it is woeful, like a tragedy. This actor is truly a master of concealing his true emotions. In a moment he can change from a happy, excited man to an upset and depressed one. He does this all with the intent of wooing his audience, dazzling her with his displays of emotion. This is really the only mean available to him from atop the stage. Because of this interesting dilemma, he plays all the pageants (Line 3), using his skill to present an image which his spectator will appreciate. This is not his true personality which is visible, but instead it is the facade he portrays.
Realizing that the actor’s true self is not shown, the spectator refuses to believe his deception. First she studies him with a steady, emotionless eye, confirming whether the feelings he expressed were sincere. The woman no longer delights in the actor’s performance (Line 10), but hardens her heart (Line 12) more and more to his antics. She begins to taunt him, mocking his happy laughter, and laughing at his attempted sorrow. These do not mislead her, for she sees him as he is, an actor, not the man he appears on the surface. She sees through his mask, and recognizes his performance as script re-enacted flawlessly.
The actor is distraught, not understanding why the spectator reacts so sullenly. He wonders what more he can do to “move her” (Line 13). In his eyes, he has done everything possible to please her, and yet she seems to think that he has not done enough. He does not understand how he can do anything better than the riveting performance which he just completed. Upset and confused, he sadly writes her off as “no woman, but a sencelesse stone” (Line 14).
This theatre is a symbol of the relationship between a man and a woman, specifically when the man is not being genuine. The man has not yet come to understand that one of the most important elements of a relationship is honesty. If the woman ever did love him, she loved the mask she saw, not the man behind it. Realizing this, she rejects him because of his artificial front. Acting and falsehood is a dangerous business when it spills out of the theatre and into love.
Works Cited
Spenser, Edmund. “Amoretti 54.” The Broadview Anthology of British Literature. Vol. 2. Peterborough: Broadview, 2006. 24