Courtly Love

Courtly love as a literary phenomenon reflects one of the most far-reaching revolutions in social sensibility in Western culture--

the dramatic change in attitude towards women that began in the late eleventh century, spread throughout western and northern Europe

during the twelfth century, and lingered through the Renaissance and on into the modern world where traces can still be found. In its

essential nature, courtly love, or fin' amors, as the Provencal poets called it, was the expression of the knightly worship of a refining

ideal embodied in the person of the beloved. Only a truly noble nature could generate and nurture such a love; only a woman of

magnanimity of spirit was a worthy object. The act of loving was in itself ennobling and refining, the means to the fullest expression

of what was potentially fine and elevated in human nature.

More often than not, such a love expressed itself in terms that were feudal and religious. Thus, just as a vassal was expected to

honor and serve his lord, so a lover was expected to serve his lady, to obey her commands, and to gratify her merest whims. Absolute

obedience and unswerving loyalty were critical. To incur the displeasure of one's lady was to be cast into the void, beyond all light,

warmth, and possibility of life. And just as the feudal lord stood above and beyond his vassal, so the lady occupied a more celestial

sphere than that of her lover. Customarily she seemed remote and haughty, imperious and difficult to please. She expected to be

served and wooed, minutely and at great length. If gratified by the ardors of her lover-servant, she might at length grant him her

special notice; in exceptional circumstances, she might even grant him that last, longed-for favor. Physical consummation of love,

however, was not obligatory. What was important was the prolonged and exalting experience of being in love.

It was usually one of the assumptions of courtly love that the lady in question was married, thus establishing the triangular pattern

of lover-lady-jealous husband. This meant that the affair was at least potentially adulterous, and had to be conducted in an atmosphere

of secrecy and danger. The absolute discretion of the lover was therefore indispensable if the honor of the lady were to be preserved.

Though the convention did not stipulate adultery as a sine qua non, it is nevertheless true that the two great patterns of courtly love in

the Middle Ages--Tristan and Isolt and Lancelot and Guenevere--both involved women who deceived their husbands.

Implications of Courtly Love

What practical effect did the convention of courtly love have on the situation of women in the Middle Ages? Very little, if we are

to believe social historians, who point out that there is no evidence to show that the legal and economic position of women was

materially enhanced in any way that can be attributed to the influence of fin' amors. In a broader cultural context, however, it is

possible to discern two long range effects of courtly love on western civilization. For one thing, it provided Europe with a refined and

elevated language with which to describe the phenomenology of love. For another, it was a significant factor in the augmented social

role of women. Life sometimes has a way of imitating art, and there is little doubt that the aristocratic men and women of the Middle

Ages began to act out in their own loves the pattern of courtly behavior they read about in the fictional romances and love lyrics of the

period. The social effect was to accord women preeminence in the great, central, human activity of courtship and marriage. Thus

women became more than just beloved objects--haughty, demanding, mysterious; they became, in a very real sense, what they have

remained ever since, the chief arbiters of the game of love and the impresarios of refined passion.

Toward the end of the Middle Ages, in the work of Dante and other poets of the fourteenth century, the distinction between amor

and caritas became blurred. Chaucer's Prioress ironically wears a brooch on which is inscribed, "Amor Vincit Omnia" ("Love

Conquers All"). The secular imagery of courtly love was used in religious poems in praise of the Virgin Mary. The lover with "a

gentle heart," as in a poem by Guido Guinizelli, could be led through a vision of feminine beauty to a vision of heavenly grace. One of

Dante's greatest achievements was to turn his beloved, seen primarily in physical, worldly, courtly love terms in his early work, La

Vita Nuova, into the abstract, spiritualized, religious figure of Beatrice in The Divine Comedy.

Adapted from A Guide to the Study of Literature: A Companion Text for Core Studies 6, Landmarks of Literature, ©English Department, Brooklyn College.

http://academic.brooklyn.cuny.edu/english/melani/cs6/love.html 1/2/12

De Arte Honeste Amandi [The Art of Courtly Love], Book Two: On the Rules of Love 1. Marriage is no real excuse for not loving. 2. He who is not jealous cannot love. 3. No one can be bound by a double love. 4. It is well known that love is always increasing or decreasing. 5. That which a lover takes against his will of his beloved has no relish. 6. Boys do not love until they arrive at the age of maturity. 7. When one lover dies, a widowhood of two years is required of the survivor. 8. No one should be deprived of love without the very best of reasons. 9. No one can love unless he is impelled by the persuasion of love. 10. Love is always a stranger in the home of avarice. 11. It is not proper to love any woman whom one should be ashamed to seek to marry. 12. A true lover does not desire to embrace in love anyone except his beloved. 13. When made public love rarely endures. 14. The easy attainment of love makes it of little value; difficulty of attainment makes it prized. 15. Every lover regularly turns pale in the presence of his beloved. 16. When a lover suddenly catches sight of his beloved his heart palpitates. 17. A new love puts to flight an old one. 18. Good character alone makes any man worthy of love. 19. If love diminishes, it quickly fails and rarely revives. 20. A man in love is always apprehensive. 21. Real jealousy always increases the feeling of love. 22. Jealousy, and therefore love, are increased when one suspects his beloved. 23. He whom the thought of love vexes, eats and sleeps very little. 24. Every act of a lover ends with in the thought of his beloved. 25. A true lover considers nothing good except what he thinks will please his beloved. 26. Love can deny nothing to love. 27. A lover can never have enough of the solaces of his beloved. 28. A slight presumption causes a lover to suspect his beloved. 29. A man who is vexed by too much passion usually does not love. 30. A true lover is constantly and without intermission possessed by the thought of his beloved. 31. Nothing forbids one woman being loved by two men or one man by two women. http://teacherweb.com/OH/WatkinsMemorialHighSchool/MrsWhitson/TherulesofCourtlylove.pdf

Knight’s Code of Chivalry

Knight’s Code of Chivalry A knight was expected to have not only the strength and skills to face combat in the violent Middle Ages but was also expected to

temper this aggressive side of a knight with a chivalrous side to his nature. There was not an authentic Knight’s Code of Chivalry as

such - it was a moral system which went beyond rules of combat and introduced the concept of Chivalrous conduct - qualities idealized

by knighthood, such as bravery, courtesy, honor, and gallantry toward women.

Knight’s Code of Chivalry dating back to the Dark Ages The Knight’s Code of Chivalry was part of the culture of the Middle Ages and was understood by all. A Code of Chivalry was

documented in 'The Song of Roland' in the Middle Ages Knights period of William the Conqueror who ruled England from 1066. The

'Song of Roland' describes the 8th century Knights of the Dark Ages and the battles fought by the Emperor Charlemagne. The code has

since been described as Charlemagne's Code of Chivalry. The Song of Roland was the most famous 'chanson de geste' and was

composed between 1098-1100, describing the betrayal of Count Roland at the hand of Ganelon, and his resulting death in the Pyranee

Mountains at the hands of the Saracens. Roland was a loyal defender of his liege Lord Charlemagne and his code of conduct a

description of the meaning of chivalry.

The Knight’s Code of Chivalry and the vows of Knighthood The Knight’s Code of Chivalry described in the Song of Roland and an excellent representation of the Knight’s Codes of Chivalry are

as follows:

To fear God and maintain His Church

To serve the liege lord in valour and faith

To protect the weak and defenseless

To give succor to widows and orphans

To refrain from the wanton giving of offence

To live by honor and for glory

To despise pecuniary reward

To fight for the welfare of all

To obey those placed in authority

To guard the honor of fellow knights

To eschew unfairness, meanness and deceit

To keep faith

At all times to speak the truth

To persevere to the end in any enterprise begun

To respect the honor of women

Never to refuse a challenge from an equal

Never to turn the back upon a foe

The Knight’s Code of Chivalry and the legends of King Arthur and Camelot The ideals described in the Code of Chivalry were emphasized by the oaths and vows that were sworn in the Knighthood ceremonies of

the Middle Ages and Medieval era. These sacred oaths of combat were combined with the ideals of chivalry and with strict rules of

etiquette and conduct. The ideals of a Knight’s Code of Chivalry was publicized in the poems, ballads, writings and literary works of

Knights authors. The wandering minstrels of the Middle Ages sang these ballads and were expected to memorize the words of long

poems describing the valour and the code of chivalry followed by the Medieval knights. The Dark Age myths of Arthurian Legends

featuring King Arthur, Camelot and the Knights of the Round Table further strengthen the idea of a Knights Code of Chivalry. The

Arthurian legend revolves around the Code of Chivalry which was adhered to by the Knights of the Round Table - Honor, Honesty,

Valour and Loyalty.

Knight’s Code of Chivalry described by the Duke of Burgandy The chivalric virtues of the Knights Code of Chivalry were described in the 14th Century by the Duke of Burgandy. The words he chose

to use to describe the virtues that should be exhibited in the Knights Code of Chivalry were as follows:

Faith

Charity

Justice

Sagacity

Prudence

Temperance

Resolution

Truth

Liberality

Diligence

Hope

Valour

http://www.middle-ages.org.uk/knights-code-of-chivalry.htm

Medieval Romance Name:

ENG IV Period:

Date:

Directions: Using online sources or the handouts given to you by your teacher, answer the following questions. Study these to assist

you with upcoming quizzes, tests, and/or papers. By the time you finish this study and read the related literature, you should be able

to clearly and thoroughly answer the question: In what ways do “Sir Gawain and the Green Knight” and “Le Morte d’ Arthur

portray characteristics of the Medieval Romance?

Medieval Romances are also known as Chivalric Romances

1. What is a medieval or chivalric romance?

2. Compare medieval romances with epics.

Epics Medieval Romance

3. Characteristics of Medieval Romances

In your textbook, read the “Focus Your Reading” section on p. 209. Make a list of characteristics of a Medieval Romance.

4. What are some of the most famous medieval romances of Britain? (Name 2)

5. What is the difference in “verse” and “prose”?

6. Which of the titles listed in #3 is written in verse?

7. Which of the titles listed in #4 is written in prose?

8. What is courtly love?

9. What is Arthurian Legend?

10. What is Chivalric Code?