Every article of furniture, from the chairs that came into the world with me and have worn so much better, though I was new and they were second-hand, to the mantle-border of fashionable design which she sewed in her seventieth year, having picked up the stitch in half a lesson, has its story of fight and attainment for her, hence her satisfaction; but she sighs at sight of her son, dipping and tearing, and chewing the loathly
Then perhaps canst tell me the name of a great loathly lump of a brother wi' freckled face an' a hand like a spade.
Why, you had scarce gone ere this loathly John came running back again, and, when I oped mouth to reproach him, he asked me whether it was indeed likely that a man of prayer would leave his own godly raiment in order to take a layman's jerkin.
For if you have not, you shall come back from loathly
Hades and live with me and your father, the dark-clouded Son of Cronos and be honoured by all the deathless gods; but if you have tasted food, you must go back again beneath the secret places of the earth, there to dwell a third part of the seasons every year: yet for the two parts you shall be with me and the other deathless gods.
I sighed, following the sartorial train of thought, even to the loathly
arrows that had decorated my person once already for a little aeon.
The earliest appearance of the loathly
lady motif comes in the figure of the Irish Sovranty Hag, an imbroglio of cultural ideas about political power contestation, in which gender roles are loosened, dissolved, and resolved.
The place of women's literature on the side of magic allots them with many shapes (Saunders 2007: 39-40), either as witches, such as Morgan Le Fay, monsters, such as Melusine from the Romans of Partenay de Lusingen, eerie lovers like the fairy Tryamour of Sir Launfal, (11) or shape-shifting loathly
ladies such as Dame Ragnelle.
As with the book's first half, a primary story illustrates the archetype, bolstered by additional tales and analysis; thus the seductress, the woman who chooses her own lover(s), is primarily illustrated by Aphrodite and Freya, but also by the Loathly
O the bride within Was yellow and dry as a snake's old skin; Loathly
It was Andrew Trollope who, in 1585, wrote that the Irish 'were not thrifty and civil or human creatures, but heathen or rather savage and brute beasts', and Edmund Spenser who, a decade later, declared the Irish to be 'in the most barbarous and loathly
conditions of any people under heaven'.
Various common or standard themes or tropes also figure: Chastity test (7), Loathly
Lady (37), Love potion (53), May babies (6), Poisoned apple (6), Wasteland (21), and "What women want" quest, which follow immediately The Wedding of Sir Gawain and Dame Ragnell.
5) The twist that Chaucer gives to this story is that the loathly
lady does not transform automatically as in Gower's story, but she controls the transformation herself.