The Virile Bride of Bernard of Clairvaux
That feminine metaphors dominate Bernard of Clairvaux's treatment of the contemplative soul who as loving Bride marries Christ in prayerful ecstasy, and as Mother nurtures the world in active service, is indisputable. And much has been made in recent years of the significance of a medieval male...
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| Format: | Electronic Article |
| Language: | English |
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| Published: |
Cambridge Univ. Press
2000
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| In: |
Church history
Year: 2000, Volume: 69, Issue: 2, Pages: 304-327 |
| Online Access: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a That feminine metaphors dominate Bernard of Clairvaux's treatment of the contemplative soul who as loving Bride marries Christ in prayerful ecstasy, and as Mother nurtures the world in active service, is indisputable. And much has been made in recent years of the significance of a medieval male “assuming” the role of the female, both in relation to society at large and in relation to God. These latter arguments might be summarized by the claims that the appropriation of feminine images to the medieval male self is frequently either a conscious play on cultural stereotypes to signal spiritual renunciation or the rejection of worldly values, or reflects a need, whether conscious or unconscious, for psychological integration of the feminine and masculine in the lives of those confined to a homo-social world. In Bernard's Bride, then, we discover either the male appropriation of feminine weakness as a sign of spiritual strength or the rational male appropriation of the counterbalancing feminine virtue of affective love. What has not been recognized, however, is the possibility that the figure of the Bride in Bernard of Clairvaux's Sermons on the Song of Songs might function paradoxically as a “virile woman,” a female “figure” or type who serves appropriately to represent the highest spiritual attainments of the human soul (whether of biological male or female), precisely because she has overcome any stereotypically “womanly” weaknesses and become typologically “male” or “virile.” Our interpretation of this seminal figure must thus not only take into account the confluence of masculine and feminine in her nature in ways we have not previously suspected. We must also consider the paradoxical reality that this figure may simultaneously represent a soul who is virtuous for having renounced male privilege and become a weak woman and a soul who is valorized for having overcome feminine weakness and become virile. It is this thesis that I will argue in what follows. | ||
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