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The lais of marie de france love
Discuss the role of fairy tales
Discuss the role of fairy tales
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As is custom with Marie De France, her lai “Lanval” presents the idea of a romance in which the power of fairies and/or magic is present and works to aid or hurt the romance in question. In the case of “Lanval” magic and fairies come to the aid of our protagonist Lanval, and ultimately lead to the formation of a romantic relationship in his life. However, Lanval faces a dilemma as he talks of his love to the fairy woman while rejecting the Queen’s love, and thus realizes he will never be able to see his beloved again, as she had told him never to speak of their romance or he would lose her. Luck turns in his favor though, as even after having spoken of their love, his beloved returns and they leave together. Many may speculate as to why Marie
wrote it so that her protagonist would still end up with his beloved after he had disobeyed her. It may then be seen that she wrote it this way to fit the format of a traditional medieval lai. Something to note about lais, as we learned in class, is that some of the ideas presented are parallel to the ideas of a fairy tale. One of those similarities is that, similar to a fairy tale, a lai will put the hero through a test which then will lead to “a transgression by the hero” themselves (powerpoint). This transgression is then usually followed by “a reunion scene in which truth comes out, justice is done, and order is restored” (powerpoint). In the case of Lanval, he is ordered by his beloved to never speak of their love as he “would lose [her] forever if this love were to become known” (pp. 75). This order, then, would be seen by the reader as Lanval’s test. His transgression is then when he admits to the Queen, who is trying to receive his love, that he “[loves] and [is] loved by a lady who should be prized above all others [he knows]” (pp. 76). By admitting his love, he is going against his lover and thus comes to the realization that he will never see her again. He is then also faced with the trouble of having to go to trial to defend his actions against the Queen and avoid banishment from the kingdom or even death, as he had boasted how his beloved’s beauty and even her lowest servant’s beauty surpassed that of the Queen. The King tells Lanval that the only way he could be seen as innocent was if “he [could] provide proof” that his beloved was indeed more beautiful than the Queen and if she could make her presence known so that others could see her reported beauty. She showed up, thus inciting a reunion between her and Lanval. Her appearance there also leads to those in the King’s kingdom realizing that Lanval told the truth about his beloved, which in turn leads to his innocence being declared. Thus, justice for Lanval has been served. Order is then restored, as Lanval rides off with his love, and the kingdom can return to its previous state. Thus, while Marie did not explain why she made it so Lanval could end up with the beautiful fairy-woman, she really did not need to. As long as one understands the paralells between a lai and a fairy tale, one can understand Marie’s narrative choices. Like those in a fairy tale, Lanval was put to a test, faced a transgression, the truth came out, and justice was served for him.
Upon Googling “witch” almost all the images are of women riding on broomsticks. This is today’s pop culture view of witches, however it has it’s roots in Early Modern stereotypes of witchcraft. It was probably easy to find the old, ugly hag down the street and accuse her of being a witch, but there is more to the story. In the case of Françette Camont, the stereotype of witches helped to put suspicion on her, however she wasn’t convicted because of the stereotypes that applied to her, but rather it was personal feelings toward her and a needed catalyst for the trial to start that led to her execution and the execution of many other witches.
Fairy tale is a story that features folkloric chapters and enchantments, often involving a far-fetching sequence of events. Fairy tales have been around for thousands of years, whether it comes from Grimm’s Fairy Tales which is what most people consider the “classic” or “traditional” fairy tales to Disney movies, the idea of the fairy tale fills our society with lessons and examples of how we should behave and live; fairy tales teach the same things in different ways, or teach different things with the same tale. A couple of these tales are “Beauty and the Beast”, by Jeanne-Marie Leprince De Beaumont and “The Pig King”, by Giovanni Francesco Straparola. They are both tales about falling in love with someone despite their appearance. The similarities and differences between “Beauty and the Beast” and “The Pig King” is captivating while still depicting a similar tale. They are similar in the way they find love and their love story but they also share a similar behavior pattern in the way the girls behave towards the prince. However, the two tales do display a difference in the attitudes of the princes and their actions towards their love
...’s Lanval and Laustic, were subservient to men in three different ways: by being considered temptresses, by needing men’s protection, and by obeying men’s orders. The lady of Laustic conforms to all these types, and the Queen in Lanval as well, with the exception that as the Queen she has some power. Lanval’s lover breaks some of these trends, but we later learn that she is a lady of Avalon, the mythical land where King Arthur is buried and whence he will come again, and therefore it is not surprising that she does not conform to the standard status of women.
...n” is a great example of an old myth or tale reconstructed and adapted for a modern audience in a new medium. It is a progression on one hand in its use of modern language, setting, and style but it is also the product of the old myths in that it is essentially the same on the thematic level. In addition, the level of self-awareness on the part of the narrator and, by extension, the author marks it out as an illustration of the very notion of evolutionary changes of myths and fairy tales. Adaptation is the solution to the fairy tale, and fairy tales have been endlessly changing themselves throughout history and, by some strange transforming or enchanting power endlessly staying the same.”
The use of ‘wild’ in both Catherine and La Belle’s descriptions shows their similarity in nature. The similarities of their descriptions of a charming, appealing appearances compared with their saucy, wild natures demonstrate the comparison of conflict within these texts.
In The Lais of Marie de France, the theme of love is conceivably of the utmost importance. Particularly in the story of Guigemar, the love between a knight and a queen brings them seemingly true happiness. The lovers commit to each other an endless devotion and timeless affection. They are tested by distance and are in turn utterly depressed set apart from their better halves. Prior to their coupling the knight established a belief to never have interest in romantic love while the queen was set in a marriage that left her trapped and unhappy. Guigemar is cursed to have a wound only cured by a woman’s love; he is then sent by an apparent fate to the queen of a city across the shores. The attraction between them sparks quickly and is purely based on desire, but desire within romantic love is the selfishness of it. True love rests on a foundation that is above mere desire for another person. In truth, the selfishness of desire is the
In France’s “Lanval,” Marie de France emphasizes the ideal and pure body of Lanval’s Fairy Queen. France describes the Fairy Queen as “elegant, her hips slim, her neck whiter than snow on a branch, her eyes bright, her face white, a beautiful mouth…” (France, 109). The Fairy Queen is presented to the reader as the classic, ideal beauty that captures the attention and, unknowingly, the mind of her lover. After meeting the Fairy Queen, Lanval pledges his life to her. He states, “There is nothing you might command, within my power, that I would not do, whether foolish or wise. I shall obey your command…” (France, 108). ...
Camelot, the musical adaptation of The Once and Future King, allows for an interesting twist on the portrayal of Guinevere’s personality, mindset, and desires. The use of song and excellent acting allows for a unique display of the different aspects that make Guinevere a complex and strong character. Analyzing “The Lusty Month of May” shows Guinevere as a woman driven by her desires for the fantastical aspects of romance. However, contrasting “The Lusty Month of May” with other songs paints her as a more dynamic character and explains her relationship dynamic with Arthur, Lancelot, and other men in the court. This verse by verse analysis characterizes Guinevere as a woman driven by feelings of dissatisfaction and destiny.
Similar to the above conversation, one must take these tales with a grain of salt, and keep in mind the time period in which they were written. For the purpose of this paper, the focus will only be on what the tale is striving to teach those who read it. Similar to Lurie’s opinion on “The Light Princess,” readers of “Sleeping Beauty” may come away from the story thinking the best was to grow up or be helped is to fall in love; let the man (prince) solve the problem (Lurie 360). This thought is further echoed by Martin Hallett and Barbara Karasek, the authors of “Folk and Fairy Tales,” as they describe the story “as a metaphor for growing up: the heroine falls asleep as a naïve girl and awakens as a mature young woman on the threshold of marriage”
According to Capellanus, “Good character alone makes any man worthy of love”. In Lanval, the fairy lover chooses Lanval because he is “worthy and courtly” (Lawall 1319). Lanval gladly accepts the fairy’s love. He promises to “abandon all others for [her]” (Lawall 1319). Capellanus also says that “a true lover does not desire to embrace in love anyone except his beloved”. Therefore, Lanval loves his fairy lover solely. When the Queen offers her love to Lanval, he rejects her because his heart is devoted to his fairy lover. His beloved is one whom he “prized above all others” (Lawall 1320). Lanval desires no one more than his fairy lover. She provides him with “great joy and pleasure” that he can forego the other pleasures of the world (Lawall 1320). The claim she has on him is like that of a king’s.
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
In Feminism and Fairy Tales, Karen E. Rowe asserts that “popular folktales” have “shaped our romantic expectations” and “illuminate psychic ambiguities which often confound contemporary women.” She believes that “portrayals of adolescent waiting and dreaming, patterns of double enchantment, and romanticizations of marriage contribute to the potency of fairy tales” makes “many readers discount obvious fantasy elements and fall prey to more subtle paradigms through identification with the heroine.” As a result, Karen Rowe contends “subconsciously women may transfer from fairy tales into real life cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues suggest that culture’s very survival depends upon a woman’s acceptance of roles which relegate her to motherhood and domesticity.” It is undeniable that numerous folk tales implant male chauvinism into women’s minds and thus convey an idea that woman should obey and depend on men. However, Rowe neglects the aspect that many other folk tales, on the contrary, disclose the evil and vulnerable sides of man and marriage and thus encourage women to rely on their own intelligence and courage other than subordinating to man. The Fairy tales “Beauty and Beast” and “Fowler’s Fowl” challenge Rowe’s thesis to some extent and exemplify that some fairy tales motivate women to be intelligent and courageous and to challenge patriarchy.
The tale of Sleeping Beauty is influenced by oral folklore and various written versions. Today fairytales are told as a domain for the entertainment and teachings of children. In traditional storytelling, peasants transmitted folklore orally around campfires to audiences of mixed ages. However, during the 17th century, peasant tales, such as Sleeping Beauty, were altered by writers like Charles Perrault’s, to appeal to the courts of aristocracy. Thus the characters of Sleeping Beauty adorned a courtly air to appeal to the crown, such as Louis XIV of France. Throughout history, various cultural influences transformed the tale of Sleeping Beauty through the manipulation of various social forces to achieve better entertainment purposes and reflect Christian beliefs and customs. In addition, the moral of the tale conveys a message that women remain passive in hope to marry her true lov...
Guy de Maupassant’s “The Necklace” is a twisted and broken fairytale.* Although this short story does embody some elements of fantasy, there is not merely enough evidence to support the claim that it is in fact a “ modern fairytale.” Fairytales often include themes such as enchantment, which is shown when the main character dreams, but is this really such an enchanting thing? Another theme found in fairytales is an encounter with the main struggle, in “The Necklace,” the main character also comes to face with a challenge, but this challenge does not accurately fit the characteristics of an encounter. A third example of an element of a fairytale is the presence of a weak male figure. In this case, there is a weak man but he does not remain weak throughout the story. One final characteristic of a fairytale is the journey that is taken, in “The Necklace,” the main character does take certain steps, but are these steps really considered a ‘journey’? As will be learned, none of these elements found in fairytales truly conform to “The Necklace,” therefore not making it a “modern fairytale.”+
Some fairy tales are so iconic that they withstand the passing of time. One of those fairy tales is that of Cinderella. The rags to riches story that gives even the lowliest of paupers, hope that they may one day climb the social ladder. While the core message of the story has transcended time, over the years it has been adapted to address a variety of audiences. One of those renditions is Perrault’s Cinderella where the traditional idea of gender is conveyed and therefore associated with good/evil. This idea is challenged by a fellow 1600’s French author, L’heriter de Villandon’s, who’s version of Cinderella brings about a female protagonist who is also the heroine.