Marie De France Promotes Feminism in 12th Century

During the twelfth-century, a rise in literate women ensconced in the noble court occurred. Because of this societal change, the popular genre of the time shifted from epics to short narrative poems composed in couplets, called lays. Arguably, one of the principal influences on the development of the lay is a poet who called herself Marie de France. One of her medieval pieces, Lanval, is a feminist-tinged romance set in Medieval England. Of the numerous themes present in this piece, de France uses the relationship between the protagonists Lanval and the Faerie Queen as a way to introduce the topics of love and gender in order to show how women can be as sexually, emotionally, and physically strong as men.

Initially, it is difficult to determine whether or not the relationship between the Faerie Queen and Lanval is truly love. The tone of a magical essence that is attached to the overwhelmingly "worthy, wise, and belle"(line 70) lady suggests that she enchanted and enslaved him. However, as she "transfixed his gaze"(113), it is "love" that pierces him and "set fire to and scorched his heart"(115). In Lanval's own words, he is experiencing love and thus not a mere physical attraction. Also, the conditions of their relationship is based upon the presence of love. The Faerie Queen explains to Lanval that they may only rendezvous "where one his true love may possess"(162). In other words, without his love for her, there would not be any place that is "free/Of blame or of unseemliness"(159-160). Therefore, love must exist between Lanval and his Faerie as according to her wishes. Because Lanval accedes to the Faerie Queen's rules, de France is able to show how women are able to take control and make demands in relationships.

However, the love that dwells between Lanval and the Faerie is not contained within a rigidly traditional role. There is a physical desire evident between the two lovers. As Lanval professes his love to the Faerie, she gives him "her heart/And her body, every part"(127-128). The sultry promise infused within these lines proves the heady passion between the two. The introduction of the controversial subject of sexual desire felt by women by de France, is one of the first to be portrayed in literature:

"Whatever his needs are she will meet:

As a gift to him she granted

He should get whatever he wanted--"(130-133).

Unlike the gift of women as wives to the vassals of Arthur's Round Table, this pure gift of love and eroticism is unsullied and heartfelt. Here de France is celebrating the sexuality of women through the unbridled offering and sharing of the Faerie's body to Lanval's needs. It is an important fact that the feelings of desire are not limited only to the masculine character, but is unusually much more evident in the woman character; the Faerie Queen.

Just as in sexual content, the that roles Lanval and the Faerie Queen play are not the commonly perceived parts for men and women. It is generally accepted in knights tales that the heroic, masculine knight saves the wilting damsel in distress. However, de France reverses those

roles in her story. The "wealth, power, and savoir"(81) of the beauteous Faerie Queen overshadows Lanval's character. Pages of lines and phrases imbued with a worshiping tone also emphasize the magical quality of the Faerie Queen. In the narrative, the Faerie is never shown in any other way, except as a lovely, confident creature. However, Lanval is shown as acting the more emotional role of the woman. Once he betrays the Faerie, Lanval casts himself onto the brink of suicide and self-mutilation as he "fought with himself and scratched his face"(243) in anguish. Without "his love"(182), Lanval is desolate and "grief-stricken"(354) until he can see his Faerie again. Therefore, Lanval and the Faerie Queen are meant to be examples of both love played in contrary gender roles.

Not only is the emotional aspect of their roles reversed, but the characterizations of Lanval and the Faerie Queen are as well. Lanval becomes the damsel in distress, while the Faerie Queen becomes his rescuer. As he sits on trial as a result of the slanderous ravings of the prideful Queen of Camelot, Lanval is at the mercy of his love. Without her testimony, Lanval is surely doomed. In an astonishing appearance, the captivating view of the Faerie Queen enshrouds the minds of all the "baronage"(14) and causes "Lanval [to be] pronounced innocent" (628). As the Faerie rides her snow white palfrey out of the castle, Lanval springs onto the horse. The important element of this scene is the fact that Lanval "sat behind her on the saddle"(638) as she carries him away to her safe haven in "Avalon"(639). The projection of the Faerie Queen as the heroic protagonist introduces the power of womanhood and evidence of early feminism.

Marie de France uses the relationship between two characters to show the androgenous qualities of love, passion, and how socially defined roles for genders are incorrect assumptions. In her story, de France also celebrates the sexual power and emotion felt between the Faerie and Lanval. Through the potent qualities in the Faerie Queen contrasted against the weaker character Lanval, de France transcends the foolish, yet centuries-old, beliefs in a man's power over women.