Modern English is built on a foundation of The King James Bible and William Shakespeare – the former, plagiarized from a person we burned on the stake for his efforts; the latter, Lord Regent of Bad Penis Puns, as though his very name compelled him: Willy-I-Am Shake-Spear, Billy Wagcock, old I am a dick now brandishing said dick.
English: a hodgepodge tongue, its literature begun with a bloody tale of dragon baiting, vernacular eschewed until Chaucer made his fame from crude jokes and sex slang, the modern form a mongrel mix of guttural Germanic old and ornate Norman new.
And the modern modern era began in Year 1 p.s.U – the first year “post scriptum Ulysses,” which was, according to T.S. Eliott, “the most important expression which the present age has found,” and perched at the apex of the Harvard committee’s 92% male twentieth century centenary – a year otherwise known as 1922, since few aside from antisemitic fascist Ezra Pound felt that Joyce’s tome compelled a novel calendar.
Ulysses: supposedly in conversation with the past, but the conversation only flows one way. Knowing the Greco-Roman myth changes how a reader reads Joyce, but Joyce doesn’t alter our perception of the past, unless to cast undeserved disparagement upon Penelope, privileging post-agrarian men’s fear of wicked women’s wanton sexuality.
Quite the contrast with Barbara Hamby’s poem “Penelope’s Lament,” in conversation with the past as though conversation requires both speaking and listening:
– Barbara Hamby
No sex for twenty years except with my handmaidens
and myself, so when you turned up like a beggar man,
O I recognized you but needed time to trade in
my poor-widow persona for something more Charlie Chan,
you know, a razor hiding behind a cream puff mask,
irritated by my number-one-and-only son,
ranting about food and money, hiding sheep and casks
of wine in caves, so the suitors would be forced to run
away. As if they would. A more ratty shiftless bunch
of creatures would be hard to rustle up. My bad luck,
they wanted to be king. I’d thought of giving them a lunch
of strychnine. Then you showed up, a geriatric Huck
Finn. So be my guest, finish them off, then I mean
to poison you. O Ithaka is mine. I am queen.
Or there’s Emily Wilson’s recent translation of The Odyssey, also actually in conversation with the past, respectfully acknowledging words that were there already, gracefully responding with what they’re now seen to mean.
After Odysseus returned and the suitors were slain, his son resolved to murder the women whom the dead suitors had coerced into sex … or raped. In Wilson’s words,
Showing initiative, Telemachus
“I refuse to grant these girls
a clean death, since they poured down shame on me
and Mother, when they lay beside the suitors.”
At that, he wound a piece of sailor’s rope
round the rotunda and round the mighty pillar,
stretched up so high no foot could touch the ground.
As doves or thrushes spread their wings to fly
home to their nests, but somebody sets a trap –
they crash into a net, a bitter bedtime;
just so the girls, their heads all in a row,
were strung up with the noose around their necks
to make their death an agony. They gasped,
feet twitching for a while, but not for long.
Joyce’s Ulysses – the unidirectional address – is in conversation with the past the way a bloviating mansplainer is in conversation with his victim.
Mansplaining, better explained not by me (a man) but by Kate Manne, from Entitled (excerpted with a few additional paragraph breaks for internet readability):
On other occasions, manifestations of epistemic entitlement may result in a less privileged speaker deciding not to make her intended or fitting contribution to the conversation. This will then often constitute what the philosopher Kristie Dotson calls “testimonial smothering,” where a speaker self-silences.
A mansplainer may be nigh on uninterruptable.
The point is epitomized by an incident recounted by Rebecca Solnit, in her classic and galvanizing essay “Men Explain Things to Me.”
Solnit had attended a dinner party with a female friend, where she’d been prevailed upon by the older, “distinguished” male host to linger after dinner to talk about her writing.
“I hear you’ve written a couple of books,” he offered genially.
“Several, actually,” she ventured.
“And what are they about?” he inquired, in a patronizing tone – much “the way you encourage your friend’s seven-year-old to describe flute practice,” as Solnit puts it.
She nevertheless obliged and began to describe her most recent book at the time, which was about Eadweard Muybridge, an English American photographer and pioneer of motion pictures.
She didn’t get far, however.
Solnit recalls: “He cut me off soon after I mentioned Muybridge. ‘And have you heard about the very important Muybridge book that came out this year?’ So caught up was I in my assigned role as ingenue that I was perfectly willing to entertain the possibility that another book on the same subject had come out simultaneously and I’d somehow missed it. He was already telling me about the very important book – with that smug look I know so well in a man holding forth, eyes fixed on the fuzzy far horizon of his own authority.”
The very important book, Solnit’s female friend soon realized, was Solnit’s.
The friend tried to interject this point three or four times. But the mansplainer failed, somehow, to hear her.
When he finally registered this news, his face fell; he turned “ashen.”
Solnit writes: “That I was indeed the author of the very important book it turned out he hadn’t read, just read about in the The New York Times Book Review a few months earlier, so confused the neat categories into which his world was sorted that he was stunned speechless – for a moment, before he began holding forth again.”
Of the many insights that Solnit offers us here into the nature of mansplaining, one of the most striking is the way both speakers in this exchange are assigned roles, which are then difficult to break from.
Solnit’s host was the authority, of course; and she was cast as the naive one – “an empty vessel to be filled with [his] wisdom and knowledge” she writes, “in some sort of obscene impregnation metaphor.”
Because of the social dynamics in play here, it then became very difficult to change the course of the conversation.
But the skewed sense of epistemic entitlement that structured the exchange left her host’s face “ashen” when he finally registered his error. She was in danger of humiliating him.
Still, he was only momentarily deterred: he proceeded to explain other things when unceremoniously deprived of that fledgling site of epistemic domination.
Joyce is out to impress and overwhelm – “I’ve put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that’s the only way of insuring one’s immortality.” As though only speaking, not listening – not the relationships that outlast us – could save someone from death.
Joyce’s Penelope: a woman, a wife, sexually voracious, not to be trusted. Joyce’s hero, Odysseus: masturbating in public at the sight of a schoolgirl’s underclothes.
As though the original myth were insufficiently misogynistic. As though the myth needed more than the misogyny made clear with Wilson’s words, more than the misogyny marked in Christopher Logue’s War Music, a modern epic in (two-way) conversation with the past, in which Odysseus’s ally Achilles pouts to his mermaid mother:
“The Greeks have let their King take my prize she.
And now they aim to privatise that wrong.
Make it Achilles’ brain-ache, fireside, thing.
So go to God.
Press him. Yourself against Him. Kiss his knees.
Then beg Him this:
Till they come running to your actual son,
Let the Greeks burn, let them taste pain,
Asphyxiate their hope, so as their blood soaks down into the sand,
Or as they sink like coins into the sea,
And yet, within Ulysses, there is an absolutely gorgeous scene, some thirty-four pages long in my edition, “Scylla & Charybdis,” in which Stephen Dedalus, Joyce’s Telemachus, lectures lyrically on William Shakespeare.
As expected for an English text, sex jokes abound.
Twenty years he lived in London and, during part of that time, he drew a salary equal to that of the lord chancellor of Ireland. His life was rich. His art, more than the art of feudalism, as Walt Whitman called it, is the art of surfeit. Hot herringpies, green mugs of sack, honeysauces, sugar of roses, marchpane, gooseberried pigeons, ringocandies.
Sir Walter Raleigh, when they arrested him, had half a million francs on his back including a pair of fancy stays. The gombeen woman Eliza Tudor had underlinen enough to vie with her of Sheba. Twenty years he dallied there between conjugal love and its chaste delights and scortatory love and its foul pleasures.
You know Manningham’s story of the burgher’s wife who bade Dick Burbage to her bed after she had seen him in Richard III and how Shakespeare, overhearing, without more ado about nothing, took the cow by the horns and, when Burbage came knocking at the gate, answered from the capon’s blankets: William the conqueror came before Richard III.
Sexuality, per his post-agrarian mind, described as dirty – “scortatory,” a word for sultry goings on that lacks the playful good-humor of “fescennine” or the simple celebration of “sensuous.” In the local university library’s Oxford English Dictionary, the only citation for the word “scortatory” came from this scene, although later editions of the OED include a precedent from 1794 and a nineteenth century denunciation of “scortatory religions.”
Past usage for “capon” is rather more lively, although Joyce’s particular employment is as childishly petty as the Reddit wasteland’s proto-incel overuse of the word “cuck” to describe any unwanted situation – in 1398, Trevisa writes that “the capon is a cocke made as it were female by keruynge away of his gendringe stones.”
Consensual sex as though castrating an uninvited party – not that the encounter between Shakespeare and the woman is described as clearly consensual, but the person supposedly castrated by Willy’s (which would have been Dick’s) dalliance was the burgher, apparently uninvolved in either pairing.
Sex as competition – which perhaps seemed sensible to Joyce since his very eloquence is intended to be competitive, a thunderous plaint demanding that we recognize his exclusive triumph, with this scene a fractal microcosm of the whole, Dedalus’s competitive banter seeking victory for his own (& thereby Joyce’s) prodigious intellect.
Loving or laying or writing to win. Within a world where, without behavior like this, neither sex nor intellect would be mistaken as finite goods.
In No Contest, Alfie Kohn characterizes competition as coming from situations where resources are scarce.
But education involves a resource that can never be scarce: one person having knowledge and wisdom does not prevent someone else from having it. It might be scarce in the sense that not many people have it, especially when it comes to very specialized knowledge, but the whole point of education should be to share knowledge and wisdom with the next generation and thus ensure that it keeps growing.
So the fact that we make education competitive is at worst contradictory and at best a choice that we should acknowledge and question.
It’s not a competition, but men’s attempts at female sex wit have at times been less than winning, travesties like the Bond-ean “Pussy Galore” or even our Latinate word for internal parts that means etymologically not “birthing channel” or “wayfare of life,” but rather “sheath.” A place to put your sword. With the whole shebang described by medical men too squeamish to undertake actual inspection – the second century Roman scientist Galen instructed his readers (men) to “Think first of the man’s turned in and extending inward.”
It seemed obvious to Galen – despite his likely inability to birth a child – that you could “Turn outward the woman’s” … or “turn inward … the man’s” and “you will find the same in both in every respect.”
“The same in every respect.” Except that men also believed that a uterus was a living creature, mischievous and untrustworthy inside a woman’s body – “hysterical,” from the Greek word for “womb,” a castigation that someone’s excess of feeling or rage against patriarchal oppression was due not to circumstance but to her wandering organ. The genitalia that crept up inside her and latched onto her brain.
English is for alliteration (which sounds better if you slur the initial vowel sounds into sameness); romance for rhyming. Neither English nor true romance languages have great words for sex, but our latinate word is better.
The term “fornicate” comes from heat and warmth. Although not in the good, true way, that love can both spiritually and corporeally warm us like fresh baked bread. Instead, we have the word because sex is what goes on in brothels, and a traditional set of brothels had vaulted chambers, and these rooms vaguely resembled the shape of baker’s brick ovens, and these hot warm ovens were where bread was made.
Etymologically, fornication leaves something to be desired. And yet, it’s the best we have.
“Fuck” comes from farming and violence – the possible root words mean “to plow” or “to punch”. As though sex is something that a person with a penis does to another.
Not something shared – as with the Maori word “hika,” which can mean either making fire or making love – but something taken. Predisposing English speakers to see men’s genitals as pushy, greedy things. The English language can betray us as we try to build a better world.
Although at times there’s truth. The violence and the greed – at times, tragically often times, men can be such dicks.