men keenly attuned to women’s feelings toward them

In medieval Germany, a man saw women doing a women-only circle dance. Many men don’t like to be excluded because of their gender from activities, spaces, and colleges. This man perceived these women to be female segregationists:

What we see here dancing around —
they are all young women.
They want to spend without men
all this summer!

{ Swaz hie gât umbe,
daz sint alle megede;
die wellent ân man
allen disen sumer gân! }[1]

Perhaps this man introduced himself pleasantly and asked to join their dancing. After all, men aren’t toxic, and many men can dance. Yet, like far too many men throughout history, such a man could get a contemptuous response from a woman:

Rosy Lips, how you dishonor yourself!
Stop your laughing!
Shame on you that you laugh
to your own detriment!
This isn’t done well.
Cursed be the lost opportunity
if so lovely a mouth
is going to produce such a lack of love.

{ Rôter munt, wie dû dich swachest!
lâ dîn lachen sîn!
Scheme dich, swenne dû sô lachest
nâch dem schaden dîn!
Dest niht wol getân.
ôwî sô verlorner stunde,
sol von minneclîchem munde
solch unminne ergân! }[2]

Men have suffered the historical injustice of being being vastly disproportionately burdened with soliciting amorous relationships, to say nothing of the criminalization of men “seducing” women, castration culture, and epic violence against men. As a matter of gendered social justice, women should treat men nicely. Rosy Lips instead perpetuated contempt for men.

13th-century minnesinger Gottfried von Neifen attempts to please a woman

Not all women are like that. The pastoral genre typically features a country scene in which a man solicits a woman in accordance with oppressive gender norms. But a lovely medieval poem transgressed the pastoral genre:

One morning I was supposed to cross a broad meadow,
when I saw standing there a young women who greeted me without hesitation.
She said: “Dear friend, where are you headed? Do you need company?”
I bowed down low before her and thanked her for her offer.

{ Ich solde eines morgenes gân eine wise breite;
dô sah ich eine maget stân, diu grüezte mich bereite.
si sprach: “liebe, war wend ir? dürfent ir geleite?”
gegen den füezen neigt ich ir, gnâde ich ir des seite. }[3]

That’s how all women should relate to men. Men appreciate women’s company. Men delight in women’s love for them. A medieval German poet wrote:

Past is the cold winter, which caused me such distress.
The green wood is in full leaf, which fills my heart with joy.
No one can grow old at such a time!
A woman’s goodness has brought me all sorts of joy.

{ Zergangen ist der winder kalt, der mich sô sêre müte,
geloubet stât der grüene walt; des fröiet sich min gemüete.
nieman kan nû werden alt!
vröivde hân ich manecvalt von eines wibes güete. }[4]

In a world that devalues men’s lives, women’s love can make men feel good:

I am an emperor without a crown
and without land. This is what I mean:
I have never felt so splendid!
Praise be to her love, which makes me feel so good!
This is what a fine lady has done for me.
I will serve her forever more.
I have never seen a woman so well-disposed.

{ Ich bin keiser âne krône
unde âne lant. daz meine ich an dem muot:
ern gestuont mir nie so schône.
wol ir liebe, diu mir sanfte tuot!
daz machet mir ein vrowe guot.
ich wil ir dienen iemer mer;
ich engesach nie wip so wol gemuot. }[5]

This isn’t social-justice activism that only extraordinary women can undertake. A medieval poet listed a variety of women that he regarded as praiseworthy, but less praiseworthy than his beloved woman:

She is more beautiful than Lady Dido was.
She is more beautiful than Lady Helen.
She is more beautiful than Lady Pallas.
She is more beautiful than Lady Hecuba.
She is worthier of love than Lady Isabel
and happier than Gaudile.
The clover of my heart
is richer in virtue than Baldine.

{ Si ist schœner den vrowe Dido was,
si ist schœner denne vrowe Helena,
si ist schœner denne vrowe Pallas,
si ist schœner denne vrowe Ecubâ;
si ist minnechlîcher denne vrowe Isabel
unde uroelicher denne Gaudile;
mines herzen klê
ist tugende richer denne Baldine. }[6]

The first four ladies listed are eminent classical women, with Hecuba not regarded as particularly beautiful. Isabel and Gaudile are names in medieval romance languages. Baldine is a woman’s name from Flanders. Many different women have long commanded men’s attention. All women are at least capable of appreciating men and caring for them.

Medieval women valued highly their beloved men. One medieval woman loved her man even more than she loved her mother:

“My spirits are high in anticipation of new
joys,” said a beautiful woman.
“A knight does what I want him to do.
He has made my life delightful.
I will always be more devoted to him
than to any of my relatives.
I will show him a woman’s unwavering loyalty.”

{ “Ze niuwen vröiden stât min muot
hôhe,” sprach ein schœnez wîp.
“ein ritter mînen willen tuot;
der hât geliebet mir den lîp.
ich wil im iemer holder sin
danne deheinem mâge min.
ich erzeige ime wîbes triuwe schîn.” }[7]

If they married, that man would have no reason to worry about his mother-in-law. Consider also the case of Eleanor of Aquitaine. She was one of the wealthiest and most powerful persons in twelfth-century Europe. Yet a man’s love mattered more to her than all her wealth and power:

Were the world all mine
from the sea to the Rhine,
I would renounce it all
to have the King of England lie in my arms.

{ Wære diu werlt alle min
von deme mere unze an den Rîn,
des wolt ich mich darben,
daz künic von Engellant lege an mînem armen! }[8]

Men have long been taught to do anything to please women. Today women should be taught that a man in a relationship with her should feel as valued as the King of England was by Eleanor of Aquitaine.

Valuing men means showing concern for them. That doesn’t mean being possessive and clingy. Concern for men starts with always having regard for men’s welfare:

“Tell me, that I might forever reward you:
have you seen the man that I love so much?
Is it true he lives as fine a life
as they say and as I hear you assert?”
“Lady, I saw him. He is happy.
His heart, if you so ordain, will always be elated.”

{ “Sage, daz ich dirs iemer lône:
hâst dû den vil lieben man gesehen?
ist ez wâr, lebet er sô schône,
als si sagent vnde ich dich hœre jehen?”
“vrowe, ich sach in: er ist vrô.
sîn herçe stât, ob ir gebietet, iemer hô.” }[9]

The man this woman loved apparently left her because she wasn’t fulfilling his needs. He then found more joy and happiness with another woman. Since she loved him, she should be happy to learn that he is now living a fine life. Loving women should protect men:

I see the morning star shine forth.
Now, hero, don’t allow yourself to be seen!
My love, that is my advice!
It’s most excellent to love secretly
when eagle eyes keep watch on intimate friendship.

{ Ich sihe den morgensterne brehen.
nû, helt, lâ dich niht gerne sehen!
vil liebe, dest mîn rât.
swer tougenlîchen minnet, wie tugentlîch daz stât,
dâ friunschaft huote hât! }[10]

A poem of a dawn parting is known as an alba. In this one, the woman refers to her beloved man as a hero. Men delight in being heroes to women. She expresses concern for her beloved man’s safety and gives him advice. Even better would be for a woman to take specific action to help keep men safe. Men’s safety should be women’s highest priority.

As meninist literary scholarship emphasizes, women rape men. A medieval proverb warned men about women sexual harassing them as a prelude to raping them:

If you don’t flee when touched, you will scarcely escape being raped.

{ Ni fugias tactus, vix evitabitur actus. }[11]

Women must be taught not to rape men. Women must not be taught to hate men.

To love men well, women must overcome the bigotry and narrow-mindedness of our benighted age. Women must reject sexist double standards, especially concerning choice and abortion. Women must seek to end epic violence against men and abolish sexist conscription requirements. Medieval women’s love for men ennobled them. Love for men can ennoble women today, too.

* * * * *

Read more:

Notes:

[1] Carmina Burana 167a, Middle High German text and English translation (modified slightly) by James Schultz in Traill (2018). Subsequent Middle High German poems from the Carmina Burana are similarly sourced. The Middle High German texts have been normalized and hence differ from other, more direct transcriptions of the manuscript. Here’s the German text before being normalized. Subsequently, such text will be linked at the poem number. Here are modern German translations (here too) for many of the Carmina Burana’s love songs, including those in Middle High German.

Dronke provided a more interpretive translation and declared:

It was up to the men to pluck up courage and enter the charmed circle next to the girl of their choice.

Dronke (1968) p. 189. In what sense was the circle “charmed” and why did men need courage to enter it? Why didn’t the women warmly invite the man of their choice to enter the circle? These are the sort of questions that meninist literary criticism considers.

[2] Carmina Burana 169a, by Walther von der Vogelweide. This minnesinger {Minnesänger} lived from about 1170 to 1230. Here are three of his songs, with modern German paraphrases (alternate source).

[3] Carmina Burana 142a. Here’s an alternate translation.

In analyzing the pastoral, literary scholars in the last few decades have frequently highlighted men raping women. See, e.g. Lange-Joppe (2010). Since literary scholars typically classify medieval literature depicting women cuckolding their husbands as misogyny, medieval literature depicting men raping women should be classified as misandry.

[4] Carmina Burana 139a.

[5] Carmina Burana 150a, by minnesinger Heinrich von Morungen about the year 1200.

[6] Carmina Burana 155a.

[7] Carmina Burana 143a, by Reinmar the Elder {Reinmar der Alte} / Reinmar von Hagenau. For an English translation of the full (two stanza) song, Jackson (1981) p. 31. Jackson (1975) provides a vigorous defense of Reinmar’s poetic capabilities.

In another poem, a woman longs for her beloved man:

What brings relief from the longing
that a woman has for the man she loves?
How glad my heart would be to find that out,
for it feels such distress!

{ Waz ist für daz senen guot,
daz wip nâch liebem manne hât?
wie gerne daz min herze erkhande,
wan daz ez sô betwungen stât! }

Carmina Burana 113a, vv. 1-4. These are the opening verses of a multi-stanza poem by the twelfth-century minnesinger Dietmar von Aist.

[8] Carmina Burana 145a. On the identity of the figures in this song, Traill (2018) in Notes to the Translation. Banduroszka performed a version of this song, “Uvere diu Werlt alle min {Were the world all mine},” on its 2017 album Eheu memoriam.

[9] Carmina Burana 147a, by Reinmar der Alte. For a full English translation, Jackson (1981) p. 15. Jackson (1975), pp. 187-9, provides earlier analysis of this song.

[10] Carmina Burana 183a.

[11] Carmina Burana 63a. Traill described this poem as “advice addressed to a youth about avoiding homosexual rape.” Traill (2018) v. 1, p. 527. The poem connects what other medieval literature calls the third and the fifth stages of love. On medieval stages of love, see note [1] in the post on Baucis et Traso.

A thirteenth-century poem included Carmina Burana 63a in the context of other stages of love:

Looking and addressing, then touching; after kissing, the deed of sex.
If you don’t flee when touched, you will scarcely escape the sex act.
After looking, laughter; after laughter one goes to being familiar,
after being familiar, touching; after touching one goes to the sex act.

{ Visus et alloquium, tactus, post oscula factum.
Ni fugias tactus, vix evitabitur actus.
Post visum, risum, post risum transit in usum,
Post usum tactus, post tactum transit in actus. }

Latin text from MS. München, Clm 17210, fol. 40v (13th century); Clm 12725, fol. 16r (15th century), as transcribed by Dronke (1965) v. 2, p. 488, my English translation. Id. seems to me to provide a less exact English translation. Dronke isn’t clear about which verses exist in which manuscript. The 13th-century text may be only the first two verses above.

Carmina Burana 63a appears in a summary of canon law that Henry of Segusio {Hostiensis} wrote between the 1230s and 1253. There the admonition is clearly associated with heterosexual relations. In particular, Summa IV, “About him who gets to know his wife’s female relative {De eo qui cognovit consanguineam uxoris suae},” from section 1: “If you don’t flee when touched, you will scarcely escape having sex {ni fugias tactus, vix evitabitur actus}.” See Hostiensis, Summary of the papal decisions {Summa super titulis Decretalium}, later called the Golden summary {Summa aurea}, as cited by Gallagher (1978) p. 72, n. 26. Through the influence of Hostiensis’s Summa aurea, Carmina Burana 63a was subsequently widely quoted.

[image] Medieval man attempting to please a medieval woman. The depicted man (minnesinger) is Gottfried von Neifen, who flourished in the middle of the thirteenth century in Germanic lands. Illustration from Codex Manesse, made between 1305 and 1315. Manuscript preserved as UB Heidelberg, Cod. Pal. germ. 848, fol. 32v. Thanks to University of Hiedelberg and Wikimedia Commons.

References:

Dronke, Peter. 1965. Medieval Latin and the Rise of European Love-Lyric. 2 vols. Oxford: Clarendon Press.

Dronke, Peter. 1968. The Medieval Lyric. London: Hutchinson University Library.

Gallagher, Clarence. 1978. Canon law and the Christian community: the role of law in the Church according to the Summa aurea of Cardinal Hostiensis. Roma: Università Gregoriana.

Jackson, William E. 1975. “Reinmar der Alte in Literary History: A Critique and a Proposal.” Colloquia Germanica. 9: 177-204.

Jackson, William E. 1981. Reinmar’s Women: a study of the woman’s song (“Frauenlied” and “Frauenstrophe”) of Reinmar der Alte. Amsterdam: J. Benjamins.

Lange-Joppe, Ingrid de. 2010. “‛Ich solde eines morgenes gan …’ De liefdesliederen in de Carmina Burana.” Priesters, Prostituees En Procreatie. Seksuele Normen En Praktijken in De Middeleeuwen En Vroegmoderne Tijd. 25 (December): 131-147.

Traill, David A. 2018, ed. and trans. Carmina Burana. Dumbarton Oaks Medieval Library, 48-49. Cambridge, Massachusetts: Harvard University Press.

Penthesilea & her Amazon women warriors fought and died like men

King Priam desperately needed Queen Penthesilea and her Amazon women warriors to help Troy against the Greeks in the Trojan War. The Greek warrior Achilles had killed Troy’s preeminent warrior, Priam’s son Hector. The Greeks had been besieging the gates of Troy for two months. No Trojan force had even attempted to drive them away.

The Amazons were renowned as women warriors from a women-only society near the Black Sea. Many Amazon women never had intercourse with men. Some, however, spent the months of April to June having intercourse with men on an island adjacent to Amazonia. The Amazons kept subsequently birthed females babies in Amazonia. They turned over male babies to the men on the island. No men were allowed in Amazonia:

If any man set foot in their land,
he immediately would be completely torn apart.

{ S’en lor terre meteit les piez,
Sempres sereit toz detrenchiez. }

Amazon women were universally esteemed for being bold, courageous, and combative in arms.

Amazon women warrior leader Penthesilea

Penthesilea led a thousand Amazon women warriors to Troy’s side. King Priam and all the Trojans welcomed the Amazons joyfully. Penthesilea had fallen in love from afar with Priam’s son Hector. Hector was married to Andromache, but Penthesilea expected to have a sexual affair with him. When she heard that Achilles had killed Hector, she was enraged at the Greeks. She immediately sought to fight with them and make them pay for Hector’s death.

The Amazons, who were beautiful, armed themselves beautifully. Penthesilea had a brilliant white hauberk and a helmet that included precious, shining stones. Her horse was a swift, strong, Spanish bay steed. It was covered with silk cloth to which were attached a hundred tiny, clear-sounding golden bells. Her shield had a gold buckle bordered with rubies and emeralds. Her lance featured a beautiful, new pennant. Penthesilea’s golden-haired women warriors complemented her arms:

They were more than a thousand, not ten of whom
had failed to arm well their faces,
heads, arms, and sides.
Over their hauberks covered with double-layered saffron,
they let their lovely hair hang.
It was so shining and combed
that even pure gold would appear dark in comparison.
With bold, confident hearts
they rode straight toward the gates
upon their steeds with shields in hand.

{ Mil sont e plus, n’i a pas dis
Que bien n’aient armez les vis,
Les chiés, les braz e les costez.
Sor les haubers dobliers safrez
Ont lor beaus crins toz destreciez,
Si reluisanz e si peigniez
Qu’ors esmerez semblast oscurs.
O hardiz cuers e o seürs,
Chevauchent dreit vers les portaus,
Les escuz pris, sor les chevaus. }

How could any men resist these women?

With loud battle-cries, Penthesilea and her Amazon women warriors attacked the Greek men. Penthesilea knocked Menelaus onto the ground on his back. Not mounting him and finishing him off, she instead took his horse. She jousted against Diomedes and took away his shield. The Greek men soon appreciated that Penthesilea was vigorous, strong, and valiant:

Quickly she became an object of fear
as she charged the Greeks in the thickest fights.
She frequently forced them to shift positions
and abandon saddles and horses.
Her young women supported her effectively,
scattering men’s blood and brains all about
as they drove their foes back.
I can assure you that the dusty ground
was soaked with bright-red blood.

{ Redotee est en petit d’ore:
Es greignors presses lor cort sore;
Sovent lor fait muër estaus
E guerpir seles e chevaus.
Bien li aident ses puceles:
Sanc i espandent e cerveles,
Toz les conreiz font traire ariere,
Si vos di bien que la poudriere
Est del sanc vermeil destempree. }

Many Greek men were killed and others badly harmed. They were forced to abandon their siege of Troy and to return to their camp beside their ships. In subsequent battles the Greek suffered huge losses. The Amazons had driven the Greeks to the brink of defeat.

Then Achilles’s son Pirrus arrived on the Greek side. Pirrus bore his father’s arms and rode on a fine Spanish steed. He quickly proved himself to be a ferocious, deadly warrior. He taunted Penthesilea and her Amazons for being women. Penthesilea in turn boasted of her Amazons’ prowess and threatened Pirrus. Then they fought:

Seizing her shield, grasping her lance,
Penthesilea attacked in full gallop.
And Pirrus, son of Achilles,
seething in anger received her.
Straight through their shields
they struck one another with all the force
their charging horses could bring.
Their wooden shields split when pierced
and their strong mail coats came apart.
Their lances’ iron points clipped their sides,
leaving obvious wounds
as blood all hot and red
flowed down to their toes.
Into their sides two arms-length beyond the other side,
well-drenched in blood went
their silken pennants.

{ L’escu saisi, la lance prise,
Li cheuauche de plain eslais;
E Pirrus, li fiz Achillès,
De mout grant ire la receit.
Par mi les escuz bien a dreit
Se ferirent de tel air
Com li cheval porent venir;
Les ais fendirent e percierent
E les forz broignes desmaillierent.
Lez les costez passent les fers,
S’i sont aparissanz les mers,
Quar li sans toz chauz e vermeiz
Lor file desci qu’as orteiz.
De l’autre part dous granz cotees
Passerent bien ensanglantees
Les enseignes de drap de seie. }

That’s a description indistinguishable from other descriptions of two warrior men fighting. Moreover, the combat descriptions don’t strongly distinguish Penthesilea and Achilles. They fight similarly:

Before either one of them could move,
they had slashed each other’s shield
with their green blades of burnished steel
and cut the lacings of their helmets.
The knocked one another flat on their backs
or face down on the ground.

{ Anceis que nus d’eus dous se mueve,
Se sont il trenchié les escuz
O les verz branz d’acier moluz
E des heaumes rompu les laz,
Si qu’envers, a denz e toz plaz
S’entrabatirent el sablon. }

This anomalous, cross-gender violence was brutal and lethal:

Penthesilea inflicted much harm,
much destroying and much mutilating the Greeks
with the force of her company.
She too suffered many losses among her young women,
including some of the most valiant and most beautiful.
Much they hated one another, she and Pirrus,
so they frequently came together
in combat with each other, attacking each other
and frequently striking each other.
Frequently they challenged one another,
such on horseback and such on foot,
until they met for the last time.

{ Panthesilee mout les grieve:
Mout destruit Greus, mout les mahaigne
Par la force de sa compaigne;
Sovent repert de ses puceles,
Des mieuz vaillanz e des plus beles.
Mout se heent, ele e Pirrus:
Por ço lor est sovent en us
D’eus combatre, d’eus envaïr
E d’eus sovent entreferir.
Sovent se sont entressaié,
Tant a cheval e tant a pié,
Qu’ai dererain jor se troverent }

In their final encounter, Penthesilea thrust her silken pennant through Pirrus’s body. The resulting flow of blood impaired Pirrus’s vision and confused his brain. But he refused to lay down and die to please Penthesilea. With the spear stub still lodged in his body, Pirrus attacked her:

She had not laced on her helmet
which on her head was all cut to pieces.
When she saw him coming at her,
she planned to strike him first.
But Pirrus so exerted himself
that he gave her an extraordinary blow
right between her body and her shield.
It severed her arm from her torso,
totally cut it away from her side.
Bloody, pale, bruised,
and half dead, he seized hold of her.
With the forces in his company,
who were defending him against the Amazons
fighting on the Trojan side,
he knocked her off her charger.
Ruthless and violent, he leaped down on her.
He struck her with powerful and deadly blows
using his steel blade, blows that resounded clearly.
Over the green grass, which was fresh and new,
he scattered all her brains.
He then hacked off all her limbs.
That’s how he took vengeance on her.

{ El n’aveit pas l’eaume lacié,
El chief li ert tot detrenchié:
Quant el le vit vers sei venir,
Premiere le cuida ferir;
Mais Pirrus tant s’esvertua
Qu’un coup merveillos li geta
A dreit entrel cors e l’escu;
Sevré li a le braz del bu,
Tot le li trencha en travers.
Ensanglentez, pales e pers
E demi morz la ra saisie;
O l’esforz de sa compaignie,
Qui des danzeles le defendent
E qui o Troïens contendent,
L’a trebuchiee del destrier.
Sor li descent cruël e fier;
Granz cous morteus li meist e done
Del brant d’acier, qui cler resone;
Sor l’erbe vert, fresche e novele
Li espant tote la cervele;
Toz les membres li a trenchiez:
Ensi se rest de li vengiez. }

During the Trojan War, Achilles killed King Mennon and cut Mennon’s body into small pieces. Paris subsequently hacked Achilles’s and Antilogus’s bodies to pieces in a shameful ambush. Achilles’s son Pirrus cut Penthesilea’s body to pieces on the battlefield. The latter was more like the acts that happened in the normal violence against men of war.

Pirrus killing Penthesilea

Penthesilea and her Amazon women warriors had killed ten thousand Greek men. Because of the great harm she had inflicted on them, some of the Greeks wanted to deny her a burial. Pirrus argued for allowing her to have a fitting burial. Diomedes, however, argued that her body should be given to dogs to be devoured or thrown into a river. Diomedes’s view prevailed. The Greeks threw Penthesilea’s corpse into the Scamander River. That’s what Achilles had done with the corpse of Priam’s son Lycaon after killing him despite his supplication. The normal violence against men of war is often brutally amoral. Penthesilea experienced in the Trojan War what many men experience in war.

throwing Penthesilea's dead body into the River Scamander

Many Amazon women warriors died fighting in the Trojan War, but many fewer than the number of men who died. According to Benoît de Sainte-Maure’s twelfth-century Romance of Troy {Roman de Troie}, from the 1000 Amazon women warriors who went to Troy, 563 were killed in the war. King Philemis, whose realm of Paphlagonia was near Amazonia, was devoted to the Amazon Queen Penthesilea:

Neither in life nor in death
would he ever agree to be separated from her.

{ Ne por vivre ne por morir,
Ne la voudra ja ainz guerpir. }

According to Benoît, from the 2000 Paphlagonian men warriors who Philemis brought to Troy, 1090 were killed in the war. According to Benoît’s source Dares Phrygius, overall 1,542,000 men died fighting in the Trojan War. Under Philemis’s devotion to Penthesilea, the Paphlagonians lost nearly twice as many men as the Amazons did women. The over-all number of men warriors killed in the Trojan War is like a rain of blood compared to the drops of women warriors killed. Men’s lives should matter.

Gender equality in conscription and fighting in wars isn’t impossible. Ancient and medieval literature recognized that women can be ferocious fighters. Women have significant combat advantages relative to men. While men warriors killed the great women warriors Maximou, Camilla, and Penthesilea (quite easily, according to some authors), women nonetheless are fully capable of fighting and dying like men. Pervasive anti-men gender bigotry is destroying men’s will to fight for their societies. That could prompt a country like the U.S. to resort to the ultimate feminine weapon: nuclear bombs. Repealing sexist Selective Service and promoting gender equality in fighting and dying in wars is a more humane alternative.

* * * * *

Read more:

Notes:

The above account of Penthesilea and her Amazon women warriors is from Benoît de Sainte-Maure’s influential Romance of Troy {Roman de Troie}. Benoît wrote that work about 1165. The quotations present Old French text from Constans (1904) and English text (modified slightly) from Burgess & Kelly (2017). The quotations are vv. 23345-6 (If any man set foot…), 23465-74 (They were more than a thousand…), 23639-47 (Quickly she became an object of fear…), 24120-35 (Seizing her shield…), 24230-5 (Before either one of them could move…), 24272-83 (Penthesilea inflicted much harm…), 24305-26 (She had not laced on her helmet…), 25287-8 (Neither in life nor in death…).

On Achilles killing King Mennon and cutting Mennon’s body to pieces, Roman de Troie, vv. 21577-625. On Paris hacking Achilles’s and Antilogus’s bodies to pieces, Roman de Troie, vv. 22271-316.

Penthesilea, whom Benoît calls “the Queen of Femenie {la reine de Femenie},” apparently had been the lover of King Celidis, a Greek king. Roman de Troie, vv. 8831, 24430. She also loved Priam’s son Hector. That’s impressive for an Amazon.

Almost all the Amazon women warriors wore “Pavian helmets {heaumes Paviëis}.” Roman de Troie, v. 23988. The context emphasizes the Amazons’ lavish accouterments, which is consistent with Pavia being a wealthy, commercial twelfth-century Italian city. Medieval Pavia was renowned for its beautiful women readily accessible for sex with men. That’s ironic, however, because the Amazons who came to Troy were virgins. Roman de Troie, vv. 24095-6.

Both Penthesilea and Pirrus rode “Spanish horses {chevals d’Espaignes}.” Roman de Troie, vv. 23886 (Pirrus), 23440 (Penthesilea). Spanish horses were highly prized in medieval Europe. Leet (2016) pp. 143-4. These horses’ allure probably came from Spain’s connection to Arabian and Berber horses of the Islamic world. Benoît explicitly refers to Amazon warriors as having Arabian horses: “good Arabian horses {bons chevals arrabieis}.” Roman de Troie, v. 23383.

For the casualty counts, Roman de Troie, vv. 25769-70 (Paphlagonian casualties), 25784-6 (Amazon casualties). Total men killed is from Dares Phrygius, History of the Fall of Troy {De excidio Trojae historia} 44. These casualty counts shouldn’t be taken literally. They provide insight in the relative magnitudes of men’s and women’s deaths fighting in the Trojan War.

War has long been institutionally structured as violence against men. The persons who have fought and died in war throughout history have been overwhelmingly men. Elite men’s life expectancy in medieval England was about nine years less than elite women’s life expectancy. Medieval men’s lifespan shortfall was largely due to violence against men. Harwood (2020) focuses on medieval women in war:

If we wish to understand the operation of medieval power structures of war as a whole, then we need to look at women.

Id. p. 1. To understand why men are overwhelmingly gender-burdened with responsibility for fighting and dying in war, we need to recognize truthfully women’s discursive power.

Penthesilea and the Amazon women warriors fought and died like men. Apparently straining to be academically fashionable, Leet made the Amazons into cyborg others, and she characterized men, in accordance with academic convention, as responding with “anger and anxiety”:

This Amazon cyborg body provokes both anger and anxiety that manifest themselves in the violent treatment of Panteselee in her final moments. Pyrrhus not only destroys the unions of her body with armor, weapons, and horse, he also mutilates her corpse. His response to what he perceives as an audacious and transgressive woman is to cleave her arm from her body, drag her from her horse, smash her skull, and dismember her while her troops watch in horror.

Leet (2016) p. 192. In this line of thinking, men by being gender-burdened with fighting and dying in wars abuse women and horses. Moreover, a woman’s relationship with her horse transgresses patriarchy:

The link between women and horses — both of whom occupy a central role in literary representations of chivalry — is reinforced by their shared legacy of abuse by men who see them as tools for their own advancement. Moreover, while many female literary characters are controlled by men, a woman with equestrian acumen can exceed the limitations others might attempt to place on her. The relationship a female equestrian has with her horse becomes the key to her recourse against patriarchal domination.

Id., from online abstract.

[images] (1) Penthesilea depicted as one of the Nine Female Worthies. Painted between 1435-1440. From Petit armorial équestre de la Toison d’or, folio 248, Bibliothèque nationale de France (BnF), Manuscrits occidentaux, Clairambault 1312. Via BnF, Banque d’images, also available from Wikimedia Commons. (2) Pirrus killing Penthesilea. Painted in the third quarter of the 15th century. Ancient History up to Caesar {Histoire ancienne jusqu’ à César}, folio 162r, Bodleian Library MS. Douce 353. (3) Greeks throwing Penthesilea’s dead body into the Scamander River. Painted about 1330. Roman de Troie, view 261 (page numbered 126), BnF MS. Français 60. For analysis of BnF MS. Français 60, Keller (2017).

References:

Burgess, Glyn S., and Douglas Kelly. 2017. The Roman de Troie by Benoît de Sainte-Mauré: a translation. Gallica, 41. Cambridge: D.S. Brewer. Review by Sylvia Federico and by Cristian Bratu.

Constans, Léopold, ed. 1904-12. Le roman de Troie, par Benoît de Sainte-Maure, publié d’après tous les manuscrits connus. Société des Aanciens Textes Français. Paris: F. Didot. Vols. 1, 2, 3, 4, 5, 6.

Harwood, Sophie. 2020. Medieval Women and War: Female Roles in the Old French Tradition. London: Bloomsbury Academic.

Keller, Natalie. 2017. The Reinvented Romance: A Study of Manuscript BnF French 60. Honors Thesis, Sally McDonnell Barksdale Honors College, University of Mississippi.

Leet, Elizabeth. 2016. “Communicating with Horses: Women as Equestrians in 12th – through 14th – century Old French, Anglo-Norman and Middle English Literature.” Ph.D. Thesis, University of Virginia.

literary history made male worker bees into drones

More than two thousand years ago, the revered Roman poet Virgil wrote a book about bees. According to Virgil, bees produce “the celestial gift of honey from the air {aërii mellis caelestia dona}.”[1] That’s a lovely figure of high poetry. Honey, sweet and delicious, is well-regarded as a celestial gift. But as meninist literary criticism has established, gender is under everything. According to Virgil, bees peculiarly reproduce to produce honey: “they don’t indulge in sexual union, nor languidly loosen their bodies in love {neque concubitu indulgent, nec corpora segnes / in Venerem solvunt}.” That classical misunderstanding made male worker bees into “drones” for more than two millennia.

Male worker bees engage in sexual work essential for the ongoing production of honey. As is common in gynocentric societies, the queen bee is the central, privileged individual. She is the mother of all the baby bees born in the hive. She mates with many male bees hatefully called “drones.” These drones are more justly regarded as male worker bees. Female workers bees, which are asexual, do a variety of non-sexual tasks. Male worker bees, in contrast, specialize in male sexual work. They fly to male worker bee congregation areas analogous to clubs and bars. When a queen bee appears, male worker bees seek to engage in the strenuous male work of having sex with her. Male worker bees typically die after successfully completing their seminally important work. That sacrificial work has enduring benefits through contributing to the creation of a new generation of honeybees.[2]

face of a male worker bee (drone)

Latin literature following Virgil associated bees with chastity, the Virgin Mary, and the Christian church. The fourth-century bishop Ambrose of Milan associated the bee with virginity. The fifth-century bishop Peter Chrysologus of Ravenna declared:

Let no one wonder if the holy church, which is a virgin mother, produces numerous offspring with heavenly fertility, bears pastors for herself, and begets rectors. For the bee knows no intercourse, is ignorant of unchastity and is set apart from corruption. The bee is a model of modesty, an exemplar of chastity and a symbol of virginity. Like the church, the bee from mere heavenly dew conceives by its mouth, delivers by its mouth, compounds chaste seeds by its mouth, makes leaders for itself by its mouth, and personally generates and produces kings for itself by its mouth.

{ Nemo miretur si sancta ecclesia, si uirgo mater que numerosas suboles caelesti fecunditate diffundet, ipsa sibi pastores generet, pariat ipsa rectores, quando apes concubitus nescia, obscoenitatis ignara, corruptionis expers, ad formam pudicitiae, ad castitatis exemplum, ad uirginitatis insigne, quae solo rore caelesti ore concipit, ore parturit, ore germina casta componit, ore sibi duces format, ore sibi reges ipsa generat et producit }[3]

What about the work of male worker bees? Writing around 1100, the poet, theologian and Christian church official Hildebert of Lavardin represented the Virgin Mary as a bee:

The virgin is a little bee who makes wax and procreates without coitus.

{ Virgo est apicula, quae ceram fabricat, et sine coitu procreavit }[4]

A poem from no later than the middle of the eleventh century depicted a summer scene of fecundity, with an apple tree laden with fruit and many varieties of birds, including the turtledove and nightingale, singing joyfully in accordance with their natures.[5] The Virgin Mary figures as a bird, but a bird like the chaste bee:

None among the birds is like the bee,
who represents the ideal of chastity,
if not she who bore Christ in her womb
inviolate.

{ Nulla inter aues similis est api,
que talem gerit tipum castitatis,
nisi que Christum portauit aluo
inuiolata. }[6]

Birds and bees are thus associated with Virgin Mary, the mother of Jesus Christ. She is joyful, fecund, and chaste. She is also unique.

male worker bee (drone) embracing a rod

Most women are more joyful and fecund when they benefit from the type of work that male worker bees do. In our ignorant and narrow-minded age, “the birds and the bees” are commonly understood as a euphemism for sex.[7] Few persons understand and appreciate the seminal work of male worker bees, wrongly disparaged as drones. Whenever you hear the gender-effacing phrase “the birds and the bees,” you should sternly declare: “Bees have been a figure of chastity in the long history of systemic oppression of masculine sexuality. Please cease making that micro-aggression against men.”

penis of a male worker bee (drone)

* * * * *

Read more:

Notes:

[1] Virgil, Georgics 4.1, Latin text of Mynors (1969), my English translation, benefiting from a variety of English translations freely available online, including those of A. S. Kline and H. R. Fairclough (1916). The subsequent quote is similarly sourced from Georgics 4.198-9.

[2] On the social organization of honeybee hives, see, e.g. MAAREC (ND) and Mortensen, Smith & Ellis (2019).

[3] Peter Chrysologus, Sermo CXXX bis (ed. A. Olivar, CCSL 24B (Turnhout, 1982), p. 801), as cited by Casiday (2004) p. 11, with my minor changes in the English translation. For Ambrose on bees, see About virgins, three books sent to his sister Marcellina {De virginibus ad Marcellinam sororem sua libri tres} 40 (Chapter 8). The Bible associates honey and honeycomb with love. See Song of Songs 4:1, Psalm 19:9-11, and Psalm 119:103.

[4] Hildebert of Lavardin, For the feast of the purification of Blessed Mary {In festo purificationis Beatae Mariae}, sermon one, PL 171, 611, as cited in Griffiths (2006) pp. 102 and 291, n. 81. Writing later in the twelfth century, Godfried of Babion similarly declared:

The light of the candle designates Christ born from the Virgin… The wax designates Mary’s virginity. The virgin is the little bee that produces the wax.

{ Lumen in candela Christum de Virgine natum designat… Cera virginitatem Mariae designat. Virgo est apicula, quae ceram fabricat }

Godfried of Babion, Sermon on the Feast of the Purification, Latin text and English translation from Schafer (2020) v. 2, p. 419.

Herrad of Landsberg, Abbess of Hohenburg Abbey in eastern France, in her book Garden of Delights {Hortus deliciarum} written about 1180, described herself as “like a little bee inspired by God {quasi apicula Deo inspirante}.” Latin text and English translation from Griffiths (2006). On the literary context of this bee simile, id. Ch. 3, and Casiday (2004).

[5] Godfried of Babio associated the turtledove with chastity: “the turtledove indicates chastity {turtur indicat castitatem}.” Sermon on the Feast of the Purification, Latin text and English translation from Schafer (2020) v. 2, p. 419.

[6] Cambridge Songs {Carmina Cantabrigiensia} 23, “The woods are clothed with tender branches {Vestiunt silve tenera ramorem},” stanza 6, Latin text and English translation from Ziolkowski (1994) pp. 88-9. For a freely available English translation of the full poem, Waddell (1929) p. 143. Some question whether stanza 6 truly belongs with the poem. See, e.g. Bradley (1985). Here’s Patrice Maginnis singing Vestiunt silve.

[7] The phrase “the birds and the bees” as a euphemism for sex seems to have arisen only in the twentieth century. See the responses concerning the origin of “birds and bees” on Stack Exchange, English Language & Usage.

[images] (1) The face of a male worker honeybee (drone). Photo by Sue Boo on June 20, 2014, for the U.S. Geological Survey’s Bee Inventory. (2) Male worker honeybee (drone). Source photo by Guillaume Pelletier in 2017, via Wikimedia Commons. (3) Extended penis of a male worker honeybee (drone). Photo by Michael L. Smith in 2012, via Wikimedia Commons. Male workers bees are friendly and non-threatening. Here’s a video of male worker bee.

References:

Bradley, Dennis R. 1985. “Carmina Cantabrigiensia 23: Vestiunt silve tenera ramorum.” Medium Ævum. 54 (2): 259-265.

Casiday, Augustine. 2004. “St Aldhelm’s bees (De uirginitate prosa cc. IV-VI): some observations on a literary tradition.” Anglo-Saxon England. 33: 1-22.

Griffiths, Fiona J. 2006. The Garden of Delights: reform and renaissance for women in the twelfth century. Philadelphia: University of Pennsylvania Press.

MAAREC. ND. “The Colony and Its Organization.” Mid-Atlantic Apiculture Research and Extension Consortium. Online.

Mortensen, Ashley N. , Bryan Smith, and James D. Ellis. 2019. “The Social Organization of Honey Bees.” Publication #ENY-166, University of Florida, Institute of Food and Agricultural Sciences.

Mynors, R. A. B., ed. 1969. Georgicon libri IV in P. Vergili maronis opera. Oxford: Oxford University Press.

Schafer, Stuart. 2020. The Dwelling of God: The Theology Behind Marian Ark of the Covenant Typology of the First Millennium. Doctorate in Sacred Theology (S.T.D.), University of Dayton, International Marian Research Institute. OhioLINK Electronic Theses and Dissertations Center.

Waddell, Helen. 1929 / rev. 1948. Mediaeval Latin Lyrics. New York: Henry Holt.

Ziolkowski, Jan M. 1994. The Cambridge Songs (Carmina Cantabrigiensia). New York: Garland. Introduction.

even perfect friend cannot help honey-eating man hanging in pit

In a story from the ancient Islamic world, a man in Baghdad became perfect friends with a man in Egypt via written correspondence. One day, the Baghdadian decided to visit in person the Egyptian. The Egyptian joyfully welcomed the Baghdadian into his home. Despite enjoying his friend’s lavish hospitality, the Baghdadian became acutely ill.

The Egyptian called forth all the best doctors in Egypt to minister to his friend. These doctors worked to diagnose the man’s illness:

The doctors checked his pulse, and they again and again inspected his urine. Nothing in these tests indicated an illness. And when these indicated no bodily illness, by that they knew the illness to be love’s passion. Having realized this, the master of the house came to the Baghdadian and asked him if there was some woman in the house whom he loved.

{ Medici vero palpato pulsu, iterum et iterum urina respecta, nullam in eo agnoverunt infirmitatem. Et quia per hoc nullam corporalem agnovere infirmitatem, amoris sciunt esse passionem. Hoc agnito dominus venit ad eum et quaesivit si qua esset mulier in domo sua quam diligeret. }[1]

Perfect friends, and also just good friends, are honest with each other even in lovesickness. So was the Baghdadian to the Egyptian:

To him he said: “Show me all the women of your house, and if I happen to see her among them, I will show her to you.” Having heard that, the Egyptian showed to him singers and dancers. None of them pleased him. After that he showed him all his daughters. Just as for the prior ones, all these he rejected and ignored. The master had in the house another certain noble young women, whom he had for a long time raised so that he could marry her. He showed her to his friend. When the sick man saw her appearance, truly he said: “Being away from her is my death, and in her is my life!”

{ Ad haec aeger: Ostende mihi omnes domus tuae mulieres, et si forte inter eas hanc videro, tibi ostendam. Quo audito ostendit ei cantatrices et pedissequas: quarum nulla ei complacuit. Post haec ostendit ei omnes filias: has quoque sicut et priores omnino reppulit atque neglexit. Habebat autem dominus quandam nobilem puellam in domo sua, quam iam diu educaverat, ut eam acciperet in uxorem; quam et ostendit ei. Aeger vero aspecta hac ait: Ex hac est mihi mors et in hac est mihi vita! }[2]

In ancient Arabic literature, the ideal of hospitality developed to the extent that one would not only lay down one’s life for a friend, one would also lay down one’s wife for a friend. The Egyptian accordingly responded:

Dearest one, this young woman is in fact of noble birth. I have raised her from infancy such that she would be my wife. However, you have come to me from distant parts because of the love that has long been between us. I will give her to you in marriage with the abundant riches that I received with her. By these riches all of your offspring will be able to prosper.

{ Karissime, revera puella ista est de nobili genere, quam ab infancia nutrivi ut esset uxor mea. Verumptamen tu venisti ad me de partibus longinquis propter amorem, qui dudem erat inter nos. Dabo eam tibi in uxorem cum diviciis sufficientibus quas ego cum ea recipissem, per quas divicias omnes de progenie tua poterunt promoveri. }[3]

What wonderful hospitality! Even the Baghdadian living within the culture of ancient Arabic lavish hospitality was amazed:

When the Baghdadian heard this, he leaped from the bed totally healthy and said: “Dearest one, may God repay you as much as you have done for me now, and very often done. How I will be able to repay to you the favor you have done, I don’t know at all.” And immediately he had a great feast announced to celebrate the wedding.

{ cum hec audisset, de lecto totaliter sanus surrexit et ait: “Karissime, Deus tibi retribuat quantum fecisti iam et sepius pro me. Quomodo potero vobis reddere beneficium perpetratum, penitus ignoro.” Statimque fecit proclamari unum magnum convivium pro nupciis celebrandis. }

The Baghdadian returned to Baghdad with his wife and riches. His wife was a noble, kind, and generous person whom everyone loved. She had children with her husband, and they prospered with the riches he received with her.

After some time, the Egyptian experienced a reversal of fortune: harsh poverty and acute misery. He decided to visit his Baghdadian friend and ask for support. He arrived in Baghdad at night. In his poverty he decided to sleep in a church. From the church he saw two men fighting in the street. One of the men killed the other, adding to the horrific amount of violence against men. The killer ran into the church. A crowd of people chasing after the killer found the Baghdadian in the church. Wishing to die rather than to continue to live in poverty, the Egyptian declared that he was the killer. He was condemned, imprisoned overnight, and the next day led to the gallows.

A crowd of Baghdadians watched the man being led to the gallows. Among them, the Baghdadian friend recognized his Egyptian friend going to be executed for murder. The friend immediately cried out loudly:

Wait! Wait! He didn’t kill the man, but I did!

{ Expectate! Expectate! Iste non interfecit hominem, sed ego! }

The penal officials were astonished. They seized the Baghdadian and led both friends to the gallows.

The actual killer was among the crowd. He feared God’s wrath if he allowed two innocent men to die in his place. The actual killer thus cried out loudly:

Spare them! Spare them! They are innocent, but I am the one responsible! I killed the man with my own hands, and they are innocent! Take me and hang me on the gallows!

{ Parcatis eis! Parcatis eis! Innocentes sunt, sed ego reus sum! Ego propriis manibus hominem occidi et ipsi sunt innocentes! Accipite me et in patibulo suspendite! }

The crowd seized this man. He along with the two friends were taken before the judge.

The judge was astonished at the three men’s confessions. He asked for an explanation. The Egyptian explained that his poverty was so crushing that he preferred to die. The Baghdadian explained that for the love of his friend he desired to die. The actual killer explained that he had confessed out of fear of God in bringing about the death of two innocent men. With understanding of these men’s particular circumstances and with commendable mercy toward men, the judge freed all three men. Undoubtedly the Baghdadian then shared all his wealth with the Egyptian, and perhaps shared as well his wife with her consent.

While perfect friends are a heart-warming ideal, even a perfect friend cannot save a man so engrossed in his desire that he ignores a friendly offer of salvation. Consider a story originating from ancient India. A young man was chased by a unicorn. He accidentally fell into a pit, but caught a branch of a tree growing up from the bottom of the pit. At the foot of the tree was a horrible serpent. Two mice gnawed at the roots of the tree so as to cause it eventually to come crashing down. Four snakes were reaching up towards the man and poisoning the pit with their breath.

The man’s immediate priority should have been to get out of the pit. However, honey trickled down from a beehive into the man’s mouth. He delighted in its sweetness. Yet the man had a friend:

When a certain friend of his passed by the place and saw him in such danger, the friend held out a ladder so that he could climb out. But the man so gave himself up to the sweetness of the honey that in no way did he want to climb out, but constantly ate the honey and took no care for his dangerous position.

{ Cum autem quidam amicus eius per locum pertransisset et vidit eum in tanto perculo, porrexit sibi scalam ut egrederetur. Ille vero tantum dedit se dulcedini mellis quod nullo modo egredi volebat, sed semper de melle comedit, nec accepit curam de periculo suo. }[4]

In a short time, the man fell to the bottom of the pit. Then the serpent devoured him. His friend wasn’t able to save this foolish man.

Today women and men of good will attempt to save men from castration culture and the demonization of masculinity. Being just a friend to men, not even a perfect friend, isn’t easy. Men are often their own worst enemies.

* * * * *

Read more:

Notes:

[1] Petrus Alfonsi, Disciplina clericalis, chapter 2, “Exemplum of the perfect friend {Exemplum de integro amico},” Latin text from Hilka & Söderhjelm (1911), my English translation. For a Middle English translation, Hulme (1919). This story occurs in the continental Gesta Romanorum as Tale 171. See Oesterley (1872) and Stace (2018). In the Anglo-Latin Gesta Romanorum, it’s Tale 55. See Bright (2019).

The Gesta Romanorum versions, which are explicitly attributed to Petrus Alfonsi’s early twelfth-century Disciplina clericalis, don’t include the doctors checking the pulse and inspecting urine. Born in Islamic Spain, Petrus was a Jewish convert to Christianity and a physician. Checking the pulse and examining urine were central practices in medicine in the Islamic world, following Galenic learning. Petrus Alfonsi acquired considerable learning from the Islamic world.

[2] Disciplina clericalis, chapter 2, “Exemplum of the perfect friend {Exemplum de integro amico},” sourced as previously. The Gesta Romanorum versions don’t distinguished serially singers and dancers and the host’s daughters. The former commonly had sex for money, while marriage would be expected to occur in a relationship with the host’s daughters.

[3] Anglo-Latin (Bodleian Library, Douce MS 310) Gesta Romanorum 55 (“Two Friends”), Latin text and English translation (adapted slightly) from Bright (2019). The subsequent three quotes above are similarly from id. The corresponding text in Disciplina clericalis is less detailed and less dramatic.

[4] Anglo-Latin Gesta Romanorum 38 (“Unicorn”), Latin text and English translation (adapted slightly) from Bright (2019). The corresponding story in the continental Gesta Romanorum is Tale 168 (“About eternal damnation {De eterna dampnatione}”). This story occurs in the tenth-century romance Barlaam and Josaphat, wrongly attributed to John Damascene. Woodward & Mattingly (1914) Ch. 12. Originally from India, it exists in Book 11 (Stri Parva) of the Mahabharata and perhaps in a version of the Panchatantra as well. Stace (2018) p. 447, note 1. This story became widely distributed in medieval Europe. Bright (2019), note to Tale 38.

[image] Honey flowing down from a wooden dipper. Source photo by Marco Verch made available under a Creative Commons 2.0 By license.

References:

Bright, Philippa, ed. and trans. 2019. The Anglo-Latin Gesta Romanorum: from Oxford, Bodleian Library, Douce MS 310. Oxford Medieval Texts. Oxford: Oxford University Press.

Hermes, Eberhard and P. R. Quarrie, ed. and trans. 1977. Petrus Alfonsi. The Disciplina clericalis of Petrus Alfonsi. Berkeley: University of California Press.

Hilka, Alfons, and Werner Söderhjelm. 1911. Petrus Alfonsi. Disciplina clericalis. Vol. 1: Lateinischer Text. Acta societatis scientiarum Fennicae. Helsingfors: Druckerei der Finnischen Litteratur-Gesellschaft. Alternate presentation.

Hulme, William Henry, ed. 1919. Petrus Alfonsi. Disciplina Clericalis (English translation): from the fifteenth century Worcester Catherdral Manuscript F. 172. Cleveland, OH: Western Reserve University. Alternate presentation.

Oesterley, Hermann, ed. 1872. Gesta Romanorum. Berlin: Weidmann. Alternate presentation of chapters 1-181.

Stace, Christopher, trans. 2018. Gesta Romanorum: A New Translation. Manchester University Press.

Woodward, G.R. & H. Mattingly, eds. and trans. 1914. Barlaam and Ioasaph by St. John Damascene. Loeb Classical Library, 34. Cambridge, MA: Harvard University Press. Alternate presentation.