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• W116336763 abstract "The assumptions that a of courtly love distinct from other types of love existed during the twelfth and thirteenth centuries and that the various redactions of the Tristan and Iseut story can be categorized according to their authors' engagement or lack of engagement with this psychology have governed critical reception of the famous tale for years. On the basis of an esprit of courtly love they find in the works of Thomas and his German imitator, Gottfried, critics have distinguished these versions courtoises from their more primitive, non-courtly counterparts, the versions communes of Beroul and Eilhart. But although critics generally agree that Thomas of Brittany's redaction manifests the influence of courtly love, opinion diverges as to Thomas' attitude towards the lovers he describes. Does he mean to glorify courtly love or merely expose the lovers as foolish victims of their own passion? Thomas' opinion of courtly love, however, is not necessarily the best point of departure for an examination of love in his recounting of the famous legend, I will suggest in this essay. Perhaps the most conspicuous characteristic of courtly love is that no one knows what it might have been, or indeed, whether it was a distinct and meaningful concept during the Middle Ages at all. Much of the argument over the version courtoise assumes the existence of courtly love, whatever that might mean, then begs the question of Thomas' attitude towards it. Thus the lack of consensus over Thomas' opinion of courtly love is at least as much as function of critical tools as it is of the text itself.(1) Here I will bracket the question of courtly love, which has been amply debated, and approach the problem of love in Thomas' work from another perspective, that of the mind/body problem which not only lies at the very heart of this romance, but which forms the basis of discussion of love in a variety of discourses during the Middle Ages.(2) Several discourses on the mind/body problem compete for primacy in this romance, particularly in the episodes dealing with Iseut's statue. Tristan's attempts to re-enact his love with Iseut, first through his wife, Iseut of the White Hands, and then through Iseut's statue, represent an exploration of the difficulties that arise from physical desire in a language particularly apt to a late-twelfth-century cleric: the language of neo-Platonic image theory. The comprehensive twelfth-century discussion of images gathered within its penumbra not only the proper use of paintings and statues, but many apparently diverse topics, such as man as image of God, the memory, the relationship between the image and the word, and the relationship of God's reality to its visible manifestations. The medieval notion of the image, a dual entity consisting of archetype manifested in physical material, provides Thomas with a tool for analyzing the physical and spiritual aspects of Tristan's love as equally necessary and inextricably linked parts of a whole. Moreover, because the medieval notion of the image was fraught with ambiguity, in deploying it to discuss human love, Thomas imbues his discussion with those ambiguities, but does not necessarily condemn love. Thus he is neither an apologist for nor a critic of passionate love. While later medieval renderings of the tale, both written and visual, tend to offer a negative judgment of Tristan and Iseut's love, Thomas seems simply to accept that the human body as well as the spirit are inevitably implicated in love; as Michel Zink has observed, Pour Thomas, l'amour, c'est d'abord faire l'amour (592). Whether the Thomas fragments be considered the remnants of an integrated mid-twelfth-century version of the Tristan story composed by one author, Thomas of Brittany, or as continuations of a version by an unknown author,(3) I will attempt to demonstrate that through his marriage to the second Iseut (Sneyd Fragment 1) and his erection of a statue to his real love, the first Iseut (Turin Fragment), Tristan enacts his psychological drama, a drama centered around the irreducibly physical nature of love. …" @default.
• W116336763 created "2016-06-24" @default.
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• W116336763 date "1999-05-01" @default.
• W116336763 modified "2023-09-26" @default.
• W116336763 title "Archetypes and Copies in Thomas's Tristan: A Re-Examination of the Salle Aux Images Scenes" @default.
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