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Parables of Love: Reading the Romances of Chrétien De Troyes Through Bernard of Clairvaux

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Parables of Love: Reading the Romances of Chrétien De Troyes Through Bernard of Clairvaux University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2016 Parables of Love: Reading the Romances of Chrétien de Troyes through Bernard of Clairvaux Carrie D. Pagels University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Christianity Commons, French and Francophone Literature Commons, and the Medieval Studies Commons Recommended Citation Pagels, Carrie D., "Parables of Love: Reading the Romances of Chrétien de Troyes through Bernard of Clairvaux. " PhD diss., University of Tennessee, 2016. https://trace.tennessee.edu/utk_graddiss/3732 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Carrie D. Pagels entitled "Parables of Love: Reading the Romances of Chrétien de Troyes through Bernard of Clairvaux." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in French. Mary McAlpin, Major Professor We have read this dissertation and recommend its acceptance: John Romeiser, Anne-Helene Miller, Mary Dzon Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Parables of Love: Reading the Romances of Chrétien de Troyes through Bernard of Clairvaux A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Carrie D. Pagels May 2016 Abstract In three romances Yvain, Lancelot, and Perceval, Chrétien de Troyes utilizes the intimate relationships of his courtly knights and their lady loves to explore and present the Christian ideology of Bernard of Clairvaux as expressed by his four degrees of love in the treatise, On Loving God. Previous scholarly works have only examined the Christian ideology and symbolism in Chrétien's romances as isolated occurrences specific to a single text. In contrast, I argue Chrétien's romances form a progression mirroring the Bernardian steps (or degrees) man must make in order to draw closer to and deepen his relationship with God. In order to achieve his progression, Chrétien utilizes the tenets of courtly love to explain and explore how loving and being loved advances man both secularly and spiritually towards the goal of union with the Beloved. Courtly love in Chrétien's romances explores the relationship between the secular and the divine to become a love which transcends the secular and connects man to God. ii Table of Contents Introduction 1 Chapter One: Knights, Ladies, and Courtly Love: Realities and Fictions 14 Chapter Two: Moving Towards God: Bernard's Four Steps of Loving 60 Chapter Three: Pride and Reconciliation in Yvain 100 Chapter Four: Lancelot - A Monk's Love for the Divine 137 Chapter Five: Mysticism and Union in Perceval 181 Conclusion 223 Bibliography 226 Primary Sources 227 Secondary Sources 228 Appendix: Plot Summaries 238 Yvain 239 Lancelot 241 Perceval 245 Vita 249 iii Introduction In the twelfth century, Chrétien de Troyes created a series of romances exploring the Arthurian world and its values, mannerisms, and ideology. Other than his last name (de Troyes) indicating perhaps from whence he hailed or was born, and the little he reveals in his prologues and romances, not much else is known about him.1 For example, in the prologue to Cligès', Chrétien reveals himself to be a translator and author, stating that he translated both Ovid's Commandments and L'Art d'aimer, as well as writing Erec et Enide and La Morsure de l'épaule, a piece about King Marc and Isolde. In other prologues, those of as Lancelot and Perceval, Chrétien identifies his patrons, Marie de Champagne and Philip of Flanders, thus initiating scholarly speculation about who Chrétien was: a courtier, a clerk, an ecclesiastic? However, most scholars agree that Chrétien was at least a clerk working and writing first at the prestigious literary court of Marie de Champagne and then at that of Philip of Flanders. Chrétien, the man and author, is a complete contrast to his regional compatriot and predecessor, St. Bernard of Clairvaux, who was a prolific writer as well as a well-known public figure. Bernard, a Cistercian Abbot, had the ears of prominent laymen, aristocrats, ecclesiastics, popes and kings, to such an extent that he could preach about going on a Crusade and actually have it endorsed by kings and nobles as well as the Pope. Hailing from an aristocratic background, Bernard could relate to all members of the nobility, encouraging or discouraging them, by using vernacular and secular themes with which they were familiar to discuss spiritual issues. Bernard was not afraid to use the tenets of chivalry or courtly love in his sermons and 1 Jean Frappier, Chrétien de Troyes: The Man and His Work, trans. Raymond. J. Cormier (Athens: Ohio University Press, 1982) 3. 1 writings.2 The Bernardian scholar, Jean Leclercq, describes Bernard's use of courtly literature in his writings as: a genuine language of human love made familiar to his monks through courtly literature...By using biblical language to express the human impulses and emotions [Bernard] transports human love to a higher plane, where the figures in the human drama become transformed into symbols of God and His beloved people or of the human Soul beloved by God.3 Bernard's use of human language, or as I will demonstrate, the language of courtly love, to explain and express how Divine love functions is one of the hallmarks of his teachings. This hallmark made Bernard's texts or sermons easily comprehensible to the secular aristocracy, from which many Cistercians and other religious ecclesiastics were drawn. Bernard's capacity for utilizing language, specifically the language of courtly love, to instruct, must have had an impact upon his regional compatriot, Chrétien. Leclercq notes that it is most likely the Chrétien de Troyes did read Bernard.4 Considering how prolific and how charismatic Bernard was, I think this connection is more than a possibility. In fact, I perceive it to be so probable that I argue in this dissertation that three of Chrétien's romances present a specific series of steps described by Bernard in his treatise On Loving God. Additionally, like Bernard, Chrétien elevates secular love to a "higher plane." Thus, Chrétien's romances seek to instruct both secularly and spiritually. Lynette Muir, in Literature and Society in Medieval France, discusses how the didactic quality of medieval literature provides modern scholars with a "picture of medieval society in France as it saw itself, mirrored in its own literature."5 This "mirroring of life in literature" provides modern scholars with pertinent information regarding life in twelfth-century France. 2 Jean Leclercq, Monks and Love in Twelfth-Century France (Oxford: The Clarendon Press, 1979) 21. 3 Leclercq 103. 4 Leclercq 121. 5 Lynette Muir, Literature and Society in Medieval France (Basingstoke: MacMillan Publishers Ltd., 1985) 1. 2 Ruth Mazo Karras follows a similar line of thought about medieval literature's ability to be both entertaining and didactic, enabling medieval authors to influence and provoke their audiences to change their values or their ideology.6 For Karras, medieval literature affected "the ideals, interests, mentalities, and aspirations, if not the actual behavior, of the knightly classes… [and i]t worked to reconcile several sets of competing ideals: romantic love, gentility, knightly prowess and piety."7 Peter Allen disagrees with both Karras and Muir, as he sees "courtly romance – particularly Arthurian romance … [as being] clearly set apart from reality."8 Allen's point is valid to a certain extent. Chrétien's romances are works of fiction, but that does not discount the realities present, such as the descriptions of battles or clothing, which provide a realistic frame of reference for his medieval audience. Allen does emphasize a point that is worthy of attention: that the Arthurian world is fictional and should not be held up as an example of what the medieval world really was. That being said, Chrétien's romances do contain elements which connect their Arthurian settings with the medieval world of the twelfth century and do provide information on that particular era. It is this connection between reality and fiction that makes Chrétien's ingenious didacticism work.9 6 C. Stephen Jaeger, Envy of Angels: Cathedral Schools and Social Ideals in Medieval Europe, 950-1200 (Philadelphia: University of Pennsylvania Press, 1994) 15. In discussing the Cathedral Schools, Jaeger notes that in the twelfth century texts replaced teachers as the primary pedagogical tool. Whereas in the eleventh century, imitating the teacher was epitome of the pedagogical model, in the twelfth century texts became the teachers, thus it was the text that was to provoke imitation. 7 Ruth Mazo Karras, From Boys to Men: Formations of Masculinity in Late Medieval Europe (Philadelphia: University of Pennsylvania Press, 2003) 26. 8 Peter Allen, The Art of Love (Philadelphia: University of Philadelphia
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