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Matrimonial Performativ in Hanibal Lucić’s Slave Girl

Dolores Grmača
Ivana Olujić

Sažetak

In this paper, the wedding ceremony stages contained in Lucić’s drama will be observed through the theoretical framework of speech acts. In literary historiography, it is regularly pointed out that after the bedding ceremony, which proved Slave-Girl’s virginity, the wedding ceremony begins, and one wonders whether Derenčin and Slave Girl would even marry if she were not a virgin. This paper offers a new reading of Lucić’s drama and argues that Derenčin and Slave Girl married before the bedding ceremony and before the final festive scene, and that virginity was not a requirement at all. Speech acts are actually key to understanding what is actually happening on the scene in Lucić’s rather static drama, i.e. the matrimonial performative is responsible for shaping the action, its plot and its outcome. The Slave Girl is one of the first European love dramas of proposal and stage marriage; moreover, it is a drama about an ideal model of marriage made out of love, a marriage understood as a meeting of two wills versus a dominant model of marriage resulting from a family agreement beyond the will of the newlyweds.

Ključne riječi

Hanibal Lucić; The Slave Girl (Robinja); performative; making a marriage

Hrčak ID:

246511

URI

https://hrcak.srce.hr/246511

Datum izdavanja:

20.10.2020.

Podaci na drugim jezicima: hrvatski

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