What about the elephant in the room?

Our last set of readings arrived to one conclusion: there were homosexuals or gay people in the Middle Ages. Any other metaphor, poetic image or even any convention about using male pronouns to talk about women cannot keep our attention away from this fact: the elephant in the room. The idea of sex in the Middle Ages was strongly identified to intercourse, a possibility given by nature only to men, therefore, the absence of lesbianism in the discourse about (against) homosexuality should not surprise us.

The Catholic clergy has been always a common place of sexual tension: sex of any class was forbidden. One can think that many of men enclosed together and talking about love could find a lot of temptation, even though if they were not originally gay, as happens in our prisons nowadays. Young boys without secondary sexual characteristics were appealing to the old priests and the boiling activity of their adolescence was also an open door for temptation and consummation.

Women dressed as males are also a common place in the Middle Ages, beginning with Jean D'Arc herself. However, the male clothes on a woman often were justified by some higher purpose, but the question about the sexuality of those virgins in male garments is at least intriguing... or may be not, and the answer is more obvious than what The Romance of Silence wants to admit.

In both cases, male and female, friendship was in fuzzy place, and the terms to refer to it were quite ambiguous. Except in some poems, as in the Jewish poets studied in our last sessions, the terms to describe men are quite feminine, as Perceval's red lips. 

Personally, I think that sexuality of any kind is impossible to repress and that it finds always the ways for its consummation. The Middle Ages seems to be not an exception. However, was it not a veiled subject? The Roman of Silence did not talk about sex, except for Eufeme who was under a wrong impression. There were rules of alleged grammar that allowed the poet to use male pronouns to talk about women. Were not those a strategy to actually talk about men and make the poems pass as an stylistic innovation, even though if they were used to actually talk about women many times?

Probably sexual indiscretions were not weird, and only characters as this Allan of Lille were actually concerned about the offenses against Nature and not only about only keeping the face. Anyway, sex of any kind was illicit outside of marriage, and, if we believe our texts, Middle Ages were plenty of it!

Unnatural

Alan of Lilly is very depressed about homosexuality. At least, that is what we as modern readers would say. The text, however, never uses this word, since it was coined long after Alan was writing. Instead he chooses to compare this perversion of nature as a perversion of grammar. Why does he do this? It would seem, in his mind, that the issue is to do with fruitfulness. Just as “proper” (by which I mean heterosexual) sex can produce children, so too does proper grammar beget language. “Gay” sex is not reproductive, so in Alan’s way of thinking, it is unnatural, because, according to him, it is natural that sex results in offspring. This is how it is with the long catalogue of creatures and plants that appear on Nature’s garments. Nature is fruitful, so anything that is not fruitful, or barren, is unnatural. Grammar, too, must produce language, so if grammar is perverted in the same way sex is, it will be sterile. This is why Alan (and other people) are afraid of homosexuality. For them, it works against the fecundity of nature. If plants, animals, and people do not reproduce, what will happen to the world? It is a depressing thought. This is why Nature makes her plea or plaint. Her whole existence is based on reproduction. Nature is all the living things that inhabit the world (as represented on her robe). They are both producers and products of her. If they die out, she will die out, and vice versa. That is why it is so important for her and Alan to stamp out anything unnatural. It will destroy everything.