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In her famous speech to the troops at Tilbury Elizabeth I addressed her soldiers by saying: "I know I have the body but of a weak and feeble woman, but I have a heart and stomach of a king, and of a king of England too" (102). Like other successful fruits of Elizabeth's rhetorical skills this famous statement of courage "in the midst and heat of the battle" has been frequently analysed by both historians and literary scholars. As it seems, the speech is a rhetorical pearl as through the employment of implicit Renaissance misogyny Elizabeth takes full advantage of it. Her speech constitutes the embrace and, at the same time, denial of traditionally conceived femininity or female nature. By acknowledging her physical and physiological constitution she underscores her intellectual capacity, at the same time making the masculine a point of reference. In the 19th century, at the height of Wilhelmine patriarchy in Germany, Friedrich Nietzsche (105) writes in Ecce Homo: "Oh, what dangerous, insidious, subterranean little beasts of prey they are! And so pleasant into the bargain!...-Woman is incomparably more evil than man, cleverer too; goodness in woman is a form of degeneration [...]." As I would like to argue, against those who see Nietzsche as a blatant misogynist, in his statement, which only seemingly looks like a sexist slur, Nietzsche is actually paying women a compliment. Nietzsche's reasoning and its conclusions, including revaluation of values, are based on "Ruckschlus, or conclusion a posteriori" (Babich 27). Not only must one try to grasp the whole context of his words, meaning the entirety of his thought, but also never take his words at face value. Knowing that his philosophy opens up to the absolute reversal of human valuations, placing value "beyond good and evil", one should reconsider Nietzschean stance on the feminine. Elizabeth's Tilbury speech, but not only this one, makes recourse to a similar reversal of roles and functions, which demands reversal of reading. It is what is weak and feeble in you that becomes the heart of strength. I would like to make this intellectual parallel that can be drawn between the Renaissance Queen and the 19th century philosopher a point of departure for a rereading of roles and functions of two dramatic Queens-Shakespeare's Lady Macbeth and Marlowe's Zenocrate-in the context of both early modern conception of femininity and Nietzschean ideas on "overhuman" potential.As Carol Diethe (77) writes, the notion of the Uberweib in Nietzsche's writing is "conspicuous by its absence". Nevertheless, as feminist readings of Nietzsche by Sarah Kofman, Kelly Olivier or Carol Diethe demonstrate, the female question cannot be overlooked when speaking about Nietzsche's philosophy. Joan Kelly-Gadol (176) in her famous article entitled "Did Women Have a Renaissance?" answers her title question negatively by saying that: "there was no renaissance for women-at least, not during the Renaissance". By pointing out changes in sexuality and sex/gender roles she highlights the gradual stifling and oppression of women within the patriarchal family and domestic roles. The under-developed Marlovian female characters as well as Shakespearean fatal women can be partly inscribed within this pattern-what Kathleen McLuskie (89) posited long ago when she heralded Shakespeare as "the patriarchal bard". However, both playwrights do grant their female characters limited space and field of activity with different focuses and quite different consequences. Nietzsche, in his period was known as a "hater of women" ("Frauenhasser"), "despiser of women" ("Frauenverachter"), "enemy of women" ("Frauenfeind"), and "Antifeminist" (Helm 64). With all his apparent female-hate and misogyny Nietzsche is, nevertheless, credited for the reintroduction of the body into the mainstream of Western philosophy and as a consequence the appraisal of female sexuality against the backdrop of Wilhelmine "legendary" cult of Hausfrau (Helm 74-75; Diethe 73). …

Re-gendering of the Nietzschean Übermensch in Shakespeare’s "Macbeth" and Marlowe’s "Tamburlaine"— the Case of Lady Macbeth and Zenocrate