GUINEVERE
IS
SO
Fae-coded
You can almost feel like the Christian writers know that Gwen can't and can never be an ordinary lady, especially within THIS kind of setting - the Arthurian Setting, the pinnacle of the Chivalric Romance genre.
A setting where nothing ordinary or mundane is at the forefront. A setting where men like Arthur and Lancelot exist - Men who are objectively superhuman - both in character and in physicality.
This is a world where Arthur, Lancelot and every other male character has curb-stomped entire armies by their lonesome, go toe-to-toe with fearsome monsters, and endure punishing physical challenges that would kill lesser men.
Where Arthur can be the most charismatic and most virtuous king in the world, ruling over a kingdom with strange habits and customs. Where Lancelot can harbor love so strong, that it can both empower him as much as it kills him.
And these men are in love with Guinevere.
Guinevere, as character in this genre, HAS to be an exemplar female in order to fit in and complement the men in her life. The problem is that the exemplar women of this genre are on the cusp, if not outright, of unchristian status.
Other Arthurian women who are Fae-coded include:
Isolde (who is a "doctor", whose uncle is the giant Morholt)
Enide (who has several cousins with strange-looking horses and another cousin who trapped her lover in an enchanted garden; Chretien de Troyes saw fit to assure the readers that Enide didn't use spells or charms to arm Erec)
Laudine (who owns a magical storm-making fountain and a magic ring)
Lynette & Lyonesse (One is capable of reviving a knight that has been cut to pieces. The other also owns a magic ring. Both are sisters of the Lord of Avalon)
Ragnelle (who has a brother by the name of Gromer Somer Jeure, which means "Man of Summer Day", and is made the mother of Gawain's son Gingalain, who is normally half-fae)
...and all of them are described as unbelievable beauties comparable to Guinevere. Right.
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hats off to the nameless damsels of Arthuriana
I may have gone off the deep end with these ladies. At first I was offended on their behalf — why in heck does she not get a name, when she substantially drives narrative and shows up several times, but her brother, who pops up, does nothing, and immediately dies, does get a name? Then I was offended on my own behalf — as I trawled back five hundred pages to figure out who in heck this damsel is who’s guiding this knight on a quest. Then I started to get intrigued. I started labeling each nameless damsel alphabetically as they came up. I wrote them down, tried to make sure I wasn’t missing anybody or duplicating anybody. Then I sorted them into categories based on what their role in the narrative was — I wanted to establish for myself, are they as passive as their transient and nameless existence might suggest? Are they the damsels in distress that the intervening thousand years have reduced them to, pretty faces at the end of a quest? What does the author think about them? What do they think about themselves? What do they want? What do they get? I’m making a cut here so as not to clog up peoples’ dashes, but read on for speculation and spreadsheets.
At this point, I’ve got 87 minor damsels, of whom 14 have names, pulled from Chrétien de Troyes Yvain and Perceval, Le Morte d’Artur, and the Lancelot bits of the Vulgate. For no more sophisticated reason than these are the texts I happen to have read and have notes on and have a relatively large number of minor damsel characters. The whole list is here. By “damsel” I’m largely talking about young, unmarried women, although there are several I’m not quite sure about, and some who get married along the way. And I’m also not talking about well-known, prominent characters: you won’t find Guenevere, or Isolde, or Morgan le Fay on this list. They’ve got enough attention. I’ve binned these ladies roughly into ten categories. First, the ones you’ll most likely find in modern adaptations:
1. Quest object. These are damsels who knights set out after to rescue, damsels who ask for help, damsels who are offered by other people as the prize for a knight accomplishing a quest.
2. Rom-com best friend. These are damsels, usually in the service of a more powerful lady, whose entire purpose in the narrative is to help the lady fulfill her romantic storyline.
3. Antagonist. These are damsels who are out for the protagonist’s blood: usually sorceresses, occasionally queens, they are an obstacle for the protagonist to overcome.
And now on to the more interesting ones:
4. Lover. These are ladies whose main role in the narrative is romance, but I want to be extremely clear: this category is for ladies who are going AFTER romance, or even just a one-night stand. They see a hot knight, they pursue a hot knight. These are not ladies who are being pursued without interest or without enthusiastic, give-me-a-piece-of-that-ass, hold-my-beer-while-I-throw-things-at-my-meddling-relatives consent.
5. Love (dis)interest: these are ladies who the protagonist wants, and who does not want them back.
6. Revenge damsels: these are ladies who are out for blood, but not the protagonist’s blood. They have been wronged, and they want heads, and I do mean that incredibly literally.
7. Disinherited damsels: some thematic overlap with both revenge damsels and quest objects, there are enough of them and they have enough distinct agency that it seemed fair to give them their own category. These are damsels whose lands have been taken, by a sibling, an in-law, meddling relatives, an encroaching neighbor, and they want what’s theirs. The knight’s role in this narrative is to fight on her behalf and restore her ownership over her lands.
8. Lady’s damsels. These are damsels who work for a more powerful lady — the Lady of the Lake, Morgan le Fay, some other miscellaneous queens etc — and her role is as the agent of these ladies in the narrative.
9. Quest guide. These are damsels who, for a variety of reasons, help knights along on their quest. Sometimes they’re just hanging out in the woods and meet a knight at the opportune time; sometimes they come after knights on purpose. They are always instrumental in driving the narrative forward.
10. Rescue damsels. By this I mean damsels who rescue knights: the knight is in prison, or wounded, or about to be killed, and she intervenes to get him out of prison, or heal him, or prevent murder. Sometimes for revenge, sometimes for love, sometimes to further her own ends.
I do find these categories quite fascinating on their own, for the sheer diversity, but don’t get it twisted: they are not in order of prominence. I did a quick count for how many damsels across all texts fall into each category and came out with:
Each dot is an individual damsel. Way more than half of them are doing stuff, taking knights places, getting laid, getting their lady what she wants, getting what’s hers. Only six of them are passively waiting for a quest to happen to them. And while the Lancelot-grail is DEFINITELY overrepresented in this list, I do want to emphasize that it’s not just the Vulgate: here are the ladies broken down by what text they appear in:
Yes, the love-disinterest category is 100% occupied by women telling Guerrehet to fuck off and/or joining convents to avoid him, but otherwise, I think the overarching pattern, especially of the most-represented categories, repeats itself quite often.
Anyway, that’s a very long and probably over-involved way of saying I love these ladies, I wish they got more attention, and until I resurrect their authors from hell and force them to provide names, I’ll content myself with giving them all the unhinged attention they deserve.
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(( 🕷️ )) - names related to being a damsel && maybe also angel related names
Not sure how to put this… I’m giving most of the damsel names I thought about during this to Mai. So, mostly angel names. Sorry. I’m not very professional.
✦ Angelia … Angelie … Damsene … Serangel … Cherangel … Damesie … Daeme … Demoi … Erubi … Eraphi … Ophe … Amigella … Dawnsel
* Italics means Mai goes by them but is letting me post them, etc.
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