‘luf-talkyng’ in medieval literature 7

‘‘luf-talkyng’ in luf-talkyng’ in Medieval Medieval

Literature 7Literature 7

Thomas HoneggerThomas Honegger

[email protected]@swissonline.chine.ch

Narratives 3Narratives 3RomancesRomances

Chrétien de Troyes’ Cligés

Chrétien de Troyes (c. 1140-90)

““qui fist d’Erec et d’Enide,qui fist d’Erec et d’Enide,Et les comandemanz d’OvideEt les comandemanz d’OvideEt l’art d’amors an romans mist,Et l’art d’amors an romans mist,

Et le mors de l’espaule fist,Et le mors de l’espaule fist, Del roi Marc et d’Ysalt la blonde, / [...]”Del roi Marc et d’Ysalt la blonde, / [...]”

who composed who composed Erec et EnideErec et Enide / and the / and the commandments of Ovid / and who commandments of Ovid / and who translated the Art of Love into the translated the Art of Love into the vernacular, / and who made the vernacular, / and who made the Shoulder Bite, / [the tales] of King Shoulder Bite, / [the tales] of King Mark and Iseut the Blonde.Mark and Iseut the Blonde.

Works 1Works 1

Philomena Guillaume d’Angleterre

(3366 lines; before 1170) Erec et Enide (6878 lines, c.

1170) Cligés (6784 lines, c. 1176) Yvain (‘Li chevaliers au lion’)

(6818 lines, c. 1177-1181)

Works 2Works 2 LancelotLancelot (‘Li chevaliers de la (‘Li chevaliers de la

charrete’, 7112 lines, ca. 1177-1181, charrete’, 7112 lines, ca. 1177-1181, last 1000 lines written by Godefroy last 1000 lines written by Godefroy de Leigny; written on request by de Leigny; written on request by Marie de Champagne, daughter of Marie de Champagne, daughter of Eleanor of Aquitaine and Louis VII of Eleanor of Aquitaine and Louis VII of France)France)

PercevalPerceval (‘Perceval li Gallois ou Li (‘Perceval li Gallois ou Li contes del Graal’, 9234 lines, before contes del Graal’, 9234 lines, before 1190, fragmentary, for Philip of 1190, fragmentary, for Philip of Alsace, Count of Flanders)Alsace, Count of Flanders)

CharacteristicsCharacteristics

Keen interest in Keen interest in questions of courtlinessquestions of courtliness questions of chivalric identity (cf. questions of chivalric identity (cf.

YvainYvain)) didactic qualitydidactic quality Example: “Et sens et courtoisie Example: “Et sens et courtoisie

fist / She acted cleverly and fist / She acted cleverly and courteously.” (courteously.” (YvainYvain, l. 3063)., l. 3063).

Lovers in Chrétien’s Lovers in Chrétien’s romancesromances

Erec et EnideErec et Enide: legalistic tradition: legalistic tradition LancelotLancelot: courtly love : courtly love

relationship already establishedrelationship already established PercevalPerceval: mystic quest of the : mystic quest of the

Grail in the centre of attentionGrail in the centre of attention CligésCligés: anti-Tristan; struggle of : anti-Tristan; struggle of

lovers for happiness at the centre lovers for happiness at the centre of the romanceof the romance

Cligès’ parentsCligès’ parents

Alexander and SoredamorAlexander and Soredamor

Tristan and IseutTristan and Iseut

Tristran ad noté chescun dit,Tristran ad noté chescun dit,Mes ele l’ad issi forsvëéMes ele l’ad issi forsvëé

Par ‘l’amer’ que ele ad tant Par ‘l’amer’ que ele ad tant changeechangeeQue ne set si cele dolurQue ne set si cele dolurAd de la mer ou de l’amurAd de la mer ou de l’amur

Tristan and IseutTristan and Iseut

Tristan has paid attention to Tristan has paid attention to each of her words, / but she has each of her words, / but she has succeeded so well in confusing succeeded so well in confusing him / by constantly punning on him / by constantly punning on the word ‘l’amer’ / so that he the word ‘l’amer’ / so that he does not know whether her does not know whether her distress / is caused by ‘la mer’ or distress / is caused by ‘la mer’ or ‘l’amour’.‘l’amour’.

Alexander and Alexander and SoredamorSoredamor

Espoir bien s’an aparceüst,Espoir bien s’an aparceüst,Se la mers ne la deceüst;Se la mers ne la deceüst;Mes la mers l’angingne et deçoitMes la mers l’angingne et deçoitSi qu’an la mer l’amor ne voit;Si qu’an la mer l’amor ne voit;An la mer sont, et d’amer vient,An la mer sont, et d’amer vient,Et d’amors vient li max ques tient.Et d’amors vient li max ques tient.((CligésCligés, Micha 1982:17, ll. 539-544), Micha 1982:17, ll. 539-544)

Alexander and Alexander and Soredamor 2Soredamor 2

She might perhaps have realised She might perhaps have realised it, / had not the sea deceived her; it, / had not the sea deceived her; / but she is duped and deceived / but she is duped and deceived by the sea / so that on it she is by the sea / so that on it she is blinded to the love; / for they are blinded to the love; / for they are on the sea, and from love and its on the sea, and from love and its bitterness comes the pain they bitterness comes the pain they feel.feel.

Alexander and Alexander and Soredamor 3Soredamor 3

‘‘la mers/la mer’la mers/la mer’ vs. ‘l’amor/aimer’vs. ‘l’amor/aimer’ vs. ‘amers/amer’vs. ‘amers/amer’ ‘‘amor ex phiola’amor ex phiola’

Dynastic marriageDynastic marriage

Fénice Fénice Alis (Cligés’s uncle) Alis (Cligés’s uncle)

Leave-taking 1Leave-taking 1

CligésCligés: : “Mes droiz est qu’a vos “Mes droiz est qu’a vos congié praigne / Com a celi cui congié praigne / Com a celi cui ge sui toz” ge sui toz” ((CligésCligés, Micha , Micha 1982:130, ll. 4282-4283). 1982:130, ll. 4282-4283).

But I ask for your permission [to But I ask for your permission [to leave] / as it is proper for leave] / as it is proper for someone who is entirely yours.someone who is entirely yours.


Lancelot: “iestoie vostre cheualiers en Lancelot: “iestoie vostre cheualiers en quelconques lieu que ie fuisse . & vous quelconques lieu que ie fuisse . & vous me desistes que vostres cheualiers & me desistes que vostres cheualiers & vos amis volies vous que ie fuisse. Et vos amis volies vous que ie fuisse. Et puis dis a dieu dame . & vous desistes a puis dis a dieu dame . & vous desistes a dieu biax dols amis .[...] . & ce fu li mos dieu biax dols amis .[...] . & ce fu li mos qui me fera preudome se iel sui ia”qui me fera preudome se iel sui ia”

((LancelotLancelot, Sommer 1910:261, ll. 28-32)., Sommer 1910:261, ll. 28-32).


Lancelot: “[I said that] I wanted to Lancelot: “[I said that] I wanted to be your knight wherever I would be be your knight wherever I would be and you told me that you wanted and you told me that you wanted me to be your knight and your me to be your knight and your ‘ami’. And then I said ‘Goodbye, ‘ami’. And then I said ‘Goodbye, lady’ and you said ‘Goodbye sweet lady’ and you said ‘Goodbye sweet friend’. [...] And these were the friend’. [...] And these were the words that made me the valiant words that made me the valiant knight that I am.”knight that I am.”


Guinevere: “ie nel pris pas si a Guinevere: “ie nel pris pas si a chertes comme vous feistes . & a chertes comme vous feistes . & a maint cheualier lai ge dit ou ie maint cheualier lai ge dit ou ie ne pensai onques fors le dit” ne pensai onques fors le dit” ((LancelotLancelot, Sommer 1910:261, ll. , Sommer 1910:261, ll. 38-39).38-39).


[The queen says:] I took them [The queen says:] I took them not as seriously as you did and I not as seriously as you did and I spoke to many a knight [the spoke to many a knight [the same words], considering them same words], considering them but a manner of speaking.but a manner of speaking.

I am yours …1I am yours …1

Jacques d’Amiens’s Jacques d’Amiens’s L’art L’art d’amoursd’amours:: “[...] je suis vostres “[...] je suis vostres tous entiers, / Et quanque j’ai tous entiers, / Et quanque j’ai tout ensement / Est en vostre tout ensement / Est en vostre commandement” commandement”

I am entirely yours / and I am entirely yours / and whatever I own also / is at your whatever I own also / is at your disposal.disposal.

I am yours …2I am yours …2

Jakemes’s Jakemes’s Le roman du Castelain Le roman du Castelain de Couci et de la Dame de Fayel:de Couci et de la Dame de Fayel:

““Je sui tous vos entirement”Je sui tous vos entirement”

Courtly conversationCourtly conversation

““Sophisticated people conversed by Sophisticated people conversed by using a degree of semantic using a degree of semantic indirectness, preferring metaphor, indirectness, preferring metaphor, comparison or allusion to direct comparison or allusion to direct statement, and allowing their statement, and allowing their interlocutor to infer part of their interlocutor to infer part of their meaning.” meaning.” Burnley, David. 1995. «Style, Meaning Burnley, David. 1995. «Style, Meaning and Communication in and Communication in Sir Gawain and Sir Gawain and the Green Knightthe Green Knight». ». PoeticaPoetica (Tokyo) (Tokyo) 42:23-37, quote p. 26.42:23-37, quote p. 26.

‘‘subtil’ loverssubtil’ lovers

““double in love and no thing double in love and no thing pleyn, pleyn, And subtil in that craft over any And subtil in that craft over any wyght wyght And with his kunnyng wan this And with his kunnyng wan this lady bryght” lady bryght” (Chaucer, (Chaucer, Anelida and ArciteAnelida and Arcite, , Benson 1987, ll. 87-89)Benson 1987, ll. 87-89)

true lovers 1true lovers 1

““[C]ar ce [i.e. li oeul] sont les [C]ar ce [i.e. li oeul] sont les fenestres dou cuer et ont lor racines fenestres dou cuer et ont lor racines u cuer, ne li oeul ne pueent pas si u cuer, ne li oeul ne pueent pas si mentir con fait li bouce” (Richard de mentir con fait li bouce” (Richard de Fournival, ed. Speroni 1974:261) Fournival, ed. Speroni 1974:261)

For the eyes are the windows of the For the eyes are the windows of the heart and have their roots in the heart and have their roots in the heart. Unlike the mouth, the eyes heart. Unlike the mouth, the eyes can tell no lie.can tell no lie.


““Q’el non sembla ges traidor, / Qe Q’el non sembla ges traidor, / Qe qan mi demonstret l’amor, / Mudet qan mi demonstret l’amor, / Mudet tres colors en una ora”tres colors en una ora”

((Cort d’amorsCort d’amors,, ed. Jones 1977:124, ed. Jones 1977:124, ll. 455-457). ll. 455-457).

But he scarcely seems a traitor, / But he scarcely seems a traitor, / because, when he was declaring his because, when he was declaring his love to me, / he turned three colours love to me, / he turned three colours in an hour.)in an hour.)


““Vous me savriiez ja mout bien / par Vous me savriiez ja mout bien / par parole et par l’ueil a trere / la pene, parole et par l’ueil a trere / la pene, et ce que ne vueil fere / e entendre, et ce que ne vueil fere / e entendre, par verité.” (Jean Renart, par verité.” (Jean Renart, Lai de Lai de l’ombrel’ombre, ll. 384-387) , ll. 384-387)

You know very well how, with words, You know very well how, with words, to deceive me [literally: to pass the to deceive me [literally: to pass the feather through the eye] and to feather through the eye] and to make me do what I do not want, make me do what I do not want, truly.truly.

Linguistic strategiesLinguistic strategies

joint projectjoint project on-record clarityon-record clarity off-record ambiguityoff-record ambiguity step-by-step approach =>step-by-step approach => shared responsibilityshared responsibility overall risk minimisedoverall risk minimised course of the conversation not course of the conversation not

predeterminedpredetermined

Linguistic strategies 2Linguistic strategies 2

sequence of minimal joint sequence of minimal joint actionsactions

‘‘A: question – B: answer + new A: question – B: answer + new question’question’

Lyrical monologueLyrical monologue

The lyrical monologue, the most The lyrical monologue, the most widespread form in courtly love widespread form in courtly love poetry, survives in the ‘interior’ poetry, survives in the ‘interior’ monologues of the lovesick monologues of the lovesick protagonists.protagonists.

DialoguesDialogues

relatively greater realismrelatively greater realism plot motivationplot motivation protagonist characterisationprotagonist characterisation

Middle English Middle English RomancesRomances

Anglo-Norman romancesAnglo-Norman romances

Hue de Rotelande’s Hue de Rotelande’s Ipomedon Ipomedon (end of 12th centuy)(end of 12th centuy)

chaste protagonists who marry in chaste protagonists who marry in the endthe end

PreferencesPreferences

Middle-english romances prefer Middle-english romances prefer the ‘amant hardi’ type, i.e. the the ‘amant hardi’ type, i.e. the lover who is driven by his ardent lover who is driven by his ardent love to confess outright his love to confess outright his feelings to the ladyfeelings to the lady

Preferences 2Preferences 2

““Car a ce ne m’acorderai je ja, Car a ce ne m’acorderai je ja, que femme doive priier homme que femme doive priier homme d’amours” d’amours” (Richard de Fournival, Speroni (Richard de Fournival, Speroni 1974:266) For I shall never 1974:266) For I shall never accept that a woman should ask accept that a woman should ask a man for love.a man for love.

Preferences 3Preferences 3

nay! sertes my-selue schal him nay! sertes my-selue schal him neuer telle;neuer telle;For For ππat were swiche a wogh at were swiche a wogh ππa a neuer wolde be mended.neuer wolde be mended.For he might ful wel for a fol me For he might ful wel for a fol me hold,hold,& do me lo& do me loππe mi loue git haue y e mi loue git haue y leuer deie!leuer deie!((William of PalerneWilliam of Palerne, Skeat 1867:27, , Skeat 1867:27, ll. 543-546)ll. 543-546)

Common featuresCommon features

personal name as form of personal name as form of addressaddress

praise / complimentspraise / compliments appeal to have pityappeal to have pity continuous love sufferingcontinuous love suffering

Gender specific featuresGender specific features

manman offer of serviceoffer of service

womanwoman offer of offer of

trothplighting trothplighting or marriageor marriage

Reasons for similaritiesReasons for similarities

‘‘male’ declaration of love is the male’ declaration of love is the normnorm

declaration of love as a type-declaration of love as a type-episodeepisode

clearly established interactional clearly established interactional patternpattern

excitement, amusement, shockexcitement, amusement, shock

‘luf-talkyng’ in medieval literature 7

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