all RIGHT:
Why You're Writing Medieval (and Medieval-Coded) Women Wrong: A RANT
(Or, For the Love of God, People, Stop Pretending Victorian Style Gender Roles Applied to All of History)
This is a problem I see alllll over the place - I'll be reading a medieval-coded book and the women will be told they aren't allowed to fight or learn or work, that they are only supposed to get married, keep house and have babies, &c &c.
If I point this out ppl will be like "yes but there was misogyny back then! women were treated terribly!" and OK. Stop right there.
By & large, what we as a culture think of as misogyny & patriarchy is the expression prevalent in Victorian times - not medieval. (And NO, this is not me blaming Victorians for their theme park version of "medieval history". This is me blaming 21st century people for being ignorant & refusing to do their homework).
Yes, there was misogyny in medieval times, but 1) in many ways it was actually markedly less severe than Victorian misogyny, tyvm - and 2) it was of a quite different type. (Disclaimer: I am speaking specifically of Frankish, Western European medieval women rather than those in other parts of the world. This applies to a lesser extent in Byzantium and I am still learning about women in the medieval Islamic world.)
So, here are the 2 vital things to remember about women when writing medieval or medieval-coded societies
FIRST. Where in Victorian times the primary axes of prejudice were gender and race - so that a male labourer had more rights than a female of the higher classes, and a middle class white man would be treated with more respect than an African or Indian dignitary - In medieval times, the primary axis of prejudice was, overwhelmingly, class. Thus, Frankish crusader knights arguably felt more solidarity with their Muslim opponents of knightly status, than they did their own peasants. Faith and age were also medieval axes of prejudice - children and young people were exploited ruthlessly, sent into war or marriage at 15 (boys) or 12 (girls). Gender was less important.
What this meant was that a medieval woman could expect - indeed demand - to be treated more or less the same way the men of her class were. Where no ancient legal obstacle existed, such as Salic law, a king's daughter could and did expect to rule, even after marriage.
Women of the knightly class could & did arm & fight - something that required a MASSIVE outlay of money, which was obviously at their discretion & disposal. See: Sichelgaita, Isabel de Conches, the unnamed women fighting in armour as knights during the Third Crusade, as recorded by Muslim chroniclers.
Tolkien's Eowyn is a great example of this medieval attitude to class trumping race: complaining that she's being told not to fight, she stresses her class: "I am of the house of Eorl & not a serving woman". She claims her rights, not as a woman, but as a member of the warrior class and the ruling family. Similarly in Renaissance Venice a doge protested the practice which saw 80% of noble women locked into convents for life: if these had been men they would have been "born to command & govern the world". Their class ought to have exempted them from discrimination on the basis of sex.
So, tip #1 for writing medieval women: remember that their class always outweighed their gender. They might be subordinate to the men within their own class, but not to those below.
SECOND. Whereas Victorians saw women's highest calling as marriage & children - the "angel in the house" ennobling & improving their men on a spiritual but rarely practical level - Medievals by contrast prized virginity/celibacy above marriage, seeing it as a way for women to transcend their sex. Often as nuns, saints, mystics; sometimes as warriors, queens, & ladies; always as businesswomen & merchants, women could & did forge their own paths in life
When Elizabeth I claimed to have "the heart & stomach of a king" & adopted the persona of the virgin queen, this was the norm she appealed to. Women could do things; they just had to prove they were Not Like Other Girls. By Elizabeth's time things were already changing: it was the Reformation that switched the ideal to marriage, & the Enlightenment that divorced femininity from reason, aggression & public life.
For more on this topic, read Katherine Hager's article "Endowed With Manly Courage: Medieval Perceptions of Women in Combat" on women who transcended gender to occupy a liminal space as warrior/virgin/saint.
So, tip #2: remember that for medieval women, wife and mother wasn't the ideal, virgin saint was the ideal. By proving yourself "not like other girls" you could gain significant autonomy & freedom.
Finally a bonus tip: if writing about medieval women, be sure to read writing on women's issues from the time so as to understand the terms in which these women spoke about & defended their ambitions. Start with Christine de Pisan.
I learned all this doing the reading for WATCHERS OF OUTREMER, my series of historical fantasy novels set in the medieval crusader states, which were dominated by strong medieval women! Book 5, THE HOUSE OF MOURNING (forthcoming 2023) will focus, to a greater extent than any other novel I've ever yet read or written, on the experience of women during the crusades - as warriors, captives, and political leaders. I can't wait to share it with you all!
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When I was younger, we had a clock in the garage that would sing bird calls every hour, instead of chiming or ticking or the regular things clocks do. (......I am fairly sure it was exiled to the garage by my mother, who hated the hollow, tinny sound of it.) Anyway, I mostly remember that clock because the mourning dove call was so distinctive---twoo, twoo, too too too, too too too. I can shut my eyes and hear that song, and it taught me to identify it with unerring precision, even though I couldn't pick out another birdcall to save my life.
To this day, mourning doves are one of my favorite birds. and when I caught sight of one perched delicately on my bird feeder I lost my ever loving mind and will take it as a sign of good things to come.
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one of my favourite weird historical facts is that the Assassins once threatened Saladin by sneaking into his tent and leaving one of their distinctive knives on his pillow, along with two cakes of the bread only they made.
"hi, these scones verify that we can kill you. bon appetit!"
(this weird medieval fact brought to you by the House of Mourning line edits, which I am nearly finished!)
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An idea that has been spinning in my head for a long time.
(in book) towards the end of his life, Aegon gained enough strength to walk on his own with the help of a crutch. and I would kill i want to see the scene of his last walk through the castle, during which he is overcome by memories and for a few seconds the images of his loved ones come to life.
he hears the sounds of their voices, in the corridors he sees Jaehaerys laughing, running away from the nanny along the corridors, in Helaena's room he sees her singing for a giggling Maelor in her arms, in the window he notices a proudly smiling criston who approvingly slaps the shoulder of a joyful Aemond, who defeated him for the first time, in front of the entrance to the dining room there are images of the cargyll twins, hotly arguing about something. he opens the door and a picture flashes before his eyes of the dinner hosted in honor of Daeron's arrival. he sees his younger brother saying a toast with a wide smile on his face, next to him he notices the dark top of his uncle's head and a little further away the figure of his grandfather, on the other side of daeron sits Alicent, looking at her son with tender longing. this image didn't last more than a few seconds, but it was so vivid and full of life, as if everything was real now.
at the end of the journey through the past days of the rare serene happiness of the family, traces of tears and a bitter smile are visible on Aegon's face. the past has never let him go, but now he stops running away from it. for the first time in a long time, there is no struggle in his eyes, but quiet humility. he does not know the future, but he feels that this is the end of it. and he gives the order to take him to the sept in order to find peace in his last prayer in the name of the living and the dead.
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