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Marriage in Europe in the eighteenth century
Christian religious marriage and its features
Marriage in Europe in the eighteenth century
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Recommended: Marriage in Europe in the eighteenth century
Marriage in the Renaissance and As You Like It
The concept of marriage has been considered to be a sacred and traditional part of life since the beginning of relationships between human beings. The rules of these intimate relationships were set up in accordance with church law. Such rules consisted of the conventional/typical marriage and the ritual of marriage (ceremony). William Shakespeare examines the customs of marriage practice of the Renaissance time period in his work As You Like It.
Marriage at the time focused on a heterosexual relationship between a man and woman. Kirsti S. Thomas, explains that marriage did not concern the true love element that exists in the typical marriages of today. At the time of Shakespeare, she states that marriage "served to transfer wealth or property and to continue the family line" (2). Marriages were the result of socially and economically oriented environments, similar to the caste system in India. According to a web source specializing in Renaissance weddings, such couplings of "...arranged marriages of the upper class were decided when the bride and groom were young, usually ten to eleven years. Lower class marriages had similar motives, however they were the result of pregnancies " (3). Generally, the marriage had to have full consent of at a family member or parental guardian. There were many ordinances and specific codes of conduct that had to be followed before a wedding was to take place. Thomas describes one of these ordinances with having two guidelines, "In order to be recognized by the church, one of the partners must give consent and the priest must say the formula, 'we join together in this holy matrimony...'" (6). Courtly love did exist, and was encourage...
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...t. Consentual marriage was between a man and a woman. The ritual of a marriage ceremony was more secular and inter-linked with the Catholic church. Throughout the characters in the play, those themes are illustrated.
Works Cited
Coulton, G.G. Life in the Middle Ages. Cambridge University Press. 1967. P. 83
Davis, William Steams. Life of a Medieval Barony. Harper and Row. New York. 1951. P. 109-112.
Greensblatt, Stephen. The Norton Shakespeare Oxford Edition. W.W. Norton and Co. New York. 1997. 1591-1656.
Thomas, Kirsti S/ "Medieval and Renaissance Marriage: Theory and Customs". Medieval and Renaissance Wedding Page. http://www.drizzle.com?~celyn/mrwp/mrwed.html.
Ed: Kuehl B.J. 1995. Date Accessed: 14 October 2002. http://www.renaissance-weddings.net/
Renaissance Weddings. 2001. World Web Design, LLC. Date Accessed: 14 October 2002.
Acts 3 scene 1 of the play is a turning point. How important are the
and is reinforced in the story of Ruth. Though the story of Ruth appears in
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The scripture describes Ruth as a very devoted, Christian woman. Her love and faith in God is very apparent. I believe this story is a part of the Bible, because it shows the goodness of God, the continued favor given to His followers. I think we can learn a great deal from this story in respects to the character of our relationship with God. How we are to praise Him, Thank Him for all that we have. God provided in many ways for this young lady, not just food and housing. Showing us that God loves us and is there during every aspect of our life.
Chaucer’s The Canterbury Tales, demonstrate many different attitudes and perceptions towards marriage. Some of these ideas are very traditional, such as that illustrated in the Franklin’s Tale. On the other hand, other tales present a liberal view, such as the marriages portrayed in the Miller’s and The Wife of Bath’s tales. While several of these tales are rather comical, they do indeed depict the attitudes towards marriage at that time in history. D.W. Robertson, Jr. calls marriage "the solution to the problem of love, the force which directs the will which is in turn the source of moral action" (Robertson, 88). "Marriage in Chaucer’s time meant a union between spirit and flesh and was thus part of the marriage between Christ and the Church" (Bennett, 113). The Canterbury Tales show many abuses of this sacred bond, as will be discussed below.
place in Act 3 scene 3 proves that it is very important to the rest of
“Love and Marriage.” Life in Elizabethan England. Elizabethan.org, 25 March 2008. Web. 3 March 2014.
First and foremost, the married couples in As You Like It all have similar social statuses in the society. Shepherd Silvius married shepherdess Phebe, nobleman Orlando married mistress Rosalind, and Touchstone the clown married goatherd Audery. Not only did all the couples share the same social status, but their ideology and actions in the play conformed to the social convention as well. Right after Rosalind met Orlando, Celia asks Rosalind about why she had been silent for so long. Rosalind responded Celia with “Some of it is for my child’s father” (1634: 09-10). Then Celia asks why Rosalind suddenly fell in love with Orlando, to which Rosalind replies “The Duke my father loved his father dearly” (1634: 24). It is clear that Rosalind’s affection towards Orlando stems from his father’s affection to Orlando’s father. It was a convention for parents to arrange their children’s marriages, especially for aristocracy. Therefore, Rosalind knew that she was to marry Orlando and that became the rationale for her further affection towards Orlando. Another example of a character in the play conforming to social convention is Phebe. As a native of the forest of Arden, Phebe was straightforward and somewhat arrogant. She was very clear about her feelings to Ganymede and Silvius. However, in the ending scene, when she realizes that the man of her dream was actually a noble woman, and that she was set up into the marriage with Silvius, Phebe conforms to the arrangement and marries Silvius. With a comedy one might expect Shakespeare to make happen something unconventional. However, the marriage part seems to be very conventional as everything was socially expected. But the title of the play somehow conveys an ironic
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
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