Masculinity and Turkish Captivity in Swetnam, the Woman-Hater

The anonymous play Swetnam, the Woman-Hater, Arraigned by Women (1620) provides new insight into the place of returning Turkish captives within the dominant construction of masculinity in Jacobean England. Emasculated by his participation in an unnecessary war and his implied Turkish captivity, Prince Lorenzo returns to Court not as himself but in Amazonian disguise. While the audience is at all times aware that Lorenzo is the rightful heir to the throne by birth, the play demonstrates Lorenzo's need, through disguise, duelling, and stage-craft, to perform masculinity in order to be recognized by the Court as a worthy male ruler.