CHIVALRY: An idealized code of military and social behavior for the aristocracy in the late medieval period. The word "chivalry" comes from Old French cheval (horse), and chivalry literally means "horsemanship." Normally, only rich nobility could afford the expensive armor, weaponry, and warhorses necessary for mounted combat, so the act of becoming a knight was symbolically indicated by giving the knight silver spurs. The right to knighthood in the late medieval period was inherited through the father, but it could also be granted by the king or a lord as a reward for services. The tenets of chivalry attempted to civilize the brutal activity of warfare. The chivalric ideals involve sparing non-combatants such as women, children, and helpless prisoners; the protection of the church; honesty in word and bravery in deeds; loyalty to one's liege; dignified behavior; and single-combat between noble opponents who had a quarrel. Other matters associated with chivalry include gentlemanly contests in arms supervised by witnesses and heralds, behaving according to the manners of polite society, courtly love, brotherhood in arms, and feudalism.
KNIGHT: A military aristocrat in medieval Europe and England who swore service as a vassal to a liege lord in exchange for control over land. The term comes from the Old English word cniht, meaning young man or servant-boy. The process of becoming a knight was a long one, and small boys would begin their training as a page at court, serving food or drink to their elders, running messages and errands. They would be expected during this period to learn the niceties of polite society and respect for their elders. The next phase of training was serving as squire to another knight. The squire would be expected to polish and clean his knight's armor and weapons, care for and feed the horses, and wait upon his master during jousts or military service. He would also learn the finer points of fighting and riding. The final stage of knighthood was a semi-religious ceremony that varied in its details from one geographic area to another. In the late medieval period, the position of knight often became hereditary, and the title Sir, Ser, or Don was indicative of this rank. Associated with knighthood in the later Middle Ages were cultural phenomena such as feudalism, the cult of chivalry and courtly love.
ROMANCE, MEDIEVAL (also called a chivalric romance): In medieval use, romance referred to episodic French and German poetry dealing with chivalry and the adventures of knights in warfare as they rescue fair maidens and confront supernatural challenges. The medieval metrical romances resembled the earlier chansons de gestes and epics. However, unlike the Greek and Roman epics, medieval romances represent not a heroic age of tribal wars, but a courtly or chivalric period of history involving highly developed manners and civility, as M. H. Abrams notes. Their standard plot involves a single knight seeking to win a scornful lady's favor by undertaking a dangerous quest. Along the way, this knight encounters mysterious hermits, confronts evil blackguards and brigands, slays monsters and dragons, competes anonymously in tournaments, and suffers from wounds, starvation, deprivation, and exposure in the wilderness. He may incidentally save a few extra villages and pretty maidens along the way before finishing his primary task. (This is why scholars say romances are episodic--the plot can be stretched or contracted so the author can insert or remove any number of small, short adventures along the hero's way to the larger quest.)
Medieval romances often focus on the supernatural. In the classical epic, supernatural events originate in the will and actions of the gods. However, in secular medieval romance, the supernatural originates in magic, spells, enchantments, and fairy trickery. Divine miracles are less frequent, but are always Christian in origin when they do occur, involving relics and angelic visitations. A secondary concern is courtly love and the proprieties of aristocratic courtship--especially the consequnces of arranged marriage and adultery.
Scholars usually divide medieval romances into four loose categories based on subject-matter:
(1) "The Matter of Rome": stories based on the history and legends of Greco-Roman origin such as the Trojan war, Thebes, mythological figures, and the exploits of Alexander the Great. The medieval poet usually creates an anachronistic work by turning these figures into knights as he knew them.
(2) "The Matter of Britain": stories based on Celtic subject-matter, especially Camelot, King Arthur, and his knights of the round table, including material derived from the Celto-French Bretons and Breton lais.
(3) "The Matter of England": stories based on heroes like King Horn and Guy of Warwick.
(4) "The Matter of France": stories based on Charlemagne, Roland, and his knights.
A large number of such romances survive due to their enormous popularity, including the works of Chrétien de Troyes (c. 1190), Hartmann von Aue (c. 1203), Gottfried von Strassburg (c. 1210), and Wolfram von Eschenbach (c. 1210). England produced its own romances in the fourteenth century, including the Lay of Havelok the Dane and Sir Gawain and the Green Knight. In 1485, Caxton printed the lengthy romance Le Morte D'Arthur, a prose work that constituted a grand synthesis of Arthurian legends.
COURTLY LOVE: The phrase "courtly love" is a modern scholarly term to refer to the idea espoused in medieval French as "Fin Amour." This phenomenon is a cultural trope in the late twelfth-century, or possibly a literary convention that captured popular imagination. Courtly love refers to a code of behavior that gave rise to modern ideas of chivalrous romance. The term itself was popularized by C. S. Lewis' and Gaston Paris' scholarly studies, but its historical existence remains contested in critical circles. The conventions of courtly love are that a knight of noble blood would adore and worship a young noble-woman from afar, seeking to protect her honor and win her favor by valorous deeds. He typically falls ill with love-sickness, while the woman chastely or scornfully rejects or refuses his advances in public, but privately encourages him. Courtly love was associated with (A) nobility, since no peasants can engage in "fine love"; (B) secrecy; (C) adultery, since often the one or both participants were married to another noble or trapped in an unloving marriage; and (D) paradoxically with chastity, since the passion could never be consummated due to social circumstances, thus it was a "higher love" unsullied by selfish carnal desires.
Source: Dr. Kip Wheeler http://web.cn.edu/kwheeler/index.html
No comments:
Post a Comment