Overt Sexual Desires By Alfred Tennyson 's Idylls Of The King And Thomas Malory 's Le Morte D '

This negative perception of Agnes is exacerbated by her “excellent intellect, and strong knowledge and understanding of Christianity"; the public believe that a “thinking woman can’t be trusted”. The reader can observe that both the authorities and public show a distinct lack of compassion regarding Agnes because she does not fit their traditional ideas of what women should be – they believe that “there’s no room for innocence” in intelligent women. The misogyny and bias present in this uncompassionate society is further demonstrated through Kent’s intertextual incorporation of the one dimensional historical documents which vilify Agnes. Kent uses the judgemental, evil and “powerful” character of Blöndal as a vehicle to personify the patriarchal ideologies of their society. Blöndal’s punitive, intransigent approach to authority as well as his attitude of superiority when addressing woman represents the general cold indifference of Icelandic society in which “Men may do as they please”. Furthermore, Kent’s utilisation of Agnes’ first person narrative is extremely effective and allows the

Throughout history, our society has created gender norms that are followed consistently by members of communities. Though they differ from place to place, we recognize trends that seem almost prescribed to certain genders. Specifically, in the 1600s, men and women had explicit roles that were designated by people of stature. These expectations were followed loyally and people who failed to follow suit were shunned or sometimes even suffered seriously punishment including crude public beatings that were mot only pain inflicting but also status damaging (Rocke, Gender and Sexual Culture, 159). Looking deeper into the novel The Return of Martin Guerre, we identify from the start the expectations that are in place and how they play a role in the story. In comparison of Characters, taking into consideration the standard that had been set for men of this era, we notice that Pansette (Arnaud du Tilh) is an almost faultless example of what is expected for men and in contrast, Martin Guerre fails to meet these standards.

Fairies, mortals, magic, love, and hate all intertwine to make A Midsummer Night’s Dream by William Shakespeare a very enchanting tale, that takes the reader on a truly dream-like adventure. The action takes place in Athens, Greece in ancient times, but has the atmosphere of a land of fantasy and illusion which could be anywhere. The mischievousness and the emotions exhibited by characters in the play, along with their attempts to double-cross destiny, not only make the tale entertaining, but also help solidify one of the play’s major themes; that true love and it’s cleverly disguised counterparts can drive beings to do seemingly irrational things.

Queen Guinevere’s character was more about being royal and doing as she wanted. She was married to King Arthur. She was above all of the wrongs that she has done and shows no signs of sadness, even when she is sad (page 632). She has an affair with Sir Launcelot without King Arthur knowing about it. She causes conflicts among the knights and the King. Both men are so in love with Queen Guinevere. Sir Launcelot throughout the story does battle for Queen Guinevere, while showing King Arthur his loyalty.

In the Medieval Period, knights dedicated their lives to following the code of chivalry. In Sir Thomas Malory’s Le Morte d’Arthur, a number of characters performed chivalrous acts to achieve the status of an ideal knight. Their characteristics of respect for women and courtesy for all, helpfulness to the weak, honor, and skill in battle made the characters King Arthur, King Pellinore, and Sir Gryfflette examples of a what knights strove to be like in Medieval society. Because of the examples ofchivalry, Le Morte d’Arthur showed what a knight desired to be, so he could improve theworld in which he lived.

During a high point in medieval chivalric romance, both Marie de France’s Lanval and the anonymous Sir Gawain and the Green Knight tell fanciful tales of knighthood, chivalry, and spiritual and temporal (courtly) love. Both Lanval and Sir Gawain and the Green Knight portray their female characters as possessing considerable power and influence, within the events in the story and in the structure of the plot. Indeed, the female characters in both works function as the catalysts of the events within the stories, and also as instruments for each author's conveyed meaning. While Lanval presents its female characters in an unorthodox reversal of gender roles, Sir Gawain and the Green Knight employs the female characters as moral and spiritual trials for the hero, Sir Gawain. I will examine how the fairy princess and Queen Gwenevere in Marie de France's Lanval present a reversal of gender roles as was traditionally understood; she presents femininity as powerful, inspiring, and morally dynamic (for a woman can be ideal, or she can be corrupt). I will compare this to the representation of Lady Bertilak and Morgan le Fay in Sir Gawain and the Green Knight, in which they are used to convey a “Biblical” warning for an ecclesiastical audience; particularly that of moral failure and the temptation of the flesh.

Several fictional works set in Arthurian times contain numerous similar elements, whether that be in the structure of its plot or encounters with mythical beings; however, one particular element of these tales stands out among the rest, that being the knights in the stories. Both chivalrous and virtuous, knights are the very embodiment of Arthurian mythology, and are a staple in many Arthurian legends. Their courageous acts of selflessness and loyalty to their lords only add to their reputation, inspiring many authors throughout the ages to capture their likeness in various texts; however, only one author has been able to truly capture what it means to be a knight, that author being the “Gawain Poet.” Also known as the “Pearl Poet,” the “Gawain Poet” is most known for his chivalric romance Sir Gawain and the Green Knight. The story revolves around a central conflict in which the protagonist, Sir Gawain, must fulfill an agreement with a mysterious knight. Gawain’s “debt” must be repaid exactly one year after their agreement, and if Gawain should fail to do so, his honor and reputation would be tarnished. It is through his struggles that Gawain not only grows as a character, but also shows what it means to truly be a knight. Sir Gawain is the epitome of a knight because he is not only chivalrous and virtuous, but also stays true to his word in the face of danger.

In the thirteenth-century French romance, Silence, translated by Sarah Roche-Mahdi, the titular character faces challenges because of her gender-identity for no reasons of her own. Silence is unable to achieve knighthood as long as she is a woman. The French romance was written to test the boundaries of this genre, and proved that in the end, the female archetype found so often in Arthurian literature will always remain the same.

In medieval literature, the role of women often represents many familiar traits and characteristics which present societies still preserve. Beauty, attractiveness, and grace almost completely exemplify the attributes of powerful women in both present and past narratives. European medieval prose often separates the characteristics of women into two distinct roles in society. Women can be portrayed as the greatest gift to mankind, revealing everything that is good, pure, and beautiful in a woman's life. On the other side of the coin, many women are compared to everything that is evil and harmful, creating a witch-like or temptress quality for the character. These two aspects of European culture and literature show that the power of

In Arthurian romances, the knight Gawain fulfills a central role as a member of the legendary Round Table. Alone or accompanied by other chivalrous knights, Gawain traverses the land of Logres, searching for adventures and achieving great feats of heroism. To those he encounters on his quests, Gawain often represents the epitome of chivalry and knightly valor. However, Gawain’s actual characterization is not constant in every tale where he is present. In Sir Gawain and the Green Knight, Chretien de Troye’s Perceval, and Sir Thomas Malory’s Le Morte D’Arthur, Gawain’s character vacillates from being the paragon of chivalry to the antithesis of heroism, and these characterizations serve as a foil to the figures of

    Baron Richard Von Krafft-Ebing, a 19th century German psychiatrist, was quoted as having said, "We find that the sexual instinct, when disappointed and unappeased, frequently seeks and finds a substitute in religion." This may have been the condition of Margery Kempe when she desired to cease all sexual activity with her spouse because of her devotion to God. Instead of performing her duties as a wife, she chose instead to spread her knowledge of God to her community and did so not only in speech, but also in literature. Whatever her motivation for creating such descriptive language, it is evident that her faith in God conquered both her fear of public opinion and the

The stories of Lancelot (The Knight of the Cart) and Perceval (The Story of the Grail) within Chrétien de Troyes’ Arthurian Romances depict a world of Medieval Romance that is somewhat different from one that was depicted in earlier epics. These romances are more focused on the battle between love and honor rather than on war and valor, which were depicted in earlier epics of de Troyes’ time. The tale of Lancelot follows a star-struck knight who undergoes an inner conflict between both the lover and hero inside him. His intense commitment to rescuing the queen causes him to make rash decisions which inevitably restrain him from controlling his own fate. Perceval’s story exhibits a different purpose for love in a knight’s life. Unlike Lancelot, he accepts love only when he believes it can further advance him in becoming the perfect knight. The two heroes’ actions showcase an inner conflict between maintaining their honor as knights and the love for another. Through these two tales, Chrétien de Troyes shows that that idealistic love and conscious chivalry cannot necessarily successfully coexist, yet it is the unachievable idealistic view that these two ideals do coexist.

Of the many villains in the Arthurian legend, Morgan le Fay, Morgause, and Mordred, may be the most well known and most influential as they have transformed the texts of the Arthurian legend over the years. As the legend is altered, their roles are changed by the many writers who impacted the Arthurian legend. Due to the fact that the legend has been retold many times, the role of each character cannot be consistent.

The appearance of women in 18th Century literary works, was on the rise. Women were side characters early novels and often used by authors as a device to portray virtue and innocence to the public. To set a standard of what an modest woman of this time period should stand for and how they should interact with others. Women used as main protagonist faced great challenges and went to great lengths to protect their virtue from the inappropriate touch of men. These women were wives with maternal instincts, who wanted nothing more than to marry for love and have rooms filled with children and expensive dresses only adding to the sexist stigma that oppressed the women of this time period. Daniel Defoe decided to set himself apart from these clique novels and take on the flipped role of critiquing this sexism with his novel the fortunes and misfortunes of the famous Moll Flanders. As one of this period may see his novel as a place of sentiment with quick witted humor and a good adventure novel, others and literary critics today see it as a critique itself on the sexism of the time period. This was later confirmed to be the intended purpose in his work essay, his goal was to show women in a different light, “to make them understand the world”(p.292). In his fictional tale of the life of moll flanders, Defoe sheds light on several issues involving the oppression of women which often went unnoticed by society, Through this novel, defoe weaves in critiques on the strict enforcement of

The relationship between Troilus and Criseyde in Geoffrey Chaucer’s adaptation of their tragic love story notably hinges on the perception of Troilus’s “manhod.” The interpretation of Troilus as a “feminized” male character, and the consequent view that he was not manly enough to keep Criseyde as his lover, exemplifies the importance Chaucer places on gender roles in the poem. Troilus’s passive nature, as a result of his “lovesickness,” led to his failure to obey the normative masculine patterns of behavior. His lack of action is ultimately the reason why his relationship with Criseyde fails. While we know the tragic ending to their story is inevitable, Chaucer’s Troilus and Criseyde presents gender as a central cause for its ending.