Love and Marriage in Renaissance Literature

romantic love celebrated in songs and romances of the Medieval Period. Moreover, being a code

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.

During the Renaissance period, sexuality impacted how people, both men and women, were treated and how they behaved. The lives of women were completely defined by the ideals of sexuality that were enforced during that time. Every area of a woman’s life from birth was influenced by outside influences rather than by they themselves. It took a particular type of woman to break past the clearly defined description of what a “Renaissance woman” should be.

Centuries ago in Elizabethan England there were many traditions about marriage and the treatment of women. One strong tradition of these times was the practice of marriage between races. Interracial marriages were considered extremely taboo. (High Beam). In this era marriages were arranged by the parents with strong help from the local church. The individuals had little choice as to who they would marry. (Elizabethan England Life). Yet another example of these traditions was the respectable treatment of women. While the husband was in charge of his wife, as was the father, the husband were expected to treat the women right (Elizbethi). In spurning all of these traditions, Shakespeare demonstrates a view of marriage far different from that

Giovanni and Lusanna: Love and Marriage in Renaissance Florence by Gene Brucker provides a unique look into the life of commoners in the 15th century. This book follows the 1455 court case surrounding the alleged marriage between Giovanni della Casa and Lusanna, the daughter of Maestro Benedetto di Girolamo. Throughout this trial testimonies, from witnesses with a vast array of socioeconomic backgrounds are presented. These were people whose voices would likely have never been heard if not for this case. This particular cross-section of people creates a very clear picture of the hierarchical system in place during the renaissance. Throughout this book, it becomes clear that each person had his or her place within society.

The admiration of courtly love is no more prevalent theme in Marie's lais than on “Yonec” and “Lanval”. These two lais are showing very aristocratic views on socially states; love of nobility. A love that cannot be explained by a commoner or peasant that cannot show status has nothing to offer, for courtly love because a peasant has no chivalry. This courtly love is often secret in that a knight and a lady are not married to one another but to a different partner making the story adulterous. That secret at the end makes the story ecstatic and tragic; the adhesive of the story is the passion of love that is displayed making the store ecstatic and the secret is the tragedy that love cannot be acknowledged. The principal argument of this essay is to understand courtly love in Marie de France’s lais.

According to American mythologist, Joseph Campbell, “The greatest love was during the Medieval Ages, when noble hearts produced a romantic love that transcended lust” (Joseph Campbell and the Power of Myth with Bill Moyers [2001]). The Lais of Marie de France are primarily concerned with this idea of love--specifically, courtly love--between a man and a woman. Courtly love, a union modeled after the feudal relationship between a knight and his liege lord, became a popular convention in the 12th century (“Backgrounds to Romance: ‘Courtly Love’”). Instead of proving loyalty to a lord, the man would have to prove his love to a woman. Marie de France, however,

“Just as today a woman’s wedding was one of the most important days of her life” (William Shakespeare info). During the Elizabethan Era, most marriages were arranged, and some couples would be introduced to each other on their wedding day itself! (William Shakespeare info) Many of times marriages were done so that both families could “benefit” in some way, such as status or wealth ( Linda Alchin). Even though there are some differences from then to now, weddings today have some of the same aspects as Elizabethan weddings did, because a wedding is still one of the biggest days of a person’s life. There were many customs, preparations, and important ceremonies done during these times, and some of them are

The two main relationships the play focuses on are now set, and the two audiences have different views on them. For an audience today to see Hero and Claudio decide to get married so simply would be boring. However, a Shakespearian audience would see this relationship as ordinary, and not be bothered that it was so simple.

The idea of marriage that is presented in the play differs from what we see marriage as

William Shakespeare’s play The Tempest (1610-11) includes two important themes: love and marriage. Throughout the play, Shakespeare portrays love as a force that brings people together, but also as a thing that people take advantage of. Prospero is the main manipulator of love in this play. By using his daughter Miranda’s feelings and having her marry Ferdinand, he manages to strengthen his own political power. Also, most of the instances of love in this play are not examples of true love. The two marriages that either happen or are mentioned in the play are both good examples of the game-like nature of dynastic marriages in the 16th and the 17th centuries. Most dynastic marriages were arranged and the

Some would say that some of the greatest works of love literature of all time were written during the Renaissance era; passages and the truest forms of love. Two poets that stood out to me that claimed that they had captured the true essence of love in their poems were William Shakespeare and John Donne. While Donne and Shakespeare wrote many poems, and works on the subject of love the two that seem to capture the quintessential and transcendental love that was often described in this era are The Sun Rising by John Donne, and chapter three, act five from Romeo and Juliet by William Shakespeare, also known as Romeo and Juliet’s Dawn Song. While Romeo and Juliet’s dialogue is similar to The Sun

Social norms differ greatly between now and the age of Romeo and Juliet. The two young lovers would have thought it completely normal to marry at such a young age as they did. Juliet’s own mother said it herself, with the words “Well, think of marriage now. Younger than you / Here in Verona, ladies of esteem, / Are made already mothers” (I.iii.75-77). At only thirteen years of age, a girl today may dream of marrying, but would not actually plan on marriage until she grew much older. However, many young girls in fourteenth-century Italy had already found husbands, and some had even had children. Also, many families arranged their children’s marriages, and rarely did men and women marry for love, as Romeo and Juliet decided to. This went against the social norm, but the two did not care, because they had fallen in love and wanted to stay together forever.

During the Middle Ages, Courtly love was a code which prescribed the conduct between a lady and her lover (Britannica). The relationship of courtly love was very much like the feudal relationship between a knight and his liege. The lover serves his beloved, in the manner a servant would. He owes his devotion and allegiance to her, and she inspires him to perform noble acts of valor (Schwartz). Capellanus writes, in The Art of Courtly Love, “A true lover considers nothing good except what he thinks will please his beloved”. The stories of Marie de France and Chrétien de Troyes illustrate the conventions of courtly love.

The modern concept of love owes a great deal to the Humanist tradition of the Renaissance. The humanists focused on perfection and exaltation of this life as opposed to the afterlife. In Tristan and Iseult the seeds of Renaissance love are present in the Middle Ages. To the modern eye, it is a mystery how the period of the Middle Ages produced the seeds of the diametrically opposite Renaissance. Yet it is necessary to understand this transformation if one is to fully comprehend the forces that helped produce the modern consciousness. Courtly Love is a transitional concept that emerged in the Middle Ages. It is transitional because it emerged early and acknowledges God as the creator of love,