Contrast Love in Lais and Franks
The theme of love is prevalent throughout Marie de France’s stories in The Lais of Marie de France. De France’s portrayal of love spans many realms—romantic love, friendship, love between a parent and a child, love between lord and vassal, forbidden love. These different types of love also portray life and the overall social structure of medieval Europe. Most notable in The Lais of Marie de France is the theme that spiritual love transcends physicality and worldly material desires. In contrast to The Lais, Gregory of Tours’ History of the Franks presents an exhaustive and valuable look into society at the beginning of the Middle Ages. Coming out of the collapse of the Roman Empire, people of
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It is clear that King Chilperic`s love for Galswinth is due to the fortune that she brings with her, and this is obviously a material-dependent love. At the same time, King Chilperic also loves Fredegund, and this is a physical love because only "within in a few days" after Galswinth`s death Chilperic " had asked Fredegund to sleep with him again" (Franks, IV.28). Chilperic must be so physically driven to Fredegund that he desires to have intercourse with her just after the loss of Galswinth whom he "loved very dearly". Similar examples of these two types of love can be seen throughout the whole book, but they are still merely attachments to worldly pursuits. Therefore, when it comes the time for one to choose between love and material pursuits, love would always be abandoned because it is only an attachment. In the absence of physicality or material desires, love can not exist on its own in The History of the Franks. Take Deuteria for example, "she sent messengers to Theudebert to say: no one can resist you. We accept you as our ruler. Come to our town and do with it what you will" (The History of The Franks, III.22). Once Theudebert comes to rule the town, he meets Deuteria whom he found …show more content…
It is at this very moment when Yonec`s father comes. Her love is initially physical for she constantly demands his presence. However, as the story develops, her love transcends as she tries to follow her wounded lover---"she escaped through a window, but it was a wonder she did not kill herself, for she had to jump a good twenty feet" (The Lais of Marie de France, p90). Instead of passively sitting and weep as what she has been doing for all the previous years, she takes action and jumps out of the window. By doing such she put aside her worldly desire and possessions, and even her own life. Her transcendence eventually is completed at the moment of her husband`s death, after she makes the promise that she will try her very best to fulfill her lover`s last will---revenge. In the absence of her lover`s physical being, her love is purely spiritual, and this spiritual love is so strong that it completely changes her personality. It changes her from an innocent lady who only knows to accept the wrong that her husband has done to her to an appalling assassin who shares for years the same bed with her target just to wait for the right moment to kill. Such tremendous transforming power of love is what spiritual love carries, and it is often through this spiritual love that one
The Art of Courtly Love was written by a monk at the end of the 11th century. The task was put on him to write a guide book so-to-speak for how the wealthy and powerful should go about falling in love, marriage, and things related to it. Obviously, a monk had no personal experience in these matters, so his writings must have been from observed experiences. These writings show how the members of the court truly were in these...
As is custom with Marie De France, her lai “Lanval” presents the idea of a romance in which the power of fairies and/or magic is present and works to aid or hurt the romance in question. In the case of “Lanval” magic and fairies come to the aid of our protagonist Lanval, and ultimately lead to the formation of a romantic relationship in his life. However, Lanval faces a dilemma as he talks of his love to the fairy woman while rejecting the Queen’s love, and thus realizes he will never be able to see his beloved again, as she had told him never to speak of their romance or he would lose her. Luck turns in his favor though, as even after having spoken of their love, his beloved returns and they leave together. Many may speculate as to why Marie
Throughout the Lais of Marie de France there are several themes presented as central to the various stories. Some of these themes are present in all of the lais. One such example is that of courtly love and it’s implications. Courtly love being one of the more prominent themes in all of medieval literature, it is fittingly manifested in all of the lais as well. Another theme present in two of the lais is isolation. The theme of isolation plays a large role in the stories of Guigemar and Lanval. In each of these lais we see isolation as a factor in determining the fates of the central figures. Within each lai isolation is represented on several different occasions, each time having a direct impact on the outcome. These instances of isolation may be seen at times to be similar in nature and consequence, and different at other times. By sifting through both works these instances may be extrapolated and analyzed.
In the book, Marie Antoinette: The Last Queen of France , the author, Evelyne Lever,
...tion of both methods can be used to show France’s idea of what love is. Patrick John Ireland argued that France’s idea of love “is a human force controlled by man with great difficulty; it is a spontaneous, natural, and all-consuming power, the experience of which leads to an almost blind passion at times” (133). To be in love, one must be entirely devoted and passionate to one another to the point of blind passion. This is so for Yonec (the Princess jumps out of the tower) and Lanval (Lanval’s complete rejection of the human world until he is brought into the world of his lover). Not only does France portray love as natural and all-consuming, but also shows the private and unearthly nature of love that cannot be contained to the realm of the human world. Rather, love transcends the boundaries of the human world and enters into a world where love reigns supreme.
Medieval and Renaissance literature develops the concepts of love and marriage and records the evolution of the relation between them. In Chaucer's Canterbury Tales, Christian love clashes with courtly love, as men and women grapple with such issues as which partner should rule in marriage, the proper, acceptable role of sex in marriage, and the importance of love as a basis for a successful marriage. Works by earlier writers portray the medieval literary notion of courtly love, the sexual attraction between a chivalric knight and his lady, often the knight's lord's wife. The woman, who generally held mastery in these relationships based on physical desire and consummation, dictated the terms of the knight's duties and obligations, much like a feudal lord over a vassal. This microcosm of romance between man and woman was anchored by the macrocosm of the bonds among men and their fealty to their lord. The dominance of women and fealty to the leader in courtly love contrasts with the dominance ...
Marie Antoinette Josèphe Jeanne de Habsbourg-Lorraine was born in the mid-eighteenth century as an archduchess and princess, to Maria Teresa, the Austrian Empress, at the very apex of the European hierarchal pyramid. She was an essential part to the oldest royal European house, as it became known that her sole duty in life was to unite the two great powers and long-term enemies of Austria-Hungary and France by marriage. She was brutally overthrown by her own starving people and portrayed to the world as a villain and abuser of power, whereas sympathy for the young queen should be shown.
The story Guigemar demonstrates selfless love and illustrates how this love can be justified even it is adulterous. Guigemar, a king from Brittany, travels on a boat to a new kingdom, meets a lovely woman when he arrives, and begins to fall in love with her: “Love struck him to the quick;/ great strife was in his heart” (379-380).
In a relationship, Love is a feeling that humans share with a special person. Some bonds could be mutual, while others are dissociated. During the Medieval period, love affairs were dominated by one gender, men, and the women had little or no control over decisions. Before a gentleman married a lady, the gentleman first boasted about her beauty, championed the cause of the lady, and did whatever the lady requested. The era was influenced by knights, and dictated by honor and chivalry that each knight had to display to their king and queen. As a gentleman, a knight had to be just at all times, especially toward ladies. At this time, there was a king named Arthur. King Arthur had a flourishing kingdom that abruptly ended. Later on, many authors recounted the story of the reign of King Arthur. Sir Thomas Malory published Le Morte d’Arthur, and Geoffrey Chaucer published The Wife of Bath’s Tale. Although both of these books recount the reign of King Arthur, the stories are very diverse and unique in their own way. Both stories demonstrate for a relationship to be successful, both partners must be submissive, must be brave, and must be willing to learn from mistakes.
The tales of King Arthur and many of their numerous characters are well known in literature. The Arthurian world is one of the great myths of modern times. Those great pieces of literature have many common themes, one of them being courtly love “L’amour Courtois”. This paper talks of courtly love as seen in King Arthur’s world especially examining “Yvain or the Knight with the Lion” and “Lancelot: or the Knight of the Cart”. Furthermore, one of the goals is to show how that courtly love could be seen in today in our world.
During the Middle Ages, Courtly love was a code which prescribed the conduct between a lady and her lover (Britannica). The relationship of courtly love was very much like the feudal relationship between a knight and his liege. The lover serves his beloved, in the manner a servant would. He owes his devotion and allegiance to her, and she inspires him to perform noble acts of valor (Schwartz). Capellanus writes, in The Art of Courtly Love, “A true lover considers nothing good except what he thinks will please his beloved”. The stories of Marie de France and Chrétien de Troyes illustrate the conventions of courtly love.
They are perhaps not truly in love, but after Guigemar notes the invisible wound of love he says “it has its source in nature” (Marie de France 49). By nature, humans have been known to be driven by a constant pursuit of what the desire, for by succeeding in this pursuit they are happy. Love brings happiness to Guigemar and the queen, but their happiness comes by a greater cause than true love. The lovers were convenient for their own pursuits. Guigemar served the queen as a commodity by giving her a value of freedom, and the queen gave Guigemar freedom from pain. In the end, Guigemar runs off with the queen after defending her from Meriaduc concluding the end of his troubles. Desire is thus a selfish inclination toward love, for its foundation is whatever suits a person’s liking. The queen and Guigemar are suited for each other, yet they are not suited to be in love with each
Marie de France's use of animals in her lais is molded and adjusted to fit her needs. She creates metaphors relating to love and love relationships that were not mentioned in the Christian based Book of Beasts. However, the Gawain author appears to have kept true to the type of descriptions and natures of the animals in White's translation. Both authors were able to use animals to express specific features of human emotions and relationships, furthering our understanding of the nature of temptation, love and relationships in the medieval period.
Bloch, R. Howard. Medieval Misogyny and the Invention of Western Romantic Love. Chicago: U of Chicago P, 1991.
In the Middle Ages, when The Canterbury Tales was written, society became captivated by love and the thought of courtly and debonair love was the governing part of all relationships and commanded how love should be conducted. These principles changed literature completely and created a new genre dedicated to brave, valorous knights embarking on noble quests with the intention of some reward, whether that be their life, lover, or any other want. The Canterbury Tales, written in the 14th century by Geoffrey Chaucer, accurately portrays and depicts this type of genre. Containing a collection of stories within the main novel, only one of those stories, entitled “The Wife of Bath’s Tale”, truly outlines the 14th century community beliefs on courtly love.