Women In Sir Gawain And The Green Knight

Throughout history, the majority of famous literary works are written by men. This means that a great many male authors, at some point or another, wrote about women. This meant that they only had two points of reference for any female character: the way society viewed women, and the women in their lives—the very ones that were trying to fit those same societal standards. Women’s portrayals of other women are different. They tend to deviate from the general tropes found in literature. This is especially true for authors during the medieval era, when the roles of men and women were much more rigid than they are today. Sir Gawain and the Green Knight shows how medieval society viewed women and where they believed feminine power lay; it does so

2416-2418). Gawain also acknowledges the power she hold over his as Lady of the house when he “was careful to be courteous and avoid uncouthness” rather than outright refusing her or openly rebuking her advances (L. 1773). However, it is also evident that her power extends only so far as the men in the story allow it. While she does attempt, and ultimately succeeds in, seducing Gawain, she does so at her husband’s behests. Lord Bertilak admits to knowing about the “courtesies, and conduct, and kisses/ and the wooing” and reveals that “it was all [his] work” (ll. 2360-2361). He allows her use of her feminine wiles so as to further the game. It is also important to point out that throughout the text she is not given a name until her husband, as the Green Knight, reveals himself to be Lord Bertilak. Up to that point, she is only referred to as “the lady.” Her only two identities are as a seductress and wife. She is given very little agency and is ultimately a one-sided character, unlike Gawain’s multiple facets. She is also a stark contrast to another medieval woman of power: the fairy lover in Marie de France’s

She is also given greater agency, and therefore greater power, than Lady Bertilak. The Fairy lover appears, of her own volition, at Lanval’s greatest hours of need. Her first appearance occurs when Lanval is at an immensely low point, having given away a great deal of his wealth out of generosity and refuses to request compensation from King Arthur, who over looks Lanval until he offends Guinevere. She, along with her maids, helps him restore himself and treats him like the prince he is. De France makes this clear in her use of repetition, stating, “Now Lanval is well cared for” (ll. 140; 154). By repeating this line, she makes sure to let the reader know that the Fairy lover has saved him from ruin and now looks after Lanval. She also offers herself to him as his lover, but does not do so slyly or with ulterior motives like Lady Bertilak. She offers herself openly and out of real, passionate love for him. She also sets the rules for their relationship, ordering him “not to let any man know about this” and threatening to abandon him immediately if he does (L. 145). The fact that the Fairy lover, not only sets the tone of the relationship, but also financially support Lanval lets the readers know who is actually in charge in the relationship. This is despite her saying that she will “obey [his] command” and “satisfy all [his] desires” whenever and