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Thesis (Ph. D.)--University of Pennsylvania, 1931. / Published also without thesis note, under title: The devil take her; a study of the rebellious lover in English poetry. "My subject may be considered a history of poets' antagonism to the system known as courtly love."--Introd. Alphabetical list of authors and poems, with bibliographical references: p. 298-351.

A questão que move este trabalho concerne à relação do sujeito com o amor: por que, para alguns, de forma recorrente, ou para todos, em determinado(s) momento(s), amar não implica demandar amor, demandar a presença do outro, construir e suportar um enlace junto ao objeto de amor, mas parece, justamente, ao contrário, evitar que esse laço se estabeleça? O que está em jogo nesse amor que se sustenta mediante a segurança de um impedimento, de uma distância que prive (e preserve), ao menos em parte, o sujeito, do contato com seu amado. Que elementos sustentam e requerem que o sujeito se coloque a amar, necessariamente, de fora do laço? Aqui não estamos diante da lógica do rodeio como forma de se aproximar e chegar ao amado: nossa interrogação recai sobre o rodeio como fim em si mesmo. A questão desta pesquisa partiu inicialmente da biografia “Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, mas ganhou desdobramento ao dialogar com produções artísticas no campo da poesia, com o arranjo colocado em cena pelo amor cortês e pelo movimento “As Preciosas”. A partir disso, orientados pelo referencial da psicanálise de Jacques Lacan, resgatamos as noções referentes ao amor, à transferência e ao amor cortês. Na seqüência do trabalho, tratamos de dois efeitos relativos ao limite do que pode o sujeito suportar em seu enlace ao Outro: a angústia e a passagem ao ato. Ao fim, passando pelo desejo do Outro, chegamos aos avatares da demanda e da sublimação, indicando aí distinções a partir das figuras topológicas do grafo do desejo, do oito interior e do toro. Nesse percurso, colocamos a psicanálise a trabalhar, com o objetivo de elaborar o paradoxo levantado. / The question that drives this essay concerns the relationship of the subject with love: why, for some, on a regular basis, or for everyone, at a particular time(s), love means neither to require love, nor to require the other's presence, nor to build and support a bond with the object of love, but it seems precisely the opposite, to keep that bond from happening? What is at stake in this love that is established by the security of a constraint, by a distance that deprives (and preserves), at least in parts, the subject from contacting his beloved one? Which elements that sustain and claim that the subject puts himself to love, necessarily, out of the bond? Here we are not facing the logic of the deviousness as a way to get closer and get to the beloved one: our question lays down on the deviousness as an end in itself. The question of this research first came from the biography "Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, but it unfolded from the dialogue with artistic productions in the field of poetry, with the arrangement brought to light by the Courtly Love and The Precious movement. Having these fields taken into consideration and, guided by the reference of the psychoanalysis of Jacques Lacan, we recover the notions relating to love, to the transfer and to the Courtly Love. Going further with the work, we deal with two effects of the boundary of what the subject can stand on his bond to the Other: the anguish and the passing to act. In the end, going through the desire of the Other, we came to the avatars of demand and sublimation, indicating then distinctions to the topological figures from the graph of desire, the eight inside and the torus. Along the way, we put psychoanalysis to work, with the goal of developing the paradox raised.

A questão que move este trabalho concerne à relação do sujeito com o amor: por que, para alguns, de forma recorrente, ou para todos, em determinado(s) momento(s), amar não implica demandar amor, demandar a presença do outro, construir e suportar um enlace junto ao objeto de amor, mas parece, justamente, ao contrário, evitar que esse laço se estabeleça? O que está em jogo nesse amor que se sustenta mediante a segurança de um impedimento, de uma distância que prive (e preserve), ao menos em parte, o sujeito, do contato com seu amado. Que elementos sustentam e requerem que o sujeito se coloque a amar, necessariamente, de fora do laço? Aqui não estamos diante da lógica do rodeio como forma de se aproximar e chegar ao amado: nossa interrogação recai sobre o rodeio como fim em si mesmo. A questão desta pesquisa partiu inicialmente da biografia “Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, mas ganhou desdobramento ao dialogar com produções artísticas no campo da poesia, com o arranjo colocado em cena pelo amor cortês e pelo movimento “As Preciosas”. A partir disso, orientados pelo referencial da psicanálise de Jacques Lacan, resgatamos as noções referentes ao amor, à transferência e ao amor cortês. Na seqüência do trabalho, tratamos de dois efeitos relativos ao limite do que pode o sujeito suportar em seu enlace ao Outro: a angústia e a passagem ao ato. Ao fim, passando pelo desejo do Outro, chegamos aos avatares da demanda e da sublimação, indicando aí distinções a partir das figuras topológicas do grafo do desejo, do oito interior e do toro. Nesse percurso, colocamos a psicanálise a trabalhar, com o objetivo de elaborar o paradoxo levantado. / The question that drives this essay concerns the relationship of the subject with love: why, for some, on a regular basis, or for everyone, at a particular time(s), love means neither to require love, nor to require the other's presence, nor to build and support a bond with the object of love, but it seems precisely the opposite, to keep that bond from happening? What is at stake in this love that is established by the security of a constraint, by a distance that deprives (and preserves), at least in parts, the subject from contacting his beloved one? Which elements that sustain and claim that the subject puts himself to love, necessarily, out of the bond? Here we are not facing the logic of the deviousness as a way to get closer and get to the beloved one: our question lays down on the deviousness as an end in itself. The question of this research first came from the biography "Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, but it unfolded from the dialogue with artistic productions in the field of poetry, with the arrangement brought to light by the Courtly Love and The Precious movement. Having these fields taken into consideration and, guided by the reference of the psychoanalysis of Jacques Lacan, we recover the notions relating to love, to the transfer and to the Courtly Love. Going further with the work, we deal with two effects of the boundary of what the subject can stand on his bond to the Other: the anguish and the passing to act. In the end, going through the desire of the Other, we came to the avatars of demand and sublimation, indicating then distinctions to the topological figures from the graph of desire, the eight inside and the torus. Along the way, we put psychoanalysis to work, with the goal of developing the paradox raised.

A questão que move este trabalho concerne à relação do sujeito com o amor: por que, para alguns, de forma recorrente, ou para todos, em determinado(s) momento(s), amar não implica demandar amor, demandar a presença do outro, construir e suportar um enlace junto ao objeto de amor, mas parece, justamente, ao contrário, evitar que esse laço se estabeleça? O que está em jogo nesse amor que se sustenta mediante a segurança de um impedimento, de uma distância que prive (e preserve), ao menos em parte, o sujeito, do contato com seu amado. Que elementos sustentam e requerem que o sujeito se coloque a amar, necessariamente, de fora do laço? Aqui não estamos diante da lógica do rodeio como forma de se aproximar e chegar ao amado: nossa interrogação recai sobre o rodeio como fim em si mesmo. A questão desta pesquisa partiu inicialmente da biografia “Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, mas ganhou desdobramento ao dialogar com produções artísticas no campo da poesia, com o arranjo colocado em cena pelo amor cortês e pelo movimento “As Preciosas”. A partir disso, orientados pelo referencial da psicanálise de Jacques Lacan, resgatamos as noções referentes ao amor, à transferência e ao amor cortês. Na seqüência do trabalho, tratamos de dois efeitos relativos ao limite do que pode o sujeito suportar em seu enlace ao Outro: a angústia e a passagem ao ato. Ao fim, passando pelo desejo do Outro, chegamos aos avatares da demanda e da sublimação, indicando aí distinções a partir das figuras topológicas do grafo do desejo, do oito interior e do toro. Nesse percurso, colocamos a psicanálise a trabalhar, com o objetivo de elaborar o paradoxo levantado. / The question that drives this essay concerns the relationship of the subject with love: why, for some, on a regular basis, or for everyone, at a particular time(s), love means neither to require love, nor to require the other's presence, nor to build and support a bond with the object of love, but it seems precisely the opposite, to keep that bond from happening? What is at stake in this love that is established by the security of a constraint, by a distance that deprives (and preserves), at least in parts, the subject from contacting his beloved one? Which elements that sustain and claim that the subject puts himself to love, necessarily, out of the bond? Here we are not facing the logic of the deviousness as a way to get closer and get to the beloved one: our question lays down on the deviousness as an end in itself. The question of this research first came from the biography "Desejos Secretos, a história de Sidonie C., a paciente homossexual de Freud”, but it unfolded from the dialogue with artistic productions in the field of poetry, with the arrangement brought to light by the Courtly Love and The Precious movement. Having these fields taken into consideration and, guided by the reference of the psychoanalysis of Jacques Lacan, we recover the notions relating to love, to the transfer and to the Courtly Love. Going further with the work, we deal with two effects of the boundary of what the subject can stand on his bond to the Other: the anguish and the passing to act. In the end, going through the desire of the Other, we came to the avatars of demand and sublimation, indicating then distinctions to the topological figures from the graph of desire, the eight inside and the torus. Along the way, we put psychoanalysis to work, with the goal of developing the paradox raised.

Shakespeare reveals his interest in the popular theme of courtly love, which came to him as an established tradition, in a number of his plays. This tradition can be traced back to the troubadours of Provence who, during the Crusades, appeared as a class of knights whose chief values were valor, courtesy, and knightly worth. From the troubadours came the idea of love service: every knight must have a lady whose relationship to him was parallel to that between him as a vassal and his lord. This love service came.to be looked upon as leading to moral dignity and true chivalry and it was performed by the knight for another 's wife. An elaborate set of rules grew up describing the nature of courtly love and the attitudes and responses of both the knight and the lady. From Provence courtly love spread to Italy where it was endowed with spiritual and philosophical aspects by Cardinal Bembo, Dante, and Petrarch, for example. By the time that the tradition reached England it had been modified, added to, and conventionalized in its passage through Italian and Northern French literature. A number of Shakespeare's predecessors made important contributions to the courtly theme: Chaucer suggested its evil consequences, Castiglione established the rules to guide the perfect courtier and the lady, and emphasized marriage as the only acceptable end of courtly love, Sidney combined the medieval chivalric and the classical pastoral traditions in an imaginary setting where chivalric ideals always triumphed over evil, and Spenser added a strong moral note, recognizing the physical as well as the spiritual aspects of love in his emphasis on virtue and constancy. By the time that Shakespeare began to deal with courtly love, courtesy meant more than the medieval idea of a willingness to undertake love-service. It meant gentlemanly conduct, refined manners, intellect, and a high moral purpose. When Shakespeare took up the courtly theme, it had been refined considerably. In an early treatment of the theme, Shakespeare satirizes the folly connected with courtly love and the courtly ideal. This is seen in Love's Labour's Lost where the ladies only toy with the men and where love is not triumphant. In The Two Gentlemen of Verona the satirical vein is continued and the weaknesses inherent in courtly love are exposed in the struggle between love and friendship. As You Like It is another play in this group where courtly love is satirized. Rosalind becomes the spokesman for sincerity and faithfulness in love and condemns artificiality and sham. In a group of plays which treats the courtly theme as comedy (A Midsummer Night's Dream, Twelfth Night, Henry IV (Part I), and Henry V) Shakespeare is more fun-loving and gentler in his presentation than he was in the plays where courtly love was treated satirically. No serious issue mars the comic atmosphere as we see the humorous side of love in each of these plays. In another group, Romeo and Juliet, The Winter's Tale, and Cymbeline, we see the strength derived from romantic love which is presented as a genuine passion leading to permanence. Such love gives strength in adversity and though love ends tragically in Romeo and Juliet and nearly ends tragically in the other two plays, we see that it enables the lovers to meet their fate, even when it is death. Shakespeare reverses the theme in the following plays: All's Well that Ends Well, Much Ado about Nothing, Measure for Measure, and Richard II. In the first three the lady uses a trick to win her man, and in Richard II she pleads for love but is rebuffed. The scheming and trickery of the first three plays in this group brings the theme close to unpleasantness and degrades the courtly lover. Shakespeare here probes the realistic aspects of the theme and shows men and women as they really are. This treatment is followed through in the tragedies Troilus and Cressida, Hamlet, and Othello, where the unpleasant, realistic aspects of courtly love lead naturally to tragedy. In these tragedies the gaiety and idealism of the conventions of courtly love have disappeared completely and the true possibilities have been exposed. After these plays, courtly love no longer could supply a valid pattern for loving and living. In The Tempest the theme is subverted and love is seen as the force of renewal in the world. The lovers are no longer of interest as courtly lovers but appear as mature people whose marriage becomes the hope of a better world. The conventional suffering for love is gone and in its place is a mature, reasoned attitude to the most basic of man's emotions. With this play Shakespeare has come all the way from artificiality and sham to a lasting, satisfying type of love. / Arts, Faculty of / English, Department of / Graduate

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The art of courtly love is difficult to pinpoint because there are many facets that extend into different areas. In the Pre-Raphaelite and Medieval periods, love was more formulated with rules, moral standards, and codes. Courtly love is often seen as the "love" practiced by kings, queens, and other nobility because of the mystique that surrounds legendary stories like Lancelot and Guinevere. Courtly love encompasses spiritual awakening, lust, passion, adultery, and religion; therefore, the art of courtly love intrigues as well as interests its readers. Many critics have studied the effects of courtly love in literature and have come to the conclusion that courtly love was not only linked to Christianity, but that courtly love was also linked with other religions and philosophies. The link between Christianity and courtly love is the largest debate between critics and scholars within this particular genre. Women have also played a part in understanding courtly love because of their complex role within the storylines of the literary poems. Women were often seen as the stronger of the sexes; however, they were viewed as objects instead of people. In courtly love, women were often the downfall of men because of their idle ways and abilities to deceive men. Women are important for the understanding of the rules and courtships between men and women during this period. Tennyson and Morris had the most influential courtly love literature during the Pre-Raphaelite period. Their contributions to the tale of the Arthurian Legend are inherent to the understanding of this genre of courtly love. With Idylls of the King, Tennyson brought a resurgence of interest in the Arthurian Legend. His Idylls are various stories about the trials and tribulations of Arthur's life and others in Camelot. Morris followed the brilliance of Tennyson's Idylls with The Defense of Guinevere, which is a poem solely based on Guinevere's perspective and point of view. These two authors sought to create a myth around the Arthurian Legend with great vigor and their own poetic style. There has been a plethora of discussion on the topic of courtly love; however, there has not a been a common agreement on its origins. This study shows how courtly love relates to literature during the Pre-Raphaelite period, most especially in the Arthurian Legend.

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