Emmanuel Alvarez

Jessica Pressman

ECL 305:Literature in the Environment

8 May 2024

Mermaids as Allegorical Tools in “The Bestiaire Divin”

In “The Bestiaire Divin” by Guillaume le Clerc de Normandie (1210), mermaids serve as a potent allegorical tool, reflecting the medieval Church’s use of mythological creatures to illustrate the dangers of succumbing to sinful temptations and the moral vigilance necessary for spiritual salvation, thereby highlighting the complex interplay between folklore and clerical/church-related doctrine in shaping societal values during the Middle Ages.

Prior to exploring the mermaid symbolism in “The Bestiaire Divin,” it is important to comprehend the historical background of the work. Guillaume le Clerc de Normandie composed his bestiary during the High Middle Ages, a period marked by the dominance of the Christian Church in Europe. The Church was crucial in forming society ideals since its teachings had an impact on many facets of medieval life, such as literature and art. At this period, the Church’s influence encompassed not only issues pertaining to faith but also areas like morals, ethics, and social order. Literary works and arts often used religious themes and symbols to teach spiritual and moral teachings, demonstrating the Church’s widespread influence.

As noted by Vaughn Scribner in his book, Merpeople, A Human History, “During the medieval period, merpeople defined – and reflected – Westerners’ understanding of religion, sex, and power. The Christian Church led this charge, simultaneously adopting, transforming, and harnessing ‘pagan’ (that is, non-Christian) ideas of merpeople in an effort to denigrate the feminine and, in turn, bring as many followers to Christ as possible” (Scribner, page 29). Guillaume le Clerc de Normandie’s “The Bestiaire Divin” describes mermaids as enticing and seductive, frequently luring sailors to their doom with mesmerizing songs. This portrayal of temptation and sin emphasizes the appeal of worldly pleasures and the perils of deviating from the path of righteousness, reflecting the Church’s teaching on these topics. Guillaume le Clerc emphasizes the Church’s teachings on the significance of restraining oneself from immoral cravings and holding fast to one’s faith by employing mermaids as symbols of temptation.

Furthermore, mermaids’ appeal goes beyond their physical attractiveness; they also symbolize the temptation to put worldly wants ahead of spiritual aspirations. The sailors’ readiness to forgo their responsibilities and follow the mermaids is a metaphor for how easily humans are seduced and how difficult it is to fight against immoral impulses. This topic reminds readers of the value of spiritual alertness in the face of temptation and is consistent with Church teachings on the sinful nature of worldly pleasures.

Scribner goes on to say, “The Church’s efforts were almost too effective. As more followers interpreted Christian Church leaders’ message as creed during the Middle Ages, they also increasingly understood the Church’s carefully cultivated collection of merimagery as proof of the legitimacy of merpeople’s existence, not to mention the dangers of the feminine flesh” (Scribner, page 29). As depicted in “The Bestiaire Divin,” mermaids stand for the significance of moral awareness and spiritual redemption; the sailors who resist the allure of mermaids are rewarded with safe passage, while those who give in to temptation meet a tragic fate. The Church places a strong emphasis on living a moral life and resisting temptation, and this illustration serves to prove this. As a result, the mermaids thus serve as guardians of moral order, by embodying the Church’s teachings about the importance of abstaining from sin and abiding by divine rule. 

Additionally, the idea of moral vigilance is emphasized by the mermaids’ duty as defenders of moral order. People need to be cautious and unwavering in their devotion to moral beliefs when faced with temptation. The repercussions of giving in to temptation, as portrayed in mermaid art in the Church, serve as a sobering reminder of the value of moral strength in the quest for spiritual redemption. 

Scribner as well,  notes that the church had an influence on his writing’s use of mermaid imagery by stating, “The Church created our modern understanding of mermaids and mermen in addition to nurturing popular belief in these mysterious hybrids. Ultimately, the Church’s adoption of mermaids and tritons not only demonstrates its willingness to hybridize itself in a bid for relevance but reveals churchmen’s ongoing efforts at using myth and wonder to assert the Christian creed” (Scribner, page 29). The Church was able to make its teachings accessible and interesting by incorporating mermaid imagery into Christian doctrine. By utilizing well-known mythological creatures to impart moral precepts, the Church increased public accessibility to its teachings and strengthened its hold over medieval society. The incorporation of folklore into Christian doctrine is a reflection of the Church’s attempts to remain authoritative and relevant in the face of shifting cultural environments.

According to Vaughn Scribner,  “Looking at these ancient interpretations of female sea monsters, one has to wonder how – and why, for that matter – the early Christian Church adopted such hideous beasts in its holy spaces. How could such monstrosities fit into the Christian narrative of salvation, and why would an entity that prided itself on improvement and civilization want to associate with such supposedly savage, pagan creatures? The answer rested with the hybridity of these strange monsters” (Scribner, page 31). Vaughn Scribner’s examination of ancient interpretations of sea monsters raises intriguing questions about the early Christian Church’s adoption of such creatures into its religious imagery. He questions how and why the Church allowed these seemingly pagan and monstrous creatures into its hallowed halls. Thus, we investigate the connection between Christian theology and the inclusion of creatures like mermaids in Christian iconography as a result of this curiosity. Understanding “hybridity” is essential to comprehending this phenomena. According to Scribner, the Church’s acceptance of sea monsters was greatly influenced by their hybrid nature; the early Christian Church used mermaids as hybrid beings to spread its message to a wider audience, much as ancient peoples customized them for their own needs. Through this hybridization, the Church was able to unite disparate cultural and religious traditions, increasing the relevance and accessibility of Christianity for a wide range of people.

The way that mermaids have evolved from being icons of paganism to being contemporary symbols of sex, religion, and authority is an example of how religious symbolism is always changing. According to Scribner’s research, mermaids have evolved into intricate symbols with numerous meanings in addition to being representations of seduction and danger.  This development shows how religious imagery may change with time and adapt to reflect shifting society attitudes and ideals, as Guillaume le Clerc de Normandie’s illustrates in the “The Bestiaire Divin”.

Moreover, Scribner’s reference to early Christian associations with fish symbolism, “Roman Christians utilized the symbol of the fish as a marker of their religious affiliation – still today visitors to the Roman catacombs will come across carved fishes scattered throughout those close tunnels,” provides context for the acceptance of mermaid imagery within Christianity (Scribner, page 32). The use of fish symbols as indicators of religious affiliation opened the door for the Christian iconography to incorporate additional aquatic imagery, such as mermaids. The relationship between Christianity and the sea was further cemented by tales like Jonah and the Whale and Noah’s Ark, which increased the plausibility of mermaids appearing in religious literature and art.

In conclusion, Guillaume le Clerc de Normandie uses mermaids as an allegory in “The Bestiaire Divin” to convey spiritual and moral teachings. The narrative mirrors the teachings of the medieval Church on redemption and holiness by using mermaids as symbols of immoral temptations and the significance of moral vigilance. In addition, the blending of church doctrine with folklore draws attention to the complex interplay between religion and social mores in the Middle Ages, highlighting the Church’s lasting impact on medieval ideas and culture. The mermaids in “The Bestiaire Divin” are more than just mythical beings; they symbolize the conflict between redemption and temptation and serve as a helpful reminder to viewers of the value of perseverance in the face of difficulty. The way that myth and doctrine interact, highlights the complexity of medieval civilization, in which religious beliefs influenced every part of life, including literature and the arts.

Works Cited 

Bedworth, C. (2023, November 30). Siren song: History of mermaids in art. DailyArt Magazine. https://www.dailyartmagazine.com/mermaids-in-art/ 

SCRIBNER, V. (2024). MERPEOPLE: A human history. REAKTION BOOKS. 

I cannot believe how fast this semester went by, and I especially can’t believe that this is my last blog post before the final. I really enjoyed this class so much, this felt like a “real” University class like the type you see in movies where students are expressing their opinions on a topic and just students actually collaborating and being a part of the class. I learned a lot in this class, I took this class to keep my writing skills sharp since I have not written an essay for over a year before taking this class. As well I have such a deep love for literature and that aspect that I wanted to enroll in a class that will encourage my passions. I really learned how to put my thoughts into words and clearly convey them and make them sound very eloquent. I have become very proud of my writing skills because I have seen a big improvement with how I convey my ideas about a topic and making it sound very “intelligent.” Besides learning how to better my writing, I have also learned how to get over my fear a little of speaking in front of a class, and feeling more confident in myself and not being shy to share my thoughts on topics we have discussed in this class. I will truly never forget about this class and all that it has taught me this semester, and I am looking forward to use these skills in other classes and be able to correlate ideas we have discussed in class to other classes I take in the future. Thank you professor for such an amazing semester.

For this weeks reading I found it fairly interesting because I really liked how the poem was written to use ocean wording and ideas to correlate to human life. This poem uses the ocean as a way to talk about life’s ups and downs. It starts by comparing the ocean’s salt to tears (which I thought was really intriguing to show that we are connected to the ocean in that way), showing how something that can be sad can also be essential for life, “The salt of the ocean is always the salt of tears, melancholy but at the right dilution, or concentration, life-giving”. The poem points out that life has always been a struggle, even from the very beginning, it uses ocean creatures, like thermophiles and zoarchids (bottom feeders), as examples of how different beings are capable of adapting and thriving in harsh conditions “Look down: the thermophiles sip at the fumaroles, whose sulfur steam would kill a human being. They love it here.” These creatures don’t need to prove their worth; they just exist in their own unique ways, this thus serves as a metaphor for how people don’t always have to be like others or validate themselves through others accomplishments. The poem ends on a hopeful note, saying that despite our doubts and struggles, some of us will find our way to be okay. It’s a comforting message that encourages accepting ourselves and finding our own path, just like the diverse life forms in the ocean. I really liked this correlation with the ocean and humans because even at our lowest moments, we can find comfort in knowing that we are each taking our own unique path in life and there is no wrong doing if we just take our own path and not be affected by what others are doing.

For this weeks chapter, I find it quite interesting because I was intrigued by how Yetu interacts with humans, whom she refers to as “two-legs.” Her descriptions of them were fascinating, especially since she views the world from an aquatic perspective. For instance, she likened their hair to “large chunks of coral” (Solomon, 71). This is noteworthy as it helps shift the reader’s view from a land-focused to a sea-focused lens (Terracentric). As well chapter 7 stood out to me, as it explores the dynamic between Yetu and Oori. This relationship ultimately nudges Yetu towards making decisions with her own interests at heart. Their attraction to one another adds another layer of complexity to their interaction, focusing more on their essences rather than external differences. This connection ties back to earlier discussions in class about the distinctions between creatures and humans, questioning where we draw the line between them. Yetu is distinctly not a human yet she more than merely an animal. She possesses complex emotions, advanced cognition, and can form meaningful relationships with bipeds, even though she has physical traits like gills and sharp teeth that are non-human. This idea draws me back as well to the argument we had when we read “The Little Mermaid” that mermaids are human as well and they have key characteristics like emotions and family that can argue that they are more human than merely animals.

Emmanuel Alvarez

Jessica Pressman

ECL 305:Literature in the Environment

14 April 2024

Hylas and the Nymphs Painting

The representation of mermaids in visual and narrative media, particularly exemplified by John William Waterhouse’s “Hylas and the Nymphs (1896),” display the women (mermaids) are the ones with the clear gaze on the man and are the individuals holding and asserting the power in this piece of art. This piece of art surely explores the male gaze, emphasizing the desires of a heterosexual male perspective, often objectifying and sexualizing women. In the male gaze, women are typically presented as passive objects to be looked at and desired, rather than active subjects. This piece of art was created during a period where women were beginning to gain more freedom and the power and importance of women was coming to light; this painting shows the complicated nature of the gaze and gender politics at a moment when contemporary feminism is just emerging from the depths

Prior to exploring the complexities of gaze and power in Waterhouse’s “Hylas and the Nymphs,” it is essential to comprehend the historical and cultural context in which the painting was created. The late nineteenth century, which saw the rise of the Victorian era in England, was marked by a combination of rigid social morals and a growing movement in favor of women’s rights. When the picture was completed, struggles for women’s suffrage and more autonomy were taking center stage in the first wave of feminism. John William Waterhouse, a member of the Pre-Raphaelite Brotherhood, was well-known for his idealized portrayals of female figures from literature and mythology. His paintings were full of rich symbolism and strong emotional currents, and they frequently embodied the Pre-Raphaelite ideal of complexity and beauty. “Hylas and the Nymphs” is no different, presenting a story from Greek mythology where Hylas, a companion of Hercules, is seduced and abducted by nymphs—mermaid-like creatures—resulting in his disappearance.

In art history, the male gaze has typically taken the form of women shown via intrusive or fetishistic lenses for the enjoyment of a male audience. But in “Hylas and the Nymphs,” a number of things challenge and question this sight. First of all, although being unquestionably sexualized in their portrayal—naked and ethereal in a lush with life dreamlike setting—the nymphs in the painting are not helpless. With expressions that suggest not only seduction but also power and domination, they look straight at Hylas and, consequently, at the observer. Their physical location in the water encircling Hylas, combined with their unwavering confidence and unflinching eyes, suggest a role reversal. In this scene, Hylas becomes the object of desire and is submissive due to the nymphs’ persuasive seduction. This inversion in the painting is important because it shifts the female figure from object to subject and questions the conventional dynamic of the heterosexual masculine gaze. The nymphs are more than just ornaments in this narrative of the painting; they are essential to its development, propelling the action toward Hylas’s unavoidable demise. Their assertiveness in the water, which is often associated with mystery and depth, enhances the impression that they are strong, independent individuals as opposed to being objects of lustful enjoyment.

John William Waterhouse’s use of water as a setting is filled with purpose.  The nymphs live in the world of water, which is frequently connected to femininity because of its depth and fluidity; here they are endowed with unquestioned power. Hylas emphasizes the change in power dynamics by being both literally and figuratively out of his element, standing dangerously in theirs. The nymphs’ submersion in the sea, in contrast to Hylas’ partial absence from it, represents their ease and domination in this world, emphasizing the concept of feminine empowerment even further. In addition, the painting’s rich, green background and the water’s reflective clarity allude to themes of thought and introspection. The observer is challenged to reevaluate who actually has the upper hand in the visual exchange and is invited to investigate the nature of gazing itself. 

“Hylas and the Nymphs” can be viewed as a predecessor to more recent conversations on gender, power, and representation from the standpoint of a modern feminist. Through empowering the female characters, John William Waterhouse unintentionally or intentionally adds to the conversation on female agency. The picture confronts the traditional standard of female passivity in art history and raises issues regarding the roles of spectator and observer, as well as seducer and seduced.

In conclusion, “Hylas and the Nymphs” by John William Waterhouse offers a fascinating analysis of how the masculine gaze has reversed conventional power relations. In addition to challenging social standards, John William Waterhouse captures the emerging undercurrents of feminist ideology in the late 19th century by portraying the nymphs as the bearers of gaze and control. Viewers of this piece of art are prompted to reconsider conventional depictions of gender and power in art by this artwork, which emphasizes the complexity and evolving paradigms of the time. In addition to being fantastical creatures, the mermaids in John William Waterhouse’s artwork also serve as potent symbols of the new modern feminism that is redefining and challenging the gaze in ways that are still relevant in issues about gender and representation today.

Works Cited

Waterhouse, J. W. (2024, April 10). Hylas and the nymphs (painting). Wikipedia. https://en.wikipedia.org/wiki/Hylas_and_the_Nymphs_%28painting%29