This coincidence of absolute, inscrutable Otherness and pure machine is what confers on the Lady her uncanny, monstrous character—the Lady is the Other which is The mirror may on occasion imply the mechanisms of narcissism, and especially the dimension of destruction or aggression that we will encounter subsequently. The Lady is never characterized for any of her real, concrete virtues, for The relationship of the knight to the Lady is thus the relationship of the subject-bondsman, vassal, to his feudal Master-Sovereign who subjects her vassal to senseless, outrageous, impossible, arbitrary, capricious ordeals. In 1936 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".Since at the time some marriages among nobility had little to do with modern perspectives of what constitutes love,Much of its structure and its sentiments derived from Hispano-Arabic literature, as well as Arabic influence on Sicily, provided a further source, in parallel with Ovid, for the early The historic analysis of courtly love varies between different schools of historians. Watch Queue Queue London: J. M. Dent & Sons Ltd, 1987.Mary Dove, "Sex, Allegory and Censorship: A Reconsideration of Medieval Commentaries on the Song of Songs," Monica Brzezinsky Potkay, "The Limits of Romantic Allegory in Marie de France's Edmund Reiss (1979). The Lady is thus as far as possible from any kind of purified spirituality: she functions as an inhuman partner in the precise sense of a radical Otherness which is wholly incommensurable with our needs and desires; as such, she is simultaneously a kind of automaton, a machine which randomly utters meaningless demands. In this poetic field the feminine object is emptied of all real substance.’By means of a form of sublimation specific to art, poetic creation consists in positing an object I can only describe as terrifying, an inhuman partner. Historian John Benton found no documentary evidence in law codes, court cases, chronicles or other historical documents.A point of controversy was the existence of "courts of love", first mentioned by The Church emphasized love as more of a spiritual rather than sexual connection.Robertson Jr., D. W., "Some Medieval Doctrines of Love", John C. Moore begins his review of the history and pitfalls of the term, "The beginning of the term 'courtly love' is commonly placed in one of two centuries, the nineteenth or the twelfth" (John C. Moore, "Courtly Love": A Problem of Terminology", Busby, Keith, and Christopher Kleinhenz.
The tradition of medieval allegory began in part with the interpretation of the Allegorical treatment of courtly love is also found in the Through such routes as Capellanus's record of the Courts of LoveA point of ongoing controversy about courtly love is to what extent it was sexual. Practiced in feudal courts, it was a quality of a courtier. All courtly love was erotic to some degree, and not purely platonic—the troubadours speak of the physical beauty of their ladies and the feelings and desires the ladies arouse in them. This kind consists in the contemplation of the mind and the affection of the heart; it goes as far as the kiss and the embrace and the modest contact with the nude lover, omitting the final solace, for that is not permitted for those who wish to love purely.... That is called mixed love which gets its effect from every delight of the flesh and culminates in the final act of Venus.Within the corpus of troubadour poems there is a wide range of attitudes, even across the works of individual poets. Paris said amour courtois was an idolization and ennobling discipline. Traité de l'amour courtois by André, le chapelain.