Sovereign Fantasies

Sovereign Fantasies
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During and after the Hundred Years War, English rulers struggled with a host of dynastic difficulties, including problems of royal succession, volatile relations with their French cousins, and the consolidation of their colonial ambitions toward the areas of Wales and Scotland. Patricia Ingham brings these precarious historical positions to bear on readings of Arthurian literature in Sovereign Fantasies, a provocative work deeply engaged with postcolonial and gender theory. Ingham argues that late medieval English Arthurian romance has broad cultural ambitions, offering a fantasy of insular union as an «imagined community» of British sovereignty. The Arthurian legends offer a means to explore England's historical indebtedness to and intimacies with Celtic culture, allowing nobles to repudiate their dynastic ties to France and claim themselves heirs to an insular heritage. Yet these traditions also provided a means to critique English conquest, elaborating the problems of centralized sovereignty and the suffering produced by chivalric culture. Texts such as Sir Gawain and the Green Knight , the Alliterative Morte Arthure , and Caxton's edition of Malory's Morte Darthur provide what she terms a «sovereign fantasy» for Britain. That is, Arthurian romance offers a cultural means to explore broad political contestations over British identity and heritage while also detailing the poignant complications and losses that belonging to such a community poses to particular regions and subjects. These contestations and complications emerge in exactly those aspects of the tales usually read as fantasy-for example, in the narratives of Arthur's losses, in the prophecies of his return, and in tales that dwell on death, exotic strangeness, uncanny magic, gender, and sexuality. Ingham's study suggests the nuances of the insular identity that is emphasized in this body of literature. Sovereign Fantasies shows the significance, rather than the irrelevance, of medieval dynastic motifs to projects of national unification, arguing that medieval studies can contribute to our understanding of national formations in part by marking the losses produced by union.

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Patricia Clare Ingham. Sovereign Fantasies

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Sovereign Fantasies

Ruth Mazo Karras, Series Editor

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I [Geoffrey] … pressed my rustic reed-pipe to my lips and, modulating on it in all humility, I translated into Latin this work written in a language which is unknown to you. All the same, I am greatly surprised that you should have deigned to commit the task to so poor a pen as mine, when your all-powerful wand could command the service of so many men more learned and more splendid than I … Leaving on one side all the wise men of this entire island of Britain, I feel no shame at all in maintaining that it is you and you alone who should … declaim it with bold accompaniment, if only the highest honour had not called you away to other preoccupations…. [S]ince it has pleased you that Geoffrey of Monmouth should sound his own pipe in this piece of soothsaying, do not hesitate to show favour to his music-makings. If he produces any sound which is wrong or unpleasant, force him back into correct harmony with your own Muses’ baton. (Thorpe 170–71; VII, 1)

Alexander’s power becomes a magician’s wand; Geoffrey maintains proudly that Alexander “alone should declaim [the prophecies] with bold accomplishment,” despite the fact that their original language is “unknown” to him. In place of Alexander’s “all powerful wand,” Geoffrey offers his own more modest “rustic reed pipe,” a figuration which marks authorial power with tropes of male virility while simultaneously placing Alexander as an imaginary intermediary between Geoffrey and Merlin. This description compliments Alexander’s majesty while distancing Geoffrey’s own artistry from Merlin’s prophetic authorship. Geoffrey is merely the humble medium; he mediates the creations of a fictional magician and the desires of a powerful bishop. Through this dedication Geoffrey displays the usefulness of imaginative ventures like prophetic soothsaying to those in power. Powerful bishops like Alexander, Geoffrey reminds us, have access to their own muses; it is their aesthetic pleasures—their designations of “correct harmony” and “favorable music-makings”—that determine which sounds will gain a fair hearing and which will fall on deaf ears.

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