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Giles and the "Wild Woman"
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norwie2010
Giles and the „Wild Woman“

Preface 1: No fic, sorry. These are some meta-y thoughts about Giles, his role on the TV show and his relationship with different women. It is a bit incoherent, jumping from point to point and not restricted to Giles-thoughts. The Master, Wesley, Angel/us, Caleb, Snyder, … all make a short appearance. Oh, and the women, of course: Buffy, Jenny, Faith, Willow





Preface 2: Instead of getting riled up on comics!Buffy, i thought a bit about gender roles in BtVS (the TV show). You know – stuff i love, instead of stuff i despise.



So,to begin with, i state the obvious, just as a remainder. BtVS is a show about women, mostly and how they relate to the world and the overwhelming presence of men in that world – men who rule that world. As i'm sure everybody is aware of, the roles of women in literature are quite a bit more limited than the roles for men – this is especially true for movies and TV shows.

In the beginning, there was man. And then the whore and the virgin. As times went by, a limited scope of other archetypes cropped up, like the femme fatale, the flapper, and then, unfortunately, Maryln Monroe. Now, don't get me wrong – Marylin Monroe is a tragic hero of the real world. Abused, mistreated, cheated on and ultimately destroyed by the surrounding society and work place.

I mention Marylin Monroe since the characters she played exemplify the the break between „the cult of woman“ and the cult of misogyny in pop culture. From sexy to sex bomb. From subject to object. Without the male gaze, Marylin Monroe is nonexistent.  The opposite of her is the „wild woman“, who exists completely without the male gaze – or even male interference or interaction. The „wild woman“ reaches back into time and myth, albeit her male counterpart is more well known, think Enkidu of the Gilgamesh epos, who is untouched by civilization (until he meets Gilgamesh and – consequently – dies). Modern incarnations of the „wild woman“ include „Tank Girl“ (the comics! NOT the movie – blech!), or, in the subject of matter at hand: Faith. Glory.  Willow (fully realized as „Dark Willow“). And, maybe, Buffy. These women (let's exclude Buffy for a moment here) are fully realized without male interference, male guidance or male sexuality.


("Wild Woman with Unicorn", painter unknown, ca. 1500, now Historical Museum Basel, Switzerland)

They are confident, self-reliant, powerful and own their own sexuality. And ultimately brought down by men or their female helpers. Their self-reliance, confidence and power and sexuality is depicted as something to be feared and controlled. To achieve this and lure the audience into conspiracy with the author, the show implements several devices and depicts their strengths in certain ways:

Self-reliance becomes selfish egocentrism, confidence becomes mental illness and psychosis and power becomes a source for and of destruction. Their sexuality becomes a danger to themselves and others.

These are „tricks“ to get the audience to root for the destruction, or at least the taming, of those „wild women“.

Now, when does Norwie start up with Giles? Wasn't this supposed to be about Giles?

So: Giles. Giles role in this play is that of a „tamer“ of the „wild woman“ - sometimes he succeeds, sometimes he doesn't and in the end he is conflicted about his own role in the play, which makes him a very sympathetic character in my book and the reason why i tackle this subject with Giles in mind.
Now, first we have to differentiate between the „tamer“ and the „destroyer“. The „tamer“ became necessary when women got more powerful and self-reliant in pop culture. Think flapper comedies of the 20s.Katherine Hepburn. Oh heck! Go back to good old misogynist Shakespeare: „The Taming of the Shrew“!

Unfortunately for women, there are some of them who are deemed unworthy of taming, and, consequently, have to be destroyed. Think about all the femme fatales of the cinema who end up murdered. Being a woman in pop culture ain't easy folks! Enslaved or murdered, men don't do it otherwise!

There is a whole host of famous destroyers in BtVS:

The Master, Angelus, Caleb. The Master and Angelus cross the border between tamer and destroyer quite fluently, depending on the woman in question and their own outlook on society (The Master tames Darla and tries to destroy Buffy. Angel tames Faith and tries to do the same to Buffy earlier, as well as he tries to destroy Buffy once he becomes fully realized as „Angelus“).

There are also a lot of tamers on the show, who don't cross the border: Snyder, Wesley, Xander. Out of these, only Xander succeeds with Dark Willow – but that scene can be interpreted in a myriad of ways, so i call him an unsuccessful tamer, too (like the other two).

(I left out Spike – not because he doesn't belong here, but because his story is more complicated, since he questions his own role at the end of season 6 and revolutionizes himself to not partake in one of the roles anymore, to become subservient to the female narrative.)

Out of all these male characters, i think Giles is the most interesting, because he IS „The Tamer“ (capital T).

Now, why does the „wild woman“ needs taming? To make her pliant to the male power and world view, to make her a companion to the male ruler, a servant to the male desire. Men, it seems, fear independent women, but suspect that women are individuals, too. Thus the trope of the tamed women is born, and repeated ad nauseam in literature and pop culture. They know that there are „wild women“ out there and turn them into unlikeable villains, or (self-)tamed companions („Valeria“ of Conan the Barbarian fame).

But the free and wild, independent, powerful female is nearly non-existent in pop culture. Whenever such a woman enters a male mind (or play), she has to be the villain or she has to be tamed, to wield to the male desire and power.

This is very apparent in the relationship between Giles and Buffy. Buffy has power, Giles tames her and uses that power for how he sees fit. Buffy is an interesting character in that respect, as it is hinted at that Buffy could be a „wild woman“, too. It is teased in her rebellious streak, but is more „flapper“ than „wild woman“: She is halfway self-tamed by having internalized patriarchal structures. Nonetheless, her narrative is often depicted as the fight against her tamers, destroyers and her internalized self-taming. (Just to pre-empt the happy ending: Buffy runs wild and free at the end of her seven seasons long arc! Yay! Buffy!) Along the road, she meets the temptation of the „wild woman“ in form of Angel, Faith and Spike. Angel is introduced as the temptation, changes into the destroyer and leaves the show as an unsuccessful tamer (but fear not, dear reader: whereas he failed in taming Buffy, he is allowed to succeed with „wild woman Faith“. Poor Faith!). Her adversaries in the form of tamers are Snyder (who obviously fails on a spectacular level), Xander (who equally fails, and becomes content with his failure), Angel (who only succeeds in breaking her heart), Wesley (see: Snyder), The CoW represented by Travers (who is openly rebuked) and, first and last, Giles. And, Giles succeeds for a while, he implants his ideas very successfully into Buffy so that – when confronted with the reality of her inner „wild woman“ represented by Faith, she becomes the destroyer herself, destroying the „wild woman“ in the name of her male superiors. (Tangent: I personally consider Buffy's betrayal of Faith – on the meta level, in-story-wise, there are a lot of „good“ reasons for her to stand against Faith in the end, and please remember what i said about „tricking the audience“ above! - as her gravest misstep on her way to become a self-reliant, independent, powerful woman owning her own sexuality apart from male desire, male guidance, male gaze, male power and male sexuality. Since i'm on a tangent here anyways, i want to reference the blackout scene between Buffy and Spike at the end of season 7: Shrouded from male gaze! Yay!)

So, Giles. What? Of course this is about him! (Just kidding.)

I just love the interaction between „conflicted woman“ Jenny Calendar, and Giles. She is – like Buffy - on the verge of breaking out of her inner tamed status: She tries to escape the patriarchal system of her clan, she is self-reliant, independent, powerful in knowledge (a teacher! Information Technology!) and mystic power (Witchcraft!). While her sexuality is centered around Giles, the tamer – she is the one who initiates the contact, expresses her desire. She is not a fully formed „wild woman“, as she still answers to Enyos and Snyder (as representatives of the patriarchal order) and – sadly - ultimately ends as a typical dead woman in pop culture. But, she is enough of a self-informed person, has enough of a wild streak in her to seriously rattle Giles, as well as being a dangerous opponent to Angelus, who therefore decides to destroy her (a femme fatale, a villain in his eyes). We don't know if Giles would have tried to tame Jenny, as she unfortunately dies before they make any meaningful headway in their relationship in that regard. But i think what we see here is a crack in Giles' armour: Before Jenny, we have seen Giles as the typical tamer, the representative of the patriarchal order, trying (and succeeding) to break up the matriarchal home of Buffy Summers (by excluding her mother from Buffy's life on purpose). Giles is the male stand-in for the male need to control female power, female individuality and self-actualization. Jenny Calendar rattles Rupert Giles – and instead of being revolted, he is intrigued! This woman, who is maybe not everything he stands against, but at least a good chunk of it, gets under his skin. We see that Giles is maybe not entirely comfortable with his role, or at least he is curious, seriously curious about The Other, the female not as a means to his ends, but to understand and form a companionship on a level of equality.

Alas, it is not meant to be. And so Giles stumbles through this play, and his challenges as the tamer. And Buffy is difficult to control, to tame. He hasn't got the time and will and capability to tame the other wild streaks in other women, namely Willow and Faith. He looks away: Someone else should tame these women! He's doing as best as he can in the way patriarchy asks him to do! With Willow, i think he is blind to see that the male narrative asks (him) to tame her, because Willow is a master deceiver. With Faith, he is willfully blind, maybe because he sees her as too far gone to be tamed, but since he isn't a destroyer, nor wants he to be a destroyer, he neglects his male role in the subjugation of women (and thanks for that!).

Once Buffy becomes more self-reliant after high school, he starts to flounder. Was he successful, can he be successful in the taming of the shrew? He thinks he wasn't, and he thinks he cannot control Buffy. But fear not, dear Giles! You were very successful! Buffy totally internalized her own taming. Your work is done here, tamer! But still, Giles doubts (himself). And he tries to change his role: From tamer to tutor, to guide. Of course, these roles are intertwined and we see Giles going back and forth between these roles, unsure of what to do, unwilling to be a tamer again, but also not able to fully embrace his new role without relying on the former role. He was never a tutor before, just a tamer. He doesn't know how to relate to women on a level of equality. On we go to the two seasons, when his inner conflict breaks out fully, when both his best sides, as well as his worst, become fully realized: Season 6 and 7. In season 6, at last he is willing to let Buffy go, to be whatever she wants to be, even a feared „wild woman“, if she desires so. He leaves Buffy to her own devices, he doesn't try to control her anymore. Go! Giles! I knew there was a human being behind that role! Of course, the tragedy here is that Buffy wants a tutor, after her resurrection. And Giles, not knowing how to be a tutor – all he ever was, he has learned to be was  tamer – cannot respond to her call. In the end though, he makes the right call. Since he only knows how to be a tamer, but since he doesn't want to be that anymore, he rather withdraws than staying the oppressor.

For Buffy, this is a cast of fortune. Depressed, desperate and nearly broken she now has the chance to become, to free herself of her chains and run wild! And she tries. Oh how does she try. She goes to the one creature she knows who has no restraints (apart from some tiny clockwork orange problem...). Who seems to be free (Haha! as if!). And Spike is eager to please: He wants Buffy to become a „wild woman“, without (moral) constraints, full of power, confidence and sexuality. Well, he nearly wants that... deep down, of course, he hopes to be able – maybe not to control Buffy – but to steer her, participate in her sexuality, her power. And of course, he is an amoral ass. So, Buffy's first steps onto the road to freedom are difficult. She has her own deep problems, and her chosen companion has a whole set of other deep problems. But, this phase does something wonderful for Buffy: She discovers her inner „wild woman“, something the show describes as „inner darkness“ (and again, gentle reader, i want you to remember what i said about „tricking the audience“ in this play). She becomes Faith and anticipates Dark Willow, so to speak. She's torn between her internalized taming and the things her companion offers. This inner conflict cannot turn out well. Since the show is eager to describe „wild women“ as insane and dangerous, it cannot allow Buffy to break free in this manner. But, Buffy lucks out again: Her companion gets that he is not a fit companion to a „wild woman“ - he is a controlling, needy freak! The miracle that is the diversity of male roles in pop culture strikes again: Spike revolutionizes himself! He transforms himself from destroyer and tamer to supporter. (Well, he goes through that tiny phase of insanity, of course, and needs rescuing on a really grand scale....)

But back to Giles. A shitstorm is brewing, Buffy is trying and there is another „wild woman“ on the loose back in sweet old Sunnyhell: Willow Rosenberg, self-reliant, knowing, owning her sexuality apart from male control and desire, POWERFUL. Willow wants to change the world – and conflicted or not, Giles cannot let this happen! Those women! The world will be destroyed when they try to come into their own! One mustn't allow women independence and power (and just think of  the sexuality – it is unnatural, it is!).

So, The Tamer comes back with a vengeance!  Fortunately – powerful entrances not withstanding – the Tamer actually doesn't succeed fully. While he is able to implant a doubt in the mind of the „wild woman“, he is unable to tame her (that role falls to Xander, of all male characters! Ick!).

And so „wild woman“ Willow is tamed, and brought back into the benevolent hands of patriarchy (or not – but that is a tale for another time).

Where does Giles stand now? Last we've seen him, he tried to give up on his role as the tamer. But now, the narrative asked him to don that mask again. This is rather unfortunate for Giles, since all the progress he made is undone. While he acknowledges that he cannot be the tamer of Buffy anymore, he is further away from being a tutor than ever. And thus comes season 7 and the last act of this play and his role.

Giles tries to be supportive of Buffy, he tells her she is the one who counts, that she has to make her own decisions and shape this world in her image. But, deep down, he cannot trust her: Those women! Better not left to their own devices. He has one last lesson to learn, and he cannot learn this by himself (the history always happens behind the backs of the people involved in it). Buffy, in her generous way, teaches him this last lesson: „No, i think you've taught me everything I need to know“. He either can fall back on his role of tamer, maybe in the more defined role of the manipulator – or he can accept this, Buffy doesn't need a tamer nor a tutor. He chooses the latter, and good for him! Giles ends the play as a human being, instead of a misogynistic jerk.

Buffy is finally free, she has taken the necessary steps to become – a „wild woman“. She has defeated everyone who tried to destroy her and tame her, the destroyers and tamers she thought of as her allies (-> internalized self-taming) have finally reformed and accepted that she is free (and i want to take this moment to remind everyone of Spike, who gave up his own narrative so that Buffy's narrative can continue. The male narrative vanishes, the female narrative stands and goes on. Go! Spike! Err, well. He's not going anywhere, actually).

I have so many more thoughts on the “wild women” of the show, how they are depicted, where the show falls victim to misogynistic clichés in storytelling, where it succeeds in telling a wonderfully different narrative: Faith, Glory, Willow. The best and the worst moments of the show.

But that's for another day.




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As far as Xander, as ever I think you are too harsh on the boy. ;) But regardless, here is my read of Xander at the end of Grave. Well, I have many thoughts about that, as you know. But I think what is IMPORTANT for your analysis here is this. Giles intends to Tame Willow. I don't think Xander does. I think he goes to her because he recognizes that she is in the most pain and needs to be there for her, so that *someone* can be there for her at the end of the world. Buffy has Dawn, he doesn't know what to do with Anya, and Willow is his oldest friend. Does he hope he can talk her down from destroying the world? Yes. But I think he is sincere in expressing his love for her *anyway*. He does block her from firing at the statue, but he opens himself up to her killing him if she wants to. He can’t stop her: all that he can hope to do is to remind her that she is loved and hope that she chooses not to save the world after that. And ultimately, I don't think Willow wants to destroy the world. She wants to live, she wants to be able to forgive herself. But she can't do that -- and it takes affirmation that she is lovable to do that. Is it unfortunate that it comes from a man? ...Perhaps. But as with Spike’s similar transformation in Grave, I consider it very uplifting. He is the one person who could convincingly say that they love “scary veiny Willow,” in addition to loving “crayon-breaky Willow”: Buffy can’t allow herself to love that much “darkness”, for the same reasons she couldn’t allow herself to love them in Faith, Giles HAS to try to tame her, Dawn has to work to preserve herself and her own life and Willow is a threat to her, Anya is deeply confused about who she is and can barely love anyone until she figures that out a little bit more. Like Spike for Buffy, Xander submits to her, and as a result is a conduit for her own self-acceptance, here platonically rather than sexually. There is an edge to that submission, because he still has some story left -- which is told in Selfless and the episodes afterward -- but it is mostly a submission to her Will, letting her know that she has alternate paths available (that she need not hate herself entirely) rather than telling her what to do or forcing her into it.

(Disclaimer: this might be my favourite scene in the series. I’m not joking. I’m such a sap. It is also one of the least action-oriented climactic moments in the series.)

(And you know, I guess I shouldn’t keep pushing here, but: if Spike is so admirable for changing himself and subjugating himself to Buffy’s narrative, surely Xander, who does *not* get a big flaming-hands incredible death scene but recedes further into the background, coming forth primarily to offer consolation to Dawn, a female character who loses her place in Buffy and Willow’s story with the arrival of the potentials, and will have to find her own narrative after the show ends? I suppose the differing reads on Grave contribute to our differences once again! :) )

In vague response to your comment to Emmie above, a few more Willow thoughts! The one other thing worth noting about Dark Willow is that I think, deep down, M.E. are ambivalent about _the world itself_, and recognize that we all on some level are tempted to destroy it or our little corner of it, _ourselves_. Or maybe that’s just me. But more to the point: Willow, in expressing the desire to destroy the world because it is so painful, losing hope that it can bring anything but misery, gives voice to one of the show’s most central questions in a way that Buffy—who on some level, is perhaps *constrained* to be the hero—cannot directly, though she does indirectly in “The Gift,” “Once More, with Feeling” and “Normal Again.” Angel arguably is motivated by some of the same reasons in Becoming, Part 2, but is certainly *not* concerned about anyone but himself (and the woman he can’t destroy). Willow begins with herself, and then extends her own feeling to the whole world, and, interpreting the whole world through her own understanding of life, concludes that life itself is untenable and must be wiped out. Buffy’s inability to stop her is because, I think, Buffy hasn’t yet figured out consciously what it is that makes life worth living for her, though she has gotten to the point of wanting to live through Dawn.

Anyway, I do agree with most of what you say here, but I do also look upon Giles’ role in Grave a little What Giles does for Willow is the other thing he gives for Buffy. He doesn’t merely tame her, but he does give her a mission. It’s not much; he is not particularly good at being a tutor. But he tells her: this is what you can do. You can save people from vampires. He frames it as things she must do, and this is bad. But I think the show ultimately comes down on the side that it is good for Buffy to slay vampires and help people, and that it is good for Buffy to do so, and that she enjoys it. That service to the community, acts of love for other people, are ultimately good. Giles recognizes this, and he passes it on to Buffy, inexpertly. He passes it onto Willow even more directly, by allowing her direct access to the connectedness of the world and the feelings of other people. His power source is from a mystical Coven, which is a power structure but one explicitly female-coded (though sadly, we never meet anyone working there). He can’t quite get past the idea that there has to be a power structure, but he is moving toward accepting matriarchal rather than patriarchal ones.

I think it’s remarkable and a little heartening that Giles’ answer to Willow’s power-freakout is to give her *more* power, rather than less. It’s not his first choice, but it’s one of his choices. He doesn’t hold anything back. He gives her all the knowledge he has, all the power, and hopes that with it she can make the right decisions. It does have the effect of taming her, but it’s more by imparting on her a sense of responsibility. This is still something to be ambivalent about—should Willow, who took years and years to come to the point where she didn’t have to feel “responsible” at every moment, really be saddled with more responsibility?—but the positive read is that she is given opportunity to understand more clearly the way people are connected to each other in a visceral manner, rather than being given a set of contradictory, unhelpful rules that she must abide by in order to be a good girl. This is why I think while Giles isn’t entirely there at the end of season six, it does reflect a step forward, rather than a step back. To the best of his knowledge, he gives Willow everything he knows, all in one fell swoop.

Anyway, back to Giles and “the wild woman” more generally. Giles’ commitment is to “the world.” That is how he states it in _The Gift_. Like Buffy, Giles is given no choice but to fulfill his role in the patriarchal system. And his role is not entirely a bad one. It is perhaps because of the patriarchy that Wild Women are so dangerous -- but ultimately, as articulated before, they are sometimes dangerous. “The world” includes the patriarchal order, and that is probably what the Watchers Council most badly wants to protect. But the world also includes people of both genders, of all walks of life. It includes Buffy. So what is interesting then is that Giles fulfills a role he actually *needs* to fulfill, on some level. Ordinary citizens -- both men and women -- should be protected from any super-powerful individuals. The Watchers Council tells him this part of his mission and he believes that is his entire mission. It isn't. The rest of his mission is to maintain the current order, which is the Patriarchy, as you say. But he believes, and he is not entirely wrong, that he is doing good works. The Watchers Council appeals to his sense of right as well as his sense of order. It appeals to his desire to help people as well as his fear of a demonized other. In a world where Buffy never came to Sunnydale in The Wish, he is tremendously valuable in the fight against evil. So what fascinates me most about Giles is that tension.

Speaking of Giles: his role in Anya’s story is subtle but huge. He is the one who depowers Anyanka; and he is the one who later gives her a job at the Magic Box. The Magic Box is interesting and representative of Giles’ attempt to bridge different worlds. He attempts to use capitalism to connect people with magic, which is coded-feminine, and thus to empower people. It’s a mixture of the (from your political perspective, which I somewhat share but I’m young and can change my mind on a whim) oppressive with the freeing. Anya stands with him right on that border, but he keeps her somewhat subjugated. As with Buffy and Willow, he both offers her the possibility of power, and restricts her growth. While it’s very tempting to view him as entirely a Tamer of her, we also learn as early as Doppelgangland (which is probably the first episode written with Anya as a recurring character in mind) that she was not a “Wild Woman” but had a place within a patriarchal power structure, headed by D’Hoffryn. Anya and internalized patriarchy/misogyny, even while she rails against patriarchy explicitly: such an interesting story!

OK, I'm done. Really, gender is not my primary lens to look at BtVS -- I think, for one thing, that I would have a hard time being objective, especially because of my close identification with Willow and Xander influencing my takes on them to a large degree. I identify with Buffy a lot too, obviously, though later-series Buffy more so. But gender probably really is the central lens for the show, even if it is not one that 'comes naturally' for me as much. I think, in the end, the show is all "about power," as Buffy says, and it favours taking power away from highly entrenched institutions, and favouring giving it to love-based, female-headed communities. Wow, why I am I telling you this? :)

A clarification:

When I say that I think that Willow and Faith (especially) are influenced by the patriarchy/power structures/society in general and this contributes to their evil, I am talking about a very clever merging of form and content, in-show and without. Faith and Willow live in a world that is basically the same as our world, and just as the writers only have a certain number of tropes to call upon and be recognizable as a pop culture story, the characters *themselves* only have a small number of identities that they can understand and latch onto. Faith has to be a bad girl, and so she goes to the Mayor's door. Willow is convinced she can never be forgiven for her trespasses, and doesn't know any other way to be but 'evil' -- because anything resembling good is no longer available to her.

Since Giles resides within the story world in which Wild Women are going to tend to fall into these tropes -- because people, in the Buffyverse, tend to follow roles that are set out for them by others, in some way or another -- does good in some senses by acting as a Tamer of Wild Women. But it is not nearly as good as it would be to let them know there are alternatives to being evil and destructive. To an extent, imperfectly, I *do* think that he does this with Willow in Grave, by giving her all his knowledge & power and hoping that it will show her a different path than the one she believes she has to be on.

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