Analysis Of The Medieval Laws Of Chivalry In Ivanhoe

Literature of the Middle Ages can not be discussed without acknowledging the undeniable importance of chivalry. Chivalry in relation to the middle ages is defined as “the code of conduct adhered to by Medieval knights with gallant knightly values including honor, bravery, courteousness and honesty.” This key characteristic is essential in defining an ideal knight as well as his expectations. A knight must live by a chivalric code in which he becomes indebted to the people, his fellow knights, and most importantly, his lord. No other knight displayed more of a devotion to upholding the code then Lanval of Marie de France’s lai “Lanval.” Lanval demonstrates his chivalric nature in essential every action from maintaining comitatus amongst the

The Courtier, originally written as a “courtesy book”, can now be considered to provide significant insight into the norms and practices associated with courtship and gender during the Renaissance era. The book’s third volume is a particularly insightful window into 16th century romantic ideals. Throughout Book Three, Baldassare Castiglione builds an elaborate perspective on what makes the perfect court lady, what sexual and social behavior is acceptable, and how an ideal couple (both courtier and court lady) should function.

While the lustful lover of Marvell’s poem also bases his “love” on physical beauty, the speaker in Herrick’s poem neither condones nor condemns this societal standard, but simply acknowledges its existence. Because he realizes beauty plays a huge role in society’s standards for marriage, he urges the virgins he addresses to “go marry” (14). He explains that they “may for ever tarry” if they do not marry “when youth and blood are warmer” and they are in their “prime” (16,10,15). After all, who wants to marry some gnarly old woman?

Chivalry can be considered the code of the medieval warrior, that was based on a set of rules that include honor, valor, courtesy, and, at the center of it all, loyalty. Throughout Njal’s Saga, Njal and his wife are consistently showing chivalry especially when Njal helps Gunnar at the Althing, when he warns Gunnar about the Halberd, and when Bergthora says she will die in the fire with Njal. Similarly to the Nilsson, another character, from Beowulf, who is both a king and warrior consistently shows his chivalry throughout his poem; this warrior is called Beowulf. He shows his chivalry in different ways than that of Njal and his family; he shows his chivalry when he makes an oath to the king, affirms his promise my killing Grendel, and when he protects his men from Grendel. Njal, Bergthora, and Beowulf are both examples of chivalry, and they prove it through their actions that take place in their books.

In the early days, the role of woman has been confined by a man because their jobs are to get marry, have children, and most depend on their husbands. The men in the early society had bigger roles than women. Therefore, women has to base themselves on and listen to their men. However, in the story “Once Aboard The Lugger,” author Thomeas Qiller- couch presents an intense image of a woman who makes change in woman’s role in the early society. Nance Trewartha, a daughter of a fisherman in Ruan, wants to marry a minister Samuel from Troy. She has fond on him and starts to wonder how would be like if Samuel is her husband. With her lovingness and braveness, she kidnaps Samuel and start to reverse a women role in the courtship. Surprisingly, Nance pursues Samuel by isolating him, and she changes the patterns of courtship, culture, and class.

The medieval church taught that women were inferior to men and that they should be compliant and obedient to their fathers and husbands. Men look down to women as their respect for their ladies are limited as in Canterbury Tales were these women start out as beneath men. These same men who feel the need to arrogate women of their dignity find their fate is later put into the women’s hands. Although a women is taciturn and does not speak out to the men and talk of their animadversion toward the men’s behavior, these same ladies have the power to then decide how these men should serve their punishment for their sacrileges and unruly decisions as in the “Wife of Bath’s Tale”, were after his life was saved by an old lady, in return this old women requested to him to “take me as your wife” (p.138). A women’s love and passion should be approached with appreciation and admiration otherwise being inconsiderate and impassionate will turn a women against a man.

In Geoffrey Chaucer’s poem, The Knight’s Tale, the author encapsulates chivalrous characteristics in his telling of a battle for love. In its fundamental form, chivalry idealizes a knight’s conduct, both on and off the battlefield (Gregory-Abbott). Chaucer employs this “heroic code [of] bravery, loyalty, and service to one's lord” to illustrate the idillic knight throughout the narrative (Rossignol). Chaucer’s poem, The Knight’s Tale, exhibits the ideals of chivalry in the form of two knights, desperately in love with the same woman, and a wise Duke who embodies the voice of reason. Each knight upholds honor through compassion, troths, and heroism on the battlefield, despite their afflictions with each other.

In Marie De France’s poem “Lanval”, the knight Lanval faces immense cultural pressure to get married and have a male heir, as it is the norm in King Arthur’s kingdom. It may appear that “Lanval” is supporting the concept of the institution of marriage, as the story had a heavy focus on marriage, and the court nearly punished Lanval for rejecting Guinevere. On the surface, the poem could easily mislead the reader to believe this is the case, but without further analysis, the reader may miss the courting that the mystery-lady has provided Lanval, which prove why the text critiques the establishment of marriage, as her courting is very much of the inverse of a typical heterosexual relationship in the culture. This misunderstanding can be

When examining both Robert Browning’s, My Last Duchess, and Charlotte Mew’s, The Farmers Bride, the reader witnesses the poems positions of marriage in the natural world. Within both works, it is quite evident how each relationship is vastly different from the modern world, yet parallel it at the same time. Whether it be: the interactions between the two people or the conditions of the marriage, it is made more than apparent that both can be applied to modern conceptualizations of marriage.

The epic poem Beowulf comments on the unsustainability of chivalry, a social system based off building one’s own honor, strength, and reputation. Similarly, the engraving Knight, Death, and the Devil acts as a visual representation of the inherent flaws of chivalry as a social system. Beowulf, the protagonist of Beowulf, is written as the most powerful man in the world, capable of besting anyone in physical competence—the seeming embodiment of chivalry. This same definition of chivalry is depicted in Durer’s engraving: a lone knight in shining armor. Despite whether or not they were pushed into solitude, the protagonists of these two texts similarly show how chivalry can be undermined when its heroes are solitary figures who do not develop a network of allies. To defend this argument, I will first discuss why the two heroes have been pushed into solitude. Second, I will analyze the warnings given to each protagonist about their respective solitude. Third, I will explore the results following the neglect of the warning, and fourth, I will talk about how each hero’s misguided faith leads to the demise of chivalry. Lastly, I will introduce a counterclaim and analyze its strengths and weaknesses against the thesis.

The theme of matrimony in the Wife of Bath’s Prologue as well as in the Miller’s Tale does not fit in with traditional fourteenth-century culture. The characters in these two texts turn what is suppose to be a sacred unity into a promiscuous and taboo fantasy for pilgrims. The characters narrating these two tales promote the idea of what fourteenth-century canon law would define as adultery—to have had a third lover while married is the new societal trend for the characters in these tales. And so, marriage becomes a component to the larger fantasy of having a relationship with a character who is already in a marital bond, i.e., cuckolding is a fetish for Alisoun in the Wife of Bath’s Prologue as well as for Nicholas and Absolom in the Miller’s Tale. That is, Alisoun’s pursuit of her lover Jankin while being married, promotes the idea that having a third partner amplifies one’s sexual life, meanwhile, Nicholas’s and Absalom’s quarrel over (a different) Alison encourages the idea that engaging with a married someone enhances the gratification of adultery. In other words, marriage is not portrayed as a scared bond, but as a device to fulfill a pilgrim’s sexual fantasy; and, this new fantasy is what the pilgrims try to make a trend throughout England. Note that I will be using the name, “Alisoun,” to represent the wife from Bath, and I will be using the name, “Alison,” to portray the wife in the Miller’s Tale.

Marie de France lived in a time when social graces were paramount to a good reputation, lordships and to securing good marriages. A woman was considered less valuable if she lost her virginity; a wife was subjected to her feudal lord, father, brother or son after her husband’s death. According to Angela Sandison’s article “The Role of Women in the Middle Ages”, this was because in the Middle Ages the Church and the aristocracy controlled public opinion and the legal system. These authorities of the times believed a woman’s place was in a submissive role to a man. In The Lay of the Nightingale, we will see how this social and religious hierarchy will impact the behaviors of the three people involved.

At this point in history the men who fought the wars were lead by their leaders with a code of chivalry. Chivalry can be explained as “the Anglo-Saxon code on steroids.” (McGee) Which is, explained further, a moral system for a good way to conduct fighting. The knights in Arthurian time went even further with that code to say that it was a way to conduct oneself not only in battle, but at all times. Knights, by being chivalrous, were kind to all people, fought well and true, kept faith and believed in the Christian God, and fought for their kings. Chivalry can be found across the Arthurian texts, The Song of Roland is one of the texts that has multiple examples of chivalry.

While the theme of love itself, may it be positive or negative, is reoccurring, Marie’s presentation of romantic relationships and their differing qualities can be considered a theme alone. In “Guigemar”, the relationship between the knight and his lady represents loyalty, and an ability to heal or cure. Yet, the relationship between the beast and his wife in “Bisclavret” demonstrates the selfish and traitorous behavior that can occur between partners, especially if one has proved to be adulterous.

Ivanhoe is chivalrous, where Brian de Bois-Guilbert is far from it. Ivanhoe treats women right, like human beings not things. Brian de Bois-Guilbert treats women like they are just things, like a cat enjoys playing with a toy, when you are done “playing” with it you throw it away. Brian de Bois-Guilbert is a templar, but he is far from being a saint.* Brian de Bois-Guilbert tries to get Rebecca to be his wife, but kidnapping your perhaps future wife is not going to make her like you. He tries to get Rebecca to kiss him, but Rebecca true to her faith, practically told him “If I have a choice between you and death, I chose death.” Ivanhoe, in fact is a gentleman, he stays true to his one love, and waits for her. When he sees Rebecca