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Updated: June 3, 2025
Nay, more difficult still to believe because the whole madness of individuals is more credible than the half-madness of the whole world is it possible to believe that, as the poems of innumerable trouvères and troubadours, minnesingers and Italian poets, as the legion of mediæval romances of the cycles of Charlemagne, Arthur, and Amadis would have it, that during so long a period of time society could have been enthralled by this hysterical, visionary, artificial, incredible religion of mediæval love?
The comparatively small influence exerted by the French pastoral of the renaissance on that of England must excuse the scanty summary given in the preceding paragraphs. It remains to be said that there had existed at an earlier period in France another and very different tradition, which supplied one of the regular forms of composition in vogue among trouvères and troubadours alike.
Chaucer and other English poets, have drawn many inspirations from her poems. The Trouveres not only originated the romances of chivalry; but they also invented allegorical poems. The most celebrated is the "Romance of the Rose," written in the thirteenth century.
If, in fact, one compares European literature before the introduction of the Cymric romances, with what it became when the trouveres set themselves to draw from Breton sources, one recognises readily that with the Breton narratives a new element entered into the poetic conception of the Christian peoples, and modified it profoundly.
He invented plots and situations full of fine possibilities by which later poets have profited, but his own handling of them was feeble and prolix. Yet there was a simplicity about the old French language and a certain elegance and delicacy in the diction of the trouveres which the rude, unformed English failed to catch.
Chrétien de Troies, the most famous of the old French trouvères in the latter part of the twelfth century, made the Arthur legend the subject for his "Romans" and "Contes," as well as for two epics on Tristan; the Holy Grail, Peredur, etc., belonging to the same cycle.
The Troubadours. 2. The Trouveres French Literature in the Fifteenth Century. 4. The Mysteries and Moralities: Charles of Orleans, Villon, Ville-Hardouin, Joinville, Froissart, Philippe de Commines. The Renaissance and the Reformation: Marguerite de Valois, Marot, Rabelais, Calvin, Montaigne, Charron and others. 2.
It consisted of 20,000 verses, and although tedious, because of its length, it was universally admired, and became the foundation of all subsequent allegory among the different nations. The poetry of the Trouveres was unlike anything in antiquity, and unlike, too, to what came after it.
The pastorelle was of pastoral character, usually consisting of short lines and containing a dialogue. Among the more narrative forms are found the ballad, more especially favoured by the Trouvères, or minstrels of the "Langue d'oil" regions. It gave rise to the various metres used in the epics, and sometimes formed the basis of these longer works.
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.
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