What Did Women Provid in the Art of Courtly Love

Medieval European literary conception of love

Courtly love (Occitan: fin'amor [finaˈmuɾ]; French: amour courtois [amuʁ kuʁtwa]) was a medieval European literary formulation of honey that emphasized nobility and knightly. Medieval literature is filled with examples of knights setting out on adventures and performing various deeds or services for ladies because of their "courtly love". This kind of beloved is originally a literary fiction created for the entertainment of the dignity, merely as time passed, these ideas about dearest changed and attracted a larger audition. In the high Middle Ages, a "game of honey" developed around these ideas as a set of social practices. "Loving nobly" was considered to exist an enriching and improving practice.^{[1] [two]}

Courtly love began in the ducal and princely courts of Aquitaine, Provence, Champagne, ducal Burgundy and the Norman Kingdom of Sicily^[3] at the end of the eleventh century. In essence, courtly love was an experience between erotic desire and spiritual attainment, "a love at once illicit and morally elevating, passionate and disciplined, humiliating and exalting, human and transcendent".^[4] The topic was prominent with both musicians and poets, being often used by troubadours, trouvères and minnesänger. The topic was too popular with major writers, including Geoffrey Chaucer, Dante and Petrarch.

The term "courtly love" was first popularized by Gaston Paris and has since come nether a wide variety of definitions and uses. Its estimation, origins and influences continue to be a affair of critical debate.

Origin of term [edit]

While its origin is uncertain, the term amour courtois ("courtly love") was given greater popularity by Gaston Paris^[5] in his 1883 article "Études sur les romans de la Table Ronde: Lancelot du Lac, II: Le conte de la charrette", a treatise inspecting Chrétien de Troyes's Lancelot, the Knight of the Cart (1177). Paris said amour courtois was an idolization and ennobling discipline. The lover (idolizer) accepts the independence of his mistress and tries to make himself worthy of her past acting bravely and honorably (nobly) and by doing any deeds she might desire, subjecting himself to a series of tests (ordeals) to prove to her his ardor and delivery. Sexual satisfaction, Paris said, may not have been a goal or even outcome, but the honey was not entirely platonic either, equally it was based on sexual attraction.

The term and Paris's definition were soon widely accustomed and adopted. In 1936 C. S. Lewis wrote The Apologue of Beloved farther solidifying courtly love every bit a "love of a highly specialized sort, whose characteristics may be enumerated as Humility, Courtesy, Adultery, and the Religion of Love".^[6]

Afterward, historians such equally D. Westward. Robertson Jr.,^[7] in the 1960s and John C. Moore^[eight] and E. Talbot Donaldson^[nine] in the 1970s, were critical of the term equally being a modernistic invention, Donaldson calling it "The Myth of Courtly Dear", considering information technology is not supported in medieval texts. Even though the term "courtly love" does appear merely in only one extant Provençal poem (as cortez amors in a late 12th-century lyric past Peire d'Alvernhe), it is closely related to the term fin'amor ("fine love") which does appear oft in Provençal and French, as well as German translated as hohe Minne. In improver, other terms and phrases associated with "courtliness" and "love" are common throughout the Middle Ages. Fifty-fifty though Paris used a term with little support in the contemporaneous literature, it was not a neologism and does usefully depict a detail conception of love and focuses on the courtliness that was at its essence.^[5]

Richard Trachsler says that "the concept of courtly literature is linked to the idea of the existence of courtly texts, texts produced and read by men and women sharing some kind of elaborate culture they all have in common".^[ten] He argues that many of the texts that scholars claim to be courtly as well include "uncourtly" texts, and argues that there is no articulate way to determine "where courtliness ends and uncourtliness starts" because readers would enjoy texts which were supposed to exist entirely courtly without realizing they were besides enjoying texts which were uncourtly.^[10] This presents a clear problem in the agreement of courtliness.^[ten]

History [edit]

The practice of courtly beloved developed in the castle life of four regions: Aquitaine, Provence, Champagne and ducal Burgundy, from around the fourth dimension of the First Crusade (1099). Eleanor of Aquitaine (1124–1204) brought ideals of courtly love from Aquitaine starting time to the courtroom of France, then to England (she became queen-consort in each of these 2 realms in succession). Her daughter Marie, Countess of Champagne (1145–1198) brought courtly behavior to the Count of Champagne's court. Ladylike beloved institute expression in the lyric poems written by troubadours, such equally William Ix, Knuckles of Aquitaine (1071–1126), one of the offset troubadour poets.

Poets adopted the terminology of feudalism, declaring themselves the vassal of the lady and addressing her as midons (my lord), which had dual benefits: allowing the poet to use a code name (so as to avoid having to reveal the lady's name) and at the aforementioned fourth dimension flattering her by addressing her as his lord. The troubadour'south model of the ideal lady was the wife of his employer or lord, a lady of higher status, unremarkably the rich and powerful female head of the castle. When her husband was abroad on Crusade or elsewhere she dominated the household and cultural affairs; sometimes this was the instance fifty-fifty when the husband was at home. The poet gave voice to the aspirations of the courtier class, for only those who were noble could engage in courtly honey. This new kind of beloved saw nobility not based on wealth and family unit history, but on character and actions; such as devotion, piety, gallantry, thus appealing to poorer knights who saw an avenue for advocacy.

Since at the fourth dimension some marriages among nobility had footling to do with modern perspectives of what constitutes love,^[11] courtly love was also a way for nobles to express the dear not constitute in their union.^[12] "Lovers" in the context of courtly love need not refer to sex, but rather to the act of loving. These "lovers" had short trysts in secret, which escalated mentally, merely might not physically.^[xiii] On the other hand, continual references to beds and sleeping in the lover's arms in medieval sources such as the troubador albas and romances such every bit Chrétien's Lancelot imply at least in some cases a context of actual sexual intercourse.

Past the tardily twelfth century Andreas Capellanus' highly influential piece of work De amore ("Concerning Dear") had codified the rules of courtly love. De amore lists such rules as:^[14]

• "Marriage is no real excuse for not loving."
• "He who is non jealous cannot dearest."
• "No one tin be bound by a double love."
• "When made public beloved rarely endures."

Much of its structure and its sentiments derived from Ovid'due south Ars amatoria.^[fifteen]

Andalusian and Islamic influence [edit]

Hispano-Standard arabic literature, as well as Arabic influence on Sicily, provided a further source, in parallel with Ovid, for the early troubadours of Provence—overlooked though this sometimes^{[ quantify ]} is^{[ past whom? ]} in accounts of courtly love. The Arabic poets and poetry of Muslim Espana express similarly oxymoronic views of love every bit both beneficial and pitiful every bit the troubadours were to do;^[3] while the broader European contact with the Islamic world must too be taken into consideration.^[sixteen] Given that practices similar to courtly love were already prevalent in Al-Andalus and elsewhere in the Islamic world, it is very likely that Islamic practices influenced the Christian Europeans - especially in southern Europe where classical forms of courtly beloved start emerged.

According to Gustave Eastward. von Grunebaum, several relevant elements developed in Arabic literature - including such contrasts equally sickness/medicine and delight/torment - to characterise the love experience.^[3] The notions of "love for love's sake" and "exaltation of the beloved lady" accept been traced back^{[ by whom? ]} to Arabic literature of the 9th and 10th centuries. The Persian psychologist and philosopher Ibn Sina (c. 980 – 1037; known equally "Avicenna" in Europe) developed the notion of the "ennobling power" of love in the early on 11th century in his treatise Risala fi'l-Ishq ("Treatise on Love").^[17] The last element of courtly dearest, the concept of "love equally desire never to be fulfilled", sometimes occurred implicitly in Arabic poetry, but first developed into a doctrine in European literature, in which all four elements of courtly love were present.^[18]

Co-ordinate to an argument outlined by Maria Rosa Menocal in The Standard arabic Role in Medieval Literary History (1987), in 11th-century Spain, a grouping of wandering poets appeared who would go from courtroom to court, and sometimes travel to Christian courts in southern France, a situation closely mirroring what would happen in southern French republic most a century later on. Contacts between these Castilian poets and the French troubadours were frequent. The metrical forms used by the Castilian poets resembled those later used by the troubadours.^[19]

Assay [edit]

The historic assay of ladylike love varies between different schools of historians. That sort of history which views the early on Middle Ages dominated by a prudish and patriarchal theocracy views courtly love as a "humanist" reaction to the puritanical views of the Cosmic Church.^{[20] [21]} Scholars who endorse this view value ladylike beloved for its exaltation of femininity as an ennobling, spiritual, and moral force, in contrast to the ironclad chauvinism of the first and second estates.^[5] The condemnation of courtly love in the beginning of the 13th century by the church as heretical, is seen past these scholars as the Church's attempt to put downwards this "sexual rebellion".^{[5] [22]}

However, other scholars note that courtly love was certainly tied to the Church's effort to civilize the crude Germanic feudal codes in the late 11th century. It has also been suggested that the prevalence of bundled marriages required other outlets for the expression of more than personal occurrences of romantic honey, and thus it was not in reaction to the prudery or patriarchy of the Church building simply to the nuptial customs of the era that courtly love arose.^[23] In the Germanic cultural globe a special class of courtly beloved can be institute, namely Minne.

At times, the lady could exist a princesse lointaine, a far-away princess, and some tales told of men who had fallen in dearest with women whom they had never seen, just on hearing their perfection described, but normally she was not so distant. Equally the etiquette of courtly dearest became more complicated, the knight might wear the colors of his lady: where blue or black were sometimes the colors of faithfulness, green could be a sign of unfaithfulness. Salvation, previously found in the easily of the priesthood, now came from the easily of one'south lady. In some cases, in that location were as well women troubadours who expressed the same sentiment for men.

Literary convention [edit]

The literary convention of courtly dear can be found in most of the major authors of the Centre Ages such as Geoffrey Chaucer, John Gower, Dante, Marie de France, Chretien de Troyes, Gottfried von Strassburg and Thomas Malory. The medieval genres in which courtly dearest conventions can exist constitute include the lyric, the romance and the allegory.

Lyric [edit]

Courtly love was built-in in the lyric, first appearing with Provençal poets in the 11th century, including afoot and courtly minstrels such equally the French troubadours and trouvères, likewise as the writers of lays. Texts about courtly dear, including lays, were oftentimes prepare to music past troubadours or minstrels. According to scholar Ardis Butterfield, ladylike love is "the air which many genres of troubadour song breathe".^[24] Not much is known about how, when, where, and for whom these pieces were performed, but nosotros can infer that the pieces were performed at court by troubadours, trouvères, or the courtiers themselves. This can be inferred because people at court were encouraged or expected to exist "courtly" and be proficient in many different areas, including music. Several troubadours became extremely wealthy playing the fiddle and singing their songs nearly ladylike love for a courtly audition.

Information technology is difficult to know how and when these songs were performed considering near of the information on these topics is provided in the music itself. Ane lay, the "Lay of Lecheor", says that after a lay was equanimous, "So the lay was preserved / Until it was known everywhere / For those who were skilled musicians / On viol, harp and rote / Carried it forth from that region…"^[25] Scholars have to then decide whether to take this clarification every bit truth or fiction.

Period examples of performance exercise, of which there are few, show a quiet scene with a household retainer performing for the king or lord and a few other people, ordinarily unaccompanied. According to scholar Christopher Folio, whether or non a piece was accompanied depended on the availability of instruments and people to accompany—in a ladylike setting.^[26] For troubadours or minstrels, pieces were often accompanied by fiddle, also called a vielle, or a harp. Courtly musicians besides played the vielle and the harp, besides as different types of viols and flutes.

This French tradition spread later to the German Minnesänger, such every bit Walther von der Vogelweide and Wolfram von Eschenbach.^[five] It too influenced the Sicilian Schoolhouse of Italian colloquial verse, as well as Petrarch and Dante.^[27]

Romance [edit]

The vernacular poesy of the romans courtois, or courtly romances, included many examples of courtly honey. Some of them are set inside the bicycle of poems jubilant Rex Arthur's courtroom. This was a literature of leisure, directed to a largely female person audience for the commencement time in European history.^[5]

Apologue [edit]

Allegory is common in the romantic literature of the Middle Ages, and it was often used to interpret what was already written. There is a stiff connectedness between religious imagery and human sexual honey in medieval writings.

The tradition of medieval apologue began in part with the interpretation of the Song of Songs in the Bible. Some medieval writers thought that the volume should be taken literally every bit an erotic text; others believed that the Song of Songs was a metaphor for the human relationship between Christ and the church and that the book could non fifty-fifty exist without that every bit its metaphorical meaning. Yet others claimed that the volume was written literally virtually sex but that this meaning must exist "superseded by meanings related to Christ, to the church and to the individual Christian soul".^[28]

Marie de France's lai "Eliduc" toys with the idea that man romantic love is a symbol for God's love when two people dear each other and then fully and completely that they leave each other for God, separating and moving to different religious environments.^[29] Furthermore, the primary character's first wife leaves her married man and becomes a nun then that he tin ally his new lover.^[29]

Allegorical handling of courtly dear is also institute in the Roman de la Rose by Guillaume de Lorris and Jean de Meun.^[30] In it, a man becomes enamored with an individual rose on a rosebush, attempting to selection it and finally succeeding. The rose represents the female body, merely the romance also contains lengthy digressive "discussions on gratuitous will versus determinism every bit well as on optics and the influence of heavenly bodies on human behavior".^[thirty]

Later influence [edit]

Through such routes as Capellanus's tape of the Courts of Dear^[31] and the subsequently works of Petrarchism (also as the standing influence of Ovid),^[v] the themes of courtly honey were non confined to the medieval, but announced both in serious and comic forms in early modern Europe. Shakespeare's Romeo and Juliet, for example, shows Romeo attempting to love Rosaline in an almost contrived courtly fashion while Mercutio mocks him for it; and both in his plays and his sonnets the writer can exist seen appropriating the conventions of courtly dearest for his ain ends.^[32]

Paul Gallico'due south 1939 novel The Adventures of Hiram Holliday depicts a Romantic modern American consciously seeking to model himself on the ideal Medieval knight. Among other things, when finding himself in Austria in the aftermath of the Anschluss, he saves a Habsburg princess who is threatened past the Nazis, acts towards her in strict accordance with the maxims of courtly beloved and finally wins her subsequently fighting a duel with her aristocratic matrimonial.

Points of controversy [edit]

Sexuality [edit]

A bespeak of ongoing controversy almost courtly dear is to what extent it was sexual. All courtly love was erotic to some degree, and non purely ideal—the troubadours speak of the concrete beauty of their ladies and the feelings and desires the ladies arouse in them. However, it is unclear what a poet should do: live a life of perpetual desire channeling his energies to higher ends, or physically consummate. Scholars have seen it both ways.

Denis de Rougemont said that the troubadours were influenced past Cathar doctrines which rejected the pleasures of the flesh and that they were metaphorically addressing the spirit and soul of their ladies. Rougemont also said that courtly beloved subscribed to the code of chivalry, and therefore a knight's loyalty was always to his Male monarch before his mistress.^[23] Edmund Reiss claimed it was besides a spiritual love, but a love that had more in common with Christian love, or caritas.^[33] On the other mitt, scholars such as Mosché Lazar claim it was adulterous sexual love with physical possession of the lady the desired end.^[34]

Many scholars place ladylike love as the "pure love" described in 1184 by Capellanus in De affection libri tres:

It is the pure beloved which binds together the hearts of ii lovers with every feeling of delight. This kind consists in the contemplation of the listen and the amore of the heart; it goes as far as the kiss and the encompass and the modest contact with the nude lover, omitting the final solace, for that is not permitted for those who wish to honey purely.... That is chosen mixed love which gets its effect from every delight of the flesh and culminates in the final act of Venus.^[35]

Inside the corpus of troubadour poems at that place is a wide range of attitudes, even across the works of individual poets. Some poems are physically sensual, fifty-fifty bawdily imagining nude embraces, while others are highly spiritual and edge on the platonic.^[36]

The lyrical utilise of the word midons, borrowed from Guilhem de Poitou, allowed troubadours to address multiple listeners—the lords, men, and women of the courtroom alike. A sort of hermaphroditic code give-and-take, or senhan, scholar Meg Bogin writes, the multiple meanings behind this term allowed a covert form of flattery: "By refusing to disembalm his lady's name, the troubadour permitted every woman in the audience, notably the patron's wife, to think that it was she; so, likewise making her the object of a surreptitious passion—it was e'er covert romance—by making her his lord he flashed her an aggrandized prototype of herself: she was more than 'just' a woman; she was a homo."^[37] These points of multiple meaning and ambiguity facilitated a "coquetry of course", allowing the male troubadours to use the images of women as a means to gain social status with other men, but simultaneously, Bogin suggests, voiced deeper longings for the audience: "In this manner, the sexual expressed the social and the social the sexual; and in the poetry of courtly dearest the static bureaucracy of bullwork was uprooted and transformed to express a world of move and transformation."^[38]

Real-world practice [edit]

A continued betoken of controversy is whether courtly love was purely literary or was actually practiced in real life. In that location are no historical records that offer show of its presence in reality. Historian John Benton plant no documentary bear witness in law codes, court cases, chronicles or other historical documents.^[39] Still, the existence of the non-fiction genre of courtesy books is perhaps show for its practise. For example, co-ordinate to Christine de Pizan's courtesy book Volume of the Iii Virtues (c. 1405), which expresses disapproval of courtly beloved, the convention was being used to justify and comprehend up illicit love affairs. Ladylike love probably found expression in the real globe in customs such as the crowning of Queens of Love and Beauty at tournaments. Philip le Bon, in his Banquet of the Pheasant in 1454, relied on parables drawn from courtly love to incite his nobles to swear to participate in an anticipated cause, while well into the 15th century numerous actual political and social conventions were largely based on the formulas dictated past the "rules" of ladylike love.^{[ citation needed ]}

Courts of love [edit]

A point of controversy was the existence of "courts of honey", first mentioned past Andreas Capellanus. These were supposed courts fabricated up of tribunals staffed by x to 70 women who would hear a example of love and rule on it based on the rules of love. In the 19th century, historians took the existence of these courts as fact, but subsequently historians such as Benton noted "none of the abundant letters, chronicles, songs and pious dedications" suggest they ever existed outside of the poetic literature.^[39] According to Diane Bornstein, one way to reconcile the differences between the references to courts of love in the literature, and the lack of documentary evidence in real life, is that they were similar literary salons or social gatherings, where people read poems, debated questions of love, and played word games of amour.^[36]

Courtly love as a response to canon law [edit]

The Church emphasized dear as more than of a spiritual rather than sexual connectedness.^[40] There is a possibility that other writings not associated with the Church building over ladylike beloved were made as a response to the Cosmic Church's ideas about love. Many scholars believe Andreas Capellanus' work, De arte honeste amandi, was a satire poking fun at the Church. In that work, Capellanus is supposedly writing to a young human named Walter, and he spends the commencement two books telling him how to achieve beloved and the rules of dear. Even so, in the third book he tells him that the only mode to live his life correctly is to shun beloved in favor of God. This sudden alter is what has sparked the interest of many scholars.^[41]

Stages [edit]

Ladylike vignettes on an ivory mirror-case, outset tertiary of the 14th century (Musée du Louvre)

(Adapted from Barbara W. Tuchman)^[42]

• Attraction to the lady, usually via eyes/glance
• Worship of the lady from afar
• Declaration of passionate devotion
• Virtuous rejection by the lady
• Renewed wooing with oaths of virtue and eternal fealty
• Moans of approaching death from unsatisfied want (and other physical manifestations of lovesickness)
• Heroic deeds of valor which win the lady's heart
• Consummation of the secret love
• Endless adventures and subterfuges fugitive detection

Run across also [edit]

• Cicisbeo
• Domnei
• Dulcinea

References [edit]

1. ^ Stevens, John (1979). Music & Verse in the Early on Tudor Court. New York: Cambridge University Press. ISBN0-521-29417-seven.
2. ^ Newman, F. X., ed. (1968). The Significant of Ladylike Beloved. Albany: State Academy of New York. ISBN0-87395-038-0.
3. ^ ^{a b c} Ousby, I., ed. (1995). "Courtly Love". The Cambridge Guide to Literature in English. p. 213.
4. ^ Newman, Francis X., ed. (1968). The Meaning of Courtly Love. 7. ISBN0-87395-038-0.
5. ^ ^{a b c d eastward f 1000} Roger Boase (1986). "Courtly Love," in Dictionary of the Middle Ages, Vol. 3, pp. 667–668.
6. ^ Lewis, C.S., The Allegory of Honey, p. ii. (1936)
7. ^ Robertson Jr., D. Due west., "Some Medieval Doctrines of Dearest", A Preface to Chaucer.
8. ^ John C. Moore begins his review of the history and pitfalls of the term, "The beginning of the term 'courtly love' is usually placed in one of two centuries, the nineteenth or the 12th" (John C. Moore, "Ladylike Dear": A Problem of Terminology", Journal of the History of Ideas 40.4 [Oct 1979], pp. 621–632).
9. ^ Eastward. Talbot Donaldson, "The Myth of Ladylike Love", Speaking of Chaucer (New York: Norton, 1970), pp. 154–163.
10. ^ ^{a b c} Busby, Keith, and Christopher Kleinhenz. Courtly Arts and the Fine art of Courtliness: Selected Papers from the Eleventh Triennial Congress of the International Courtly Literature Order. Cambridge, MA: D.S. Brewer, 2006. 679-692. Print.
11. ^ "Courtly love". Middle Ages.com. 2007-05-16. Retrieved 2010-01-eighteen .
12. ^ "Courtly Love and the origins of romance". Wsu.edu. Retrieved 2010-01-18 .
13. ^ "A History of Women: Silences of the Centre Ages". Employees.oneonta.edu. Retrieved 2010-01-18 .
14. ^ "The Art of Courtly Dearest by Andreas Capellanus". Astro.umd.edu. Archived from the original on 2010-01-23. Retrieved 2010-01-18 .
15. ^ Ousby, I., ed. (1995). "Ladylike Love". The Cambridge Guide to Literature in English. p. 214.
16. ^ Thou. Clark, Culture (1969) p. 64
17. ^ Grunebaum, G. E. von. "Avicenna's Risâla Fîʾl-ʿišq and Courtly Love." Journal of Well-nigh Eastern Studies eleven, no. 4 (1952): 233–38.
18. ^ G. Eastward. von Grunebaum (1952), "Avicenna'southward Risâla fî 'l-'išq and Courtly Honey", Journal of Virtually Eastern Studies eleven (4): 233-viii [233-iv].
19. ^ Menocal, Maria Rosa. "The Arabic Office in Medieval Literary History: A Forgotten Heritage". Project Muse. Penn Printing. Retrieved 24 January 2018.
20. ^ "Deirdre O'Siodhachain, The Practice of Courtly Beloved". Eleanorofaquitaine.internet. Archived from the original on 2008-08-twenty. Retrieved 2010-01-18 .
21. ^ This assay is heavily informed by the Chivalric–Matriarchal reading of courtly love, put forth by critics such every bit Thomas Warton and Karl Vossler. This theory considers courtly dear as the intersection between the theocratic Cosmic Church and "Germanic/Celtic/Pictish" matriarchy. For more on this theory, see The Origin and Meaning of Ladylike Beloved, Roger Boase, pg 75.
22. ^ Deirdre O'Siodhachain, The Practice of Ladylike Honey Archived 2008-08-20 at the Wayback Auto
23. ^ ^{a b} Denis de Rougemont (1956), Love in the Western World.
24. ^ Butterfield, Ardis. "Vernacular poetry and music". Cambridge Companion to Medieval Music. Ed. Mark Everist. Cambridge: Cambridge University Press, 2011. 209.
25. ^ Burgess, Glyn S.. "C'est le Lay dou Lecheor." Three former French narrative lays: Trot, Lecheor, Nabaret. Liverpool: Academy of Liverpool, Department of French, 1999. 67.
26. ^ Folio, Christopher (1987). Voices and Instruments of the Eye Ages. London: J. M. Dent & Sons. ISBN0-460-04607-1.
27. ^ Dorothy Sayers trans, Dante:Purgatory (1971) p. 260 and 279
28. ^ Dove, Mary (1996). "Sex, Apologue and Censorship: A Reconsideration of Medieval Commentaries on the Song of Songs". Literature and Theology. x (4): 317, 319–320. doi:10.1093/litthe/ten.4.317.
29. ^ ^{a b} Potkay, Monica Brzezinsky (1994). "The Limits of Romantic Allegory in Marie de France's Eliduc". Medieval Perspectives. nine: 135.
30. ^ ^{a b} "History and Summary of the Text past Lori J. Walters". Roman de la Rose Digital Library. Accessed 13 November 2012.
31. ^ Helen Waddell, The Wandering Scholars (1968) p. 311
32. ^ William C. Carroll ed., The Two Gentlemen of Verona (2004) p. 31
33. ^ Reiss, Edmund (1979). "Fin'amors: Its History and Meaning in Medieval Literature". Journal of Medieval and Renaissance Studies. 8.
34. ^ Lazar, Mosché (1964). Amour courtois et "fin'amors" dans le littérature du XII siècle.
35. ^ Capellanus, Andreas (1964). The Art of Courtly Love. New York: Columbia University Press. p. 122. ISBN0-231-07305-4.
36. ^ ^{a b} Dian Bornstein (1986). "Ladylike Honey," in Dictionary of the Middle Ages, volume three, pp.668-674.
37. ^ Bogin, Million (1980). The Women Troubadours. New York: W.W. Norton & Company, Inc. pp. 49–fifty. ISBN0-393-00965-three.
38. ^ Bogin, Meg (1980). The Women Troubadours. Westward.Westward. Norton & Company, Inc., New York. p. 56. ISBN0-393-00965-3.
39. ^ ^{a b} John F. Benton, "The Testify for Andreas Capellanus Re-examined Again", in Studies in Philology, 59 (1962); and "The Courtroom of Champagne as a Literary Heart", in Speculum, 36(1961).
40. ^ Brundage, James A. (1996). Sex and Catechism Constabulary. Bullough & Brundage. pp. 33–l.
41. ^ Moore, John C. (October–Dec 1979). ""Courtly Dear": A Problem of Terminology". Journal of the History of Ideas. 40: 621–632. doi:ten.2307/2709362.
42. ^ Tuchman, Barbara Wertheim, A Distant Mirror: the Calamitous Fourteenth Century (New York: Knopf, 1978). ISBN 0-394-40026-seven.

Further reading [edit]

• Duby, Georges. The Knight, the Lady, and the Priest: the Making of Mod Union in Medieval France. Translated by Barbara Bray. New York: Pantheon Books, 1983. (ISBN 0-226-16768-two).
• Frisardi, Andrew. The Young Dante and the One Love: Two Lectures on the Vita Nova. Temenos Academy, 2013. ISBN 978-0-9564078-8-vii.
• Gaunt, Simon. "Marginal Men, Marcabru, and Orthodoxy: The Early Troubadours and Adultery". Medium Aevum 59 (1990): 55–71.
• Lewis, C. S. The Allegory of Love: A Study in Medieval Tradition. Oxford, Clarendon Press, 1936. (ISBN 0-19-281220-3)
• Lupack, Alan. The Oxford Guide to Arthurian Literature and Fable. Oxford: University Press, 2005.
• Menocal, Maria Rosa. The Arabic Part in Medieval Literary History. Philadelphia: University of Pennsylvania Press, 2003. (ISBN 0-8122-1324-6)
• Murray, Jacqueline. Love, Wedlock, and Family in the Eye Ages. Canada: Broadview Press Ltd., 2001.
• Newman, Francis Ten. The Pregnant of Courtly Dearest. Albany: Land University of New York Press, 1968. (ISBN 0-87395-038-0)
• Capellanus, Andreas. The Art of Courtly Love. New York: Columbia Academy Printing, 1964.
• Schultz, James A. Ladylike Dear, the Love of Courtliness, and the History of Sexuality'. Chicago: The University of Chicago Printing, 2006. (ISBN 0-226-74089-seven)
• Busby, Keith, and Christopher Kleinhenz. Courtly Arts and the Fine art of Courtliness: Selected Papers from the Eleventh Triennial Congress of the International Ladylike Literature Society. Cambridge, MA: D.S. Brewer, 2006. 679–692.

External links [edit]

• Michael Delahoyde, Courtly Dearest, Washington State University.
• Andreas Capellanus, "The Art of Ladylike Dearest (btw. 1174-1186)", extracts via the Internet Medieval Sourcebook.
• "Courtly love". In Encyclopædia Britannica Online.
• Richard Utz "Were Women E'er Sacred? Some Medieval and Modernistic Men Would Similar Usa to Think And then," medievalists.cyberspace, 14 Oct 2018
• Emmanuel-Juste Duits "The meaning of Honey in the light of the Courtly Dearest, excerpt of the French essay "L'Autre désir"

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