Sexism within the Historical (Historically Inspired) Genre

This is an issue that makes me grit my teeth with annoyance, whenever an author uses a historical basis for a novel or sets it during a particular period, they are often accused of sexism because of the way women are represented. It seems all too easy for people to forget that the women, although they can be identifiable and sympathetic characters, that they are part of a time where women do not have the same rights as we do.

Truthfully, I'm sometimes amazed by how much authors can get away with making their characters more modern and independent than they probably were during the times. Philippa Gregory's infamous The Other Boleyn Girl, showed a balance between two different women; Mary Boleyn, who obeyed her male family members and did her duty, but was able to escape and find love. And Anne Boleyn, who uses her wiles and intelligence to gain power, although it leads to her downfall. People could argue this is sexist, that a woman using her charms and sexual power is anti-feminist, but during Tudor times this was basically all a woman had to gain power.






Yet even with novels that take inspiration from historical periods, rather than basing their story within one, often lead to criticism of female characters. Possibly more so when the book is not written by a woman. George R R Martin's series of novels, A Song of Ice and Fire (made notably famous by HBO's adaptation Game of Thrones) has received such criticism for the portrayal of women and sexual relationship within it. It would be impossible to deny the relationship between ASoIaF and the Cousin's War (or the War of the Roses - fought between the houses of York and Lancaster during 1455 to 1487). I came across many people who said about any and all female characters, 'Why did she obey her father when she didn't want to? Why doesn't she just leave? Why can't she make her own decisions?' Likewise, with Philippa Gregory's The White Queen, The Red Queen and The Kingmaker's Daughter, people keep forgetting these women don't have the luxury of choice. They have to maneuver themselves into the best position possible, all the while thinking about their family, their ties with friends and those in power. Many people dismiss Sansa in ASoIaF as weak and idiotic (the book portrays her better, giving us more insight into her thoughts and feelings); but even in the TV show she attempts to use her skills of manipulation to get what she wants.

Joffrey (after having Sansa kiss his sword - not a metaphor): You'll kiss it again when I return and taste my Uncle's blood. 

Sansa: Will you slay him yourself?

Joffrey: If Stannis is fool enough to come near me. 

Sansa: So you'll be outside the gates fighting in the vanguard...? 

Joffrey: A King doesn't discuss battle plans with stupid girls. 

Sansa: I'm sorry, your Grace, you're right, I'm stupid. Of course, you'll be in the vanguard. They say my brother Robb always goes where the fighting is thickest...and he's only a pretender.

Strangely, most people seem to ignore this attempt. Perhaps because it is almost too obvious. But what she does is clever, pushing Joffrey to endanger his life by comparing him with her brother, triggering his sense of masculine pride and urging him to fight where it is most dangerous. Sansa is not like Arya, her sister, nor ever will be. It is futile to compare the two as both are very different. But she's learning within the world of the court, what it is to use people's expectations of her against them. Her strength isn't through physical force, she doesn't have Daenerys' dragons, Arya's skill with a sword or Ygritte's with a bow, but she learns to use her beauty, facade of innocence and her skill with words to slowly begin to gain what she needs.

But let's not forget the ultimate of woman empowerment within the historically inspired genre. Eowyn from Lord of the Rings, written by J R R Tolkien. Eowyn does not even try to manipulate others to gain what she wants. She's frank and honest, surviving in a time of increasing difficulty: her Uncle's loss of power, her cousin's death and her brother's banishment. All the while desiring to fight and defend her country. To not be considered weak, because she is a woman.

“What do you fear, lady?" (Aragorn) asked. 

"A cage," (Éowyn) said. "To stay behind bars, until use and old age accept them, and all chance of doing great deeds is gone beyond recall or desire.”

Some have argued that Eowyn is representative of the women who took up male roles within the working environment; I, however, dispute this as simplistic and undermining Tolkien's great use of European myths and legends. Had she remained at home as her brother and Uncle so often remind her, for that is her duty and task, the initial war between Gondor and the forces of Mordor would have never been won. It is a woman who is the first to challenge the chief servant of Sauron, due to her desire to protect her family.

“Hinder me? Thou fool. No living man may hinder me!" (the Witch-king of Angmar). 

Then Merry heard in all sounds of the hour the strangest. It seemed that Dernhelm laughed, and the clear voice was like the ring of steel."But no living man am I! You are looking upon a woman. Eowyn am I, Eomund's daughter. You stand between me and my lord and kin. Begone, if you be not deathless! For living or dark undead, I will smite you, if you touch him."   

The winged creature screamed at her, but then the Ringwraith was silent, as if in sudden doubt. Very amazement for a moment conquered Merry's fear. He opened his eyes and the blackness was lifted from them. There some paces from him sat the great beast, and all seemed dark about it, and above it loomed the Nazgul Lord like a shadow of despair. A little to the left facing them stood whom he had called Dernhelm. But the helm of her secrecy had fallen from her, and and her bright hair, released from its bonds, gleamed with pale gold upon her shoulders. Her eyes grey as the sea were hard and fell, and yet tears gleamed in them. A sword was in her hand, and she raised her shield against the horror of her enemy's eyes.”

So in the end, I would argue that all these women have as much power as reasonably gained. The authors themselves aren't sexist; they are merely applying the rules, morals and politics of the time or of their created time on these characters. Abandoning realism to suit a desire to craft modern women in a historical period, simply reduces a story and the depth of characterisation. It does not make a story better. Readers like to see unlikely and downtrodden characters do well, and having a range of different women means young girls can find something inspiring and personal for them; even if the characters like dresses, lemon cake, roses, swords, get married, have children or remain single. Our ability to like a character should not be based on their gender, but how well written the story and characters are.

References: HBO's Game of Thrones, Lord of the Rings - The Two Towers (J R R Tolkien), Lord of the Rings - Return of the King (J R R Tolkien). The Other Boleyn Girl, The White Queen, The Red Queen and the Kingmaker's Daughter (Philippa Gregory).