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Courtly love (Occitan: fin'amor; French: amour courtois [amuʁ kuʁtwa]) was a medieval European literary conception of love that emphasized nobility and chivalry. 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".
It was practised in the 12th and 13th centuries. Thematically, as its name implies, it was a song of courtly love, written usually by a man to his noble lover. Some later chansons were polyphonic and some had refrains and were called chansons avec des refrains.
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The Châtelaine de Vergy tells the story of an unnamed knight in the service of the Duke of Burgundy who is the lover of the Châtelaine of Vergy, the Duke's niece. The Châtelaine has accepted this knight's love on one condition: that he must keep their relationship secret from everyone, and that when he comes to visit her, he must wait for her little dog to come out to him in the garden ...
Book Two concludes (pp. 177–186) by setting out "The Rules of Love". A few examples of these guidelines are listed below (numbered according to the order found in the original work, which contains thirty-one total): 1. Marriage is no real excuse for not loving. 6. Boys do not love until they arrive at the age of maturity. 8.
Andreas Capellanus (Capellanus meaning "chaplain"), also known as Andrew the Chaplain (fl. c. 1185), and occasionally by a French translation of his name, André le Chapelain, was the 12th-century author of a treatise commonly known as De amore ("About Love"), and often known in English, somewhat misleadingly, as The Art of Courtly Love, though its realistic, somewhat cynical tone suggests ...
He intended to elevate courtly love poetry, many of its tropes and its language, into sacred love poetry. Beatrice for Dante was the embodiment of this kind of love—transparent to the Absolute, inspiring the integration of desire aroused by beauty with the longing of the soul for divine splendor. [2]
The poem is also unusual for its astrological, mathematical, physiological, anatomical, and medical references, which Martina Braekman describes as a technique where 'conventional topoi are extended into non-courtly areas in an attempt to revitalize the genre while still satisfying the audience's fashionable taste for courtly love poetry'.