Spring is Sexy

The description on pg. 51-52 of Bertrande’s newfound relish in life after the arrival of Martin Version 2.0. reveals the fact that even she—this paragon of virtuous medieval wifehood, declared in court to be “above reproach”—does harbor some subversive impulses.  This passage concerns Bertrande’s mid-life sexual awakening: its thesis is that “all this vividness of feeling, this new awareness of the life around her, was because of her love for this new Martin Guerre, and because of the delight and health of her life-giving body” (51). 

Lewis’ somewhat sterilized language of nature imagery, relying heavily on the conventional symbolism of spring as the season of fertility, mirrors Bertrande’s own innate conservatism.  For instance, the most sensual descriptive line in this passage concerns an inanimate object—the chimney—which is personified in order to serve as an innocuous proxy for a real live human body.  Lewis describes how flame, traditionally associated with passion, “spread[...] shifting constellations of gold against the black throat of the chimney” (51).  Her diction elevates the luxury of sensation to something noble, precious, (gold) and even celestial a.k.a. divine (constellations).  The “black throat” of the chimney, by contrast, is an earthy image which roots her description firmly in tangible reality.  “Throat” in itself is more apt than its potential substitutes—say, “neck” or “gullet”—because it is more elegant than these, has a rasp which gives it a certain rawness, and furthermore evokes an alluring vulnerability.     

But I digress; I was talking about spring.  The simplicity and familiarity of Lewis’ tokens of springtime, “melting snow,” “spring blossoms,” and new wheat stress the fact that she is striving to express universal and time-honored themes in this passage: affection and desire for one’s spouse, a sense of peace derived from having children, domestic contentment.  Also, I hope I’m not reading too much into this, but in context it came across as something of an innuendo when the “winter wheat showed its point of new sharp green” (52).  Finally, I was put in mind of Bertrande’s newly stimulated, fluctuating emotions/hormones when “the air alternately misted, showered, and shone in confusing variability” (52).               

And now it is time to justify my opening gambit, claiming that Bertrande exhibited “subversive” impulses within these two pages.  It is revealed here that the idea of “sin” actually tantalizes Bertrande, who associates her suspicion that she has been bedding the wrong man with the thrilling dread which the howling of wolves evokes in her.  However, she is only able to enjoy the wolf-like elements of sin and danger in the abstract, i.e. so long as “the doors [a]re safely closed and all the animals safe within walls,” which is why she prefers to remain in denial for as long as possible regarding the lie of Martin’s identity.