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dwellordream · 3 years ago

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“If any character in English popular culture stands for the sheep, it is Griselda. Her chief detractor is, not surprisingly, the shrew. In Robert Snawsel's A Looking Glass for Married Folks, Eulalie preaches the Griselda gospel to Xanthippe and Margery, urging them to bear their husbands' blows and drunkenness with meek loving kindness. This is too much for Margery: "Are you a woman, and make them such dish-clouts and slaves to their husbands? Came you of a woman, that you should give them no prerogative, but make them altogether underlings?" Margery's scornful reference to slavery goes to the dark heart of the Griselda myth. Folklorists have argued about the ancestry of the famous tale for more than a century.

William Edwin Bettridge and Francis Lee Utley have made a strong case that Griselda owes her features to a folktale from medieval Smyrna called "the Patience of the Princess." A prince buys a poor girl from her father and lays a wager with her that she will not be able to submit to all his demands with utter composure. The prince shuts her in a tower alone and tests her for twenty years, repeatedly impregnating her and then taking away her newborn infants, telling her that he is going to kill them. She builds a mother doll out of clay to talk to and cry to but never loses her patience, and in this way she wins the bet.

The tale, which matches the European narrative more closely than any other yet found, throws into stark relief the specter of female sexual slavery that haunts Griselda's story. The most striking variance between them is that the girl from Smyrna is sold into involuntary servitude by her father, whereas Griselda has a choice and agrees to voluntary and total obedience. Passing into European culture, the story came to Boccaccio. In reworking it for the Decameron he reclothed it in local garb, fashioning his novella partly in terms of Italian wedding and dowry customs that were sharply weighted against brides and wives. Boccaccio thought Griselda's story significant enough to give it pride of place as the last tale on the book's final day of storytelling.

Petrarch read the novella and converted it to an exemplum in Latin for male scholars. Griselda entered English culture through Chaucer's "Clerk's Tale," which is largely based on Petrarch's version. Plays, ballads, and pamphlets on Griselda issued forth on the continent and in England throughout the early modern period, with a cluster of publications and performances in the mid- to late sixteenth century. Arguably the most radical change between versions occurred when Petrarch reworked Boccaccio. The Decameron's final tale is told by the satirist Dioneo, a crucial choice by Boccaccio. Refusing to let the happy ending stay happy, Dioneo spells out the political import of the story and caps it off with a horn joke against the marquis:

Everyone was very happy with the way everything had turned out ....Gualtieri was judged to be the wisest of men (although the tests to which he had subjected his wife were regarded as harsh and intolerable), and Griselda the wisest of them all ....What more can be said here, except that godlike spirits do sometimes rain down from heaven into poor homes, just as those more suited to governing pigs than to ruling over men make their appearances in royal palaces?

Who besides Griselda could have endured the severe and unheard-of trials that Gualtieri imposed upon her and remained with a not only tearless but happy face? It might have served Gualtieri right if he had run into the kind of woman who, once driven out of her home in nothing but a shift, would have allowed another man to shake her fur to the point of getting herself a nice-looking dress out of the affair.

Scholars often downplay Dioneo's bitter words about pig-tending and his final putdown of Gualtieri, attributing it to his cynicism; but their labors to match the tale's disturbing sadism with an uplifting exemplary meaning are less than persuasive. The passage is much more than a glib throwaway, as Edward Fechter points out: "the climax angrily repudiates theological allegory and exemplum." Certainly, it seems fitting that the last lines of the last tale in the Decameron should recapitulate the Boccaccian theme of cuckoldry as female revenge. Dioneo's parting shot about "the shaking of the fur" is also an invitation to his listeners and the book's readers to come up with better interpretations than do the silly sheeplike courtiers of the tale, who judge "Walter wise and Griselda the wisest of all."

Furthermore, it is a jest that asks for scornful laughter, especially from listeners who have grutched throughout the tale at Walter's arrogance, egotism, and sadism. Petrarch told Boccaccio that the story so fascinated him that he decided to spread the tale to scholars abroad. So "snatching up my pen, I attacked this story of yours." The angle of Petrarch's attack on the novella (which he termed "a little too free at times") becomes manifest at the cuckoldry-free conclusion of "A Fable of Wifely Obedience and Devotion," in which he erases Boccaccio's satire and his bawdy call for female revenge:

This story it has seemed good to me to weave anew, in another tongue, not so much that it might stir the matrons of our times to imitate the patience of this wife-who seems to me scarcely imitable-as that it might stir all those who read it to imitate the woman's steadfastness, at least; so that they may have the resolution to perform for God what this woman performed for her husband ...Therefore I would assuredly enter on the list of steadfast men the name of anyone who endured for his God, without a murmur, what this obscure peasant woman endured for her mortal husband.

Petrarch's straight-faced version has none of Dioneo's political satire or irony. He is writing in Latin to male scholars, not in vernacular Italian to women and men, as Boccaccio had done. Nonetheless, it is Petrarch that Chaucer credits by name in the vernacular, mixed-audience "Clerk's Tale," although he departs from Petrarch in crucial ways. The Clerk does follow his source in insisting that his moral applies not to wives but to all humankind: This storie is seyd, nat for that wyves sholde Folwen Grisilde as in humilytee, For it were inportable, though they wolde; But for every wight, in his degree, Should be constant in adversitee As was Grisilde .... (I 142-47)

Chaucer actually intensifies Petrarch's warning that wives should not try to imitate Griselda, calling her example "inportable," or unbearable. (The Merchant, whose turn comes next, blatantly ignores this caveat, complaining "Ther is a long and large difference I Bitwix Grisildis grete pacience I And my wyf the passyng crueltee.") Still, scholarly attempts to align Chaucer's Walter with God do not work because Walter is described as "tempting" his wife, a word almost always associated with sin and vice. In another departure from Petrarch, Chaucer's Clerk breaks in several times to condemn the marquis. After Walter first decides to try his wife, the Clerk interjects hotly what neded it Hir for to tempte, and alwey moore and moore, Thogh som men preyse it for a subtill wit? But as for me, I seye that yvele it sit T'assaye a wyf whan that it is no nede, And putten hire in angwysshe and in drede. (45?-62)

Chaucer's version subtly calls Grisildis's ovine quality into question. The lamb of God is Christ, of course, and Grisildis' meekness when her daughter is taken away resembles his suffering: "Grisildis moot al suffre and al consente, I And as a lambe she sitteth meke and stille" But "moot" she? Within English popular culture, sheep and lambs do sometimes stand for the positive values of resignation and endurance-for example, in emblems on patience. But there is no doubt that sheep generally connote passivity, cowardice, and stupidity. In terms of sheer frequency, the negative secular connotation overwhelms the positive religious one.

A related complicating effect is the criticism leveled at "the unsad" (that is, fickle and sheeplike) people of the realm, who at first deplore Walter's acts but change their minds when they see the pretty new queen (actually his daughter), leading "sadde folk" to exclaim: "0 stormy people! unsad and evere untrewe!" As the Clerk finishes his tale, he shows that he is fully aware that not all his listeners will appreciate Griselda's virtues. With teasing wit he acknowledges the Wife of Bath, who has been called the tale's motivating force and dialogic counterpart. Just before the comic envoy he promises "for the Wyves love of Bathe" to gladden her "and al hire secte" with a song urging them to ignore Grisildis and revel in shrewdam (rr69-74).

By shifting the Clerk's role from that of the preacher of a pious exemplum to a merry jester-singer, Chaucer undercuts his clerkly authority and blurs the moral legibility of his tale, already obscured by Griselda's lack of moral agency and her husband's viciousness. Nonetheless, Griselda quickly proved alluring to husbands, and she retained that allure despite proving highly problematic as a pattern for wives. Like the new husband in the jest about the pottage, men who wanted very much to promote Griselda as a model found her too hot to handle.

In the training manual he prepared for his young wife in the 1390s, the Menagier de Paris offers a confused and troubled account of why he wants her to learn about Griselda. He rushes to assure his wife that he'll never torment her "beyond reason" as the "foolish, arrogant" Walter does Griselda, nor does he expect such obedience: I have set down this story here only in order to instruct you, not to apply it directly to you, and not because I wish such obedience from you. I am in no way worthy of it. I am not a marquis, nor have I taken in you a shepherdess as my wife. Nor am I so foolish, arrogant, or immature in judgment as not to know that I may not properly assault or assay you thus, nor in any such fashion.

God keep me from testing you in this way or any other, under color of lies or dissimulations …I apologize if this story deals with too great cruelty-cruelty, in my view, beyond reason. Do not credit it as having really happened; but the story has it so, and I ought not to change it nor invent another, since someone wiser than I composed it and set it down. Because other people have seen it, I want you to see it too, so that you may be able to talk about everything just as they do.

What he really wants, it seems, is for his wife to be au courant. Griselda had "much currency off the page as a talking point in the late fourteenth century" and was "a subject about which wives might be expected to have an opinion." Codified as a way to get women talking (instead of shutting them up), the narrative about testing is itself a means of testing a woman's opinions and conduct. Is Griselda sick or stoic? Enslaved or free? Is hers a saint's tale, with Walter an abstract tool in the central mystery of her endurance, or is it as much a story about Walter and his court? Is he a cruel tyrant or a stern but loving husband with every right to test his wife? Is Walter God and Griselda a female Christ or Abraham or Job? All these positions have been argued during the six centuries of the debate.

Some recent readers still find Griselda admirable and even question whether she should be regarded as a passive victim. Harriet Hawkins has argued that Chaucer's tale should be read as a criticism of unquestioning obedience to authority, even divine authority, while Lars Engle hears "an implicit voice of sane moral protest" in Grisildis's mild objections to her husband. Such strained attempts at recuperation show that Griselda disturbs more than she edifies, raising but failing to answer questions about the limits of obedience in the face of tyranny and the conflict between Christian duty and wifely subjection.”

- Pamela Allen Brown, “Griselda the Fool.” in Better a Shrew than a Sheep: Women, Drama, and the Culture of Jest in Early Modern England

#pamela allen brown #renaissance #history #medieval #late middle ages #better a shrew than a sheep

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lizziestudieshistory · 5 years ago

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Books of 2020 - March

Enforced isolation made me read a lot... Here are the 10 books I read!

The Way of Kings - Brandon Sanderson (The Stormlight Archive #1) We all know I adore this series - I reread it every year after all. This time I read it to annotate the text and do a proper deep-dive into the world Sanderson is creating in preparation for Rythmn of War coming out later this year.

The Binding - Bridget Collins I still don’t know how I feel about Collins’ book. It’s a historical fiction novel with a subtle hint of magical realism through the concept of Binding - using some form of magic (I’m not entirely sure how) to turn real memories into books. This concept is what made me and my uni friends buddy read this novel in the first place; it sounds fascinating, especially to bookish people like we us! However, this book is not really about book binding - it’s a love story between Emmett Farmer and Lucian Darnay.

If I’m honest the part two, which covered the original courtship of Lucian and Emmett, was the most interesting section of the novel. I thought their relationship was a bit cringey (as befits teenagers) and incredibly sweet. The romance made the novel. But it wasn’t the book we signed up for. I was expecting a book about the secrets about Binding - maybe a bit of a thriller/mystery but with beautiful writing and an ethereal setting? I was definitely expecting more information about Binding. Instead we got a angsty romance, endless cutting and gluing of endpapers for books and ONE scene of Emmett book binding that didn’t tell us what the process actually is.

For what the book actually is, which is an angsty gay romance in a very subtly magical alternate ‘Victorian’ society, it’s a decent book. If I’d known this I probably would have read it and considered it a lovely cutesy read. However, it’s not the book I was sold and it left me disappointed. I’d recommend giving it a shot, but it’s not a book I would necessarily read again...

The Scarlet Pimpernel - Baroness Orcsy This was a ridiculous, over the top, and melodramatic classic adventure story. I had so much fun reading this! The Scarlet Pimpernel is a mysterious English aristocrat who, with his band of devoted fellow gentlement, travels to France during the height of the Revolution to rescue innocent French nobles from the guillotine. However, the French are at their wits end and Chauvelin blackmails the ‘cleverest woman in Europe’, darling of English society, and French wife of Sir Percy Blakeney, Lady Marguerite Blakeney, to find out the indentity of the Scarlet Pimpernel.

From there we go on a wonderfully melodramatic romp through 18th century England and France, and watch as Marguerite tries to save the Scarlet Pimpernel. It’s a silly, over the top, novel in a similar style to The Three Musketeers and The Count of Monte Cristo. I’d highly recommend it as an entry into classic literature - or just as a ridiculous fun story!

Reticence - Gail Carriger (The Custard Protocol #4) My last full length parasolverse novel was A LOT of fun. I adored Percy and Arsenic’s slightly cringey but incredibly sweet romance bloom, alongisde the exploration of the supernatural in Carriger’s version of 1890′s Japan. The Custard Protocol was my least favourite of Carriger’s three main series (plotwise at least) but Reticence was a beautiful homage to the entire parasolverse! I adored the cameos (or just the entire wedding scene, let’s face it!), silly humour, and Percy’s happy ending.

My small niggle with this novel was the plot. As with the rest of the Custard Protocol novels I felt the plot wasn’t spectacular. It was a bit thin on the ground, particularly in the first half... This series is about character, and I love all the characters, but I wanted a little bit more from all of the novels. I wanted to see a bit more of each country (and spend a little bit less time on the Spotted Custard whilst travelling through the grey...) Nevertheless, I think Reticence was the strongest of the four Custard novels and I really loved it. Carriger’s world is my comfort blanket, it makes me smile, and I adore the world she’s created - and for that I will be forever grateful to Miss Gail!

Poison or Protect - Gail Carriger (Delightfully Deadly Novellas #1) This novella was a lot darker than I was expecting from Carriger. The plot and on-screen action was just a silly and entertaining as I was expecting (Preshea goes to a house party to prevent the assassination of the Duke of Snodgrove, and stop his daughter marrying a gold digger, whilst falling in love with a dashing Scottish captain.) However, Preshea’s backstory was much darker than we usually see in the parasolverse, the only comparable one I can think of off the top of my head is Rodrigo’s abuse from the Templars! She suffered through years of abuse and neglect at the hands of her father and husbands, leaving her damaged and shying away from all relationships.

The actual romance in Poison or Protect left me a little but underwhelmed. Gavin was actually what I was expecting from Connal Maccon in the Parasol Protectorate, and I’m much more on board with his ‘gentle-giant’ style romance with Preshea. I’m personally not a huge fan of the stereotypical kilt-wearing, enormous Scottish bloke... Just not my thing...but good for Preshea if she likes that! I just wasn’t that invested.

Personally, I would have loved Preshea’s book to revolve a bit more on her relationships with women, not romantically (she has never read as bi or a lesbian) but platonically. In the Finishing School Preshea held herself aloof from the girls around her, never really having a proper friend or friendship group. Instead she was like a vampire queen surrounded by her hive - beautiful, deadly, and set above everyone around her. Preshea herself comments on it in the book! Because of this I would’ve really loved the novella to focus on Preshea learning to be friends with other women, not see them as enemies or competition, and maybe getting her man on the side. We did get this growth as a sub-plot with Lady Flo and Mis Pagril, but I think it was more important for Preshea with her Finishing School background and the abuse she suffered to find herself with other women before jumping into bed with husband number 5...

The Wilful Princess and the Piebald Prince - Robin Hobb (Realm of the Elderlings) This was a fun little novella that expanded the backstory of the Six Duchies and explained why the Witted and Wit magic are so feared in the Farseer and Tawny Man Trilogies. It’s not Hobb’s finest work, but it did flesh out the history of the Six Duchies a little bit more. The story isn’t incredibly important to the main series but I’d highly recommend for fans of Hobb’s Realm of the Elderlings and it’s best to read the tale either before of after the Tawny Man Trilogy.

Madame Bovary - Gustave Flaubert A disappointing classic. Madame Bovary is supposed to be selacious and scandelous. I found it tedious and irritating. Emma Bovary was one of the most uncompelling heroines I’ve read outside of Dickens - she was a selfish snob, with no redeeming characteristics for the reader to latch onto. She’s adored by her husband, but bored in her marraige because Charles is only a middle class, mediocre doctor... She is manipulated by the men around her (both lovers and the guy who lends her money, I can’t remember his name) but is also incredibly stupid in her decisions, particularly around money and her last fateful decision at the end of the book.

The language (both French and my English translation) was dry, and the pacing was off. Important parts of the novel went by in a whirl, but then there were long stretches where almost nothing happens. I’ve read similar novels that were much better with similar themes, plotlines, and much more interesting characters. I am glad I’ve read it but Madame Bovary is not a book I would read again, nor would I recommend it unless you want to cross it off your list of classics.

Winter’s Heart, Crossroads of Twilight, and Knife of Dreams - Robert Jordan (Wheel of Time #9, 10, 11) This post is incredibly long and I’ve spoken about this series at length already so I don’t really have any new criticisms to rasise. However I am slowly making my way through the rest of the Wheel of Time and I’ve now reached the end of the books solely written by Robert Jordan himself. Winter’s Heart and Crossroads of Twilight really were the height of the slump, however, I did manage to read through them both quite quickly with the amount of time I have at the moment. Both books were quite slow but had hugely important moments in them for the entire series.

Knife of Dreams was a return to form for Jordan before he died and we got the resolution to several tedious plotlines that had been running through the last few books (Perrin and Faile, Mat in Ebudar, Egwene travelling to the White Tower.) Personally, I loved Elayne’s struggle to claim the Lion Throne, however, this is one of the plotlines people tend to dislike and it had a particularly satisfying conclusion at the end of KoD. I’m incredibly excited to the series conclusion that I can see coming and I can’t wait to jump into the installments written by Brandon Sanderson in April!

Currently Reading

I’m still working through Fellowship and the Companion... It’s fallen by the wayside slightly but I am still working through it.

A Tale of Two Cities - Charles Dickens This is my buddy read book for March/April, but it’s also a reread for me (as we know from my turbulent relationship with this book from 2019) We have just finished Book 2 Chapter 5.

The Priory of the Orange Tree - Samantha Shannon I’m not a huge fan of this book so far, however, I don’t hate it. I think the plot and world building is quite shallow (circa. 200 pages in anway), and the writing makes me feel like I’m watching the characters through a glass screen. Hopefully it will pick up a bit, but at the moment I think it’s overrated. (I don’t think it’s helping I’ve been reading a lot of brilliant epic fantasy at the moment...)

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