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Ganymede and Helen
“Ganymede and Helen,” a propagandistic text circa the 12th or 13th century puts two wonderfully beautiful specimens of the sexes in debate over love; love between a man and a woman, defended by Helen, and love between two men, fought for by Ganymede. Helen represents the orthodoxy while Ganymede provides the dissenting opinion; however, by the end, Helen is declared the winner and Ganymede asks for her hand in marriage. This turn is surprising, for moments before Ganymede is pro-man love and seems to act thus only because it is how society deems he should.
It is not Ganymede who makes advances on Helen, but she who longs for his accompaniment. She is “not asked” so “she asks, and entices, / [o]ffering him her lap, her kisses, and her bosom” (27-8). Later, she even says that the creator “tried to make woman more beautiful than man, / [s]o that he may attract man to mate with woman” (146-7). However, Ganymede does not know how to receive this affection, not “knowing the role expected of him” (31) and instead chooses to be passive. From the start we see Ganymede is not interested in Helen, despite her beauty he clearly rejects her and everything she has to offer. In the book Sodom and Gomorrah, Bernd-Ulrich Hergemöller postulates that Ganymede is the “representative of gay people in general . . . without any temporal or regional limitation” (Hergemöller 20). His character epitomizes homosexuality, he is an emblem of the lifestyle, and the fact that he speaks here against heterosexual love is almost poetic.
The character of Helen on the other hand seems confused as to her own sexuality, is she or is she not a virgin? The speaker says that she no longer has her maidenhead, or rather the “mo...
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...s a lesson to be learned from the poem and the characters at the end: love is between a man and a woman; anything else and be damned by God. As the Pope was not swayed by Damian’s book, neither would most of those who read or heard this tale. Helen’s argument, although compelling and logical, supported by Reason, is in place to persuade and convince the Ganymedes of the medieval world to marry a woman they do not love, or fear God’s wrath.
Works Cited
Brożyna, Martha A. Gender and Sexuality in the Middle Ages. Jefferson,
North Carolina: McFarland & Company, Inc., 2005.
Hergemöller, Bernd-Ulrich. Sodom and Gomorrah. Gateshead, England:
Europian Union, 2001.
Ziolkowski, Jan M. Obscenity: Social Control and Artistic Creation in the
Eurpoean Middle Ages. Leiden, The Netherlands: Koninklijke Brill NV, 1998.
After a few days of grieving, Editha went to George’s mother’s house. During a tragic even in a love-war story, both sides of the family would come together and overcome the obstacle. However, in Editha when she went to George’s parent’s house the mother gave more guilt to Editha saying, “He told me he had asked you to come if he got killed. You did not expect that, I suppose, when you sent him” (1499). The mother continues to say, “When they give their men up to their country, they think they will come marching back, somehow, just as gay as they went...and they are so much the prouder of them” (1500). This comment is reffering to the typical type of love-war stories that have been written, undercutting the romantic plots.
In The Lais of Marie de France, the theme of love is conceivably of the utmost importance. Particularly in the story of Guigemar, the love between a knight and a queen brings them seemingly true happiness. The lovers commit to each other an endless devotion and timeless affection. They are tested by distance and are in turn utterly depressed set apart from their better halves. Prior to their coupling the knight established a belief to never have interest in romantic love while the queen was set in a marriage that left her trapped and unhappy. Guigemar is cursed to have a wound only cured by a woman’s love; he is then sent by an apparent fate to the queen of a city across the shores. The attraction between them sparks quickly and is purely based on desire, but desire within romantic love is the selfishness of it. True love rests on a foundation that is above mere desire for another person. In truth, the selfishness of desire is the
Bloch, R. Howard. Medieval Misogyny and the Invention of Western Romantic Love. Chicago: U of Chicago P, 1991.
... She first criticizes Hero’s choice of a ruff; then she indirectly denigrates Hero’s wedding gown by contrasting its simplicity with the duchess of Milan’s lavish garment (3.4.14-23); finally, she mocks the prim and proper Hero by making a coarse sexual allusion (3.4.27). When Hero rebukes her, Margaret refuses to be shamed and defends herself: “[ashamed] of what, lady? Of speaking honorably? Is not marriage honorable in a beggar? Is not your lord honorable without marriage? (3.4.28-31). By implying that honor is achieved not through any marriage but through a “good,” socially suitable marriage, Margaret implicitly criticizes the inequality in her society and expresses her desire for a marriage that will not leave her “below stairs” (5.2.10). But she is acutely aware that she has no such marriage prospects as she resentfully watches Hero’s wedding preparations.
In Zora Neale Hurston’s novel, Their Eyes Were Watching God, the reader is treated to an enthralling story of a woman’s lifelong quest for happiness and love. Although this novel may be analyzed according to several critical lenses, I believe the perspectives afforded by French feminists Helene Cixous and Luce Irigaray have been most useful in informing my interpretation of Hurston’s book. In “The Laugh of the Medusa,” Cixous discusses a phenomenon she calls antilove that I have found helpful in defining the social hierarchy of women and relationships between them in the novel. In addition, Cixous addresses the idea of woman as caregiver, which can be illustrated through the character of Janie in Their Eyes Were Watching God. On the other hand, Luce Irigaray discusses the different modes of sexual desire of men and women in her essay, “The Sex Which is Not One.” Many examples supporting and refuting her claims can be found in the novel. According to Cixous, the most heinous crime committed by men against women is the promotion of antilove. “Insidiously, violently, they have led [women] to hate women, to be their own enemies, to mobilize their immense strength against themselves, to be the executants of their virile needs” (1455). Their Eyes Were Watching God offers many examples of women in vicious contention with one another, usually involving or benefiting a man. Janie is confronted by the malice of her female neighbors in the very first chapter of the novel, as she arrives back in Eatonville after her adventure with Tea Cake. “The women took the faded shirt and muddy overalls and laid them away for remembrance. It was a weapon against her strength and if i...
An in-depth discussion of same-sex female desire is essential to a well-rounded understanding of historical sexuality as well as for representation in historical study for queer-identifying students. Accounts of lesbianism exist throughout history, however, historians have only recently begun studying the evidence of these relationships due to social taboos and fewer available sources than exist as examples of male homosexuality. The field of study on lesbianism in medieval Europe is scant but nevertheless present. Primary sources include laws, court cases, and letters from the period which support the widely held social constructionist view that sapphic relationships existed despite the lack of a unified lesbian social identity; these, in
The Art of Courtly Love was written by a monk at the end of the 11th century. The task was put on him to write a guide book so-to-speak for how the wealthy and powerful should go about falling in love, marriage, and things related to it. Obviously, a monk had no personal experience in these matters, so his writings must have been from observed experiences. These writings show how the members of the court truly were in these...
Sontag introduces her essay to the audience by establishing a focal point around the fact that women viewed today are derivative from the religious perspective of how women were viewed in history. During the ancient times, Greeks and Christians practiced their own methods of analyzing and critiquing women and their beauty. The Greeks believed that the lack of ‘inner” beauty could be compensated with “outer” beauty. They distinguished the two beauties in a way that suggested that both were interconnected to one another within an individual. The preference and priority was given to the ‘outer’ beauty, while the ‘inner’ beauty would be kept at bay. Christianity, on the other hand, gave moral significance to beauty; in defining beauty, or words of physical character to be associated with woman and feminine. Gradually, Sontag introduces the distinguishable beauty between men and women. She does this by recapitulating how in a Christian religion, a woman’s body was parted into many sections to be judged and scrutinized, while men are visua...
As a man fascinated with the role of women during the 14th Century, or most commonly known as the Middle Ages, Chaucer makes conclusive evaluations and remarks concerning how women were viewed during this time period. Determined to show that women were not weak and humble because of the male dominance surrounding them, Chaucer sets out to prove that women were a powerful and strong-willed gender. In order to defend this argument, the following characters and their tales will be examined: Griselda from the Clerk's Tale, and the Wife of Bath, narrator to the Wife of Bath's Tale. Using the role of gender within the genres of the Canterbury Tales, exploring each woman's participation in the outcomes of their tales, and comparing and contrasting these two heroines, we will find out how Chaucer broke the mold on medievalist attitudes toward women.
During the Middle Ages, Courtly love was a code which prescribed the conduct between a lady and her lover (Britannica). The relationship of courtly love was very much like the feudal relationship between a knight and his liege. The lover serves his beloved, in the manner a servant would. He owes his devotion and allegiance to her, and she inspires him to perform noble acts of valor (Schwartz). Capellanus writes, in The Art of Courtly Love, “A true lover considers nothing good except what he thinks will please his beloved”. The stories of Marie de France and Chrétien de Troyes illustrate the conventions of courtly love.
Throughout Abelard and Heloise’s correspondence in The Letters of Abelard and Heloise, their discussions of virginity, fornication, punishment for sins, and relationships with God and the clergy shed light on the societal roles of women in the patriarchal Christian society. Abelard and Heloise’s letters, especially Heloise’s letters, help to shed light on the restraints that are put on women by religious and social bounds during the 12th century, particularly in regards to marriage and virginity with how the 12th century the patriarchal Christian society helped to make women seem more as if they were second rate citizens in comparison to their male counterparts.
In the Middle Ages, when The Canterbury Tales was written, society became captivated by love and the thought of courtly and debonair love was the governing part of all relationships and commanded how love should be conducted. These principles changed literature completely and created a new genre dedicated to brave, valorous knights embarking on noble quests with the intention of some reward, whether that be their life, lover, or any other want. The Canterbury Tales, written in the 14th century by Geoffrey Chaucer, accurately portrays and depicts this type of genre. Containing a collection of stories within the main novel, only one of those stories, entitled “The Wife of Bath’s Tale”, truly outlines the 14th century community beliefs on courtly love.
... allows the present day reader to gain insight into commonly held beliefs regarding women during the 14th century. By allowing Alison to have a sense of humor and joke about aspects of her marriage, Chaucer was able to make numerous points regarding women that would not have been acknowledged had a female author created them. By making Alison a laughable character, Chaucer was able to make points about women such as the unfairness of double standards, the acknowledgement of female desire, and the reality of women marrying well to improve their economic situations. Chaucer also provides us with detailed examples of commonly held stereotypes regarding women that are still relevant approximately seven centuries later.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
...e nature of events transpiring, she does not exalt herself; the maiden is compared to a hero, but can never be truly recognized as one.