Knight Of The Hangman’s Cart

On a surface level, Knight of the Cart centers around the exploits of a knight (Sir Lancelot) and his endeavors to rescue his queen (Guinevere) from kidnappers. On a deeper level, however, Knight of the Cart tells the story of a masochist, who willingly suffers at his dominatrix’s behest. With every step Lancelot takes, the line between pain and pleasure is blurred. In one particular instance, the knight braves a hazardous bridge of sharpened steel. He is wounded, but this pain soon becomes a source of gratification:

Love, which led and guided him,
Comforted and healed him at once
And made his suffering a pleasure

In this passage, pain and pleasure appear conflated. This conflation is one of the central themes of Chrétien’s narrative, and it perfectly encapsulates Lancelot’s relationship with Guinevere. She exists simultaneously as a source of pain and pleasure. In fact, she is the very impetus of their coalescence. Lancelot’s affection for Guinevere and his status as a courtly lover act as driving forces that urge him ever onward, skewing his perception of pain and bringing him into a world of masochistic pleasure. Love is his guide, and she is a cruel and sadistic mistress.

The implications of this passage do not stop here, however. The association between pain and pleasure and the dichotomy of male subordination/female domination are as relevant to Knight of the Cart as they are to courtly culture at large. In Chrétien’s writing, we see not only the passionate submission of one knight to one lady. We see one of the first, fully realized instances of sadomasochistic erotica. We see how Venus got her furs. Scholars and historians have recognized the pervading masochism of this text but have yet to attribute this masochism to a larger tradition of textual eroticism. In the following pages, we will explore the relationship between Lancelot and sadomasochistic erotica, the role of humiliation in Lancelot’s masochism, and Knight of the Cart’s connection to modern BDSM.

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Terms like sadomasochism were coined hundreds of years after the medieval period, yet they are strewn throughout these pages [Knight Of The Cart]. The plain and simple truth is that Europe was ill-equipped to address sadistic and masochistic practices as a collective during the Middle Ages. It lacked the terminology necessary to express mass, public recognition. That is not to say that sadomasochism was not deeply embedded in the public consciousness, because it was. It was so ingrained that it began seeping into the realm of popular culture and media. Elements of sadomasochistic practices are found all throughout Europe during the medieval period, most notably during the 12th century, when courtly culture was still in its naissance.

During the 1100’s, this cultural phenomena gave birth to what would come to be known as courtly romance. The courtly romance genre is perhaps the most abundant source of evidence that sadomasochism was not a foreign concept at the time. It was certainly no foreign concept to Chrétien de Troyes. As a troubadour, Chrétien committed several works to the courtly romance genre. One of his romances, Knight of the Cart, is laden with sadomasochistic subtext. But before one can explore the elements of sadomasochism that appear in this narrative, it is imperative to delve first into the preexisting scholarly responses to Chrétien’s writing.

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The Beheading

After Lancelot defeats a dishonorable knight, a maiden requests the fallen knight’s head. She essentially puts Lancelot to the task of decapitating the knight he has just defeated. He is then torn between his desire to appease the lady, and his desire to satisfy his own, personal sense of justice (Lancelot’s personal sense of justice entails having mercy for his fallen foe). Feinstein recognizes this inner turmoil when she alludes to “Lancelot’s struggle as to how to keep both his promise to give the lady the head of the defeated knight and grant the defeated knight mercy, as is his custom.” In the end, Lancelot submits to the lady’s wishes, and this submission is central to the subordination/domination that defines male/female relations in this text.

This courtly dichotomy of submissiveness and dominance is integral to Feinstein’s interpretation and overall understanding of courtly romance, and beheading is one of the linchpins holding this dichotomy together. On the surface, the act of a man beheading another man (whether at the behest of a woman or not) would seem to be an immediate expression of masculine power, but this is not how beheading functions in Chrétien’s narrative. Rather, it functions as an example of the lengths to which Lancelot will go to appease a lady.

According to Feinstein, “Chrétien’s use of beheading as closure becomes identified with issues of control or authority not as they refer to male rule, but as they relate specifically to women. . .In Chrétien’s romance, love is defined and controlled by women.” In Knight of the Cart, Lancelot is ultimately submissive to the wishes of every lady he comes across, and this is especially true of Guinevere. Their courtly love, and courtly love in general for that matter, is defined by this fundamental relationship of subordination and domination. Again, this notion of female dominion is not limited to the text. Male to female subordination saturates the courtly romance genre on both sides, appearing both on and off the page.

* * * *

In courtly culture we see men (be them courtly poets, lovers, or fictional characters) transition from the dominant role to the submissive role. We also see women transition from the submissive role to the dominant role. The understanding of courtly love as a masochistic contract is also noteworthy in this instance, as it constitutes a social space with very specific rules. These rules are very much an inversion of the norms of medieval gender relations. In short, because courtly love emulates the crucial elements of the sadomasochistic ritual, it is essential to regard courtly romance literature as part of the cultural history of sadomasochism.

So we return to the text, to that bridge of sharpened steel where pain and pleasure become one:

Love, which led and guided him,
Comforted and healed him at once
And made his suffering a pleasure

As previously stated, there is a masochistic association between love, pain, and pleasure throughout this text. Because the suffering Lancelot endures is facilitated by Guinevere, and the two are bound by the masochistic contract, she is situated as his dominatrix. According to Cohen, this is “the role of the woman of cold pleasure who enjoys the negation of her lover rather than of her self. . .the role of domna/dominatrix whose distant delectation Lancelot’s own suffering is predicated upon.” However, Lancelot’s excursion on the sword bridge is not the only instance in Knight of the Cart where suffering and satisfaction are conflated.

Another precedent of pleasurable pain is set early on in the narrative. As with Lancelot’s experience on the sword ridge, this scene also establishes a direct connection between love and wounding:

Love frequently reopened
The wound it had dealt him;
Yet he never wrapped it
To let it heal or recover,
For he had no desire or thought
To find a doctor or to bandage it,
Unless the wound grew deeper.
But willingly would he seek that certain one

This passage is especially noteworthy, as it illustrates how Guinevere (Lancelot’s “certain one”) is viewed as the disseminator of both pain and remedies. Lancelot does not want to consult a doctor: the only remedy he desires lies with his queen. Yet it is at her behest that Lancelot has received his wounds in the first place. Thus, love is responsible for injuring Lancelot while simultaneously holding the key to his recovery. This discrepancy between hurting and healing plays a big role in sadomasochism, wherein the application of aftercare is often overseen by the same dominant party that subjects the submissive party to physical pain. It is also important to note that Lancelot intentionally leaves his wounds unbandaged; he has no desire for them to heal. In other words, he is content enduring the pain of his injuries. It is as if Lancelot enjoys the pain and would only consult a medical professional if absolutely necessary.

Along with the masochistic association between love, pain, and pleasure, Lancelot’s quest is fraught with elements of sadomasochistic ritualism. According to Peter Tupper, sadomasochistic erotica often appears with an air of spiritual resonance: “Sacher-Masoch [Venus in Furs] explicitly drew connections between. . .desires, Catholicism, and paganism, which give his novel suggestion of a personal religious rite.”  Chrétien’s writing establishes the same connections. For example, as Lancelot pursues the missing queen, “Mundane objects acquire great symbolic value” while he wades deeper and deeper into the sadomasochistic ritual.  One example of this can be seen when Lancelot discovers a piece of Guinevere’s hair. What follows is nothing short of worship:

Never will the eye of man see
Anything so highly honored
As those strands, which he began to adore,
Touching them a hundred thousand times
To his eyes, his mouth,
His forehead, and his cheeks.
He showed his joy in every way
And felt himself most happy and rewarded.
He placed them on his breast near his heart,
Between his chemise and his skin.
He would not trade them for a cart loaded
With emeralds and carbuncles;
Nor did he fear that ulcers
Or any other disease would afflict him;
He had no use for magic potions mixed with pearls,
For drugs to combat pleurisy, for theriaca…
No use for prayers to St. Martin and St. James!
He placed so much faith in these strands of hair
That he had no need of any other aid.

Not only does this passage illustrate Lancelot’s association between mundane objects (strands of hair) and a greater allusory value, but it also elucidates Lancelot’s worship of Guinevere as a quasi-divine figure. The strands of hair are cherished as a relic that eclipses all other remedies (both spiritual and secular). In tandem with this worship, Lancelot seems to take an erotic pleasure in rubbing Guinevere’s hair all over his body. This pleasure plays out in such vivid detail that it resembles a scene of sexual gratification. Guinevere’s hair acts as a stand-in for the queen herself, and when Lancelot comes across these strands, he projects his sexual desires onto them. It is a scene ripe with the potential for titillation, one that foreshadows Lancelot’s subsequent sexual union with the queen.

Romantic Gyneolatry In The Bedroom

Lancelot’s worship of Guinevere is fully realized when the two consummate their physical relationship. The scene plays out as a religious rite turned sexual romp:

He came next to that [bed] of the Queen;

Lancelot bowed and worshiped before her,
For he did not have that much faith in any saint.
The Queen stretched out
Her arms toward him, embraced him,
Hugged him to her breast
And drew him into the bed beside her.

In this passage, Lancelot’s adoration of Guinevere is actualized in religious, albeit sexual, terms. He literally bows before her in worship. In this moment, Lancelot’s submission to Guinevere is at its most overt. The use of the word “worship” is especially noteworthy to this end, as it expresses in literal terms the subordination Lancelot willingly endures for his dominatrix. In this scene, Lancelot’s masochistic desires play out as a religious rite: this is supported by Cohen, who argues that “Lancelot’s reverence [of Guinevere] translates the sexual into the spiritual.” The spiritual resonance of this scene along with the titillation implicit in their sexually charged embrace help cement this work as a piece of sadomasochistic erotica.

This religious connection also thrusts Lancelot into the role of the masochistic martyr. When Lancelot makes his way to Guinevere’s chambers, he receives yet another injury:

Lancelot prepared and readied himself
To loosen the window.
He grasped the bars, strained, and pulled,
Until he bent them all
And was able to free them from their fittings.
But the iron was so sharp
That he cut the end
Of his little finger to the quick
And severed the whole
First joint of the next finger

Once again, this scene suggests a connection between pain and pleasure, as Lancelot receives these injuries as he makes his way to Guinevere’s bed: as he makes his way to sexual gratification. He must enter a world of pain to enter a world of pleasure. For Lancelot, pleasure always entails pain, and vice versa. In this particular instance, however, Lancelot becomes a martyr for love. More specifically, he “suffers and bleeds, his martyrdom for love.” This notion of martyrdom provides yet another connection between love, pain, and pleasure. It also supports the notion that Lancelot’s masochism plays out in spiritual terms.

When it comes to sadomasochistic erotica, it can be said that Chrétien’s Knight of the Cart bears striking similarities to other works in this literary tradition. In Leopold von Sacher-Masoch’s Venus in Furs, for example, the sadomasochistic ritual is “performed with contracts, disguises, whippings, masks, cuckolding, and role play.” Similarly, Lancelot is bound to Guinevere through the masochistic contract, through the rules of courtly love. Also, disguise plays a major role in Lancelot’s quest; he bares the moniker of knight of the cart for a lengthy period, his true name left unknown until Guinevere restores his identity:

she [Guinevere] rushed forward and called to him,
Shouting for all to hear
In a very loud voice: ‘Lancelot !
Turn around and behold
Who is watching you

The connections between Lancelot and the sadomasochistic ritual do not stop here, however. The imagery Chrétien employs also lends itself to the literary tradition of sadomasochistic erotica. The most iconic and enduring among these images is that of a powerful woman holding a whip. This image is not foreign to Knight of the Cart:

There came a girl riding
Across the heath
On a tawny mule,
With her mantle unpinned and hair disheveled.
She had a whip

As previously stated, whips and whippings are very crucial to sadomasochistic ritualism. They are symbolic of the dominatrix’s power over her subordinate masochist. Likewise, this whip-wielding woman demands satisfaction from Lancelot, and like a good masochist, he submits to her wishes. Specifically, she demands the head of an individual Lancelot has just defeated in combat. As Feinstein suggests, Lancelot endures a “struggle as to how to keep both his promise to give the lady the head of the defeated knight and grant the defeated knight mercy, as is his custom.”

In the end, Lancelot submits to the lady’s wishes, and this submission is central to the submission/domination that defines male/female relations in this text.
Cuckolding and role play are also central to Knight of the Cart’s status as a work of sadomasochistic erotica. In one particular instance, a lady puts Lancelot in a situation where he has the potential to be made a cuckold:

Help! Help!
Sir knight – you who are my guest —
If you do not pull this other knight from off me,
I’ll not find anyone to pull him away;
And if you do not help me at once
He will shame me before your eyes!
You are the one to share my bed,
As you have sworn to me!
Will this man forcibly have his will
With me before your eyes?

In this moment, the lady is not in any real danger. She is role playing with her personal guards to create the illusion that she is being assaulted. This illusion places Lancelot in a position where he believes he will be made a cuckold if he does not intervene. The role play and cuckolding may not disseminate from Guinevere, Lancelot’s primary dominatrix, but it is still a widely relevant narrative device that helps situate Chrétien’s writing as sadomasochistic erotica.

Another important thing to consider is the role that public humiliation plays in Lancelot’s quest. Throughout the narrative, the knight endures a thorough social stigmatization. The stigma itself stems from his status as the eponymous knight of the cart. According to Cohen, “The cart is described as a space wholly outside of chivalric identity. To enter its ignoble confines is to become a mere subject of the law rather than its agent.”68 Therefore, Lancelot’s decision to enter the cart is understood as a willing act of self-emasculation that effectively strips him of his social clout and renders him a pariah in the public eye. No longer is he regarded with renown as an executor of the King’s laws; he is regarded as a common criminal. In fact, Lancelot remains symbolically branded throughout a bulk of the narrative and is subject to mass ridicule on several occasions. In one instance, a group of revelers actively avoid him:

Look at that knight, look!
It’s the one who was driven in the cart.
Let no one dare continue
His play while he is among us.

In another instance, he is directly admonished: “The one who was watching him reproached him / Bitterly for having ridden in the cart.” Both cases illustrate the ramifications of Lancelot’s decision to ride in the cart. His quest to rescue Guinevere leaves him marked, and the lasting effect of this mark is ridicule in the public sphere.

Lancelot’s ridicule is essential to understanding him as a masochist. In the world of sadomasochism, the dominant party (the dominatrix, master, etc.) often takes great pleasure in leaving marks on the submissive party (the masochist, slave, etc.). These marks are widely superficial (bruises, hickeys, etc.), but they can also be of symbolic nature. In any case, they are meant to denote the dominant party’s complete and total ownership over the submissive party. Lancelot’s experience with the cart allows Guinevere to leave a lasting, albeit indirect, mark on her subordinate rescuer. To secure her favor and affection, Lancelot must receive this mark willingly and endure every modicum of humiliation that comes with it.

As previously stated, along with pain, humiliation is a condition of the masochistic contract. It may be delivered, overseen, or set in motion by the dominatrix, but it must always entail some degree of shame or emasculation. Similarly, Guinevere subjects Lancelot to public humiliation on several occasions. In one particular instance, she chides him during his engagement with Maleagant: “Ah, Lancelot! What could it be / That makes you act so foolishly?” This question has a profound effect on Lancelot. It leaves him retreating inward, into the realm of introspection. Lancelot’s self-reflection is made evident in the following passage: “Lancelot was most ashamed / And vexed and hated himself.” Even after he endures the pain and humiliation of his quest, successfully rescuing Guinevere from her imprisonment, she chastises him.

When Lancelot is victorious in his battle against Maleagant, Guinevere denies any and all gratitude towards him. She publicly and intentionally embarrasses him at the very moment when he believes his suffering is at an end: “to pain and embarrass him further / She refused to answer him a single word / And passed into another room instead.” This process of denying satisfaction is another crucial element of sadomasochism. It involves the dominatrix withholding pleasure from her submissive partner until she believes they have suffered to an appropriate degree or for an appropriate amount of time. This brings us to the subject of titillation.

To assess how titillation functions within Chrétien’s larger poetic design, one must take a closer look at the imagery of Knight of the Cart. Not only do we find images of dominatrices with whips, but we also find images of cuckoldry and sexual union. Let us return to that moment where Guinevere embraces Lancelot, and accepts him as her lover:

The Queen stretched out
Her arms toward him, embraced him,
Hugged him to her breast
And drew him into the bed beside her.

This is a viscerally sensual moment for Guinevere and Lancelot, and Chrétien spares no linguistic expense in playing up the provocative nature of his subject matter. The titillation here is multifaceted: Not only does Guinevere press her breast against Lancelot, but she is also the one to initiate the movement from one social space to another. The contextual parameters of Guinevere’s bed constitute a sexual space, and when she brings Lancelot into this space, their status as lovers is solidified. As such, the imagery of Guinevere drawing Lancelot into bed with her could be construed as sexually stimulating because of the potential sexual energy implicit in the act. It is also erotic because of the power Guinevere holds over Lancelot. She is in control, and when she pulls Lancelot into bed with her there is an anticipation that she will retain this control throughout the sexual engagement.

[ Above passages from How Venus Got Her Furs: Courtly Romance as Sadomasochistic Erotica ]

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Lancelot’s Gyneolatry 

The submission which Lancelot shows in his actions is accompanied, on the subjective side, by a feeling that deliberately apes religious devotion. Although his love is by no means supersensual and is indeed carnally rewarded in this very poem, he is represented as treating Guinevere with saintly, if not divine, honours. When he comes before the bed where she lies he kneels and adores her : as Chretien explicitly tells us, there is no corseynt in whom he has greater faith. When he leaves her chamber he makes a genuflexion as if he were before a shrine.

The irreligion of the religion of love could hardly go further. Yet Chretien—whether he is completely unconscious of the paradox, or whether he wishes, clumsily enough, to make some amends for these revolting passages—represents his Lancelot as a pious man and goes out of his way to show him dismounting when he passes a church, and entering to make his prayer; by which, according to Chretien, he proves both his courtesy and wisdom.

[From C.S. Lewis – Allegory of Love: A Study in Medieval Tradition]

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Not long after romantic chivalry was invented and popularised a millennium ago, some medieval authors began to make jokes about the outlandish male sycophancy and pedestalisation of women that the new tradition entailed.  Christine de Pizan (1364-1431), a woman whom French feminists characterise as the “first feminist,” took public offense the attack on romantic chivalry and on female purity, which she considered a degradation of women’s dignity which feminists today would label misogyny.

Christine’s response launched a movement called La querelle des femmes (the quarrel about women’s rights), which continues today under the name ‘feminism.’ The basic theme of the centuries-long quarrel revolved, and continues to revolve, around advocacy for the rights, power and status of women, and thus the querelle des femmes serves as the originating title for the modern feminist movement.

Feminist historian Joan Kelly characterizes this early history of feminism as follows:

We generally think of feminism, and certainly of feminist theory, as taking rise in the nineteenth and twentieth centuries. Most histories of the Anglo-American women’s movement acknowledge feminist “forerunners” in individual figures such as Anne Hutchinson, and in women inspired by the English and French revolutions, but only with the women’s rights conference at Seneca Falls in 1848 do they recognize the beginnings of a continuously developing body of feminist thought.

Histories of French feminism claim a longer past. They tend to identify Christine de Pisan (1364-1430?) as the first to hold modern feminist views and then to survey other early figures who followed her in expressing pro-woman ideas up until the time of the French Revolution…

The early feminists did not use the term “feminist,” of course. If they had applied any name to themselves, it would have been something like defenders or advocates of women, but it is fair to call this long line of prowomen writers that runs from Christine de Pisan to Mary Wollstonecraft by the name we use for their nineteenth- and twentieth-century descendants. Latter-day feminism, for all its additional richness, still incorporates the basic positions the feminists of the querelle were the first to take.¹

When we consider the longevity of this movement, along with its aim to increase the power of women through the exploitation of gynocentric chivalry,² we might be forgiven for believing its time for romantic chivalry and the associated gender wars it has sparked to be finally put to rest.

A short summary:

 

 

References:

[1] Kelly, J. (1982). Early feminist theory and the” querelle des femmes”, 1400-1789. Signs: Journal of Women in Culture and Society, 8(1), 4-28. See also: Bock, G., & Zimmermann, M. (2002). The European Querelle des femmes. Donavín G., Poster, C. Utz, R.(coords) Medieval Forms of Argument Disputation and Debate, Or: Wipf and Stock Publishers, 127-156.

[2] Wright, P. (2018). Bastardized Chivalry: From Concern for Weakness to Sexual Exploitation. New Male Studies, 7(2).

Accusations of wrongdoing, and the saddling of males with a sense of guilt and shame, is used as a means to increase male labor and productivity – a result that works extremely well to the benefit of women, companies, and the State.

That formula can be stated simply as – Aggression, Guilt, Repair.

It refers to a psychological process that happens when someone commits a slightly destructive or aggressive act, and they notice the damage they have caused, or otherwise are made to notice the damage by others. This triggers a guilt reaction for feeling that one has damaged people they may care about and, after feeling guilty, they will typically move to repair the damage with benevolent gestures.

It doesn’t matter whether the claims of destructiveness are accurate, somewhat trumped up, or completely fabricated; it has the same effect of generating concern in the minds of the accused, who will react with various attempts to fix the problem and smooth it over.

This formula is laid out by pediatric psychiatrist Donald Winnicott¹ who described the process already at work in earliest childhood, in infants who already show a concern over the results of their own destructiveness. Thus, when an infant bites his mother’s nipple, or screams and kicks, the mother typically gets frustrated, verbally upset and proceeds to walk away from the infant. At that moment the baby descends into what is described as a guilt state (becoming listless, crying, fearful), then when mother returns the baby goes all out trying to repair the damage – reaching out to hug mother, smiling, offering mother a rattle, etc. This is the process of aggression – guilt – repair,²  and it’s a cycle repeated thousands of times during everyone’s infancy.

It goes without saying that the repair effort is absolutely vital to any infant who is dependent on his mother for existence, and therefore we all carry that primal fear of loss when momma walks out of the room…… will she return? As a social and pair-bonding species the concern is real, and it probably goes a long way to explaining the popular cliché “If momma aint happy, aint nobody happy!” This sentiment is likely a hangover from childhood experience, one that can be exploited in adult relationships via acts of coldness; in the proverbial “silent treatment” or other forms of threat to a stable bond.

Winnicott contends that the aggression–guilt–repair cycle underlies all productivity in the wider social space; ie. that people wish to contribute into society to atone for supposed past destructiveness, no matter how insignificant, or to contribute as an atonement for future destructiveness that has not yet happened (and may never happen!). People want to feel good with the world, thus by contributing to people and the society around them they store up capital in their reparative bank accounts – often in the form of labor and sharing of finances, or otherwise via the currency of thoughtful gestures, deference, verbal compliments and the like.

When we consider that the reparative gestures more often take the form of labor – especially men’s labor – we could perhaps equally render Winnicott’s formula as Aggression – Guilt – Labor, and lose nothing of its meaning.

Here we note that the phrase ’emotional labor’ takes on a whole new, and very male sense.

On a more tangible level I’ve talked with a lot of men who admitted that when they feel they’ve done something bad, no matter how minor, or that they’ve done something destructive in the eyes of their wife or partner, they go all-out trying to repair the damage.  They may give her a bunch of flowers, or they might labor around the yard or paint the interior of the house or some other manual task, and via these constant reparative gestures they tend to provide far more labor than would normally be the case. This unfortunately can become a sick game between couples; if a man (or woman) can be made to feel bad enough, and frequently enough, they become pathologically productive.

To that end, many men feel that their wives have become daughters of B. F. Skinner, regularly hearing the nagging din of “You’ve been very insensitive to me recently, and you haven’t even painted the house yet!” or “You never show me any love gestures!”

The myth of Greek hero Heracles is paradigmatic of this cycle, showing the same pattern described by Winnicott in an endless loop; Heracles commits destructive deeds, feels guilt, and then attempts to repair the damage through hard labors. His desire to repair things often comes via contributing to society, by helpful assertions of strength to rid the world of monsters and lawless creatures, or performing useful engineering feats, while at the same time vigorously denying any weakness that would slow him down.  As Philip Slater observes;

The Heraclean myths also include the self-abasing strategy. This is inferred, not from his appearance as a buffoon in Attic drama, but from his role as a servant of the gods and a slave to women. He consistently performs “dirty work” for others, killing pests, cleaning the Augeian stables, herding cattle, reaping grain, and so on. Indeed, his entire life is one of suffering, servitude, and degradation, relieved only by his achievements and final apotheosis. From the slave of the cowardly Eurystheus he becomes the slave of Omphale, and is constantly being cheated of his wages (e.g., by Eurystheus, Augeias, Eurytus, and Laomedon).³ (p.375)

Heracles, along with every man who labors compulsively, is motivated to repair what he unconsciously feels are the results of his own destructiveness — even his potential destructiveness that may never manifest in real behavior. The mere potential of destructiveness is enough to set the compulsive work cycle in motion, especially if under the watchful direction of a scold.

Might this provide the esoteric rationale for why all men are labelled toxic? 

We can only imagine what the world would look like if men were not operating under pressure of guilt; it would probably look more like a series of relaxed traditional villages instead of the outlandish marvels of civilization we see today. When it comes to measuring national productivity, the benchmark GDP could perhaps be partly interpreted as men’s Guilty Domestic Product.⁴

Misandry as a fomenter of productivity

Misandry is not a simple scapegoating reflex, although that is a part of it. Misandric blaming is also an assist for increasing the power and enrichment of the State, of corporations, and of course women, because it increases men’s productivity.

That payoff is why misandry has remained normalized, but it doesn’t have to remain that way for conscious men.

Some of the phrases directed at men are proof of the desire to increase men’s labor; phrasings like “You need to man up!” which often means a man needs to work harder. Men are called deadbeats (not producing enough money), ‘man-babies’ (for not wanting to overdo things nor put their health at risk), or Peter Pans (too busy enjoying life instead of working), or they may be characterized sarcastically as a ‘failure to launch’ (for younger men failing to rush headlong into a career and a job by which he can contribute his labor to society).

Or, in the recent past, what about the negative disparaging of a man as “gay” (whether he was or not), which implied such a man was failing to indenture himself in service to women and family with some kind of productive contribution (gay men were busying themselves doing non-gynocentric things). We’ve even heard that some men assaulted homosexual men, on rare occasions, as if they were a reminder of their own beaten up, freedom-yearning soul. As ugly as this is, it provides an example of men’s internalized misandry that attempts to ‘put a man in his place,’ by violence if necessary.

In conclusion we can say that misandry is not only a vehicle for cathartic blame, but is more geared to ‘keep men in their place’ – and that place is to be a guilt-driven provider. Women in the long-ago past were similarly subjected to these ‘in your place’ roles, but those days for women are long gone in most developed nations.

It is now men’s turn to break the cycle and say no to imputed guilt, or at least refuse to make genuine guilt available for others to exploit. If you fail to protect yourself in this regard, you are on a fast track to slavery and, in all likelihood, are already there.

References:

[1]. Donald Winnicott, The Development Of A Capacity For Concern (1963), Chapter 6 in The Maturational Process And The Facilitating Environment, International universities Press, (1965).

[2]. Donald Winnicott, Aggression, Guilt and Reparation (1960), Chapter 16 in  Deprivation And Delinquency, Tavistock Publications, (1984)

[3]. Philip Slater, The Glory Of Hera: Greek Mythology and The Greek Family, Beacon Press, (1968)

[4]. Note: for those who are inclined to take comments literally, rest assured this comment about traditional villages (and GDP) is intended hyperbole.

______________________________

For a longer study on the psychology of guilt, from which this article is a quote, see Heracles: A Slave To Guilt And Shame

Don’t let the phony simp-science con you any longer. Here’s a debunking of the “humans are a gynocentric-species” foundations that gynocentrists don’t want you to consider:

• Gynocentric hypothesis: Women’s hypergamous behaviour indicates that human sexuality is driven by gynocentric imperatives, with societies historically prioritized around women’s desire for status.
  Fact: Women’s exaggerated hypergamy can be explained by the more recent rise of cultural narcissism which involves behaviors of self-enhancement and status-seeking. Moreover, narcissism is maladaptive in the sense that it contributes to a decrease in marriage, increasing divorce, and is implicated in plummeting birth rates.
• Gynocentric hypothesis: Women’s neotenous facial features prove that they evolved to be prioritized and pampered more than males.
  Fact: Today women’s neoteny can be explained in larger part by the use of cosmetics, practiced childlike gestures, and increasingly, plastic surgery. In comparison to other primates, human males also display a degree of neoteny, though not usually enhanced by cosmetic artifice as we see practiced by women.
• Gynocentric hypothesis: Women fall pregnant, give birth and care for offspring, which means that very few males are necessary for the perpetuation of the species.
  Fact: Women’s pregnancies are not more precious than male investment in child care and the provision of protective infrastructure for infant survival, without which a large percentage of infants would perish. Therefore men and women are equally important for reproductive success.
• Gynocentric hypothesis: Women are the gatekeepers of sex who decide which males get to have sex, and males generally comply with this exclusive female choice.
  Fact:  Women are not “the gatekeepers” of sex. An overwhelming majority of men are approached by females attempting to initiate sex with them, and at other times men approach women. In these situations men have the full capacity to say “yes” or “no” to sexual opportunities, thus men are also gatekeepers of sex.  Humans are a Mutual Mate Choice (MMC) species and males invest in parenting of offspring, leading them to also be choosy about the qualities of their sexual and reproductive partners.
• Gynocentric hypothesis: More females than males reproduced during human evolutionary history which suggests that women controlled which males had sex.
  Fact: this can be explained by the choices of powerful males sequestering large harems of women as wives and property, and by arranged marriages – neither of these are a result of female choice.
• Gynocentric hypothesis: Men go to die in wars for the single purpose of prioritizing and protecting women, thus indicating that women are more valuable to the human species.
  Fact:  Men dying in wars is historically for the sake of defending broader affiliations like religion, king, country, democracy, or entire family networks, and not simply for the sake of women’s survival.

The list could go on. There’s no evidence that humans are a “gynocentric species” whose relationships must, by evolutionary nature, be gynocentric. At most we can say men engage in a limited number of gynocentric acts that are matched by commensurate androcentric acts and gestures by women. Eclipsing both of these motives is a wider family centrism, and genecentrism.

Why does it matter?

It matters because if men and women imagine gynocentrism to be the natural default for human relationships, and for the human species, they tend to resign themselves to unbalanced relationships based entirely on deference to women’s needs and wants. Retaining the belief that we are a gynocentric species works as a mental constraint which stymies our mental ability to override it, whereas clearing out such ideological garbage allows the mind to act more efficiently and to make wiser life decisions for the purposes of pair-bonding, families, society and for oneself.

The following is an excerpt from a 1921 book Foundations Of Feminism which pairs early feminism with the belief that women are biologically superior to males, and thus more important to the human species. This, as previously mentioned, is a forerunner to contemporary appeals to evolutionary psychology making similar conclusions about women’s biological superiority.

SOURCE: Lucifer the Light-Bearer, 23 Aug 1895, Fri, Page 3