#Medieval Literature

[denndrawings]

Aaaand to match the Green Knights I posted the other day, a couple of Gawains 💙~

[talesfromtheenchantedforest]

the great thing about medieval literature is that it returns us to a time when men were men and women were women, *insert gritty realism gif here*, featuring such important and eternal gendered characteristics such as

(M) Why Would I Learn To Think Critically When I Could Find a Random Damsel In The Woods To Tell Me What To Do

(F) Demands To Be Brought The Heads Of Her Enemies

(M, to F) Be Mean To Me, No, Meaner Than That

(F) Meticulous Maintenance Of Social Connections And Alliances Via Writing Letters

(M) Crying

(M) More Crying

(M) Even More Crying, While Being Held Tenderly By Brother In Arms

(F) Necromancy

(M) Meticulous Maintenance Of Social Connections And Alliances Via Mistaking Friend’s Identity, Attacking Him, Then Kissing And Making Up

(F) Expert Medical Practitioner

(M) Self-Care By Episodes Of Madness In The Woods

(F) Owner Of Haunted Castle

[hovelicher-unsin]

this sucks so bad i need to (remembers suicide jokes only make my mental health worse) find the holy grail

[dandelionjack]

starting a band called ‘courtly love’ we perform exclusively covers of hole (band) songs on medieval instruments dressed as knights and ladies from a preraphaelite painting. we’d be a hit at renfaires from year to year

[silver-peel]

Celebrating new year and ending of the quest:)🕯️🎄🪓

product of my recent green knight reread on holidays, save me erotic hunting scene...... Happy new year, hope everyone have a nice starting of the year!

for hardcore fans yes lady bertilak dress lowkey reference form manuscript (feat. burrito gawain)

[oidheadh-con-culainn]

i don't have the words to articulate it at this moment but there's something about the way that people have specific expectations for "authenticity" and will dismiss anything that falls outside them as a mangled, anglicised version of the thing when actually that is the older and more traditional form of something, it just doesn't match their expectations. obviously in my personal experiences i'm mostly talking about medieval literature here especially medieval irish literature

sometimes this is as simple as spelling – i've had people argue that the name "finn" is anglicised and it should always be "fionn" to be Really Irish, but "finn" is an older spelling, glide vowels are later, if you wanna go real far back it'll be "find" (nd in place of nn is an older spelling pattern). or they'll hear someone say "ogam" and assume they're mispronouncing "ogham" due to lack of knowledge of irish and not consider the fact that medievalists tend to use the older form of the word. or they'll Well Actually you about "correct" terminology which wasn't standardised (and/or invented) until the 20th century

a lot of this is defensive and the result of seeing a lot of people ACTUALLY get this stuff wrong and have no respect for the language. in that regard i understand it, although it becomes very tedious after a while, particularly when people sanctimoniously declare something "inauthentic", "fake", or "anglicised" without doing enough research to realise it's not trying to be modern irish and is in fact correct for older forms of the language

more often however this search for the projected "authenticity" is ideological and has much larger flaws and more problematic implications. "this can't be the real story because it's christian" well... that's the oldest version of the story that exists and it postdates christianity in ireland by about nine hundred years, so... maybe question why you're assuming the only "real" version of irish stories can't be a christian one? this is especially true when it comes to fíanaigecht material tbh, but in general there seems to a widespread misapprehension about ireland's historical relationship with christianity (i have seen people arguing that christianity in ireland is the result of english colonialism which took their "true" faith from them... bro. they were christian before the "english" existed. half the conversion efforts went the other way. please read some early medieval history thank you)

however i also saw someone saying this about arthurian literature lately which REALLY baffled me. "we'll never have the Real arthurian stories only the christianised versions" and it was in the context of chivalric romance. buddy you are mourning something that does not exist. this "authentic" story you're looking for isn't there. that twelfth century story you're dismissing as a christian bastardisation is as "real" a part of this tradition as you're going to get

[sickfreaksirkay]

fuck man why even bother writing anything at all

[queer-ragnelle]

list of medieval literature with links to read.

i’ll continue to update with more texts, better scans, & different editions. enjoy!

[thefourofdiamondsart]

The king ran to embrace him;

more than a hundred times

he hugs and kisses him.

As soon as he got a chance

he gave him back all of his land;

he gave him more than I’m telling you.

“Bisclavret” by Marie de France, 12th C.

Prints available here!

[fjorn-the-skald]

Alright, friends.

I just finished uploading some of my old academic coursework to my academia.edu page. I use my ‘real’ name over there, of course, so don’t be thrown off by that boring thing. But anyway…

For those interested in reading 7 papers from my graduate-school days (with the exception of 1 paper from undergrad), here’s what I just put up:

“Seeking Salvation: Christianity and Conflict in Thirteenth-Century Iceland” (2017)

“‘Governour and of Oure Tales Juge': Storytelling, Meditation, and the Behavior of the Host in The Canterbury Tales” (2017)

“Social Commentary in Njal's Saga: Law in the Presence of Feud” (2017)

“Cheese, Women, and Social Anxieties in Thirteenth-Century Iceland” (2018)

“Rewriting Romance: Honor and Reputation in Ívens saga” (2018)

“A Hilt in Violent Hands: Swords, Bonds, and the Monstrous in Beowulf” (2018)

“Ordinary Clothes in Unordinary Places: Gender, Cross-dressing, and Performing Masculinity in Medieval Iceland” (2019)

And, of course, there’s also my Master’s thesis.

I should emphasize one thing, though: these are simply class papers—‘mere’ coursework, if you will. They are not academic articles, for they never underwent the scrutiny of peer review required for such a ‘lofty’ status. As such, they cannot be used as sources in ‘proper’ academic work. So…don’t cite them in your papers, if you happen to write one. You can mention them, I suppose…but they won’t have much weight, I fear.

I’m only sharing them because they’ve done nothing but collect dust since I turned them in for grading and, to be quite honest, are still insightful probably? Regardless of their ‘lowly status,’ I think people may—may—be able to learn something from them and, most importantly, think more deeply about certain topics. I want them to engage people’s minds, help people view certain passages or historical ‘truths’ differently.

If that happens for even one of you, I’d be a happy skáld indeed.

So, with far too much said, I hope someone enjoys my past academic toils.

— fjörn

[maniculum]

Perlesvaus (Evans translation)

So I'm taking another stab at reading the Sebastian Evans translation of Perlesvaus, for... reasons. Or the High History of the Holy Graal, as he titles it -- funnily enough, the people who put out this reprint apparently looked at the title, said "we're not doing that", and spelt it Grail on the cover.

Despite the bizarre choices in diction, it's still pretty fun, and I want to share some particularly entertaining bits of this text with y'all. (For those of you who aren't up on the two different translations of Perlesvaus and don't know what I mean by "bizarre choices", the Evans translation is from 1898 but pretending to be from, like, 1498.)

N.B.: Marginal notes in red are from the last time I tried this -- they stop showing up roughly a quarter of the way through the book, because that's when I decided to buy the Bryant translation instead.

I just find this funny because "who cares?" strikes me as such a modern thing to say. To me it is a phrase that seems most natural coming from a teenage character in late-20th-century media. But nope. "Who careth?"

This is here just for the bizarre scene. We have three women coming into the throne room (riding mules directly into the building, by the way). One is carrying a severed head decorated with silver and gold. Another has "a pack trussed behind her with a brachet thereupon" -- you can see from the notes that I had to look up "brachet", found out it was an old word meaning roughly "female scent-hound", and then had the mental image of this woman carrying around a beagle in a baby-bjorn.

Again something I find funny. Gawain just leaping through the air to interpose himself between the horses and this hermit, like he's trying to take a bullet for them. This is entirely because he is 100% certain the hermit will handle the saddles incorrectly, and when the hermit assures him he actually does know how this stuff works, Gawain calms down & lets him do it.

This is, for my money, one of the funniest things in all of Perlesvaus, which is saying something because it is a bonkers text. This lady rolls up and provides that description, and the hermit recognizes who she's talking about. Like, "oh yes I did see a knight with a heart of steel and the navel of a virgin". I want to give this description to a sketch artist. (I kind of want to throw it at an AI just to see what it comes up with, but you know. I don't want to encourage the machines.)

This time I'm nit-picking the translation, because that strikes me as a misplaced modifier. Obviously it's meant that Gawain is unaware of events, but the sentence is constructed to make it sound like it's referring to the building itself, which is of course unaware because it's a building and isn't aware of anything. (Also, side note, I like the phrase "as methinketh!")

One more, and I'm leaving this for now...

Here is a case where I was going to complain, but on further examination, I must hand it to Evans. I assumed that he was just randomly archaizing, but I looked it up after uploading this photo, and according to the OED, this was a valid alternate spelling of sovereign from the 17th to the 19th century. (Interestingly, the latest attested example on the OED is from 11 years before this translation was published, meaning this is evidence it was in use slightly longer than the OED entry would suggest -- does anyone know if there's still a way to submit instances of a word to the OED?)

[knaveprints]

An illustrated edition of Sir Gawain and the Green Knight, 2022

Moving concertina book with digital illustrations and gold leaf.

Another one of my book projects that i'm finally posting. While there are certainly things I would adjust now, under the time constraints of a uni project i'm very happy with this work. Also unfortunately there is one illustration you can't see with these photos, but i'll post the image later.

[crumblinggothicarchitecture]

Y'all wanna know about a gender-non-conforming knight from 13th century France? No? That's okay- I'm fine with talking to myself.

I'm obsessed with gender performativity in early medieval texts- so obviously I had to know everything about Le Roman De Silence.

To preface-

So, long before there was the Marvel Cinematic Universe- there was the interconnected works of the Arthurian Legends. The original superheroes- King Arthur, Merlin, Morganna le Fey, and the rest of the cast. However, one of the lesser known (only arguably canonical) interconnected texts of the Arthurian legend hails from France. People argue over whether or not to include these texts as part of the cannon of King Arthur because it's technically french- and the french-english divide between characterization of all the main players of Arthur's court is remarkably different. Much research on this suggests the discrepancy of characterization is largely due to distance between where the stories originate, and sociopolitical tensions between the French and the English. Either people were too far apart to share stories- thus too far apart to keep characterization uniform, or they fucking hated each other enough to mess up the characterization on purpose. For example, many of the French portrayals of King Arthur paint him to be a rather terrible person, where English portrayals are generally more kind to him.

All that aside- many people will disagree that Le Roman de Silence should even be part of the Arthurian legend canon anyway- because it only mentions Merlin at the end of the poem and because it's a super french poem.

The main storyline is about this character named Silence. From the Old French Poem- Le Roman de Silence.

Gender? No- Never heard of it.

The latter half of the story in this poem is predicated on a complex mediation of Nature vs Nurture. What happens is that a baby is born into a wealthy family, and for sociopolitical reasons, the family decides to raise the girl baby as a boy. They name this child "silence." Silence grows up with full access to an education, as was typical for the boy children of aristocratic medieval families- this education becomes important later as Silence wrestle with where they fit into the larger social structure after maturing into adulthood. Essentially, they find the idea of marriage too boring and would like to be a Knight or Explorer instead. (I love them.) Anyway, it's fascinating to me that the conceptual ideas of nature and nurture are personified into being something like "deities" which are overseeing the growth of Silence through the ages- and so we get these deities commentary.

Silence wants to be a knight- so Nurture brags about being right that gender is more performative than it is biological. Then, later Silence grows up to be remarkably "pretty" and according to the deity of Nature- they brag about being right that biology and gender are intrinsically tied. It's such a thought-provoking mediation on gender as either performance or pure biology that I forget it was written in the 13th century- long before Freud or Lacan or any of the others who became hyper fixated on human presumption of gender as either a social category or a biological necessity.

I argued in a paper, once, that the narrative itself does actually finally end on the note that Gender is a performance, and it is tied into social roles only so the ruling class can have control of the population. That is why the stories ending shifts into horror-genre-esque of Silence marrying into the upper-ruling class.

I also have a strong urge to write a Fanfiction of Silence as a knight- who does not meet a sad fate but rather lives happily as a knight and eventually marries a princess. Okay- Okay? fine I said it. I said it-

Social pressure to marry?

The story takes a dark turn, however- when the King demands Silence to reveal themselves in front of the court. Obviously, even the author of the story was aware that misogynistic social standards would not allow for people to ever really be free of gender stereotypes and roles. So, Silence is then forced out of the adventurous lifestyle of a knight and into a marriage. Also, this is the place in the story where Merlin makes an appearance (I have a theory that Merlin is representative of the devil, and the author really hated that all AFAB people were forced into marriage back in 1200's. So that's why the devil shows up when all the bad shit is happening to Silence).

Inevitability and dismay-

What I find particularly interesting about this poem is the fact that the end, as Silence is forced into marriage and back into "proper" social roles for their assumed biological characteristics, is the fact that it is written like an early attempt at gothic horror!

So, one of the stipulations for something being a "gothic horror" is 1.) old, archaic, twisted buildings. (this blog is indeed named after my fixation with gothic horror elements, it's interplay relation to social reform, as its emphasis on decay as the tonal necessity for social indemnification). Anyway, the other most important aspect of gothic horror- is an overwhelming sense of desolation, isolation, and loneliness.

Sure, Silence is forced into marriage- but even with the forthright writing style of the author, we, as readers, are struck by Silence's loneliness. Thus, the "happily ever after" part of the storyline wherein the characters get married, as it traditional to chivalric romance, is recriminated against in subtext. Now, we have a moment in which the "happily ever after" is a creation of horror rather than peace.

Ending the narrative with marriage as equivalent to a loss of freedom and a sense of evermore-present loneliness, cumulating in the edifice of horror-struck fear in Silence at their own new future, is a remarkably bold social statement coming from a 13th century author.

I just think it's a really interesting text on the thematic points of negotiating Gender identity, in broader terms of performance and social roles, as much as it is a critique on the total social control that the monarchy held over the people of 13th century France.

Edit: I need to add that Silence themselves consistently rejects the idea that they are AFAB and instead only ever refers to themselves as "Silence" or "the knight"

[sissiarte]

Oh Gawain <3

This came to me in a vision and I had to draw it or I would explode. I honestly don't have an explanation enjoy

[kusurrone]

imagine if Dante committed his afterlife journey of the comedy in a silly cat hat

[a-study-in-dante]

March 25th, 2024 | Another day spent in Paris before a codicology seminar at the BnF.