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(The Once and Future Queen #1) by. Adam P. Knave (Goodreads Author) (Writer), D.J. Kirkbride (Writer).
Table of contents
Guinevere is also mentioned in four of the famous Welsh Triads, mnemonic devices dating to the ninth century [2] meant to preserve early folklore, mythology, and oral history. Either way, without Monmouth, there would be no Guinevere as we know her.
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His pseudo-history The History of the Kings of Britain contains very little information about Guinevere: only her lineage, her betrayal of Arthur with Mordred and her flight to safety in a convent. In fact, she is mentioned only six times and never directly speaks, establishing a tradition of passivity it will take hundreds of years to break, but is perfectly aligned with early medieval views of proper female behavior. The Middle Ages are widely considered one of the worst times in history to be female.
Medieval woman were classified according to their sexual status, rather than their occupation: they could be virgins, wives, mothers or widows. And when they went against societal expectations, like Mary Magdalene, they had to repent. In his tales, Guinevere is a cold, shrew-like character who berates Lancelot as proud because on his way to rescue her, he hesitated a moment before stepping into back of a cart, lest he appear to be a common criminal.
Although sexual relations are rarely portrayed as part of courtly love, it is possible that Marie—if she was indeed the source of the affair storyline—may have been using it as a bit of reverse psychology to emphasize the exact opposite of accepted courtly love behavior, [6] which kept love at a safe spiritual distance. In this way, Guinevere and Lancelot served as a warning to the members of her court. Believed to be the work of Cistercian monks and clerics, the Vulgate Cycle is five interconnected tales telling the story of King Arthur from his birth to his death.
As in earlier stories, Guinevere has no personality of her own, existing solely as an object of affection for the men in her life. Here again we see her not as a woman in her own right, but as a person beloved by Lancelot, the Eve to his Adam who brings about his downfall.
The Once and Future Queen #1 by Adam P. Knave
Or, it could be that they were more interested in getting across their religious message of the evils of woman and the importance of repentance than in representing Guinevere accurately. In fact, she can even be seen as the prime motivator of the story, as she is the reason Lancelot goes on adventures and demonstrates his skills as the best of knights.
Plus, her affair with Lancelot is what ends up allowing Mordred to usurp the throne.
She is hot and cold with Lancelot and changes seemingly without motivation from a noble figure to a conniving adulteress and then again to repentant nun. She is also symbolic of an ideal queen, a role at which she both succeeds and fails, and therefore appears contradictory. On one hand, she is a capable supervisor and helpmate to Arthur, yet she fails to produce an heir, which is her most important duty. Renaissance and Victorian Eras After Malory, the Arthurian world—especially in relation to Guinevere—went into something of a drought until the nineteenth century due to shifting morality after the Reformation [13] and the association of James I with King Arthur.
This negative mood reigned until the Victorians revived interest in all things Arthuriana. When Tennyson introduces Guinevere in Idylls of The King, she is already with the nuns at Amesbury, anonymously in hiding because of the affair with Lancelot and the ensuing war. Tennyson is one of the first writers to acknowledge the significance of Guinevere by allotting her an individual idyll.
Arthur is presented as a godlike, perfect figure. Conversely, Guinevere is human and weak.
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Women were at once indispensable because they brought forth life, and utterly perplexing in a male-dominated world, especially once they showed a willingness to go against cultural norms and began, for the first time in history, to demand their rights. This hypocrisy was brought about by a flawed model in which women were expected to be submissive examples of physical and spiritual purity, [19] the angels in the house.
But because Guinevere refused to conform to the submissive wifely role her husband and her society prescribed, she became not only a threat her marriage, but to social order, and the signifier of all threat to that order. Penned primarily by women, she became a real person who was shaped by her past, with hopes and ambitions of her own. His Guinevere is a woman with agency, intelligence, and a willingness to act according to her own whims. She is equal to Arthur in education, experience, and will, completely at odds with the meek, jealous, temperamental woman of previous legend.
This is a Guinevere for the modern age, one who will rule alongside her husband and claim her worth in her own right rather than allowing others to define it for her. She is a fitting symbol of the time when women were beginning to come into their own as people, both in the workplace and in the home, demanding an end to the sexual harassment that plagued them for so long and speaking up for equal rights.
It is likely not coincidental that in this same period women were beginning to enter the workforce en masse and take responsibility for their place in business and society as well as in the home. Another example is Sharan Newman, whose Guinevere trilogy is still one of the best-known, most studied, works of modern Guinevereian fiction. But with Mordred, I knew no one could.
And I stopped waiting. After all these years, I finally rescued myself. When she learns that Arthur would like to marry her, she weighs the pros and cons of his proposal with her father, considering first what it would mean for her people, as she views herself as their mother.
When she accepts, Arthur takes her as his co-ruler, granting her power and listening to her innovative ideas. Women were also holding the offices of mayor, governor, and congresswoman for the first time, so it is not surprising that Woolley allowed Guinevere to rule while Arthur was away, a success he later acknowledges. Conclusion With the decline in popularity of feminism at the end of the twentieth century, authors and publishers soured on the idea of Guinevere, no longer seeing her, and the feministic power she represented, as relevant. Enter self-publishing in the late s.
These authors, freed of the constraints of what agents and publishers believed would sell, looked at the market, realized it had been more than a decade since a Guinevere book was published, and took up the call to arms. Even when their main storylines echo those of Monmouth, Malory and Tennyson, these Guineveres triumph, carrying the Arthurian legend forward and positioning it for future generations. From a silent object or possession and a living morality tale highlighting the importance of repentance from sin, to a warning of proper Victorian female behavior and an inspiration to second and third wave feminists, the character of Guinevere has undergone massive changes as the role of women in society has evolved.
She has reflected the best of womankind as a helpmate and moral guardian, as well as the worst as a shrew and wanton whore, until, finally in the modern era, under the pen of female authors becoming a reflection of their hope for equality.
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Given this pattern, there is no doubt that Guinevere will continue to change as society does reflecting both our aspirations and fears of female power until the day the war of the sexes comes to an end and Guinevere can finally take her place beside Arthur, ruling Camelot in parity and peace. Karl Heinz Goller Cambridge: D. Brewer , Diverres by colleagues, pupils, and friends , eds. Grout et al. Cambridge: D. Brewer; Torowa N. Paper But it was worth the wait. I have spoken with two of the Story Circle awards coordinators and what really got me was how much they appreciated the research that went into this book.
Finally, someone understood why I wrote it. Also The Brokenshire's have a deep connection to Cornwall among other places so it's very groovy for me to tell this tale. Kirkbride: Everyone knows of the legend, even if it's in a tangential sense. Even if you've never read the stories or T.
It's in our collective consciousness. How do you keep that connection to old-time myth but take a story like this into a contemporary, modern-day setting?
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Brokenshire: I grew up in a very magical place in Scotland called The Hill Of Fare in Aberdeenshire, where fairies and goblins and all manner of creatures dwell. I would walk through the forest with my dog in he middle of the night singing and inventing nonsense. I draw upon that part of my life. As for the contemporary, I personally have a few people in mind when I draw these characters and I try to infuse as much of their personality into what I'm doing. Hopefully that gives them some contemporary realism I hope it does!
Knave: Myths are about people. We're still people. The point of the myths, a lot of what they dealt with, are still relevant just in new and strange ways. So the trick was always to find the threads and pull them forward, and then snap them off, twist and tangle them and get something new out of them. Something that wasn't "Silverhawks," because this could have been a "Silverhawks" book if we did everything totally differently and… good lord why can't I stop thinking about that dumb old TV show today?