Reading Notes: The Heptameron, Part A

My goodness, this is quite a collection of stories. They were not quite what I was expecting, particularly the moralistic elements about society and sexuality. 

It is important for multiple stories to note that a Cordelier is a Franciscan friar.

The first story has multiple themes that are carried throughout, particularly the duty of women to guard their virtue and the duplicity of churchmen. I think I read it somewhat differently than the author intended it, as I was mostly hoping she would not be raped rather than that she would not be convinced to betray her husband, who had not yet been mentioned. The moralizing sermon at the end is repeated with different but often related topics as well. 

Personally, I find this 'enduring passion' rather creepy and stalkerish. He follows her everywhere with no sign that she actually loves him, although it turns out that she does. 

Marguerite of Navarre. Source: Wikipedia.

I am glad that justice is served even when the offender is a churchman. I particularly liked the implication that a misbehaving priest was at the service of the devil. (Note that I have nothing but respect for clergymen who practice what they preach). I especially disliked the priest who committed incest with his sister. I think the emphasis on clergy rather than government officials as those in power shows the prestige that the church had in society at that time as well as the author's role in the Reformation.  

Another element of social commentary was a conversation that alternately demeaned and idealized the poor. 

I thought the story of the Cordeliers and the pigs was hilarious. I am not sure how this could be retold in another context, as it is pretty specific to a society where innkeepers keep pigs and friars are called cordeliers. The mix-up where an animal destined to be slaughtered is called by the name of a person, or really any mix-up based on eavesdropping, is a pretty common theme in stories. 

Bibliography: Walter K. Kelly's The Heptameron of Marguerite, Queen of Navarre. Link. 

Week 13 Reading Notes: The Faerie Queen, Britomart, Part B

The moralistic element is something I had heard of about Spenser, but it is somewhat strange to have personifications of vices and virtues mixed in with what otherwise has the air of a historical (although obviously romanticized) drama. The magic too has a strong allegorical element, as it rewards virtue, such as in the part about the golden girdle, which chooses Amoret. It is unclear whether some sentience is granted to the girdle or if it is more like a computer program and virtue is the password. I did not care particularly much for the allegorical parts, such as Sir Scudamour's sojourn in the house of Care, but I am more intrigued by objects that respond to good and evil.

Golden Girdle. Link.

I have to admit, it somewhat bothers me when beauty is a sign of virtue and when it can so swiftly stop anger. The men are always getting so angry, and even Britomart at times. It does not seem particularly noble to me, even though the main male characters are presented as furious and seeking revenge before they are suddenly appeased. Sir Scudamour's change of heart is more reasonable, but Sir Artegall should have not been so angry at being beaten. It actually contradicts what Spenser said earlier about knights not minding defeat.

WHAAAAAT? I want to know what happened to Amoret! She would be another interesting character to make the narrator. I like that they became friends.

I am glad that Britomart kept up her adventuring after she met and agreed to marry Artegall, as she is quite good at it. I wonder whether she continues in her disguise. It seems that dressing as a knight is not merely a way to pursue her quests, as she continues to be respected by those to whom her secret is revealed, but as a prevention against kidnapping. Beautiful ladies seem to frequently be at the mercy of those who want to marry them, so it makes sense to be a knight instead.

Bibliography: Mary Macleod's Stories from the Faerie Queen, Link.

Week 13 Reading: The Faerie Queen, Britomart, Part A

I have never read the Faerie Queen before, and I am always intrigued by women who dress up as men to become knights, like in the Alanna series by Tamora Pierce.

One character that I am particularly curious about is Glaucé, Britomart's maid. She is not frequently mentioned, except in the part that explains Britomart's backstory. There it is mentioned that she disguises herself as a squire and accompanies Britomart on her journey, but throughout the other chapters, when she would presumably be present, she is not mentioned. It is particularly curious that she is repeatedly referred to as an old nurse, yet she takes on the role of a squire, who is generally a young person. As for her rather unusual name, it appears to be drawn from Greek mythology, as is Britomart's. It would be interesting to retell the story or parts of it from her perspective.

Britomart. Web Source: Public Domain Super Heroes.

Merlin is always an interesting character, particularly as he knows everything that is going to happen.

One especially enjoyable scene was when Glaucé encourages Britomart to take up arms and find the man she loves with inspiring stories of women in arms from history. One of these women, a Saxon queen named Angela, provides the armor that Britomart needs for her quest. According to one report, Anglia was named after the daughter of a Saxon duke, Angela. However, I am not sure whether this is actually the character's namesake.

What is the backstory of the enchanted spear? Who enchanted it and how does it work? Oh maybe I could personify the spear and her sword. Perhaps it is their respect for her character, rather than her goodness itself, that gives her power. The spear and the sword could initially be rivals, but then grow in their desire to defend Britomart and further her quest.

Bibliography: Mary MacLeod's Stories from the Faerie Queen, Link.

Week 12 Story: Rhiannon's Flight

Rhiannon Mabinogi had always known she was beautiful. It had turned into a running joke in her family: their spaceship lacked a figurehead, and if Rhiannon was ever too sassy, some person or other would threaten to make her their figurehead. Not that she was ever worried - with her quick wits and tongue, there was little she could not get herself out of.

Spaceship. Link. 

Except her impending marriage to that baseless cur Gwawl.

Okay, so maybe he wasn't really a baseless cur. Probably she had just been reading too many stories of her ancestral homeland. But she did not like him, and she certainly did not love him. At every port he called at he took the best of the planet's resources without heed to the needs of its inhabitants. All he wanted to do was monopolize the space economy. And once he had blockaded the Mabinogi home port, there was nothing her father could offer but Rhiannon herself. Maybe baseless cur wasn't too far from the mark, she thought as she adjusted her veil.

Now the Mabinogi were a proud bunch. As her father walked her down the aisle, he whispered in her ear, "Humiliate him, Rhiannon. Humiliate him."

This she was already prepared to do. She activated the portal-maker hidden on the dress, and left Gwawl screaming at the altar. She went first to collect her pod and cloaking device, then took off through time to the land of her dreams, the ancient homeland of the Mabinogi, where the man who had enchanted her across the pages dwelt.

She calculated her course to arrive at the mounds of mystery, which the people of Dyfed believed led to another world. It was easy for her to cloak her pod so that it resembled a horse. She kept it at a speed just faster than whatever the speed of her pursuers was, until the king himself, Pwyll of Dyfed, came riding after her. He called out to her to stop, and she slowed.

"Of course I will stop. It would have been easier on your horse if you had asked me earlier."

Rhiannon. Link. 

"Where have you come from lady? And what are you here for?" His eyes shown with wonder and admiration.

"From a land far away, a land of mystery."

"You are indeed most powerful, my lady. What brings you to my humble land?"

"You, my king. I flee one I do not love to find the one I do, that I might marry him."

There was no doubting King Pwyll's response as he gazed at her. Gwawl would certainly come after her, but she would be ready for him.

Bibliography: Lady Charlotte Guest's The Mabinogion, link.

Author's Note: In the original story, Rhiannon comes from the Otherworld through a magical mound. She rides on a horse that is always just ahead of her pursuers, until Pwyll, the king, calls out to her. She is fleeing from an unwanted suitor and is in love with Pwyll. I liked her sassiness and wanted to give more of an explanation of her background. I replaced magic with sci-fi tech.

Reading Notes: The Mabigonion, Part B

I was initially confused by the part about weirs, so I looked them up. Apparently it's a type of small dam that can trap fish. In this story, the fish are harvested yearly. Except when a baby is harvested instead.

One of the most striking things to me was the extensive use of religious language and references in Taliesin's songs. His story itself is reminiscent of the story of Moses, who was drawn up by a princess out of the water. In the last song he connects it to the history of the British (or Britons, or Brython, which comes from the Welsh spelling) in contrast with the Saxons. It's important to remember that British is not synonymous with English and originally meant the Celtic inhabitants and their languages. Well, some of the languages - the Gaelic ones are in a slightly different branch, though more closely related to the Brittonic languages than to say, English/Anglo-Saxon and the Germanic languages. 

Pre-Anglo-Saxon Britain, Brythonic area in red. Link.

I did not originally picture it, but when Taliesin was first singing to and about Elphin, he would have been a baby. How cute would a baby bard be, singing away far more intelligently than his age. I know there's a movie called Boss Baby - maybe I could write a sequel called Bard Baby. Though the original story reminds me of a musical, what with Taliesin bursting into song all the time. I don't know whether they sing in Boss Baby. People even get kidnapped, and there is a villain they have to outsmart.

The theme of boasting and honor is key to these stories. How is reneging on a word directly dishonorable but using magical means not? Like the bottomless bag or the hollies in the race? It is interesting that boasting in and of itself does not negate honor.

Bibliography: Lady Charlotte Guest's The Mabigonion, link.

Reading Notes: The Mabigonion, Part A

I am looking forward to reading the Mabinogion, as it was one of the stories I discovered when I was looking ahead.

I found this table of Welsh orthography to be useful for pronouncing the names, since Welsh spelling, though straightforward, is different from English spelling.

I am particularly fond of Rhiannon's character, although I do not understand why she is in love with Pwyll. Was it because of what she had heard of his character? Had she met him before? What is the source of her magic powers, like her ability to stay ahead of anyone that Pwyll sends after her or the magic bag that she makes? I like how sassy and decisive she is. Some of my favorite quotes that show her sassiness are below.

Rhiannon. Web Source: Wikipedia.

"I will stay gladly," said she, "and it were better for thy horse hadst thou asked it long since." 

This is after Pwyll has been chasing her and sending soldiers on horseback after her, none of whom were able to catch up to her.

"Never did man make worse use of his wits than thou hast done."

This is after Pwyll promises a man any boon, and he then asks for her hand in marriage. I like how even though she is head over heels in love with Pwyll she does not hesitate to criticize him. It would be fun to rewrite the story from her perspective.

I feel bad though that she had to bear such a penance though she had done no wrong. To constantly have to admit to such a terrible crime as eating one's child while completely innocent and probably grieving would be miserable. How does she not turn out bitter and angry?

It's nice to read a story that's all connected, instead of a bunch of short stories. The flow helps it move faster.

Bibliography: Lady Charlotte Guest's The Mabinogion, link.

Week 11 Story: The Shrewmouse in the Land of the Dead

The shrewmouse, Casrarer, had known, from its very first day on Earth, that he was made by Raven to bring cheer to the world. His lot was to rummage around in the grass, looking for worms and receiving praise for its fuzzy cuteness and little pointy nose. Casrarer thought that he had a lot to look forward to. He ignored the rest of Raven's conversation with man, thinking it would be of little relevance to him.

Shrew. Web Source: Mammal's Planet.

Unfortunately, the world soon became in need of more cheer than he could supply. The animals he lived among began to disappear at an alarming rate, and man began to fill the tundra. Casrarer scurried over to Paugnar, the bear, to ask him what was going on. "Why are my friends disappearing Paugnar?"

"The humans are killing them for meat," said Paugnar sadly.

"Oh no!" Casrarer squeaked. "Are we in danger?" His hairless tail quivered in fear.

"Not us," Paugnar replied. "You are too small and cute, and I am too fierce."

"But Paugnar, what happens to our friends once they are killed?"

"There is a land of the dead, inhabited by shades. Humans and animals alike will go there. Raven told me that humans will be judged for their treatment of us."

Casrarer was glad to hear that. He decided that he wanted to see the land of the dead. Perhaps he would meet the shades of his friends.

That night, as he was dreaming, he thought that he had awoken in a new place. He found himself in a village that seemed to have no end, even for a creature larger than a shrew. He wandered around, looking for his friends, and saw some strange sights. In one house, women were beating other people with a large stick. He overheard someone say that these were the shades of dogs, who got their revenge on humans who had beaten them on earth. He supposed that man who had grass growing through his body so that he could not move had pulled up grass while alive.

Soon after, Casrarer did wake up. He was back in the land of the living, feeling relieved that there was a solution to Earth's problems after death. In the meantime, he would just do his best to bring cheer in the midst of the suffering. He scurried happily away.

Bibliography: Katharine Berry Judson's Myths and Legends of Alaska, link.

Author's Note: I combined two stories to create this one. In the creation story, Raven creates the shrewmouse to bring cheer to the earth and the bear so that not all of his creation will be killed by humans. In the land of the dead story, a girl who dies explores the land of the shades. She sees the sights and judgements that Casrarer (which means shrew in Yupik Eskimo and is pronounced Chahs-rah-rayr) sees in his dream. In another story about the land of the dead, someone visits it in a dream, which is how I got the idea for Casrarer to visit it in his dream.