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Public Eye and Private Place: Intimacy and Metatheatre in Pericles and The Tempest

Lysimachus: ...O, you have heard something of my power and so stand aloof for more serious wooing. But I protest to thee, pretty one, my authority shall not see thee, or else look friendly upon thee. Come, bring me to some private place: come, come. Pericles 4.5.93–97 In this speech from Pericles, Lysimachus demands that Marina stops what he is determined to read as playing hard to get, and submit to his sexual desire for her. The line “my authority shall not see thee, or else look friendly on thee” has been glossed by editors as either an implicit or an overt threat.1 But his “authority” here is given an odd intentionality, suggesting that Lysimachus is already distancing himself from the acts he will soon be made ashamed to have thought of performing. This reading holds Lysimachus’s public authority in tension with the private place to which he demands Marina take him: he requires that Marina submit not to his authority as a public figure but to his demands as a private customer of the brothel where she is being held captive. Marina next reminds him that his identity cannot be divided between public and private in this way, by recalling the quality intrinsic both to the successful performance of his public persona and to his self-respect: his honor. She thus persuades him to honor her speech with gold instead of buying her body with it. In this moment, Pericles’s audience is asked to imagine a “private place” in which sexual acts will be performed, and conceptualize a private persona that can hide away from public exposure. In turning Lysimachus from considering his “authority” to what should be inherent in that authority,