Consorting with Stone

This essay places Marie de France’s lai “Yonec” (ca. 1150–1200) and the anonymous Middle English romance King Horn (ca. 1250–1300) in conversation with critical Indigenous theories of relational, land-based sovereignty and resurgence. At first, “Yonec” and King Horn appear to reinscribe a Western form of sovereignty based on exclusive territorial control. Both works offer alternative models of sovereignty and self-determination, however, in their depictions of cooperative, lithic alliance between stone and female consorts. Adopting the term lithic sovereignty to describe the works’ relation-based sovereign imaginaries, this essay first follows the King Horn narrator’s depiction of Godhild’s hermetic retreat into stone when Saracens conquer her husband’s realm. Then it turns to the nameless lady of “Yonec” and her implausible escape from her jealous husband’s tower, facilitated by the very stone that had seemed to entrap her. Drawing on critical Indigenous studies, legal studies, and ecomaterialism, this essay concludes that both King Horn and “Yonec” offer a medieval British imaginary of lithic relational sovereignty that runs counter to teleological, naturalizing narratives of Euro-Western origins.

‘He ne wiste nother of evyll ne gude’: A Prelapsarian Perceval

Departing from the observation that the Middle English romance of Sir Perceval of Galles quotes from Genesis at two crucial moments, this study provides a coherent reading of the text, explaining some of its idiosyncrasies and triangulating it with the versions of Chrétien de Troyes and Wolfram von Eschenbach. What distinguishes the Middle English version from the continental texts are its purposeful absences, i. e. that which the author chooses to abbreviate or leave out altogether. The result is the story of a prelapsarian creature who stumbles through an Edenic landscape where time and mortality have been suspended and individual culpability does not exist. Sir Perceval’s non-existent biblical knowledge, blocked by his mother and ultimately brought to its end by a literal fall from his horse, leaves him invincible, ungendered and immortal. It also serves to explain his unapologetic violence as well as his complete lack of sexual desire. This bold experiment cannot last – Sir Perceval does eventually discover knighthood, masculinity and mortality. Unfortunately, these three are inseparably linked: being a knight, being a man and being dead are one and the same thing in Sir Perceval’s universe.