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Feminine Mimicry and Masquerade

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Feminine Mimicry and Masquerade 54 CHAPTER I judicial authority, the adversaries can indeed be admonished that CHAPTER II • fighting is their duty: "Tho were the gates shet, and cried was loude: / 'Do now youre devoir, yonge knyghtes proude!'" (I 2597- 98) Feminine Mimicry and Masquerade The greatest success of the tournament, as for Erec's encoun- I ters with his most important adversaries, is that it furthers court- 1 ship by perpetuating and deepening the relations among knights. Like the mutual blows that express shared merits in Erec's com- bats, the shared purpose of the knights on both sides of Theseus's JOMANCES, in contrast to much medieval litera- tournament leads to their easy reconciliation at its end. The occa- ture, abound in representations of women. This sion itself was honorable, so that even those who fell or were cap- chapter argues that in their female characters ro- tured share in honor: mances work out both a version of femininity gen- erated by masculine courtship and a critique of that Ne ther was holden no disconfitynge version of femininity. Female characters, moreover, themselves But as a justes or a tourneiynge; stage this critique within the terms of their social construction. For soothly ther was no disconfiture. Dorigen confronted with Aurelius's suit, the abandoned falcon of For which anon due Theseus leet crye, the Squire's Tale, the Amazons of the Knight's Tale, and the Wife To stynten alle rancour and envye, of Bath's shape-shifting fairy deploy the language and paradigms The gree as wel of o syde as of oother, of conventional femininity to press against their positioning And eyther syde ylik as ootheres brother. within it. Placing Chaucer's characters in the company of others (I 2719-21, 2731-34) from a variety of romances clarifies the strategies each woman The adversaries who become "ylik as ootheres brother" adum- uses to articulate and question her lot. In each case, respeaking brate Arcite's reconciliation with Palamon, providing a wider and remanipulating familiar gender paradigms offers ways around context than the deathbed for Arcite's account of their enmity as them. a thing of the past ("I have heer with my cosyn Palamon / Had strif The representation of women is a central problem of feminist and rancour many a day agon" [I 2783-84]). Love has opposed criticism. In what sense are women visible or absent in literary brotherhood in this plot, but in conceding Emelye to Palamon, in language? What is the relation of a discourse such as that of court- inviting their union as he dies, Arcite subsumes Emelye into a ship in romance to the historical identities of medieval (or mod- restored economy of brotherhood. The tournament has set the ern) women? An early paradigm of impressive explanatory force brothers on opposite sides, apparently reversing the condition in was Simone de Beauvoir's conception of woman as the Other of which they were found "liggynge by and by, / Bothe in oon masculine identity, the category of strangeness that by opposition armes," but in effect the tournament has expanded the brothers' founds a coherent meaning for masculinity. "Once the subject chivalric experience by incorporating love as an occasion for their seeks to assert himself, the Other, who limits and denies him, is rivalry and reconciliation. Here as in many romances, men nego- none the less a necessity to him: he attains himself only through tiate the difficult demand that they establish a heterosexual bond that reality which he is not, which is something other than him- but maintain strong homosocial bonds by building the former into self" (139). This conception of woman as a "second" sex that con- the latter, redoubling and extending masculine relations through solidates the identity of men is modified by recent French femi- courtship. nists for whom the representation of woman in the realm of masculine discourse is altogether impossible,- the feminine can- FEMININE MIMICRY AND MASQUERADE 57 56 CHAPTER II not be constituted even as an "other" but is instead the "sex people, but the narcissistic awakening of one. Seeing La Zambi- which is not one," in Luce Irigaray's phrase, the negative or ab- nella is Sarrasine's first experience of himself as an object of love" sence within conceptions that are already fully masculine.1 Con- (9). Henri Rey-Flaud's Nevrose courtoise and Jean-Charles Hu- ceiving woman as negativity revises and critiques De Beauvoir's chet's Roman medieval argue as well that fine amor is an evasion concept of the Other, but each analysis explains how a difference rather than an elaboration of intimacy between the sexes and that might exist between literary invocations of masculine and femi- the place of women in the paradigms of literary courtship, far nine, such that the latter becomes a function of the former and from figuring an amelioration in the historical position of women, further that a different sort of gap divides literary representation reinforces the cultural distance between the sexes by expressing from historical situation in the case of each gender. in the literary image of woman the disorientation and strangeness of emotional experience: "La femme est l'Autre du recit qui en In many respects medieval romance does conceive gender as parle" (Woman is the Other of the tale that narrates her) (Huchet, a binary but unreciprocal division that constrains femininity to Roman medieval, 218; see also Huchet, "Psychanalyse"). Such masculine terms. One consequence of the conception is that his- recent work on medieval literature tends to mesh the ideas of torians and critics recognize complex transformations at work masculine self-definition through the feminine and of a conse- between the historical situation of women and literary represen- quent absenting of woman from discourse.2 That is, such work tations of, for example, an adulterous and authoritative Queen tends to resist the claim in French feminist theory that the femi- Guinevere. In contrast, romances represent the practical and ideo- nine is altogether beyond representation—the claim, in Julia Kris- logical situation of men with sufficient directness that John Ste- teva's famous assertion, that "a woman cannot 'be'; it is some- vens's transgeneric definition may ring true to critics of several thing which does not even belong in the order of being" (in New persuasions: "the concerns of medieval romance are the concerns French Feminisms, 137). In medieval literary studies, by contrast, of all narrative fiction: man loving; man fighting; man with his the process of negation is textual; the literary work records cul- lover, his leader or his friends; man alone,- man facing mystery, or tural conceptions of gender including the trace of woman's ab- death; man seeking for God" (9). Romance, that is, insistently ex- senting from representation. These studies estimate highly the emplifies De Beauvoir's argument that the masculine stands for capacity of language to articulate and comment on the problem- the universal experience. The prominence of courtship in ro- atic status of the feminine. Literature can consequently represent mance is compatible with this version of masculinity. Barbara not only the dominant cultural versions of gender but also what Johnson begins The Critical Difference with the assertion, even those versions suppress and what might resist them. more encompassing than Stevens's and apparently incompatible with it, that "if human beings were not divided into two biologi- The paradox by which romance figures women yet negates cal sexes, there would probably be no need for literature" (13). Yet them is important to several chapters of this book. This chapter her analysis of love from Guillaume de Lorris's Roman de la Rose investigates how romance also invites readings that move beyond to Honore de Balzac's Sarrasine traces the process of deferral by its own dominant gender paradigms. Here some theoretical work which romantic love becomes indistinguishable from masculine on social construction is valuable and deserves a brief review. In narcissistic love. "What is at stake is not the union between two the work of Irigaray the feminine sex is "not one" in part because, as the indeterminate negativity in a masculine signifying system, 1 This Sex-, see also Irigaray, Speculum, 133-46. De Beauvoir docs suggest that 2 Outstanding examples that are of importance to this study arc Dinshaw; masculine and feminine are not a true binary, e.g., "In actuality the relation of the Hansen the essays by Fisher, Halley, and Roberta L. Krucger in Seeking the two sexes is not quite like that of two electrical poles, for man represents both the ; positive and the neutral, as is indicated by the common use of man to designate Woman-, and Heng, "Feminine Knots" and "A Woman Wants." An early and human beings in general; whereas woman represents only the negative, defined by ground-breaking essay on the masculine perspective and the roles of female char- limiting criteria, without reciprocity" (xv, her italics). acters is Ferrante, "Male Fantasy and Female Reality." 50 CHAPTER II FEMININE MIMICRY AND MASQUERADE 59 the feminine is multiple, unstable, and diffused. Although Iriga- ence, and a reiterable expression of belief that solicits admiration, ray remains committed to a conception of woman that is at least imitation, or identification. As a literary historian I am convinced metaphorically based in biological sex, the deconstruction of bi- that the registers of belief and of practice inform one another and nary difference from which her argument derives initiates a theo- need not be sharply distinguished. Through both registers litera- retical shift away from the binary paradigm toward questioning ture participates in the social construction of its authors and con- the bond it implies between biological sex and gendered identity.3 sumers.
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