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10 Because white was said to convey goodness and sincerity, Queen Elizabeth I may have chosen to wear it for political reasons, i.e. in order to corroborate her role as “The Virgin Queen” even though she was probably far from being a maiden (Hibbert 68). Likewise, the Pope was notorious for wearing white clothes, also relevant in the Catholic Church because they were used for baptisms, marriages, ordinations and dedications. 12 In times of religious turmoil, the colour white must have had a strong impact on people’s feelings. It definitely had effects on the visual arts since Protestantism advocated plain sculptures, which led English viewers to grow accustomed to monochrome sculpture. Besides, tinges and pigments were (and still are) associated either with light or shadow (that is to say with good or evil) by the Church authorities. Significantly, Morris Palmer Tilley collected proverbs from the 16 th and 17 th century which exemplify the association of evil with its coloured representation. It was not uncommon to hear that “the Devil can transform himself into an angel of light” (Tilley D231) or that “The white Devil is worse than the black” (Tilley D310), or again, that “Vice is often clothed in virtue’s habit” (Tilley V44). According to popular beliefs, the devil disguised himself with a fair face, as is shown by Juliet’s response on hearing that Romeo has killed Tybalt: “O serpent heart, hid with a flowering face” (3.2.73). 13 In early modern England, some colours were thus clearly regarded as devilish. When, in Romeo and Juliet , Benvolio tells Romeo that: “[He] will make [him] think [his] swan a crow” (1.2.89), 14 he successively compares Rosaline to a white bird and then to a black one when he wants to prove her false. Furthermore, he insists on Romeo’s erroneous vision (“you saw her fair” [1.2.96]), underscoring his misinterpretation and the result of resorting to white as a camouflage: facial alterations could indeed indicate fakeness and characterize the devil’s attempt to conceal himself. 15 Hence, the colours perceived by the lover are often biased as in Shakespeare’s sonnet 130, “My mistress’ eyes are nothing like the sun”, where the speaker relies on a wide variety of colour comparisons in order to debunk the usual Petrarchan cliches. Here, the devilish temptress appears to be characterized by her palette of black and brown.
11 As dark hues can correspondingly describe infatuation and love, white could also connote death. When the dying Mercutio, after being hurt by Tybalt, calls himself a “grave man” (3.1.98), he depicts himself as cold, still and monochrome as if he had already been changed into an early modern tomb sculpture. Likewise, the Nurse describing Tybalt’s dead body recalls: “A piteous corpse, a bloody, piteous corpse – / Pale, pale as ashes; all bedauded in blood, / All in gore blood” (3.2.54-6). In such lines, white and red form a pattern of death and emerge as an unequivocal mix of tragic colours.
16 When Capulet gets angry at his daughter’s refusal to marry Paris, his wife has to intervene as his (. ) 17 See Thomas Wilson, The Art of Rhetorique (1553): “When we heare one saie, such a man swelled, seei (. )
12 Yet, red is actually an unsettled colour. Considered as threatening, it is often synonymous with love, sex, desire, sin, pride, anger, ambition, power, hell and fire in Shakespeare’s works. 16 For instance, when Juliet desperately tries to get some information from the Nurse and harrasses her into telling her what Romeo has just said, the Nurse asks Juliet: “Are you so hot?” (2.4.62) which instils an idea of youth, impatience and sexual arousal through the term ‘hot’, linked to the colour red. In the same way, in The Winter’s Tale , King Leontes, who is much older than Juliet but still impulsive and made angry by the supposed infidelity of his wife, exclaims: “Too hot, too hot” (1.2.110), implicitly refering to red as a negative colour, one of sex and acrimony. A few scenes later, it is Paulina’s turn to associate anger with red, more explicitly this time, as she talks about her “red-looked anger” (2.2.37). Clearly, her fury turns her into a feminine devil. 17 As to Juliet’s nurse, she carries on with her red-hot sexual allusions when she declares: “Now comes the wanton blood up in your checks. They’ll be scarlet straight at any news” (2.4.70-71). When Capulet gets angry at his daughter’s refusal concerning her union with Paris, his wife has to intervene as his rage grows to unexpected proportions. She once more resorts to the symbolical bond between red and anger to tell him off (“You are too hot” [3.5.175]). One can thus notice that the heat provoked by passion is often conveyed by a red face in Shakespeare’s England. In 1571, Thomas Heel noted for example that.
[t]he worthy Philosopher Aristotle, in Methaphoricis uttereth, that the cheeks appearing red above, doe witnesse such a creature to be a drunkarde, or greate drinker of wine: and referred unto the similitude of the passion: in that such which latelye haue bene angred and vexed, appeare of a blushing redenesse, especially about the eyes, kindled and caused in the beginning of the yre. (Heel 117)
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