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PERFORMING VICTORIAN WOMANHOOD: ELSIE FOGERTY STAGES TENNYSON'S PRINCESS IN GIRLS' SCHOOLS
Published online by Cambridge University Press: 09 April 2013
Extract
Tennyson's poem The Princess (1847) has long intrigued readers with its polarizing gender politics and playful, lilting verses recounting the grim bloodshed that results when an ambitious Princess establishes a women's college. The frame narrative focuses on a group of friends at a summer party who are inspired by a tale of an ancient warrior queen, who “sallying thro’ the gate, / Had beat her foes with slaughter from her walls” (Prologue 30–34). At some moments jocular and at others acerbic, the men spin the Princess's story, with the women of the gathering providing interludes of music between the tales. In the narrative that unfolds, the Princess establishes a separatist women's college deep in the country, but counter to her plans, a neighboring prince has determined to make her his wife. Along with two friends, the Prince sneaks into the school disguised as a woman. Comedy and romance ensue, leading to the Prince's eventual unmasking and a deadly serious battle between his father and the Princess's father over how her body will be disposed in marriage. The Prince is wounded in the battle and the Princess is smitten with remorse. While nursing him back to health she is “ultimately transformed from a fierce feminist into a broken nurse” (Buchanan 573) as she anticipates the possibilities of agency through marriage and motherhood. The poem ends with the disbanding of the Princess's school and the reinstallation of its female leaders under patriarchal control.
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