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Updated: May 27, 2025
Now, in order to understand mediæval love, we must reflect for a moment upon this feudal castle, and upon the kind of life which the love poets of the late twelfth and early thirteenth century whether lords like Bertram de Born, and Guillaume de Poitiers, among the troubadours; the Vidame de Chartres, Meurisses de Craon, and the Duke of Brabant among the trouvères of Northern France; like Ulrich von Liechtenstein among the minnesingers; or retainers and hangers-on like Bernard de Ventadour and Armand de Mareulh, like Chrestiens de Troyes, Gaisses Brulez, or Quienes de Béthune, like Walther, Wolfram, and Tannhäuser great or small, good or bad, saw before them and mixed with in that castle.
With idealizing refinement, the chivalric love of the French, Provençal, and German poets brings also a kind of demoralization which, from one point of view, makes the spotless songs of Bernard de Ventadour and Armaud de Mareulh, of Ulrich von Liechtenstein and Frauenlob, less pure than the licentious poems addressed by the Greeks and Romans to women who, at least, were not the wives of other men.
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