Leman (pronounced lem-uhn or lee-muhn)
(1) A sweetheart; lover; beloved.
(2) A mistress.
(3) As Lac Léman, the French name for Lake Geneva.
1175-1225: From the Middle English lemman (loved one of the opposite sex; paramour, lover; wife (and also (1) "a spiritually beloved one; redeemed soul, believer in Christ; female saint devoted to chastity; God, Christ, the Virgin Mary" & (2) "a term of intimate address to a friend or lover")), variant of leofman, from the Old English lēofmann (lover; sweetheart; attested as a personal name), the construct being lief + man (beloved person). Lief was from the Middle English leef, leve & lef, from the Old English lēof (dear), from the Proto-Germanic leubaz. It was cognate with the Saterland Frisian ljo & ljoo, the West Frisian leaf, the Dutch lief, the Low German leev, the German lieb, the Swedish and Norwegian Nynorsk ljuv, the Gothic liufs, the Russian любо́вь (ljubóv) and the Polish luby. Man is from the Middle English man, from the Old English mann (human being, person, man), from the Proto-Germanic mann (human being, man) and probably ultimately from the primitive Indo-European man or mon (man). The origins of the use of "Dear" as a salutation in letters (a convention some preserve in email though apparently not in other digital comms) is thought derived ultimately from the the Old English leofman (the construct being leof (dear) + man) as a term of intimate address to a friend or lover.
Bader Shammas (b 1987) and his leman.
A linguistic relic, leman applied originally either to men or women and had something of a romantic range. It could mean someone of whom one was very fond or something more although usage meant the meaning quickly tended to the latter; a sweetheart or paramour. In the narrow technical sense it could still be applied to men although it has for so long been a deliberate archaic device and limited to women, it would be confusing. It tends now to be used as a term of disparagement against women in the same way a suggestion of the mendacious is thought a genteel way to call someone a liar. In early-modern English, alternative spellings did emerge, lemman between the thirteenth and seventeenth centuries and remarkably, lemon in the fifteenth and sixteenth. No explanation for lemon in this context has emerged and it may have been an imperfect echoic. The word certainly had a curious path on its way to obscurity, beginning as meaning "one's beloved", it came to be applied to God, Christ, the Blessed Virgin and other notables of Christianity before being specifically re-purposed around the turn of the fourteenth century to mean "one's betrothed" yet by the late 1500s it had acquired the at the turn of the sense of a "concubine or mistress".
The Faerie Queene (1590) by Edmund Spenser (circa 1552-1599)
Woodcut illustration for Book II (Cantos VII-XII) of the Faerie Queene.
As long ago as the late sixteenth century, leman was rare word, supplanted by other forms, some gender-specific. However, that very quality of the obsolescent made it attractive as a literary device for those seeking some historic flavor, the use exemplified in The Faerie Queene, an epic-length poem recounting tales of knightly exploits. Written in a deliberately archaic style, Spenser merged history and myth, drawing especially on the Arthurian legends with each of the books an allegorical following of a knight who represents a particular virtue (holiness, temperance, chastity, friendship, justice and courtesy) which will be tested by the plot. It’s long been of interest to Shakespearean scholars because book two appears to be a source for much of King Lear. It’s also attracted the attention of feminist critics.
Such is the crueltie of
womenkynd,
When they have shaken off
the shamefast band,
With which wise Nature did
them strongly bynd,
T’obay the heasts of mans
well ruling hand,
That then all rule and
reason they withstand,
To purchase a licentious
libertie.
But virtuous women wisely
understand,
That they were borne to base
humilitie,
Unlesse the heavens them
lift to lawfull soveraintie.
(Book five)
The
poem is unfinished: Spenser planned twelve books but only six were completed, a
seventh left incomplete.
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