From the start of the First Crusade, Christian men were fascinated with the possibility of marrying Muslim women. In his account of the Battle of Antioch (1097-1098), Peter of Tudebode narrates an incident about the Emir, Yaghi Siyan, offering the Crusaders the following bargain: “Deny your God, whom you worship and believe, and accept Mohammed and our other gods. If you do so we shall give to you all that you desire such as gold, horses, mules, and many other worldly goods which you wish, as well as wives and inheritances; and we shall enrich you with great lands” (pp. 58-59). The bargain included wives.
Fulcher of Chartres’s utopian version of the intercultural interaction reads like a propaganda piece meant to attract prospective settlers to the newly established Crusader territories. He provides an idyllic vision of assimilation that took place at the meeting point of the East and the West. According to him, assimilation was achieved through the acquisition of inheritable properties and servants by Occidentals, the mutual blending of languages, and most importantly through intermarriages between Christian men and non-Christian women through baptism as he boasts, “Some have taken wives not merely of their own people, but Syrians, or Armenians, or even Saracens [medieval term for Muslims] who have received the grace of baptism” (p. 281). Fulcher’s account, written around 1125 appeals to the aspirations of prospective male settlers in Western Christendom—their aspirations for property and wives. The two examples provided above, resist a simplistic version of what happened between Christians and Muslims during the Crusades. Popular portrayals suggest that the Crusades were violent religious conflicts in the Middle Ages with Christianity on one side and Islam on the other.
However, violence is only one part of the story. Relations between these two religious groups were much more complex. The writings of both Fulcher and Tudebode suggest that the idea of securing local wives was tempting to the Crusaders and the settlers of newly acquired territories. The Crusades reveal that medieval attitudes towards sexuality were not always rigid and repressed.
Even though the earliest laws in the Crusader states reveal concerns about the danger miscegenation posed to Christian sexual purity, they focus on sexual acts and do not explicitly forbid interfaith marriages. The Canons of the Council of Nablus of 1120, the earliest laws in the Latin Kingdom of Jerusalem prescribed draconian measures against the rape of Muslim slave-women by Christian men. Canons 13 and 14 punished sexual activity between Christian men and Muslim slave-women with castration and expulsion. In the same vein, Canon 15 of the Nablus prohibits consensual sex between Muslim men and Christian women. Thus, these Canons reveal an anxiety about intermixing and the impurity incurred by sexual acts between Christians and Muslims.
However, the Nablus laws were not concerned about interfaith marriage. Marriages between Christians and non-Christians (pagans, Muslims and Jews) were quite common in the initial stages of the Crusades. In fact, there is no law in the Nablus that prohibits consensual or non-consensual sex between Christian men and free Muslim women. There are two possible reasons for this: either every single Muslim woman was enslaved once Jerusalem was captured during the First Crusade or sexual acts between Christian men and free Muslim women were not considered threats to sexual purity.
The conspicuous absence of a law prohibiting sexual acts between Christian men and free Muslim women silently condones the Christian penetration of Muslim culture and, hence, the latter’s subordination through sexual acts with free Muslim women; just as Canon 15 prevents the Muslim subordination of Christians by prohibiting sex between Christian women and Muslim men. The Nablus laws reveal a nuance in how the idea of sexual purity worked in the Crusader states. In a master-slave dynamic, when the Muslim was already in a subordinated state, the fact that she was Muslim was important. A Christian man having sex with a Muslim slave constituted sexual impurity. However, when the Muslim woman was free, the dynamic was dramatically altered. The focus then was on the fact that the Muslim is free, suggesting that a member of an antagonistic religious group had autonomy. The existence of a free Muslim presented evidence that complete subordination of the community was not achieved. Consequently, sex with a free Muslim woman did not constitute impurity. Rather it was an act of nullifying the autonomy of the Muslim community through religious conquest disguised as sexual penetration.
By the mid-thirteenth century, the Canons of the Council of Nablus fell into disuse and were gradually replaced by the secular law codes Livre des Assises de la Cour des Bourgeois. The Assises protected the economic stakes of Christians, that is, wealth tied in property, and consequently prohibited intermarriages. Chapter 177, for instance, states that, “the holy faith prohibits a Christian from marrying a Saracen, because everyone should know that according to the holy foundations of Jerusalem, a woman is entitled to half of all the property that her husband earns with it after they were married, because as a man and a woman are one flesh, all that a man acquires the lifetime of his wife, falls in half possession of his wife legally.” Along the same lines, Chapter 200 states that one third of the property of a baptized former slave without legitimate heirs goes to his former lord and-or lady. This stipulation prevents illegitimate heirs from inheriting the entire estate. Illegitimate heirs of a former slave would likely have been Muslim. Most slaves in Jerusalem were Muslim and while the conversion to Christianity granted them freedom, it also made their marriage to their Muslim partners illicit. Therefore, this law intended to keep at least part of the wealth and property, that the baptized former slave accrued, in Christian hands. Chapter 235, on a slightly different note, authorized the son to “disinherit his father and mother of all his property” if the parent goes to Muslim territories and denies his faith or becomes a “Jew or a Saracen.”
Thus, the laws pertaining to sex and marriage in Crusader states evolved with the evolving necessities and concerns in Western Christendom. At the start of the First Crusade, the exertion of Christian dominance over Muslim subjects entailed sexual acts and marriage between Christian men and free Muslim women as suggested by Nablus laws. By the mid-thirteenth century, intermixing was increasingly prohibited for economic reasons.
Oregon State University
Ambika Natarajan received her Ph.D. in the History of Science from Oregon State University and she specializes in the History of Science and Sexuality in the Habsburg Monarchy. Her research work focuses on multiple aspects of migrant female work, including domestic work and sex work and how working-class women altered the discourse on labor and migration. Her work has appeared in The Austrian History Yearbook and she is currently working on a book manuscript. She also has graduate degrees in English Literature and Biotechnology and diplomas in German, French, and Creative Writing and has taught courses in Biostatistics and graduate-level biology courses, Russian History, American Diplomatic and Religious History, and History of Science and Religion internationally. To learn more about her research, visit her website.
[This post was written in the spring 2018 semester for Karrie Fuller's course on Chaucer’sCanterbury Tales. It responds to the prompt postedhere.]
Geoffrey Chaucer’s Wife of Bath is a potential medieval husband’s worst nightmare: this Canterbury Tales pilgrim is bawdy, aggressively forward with her sexuality, power-hungry, and perhaps most offensively of all, average looking, at best. So terrifying are her confessions of sexual manipulation, that the Pardoner even interupts her Prologue with claims that he is now questioning his own impending marriage: “I was about to wed a wife, alas! / Why should I pay so dearly for it with my flesh?” (166–67, my translation). The Wife of Bath appears to be perpetuating negative portrayals of women; at the same time, she also appears to be satirizing men’s fears and anxieties about their wives and, by extension, all of womankind. Her extremely colorful (read: dirty and borderline-absurdist) humor could render her possibly anti-feminist tendencies to be ironic, along with her ability to engage with clerical knowledge, refusal to conform to restrictive expectations of women’s sexuality, and, ultimately, her ability to gain sovereignty, have been cited by many scholars to argue that the Wife of Bath is a proto-feminist. And certainly, there is ample evidence to suggest that she is—see, for instance, Jessica Ping’s “Big Reputation,” which argues for reading the Wife of Bath as a Taylor Swift–type, who is herself an extremely problematic figure for many modern feminists.
Regardless, for many modern readers, it can be difficult to fully distinguish these subversions of feminine expectations from a reading that understands her as a woman who fulfills all of the medieval man’s worst fears about women. Many readers are caught in a web of interpretations: is the Wife of Bath proto-feminist for wanting control in her marriages? Pseudofeminist for being promiscuous and having five husbands? Or, ironically pseudofeminist to the point of coming back around to feminist? The lack of clarity surrounding whether the Wife of Bath is normative or revolutionary makes it an extremely relevant text for contemporary fourth-wave feminism, which has seen young women, in particular, re-embrace typically “feminine” things that had previously been cast aside in a revolt against feminine expectations.
The character Amy Dunne—of the novel and film Gone Girl—also presents a complicated tension between perpetuation and deconstruction of feminist and anti-feminist tropes. Granted, Amy’s subversion of feminine tropes are far bloodier and terrifying than the Wife of Bath’s, but the plurality of possible readings are the same. Amy herself deconstructs the idea of the “Cool Girl”—the idealized woman she tried so hard to be—in a now-infamous monologue that appears in both the novel and the film:
Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she’s hosting the world’s biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. (Flynn 222)
Amy, by casting off her “Cool Girl” veneer, becomes a far darker version of the Wife of Bath: she, too, seeks to sexually manipulate the men in her life—via false rape accusations and pregnancies—and commandeer total power by fulfilling every anxiety, every fear that the contemporary man has about women. Chaucer’s medieval everyman fears their wife siphoning their money; Flynn’s contemporary everyman fears “crazy bitches” who ruin their lives with statistically improbable rape accusations and have complete financial power over them because they’ve been emasculated by their inability to be the breadwinner. Gone Girl’s author, Gillian Flynn, has been accused of misogyny because of her portrayal of Amy’s evilness: she lies about being raped on multiple occasions, goes to unbelievable lengths to manipulate the men in her life, and makes the typical “femme fatale” seem lighthearted and playful. Frankly, Amy’s a “psychotic bitch,” but does that make her antifeminist? Or is allowing a feminine character to revel in simply being a “psychotic bitch” without a necessarily political agenda feminist in its own right?
Both Gone Girl and The Wife of Bath’s Prologue are successful in how they tease out complicated questions of femininity and its place in society. What are the boundaries between a good woman, a good feminist, and a good character? These are the questions that force the reader to reconsider their own expectations for and conceptions of gender, which can create a feminist narrative, even if the characters end up not being so. Whether or not a character is feminist might even be an arbitrary question; while much of the discourse surrounding Amy Dunne is centered on feminism, this video from Vanity Fair analyzes her character from a psychological standpoint, with no mention of whether she’s “feminist” or not.
Regardless of Chaucer’s intention when crafting the Wife of Bath’s character as well as his other female characters,a clever modern reader can see she is an embodiment of the most stereotypical fears of men (see Tess Kaiser’s “Chaucer’s Envoy, Gone Girl, and Pseudo-Feminsim” to explore the question of feminism and pseudo-feminism in The Clerk’s Tale]. In her Prologue, the wife of Bath says “I had [my husbands] wholly in my hand / and since they had given me all their land, / Why should I take heed to please them, / Unless it were for my profit and pleasure?” (Chaucer 211–14, my translation). The Wife of Bath, claiming to use her husbands for their assets and control them with sex, plays off the same core of insecurity that Amy does: sexuality and power dynamics within marriage. The manifestations are different, but there is still some universal commentary about the nature of men—and, almost necessarily, the nature of women—that’s being made by how they toy with and fuel those fears.
Above all, the Wife of Bath and Amy are threatening because they are coded as typically masculine: they’re strong, and complicated, and clever, and crave power. Whether it’s feminist to defy gender norms or anti-feminist to suggest that the only strong woman is a masculine woman is precisely Flynn’s point; whatever Chaucer’s intention was, a modern reading of a medieval character is clearly inspirational to imagined gender relations. The strength of The Wife of Bath’s Tale and Gone Girl is that neither of them are clear-cut; the reader is forced to confront their own opinions about gender.
University of Notre Dame
Chaucer, Geoffrey. The Canterbury Tales. Edited by Robert Boenig and Andrew Taylor, 2nd ed., Broadview editions, 2012.
Flynn, Gillian. Gone Girl. New York, Broadway Books, 2012.
Many readers may not be familiar with the figure of Asenath, though she made her debut for modern audiences in DreamWorks Animation’s film Joseph: King of Dreams (released in 2000 as the prequel to The Prince of Egypt (1998)).
She is mentioned just three times in the Book of Genesis as the “daughter of Potiphera, priest of On” whom Pharaoh gave to Joseph as a wife (41:45). Before the seven years of famine came to Egypt, as predicted by Joseph, she bore two sons (41:50) who are named Manasseh and Ephraim (46:20). Asenath is thus remembered as occupying an important place in the genealogy of Israel.
Despite scant mention of her in the biblical text, however, she had quite a life outside of it. Judaic commentators were driven to explain how Jacob’s lineage could rightfully be passed through a non-Hebrew woman, and the first attempt made was among the Jewish Diaspora in Egypt, probably in Alexandria, around the time of Trajan’s rule (98-117 A.D.) (Burchard 104). Written in Greek, some scholars have placed the text among the Pseudepigrapha (though the work does not purport to have been written by anyone in particular); while others view it as an example of Midrashic tradition (Dwyer 118); and still others consider it to be a Hellenistic romance (Pervo 175; Heiserman 184-186). From the multi-cultural hub of Alexandria, the text passed through Christian hands into a myriad of Near-Eastern and European languages (Peck 2). It was quickly subsumed into Byzantine hagiography (Dwyer 118). And in the twelfth century, it was translated twice into Latin, once possibly at Canterbury, and it was this version that became the basis of a Middle English translation (Reid, “Female Initiation” 138).
TheStorie of Asneth was translated into Middle English sometime during the first half of the fifteenth century in a West Midlands dialect (Peck 3). The only surviving copy we have of the text, though, is preserved in Huntington Library, MS Ellesmere 26. A. 13., copied sometime around 1450 or 1460 (Peck 9). The text can be found on ff. 116r-127r.
The manuscript can be divided into three parts. The first (ff. i r-v v) is in the hand of John Shirley (c. 1366-1456), book dealer and scribe famous for his copies of Chaucer, Lydgate, Hoccleve, and Trevisa. His section contains some devotional verse and poetry by Lydgate, a few lines of Chaucer’s Troilus and Criseyde with some additions from Petrarch, and some lines from John Walton’s translation of Boethius’s De consolatione Philosophiae. The second part (ff. 1r-115v) of the manuscript is in a different hand and includes a few more short poems by Lydgate but mainly consists of Hoccleve’s Regement of Princes. The third part is taken up by The Storie of Asneth, written in yet another hand (Hume 55). By all accounts, the manuscript appears to be a composite, but just when the three parts were bound together is difficult to ascertain.
The entire digitized manuscript may be viewed here.
What is most interesting is that on the verso side of f. v, Shirley fashioned a bookplate that displays the names of sisters Margaret and Beatrice Lynne as well as his own. Shirley married Margaret at some point between 1421 and 1441, so it has been posited that he gave the first section of the manuscript to the sisters as a gift (Peck 2-3). In the second part of the manuscript, there is also a reference (f. 115r) to “Aluredo Corneburgh de Camera Regis,” written, it would appear, in Shirley’s hand. Avery Cornburgh was a Yeoman of the Chamber to King Edward IV and was wed to Beatrice sometime between 1459 and 1467, likely bringing into this arrangement section two of the manuscript. Shirley and Cornburgh seem to have known one another and eventually joined themselves to the same family. It makes commensurate sense, then, that the first two parts were bound together, and it is quite possible that at this time, the third section was added, though this cannot be verified (Hume 55-56).
Huntington Library, MS Ellesmere 26. A. 13. has, then, a strong connection to two literate, book-owning women, and in fact, another name appears in the margins (f. iii v)—“Elizabeth Gaynesford,” a friend of Beatrice. Thus, the book may even have circulated among a close-knit group of female readers. The circumstances surrounding the production of the Middle English Storie of Asneth are no less interesting. In her article “Patroness of Orthodoxy: Elizabeth Berkeley, John Walton, and the Middle English Storie of Asneth, a West Midlands Devotional Text,” Heather Reid has mounted considerable evidence that points to Elizabeth Beauchamp (née Berkeley), Countess of Warwick (1386-1422) as patroness of the Middle English text, having engaged her cleric, John Walton, an Augustinian canon at Osney Abbey, as translator. We can observe a decidedly female interest in vernacular translation of this text on the other side of the Channel as well. Vincent of Beauvais included an abbreviated version of Asenath’s story in his Speculum historiale (1253), and in 1332, Jeanne de Bourgogne, wife of Philippe VI de Valois (r. 1328-1350), commissioned Jean de Vignay to translate this text into French, producing the Miroir historial (Lusignan 497-498). So what made the account of Asenath so attractive to female readers?
First of all, the narrative tells how Asenath comes to love Joseph. Born the beautiful daughter of the priest of Heliopolis, a powerful position, she is haughty and refuses all suitors. When asked by her parents if she would marry Joseph, Pharaoh’s right-hand man, who will just so happen to be paying them a visit, she balks at the idea. But when she watches him approach from her tower, she begins to feel the pangs of lovesickness. To add to the intrigue, though, Joseph spurns her, rejecting any woman who does not worship his God. Asenath is distraught and locks herself in her room, fasting and donning the sackcloth and ashes of repentance amidst her wails of lamentation. Eventually, she throws the household idols and all religious paraphernalia out the window. And after a significant period of such penance, she stands one night at her window and prays to the Hebrew God, converting, as it were, to Judaism. She is then graced with a mystical experience as a beautiful man appears to come down from Heaven, “a prince of Godis hous, and of Hys hevenly ost” (l. 420). He tells her to clean herself and change her clothes, for she will marry Joseph. Dressed afresh, Asenath demonstrates her hospitality by offering to get him some bread and wine from the cellar. He asks instead that she bring him a honeycomb, and she is upset because she knows there is none. He tells her to go check nonetheless, and lo, a honeycomb is present. Together, they share the honeycomb, about which she is told that
[…] blessed be thei that come to God in holy penance,
For thei schul ete of this comb, that bees made of Paradise,
Of the dew of rosis there, that are of gret plesance.
The angelis of God schul ete also this comb of prise,
And who that eteth of the same schal never dye in no wise. (ll. 545-549)
As soon as the “man com doun fro hevene” (l. 415) departs, Joseph returns to the house. He has received knowledge in a dream that Asenath is to be his wife, and the very next day Pharaoh marries them. We are then told: “And after Joseph knewe his wyf and sche conceived sone, / And bar Manasses and Effraim – this was here procreacion” (ll. 682-683). The remainder of the story deals with a threat upon Joseph’s life and a dramatic combat.
The text reads like a romance—ever a much-loved genre—but it is also biblically based and hagiographical in tenor. The Storie of Asneth shares similarities with accounts of heroic Old Testament women, like those found in the books of Ruth, Esther, Tobit, and Judith (West 76). And as Susan Bell notes, “Throughout the Middle Ages, following the teachings of the early Christian fathers, women were exhorted to model themselves on biblical heroines” (158). In one sense, the text could have been conceived of as an exemplum, demonstrating the “ethical virtues” of “self-discipline, penitence, humility” (Kee, “The Socio-Religious Setting” 185). Such a didactic yet romantically appealing narrative could have served well for instruction within a household (Peck 4-5). In the first section of her article “The Storie of Asneth: A Fifteenth-Century Commission and the Mystery of Its Epilogue,” Cathy Hume also demonstrates that the Middle English Storie of Asneth reflects fifteenth-century trends in hagiography and textual consumption, particularly by women, and she argues that what made the text so well received is that it presents an exemplary account of pious married life. The text shows that women can be religious and married, not forced to choose between the two, something that we know real women struggled with, like Margery Kempe. This makes figures like Asenath more imitable, a subject upon which Catherine Sanok has also had much to say. In an earlier article (“Female Initiation Rites and Women Visionaries: Mystical Marriage in the Middle English Translation of The Storie of Asneth”), Heather Reid discusses the text also in relation to accounts of women visionaries and writes a great deal about Asenath with respect to sacred marriage, chastity, and mysticism—all important topics also for this time period, as Dyan Elliott likewise attests. However, Asenath’s actual marriage to Joseph is also quite intriguing.
Asenath is an admirable young woman but so too is her relationship with Joseph, though little has been said about the spirituality of her human marriage. However, for the majority of the female lay readership of Asenath’s story, this would have been the subject of more immediacy. When Joseph comes to see Asenath after her conversion—both having received a vision from God—he “[…] streihte out his hand, and loveli gan her brace. / Thei kiste then bothe in same with cuntenance excellent” (ll. 621-622). Asenath welcomes him, as she did before, yet this time she moves to wash his feet, a gesture reminiscent of Christ towards his disciples. She tells Joseph, “I schal hem wasshe […] / Thi feet ar myn owne feet, thi handdis also with alle, / And thi soule ys my soule: thu are thn myn owen fere” (ll. 627, 630-631). While she exhibits humility towards Joseph by washing his feet, she also declares their relationship to be reciprocal: he is hers as much as she is now his. For all intents and purposes, she describes the two of them to be the biblical “duo in carne una” (Mark 10:8). This paints a rather encouraging picture of human love and marriage; indeed, it is the prelapsarian ideal in its parity. For a fifteenth-century female audience engaging with this text, this is not only enlightening and inspirational; it is also empowering. The union Asenath is establishing with Joseph is Edenic in quality, and this is something for which Joseph also seems to strive. Both are represented as exceptional human beings who achieve an extraordinary relationship, and their union is one in which God is the center. In fact, their marriage is brought about through God, once Asenath—who possesses a noteworthy degree of control over her own destiny—decides to dedicate herself to “the heyhe Lord God of Joseph, almyhti in His throne” (l. 349). And the bond produced from such a relationship is one of equal affection and regard, of selflessness and charity. The presentation of marriage in The Storie of Asneth is one in which both parties are able to honor God through their relationship with one another, a union not only approved of, but promoted by God—something that would have resonated well.
On so many counts, The Storie of Asneth would have been a captivating text for a fifteenth-century female readership. Women were in no way ignorant of the fact that they endured the insidious yoke of patriarchy in both temporal and spiritual spheres, even though Judeo-Christian theology is very clear that women’s souls are equal. It is no surprise, for instance, that Catherine of Alexandria was such a popular saint, as discussed in a blog post by Mary Helen Galluch. Asenath is less radical than Catherine, though, in her devotion. And she weds and continues the family line, marrying, as it were, piety and the lay life—much as many medieval women did.
But her example lends a dignity to the lay life, and there are a number of parallels between Asenath’s actions in the text and those of the righteous woman of Proverbs 31. While on the one hand, Asenath remains circumscribed by patriarchal society (as the woman of Proverbs 31 is also) and can be seen as something of a safe, contained model; on the other hand, her claim to be Joseph’s peer in marriage and her exemplary conduct as a human being (regardless of gendered expectations) bring her far above the level of vessel and drudge. She is not a beautiful but passive romance heroine, for she energetically shows physical charm to be of far less importance than virtuous actions and that “a woman who fears the Lord is to be praised” (Proverbs 31:30).
Hannah Zdansky, Ph.D.
University of Notre Dame
Bibliography (Cited and/or Suggested):
“The Storie of Asneth.” Heroic Women from the Old Testament in Middle English Verse. Ed. Russell A. Peck. Kalamazoo: Medieval Institute Publications, 1991. 1-23.
Bell, Susan Groag. “Medieval Women Book Owners: Arbiters of Lay Piety and Ambassadors of Culture.” Womenand Power in the Middle Ages. Ed. Mary Erler and Maryanne Kowaleski. Athens: University of Georgia Press, 1988. 149-187.
Burchard, Christoph. “The Importance of Joseph and Aseneth for the Study of the New Testament: A General Survey and a Fresh Look at the Lord’s Supper.” New Testament Studies 33 (1987): 102-134.
Douglas, Rees Conrad. “Liminality and Conversion in Joseph and Aseneth.” Journal for the Study of the Pseudepigrapha 3 (1988): 31-42.
Dwyer, R. A. “Asenath of Egypt in Middle English.” Medium Aevum 39 (1970): 118-122.
Elliott, Dyan. SpiritualMarriage: Sexual Abstinence in Medieval Wedlock. Princeton: Princeton University Press, 1993.
Hartman, Geoffrey. “Midrash as Law and Literature.” The Geoffrey Hartman Reader. New York: Fordham University Press, 2004. 205-222.
Heiserman, Arthur R. The Novel before the Novel: Essays and Discussions about the Beginnings of Prose Fiction in the West. Chicago: University of Chicago Press, 1977.
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Kee, Howard C. “The Socio-Cultural Setting of Joseph and Aseneth.” New Testament Studies 29 (1983): 394-413.
Kee, Howard C. “The Socio-Religious Setting and Aims of ‘Joseph and Asenath.’” Society of Biblical Literature 1976 Seminar Papers. Ed. George MacRae. Missoula: Scholars Press, 1976. 183-192.
Kraemer, Ross Shepard When Aseneth Met Joseph: A Late Antique Tale of the Biblical Patriarch and His Egyptian Wife, Reconsidered. Oxford: Oxford University Press, 1998.
Lipsett, B. Diane. “Aseneth and the Sublime Turn.” Desiring Conversion: Hermas, Thecla, Aseneth. Oxford: Oxford University Press, 2011. 86-122.
Liptzin, Sol. “Lady Asenath.” Biblical Themes in World Literature. Hoboken: KTAV Publishing House, Inc., 1985. 62-73.
Lusignan, Serge. « Le temps de l’homme au temps de monseigneur saint Louis : le Speculum historiale et les Grandes Chroniques de France ». Vincent de Beauvais : Intentions et réceptions d’une œuvre encyclopédique au Moyen-Âge. Ville Saint-Laurent, Québec : Les Éditions Bellarmin, 1990. 495-505.
Nisse, Ruth. “‘Your Name Will No Longer Be Aseneth’: Apocrypha, Anti-Martyrdom, and Jewish Conversion in Thirteenth-Century England.” Speculum 81 (2006): 734-753.
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Pervo, Richard I. “Joseph and Asenath and the Greek Novel.” Society of Biblical Literature 1976 Seminar Papers. Ed. George MacRae. Missoula: Scholars Press, 1976. 171-181.
Reid, Heather A. “Female Initiation Rites and Women Visionaries: Mystical Marriage in the Middle English Translation of The Storie of Asneth.” Women and the Divine in Literature before 1700: Essays in Memory of Margot Louis. Ed. Kathryn Kerby-Fulton. Victoria, British Columbia: ELS Editions, 2009. 137-152.
Reid, Heather A. “Patroness of Orthodoxy: Elizabeth Berkeley, John Walton, and the Middle English Storie of Asneth, a West Midlands Devotional Text.” Devotional Culture in Late Medieval England and Europe: Diverse Imaginations of Christ’s Life. Ed. Stephen Kelly and Ryan Perry. Turnhout: Brepols, 2014. 405-441.
Sanok, Catherine. Her Life Historical: Exemplarity and Female Saints’ Lives in Late Medieval England. Philadelphia: University of Pennsylvania Press, 2007.
Vikan, Gary. “Illustrated Manuscripts of the Romance of Joseph and Aseneth.” Society of Biblical Literature 1976 Seminar Papers. Ed. George MacRae. Missoula: Scholars Press, 1976. 193-208.
West, S. “Joseph and Asenath: A Neglected Greek Romance.” The Classical Quarterly 24 (1974): 70-81.