Medieval Transsexuality

The article “Medieval Silence and Modern Transsexuality” by Karen Lurkhur explores the romance finding that its themes “closely parallels the psychanalytical and scientific discourses about transsexuality” (220). Lurkhur finds Silence’s masculine persona to be viewed as “the external expression of her virtuous character” (224). When Silence is exposed as a female her transgressions are forgiven because she took on the male gender which is seen as a positive force. Lurkhur finds this is the opposite case for the Queen’s lover who by taking on a female persona takes on the negative qualities of “treachery and lust” associated with women (224). After Silence chooses to live as a female and marries the King she no longer has a voice, it is unknown
Tanner does this by addressing “the use of ambiguity and the manipulation of gender stereotypes” (138). Tanner first explores how ambiguity “is used consistently to portray Ebain as a bad lord” (142). Ebain is also emasculated as “it is he and not a damsel who needs rescuing from the dragon” (Tanner 142). Tanner comments on the many other poor qualities Ebain possess including his unchecked anger that frequently clouds his judgment and causes him to make rash decisions (144). Tanner then compares Ebain to Silence as it is “Ebain’s anger and subsequent unjust behavior that will be exposed by Silence’s patience” (144). Tanner finds that the poet “reverses the traditional gendering of emotion and reason” by portraying a man with the impulsive qualities of a woman (144). Tanner next explores the character of the French King who is the pinnacle of positive masculine traits because of this his “vassals flourish and peace reigns in his kingdom because he honors them by seeking and following their advice, behaving with justice and self-restraint, and rewarding their good service” (147). Tanner notes that the French King and “Silence’s actions exemplify the ideals of noble behavior” (147). By the end of the romance Silence has given
Fulton argues that there is no set gender for Silence she instead is whatever gender she chooses to perform at that moment. Fulton explains that this is seen through the relationships she forms with King Ebain and other males “Her biological sex does not in fact predetermine her social performance, nor is it related to her social identity” (60). Fulton argues that although Silence chooses to live as a female and take the role as queen at the end of the story making it seem like “gender and status are natural and innate” the rest of the story supports the idea that “these are in fact manifestations of social roles” (45). Fulton argues that gender for Silence is all an act, she does not possess one specific