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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

Magic and Femininity in Sir Gawain and the Green Knight

By: Maria Spong

Sir Gawain and the Green Knight depicts women with and without power. Their moral categorization is then based on how and if they have power. The women that used their sexual and/or magical powers were distinguished as evil and those who did not were good. This is exemplified in the characters of Bertilak’s Wife, Guinevere, and Morgan le Fay.

Images from the original manuscript

Temptation of Sir Gawain by Lady Bercilak. 14th c.

Bertilak’s Wife

One of the three most prominent figures in this poem is Bertilak de Houtdesert’s wife. When Sir Gawain and Bertilak make a bargain to exchange anything they receive during his stay at the castle, Bertilak’s wife is tasked with seducing Gawain. When meeting Bertilak for their barter, he only gives the three kisses and doesn’t give the girdle, as he wants it as protection when facing the Green Knight. The Lady has a lot of power of Gawain, and he even admits that, though in a petty way. “But no wonder if a fool finds his way into folly and be wiped of his wits by womanly guile— it’s the way of the world”(2414-2416). He says that it isn’t his fault that he was tricked and goes on to compare the lady to women of the Bible, many of whom have an evil connotation like Eve causing the fall and Delilah causing Samson’s downfall and others. These women, and many other of this time, were considered evil for their power. The lady specifically is a very complex and strong character as she does have power over Gawain even though she is only presented as a pretty woman. In each interaction with Gawain, she reads his interactions and argues her way into getting kisses. She challenges his reputation as a ladies man and plays with his feelings to test him. But ultimately, she is just a pawn in the overall test and she doesn’t do any of this of her own volition, but because she has been put up to it by her husband. 

Sir Gawain and the Green Knight. 14th C.

Guinevere

Guinevere, who is Queen alongside King Aurther, is central to the plot of Sir Gawain, but she has a very small role. The first mention of the historical queen is referring to her beauty when she is compared to precious stones. “But not one stone outshone the quartz of the queen’s eyes;” (81-82). The only other times she is only referenced is in relation to a male figure. “Good Sir Gawain is seated by Guinevere…”(109), “By Guinevere, Gawain now to his king inclines” (339-340), “Instead he spoke to his exquisite queen with courteous words:”(439). Being a Queen, Geinevere has a certain amount of power, and much of it is hinted at in her physical location on the platform in the dining room where she has a seat of physical power, that calls for attention and gives authority. The main character, Sir Gawain, being introduced in relation to Guinevere also relays a certain amount of power because this knight is only recognizable as he is sitting close to her because they have a familial connection. But that power is mitigated because she seems to be an object for reference without any autonomy. Guinevere is again mentioned as a tool to exaggerate the beauty of a woman that Gawain encounters, as Guinevere is said to be the most beautiful woman in the world, but this woman is described as, “more glorious than Guinevere,”(945). The last time that she is mentioned, the Green Knight, who is revealed to be Bertilak, is explaining to Gawain why he was put through the trials. He explains the Morgan le Fay wanted to cause trouble for the Knights of the Round Table and, specifically, Guinevere. This goes back to a complex past and tense relationship between the two women, but even then, Guinevere is made to look like a damsel in distress. “She imagined this mischief would muddle your minds and that grieving Guinevere would go to her grave at the sight of a specter”(2459-2460).

Sandys, Frederick. Morgan le Fay. 1863-1364, Birmingham Museum and Art Gallery. http://www.bmagic.org.uk/objects/1925P104

Morgan le Fay

Morgan le Fay is, arguably, the most powerful female in the poem. Though not mentioned till the end of the story, she is the reason for the whole adventure. “She guided me in this guise to your great hall to put pride on trail and to test with this trick what distinction and tryst the Round Table deserves.” A magical woman, she disguised Bertilak de Hautdesert with magic and sent him to Guinevere’s court to test the Knights of the Round Table, and to distress the Queen. She is pulling the strings on the whole operation and she is acting with her own autonomy. But, similar to Bertilak’s wife, she is a woman seen as evil. The only women with power in this story are twisted to be conduits for bad rather than good or even neutral. Even further complicating her relationship with power, it is explicitly stated that the only reason she has these magical powers is because they were taught by Merlin. “The mighty Morgan le Fay, so adept and adroit in the dark arts, who learned magic from Merlin— the master of mystery— for in earlier times she was intimately entwined with that knowledgeable man” (2445-2450). This quote is important because it shows that she is adept in the dark arts, evil magic, and that she learned from Merlin, but it even goes a step further and has to add that the two of them had a relationship that is heavily implied to be sexual in nature.

BBC Discussion of Sir Gawain for a refresher or if you’re really procrastinating!
Magic and Femininity
Magic and Femininity in The Faerie Queene

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