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Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

50 Shades of Courtly Love

What is Medieval Courtly Love? 

By: Shyanne Sarris

Manessiche Liederhandschrift , fol. 249v.. early XIV.. Artstor, library.artstor.org/asset/AWSS35953_35953_31694353

Courtly love was a European phenomenon that occurred due to the troubadours (one of a class of lyric poets and poet-musicians often of knightly rank… whose major theme was courtly love) (Merriam-Webster). “When courtly poetry flourished, in the High Middle Ages, it was basically oral literature; it was never read in private, but always recited in public to the accompaniment of music” (Moller). Medieval courtly love was an art that involved combining nobility and the practices of chivalry, within the courts across Europe during the 11th through the 14th centuries (Mark). Courtly love generally took place between a married woman and an unmarried man; however, one central aspect to note is that courtly love, though carnal, was rarely ever consummated (Herbert 3). The reason being is, “ Modern authors have unanimously realized that the consummation of courtly love would mean adultery” (Herbert 3). The consummation of courtly love would be problematic, because adultery was a sin.

The Rules of Courtly Love:

Andreas Cappelanus was a French, twelfth century author who wrote on the concepts of love. Cappelanus’ book,The Art of Courtly Love, was written at the behest of Marie de Champagne, the daughter of Louis VII of France and Eleanor of Aquitaine. According to Cappelanus, there are thirty-one rules regarding the game of courtly love (Cappelanus 185-186):

  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 the 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 would 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 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 
Manessiche Liederhandschrift , fol. 251r.. early XIV.. Artstor, library.artstor.org/asset/AWSS35953_35953_31694307

How is Courtly Love Different from Modern Love?

Though courtly love spawned the current form of romance and love, it is different in principle from the love of modernity. Modern love is complicated, even more so than courtly love. Due to the progressive LGBTQ+ community love takes many shapes, forms and genders. It is not as simple as a man or woman wooing one another. After the initial ‘spark,’ individuals begin to spend time with one another, because they want to. This time spent together eventually develops into what modernity refers to as love. Then, after both parties feel they are in love, one (or both) propose to the other and marriage generally follows. For medieval courtly love to occur, however, the woman was usually already married. In the medieval time period, marriage does not equal love. Marriage was generally a contract between two parties and the woman was the property of the man. And, according to Cappelanus’ first rule of courtly love, “marriage is no real excuse for not loving.” So, as a result of loveless marriage, individuals sought love (usually without consummation) with individuals outside of the marriage party. For the modern ideals of love, because our societies are largely monogamous, courtly love would still be considered cheating or adultery. 

What are some Medieval Texts that Address Courtly Love? 

Because poetry and stories were widely spread via oral performances it is assumed that the most popular of anecdotes were the ones eventually recorded on paper. Two prominent examples of courtly love in literature is Marie de France’s Lanval and Sir Gawain and the Green Knight. Both these pieces, among others, explore the rules and boundaries of courtly love. 

Why is Courtly Love Valid in Modernity? 

Pen, ink, words and paper are more powerful than the sword or span of time. Written records not only record culture, but transform it. In C.S. Lewis’ book The Allegory of Love, he stresses, “that the very notion of romantic, or passionate, love, or however you want to call it, was basically alien to all culture until the 11th century when Provençal poets created it” (Gobry). It is the power of poetry and stories that created romantic idealism. It is thanks to the written word that the notion of romantic love is woven into current culture. Recorded stories like Lanval and Sir Gawain and the Green Knight are some of the first in the genre of romance. It is important to understand the origins of courtly love, for from courtly love was born the Romance genre known and loved by the people of the twenty-first century. Without the work of twelfth century “troubadours [and] poet-minstrels” who knows if we would have our great romantic authors (Troubadour). 

Works Cited:

Gobry, Pascal-Emmanuel. “Courtly Love And “The Traditional Family.”” Patheos, 21 January 2015. Accessed 19 October 2019. https://www.patheos.com/blogs/inebriateme/2015/01/courtly-love-and-the-traditional-family

Mark, Joshua J. “Courtly Love.”Ancient History Encyclopedia. Ancient History Encyclopedia, 03 Apr 2019. Accessed 19 Oct 2019.

Moller, Herbert. “The Meaning of Courtly Love.” The Journal of American Folklore, vol. 73, no. 287, 1960, pp. 39–52. JSTOR, www.jstor.org/stable/537601.

Troubadour. Merriam-Webster. Accessed 19 October 2019. https://www.merriam-webster.com/dictionary/troubadour.  

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