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The social system of 'courtly love' soon spread after becoming popularized by the troubadours of southern France in the twelfth century. This book codifies life at Queen Eleanor's court at Poitiers between 1170 and 1174 into "one of those capital works which reflect the thought of a great epoch, which explain the secret of a civilization."
The De Amore of Andreas Capellanus (André the Chaplain), composed in France in the 1180s, is celebrated as the first comprehensive discussion of theory of courtly love. The book is believed to have been intended to portray conditions at Queen Eleanor of Aquitaine's court at Poitiers between 1170 and 1174, and written the request of her daughter, Countess Marie of Troyes. As such, it is important for its connections to themes of contemporary Latin lyric, in troubadour poetry and in the French romances of Chrétien de Troyes. Thereafter its influence spread throughout Western Europe, so that the treatise is of fundamental importance for students of medieval and renaissance English, French, Italian and Spanish. In this comprehensive edition, P.G. Walsh includes Trojel's Latin text with his own facing English translation with explanatory notes, commentary and indexes, along with introduction which sets the treatise in its contemporary context and assesses its purpose and importance.
Andersen-Wyman's book undoes most scholarly uses and understandings of De amore by Andreas Capellanus. By offering a reading promoted by the text itself, Andersen-Wyman shows how Andreas undermines the narrative foundations of sacred and secular institutions and renders their power absurd.
This book, the first study in English devoted entirely to Andreas Capellanus's De Amore, presents a comprehensive inquiry into the influence of scholasticism on the structure and organization of the work, applying methods of medieval philosophy and intellectual history to an important problem in medieval literary studies.
A comprehensive examination of the rituals and philosophies that created and sustained medieval troubadour culture • Debunks the myth of the platonic nature of courtly love, showing the many sexual similarities to the Tantric practices of India • Reveals how the roots of courtly love go back to the matriarchal cultures of neolithic times The widespread turmoil that shook Western Europe as it entered the new millennium with the year 1000 prompted a vast reevaluation of the chief tenets of society. Foremost among these was a new way of looking at love and the place held by women in society. The Christian-inspired tradition that at best viewed women with contempt--and often with outright fear and loathing--was replaced by a new perspective, one in which women enjoyed a central role as the inspiration for all male action. For several hundred years courtly love, with its emphasis on adultery, carnal pleasures, and the power of the feminine, dominated European culture despite its flouting of conventional Christian morality. Medieval historians by and large have tended to regard courtly love as a sterile parlor game for the upper classes. To the contrary, Jean Markale shows that the stakes were much higher: the roots of the ritual re-created here go all the way back to the great mother goddess. In addition, the platonic nature attributed to these relationships is based on a misunderstanding of courtly love; underneath the refined poetry of the troubadours' verses flourished a system of sexual initiation that rivaled Indian Tantra.
Marriage is no real excuse for not loving. & nbsp;& nbsp; That which a lover takes against the will of his beloved has no relish. & nbsp;& nbsp; When made public love rarely endures. & nbsp;& nbsp;Love can deny nothing to love. Published in the twelfth century, Andreas Capellanus's canonical The Art of Courtly Lovehad a major impact on the culture of medieval Europeans and relates centrally to Arthurian romance, troubadour lyric, and other genres. More than just a list of rules and advice, the book has been remarkably influential in modern understandings of the Middle Ages, especially of the phenomena known as courtly love. Is it a time capsule of social laws and customs that prevailed in courts? Or was it a flight of fancy that mocked such etiquette? Debates over its nature and meaning have been unending. Its style and concerns contributed long and significantly to English literature, and for centuries its attitudes and practices reflected and may even have shaped thinking and behavior about love in Western civilization. Renowned medievalist Jan M. Ziolkowski has revised the standard translation of the work from the original Latin, maintaining its lively tone and sophisticated play with character and sentiment. He has also written a foreword highlighting the work's continued relevance and updated the bibliography with new critical sources.
There was nothing chaste or sublimated about many aspects of medieval love which moved through the various stages of looking, talking, touching, kissing, and sexual possession. All the elements of medieval romance are revealed in this magnificently illustrated volume.
Solomon and Higgins have chosen excerpts from the great philosophical texts and combined them with the most exciting new work of philosophers writing today. It examines the mysteries of erotic love from a variety of philosophical perspectives and provides an impressive display of wisdom that the world's best thinkers have brought, and continue to bring, to the study of love.
Author : Peter L. Allen Publisher : University of Pennsylvania Press Page : 196 pages File Size : 25,97 MB Release : 2015-09-30 Category : Literary Criticism ISBN : 1512800007
Two major French medieval literary works that claim to teach their readers the art of love are virtually torn apart by the contradictions and conflicts they contain. In Andreas Capellanus's late twelfth-century Latin De amore, the author instructs his friend Walter in the amatory art in the first two books, but then harshly repudiates his own teachings and love itself in a third and final book. In Jean de Meun's encyclopedic continuation of the Romance of the Rose, written in French in the 1270s, a succession of allegorical figures alternately promote and excoriate the lover's amatory pursuits. Jean's romance, moreover, virtually rewrites the dream vision of Guillaume de Lorris, which it claims simply to extend, and ends with the depiction of a sexual act that seems to throw the book's whole structure into confusion. The more closely one reads this works, Peter L. Allen contents, the harder it is to understand them: "Didactic, heavy-handed, and problematic, they teach would-be lovers how to behave in order to have others accomplish their desires, yet they also contain vociferous passages that dissuade their protagonists from the practice of this art, which, they claim, leads not only to earthly destruction but also to eternal damnation." Readers from the Middle Ages to the present have been troubled by the fact that these texts are both radically self-contradictory and fundamentally at odds with the accepted morality of medieval Christian Europe. And for decades, scholars have tried to determine how these two works are related to what is often referred to as "courtly love." In The Art of Love, Allen persuasive argues that the De amore and the Romance of the Rose are central to the courtly tradition. Allen contends that their conflicts and contradictions are not signs of confusion or artistic failure, but are instead essential clues which show that the medieval works follow the disruptive structural model of Ovid's first century elegiac Ars amatoria (Art of Love) and Remedia amoris (Cures for Love). Andreas's and Jean's works, no less than Ovid's, teach not the art of love for practicing lovers, but the literary art of love poetry and fiction. Based squarely on Ovid's poems, which were among the most widely read classical texts in medieval Europe, the De amore and the Romance of the Rose use the classical tradition in a particularly assertive fashion—and suggest a way for fantasies of love to exist even against a background of ecclesiastical prohibition.
Law in the Courts of Love traces the literary history and diversity of past legal systems. These 'minor jurisprudences' range from the spiritual laws of the courts of conscience to the code and judgements of love handed down by women's courts in medieval France. Professor Goodrich presents the 15th Century Courts of Love in Paris as one instance of an alternative jurisdiction drawn from the diversities of the legal and literary past. Their textual records are correspondingly mixed in genre, being in the form of poems, narratives, plays, treaties and judicial decisions. More broadly, these studies trace certain boundaries of modern law and make up one of many forms of legal knowledge which escape today's vision of a unitary law. The author believes that the unquesionable faith in a unity law and its distance from person and emotion is precisely what makes impossible the attention to the individual that justice ultimately requires. Law in the Courts of Love shows how the historical diversity of forms and procedures of law can competently form the basis for critical revisions of contemporary legal doctrine and professional practice. This book will be of interest to undergraduate and postgraduate students of law and literature, critical legal studies and legal history, or anyone wishing to specialise in feminist legal theory.