Love Through Reality and Mystical

Middle Age literature revolved around a culture of magic and mystery that upheld values of honor and bravery with the chivalric code being the ideal guide. In this world of gallantry and heroism, the theme of love was often a minor detail and the only celebrations of love alone were seen mostly through the love poems composed by the courtly love poets known as the troubadours. Their poems expressed a very specific type of love: a flowery, dramatic, and severe love that rivaled heavenly joys when triumphant and caused complete heartbreak and loss of life in failure. These extremes portrayed a perception of love that was more of a passionate love of the notion of love. Love was thus, a simplified emotion that was strong but fleeting and superficial. A reading of Marie De France's love lay, "Lanval" shows a poem written in standard French narrative verse in eight-syllable couplets with the traditional settings, characters, and ideas of courtly love in yet another love adventure. However, closer analysis shows that "Lanval" actually confronts the common portrayal of medieval love through a cross between the ornate court of King Arthur and the mystical or "other world." Challenging accepted principles and prominent views of the time, France brings about an idea of a complex notion of love that is a means of analyzing identity and critiquing a society, thereby undermining common conceptions of medieval Europe. Marie De France's "Lanval" crosses two different realms of life to present contrasts between the mystical and Arthurian court in terms of fairies and humans, female-male relationship, and sexuality and chivalry to challenge accepted principles and prominent views of the time, and to, ironically, use love in association to the mystical world to demonstrate what true love in reality is and should be.

From the opening of the poem, the reader is introduced to the seemingly perfect knight. Strong and handsome, Lanval is a noble prince of great estate who is both generous and good hearted. He gives everything he owns for amity, asking for and receiving nothing in return. However he is "filled with care/And sadness in a distant land, finding no help at any hand" (Ls.34-35) because his fellow knights dislike him and his king ignores him. Contrasting the traditional view of the brotherly ties of Arthur's honorable knights, who fought and lived as one, the jealous men of Arthur's court take advantage of a kind man who only wishes for friendship and acceptance. Juxtaposed to Lanval's strength and kindness description is the use of alliteration "friendship feigned" (L. 23) to sum up the relationship of the court. It is only after Lanval lavishly shares the riches that he receives from his fairy lady does the reader see Lanval playing the "lavish host" (L.197) and not alone as before. When wealthy, Lanval is loved and hailed to be "…so free, courtly, and loyal…" (L.226) demonstrating the fickle and superficial attitude of the knights. These characteristics of the court render an image of a society of selfish and greedy men who are envious and unwilling to accept foreigners, due to envy and prejudice. Even Arthur, known to be a great and benevolent king, cared for all his servants and "lavished ample patronage on all his noble baronage" (L.13), that is, all except Lanval. Nevertheless Lanval never complains but remains loyal and it is his qualities, foreign status, being isolated by his fellow knights, and later association with his fairy love, that separate him from the Arthurian world and deem him one from the "outside world" even though he is not a mystical figure. Just as Lanval's character seems to be too good to be true, the negative traits exhibited by Arthur and his exclusive court are very human and are very typical attributes of mortal men, reflecting upon a time when England was run by a small society of elite aristocratic royalty and thought to be superior amongst countries. Comparing, then, to Lanval, King Arthur and his court seem almost lowly, as they are merely ordinary men who possess the negative qualities common to all humans.

The contrast between human and "other," is shown in full effect by the appearance of Lanval's fairy love and her people when Lanval leaves the city. It is key that, when saddened by the Arthurian court, Lanval goes to a natural setting, specifically the river in the countryside where his horse could be "unlaced" and "set free" to "ramble on the lee" (Ls. 45-46). It seems that here is the setting of the "other world," and it also here that he finds himself in the midst of the most beautiful demoiselles he had ever eyed, and who are fairy-like beings with an elder who "bore a well-made pair of basins of purest gold" (Ls.59-60). In order to emphasize the degree of the fantastic nature of the sight, the narrator interrupts the story and exclaims, "My lords, I swear that I'm not lying!" (Ls.61). The narrator comments that even Octavian the emperor could not have afforded the right-hand flap of the front door of the fairy's tent, of which the top was set in gold. Everything about the tent and its interior surpasses that of Arthur's court and the human world altogether for "No earthly king could own this tent/ For any treasure that he spent" (ls.89-90). This mystical interior sets up the atmosphere for the lady who has traveled from afar to see Lanval, a maiden who "Not rose nor lily could surpass" (L.93). The lady gives him anything that he could possibly want, all her love and all the money and wealth that he could use. The strangers treat him with the utmost courtesy and kindness, unlike his own kind, further emphasizing the difference between the people of Arthur's court and those of the "outside world." This serves as a critique of Arthur's court which was immortalized for its supposed bravery and chivalry, suggesting that perhaps the social standards set by these high esteemed figures were unrealistic and too ideal for only things and beings of the "other world" could suffice.
Further challenging norms, Marie De France addresses the notions of gender of the period by demonstrating the differences between male and female relationships of the "other world" and of the court. The fairy and Sir Lanval share a love and an honorable agreement, one that Lanval does not purposely break but is made to in response to Guinevere's forcing. When solicited, Lanval's first words are of loyalty to his lord but the queen only rebutes with accusations of homosexuality, considered a shameful insult at the time. It is only then that Lanval speaks of his love, and immediately after doing so, Lanval "curses both his heart and tongue;" (Ls.339-340) and fights with himself, knowing not how he will be able to bear the pain of never seeing his ami again. Even being charged with treason does not affect the knight, as he is already so grief-stricken by the loss of his love. Guinevere, on the other hand, breaks her vows of marriage by soliciting Lanval for his love without any hesitation or regret, telling him that all her love is his, stating "Your mistress I consent to be;" (L.161). Only when she is rejected, does she become upset, and not because she is pained by the lack of love from Lanval, but out of anger from hurt pride because Lanval had claimed to have found a female "So chic, noble, and proud…That even her lowliest chambermaid…Was worthier than she - -the queen" (Ls.315-19). She runs to the king for justice for claims that Lanval solicited her and has committed treason, bitterly begging Arthur to show her justice, showing that the she does not truly love Lanval. Unlike Lanval's first response of loyalty, the king immediately forms a death oath unless Lanval proves his claim, showing the king's doubt and distrust of his own knight. Guinevere, often cited in medieval literature to be the most beautiful and just queen, is portrayed here as an unfaithful wife whose conceit and pride overshadow any regard for others. She wishes the harshest punishment for Lanval because she is insulted that there could be a woman more beautiful than she and that she, the queen of Arthur's court, could be rejected for another woman. Contrasted to the fairy, whose beauty "in all the world could have no peer" (547), Guinevere seems very hateful and paltry in her human downfalls. The fairy who gave all to Lanval has a love that is great enough to forgive his failing and a love that is strong enough to bring her to his rescue emphasizes that Guinevere is no more than a cheating, lying, and vain woman whose attempts to woo, rather than love, have proved futile. Both the hero and the villain of the story are women, with the males' actions and destinies being dictated by the females.

Beyond the differences in male-female relationships, France inverts the roles of male and female in "Lanval" to challenge gender norms of the time, following the common thread of love. Both Lanval and Arthur, the main male figures of the story are controlled by women, the fairy and Guinevere, although in different ways. The fairy is the one to provide money and happiness to Lanval and also the one to come to his rescue with the memorable scene of the fairy demoiselle and Lanval who "sat behind her on the saddle" (638) vanishing away from the court. She, with her mystical powers and knowledge, is able to see and know all that happens with Lanval when he is away from her, in essence making the fairy his guardian and protector, typically a male position. While the fairy does indeed hold power over Lanval through her love but unlike Guinevere, her love is true and is strengthened by the forgiveness that she shows him in the end, thus demonstrating a depth of love that goes beyond flowery speech and empty flattery. Guinevere, on the other hand, holds her power as queen over Lanval and uses a weapon of pride to convince Arthur, rather than a love for him, which is shown by his lack of emotion towards Guinevere herself. Rather, Arthur seems to be more upset with the fact that his knight could claim to have found someone greater than his own queen. In this, Guinevere does demonstrate her possession of power in the court of Arthur in that her words have significant consequences. Likewise, it is the fairy who in the end settles the trial for it is her words that "The king agreed he would abide" (625). Furthermore, it is seen that Lanval is completely powerless in his own trial and King Arthur's determination and anger immediately give way to his awe of her beauty, at which he "who was most discreet, to greet her got up on his feet." (Ls. 607-8), thus portraying the two men as helpless beings who are easily swayed by pride and the power of feminine beauty, both very typical attributes of earthly men.

While the story of Lanval is a love lay, it is very much so built on a basis of chivalry and its values. The traditional theme of knighthood following the revered chivalric code is depicted to be present in the court of Arthur, although, tainted by the humanness of the court members. This notion illustrates the fact that the chivalric code is, indeed, beyond man, for not even a knight could fulfill such perfection. France uses this dichotomy of the ideal and reality to further demonstrate the realities of the court by emphasizing the presence of passion and sexuality within the rigid walls of chivalry. Lanval himself, is a figure who demonstrates chivalry in his actions although he is treated badly by the Arthurian court, who ironically, seems to defy the code that it was known for. The knightly qualities of Lanval that the reader is impressed by, however, are quickly forgotten when the demoiselle is mentioned, for Lanval immediately follows the women without any regard and leaves his horse, a timely symbol of knighthood, bravery and, strength. The imagery of the tent is quite rich, with a" sumptuous bed" (L. 94) with sheets and pillows worth a castle. The erotic atmosphere of natural surroundings at night is brought to a climax by the maiden who is in a sheer single gown that "made her shapely form appear" (Ls. 97-8). Careful details of ermine, fur, "Alexandrian purple," are used in conjunction with the description of her body, which "showed whiter than the hawthorn blossom" (L. 104) to show how sensual the love is that pierces Lanval and sets off passionate fire, for without question or comment, he gives in immediately. It is suggested, then, that love's lust and the strength of sexuality surpass all thoughts of chivalry. This idea is furthered by the fairy's entrance into the city, at which time every detail of her physical appearance is described to great length, including her grey eyes, bright face, and golden hair. Her natural radiance is extremely sexual in that she is beyond human with an unsurpassed beauty that is only emphasized by her accessories, her "milkwhite horse (L.149)as well as the falcon on her wrist and the greyhound that followed her at will, showing her power even with nature and the wild. At once, her sexuality takes control of Arthur and he forgets all his convictions and even his queen's grievances, only to agree to whatever the barons choose, as the fairy dictates. Lanval is at once prounouced innocent with no dissent, as everyone is mesmerized. All treason and chivalry is forgotten in face of sexual power and beauty, for without proof, evidence, or any kind of information or confirmation, the eyes of the king and barons are blinded by the sight of Lanval's amie, their minds made.

Writing with a Celtic influenced style, Marie De France show French and English influence with references to chilvary and courtly love. However, France reflects the current time in which she is writing, a time when England was becoming very powerful and wealthy in the world. The period of change in the twelfth century showed a gradual transformation of medieval Europe in which people shifted towards a love of entertainment and sophisticated society. Beliefs in such chivalric values as bravery, and honesty were eclipsed by love of wealth, luxury, and beauty. Using the story of Lanval, France addresses this with the contrast of the self-righteous court of to the "other world" that possesses the natural, the sexual, and the love. Moreover, France challenges the traditional gender ideals with the characters of the mysterious lover of Lanval and Guinevere, reflecting upon the rise of women during the twelfth century, including Eleanor of Aquitaine and her daughter, Marie de Champagne, to positions of power and influence. With the increased interest in beauty, poetry, and art, the role of women as patrons in the development of courtly culture grew immensely, thus lessening the boundaries of gender of the Middle Ages. The characters of the two worlds in "Lanval" show that the accepted notions of the perfect being, of gender roles, and of chivalry are unrealistic in their expectations of man, and thus cause the downfall of their own values, including the loss of the true meaning of love to the superfluous and superficial. Being a love story, "Lanval" affirms the existence of true love in various forms that serves to show and prove the character of a being and the authenticity of a society. In the end, love prevails all but Lanval must escape the court of Arthur in order to find happiness with his love, demonstrating an inability to achieve true love and genuine emotion in the Arthurian court, the general norm of perfection.