Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Essay Of The Lays Of Marie De France
A rhetorical analysis of gender
A rhetorical analysis of gender
Don’t take our word for it - see why 10 million students trust us with their essay needs.
In the middle ages knights in every kingdom were expected to follow basic rules set forth by the code of chivalry. According to this code a knight was supposed to show all of the following characteristics; prowess, justice, loyalty, defense, courage, faith, humility, largesse, nobility and franchise. If a man showed these characteristics he was said to be a good "chevalier," a French word for knight (Burgess 1). Marie De France, one of the more well-known female writers of the medieval period, used the term "chevalier" quite often in her Lais when referring to respected male characters. Unfortunately for women, the code of chivalry also meant that women would be held at a lower status than men and traded between the men of the court. In the article "Chivalry and Prowess in the Lais of Marie de France," Glyn Burgess notes that "most of the characters in Marie's Lais belong to the upper classes, and thus issues of loyalty, service and expertise in battle and hunting predominate" (1). These men adhere to the code of chivalry. Sharon Kinoshita, the author of "Cherchez la Femme: Feminist Criticism and Marie de France's `Lai de Lanval'," takes the opposing position and argues that in Lanval, "the title character's ultimate rejection of chivalric society is an expression of Marie de France's feminism" (1). While some male characters in the Lais of Marie De France do indeed show elements of the chivalric code, Lanval goes against the code and is eventually praised for it. In Equitan and Laustic while some male characters adhere to the code of chivalry, in the same Lais, some men defy it. Kinoshita says Marie shows feminism in Lanval by having the male protagonist go against the code of chivalry. Unlike in Lanval, the characters...
... middle of paper ...
...categorized into feminist and antifeminist pieces. The Lais are not about the code of chivalry, but about the marriage between the characters. Marie de France is not a feminist, an antifeminist, a woman who supports the code of chivalry, nor a woman who opposes the code of chivalry. She is simply a woman who emphasizes a strong marital bond in all of her works.
Works Cited
Burgess, Glyn. "Chivalry and Prowess in the Lais of Marie de France." French Studies 37.2 (1983): 129-42
De France, Marie. Lanval. The Norton Anthology of English Literature. Ed. M.H. Abrams. New York: W.W. Norton and Company, 2000. 127-40.
- -. Equitan. Trans. Judith P. Shoaf. 1992.
- -. Laustic. Trans. Judith P. Shoaf. 1991.
Kinoshita, Sharon. "Cherchez la Femme: Feminist Criticism and Marie de France's `Lai de Lanval'." Romance Notes 34.3 (1994): 263-73.
In Chrétien de Troyes' Ywain, women represent the moral virtue and arch of all mid-evil civilization. Women of this time had to be an object of love, which meant they had to have beauty, goodness, and be truthful. They had to be a representative of all chivalrous ideals. They also act as civilizing influences throughout the story. Women are put in the story to give men a reason for acting brave and noble. Men become knights in order to demonstrate to women that they are strong and capable of defending themselves against danger. This, they hope, will win the women's heart.
De France, Marie. Lanval The Norton Anthology of English Literature: The Middle Ages. Ed. Stephen Greenblatt. New York: New York, 2006.
Which is caused by the narrator having a male perspective. The narrator does not give the women and credit or redeeming qualities. All the women follow a general stereotype. If they tried to break away from the stereotype, they would me more important and influential characters. Paquette, a chambermaid in the Baron’s castle, is described as “a pretty and obedient brunette” (5). She is identified obedient not because of her job as a chambermaid, but because she is willing to exploit her soul and body to the men around the castle. In regards to the old woman, she doesn’t even have an actual name, which does not matter since is ugly and useless. The old woman has the mindset that she is; an object; a mistake; a disgrace. That her time has passed as a beautiful useful woman. All the rape and abuse has physically affected her and she is out of luck. In fact, she is lucky if men talk to her, or even look at her without
When Simone de Beauvoir died in Paris in 1986, the wreath of obituaries almost universally spoke of her as the 'mother' of contemporary feminism and its major twentieth century theoretician. De Beauvoir, it was implied as much as stated, was the mother-figure to generations of women, a symbol of all that they could be, and a powerful demonstration of a life of freedom and autonomy (Evans 1).
Thiebaux, Marcelle. The Writings of Medieval Women: An Anthology. New York: Garland Publishing. 1994. Print.
Womanhood in The Eve of St. Agnes and La Belle Dame Sans Merci and Mariana by Keats
Women were always viewed as weak, dependent, and powerless in the Middle Ages. Not only is it a common view during that time period, but this also is often stereotyped labeled to women today as well. In the romance Sir Gawain and the Green Knight, the hatred of women is portrayed throughout. However, while women are certainly looked down upon, they also are influential to the knights. This romance also portrays how a woman having different characteristics, could change the way she was viewed as well. Although women in the Middle Ages appeared to lack power, the women in Sir Gawain and the Green Knight have a hidden influence over the men and actually drive the action of the medieval romance.
Keen opens his book with an introductory chapter examining three literary works pertaining to chivalry: the Ordene de Chevalerie, the Book of the Ordre of Chyvalry, and the Book of Chivalry. All three of these were written during a period of great religious reform, yet, according to Keen, they appear to not have been influenced by the ideas of the Church. The Ordene de Chevalerie is an anonymous poem that stresses the importance of the ritual required for initiation into knighthood. The popularity of the piece leads to the conclusion that the poem reflects “what men understood chivalry to mean” (8). This poem is then contrasted by the Book of the Ordre of Chyvalry, a narrative work written by Ramon Lull that describes in detail the origins and meaning of chivalry. A consideration of Geoffrey de Charny’s ...
Often times in literature the body becomes a symbolic part of the story. The body may come to define the character, emphasize a certain motif of the story, or symbolize the author’s or society’s mindset. The representation of the body becomes significant for the story. In the representation of their body in the works of Marie de France’s lais “Lanval” and “Yonec,” the body is represented in opposing views. In “Lanval,” France clearly emphasizes the pure beauty of the body and the power the ideal beauty holds, which Lanval’s Fairy Queen portrays. In France’s “Yonec,” she diverts the reader’s attention from the image of the ideal body and emphasizes a body without a specific form and fluidity between the forms. “Yonec” focuses on a love not based on the body. Although the representations of the body contradict one another, France uses both representation to emphasize the private and, in a way, unearthly nature of love that cannot be contained by the human world. In both lais, the love shared between the protagonists is something that is required to be kept in private and goes beyond a single world into another world.
Jokinen, Anniina. "Luminarium: Anthology of English Literature." Luminarium: Anthology of English Literature. N.p., 1996. Web. 9 Nov. 2013. http://www.luminarium.org/
Excluding the antecedent available princess and the lady in Marie’s version of “Lanval”, most of these beautiful women are married, and the knights who come to rescue them are technically adulterers. Marie chastises none of them, surprisingly. The only characters who are punished suffer pain or death not because of their adultery type affairs, but because their secret love provoked them to commit other actions, such as murder. Undeniably, Marie seems to approve of adultery that is composed of the “purest” love. When his lover’s jealous husband kills one of the flamboyant knights, his death is trumpet to a great extent “unjust”, and the son he helped conceive is doomed to avenge the truth. Clearly, Marie’s stories function in their own universe, where women trapped in unhappy marriages have the lawful right to furnish love elsewhere, which is quite different from the church’s view or the act of courtly love. Her writing was popular, popular enough that we are still reading her works a thousand years later. So apparently there was something in common and vibrant enough about this sequence of events that allowed it to appeal to such an expanded audience. Safe to say Marie’s goals have been satisfied and
Looking at Henry V and Saint Joan, both of the stories are very similar in many ways. Both plays have a strong main character that is persistent, dedicated, and strong and take place during the same war. Though the plots are not directly connected, the feminist lens can be connected to both plays, and by examining a speech from each, there are many similar qualities. The differences and similarities between Henry V and Saint Joan can easily be compared and contrasted through rhetorical analysis and the feminist critical lens.
de Beauvoir, Simone. "The Woman in Love." The Second Sex. New York: Vintage Books, 1989. . Print.
Early feminists gained the right to vote, but were silenced when it came to being a homemaker. Women didn't have the drive because what was the point in trying? During the war, women went and got jobs to replace men and enjoyed their newfound careers. After the war, women were told to go back to their homes, but many didn't want to and felt very sad to go back. Powerful pieces of literature were posted during this time and gave women courage. Betty Friedan gave voice to second wave feminists by writing her book “The Feminine Mystique.” She found inspiration throughout her early life and careers. Betty created the National Organization for Women. A place where woman can educate each other on feminism. Betty was a high esteem journalist but
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.