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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

Femininity In Everyman

What makes a female character feminine? Are they described as pretty, intelligent, or giving? The society to we live in says “yes” to this question. Female characters are usually written in a sexual light. They might be characterized as beautiful or slutty. We are all familiar with the female character that is smart, but is often overlooked. We naturally view women as giving because of their motherly instincts. All of these feminine traits I have mentioned are portrayed in Everyman. In this website I’m going to discuss the three feminine characters Good-Deeds, Knowledge and Beauty.

https://public.csusm.edu/everyman/everyman/everyman.gif

The character Good-Deeds in the play Everyman is the character that sticks with Everyman through his toughest times. When we as readers first encounter Good-Deeds, she is crippled on the floor because of Everyman’s sinful nature. Everyman says, “till that I go to my Good-Deed. But alas, she is so weak that she can neither go nor speak” (Everyman 569, line 481-483). Good-Deeds can’t physically help Everyman because he hasn’t really done any good deeds in his life time. Why would the author make Good-Deeds a female character? From a reader oriented stand point the unknown author might have made Good-Deeds a female because of her willingness to stay. In a patriarchal society women had to stay with men. Good-Deeds never faltered despite her physical capabilities. Also, women are naturally giving as perceived by our society. Society displays women this way because of their motherly nature. Good-Deeds also just wanted to help Everyman and his situation, but couldn’t, so she told him about her sister, Knowledge.

  The first time we hear of Knowledge she says to Everyman, “ I will go with thee and be thy guide, in thy most need to go by thy side” (Everyman 570, line 522-523). Knowledge has a solution to Everyman’s situation, so she guides Everyman to confession. She tells him that he needs to repent for all of his sins, so he can relinquish his good deeds. The unknown author portrays Knowledge as a female character through her intellect. There is a common stereotype that women are more knowledgeable when it comes to emotion. Women are more empathetically intelligible. Knowledge is also the character that brings Everyman to repent, meaning she is more apt to being religious. Knowledge opened up Everyman’s eyes to wrong doings. She showed that, “Knowledge comes from outside Everyman, that she is unexpected, that her entrance is not prepared for–all suggest that Everyman has finally received the grace which he also needs to make his penitence effective, the grace which had always been available but which in his blindness he had been unable to perceive” (Jambeck). Knowledge shows Everyman God’s grace, but that can be easily miss guided by worldly standards. In the past Knowledge could only take a women so far. In a patriarchal society women could be raised to a higher status if they were beautiful; beauty can provide one with a better life on earth, but it won’t matter how beautiful one is on judgment day.

A common stereotype of women in medieval written works and others is that they are beautiful. The character Beauty in the play Everyman, states at first that she will go with Everyman to his judgement day. When it comes down to it Beauty does not follow through and says,   “peace, I am deaf—I look not behind me, not and thou wouldest give me all the gold in thy chest” (Everyman 577 line 802-803). Due to Beauty’s abrupt departure Everyman is confused and He says “Alas where to may I trust? Beauty goeth fast away fro me—she promised with me to live and die!” (Everyman 577, line 804-806). In the end, beauty is not the thing that is going to help one on their judgment day. Often, beauty is perceived as a female attribute, especially in the play Everyman and in our society as a whole. Common adjectives to describe women are sexy, beautiful, pretty, and gorgeous. These adjectives are not usually used to describe men. In this time period women were often placed in the home. Women were placed on a pedestal seen of sexual desires. Beauty can’t get one very far, at least it doesn’t matter when going to heaven.  

Byron Company (New York, N.Y.). Plays, “Everyman”.. 1903. Artstor, library.artstor.org/asset/AMCNYIG_10313492968

The patrairchal socity in which this text was written furthers the stereotypical traits given to females. The stereotype of beautiful the females; this trait/characteristic in itself is a blessing and a curse. Females are intelligent, but often not heard. Females are giving, because they have to be. Females have to be faithful to their man all the way to death; even if they have been neglected or abused. For further reading on this topic, the next website will analyze the text Dr. Faustus by Christopher Marlowe.

Works Cited

Jambeck, Thomas J. “Everyman and the Implications of Bernardine Humanism in the Character ‘Knowledge.’.” Literature Criticism from 1400 to 1800, edited by Michael L. LaBlanc, vol. 87, Gale, 2003. Literature Resource Center, https://link.gale.com/apps/doc/H1420050687/LitRC?u=s8474154&sid=LitRC&xid=096f  fd80. Accessed 27 Oct. 2019. Originally published in Medievalia et Humanistica, vol. 8,   1977, pp. 103-123.

Everyman. The Norton Anthology of English Literature, The Sixteenth Century The Early Seventeenth Century. Simpson, James, et al. 10th ed., W.W.   Norton, 2018.

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