Research Paper on "Evolution of the Female Figure in Arthurian"

Research Paper 17 pages (5757 words) Sources: 17

[EXCERPT] . . . .

Evolution of the female figure in Arthurian literature is characterized foremost by stagnancy and a narrowness of personage. While Arthurian authors are gifted at describing many of the female characters in vivid, memorable terms that make many of them seem like ethereal goddesses; a one dimensionality persists in their character, regardless of whether they are considered morally good or morally bankrupt according to the codes of the Arthurian realm. The female characters created demonstrate how in Arthurian literature heroism belongs chiefly to men, and that beauty, or more aptly flawed beauty, is a trait most immediately connected to women as medieval literature often uses a lady's beauty as a means of confirming that she has a strong moral character (Schaus, 79). The reverse is also true, as in Arthurian literature a lack of beauty almost always indicates a degree of moral bankruptcy or a dubious character. These are rather black and white characterizations of women in this fictional reality and often to transcend theses narrow boundaries of character, female characters have to subvert the laws of this realm in order to achieve autonomy.

Thus, the evolution of the female as it existed in Arthurian literature is one marked by an overwhelming amount of torpidity; the Arthurian woman was most consistently characterized by flawed colors and deception. The dichotomous shades by which women are colored are invariably a result of the intricate levels of fear that Arthurian men felt at the idea of female power and this anxiety constantly manifests itself in this period of literature. Due to the strict nature of character and gender roles of this variety of literature, one finds time and again that women have to rebel or engage in subversive behavior in order to enjoy any sort of autonomy, self-determination or control.

This paper will examine the work of Chretien de Troyes in Erec et Enide (1169-81), the Quest for the Holy Grail (1215-30), History of the Kings of Britain by Geoffrey of Monmouth. The texts of these periods most aptly display the very specific shades of characterization that female figures were endowed with. These texts and time periods reflect the stagnancy with which female characters in Arthurian literature were portrayed; although time passes, the characterization of women all in all remains the same. This paper will strategically, though in a somewhat unorthodox manner, use the Death of King Arthur by Sir Thomas Malory (1485). This text, more specifically than the earlier century versions paints a clear and sometimes alarming portrait of Guinevere, one of the most iconic female figures of medieval literature. Death of King Arthur from the 15th century more vividly paints a picture of a woman painted in single-faceted strokes and more lucidly demonstrates that only by rebelling against the inherent moral codes embedded in Arthurian literature does Guinevere achieve some self-determination.

As implied, this paper will examine the famous and memorable character Guinevere as well as the fascinating Morgan le Fay. These two characters were selected as a result of their wildly different descriptions, powers and circumstances. However, this paper will demonstrate how time and again, Morgan and Guinevere are often shaded by the same one-dimensional coloring by Arthurian writers and that they are both similarly forced to violate the codes of their Arthurian universe to gain a sense of autonomy.

A prime example of the tendency of the narrowing of the characters of Arthurian female is in the personage Morgan Le Fay, who had her literary birth in Geoffrey's Vita Merlini in the mid-12th century, continuing to appear in works throughout the 13th century, and even used with eagerness in neo-Arthurian literature. Morgan Le Fay is an exceedingly powerful sorceress. However, unlike Merlin, who can use his powers for good, Morgan is a character who is painted in the one-dimensional shades of black, engaging in trickery and deception: "…for-by the treason of Morgan Le Fay to have slain Sir Launcelot, and for that cause she ordained thirty knights to lie await for Sir Launcelot" (Malory, 390). This unequivocally demonstrates that Morgan, however powerful, is a threat to the Arthurian realm in that she would attack this realm's most beloved hero. For Arthurian writers to create a line of action where Morgan slays Lancelot, one can easily interpret as a clear manifestation of anxiety over female strength and self-determination. There appears to be a clear fear present with Arthurian authors imagining what might happen if women were endowed with the same strength and freedom of the men of this realm. The act of Morgan attacking Lancelot one can view as Malory imagining the worst consequences if women of Medieval times were ever able to attain such power.

Repeatedly Malory reminds the reader that Morgan has committed treason, and indeed she has. Morgan has violated the very strict code of morals of this realm and in doing so has expressed her own autonomy. One sees time and again that violating Arthurian moral code, with its strictness and narrow role for women, is one of the foremost ways that women can achieve some autonomy. This implies a reluctance of Arthurian authors to give these female figures their own ability to self-determine in the same heroic terms as men; when women are able to self-determine, it's often in violation of the rules of the kingdom. On the other hand, male characters are afforded all the heroism the authors can dream up: "…and by the way upon a bridge there was a knight proffered Sir Launcelot to joust, and sir Launcelot smote him down, and then they fought upon foot a noble battle together, and a mighty; and at the last Sir Launcelot smote him down to grovelling upon his hands and knees. And then that Knight yielded him, and Sir Launcelot received him fair" (Malory, 360). The words used in this brief passage are entirely revelatory. Words like noble, mighty, and fair. These are all terms that female figures in Arthurian literature seldom receive for description. The image of the two knights sparring is vivid, as is the triumph of Lancelot who overpowers the other knight, leaving him a groveling mess. It is indeed a description of glory, and women in the Arthurian realm seldom get to indulge in such glory. While one sees this as a male anxiety about the ability of women to be able to self-determine in Medieval times, other scholars see the matter simply. When it comes to Morgan le Fay, Fries cites her change as one who promotes life, healing and transformation to a personage who is strongly associated with bloodshed and sex (2). To Fries this: "indicates the increasing inability of male Arthurian authors to cope with the image of a woman of power in positive terms" (2). What Fries cites as the lack or inability of these authors to be able to envision and thus create a woman that can embody the sense of justice, wisdom and heroism that the men of this universe do so fluidly and completely, is actually an inability of these authors to grant the women of this realm the self-determination and autonomy that they so easily grant men. Arthurian writers are so reluctant to allow that autonomy to manifest, that it comes out in the most subversive actions of the females they've created. The best object of comparison is without a doubt King Arthur, the beloved leader and defender of Britain, who was always painted in literary colors which were all good and just and true. Perhaps a more fitting character for comparison is that of Merlin, also a sorcerer like Morgan who remains a sage and a guide, only until he is beguiled of course, by a woman in this mythical universe.

Morgan le Fay eventually comes to represent all that is evil in the Arthurian universe, her attack on Lancelot one of the foremost pinnacle representations of her evil, a deceptive woman of "false crafts" and "false lusts" (Malory, 119). While this might seem like an evolution of the female figure in Arthurian literature, albeit a negative one, it's actually not. When female characters in this realm begin to embody more and more negative qualities, it's not an evolution, but rather just a maintenance of the status quo. Morgan becomes the representative anarchist of the Arthurian realm, a veritable tornado dedicated to destroying all the values that are held sacred (Slocum, 26). Morgan's supernatural powers make her a formidable opponent, and being a facilitator of evil becomes her reputation (Slocum, 26).

Thus, the reader can clearly see that Morgan makes quite a transformation; all of her powers are eventually used for evil and she becomes a direct opponent to all that is good in this universe. This clearly demonstrates that difficult that Arthurian writers had in imagining a female hero that was autonomous and self-determined and determined to accomplish good. Morgan le Fay dichotomously embodies all that Arthurian writers find wicked in women: jealousy, vengefulness, lust.

Mentioning self-determination and autonomy are important distinctions to make. Technically, female "heroes" do exist in… READ MORE

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