Thesis (M.A.)--University of Wyoming, 2008. / Title from PDF title page (viewed on Apr. 1, 2010). Includes bibliographical references (p. 66-69).

This study explores how four medieval poems—the Junius manuscript’s Genesis B and Christ and Satan and Geoffrey Chaucer’s Troilus and Criseyde and The Parliament of Fowls—engage with medieval conjugal rights through their depictions of agentive female protagonists. Although many laws at this time sought to suppress the rights of women, especially those of wives’, both pre- and post-conquest poets illustrate women who act as subjects, exercising legal rights. Medieval canon and common law supported a certain amount of female agency in marriage but was not consistent in its understanding of what that was. By considering the shifts in law from Anglo-Saxon and fourteenth century England in relation to wives’ rights and female consent, my project asserts that the authors of Genesis B and Christ and Satan and the late-medieval poet Chaucer position their heroines to defend legislation that supports female agency in matters of marriage. The Anglo-Saxon authors do so by conceiving of Eve’s role in the Fall and harrowing of hell as similar to the legal role of a forespeca. Through Eve’s mimesis of Satan’s rhetoric, she is able to reveal an alternate way of conceiving of the law as merciful instead of legalistic. Chaucer also engages with a woman’s position in society under the law through his representation of Criseyde’s role in her courtship with Troilus in his epic romance, Troilus and Criseyde. Chaucer disrupts his audiences’ expectations by placing Criseyde as the more agentive party in her courtship with Troilus and shows that women might hope to the most authority in marriage by withholding their consent. In his last dream vision, The Parliament of Fowls, Chaucer engages again with the importance of female consent in marriage but takes his interrogation of conjugal rights a step further by imagining an alternate legal system through Nature, a female authority who gives equal consideration to all classes and genders.

This thesis examines the character of the unhappy bride in three French novels of the 19th century: Le Lys dans la vallee (1836) by Honore de Balzac, Madame Bovary (1857) by Gustave Flaubert and L'Assommoir (1877) by Emile Zola. It compares the heroines' tragic destinies based on the following points: childhood; education; marriage; the philosophy of love and psychology; and escapism and death. We are shown that it is education that leads to the philosophy of love, which is filled with ideas of platonic love, and that unhappy marriages involve compensation. Research by psychoanalyst Karen Horney is applied to the characters found in the novels to explain their deviant behaviour (masochism, bovarism, narcissism, detachment). Each heroine demonstrates a tendency towards the ideal and illusions inherited from romanticism. Their fates are sealed with the failure of their dreams and the victory of reality over fantasy.

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