Masculinity & Femininity are Plural

By Adolf Guggenbuhl-Craig

“It should be clear that there is not only one masculine archetype and one feminine archetype. There are dozens, if not hundreds, of feminine and masculine archetypes. Certainly there are many more of them than we usually imagine. But not all archetypes are dominant at a particular period in the life of an individual. Moreover, every historical epoch has its dominant masculine and feminine archetypes. Women and men are determined in their sexual identities and behavior by only a select number of archetypes.

Behavior is determined only by those patterns that are momentarily dominant in the collective psyche. This leads to a grotesque but understandable error: the archetypes that dominate masculine and feminine behavior in a particular time come to be understood as the masculine and feminine archetypes. And from this limited number of archetypes it is decided what “masculinity” and “femininity” are. This misunderstanding has led, for example, to the assumption in Jungian psychology that masculinity is identical with Logos, and femininity with Eros. It is assumed that the essence of femininity is personal, related to one’s fellow man, passive, masochistic, and that the essence of masculinity is abstract, intellectual, aggressive, sadistic, active, etc. This naïve assertion could have been made only because the masculine and feminine archetypes that were dominant at that time and in that culture were understood as the only valid ones.”

SOURCE: Adolf Guggenbühl-Craig, A., Marriage Is Dead – Long Live Marriage! (1976)

The Dogma of Gender – by Patricia Berry

 

The Dogma of Gender was first delivered as a public lecture in the autumn of 1977 at the Royal Society of Medicine, London, England, under the sponsorship of the Guild of Pastoral Psychology. The article was first published by Spring Publications, in Spring Journal 1982, and later in the volume of compiled essays Echo’s Subtle Body.

Written by one of the founders of Archetypal Psychology, the article has proven itself timeless over the 45 years since it was first penned, becoming even more relevant today for understanding the fantasies that might be at work in the ‘gender debates’ that rage on unchecked. 

The essay is republished at gynocentrism.com with permission of the rights holder and author, Patricia Berry

The Religion of Romantic Love

EROS, AGAPĒ, AMOR

By Joseph Campbell

In theological sermons we are used to hearing of a great distinction between fleshly and spiritual love, eros and agapē. The contrast and conflict were already recognized and argued by the early Christian Fathers and have been argued ever since. An important point to be recognized, however, is that the ideal of love, amor, of the lovers and poets of the Middle Ages corresponded to neither of these.

In the words, for example, of the troubadour Giraut de Borneil, “Love is born of the eyes and the heart” (Tam cum los oills el cor ama parvenza): the eyes recommend a specific image to the heart, and the heart, “the noble heart,” responds. That is to say, this love is specific, discriminative, personal, and elite. Eros, on the other hand, is indiscriminate, biological: the urge, one might say, of the organs. And agapē, too, is indiscriminate: Love thy neighbor (whoever he may be) as thyself. Whereas, here, in the sentiment and experience of amor, we have something altogether new—European—individual. And I know of nothing like it, earlier, anywhere in the world.

The aim in the European “cult” (if we may call it that) of amor was not in any sense ego extinction in a realization of nonduality, but the opposite: ego-ennoblement and -enrichment through an altogether personal experience of love’s poignant pain—“love’s sweet bitterness and bitter sweetness,” to quote Gottfried—in willing affirmation of the irremediable yearning that animates all relationships in this passing world of ephemeral individuation.

It is true that in the doctrine of love represented by the Troubadours marriage was not only of no interest but actually contrary to the whole feeling, and that likewise in India, the highest type of love, from the point of view of the Sahajiya cult, was not of husband and wife, but (to quote one authority), “the love that exists most privately between couples, who are absolutely free in their love from any consideration of loss and gain, who defy society and transgress the law and make love the be-all of life.”

It is almost certainly not by mere coincidence that the greatest Indian poetic celebration of this ideal of adulterous (parakīya) love—namely the Gītā Govinda (“Song of the Cowherd”) of the young poet Jayadeva—is of a date exactly contemporary with the flowering in Europe of the Tristan romance (c. A.D. 1175). A moment’s comparison of the two romances, however, immediately sets apart the two worlds of spiritual life. The Indian lover, Kṛṣṇa, is a god; the European, Tristan, a man.

The Indian work is allegorical of the yearning of flesh (symbolized in Radha) for the spirit and of spirit (symbolized in Kṛṣṇa) for the flesh, or, in Coomaraswamy’s terms, symbolic of “the ‘mystic union’ of the finite with its infinite ambient”; whereas the European poets, Thomas of Britain (c. 1185), Eilhart von Oberge (c. 1190), Béroul (c. 1200), and Gottfried von Strassburg (c. 1210), the four leading masters of the Tristan cycle, have represented the lovers as human, all too human—overwhelmed by a daemonic power greater than themselves.

In the poems of the first three, the power of the potion, the releaser of the passion, is treated simply as of magic. In Gottfried’s work, on the other hand, a religious dimension opens—heretical and dangerous—when he states, and states again, that the power is of the goddess Minne (Love). And then, moreover, to ensure his point, when the lovers flee to the forest, he brings them to a secret grotto of the goddess, described explicitly as an ancient heathen chapel of love’s purity, and with a bed—a wondrous crystalline bed— in the place of the Christian altar.

___________________________________________________________________________

Excerpt from: Campbell, Joseph., The Flight Of The Wild Gander – 1969

The Power Of Stories

*The following speech was delivered by Elizabeth Hobson at the 2020 digital International Conference on Men’s Issues (ICMI) (shortened version).

We inhabit a world of things – literally observable objects and facts, and, for the MRA, literally measurable evidence of male disadvantage. And we MRAs collectively do a good and necessary job of measuring and cataloguing such disadvantages. It escapes none of us however, though our evidence is required (and should be), that feminists are not held to the same standards.

That feminists can assert the most outrageous untruths, without challenge. That baseless feminist conspiracy theories, fantasies, lies, delusions and myths are simply believed. The reason for this is simple: as much as a world of things, we live in a world of stories (Peterson, 2018).

Mythologies, archetypes and expectations help us to organise information. We can’t expect to be able to rationally sift through each piece of data that we’re exposed to, so we categorise constantly: of interest/not of interest, in line with what we would expect/anomalous (Sowell, 1987).1 And feminism has been uniquely deft at creating compelling stories that people can internalise, which act as shields against further investigation of their claims.

If this sounds malevolent: that’s because it is. Feminists misuse the power of stories to circumvent the logical appraisal that should accompany policy lobbying and establishment. Feminists misuse the power of stories to breed resentment instead of love between men and women. Feminists misuse the power of stories to justify hate-filled and supremacist intentions as recompense for centuries of “sex-based oppression”.

And the fact is that feminism has advantages in the story-weaving game. Our species’ innate gynocentrism, our gender empathy gap and our evolutionary perceptions of men (the genetic filter, to be policed) and women (the limiting factor in reproduction, to be protected) allows us to zero-in on female disadvantage and to ignore male disadvantage, to view the world through blinkered eyes through the lens of the female experience, to believe in an innate badness in men!

But we MRAs have advantages also… We can share stories that enrich the psyches of our audiences with gratitude and love for men, and respect for women. We can share stories that are exponentially closer to the truth than those sordid webs that feminists create. Stories backed by facts, but stories that can be internalised by a significant proportion of the public; and weaponised so that no longer will feminist rhetoric be taken at face value. So that the playing field will be levelled and the standards of evidence that we accept as the bare minimum required for MRAs to advocate – will also apply to feminists.

This is why I believe in the power of stories to deliver justice for men and boys (and the women who love them).

Feelings don’t care about your facts

Stories frequently succeed in arousing strong feelings, like when we read a novel and become moved to tears or anger, or when we see scenes in a movie which make our skin crawl, give goose bumps, or make our hair stand on its proverbial end. Such strong feelings, and the stories that generate them, seem to put a lie to the popular phrase “Facts Don’t Care About Your Feelings”. The reverse seems more likely in evidence, even when we know that a fantasy novel or movie is not factually real – our feelings remain dominant.

This is why old-world mythologies, complete with kooky beliefs, have flourished and sustained large civilizations – civilizations which thrived and expanded under the guiding influence of those same unfactual stories. Even when the stories promote a geocentric universe with a flat earth, or mythical gods requiring human sacrifices, deadly wars or violence over the divinely mandated length of men’s beards, or whether a woman’s mandated head covering is pleasing to the divine powers. You would think these things would cause a civilization to collapse and die out, however it appears that those more rational civilizations who deconstruct myths have birth rates plummeting whilst cultures based in fanciful stories enjoy explosive birth rates.

Perhaps it’s time to consider the painful possibility that feelings don’t always care about our facts. That’s certainly the case in many cultures, and it may indeed be a default setting of human beings generally – we are story creatures, and facts are often seen as an affront that offends both the stories we believe in and feelings associated with them.

Writing in the year 1984,2 professor emeritus of communication Walter R. Fisher explored these two approaches to reality – the approaches of both story and rationality – and named them 1. ‘the narrative paradigm’ and 2. ‘the rational world paradigm.’

Fisher describes the narrative paradigm in much the same way as I am in this talk; as a reflection of the fact that we use stories to communicate with each other, and to provide a shared map of meaning among a group of people.

Stories help by gathering the scattered bric-a-brac of everyday existence and combining it into a coherent whole, or what we might refer to as a template, that we use to orient ourselves and our goals in harmony with the shared orientation and goals of others. In short stories provide us with a shareable world.

As we have seen, religious stories and folk tales, can be both benevolent by way of organizing the masses into a harmonious moral unit, or they can be destructive as we see in stories promoting warfare against innocent nations, and even those stories which, today, promote gender wars.

What Fisher refers to alternatively as the ‘rational world paradigm’ consists in five presuppositions, which I can paraphrase as: 1. That humans are essentially rational beings, 2. That human decision-making and communication is a form of argument depending on clear-cut inferential and implicative structure, 3. That the conduct of such argument is ruled by legal, scientific and legislative dictates (etc), 4. That rationality is determined by subject matter knowledge, argumentative ability, and skill in employing the rules of advocacy in given fields, and finally, 5. The world is a set of logical puzzles which can be resolved through logical analysis and application of reason conceived as an argumentative construct.

Fisher notes the frequent failure of the rational world paradigm in the modern context, and goes on to conclude that:

This failure suggests to me that the problem in restoring rationality to everyday argument may be the assumption that the reaffirmation of the rational world paradigm is the only solution. The position I am taking is that another paradigm may offer a better solution, one that will provide substance not only for public moral argument, but also all other forms of argument, for human communication in general. My answer to the second question then, is: “Yes I think so.”

Adoption of the narrative paradigm, I hasten to repeat, does not mean rejection of all the good work that has been done; it means a rethinking of it and investigating new moves that can be made to enrich our understanding of communicative interaction. 2

What Fisher refers to as “Investigating new moves” is something the men’s issues community might also take on board – specifically that stories and the feelings they evoke can be used as a form of communication to address the wrongs of gynocentrism and misandry we have been working so hard on, with limited successes, via the rational mode of argumentation and data recitations.

The narrative communication paradigm, or more simply the use of stories, has been criticised from a rational perspective when applied to scientific or legal issues, with the charge being that there is no way to make a choice between two equally coherent narratives. This is a valid complaint, but not one that practitioners of the rational world paradigm completely escape – this due to their frequent preferencing of one set of data over another, of placing the accent on one set of findings while neglecting others – a tendency that renders “rationalist” conclusions more subjective than they might like to admit – just like those of the story tellers.

Ultimately the rational and narrative approaches need to work in tandem if we wish to provide strong results, but at present the men’s movement has been wary of narrative approaches due to their tendency to subjectivity and corruption. Unfortunately, storytelling remains the preferred mode of communication and decision-making of the human species, therefore we can’t simply wish it away as irrelevant because that would be to deny the fact that humans have evolved to be narrative creatures – Homo Narrans – who preference communication via stories. It is a biological and evolutionary fact, so it isn’t going away, and hating it will do little to change its biological necessity.

If story is here to stay, then we need to enter the fray. We need to get down into the alphabet soup and wrestle with those destructive narratives perpetuated by feminists and others who would reduce men and boys to a tiny fraction of their lived experience. This can be done by challenging any element of the dominant gender narratives currently circulating – by amending the stories to conclude the male hero is “good” rather than “toxic,” or by crafting new stories altogether that incorporate the positive experiences of men and boys.

That is my challenge to you all today: not to do away with rational or data-based approaches, but to broaden them by offering new endings to the destructive stories currently on offer, re-narrating them, or by telling new stories in ways so compelling and emotionally moving that they displace the destructive ones currently on offer.

Sources:

[1] Sowell, T. (2002). A conflict of visions: Ideological origins of political struggles. Basic Books (AZ).

[2] Fisher, W. R. (1984). Narration as a human communication paradigm: The case of public moral argument. Communications Monographs51(1), 1-22.

Two Modes of Damseling

E.B. Bax outlined two forms of damseling, one appearing as “simple weakness,” and the other as “aggressive weakness.” In his view simple weakness deserves consideration on its merits, whereas aggressive weakness deserves no assistance.

“For modern Feminists of the sentimental school, the distinction is altogether lost sight of between weakness as such and aggressive weakness. Now I submit there is a very considerable difference between what is due to weakness that is harmless and unprovocative, and weakness that is aggressive, still more when this aggressive weakness presumes on itself as weakness, and on the consideration that might be extended to it, in order to become tyrannical and oppressive. Weakness as such assuredly deserves all consideration, but aggressive weakness deserves none save to be crushed beneath the iron heel of strength. Woman at the present day has been encouraged by a Feminist public opinion to become meanly aggressive under the protection of her weakness. She has been encouraged to forge her gift of weakness into a weapon of tyranny against man, unwitting that in so doing she has deprived her weakness of all just claim to consideration or even to toleration.” Chapter 5: The “Chivalry” Fake, in The Fraud of Feminism (1913)

Whether real or purely fabricated, these displays of vulnerability represent the two main faces or modes of enacting the damsel-in-distress archetype. Both begin their display with an announcement of vulnerability and powerlessness, but their ways of enlisting assistance differ considerably. The simple damsel invites assistance by displaying utter helplessness, imparting a sense of inadequacy, impotence and a complete lack of agency to deal with the situation responsible for her distress. The aggressive damsel, on the other hand, angrily denounces the forces assailing her, and demands redress with bitter and vindictive calls for the world to exact revenge on her behalf.

Unlike the simple damsel, the aggressive damsel feels unable to attract chivalric reinforcements via the simple act of broadcasting her helplessness. Thus, she loudly seeks the attention of men and governments, demanding they provide chivalric redress for whatever ‘distress’ is assailing her. This kind of damsel relies particularly on governments to address her grievances, and she is likely the kind of woman that John Stuart Mill, an advocate of feminism, had in mind when he wrote the following;

“From the moral influence exercised by women arose the spirit of chivalry … a special submission and worship directed towards women, who were distinguished from the other defenceless classes by the high rewards which they had it in their power voluntarily to bestow on those who endeavoured to earn their favour, instead of extorting their subjection.

Chivalry left without legal check all those forms of wrong which reigned unpunished throughout society; it only encouraged a few to do right in preference to wrong, by the direction it gave to the instruments of praise and admiration. But the real dependence of morality must always be upon its penal sanctions – its power to deter from evil… The beauties and graces of the chivalrous character are still what they were, but the rights of the weak, and the general comfort of human life, now rest on a far surer and steadier support.” [John Stuart MillThe Subjection of Women 1869]

Many readers will recognise Bax’s simple weakness in the behaviour of traditional gynocentric women, and likewise will recognize aggressive weakness in the behaviours of feminist women. However, contrary to Bax’s trusting view of non-aggressive displays of weakness, readers might recognize that these too can amount to manufactured displays of weakness every bit as manipulative and undeserving of assistance as that of aggressive weakness.

To labor this theme a little further, we also find these two modes of enacting the damsel within classical mythology, long before our modern world learned to exploit the victim routine for personal advancement. The two goddesses who best represent these positions are Persephone, the simple damsel who was abducted and victimised by Hades without ever showing personal agency of her own, and yet her helplessness alone provoked widespread efforts to save her, and secondly the goddess Hera, wife of Zeus who was forever seething in a sense of victimhood and grievance, while seeking cosmic vengeance toward those who wronged her. For more on these classical archetypes I recommend the YouTube channel of Greta Aurora who has made many videos exploring the victim complexes of these goddesses, along with explorations of many other archetypal figures.

The Origins of Damseling

The origins of damseling are biologically-based and are as old as the human race. Technically speaking, the behaviour we refer to as damseling refers to a human being who announces its vulnerability to others – to husband, family, friend, stranger or to one’s tribe.

The announcement of vulnerability stimulates a neurological system in the brain designed to provoke reflexes of protection, caretaking and nurturance of vulnerable children and infants. However, the same neurological system can be provoked by adults who find themselves in a vulnerable situation, or by adults feigning vulnerability in order to acquire resources of protection, provision, and especially, comfort. While such vulnerability can be displayed by any human, whether a child or adult of either sex, when we use the word damseling it refers especially to adult women who engage in theatrical versions of these behaviours.

The word “damsel” derives from the French demoiselle, meaning “young lady”, and the term “damsel in distress” in turn is a translation of the French demoiselle en détresse. The behaviour of the damsel in distress; her screams, her fear, her appeals for relief in the face of immanent danger, are captured in the words of Julia Kristeva who says of life in the Middle Ages, “Roles were assigned to woman and man: suzerain and vassal, the lady offering up a ‘distress’ and the man offering a ‘service.’ “

Ancient mythologies around the world have captured the theme of damseling, and also the ‘parental brain’ state of the heroes who set out to rescue vulnerable maidens. While these tales are numerous, the practice of damseling did not become the centrepiece of any culture until a catering to women’s vulnerability was codified as a social expectation for men in the Middle Ages – a codification whereby men were asked to specialize as servicing agents in the role of alleviating women’s distresses. Giving birth to this idea, chivalry, courtly love, and a new sexual relations contract coalesced that placed women’s safety and comfort at the top of the hierarchy of social customs.

This gendered social development is perhaps nowhere better exemplified than in the “Enterprise of the Green Shield with the White Lady” a chivalric order founded by French knight and military leader Jean Le Maingre and twelve knights in 1399, committing themselves for the duration of five years to the protecting of all damsels in distress:

Inspired by the ideal of courtly love, the stated purpose of the order was to guard and defend the honor, estate, goods, reputation, fame and praise of all ladies, including widows.

According to his Livre des faits, in 1399 Jean Le Maingre, tired of receiving complaints from ladies, maidens, and widows oppressed by powerful men bent on depriving them of the lands and honours, and finding no knight of squire willing to defend their just cause, out of compassion and charity founded an order of twelve knights sworn to carry “a shield of gold enamelled with green and a white lady inside” (une targe d’or esmaillé de verd & tout une dame blanche dedans). The twelve knights, after swearing this oath, affirmed a long letter explaining their purpose and disseminated it widely in France and beyond her borders.

The letter explained that any lady young or old finding herself the victim of injustice could petition one or more or the knights of the ‘Enterprise of the Green Shield with the White Lady’ for redress and that knight would respond promptly and leave whatever other task he was performing to fight the lady’s oppressor personally.

During this period, men saving damsels was referred to euphemistically as love service, which saw male lovers referred to as homo ligius (the woman’s liegeman, or ‘my man’) who pledged honor, and servitium (service) to the lady via a posture of feudal homage. This growth of gynocentric specialization would later allow Modesta Pozzo to write the following:

“Don’t we see that men’s rightful task is to go out to work and wear themselves out trying to accumulate wealth, as though they were our factors or stewards, so that we can remain at home like the lady of the house directing their work and enjoying the profit of their labors? That, if you like, is the reason why men are naturally stronger and more robust than us—they need to be, so they can put up with the hard labor they must endure in our service.” (Pozzo – 1590 AD)

Such is the social ascendency of women and their ever-increasing cries of distress. Today we have a different dilemma in that damseling has evolved into a victim cult extending well beyond women. The damseling attitude now blankets much of the world with aggressive demands for redress, with social movements arising from the trope that are fomenting violence and decay within human societies. Exploiting primal reflexes, particularly those designed for parenting vulnerable juveniles, has become a runaway train with little to stop it. We can only hope that the current destruction will serve as the moment of reflection and restraint toward the damsel’s demands.

Part 2: Two Modes of Damseling

Damsel in distress

Paolo Uccello‘s depiction of Saint George and the dragon, c. 1470, a classic image of a damsel in distress.

(Wikipedia)

The damsel in distresspersecuted maiden, or princess in jeopardy is a classic theme in world literature, art, film and video games, most notably in the more action-packed. This trope usually involves beautiful, innocent, or helpless young female leads, placed in a dire predicament by a villain, monster or similar antagonist, and who requires a male hero to achieve her rescue. After rescuing her, the hero often obtains her hand in marriage. Though she is usually human, she can also be of any other species, including fictional or folkloric species; and even divine figures such as an angel, spirit, or deity.

The word “damsel” derives from the French demoiselle, meaning “young lady”, and the term “damsel in distress” in turn is a translation of the French demoiselle en détresse. It is an archaic term not used in modern English except for effect or in expressions such as this. It can be traced back to the knight-errant of Medieval songs and tales, who regarded protection of women as an essential part of his chivalric code which includes a notion of honour and nobility.[1] The English term “damsel in distress” itself first seems to have appeared in Richard Ames’ 1692 poem “Sylvia’s Complaint of Her Sexes Unhappiness.”[2]

History

Ancient history

Rembrandt’s Andromeda chained to the rock

The damsel in distress theme featured in the stories of the ancient Greeks. Greek mythology, while featuring a large retinue of competent goddesses, also contains helpless maidens threatened with sacrifice.

For example, Andromeda’s mother offended Poseidon, who sent a beast to ravage the land. To appease him Andromeda’s parents fastened her to a rock in the sea. The hero Perseus slew the beast, saving Andromeda.[3] Andromeda in her plight, chained naked to a rock, became a favorite theme of later painters. This theme of the princess and dragon is also pursued in the myth of St George.

Another early example of a damsel in distress is Sita in the ancient Indian epic Ramayana. In the epic, Sita is kidnapped by the villain Ravana and taken to Lanka. Her husband Rama goes on a quest to rescue her, with the help of the monkey god Hanuman, among others.

Post-classical history

European fairy tales frequently feature damsels in distress. Evil witches trapped Rapunzel in a tower, cursed Snow White to die in Snow White, and put the princess into a magical sleep in Sleeping Beauty. In all of these, a valorous prince comes to the maiden’s aid, saves her, and marries her (though Rapunzel is not directly saved by the prince, but instead saves him from blindness after her exile).

The damsel in distress was an archetypal character of medieval romances, where typically she was rescued from imprisonment in a tower of a castle by a knight-errant. Chaucer’s The Clerk’s Tale of the repeated trials and bizarre torments of patient Griselda was drawn from Petrarch. The Emprise de l’Escu vert à la Dame Blanche (founded 1399) was a chivalric order with the express purpose of protecting oppressed ladies.

The theme also entered the official hagiography of the Catholic Church – most famously in the story of Saint George who saved a princess from being devoured by a dragon. A late addition to the official account of this Saint’s life, not attested in the several first centuries when he was venerated, it is nowadays the main act for which Saint George is remembered.

Obscure outside Norway is Hallvard Vebjørnsson, the Patron Saint of Oslo, recognised as a martyr after being killed while valiantly trying to defend a woman – most likely a slave – from three men accusing her of theft.

Modern history

17th century

In the 17th century English ballad The Spanish Lady (one of several English and Irish songs with that name), a Spanish lady captured by an English captain falls in love with her captor and begs him not to set her free but to take her with him to England, and in this appeal describes herself as “A lady in distress”.[4]

18th century

Frank Bernard Dicksee. Chivalry

The damsel in distress makes her debut in the modern novel as the title character of Samuel Richardson’s Clarissa (1748), where she is menaced by the wicked seducer Lovelace. The phrase “damsel in distress” is found in Richardson’s The History of Sir Charles Grandison (1753):[5]

He is sometimes a mighty Prince … and I am a damsel in distress

Reprising her medieval role, the damsel in distress is a staple character of Gothic literature, where she is typically incarcerated in a castle or monastery and menaced by a sadistic nobleman, or members of the religious orders. Early examples in this genre include Matilda in Horace Walpole’s The Castle of Otranto, Emily in Ann Radcliffe’s The Mysteries of Udolpho, and Antonia in Matthew Lewis’ The Monk.

The Knight Errant (1870)) saves a damsel in distress and underlines the erotic subtext of the genre.

The perils faced by this Gothic heroine were taken to an extreme by the Marquis de Sade in Justine, who exposed the erotic subtext which lay beneath the damsel-in-distress scenario. John Everett Millais’ The Knight Errant of 1870 saves a damsel in distress and underlines the erotic subtext of the genre.

One exploration of the theme of the persecuted maiden is the fate of Gretchen in Goethe’s Faust. According to the philosopher Schopenhauer:

The great Goethe has given us a distinct and visible description of this denial of the will, brought about by great misfortune and by the despair of all deliverance, in his immortal masterpiece Faust, in the story of the sufferings of Gretchen. I know of no other description in poetry. It is a perfect specimen of the second path, which leads to the denial of the will not, like the first, through the mere knowledge of the suffering of the whole world which one acquires voluntarily, but through the excessive pain felt in one’s own person. It is true that many tragedies bring their violently willing heroes ultimately to this point of complete resignation, and then the will-to-live and its phenomenon usually end at the same time. But no description known to me brings to us the essential point of that conversion so distinctly and so free from everything extraneous as the one mentioned in Faust (The World as Will and Representation, Vol. I, §68)

19th century

The misadventures of the damsel in distress of the Gothic continued in a somewhat caricatured form in Victorian melodrama. According to Michael Booth in his classic study English Melodrama the Victorian stage melodrama featured a limited number of stock characters: the hero, the villain, the heroine, an old man, an old woman, a comic man and a comic woman engaged in a sensational plot featuring themes of love and murder. Often the good but not very clever hero is duped by a scheming villain, who has eyes on the damsel in distress until fate intervenes to ensure the triumph of good over evil.[6]

Such melodrama influenced the fledgling cinema industry and led to damsels in distress being the subject of many early silent films, especially those that were made as multi-episode serials. Early examples include The Adventures of Kathlyn in 1913 and The Hazards of Helen, which ran from 1914 to 1917. The silent movie heroines frequently faced new perils provided by the industrial revolution and catering to the new medium’s need for visual spectacle. Here we find the heroine tied to a railway track, burning buildings, and explosions. Sawmills were another stereotypical danger of the industrial age, as recorded in a popular song from a later era:

… A bad gunslinger called Salty Sam was chasin’ poor Sweet Sue

He trapped her in the old sawmill and said with an evil laugh,
If you don’t give me the deed to your ranch
I’ll saw you all in half!
And then he grabbed her (and then)
He tied her up (and then)

He turned on the bandsaw (and then, and then…!) …— Along Came Jones by The Coasters

20th century

During the First World War, the imagery of a Damsel in Distress was extensively used in Allied propaganda (see illustrations). Particularly, the Imperial German conquest and occupation of Belgium was commonly referred to as The Rape of Belgium – effectively transforming Allied soldiers into knights bent on saving that rape victim. This was expressed explicitly in the lyrics of Keep the Home Fires Burning mentioning the “boys” as having gone to help a “Nation in Distress”.

A form of entertainment in which the damsel-in-distress emerged as a stereotype at this time was stage magic. Restraining attractive female assistants and imperiling them with blades and spikes became a staple of 20th century magicians’ acts. Noted illusion designer and historian Jim Steinmeyer identifies the beginning of this phenomenon as coinciding with the introduction of the “sawing a woman in half” illusion. In 1921 magician P. T. Selbit became the first to present such an act to the public. Steinmeyer observes that: “Before Selbit’s illusion, it was not a cliche that pretty ladies were teased and tortured by magicians. Since the days of Robert-Houdin, both men and women were used as the subjects for magic illusions”. However, changes in fashion and great social upheavals during the first decades of the 20th century made Selbit’s choice of “victim” both practical and popular. The trauma of war had helped to desensitise the public to violence and the emancipation of women had changed attitudes to them. Audiences were tiring of older, more genteel forms of magic. It took something shocking, such as the horrific productions of the Grand Guignol theatre, to cause a sensation in this age. Steinmeyer concludes that: “beyond practical concerns, the image of the woman in peril became a specific fashion in entertainment”.[7]

The damsel-in-distress continued as a mainstay of the comics, film, and television industries throughout the 20th century. Imperiled heroines in need of rescue were a frequent occurrence in black-and-white film serials made by studios such as Columbia Pictures, Mascot Pictures, Republic Pictures, and Universal Studios in the 1930s, 1940s and early 1950s. These serials sometimes drew inspiration for their characters and plots from adventure novels and comic books. Notable examples include the character Nyoka the Jungle Girl, whom Edgar Rice Burroughs created for comic books and who was later adapted into a serial heroine in the Republic productions Jungle Girl (1941) and its sequel Perils of Nyoka (1942). Additional classic damsels in that mold were Jane Porter, in both the novel and movie versions of Tarzan, and Ann Darrow, as played by Fay Wray in the movie King Kong (1933), in one of the most iconic instances. The notorious hoax documentary Ingagi (1930) also featured this idea, and Wray’s role was repeated by Jessica Lange and Naomi Watts in remakes. As journalist Andrew Erish has noted: “Gorillas plus sexy women in peril equals enormous profits”.[8] Small screen iconic portrayals, this time in children’s cartoons, are Underdog’s girlfriend, Sweet Polly Purebred and Nell Fenwick, who is often rescued by inept Mountie Dudley Do-Right.

Frequently cited examples of a damsel in distress in comics include Lois Lane, who was eternally getting into trouble and needing to be rescued by Superman, and Olive Oyl, who was in a near-constant state of kidnap, requiring her to be saved by Popeye.

In video games

In computer and video games, female characters are often cast in the role of the damsel in distress, with their rescue being the objective of the game.[18][19] Princess Zelda in the early The Legend of Zelda series and who has been described by Gladys L. Knight in her book Female Action Heroes as “perhaps one the most well-known ‘damsel in distress’ princesses in video game history”,[20] the Sultan’s daughter in Prince of Persia, and Princess Peach through much of the Mario series are paradigmatic examples. According to Salzburge Academy on Media and Global Change, in 1981 Nintendo offered game designer Shigeru Miyamoto to create a new video game for the American market. In the game the hero was Mario, and the objective of the game was to rescue a young princess named Peach. Peach was depicted as having a pink dress and blond hair. The princess was kidnapped and trapped in a castle by the villain Bowser, who is depicted as a turtle. Princess Peach appears in 15 of the main Super Mario games and is kidnapped in 13 of them. The only main games in which Peach was not kidnapped were in the North America release of Super Mario Bros. 2 and Super Mario 3D World, where she is instead one of the main heroes. Zelda became playable in some later games of the Legend of Zelda series or had the pattern altered.

In the Dragon’s Lair game series, Princess Daphne is the beautiful daughter of King Aethelred and an unnamed queen. She serves as the series’ damsel in distress.[21][22] Jon M. Gibson of GameSpy called Daphne “the epitome” as an example of the trope.[23]

References

  1. ^ Johan Huizinga remarks in his book The Waning of the Middle Ages, “the source of the chivalrous idea, is pride aspiring to beauty, and formalised pride gives rise to a conception of honour, which is the pole of noble life”. Huizinga, The Waning of the Middle Ages (1919) 1924:58.
  2. ^ Ames, Richard (1692). Sylvia’s Complaint of Her Sexes Unhappiness : a Poem, Being the Second Part of Sylvia’s Revenge, Or, a Satyr Against Man. London: Richard Baldwin. p. 12.
  3. ^ Chisholm 1911, p. 975.
  4. ^ “Spanish Lady”.
  5. ^ “The Editor of Pamela and Clarissa” [Samuel Richardson] (1754). The History of Sir Charles Grandisonii. London: S. Richardson. p. 92. hdl:2027/inu.30000115373627.
  6. ^ Booth, Michael (1965). English Melodrama. Herbert Jenkins.
  7. ^ Steinmeyer, Jim (2003). Hiding the Elephant: How Magicians Invented the Impossible. William Heinemann/Random House. pp. 277–295. ISBN 0-434-01325-0.
  8. ^ Erish, Andrew (8 January 2006). “Illegitimate dad of ‘Kong’; One of the Depression’s highest-grossing films was an outrageous fabrication, a scandalous and suggestive gorilla epic that set box office records across the country”Los Angeles Times.
  9. ^ “Damsel in Distress (Part 2) Tropes vs Women”. 28 May 2013.
  10. ^ See, e.g., Alison Lurie, “Fairy Tale Liberation”, The New York Review of Books, v. 15, n. 11 (Dec. 17, 1970) (germinal work in the field); Donald Haase, “Feminist Fairy-Tale Scholarship: A Critical Survey and Bibliography”, Marvels & Tales: Journal of Fairy-Tale Studies v.14, n.1 (2000).
  11. ^ See Jane Yolen, “This Book Is For You”, Marvels & Tales, v. 14, n. 1 (2000) (essay); Yolen, Not One Damsel in Distress: World folktales for Strong Girls (anthology); Jack Zipes, Don’t Bet on the Prince: Contemporary Fairy Tales in North America and England, Routledge: New York, 1986 (anthology).
  12. ^ Singer, Ben (February 1999). Richard Abel (ed.). Female Power in the Serial-Queen Melodrama: The Etiology of An Anomaly in Silent Film. Continuum International Publishing Group – Athlone. pp. 168–177. ISBN 0-485-30076-1.
  13. ^ Visitor Reviews: From Venus With Love. The Avengers Forever. Retrieved 2007-05-11.
  14. ^ Jowett, Lorna (2005). Sex and The Slayer: A Gender Studies Primer for the Buffy Fan. Wesleyan University Press.
  15. ^ Graham, Paula (2002). “Buffy Wars: The Next Generation”Rhizomes: Cultural Studies in Emerging Knowledge. Bowling Green State University (4, Spring).
  16. ^ Gough, Kerry (August 2004). “Active Heroines Study Day – John Moores University, Liverpool (in partnership with The Association for Research in Popular Fiction)”Scope: An Online Journal of Film and Television Studies. Institute of Film & Television Studies, University of Nottingham.
  17. ^ Robert J. HarrisThe Thirty-One KingsPolygon Books, London 2017, p. 147.
  18. ^ Kaitlin Tremblay (1 June 2012). “Intro to Gender Criticism for Gamers: From Princess Peach, to Claire Redfield, to FemSheps”Gamasutra. Retrieved 8 October 2013.
  19. ^ Stephen Totilo (2013-06-20). “Shigeru Miyamoto and the Damsel In Distress”Kotaku. Retrieved 8 October 2013.
  20. ^ Knight, Gladys L. (2010). Female Action Heroes: A Guide to Women in Comics, Video Games, Film, and Television. ABC-CLIO. p. 62. ISBN 978-0-313-37612-2.
  21. ^ “Amtix Magazine Issue 17”. Retrieved 2014-06-13.
  22. ^ “Computer Gamer – Issue 18 (1986-09) (Argus Press) (UK)”. Retrieved 2014-06-13.
  23. ^ “GameSpy: Dragon’s Lair 3D: Return to the Lair – Page 1”. Xbox.gamespy.com. Retrieved 2014-06-13.


The Near-Irresistible Lure of Damseling

The following is a discussion by Janice Fiamengo of the medieval practice of damseling to garner chivalric responses from males, a practice that is alive and well in the political sphere today.

The Near-Irresistible Lure of Damseling

By Janice Fiamengo

Well over a century ago, our ancestors debated women’s demand for voting and other privileges. Traditionalists argued that women faced a choice: they could either have special treatment on the basis of their alleged vulnerability as a group, or they could have political equality, but they couldn’t have both. Lo and behold, women got both, with peculiar results for our political culture.

In our time, the performance of powerlessness has become a dominant strategy of power, nowhere more evident than in politics. “I’ve been traumatized” is now a more galvanizing cry than “I can handle that”—and trembling weakness often eclipses demonstration of strength and competence.

New York Governor Andrew Cuomo’s accusers have reproduced the standard victim script with word perfect fidelity, claiming that relatively benign, or certainly minor, actions such as kissing on the cheek, suggestive remarks, and too-long hugging left them “confused and shocked and embarrassed” or, as one stated, feeling reduced to being “just a skirt.” One accuser has related how Cuomo put his hand on her back and asked to kiss her at a wedding two years ago. The now formulaic expressions of woundedness reminded me of Atlantic magazine writer Tina Dupuy, who alleged in a 2017 article that Senator Al Franken had once, years before, squeezed her waist during a photo op at a Media Matters party, and that the squeeze had left her feeling “no longer a person.”

Notwithstanding a few notable exceptions like black actor Jussie Smollett, who teared up on cue for Good Morning America while discussing his alleged assault by noose-wielding MAGA men, the performance of quivering hurt is far more likely to be used with success by women, and the past few years have brought a plethora of enactments of feminine fragility: demands for apologies, declarations of fear and shame, and the demand that tales of trauma be believed, all appealing to the in-group empathy of women and the chivalric impulses of men.

What other than in-group empathy and chivalry can explain a phenomenon like Alexandria Ocasio Cortez’s stubborn insistence on the implausible trauma she suffered during the January 6th storming of the U.S. Capitol building?

AOC has outlined in detail, in a video of one and a half hour’s painfully self-absorbed length, how she was convinced that “Everything—was—over” as she hid in her office waiting for Trump supporters to come for her. It didn’t matter that she was not near the epicentre of unrest, and that the voice she heard that so terrified her was that of a Capitol police officer rather than a rioter.

One might expect her to hesitate to share her fears once it had been revealed that she was never really under any threat at all. But instead, AOC doubled down, linking her Capitol ordeal to her experience years before as an alleged victim of sexual assault.

According to her logic, what actually happened to her in the Capitol complex doesn’t really matter; only what she felt. And anyone who doubts what she felt—or doubts her right to use that feeling for political leverage–is someone with contempt for the recurring trauma of survivors like her.

What is perhaps most striking about AOC’s hour and a half long video is her very deliberate self-infantilization as she plays up the non-rational elements of her response.

Her story is told to the camera as if for the first time—though of course it was filmed weeks after the event and presumably was much-rehearsed. There are long pauses while she seems to search for a word or is overcome by emotion while remembering.

The appearance of spontaneity, of in-the-moment visceral intensity, is almost perfectly mastered, and in that sense it is an Oscar worthy enactment.

AOC’s voice frequently trembles with seemingly irrepressible emotion as tears well up in her eyes. Sometimes within a very short time, she moves from near-tears to smiles and laughter. At moments she appears lost in thought, unconscious of the camera, gazing out of the frame as if consumed by feeling; at other moments her glance is directly to the camera lens, inviting soul-to-soul intimacy.

The performance is about as far as could be imagined from the rationality and self-control—and above all the calm strength, the inner power–that one would traditionally have expected from a politician, someone responsible for conducting the nation’s business. It is a performance of youth, certainly, and even more so of deep feminine vulnerability and emotional volatility—far more appropriate to a 16-year-old high school girl—and even then an immature and narcissistic one–than a 31-year-old congressional representative who proposes and votes on federal legislation.

Such a self-performance, which is certainly not confined to AOC, raises troubling questions about the impact on public life of women, and men to a lesser extent, who define themselves by their experience of trauma and claim authenticity on the basis of powerful feelings beyond their control.

If AOC cannot be counted upon to respond rationally in a moment of minimal or merely imagined danger, how can she be counted upon to do the people’s business at all? Being a member of the House of Representatives requires tough-mindedness and resilience. Accusations and personal attacks—though not physical attacks—are a normal part of the job. Hysteria and over-reaction –as in accusing Ted Cruz publicly of trying to kill her—interfere with the focus and maturity necessary for the work of government.

AOC’s justification of her fear is damning: “When we encounter such a terrifying moment,” she explains, “we respond with the entirety of our life experience.” In other words, AOC admits that the moment was terrifying because she couldn’t separate her previous experience of alleged assault from her current perception.

Note how glibly she speaks of herself not as a rational individual in control of her own responses but as a member of a pre-determined collective, in this case the identity group ‘female survivor.’ She admits that, as a female survivor she cannot help how she responds to an unsettling situation. The embrace of the hysterical feminine—and not as a moment of weakness overcome but as a deliberate strategy of power—should be profoundly alarming to all who care about the future of western democracies.

It is always easy enough for rationality to be lost inadvertently in the midst of heated political argument—but it’s a calamity when it is deliberately rejected. And that’s where we’re at now, at a time when women’s public tears and professions of fragility have been granted unprecedented political power.

There have always been women who understood the equivocal power of feminine weakness and warned against it. Canadian journalist Sara Jeannette Duncan, a skeptical supporter of the women’s movement, wrote in the Toronto Globe newspaper in 1885 about the double-edged sword of a woman’s public tears: they got results, certainly, but they detracted from the intellectual self-discipline necessary for productive political engagement.

“Nothing is more unconsciously dramatic than a woman’s outcry against a suffering which is often hers through no fault of her own,” Duncan wrote, “But if she asks the ballot by virtue of her ability to sorrow eloquently […] it seems to me that she will be sorely puzzled to know what to do with it when it is hers” (Toronto Globe, 15 July 1885, p. 3). If women wished to be treated as political equals, Duncan advised, they would have to overcome their reliance on postures of eloquent sorrow.

Many of Duncan’s feminist contemporaries, however, embraced claims of female emotional superiority, alleging that maleness was responsible for war, cruelty, and inequality.

Widely admired Canadian feminist Nellie McClung addressed the question of what she called “The New Chivalry” in her 1915 book In Times Like These. “People tell us now that chivalry is dead, and women have killed it,” she quipped at the start. She was referring to the idea, quite common at the time she wrote, that women’s entry into public life would destroy their special status as a protected class.

When the British vessel Titanic sank in April 1912 with enormous loss of life, 74% of the women on board were rescued as compared to only 20% of the men. Men deliberately stood back, giving up places on life boats and accepting their own deaths so that women could be saved. They did so in part because they knew that to survive a disaster like the Titanic sinking while leaving women to drown was to be permanently disgraced. Such was the power of chivalry, as a concept and a living reality, in British and North American society.

McClung makes no reference to the Titanic sinking in her discussion of chivalry—though the disaster was very much a recent memory.

She dismissed chivalry as a romantic notion far more honored as an idea than as an actual practice. Yes, beautiful women have always had an easy time of it, she admitted, but the notion that women are protected as a whole is little more than a pretty theory. She asserted this at the very time that young men were being maimed and killed by the hundreds of thousands in the trenches of Europe while some of their female counterparts discussed voting rights. McClung actually had the gall to argue that when women had the right to vote, war itself would become a thing of the past because war was in her words, “a crime committed by men” that would end “when women are allowed to say what they think of war.” Up until now, she alleged with a sarcastic dig at chivalry, “women have had nothing to say about war, except to pay the price of [it]” (15).

According to McClung, what women wanted was justice, not chivalry: not men’s gallantry, not men’s sympathy, but the right to represent their interests and pursue professional careers in the same way men did. This would be, she said, a “fair deal” (42). Significantly, though, she did not reject chivalry altogether, saying that “Chivalry is a poor substitute for justice, if one cannot have both.” In the fair society of McClung’s vision, women should have equal rights but should also have special rights as women when appropriate.

And it turns out that special rights are often deemed appropriate—perhaps more now than ever before. The temptation to act the damsel in distress appears near-irresistible.

When women occupy positions of political power, the media is ablaze with stories about the feminine qualities they allegedly bring to their positions—according to a recent article in the left-wing academic journal The Conversation, their empathy, ability to work collaboratively, communication skills, openness, and inclusivity.

But one quality conspicuously lacking is the ability to resist playing the damsel.

In my home province of British Columbia, the chief health officer is a woman named Bonnie Henry, an unelected official who has exercised extraordinary, often devastating power during the COVID pandemic, deciding whether schools could open, which businesses were essential, how many people could gather, and whether protests were legitimate, all with a soft quavering voice and endless promises of just a few more weeks as the axe fell regularly on citizens’ freedoms and livelihoods. She has generally been very popular, her saintly image memorialized in a public mural and a musical ode.

But at the first sign of criticism, the vulnerable damsel has emerged onto the public scene.

In the middle of the pandemic when most people, on her advice, were isolating in their bubbles, Henry took part in a panel discussion about women in leadership , and made much of her own suffering, singling out the “death threats,” “nasty notes,” “phone calls,” and “harassment” she had allegedly received, and suggesting that “people find that it’s OK to do that for a woman who’s up front more so than some of our male leaders” though she followed that with “But I could be wrong.” Fortunately for Henry, it doesn’t matter whether female leaders are attacked more often or more viciously than male leaders (actually they’re not)—a chorus of chivalric experts are always happy to chime in about women’s special suffering, and Bonnie Henry, suffering to the tune of $360,000 a year while peons lost their businesses, stoked public sympathy even while wasting precious pandemic time appearing on a panel to damsel about how hard it is to be her.

It’s a now standard part of gender politics—endless claims and controversies about sexism, endless rounds of demands for apology, apologies offered, apologies refused, apologies accepted but criticized as inadequate, and so on. Just a few weeks ago, Canadian newspapers ignited with inflammatory headlines such as “Ford owes apology to every woman in Ontario after hurling ‘sexist’ comment, Horwath says.” Readers could be forgiven for assuming that the Conservative leader of Ontario, Doug Ford, must have said—or rather ‘hurled’–something outrageous if it required not only an apology to Horwath, the feminist leader of the Ontario New Democratic Party, but to every one of the millions of women in the province. It turned out that during a back and forth in the provincial parliament, Ford had said, “It’s like listening to nails on a chalkboard listening to you.”

An extraordinary number of journalistic words were spent hyperventilating about the alleged misogyny of the outburst, and Horwath couldn’t resist the halo it offered her as a deeply wounded but valiant champion of womankind; later that day, she tweeted out a message to all women advising them: “Don’t let anyone try to tell you you don’t belong at Queen’s Park,” though there had been no suggestion that she didn’t belong (at the provincial legislature). “I’m going to continue making positive proposals to give people the help and hope they need to get through this pandemic.” If she were really so deeply concerned about constituents affected by the pandemic, she might have thought it frivolous to waste an entire day fussing about her alleged hurt feelings.

But that is the nature of the female politician these days, consumed with thoughts of self, narcissistic displays, allegations of harm, and demands that others recognize the uniqueness of female suffering.

The notable confusion in our societies is highlighted every time an allegation of gendered trauma or necessity for gendered apology is raised. Do women require kid gloves treatment in the public sphere, or not? Are their feelings more delicate than men’s when it comes to personal remarks and perception of threat, or not? If the answer to these questions is no, then why do female politicians not say so loud and clear? If the answer is yes—women do require kid gloves treatment—then why do we continue to pretend that women today seek equality of opportunity?

The fact is that women’s ability to demand equality when it suits them and special treatment when that suits them is a ridiculous and corrosive distraction. Women’s claims of victimhood take a great deal of time and energy away from many pressing issues, and create an uneven political playing field in which every man knows he can be wrong-footed, and every woman knows she can power trip if she wants to. The damsel option disinclines some women from whole-heartedly pursuing competence because they know they can deflect criticism or gain advancement by sorrowing eloquently, creating bad faith in many women, suspicion and resentment in many men.

Until it becomes an actual political disability to claim weakness and demand apologies—our public culture will continue to be held hostage by the damsels among us.

Links

Masculine Enchantments: Fairy Tales and Men’s Rights

By Diego Morales

The Men’s Rights Movement exists to recognize and ameliorate problems, institutional or social, that predominantly or exclusively harm boys and men. To that end, activists have adopted strategies ranging from filmmaking to legal action. Media analysis has also been done (Allemano, 2012) but with folktales largely ignored. This is unfortunate since folklore in its various forms has practical functions: entertaining, justifying institutions, enforcing cultural norms, educating, and providing escapism (Bascom, 1954). Thus, MRAs could harness the power and versatility of folktales to influence the culture. “The Four Artful Brothers” (Manheim, 1977) is a strong foundation since it complies with pro-male values in several ways.

The story tells of siblings who leave home to find jobs when they’re father is unable to provide for them. Becoming a thief, a hunter, an astronomer, and a tailor, they return home, demonstrate their skills to their approving father. A dragon attacks days later and the boys combine their talents to rescue the princess, resulting in them getting awarded their own principalities.

Folklorists have argued that this tale and its variants have remained popular partly because it focuses on educating sons (Zipes, 2000). This theme is relevant for contemporary advocates because male literacy and academic achievement lags behind that of girls (Autor & Wasserman, 2013) and has since 1870 (Tyack & Hansot, 1988). But this tale doesn’t just dramatize anxieties regarding male education, it alleviates them. “The Fourt Artful Brothers” is a multi-genre narrative that includes action, fantasy, and real-world problems, which are the kinds of texts boys prefer and which they aren’t usually given (Boys Literacy Teacher Inquiry Project, 2008). To wit: the siblings battle a dragon and survive a shipwreck, satisfying the action requirement. The presence of a dragon, an omniscient telescope, and a magical needle-and-thread place the text within fantasy. And the premise of the story – leaving home to find gainful employment – is a realistic goal and concern for many young adults. Altogether, these elements fulfill the multi-genre requirement. 

Combined with that is a nuanced depiction of masculinity. For instance, the story is about young men mastering skills and courageously facing mortal peril. These two traits – mastery and courage – are considered bedrocks of traditional manhood (Donovan, 2012). Yet, the tale is inclusive of men who deviate from norms. Consider the mentors: their role as teachers is people-oriented, which contrasts with men’s general preference for object-oriented work (Rong et al., 2009). The main family also deviates from norms; the boys have no mother, implying that childrearing and housekeeping were done by their father and themselves since the birth of the youngest. The youngest himself does tailoring – a subset of textile work like sewing, knitting, and weaving – which has traditionally been a feminine craft (Barber, 1998). Notably, the king says that each of the brothers have an equal right to marry his daughter, metaphorically saying that all men are worthy of respect and recognition, regardless of their gender expression.

Another point in the tale’s favor is its multilayered subversion of male disposability. While the boys do endanger themselves for a woman they’ve never met, their primary motive is to prove the usefulness of their skills. Their secondary motive is economic, since they came from poverty and are unemployed at the time. Another challenge to the disposability of men comes from the king. Unlike real-world leaders who conscript men to war (Watson, 2014) or citizens who sacrifice men for women’s benefit (FeldmanHall et al., 2016), the king offers an incentive to save the princess and the boys are the only men to go her rescue.

Marina Warner, a prominent mythographer, once declared, “I decided that it was crucial not to leave the territory of the imagination to those history has taught us to recognize as dangerous” (The University of Sheffield, 2017). Hers is an attitude that men’s rights activist should embrace wholeheartedly, especially because those who pose a threat to male wellness already have a head start.

Bibliography

Allemano, P. (2012). “The bold, independent woman of today and ‘good’ men and boys in her life: A sampling of mainstream media representations.” In Miles Groth (Ed.), New male studies journal (pp. 31-51). Retrieved March 3, 2021 from http://newmalestudies.com/OJS/index.php/nms/article/view/6/1

Autor, D. H., & Wasserman, M. (2013). Wayward sons: The emerging gender gap in labor markets and education. Retrieved November 14, 2020 from http://economics.mit.edu/files/8754

Barber, E.W. (1994). Women’s work, the first 20,000 years: Women, cloth and society in early times. New York: W. W. Norton & Company.

Bascom, W. (1954). “The four functions of folklore.” In Alan Dundes (Ed.), The study of folklore (pp. 279-298). Englewood Cliffs: Prentice-Hall.

Boys Literacy Teacher Inquiry Project. (2008). Me read? And how! Ontario teachers report on how to improve boys’ literacy skills. Retrieved November 3, 2020 from http://www.edu.gov.on.ca/eng/curriculum/meread_andhow.pdf

Donovan, J. (2012). The way of men. Milwaukie: Dissonant Hum.

FeldmanHall, O., Dalgleish, T., Evans, D., Navrady, L., Tedeschi, E., Moobs, D. (2016). Moral chivalry: Gender and harm sensitivity predict costly altruism. Social psychological and personality science, 7(6), 542-551.

Manheim, R. (1983). Grimms’ tales for young and old: The complete stories. New York: Anchor Books.

Rong, S., Rounds, J., & Armstrong, P. I. (2009). Men and things, women and people: A meta-analysis of sex differences in interests. Psychological bulletin, 135(6), 859-884.

Tyack, D., & Hansot, E. (1988). Silence and policy talk: Historical puzzles about gender and education. Educational researcher, 17(3), 33-41.

University of Sheffield. (2017, May 8). Marina warner – prokhorov lecture [Video] https://www.youtube.com/watch?v=eGZxZzyPUwg

Watson, L. (2014). What a chicken you are: The shameful story of how a boy aged ten was handed a white feather and labelled a coward during the first world war. Daily Mail. Retrieved November 3, 2020 from https://www.dailymail.co.uk/news/article-2631822/What-chicken-The-shameful-story-boy-aged-TEN-handed-white-feather-labelled-coward-First-World-War.html

Zipes, J. (2000). The great fairy tale tradition: From straparola and basile to the brothers grimm. New York: W. W. Norton & Company.

Feature image: Public domain illustration by Arthur Rackham (copyrighted 1909 and renewed in 1920). From Snowdrop and Other Tales.

The Child Archetype as Responsible for Woke Dystopia

What we are witnessing is a hacking of the parental brain with the bait of dramatized neoteny. Once our biological operating system is hacked in this way, and the hack is taught as cultural operating practice, nothing can undo it. This iteration of superstimuli is here to stay. The only way around ‘aggressive vulnerability’ is to say NO when faced with its demands, which will be all day & every day in the form of female victimhood, race victimhood, “marginalized” sexuality, and so on — the hegemony of the child archetype. 

Biologists, neurologists, evolutionary psychologists, and ethologists have long recognized parent and child instincts in the form of parents’ urge to caretake and protect juveniles, and conversely of juveniles having an impulse to announce their vulnerability to signal their need to be cared for. This biological fact was independently discovered and understood by archetypal psychologists (parent & child archetypes), object relations psychologists (parent & child objects), and by other schools of psychology dealing with the ‘inner child’ and the need for caretaking. Object relations psychology goes so far as claiming the sexual libido is subservient to the evolutionary imperative of parent~child bonding, making the latter the strongest motivator in human affairs.

As an interesting point of distinction, Jungians differentiate between the child archetype and what they call the puer archetype which can be represented respectively by the images of a toddler (child) and an older child/teen (puer). The puer archetype is perfectly represented by the figure of Peter Pan – youthful, loving of new experiences, playful, spontaneous, optimistic, adventurous. The puer is not a vulnerable child in need of coddling and protecting, he’s an independent child or youth and an archetypal imperative vital to the psychological health of all men and women. This is why I reject admonishments of the puer impulse as “Peter Pan syndrome” and “failure to launch,” which essentially shames men into assuming one-sided adult responsibility. “Failure to launch” applies more properly to an overidentification with the child archetype, which deserves challenging when it reaches the status of personal or cultural dominance.

While the above video provides only half of the full speech given by Hillman on the child archetype, it does impart a good overview of the topic. Hillman touches there on Jung’s description of the child archetype as including vulnerability, a sense of futurity (that life will begin in the future), innocence, and also a feeling of “hermaphroditism.” This sexual orientation is also confirmed in Freud’s idea that toddlers are “polymorphous perverse” and haven’t yet formed what he understood as an appropriate genital identity. Perhaps this all makes sense when you consider the concerns of the ‘marginalized’ wokists today who champion multiple genders, non-binarism, bisexuality, transgenderism etc. and aggressively demand to be taken care of.