Faculty of Arts Masaryk University, Brno Department of English and American Studies English Language and Literature Monika Kopřivová Women Characters in Arthurian Literature Supervised by: Doc. Mgr. Milada Franková, Csc, M. A. 2007 Ideclare thatIhaveworkedonthis diplomathesisindependently, usingonlythesources listedinthe bibliography. ........................................................ Acknowledgements MythanksgoprimarilytomysupervisorDoc.Mgr.MiladaFrankováCSc,M.A. forhervaluablecommentsandsuggestions throughoutthecourseofthis thesis. Contents 1. Introduction…………………………………………………………………………...1 2. Geoffreyof Monmouth´s HistoriaRegum Britanniae : Silenceofthe Nameless Women……………………………………………………..7 3. TheCourtlyLiterature:TheControversyofCourtlyandSexualLove…………….18 4. PolarityofFemaleCharacters: SirGawainandtheGreenKnight …………………29 5. Le Morte Darthur :The DichotomyofGoodandEvil………………………………36 6. VictorianEra:TheFightofSocialMoralityandPersonalHappiness………………54 7. The WorldofDichotomiesinBradley´s The Mistsof Avalon ………………………68 8. Conclusion…………………………………………………………………………..78 9. Bibliography…………………………………………………………………………83 0. Introduction Muchhas beenwrittenabout what is now calledArthurianliterature andthe amount of this literature is a clear evidence of the unrelentingpopularityof this topic.There have,of course, been times when writers’ attention was diverted in a different direction, the Renaissance era being the best example.The Arthurian legends,however,always finda way of winningbacktheir popularity.The twentieth andthe twentyfirst centuries,inparticular, brought new ways of portrayingthis one thousandyears old topic. The endless popularityof theArthurianmatter is,therefore,oneofthemajormotivationsforwritingthis paper. The focus of this paper on women characters in Arthurian literature is inspired by MarionZimmer Bradley’s novel The Mists of Avalon (1979) whichestablisheda completely new perspective onArthurianlegends.Bradley’s new readingof the stories of the knights of the RoundTable withits focus onwomencharacters inparticular showedthat the Arthurian legends are a question of interpretation and this made the writer of this paper consider the ways previous Arthurian literature was read and the way the stories were interpreted. The main issue, then, is how Arthurian women characters have been portrayed throughout the centuries andthe reasons for those particular ways of portrayal.The major Arthurianlegend representatives of eachera are chosenandanalysedinorder toshow the elements anddetails of the position of women in that particular era, but also to trace the development of this portraying. In the medieval period, the major representatives are Geoffrey of Monmouth’s History of the Kings of Britain , Chrétien de Troyes’ Arthurian Romances , and Thomas Malory’s Morte d ’Arthur .The paper will thenfollow some of their recreations throughthe ages inananonymous Englishromance Sir Gawainandthe GreenKnight ,Tennyson’s Idylls of the King , Morris’ "The Defence of Guinevere" andMarionZimmer Bradley’s The Mists of Avalon . Let me now brieflyintroduce the selectedbooks one byone andhint at some of their major features as far as women characters are concerned in terms of comparison of the portrayal of Guinevere.She is the best character toserve as a starting point as she was already present in Geoffreyof Monmouth’s account of the storyandher character is not missingin anymajor bookdealingwithArthurianmatter. Geoffreyof Monmouthwrote his book HistoriaRegum Britanniae ( The History of the Kings of Britain ) between1136- 1138.He is the first one towrite downthe whole legendof King Arthur; he is not the first one, though, to record Arthur’s name. As early as the 8th century, Nennius wrote a Latinchronicle HistoriaBritonum where he talks about anArthur. HisArthuris,however,notaking,butonlya leaderofanarmy. Geoffreyof Monmouth’s account of the Arthurianstoryalreadycontains the names of Guinevere,MordredandAvalon.The characters are,however,ina different relation toArthur thaninlater versions of the story,e.g.Mordredis Arthur’s nephew.Guinevere’s lover is not Launcelot but Mordred.The significance of the booklies inits beinga basis for the upcoming Arthurianliterature andthat is the reasonfor consideringthe level of its credibility.Margaret Schlauch ascribes the lack of historicity of the Arthurian legends in general to Geoffrey’s naivetyindrawingona bookwhich he believed tobe historicallyauthentic,or tothe French romancers’ libertyin"adapting[Geoffrey’s sources] totheir purposes of entertainment pure andsimple,withoutanypretentions tohistoricity"(Schlauch, p.127). Despite its being referred to as "pseudochronicle" (Schlauch, p. 127), Geoffrey’s Historia is of great importance as there are manymotifs of crucial significance whichhave been recurrent during the Middle Ages, the Renaissance era, Romanticism and up to contemporaryliterature.But it has not beenthe inspirational source only for literature.The legends of kingArthur have hada great influence onmanyfolklorists,musicians,painters and otherartists. Chrétien de Troyes, who wrote his cycle on Arthur and the knights of the Round Table,brings a significant change in the form of the story: it is the shift from epic toromance, which entails the emergence of conventions of chivalry and courtly love in the Arthurian story.A new knight,Launcelot,appears andhe becomes a representative of anideal lover. This fact brings on a new consideration of Guinevere’s love affair: she is not seen as a betrayer any more,but rather as anactive participant in anlove affair,whichis considered(at leastat thetimeofwritingthe book) a positiveattribute. Chrétien’s book and the realm of courtly love with its sexual completion can be contrasted with an English fourteenthcentury romance Sir Gawain and the Green Knight composedbyanunknownwriter.Inthis romance,the result of the courtlylove is no longer of sexual nature.It has rather somethingtodowith temptationandhonour.These qualities offer a different point of view onthe issue of courtly love andthis romance will therefore become oneofourmajorinterests. Thomas Malory’s Morte d ’Arthur was printedin1485byWilliam Caxton,inthe year whenthe Tudor dynasty came toreign.Malory’s versionis drawnuponthree sources: one of the sources were German legends (Wolfram von Eschenbach’s Persifal and Gottfried von Strassburk’s Tristam ),another one was French(Chrétiende Troyes’ poem onLauncelot) and thethirdonewasGeoffreyofMonmouth’schronicle. Malory’s versiondiffers from its predecessors inthe amount of violence,which was probably due to the age he was living in (the Wars of the Roses). The author himself was imprisoned.Malory’s account of the storyestablishes a basis onwhichmanylater versions were founded.Guinevere is not seen as anadulteress but her love for Launcelot is inthe same chivalric moodas inChrétiende Troyes’ account.Arthur knows about their love affair and therefore is reluctant tocondemn his wife todeathas he is later forcedtodobythe sons of Margawse.Guinevere is therefore not pictured as anadulteress but rather as a destroyer of the notionofknighthoodandtheRoundTable. The Renaissance perioddidnot paymuchattentiontothe Arthurianstoryandsoit is onlyinthe19thcenturythatthisthemereappearsintheworksofTennysonandMorris. Tennyson’s versionof Arthurian legends, Idylls of the King ,was completed in1869 andit consists of twelve books.His account is basedonMalory’s Morte d ’Arthur whichwas republishedinthe 19thcentury.Tennyson,as a Victorianpoet,differs inhis account of the storyfrom his predecessors: the Romantic tensions are clearlyvisible andthe keywords he employs are guilt,sin,secret andpunishment.He blames Guinevere for cheatingon Arthur andhavinganadulterous relationship withLauncelot. This depictionwas of course due tothe VictoriansocietyandthestrictvaluesTennysonadvocated. Morris’ The Defence of Guinevere and other poems was published in 1858 and it stands infierce oppositiontoTennyson’s account.The biggest difference incomparisonto Tennyson’s version lies inportrayingthe queenas a very sensuous woman.As the title of the poem hints,Morris defendedGuinevere: she shouldnot be blamedfor her personal feelings anddeeds.Morris does not denythat Guinevere has a sexual relationship withLauncelot but he does not thinkshe shouldbe blamed andpunishedfor this,either.Morris’ account of the storyisthe mosthumaneandfairone. Inthe 20thandthe 21st centuries,new versions of this oldstoryemerge not onlyin writing but also in movies ( Excalibur , 1981 or King Arthur , 2004). As far as writing is concerned,this paper focuses onMarionZimmer Bradley’s The Mists of Avalon (1979) which is a highlyfeminist account of the events.It attempts toestablishthe idea of womenactively participating in the rise and fall of the Round Table. It also plays with many dualities, of which the most important is the character duality of Morgan and Guinevere: the first one represents the oldpagandruidic religionandthe other one the new Christianreligion.This characterdualityis thenentangledinamuchmore profoundreligiousduality. Although The Mists of Avalon is sometimes dismissedas a one-dimensional feminist novel offering"a somewhat simplistic reading" (Wynne-Davies,p.176),the bookneeds tobe included in this paper as it is a perfect representative of the era of its emergence. It is surprisingthat the novel is not creditedwithmuchqualityfor beingtendentious (interms of feminism), even though the previous Arthurian literature shows the same amount of tendentiousness,this time,however,interms of masculinism.This