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Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Dominator in Love and Life

Medieval Male Social Role

https://upload.wikimedia.org/wikipedia/commons/6/6e/Lady_tempt_Gawain.jpg
“Lady Tempt Gawain.” Late 14th century. https://upload.wikimedia.org/wikipedia/commons/6/
6e/Lady_tempt_Gawain.jpg

It was believed during the medieval time period that men were superior to women. “Aristotle, for example, had held that men were not only intellectually superior to women but morally superior as well” (Lees 31). Though in modern theory, male superiority is widely a no longer accepted societal practice, male superiority shaped medieval society in both life and love. Males concluded that they were superior as a mixed result of nature and the Bible. Male specimens in nature tended to be “larger, stronger and more agile” which led men to “conclude that male domination was the will of nature” (Lee 31). Medieval men did not need magic or illusions to claim power and control amongst the factions of society, unlike their female counterparts – men simply took what the power of their social station allowed them to take. This principle of course applied to the ascendency of men over women in the matters of the heart. For the medieval time period, it would not make cultural sense for a woman to ever be in full control of her married life or her extra curricular love life. And so, upon inspection of literary texts, audiences can trace the strands of masculinity woven into the concept of courtly love. It is essential to recognize that though there are cases of courtly love that appear to support the power of women it is an illusion, created by a more dominant man, with the intention to indulge a sensual pleasure. 

Masculinity on Top

The unknown author of Sir Gawain and the Green Knight creates the illusion that women drive the plot and theme of courtly love with larger proportional power than the men; however, the author uses the device of over arching masculinity to remind readers that men are always in control. Sir Gawain and the Green Knight opens its story at one of King Author’s Christmas feasts. However, during the royal dinner a guest, the Green Knight, arrives uninvited and challenges King Arthur to chop off his head with the condition that in a years time, if he, the Green Knight, survives then he will have the opportunity to chop of King Arthur’s head. Fearing for his king’s life, Sir Gawain steps up to the challenge and takes King Arthur’s place. Sir Gawain proceeds to successfully chop of the Green Knight’s head, however; the Green Knight picks up his own head and leaves King Arthur’s court telling Sir Gawain to find his “Green Chapel” within a years time so that he may chop off his head, as agreed upon. 

A few months after Christmas, Sir Gawain leaves the court to search for the Green Knight. During his search, he happens upon a castle governed by Bertilak de Hautdesert. Lord Bertilak agrees to let Sir Gawain stay in his care under the condition that at the end of the day he and Sir Gawain exchange their gains from the day. However, Sir Gawain is being tested. While Lord Bertilak is out hunting, Sir Gawain battles off the attentions of Lady Bertilak – Lord Bertilak’s wife has taken a liking to Sir Gawain and wishes to engage in an affair of courtly love. As mentioned by Andreas Capellanus, “marriage is no real excuse for not loving.” And so, according to this rule, Lady Bertilak has no qualms with trying to engage in an affair of courtly love with Sir Gawain. During his three-day stay at the Bertilak castle, Sir Gawain is hurled into the throws of womanly wiles – and obtains six kisses from Lady Bertilak. He accepts the kisses so as not to offend the lady (like Lanval offended Guinevere) but he denies her any physical pleasures past a kiss. 

Romance of Lancelot du Lac (branches 3. Lancelot; 4. Queste; 5. Mort Artu)., Folio #: fol. 254v. 14th century, first half (circa 1320-1330). Artstor, library.artstor.org/asset/BODLEIAN_10310370821

However, the kisses are not as simple as just a kiss, but they are part of the test. Once Sir Gawain reaches the Green Chapel and confronts the Green Knight it is revealed that the Green Knight is in reality Lord Bertilak. In order to test Sir Gawian, he asked his wife to try seducing Sir Gawain. And, because Sir Gawain refused all Lady Bertilak’s advances, except for six kisses and a girdle, he passed the Green Knight’s test. By refusing the temptation of courtly love Sir Gawain is able to preserve his honor – he remains on top of the female male dynamic. In fact, the relationship that Lady Bertilak has with both Sir Gawain and her husband is one of submission. Lady Bertilak is forced to submit to her husband’s wishes and try to woo Sir Gawain into bed with her, Lady Bertilak is forced to submit to Sir Gawain as he refuses her advances of courtly love. As a reward for remaining honorable, Sir Gawain is allowed to keep his head attached to his shoulders.     

Interestingly enough, the plot then thickens as the Green Knight explains that the deadly game was a game that was set into motion by Morgan le Fay as a trick to frighten Queen Guinevere. What is interesting is that the unknown author then reveals that Morgan le Fay received her powers from Merlin. This is tied into the test of courtly love, because it is proof that even when women seem to be in control, there is always a man above them that is pulling the invisible strings of gender hierarchy.  

Works Cited:

N/A. Sir Gawain and the Green Knight. The Norton Anthology English Literature 10th ed. Eds. Greenblatt, Stephen et al. Vol. A. New York, NY: W.W. Norton and Company, Inc., 2018. 201-256. Print.

Lees, Clare A., et al., editors. Medieval Masculinities: Regarding Men in the Middle Ages. NED – New edition ed., vol. 7, University of Minnesota Press, 1994. JSTOR, www.jstor.org/stable/10.5749/j.ctttv7fd.

FOR MORE INFORMATION SEE THE LINKS DOWN BELOW:

50 Shades of Courtly Love
The Hue of Female Power

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