The following are excerpts from J. Huizinga’s 1924 book The Waning of The Middle Ages, chapter V: The Dream of Heroism and Love. – PW
The knight and his lady, that is to say, the hero who serves for love, this is the primary and invariable motif from which erotic fantasy will always start. It is sensuality transformed into the craving for self-sacrifice, into the desire of the male to show his courage, to incur danger, to be strong, to suffer and to bleed before his lady-love.
From the moment when the dream of heroism through love has intoxicated the yearning heart, fantasy grows and overflows. The first simple theme is soon left behind, the soul thirsts for new fancies, and passion colours the dream of suffering and of renunciation. The man will not be content merely to suffer, he will want to save from danger, or from suffering, the object of his desire. A more vehement stimulus is added to the primary motif: its chief feature will be that of defending imperilled virginity—in other words, that of ousting the rival. This, then, is the essential theme of chivalrous love poetry : the young hero, delivering the virgin. The sexual motif is always behind it, even when the aggressor is only an artless dragon; a glance at Burne-Jones’s famous picture suffices to prove it.
One is surprised that comparative mythology should have looked so indefatigably to meteorological phenomena for the explanation of such an immediate and perpetual motif as the deliverance of the virgin, which is the oldest of literary motifs, and one which can never grow antiquated. It may from time to time become stale from over-much repetition, and yet it will reappear, adapting itself to all times and surroundings. New romantic types will arise, just as the cowboy has succeeded the corsair.
______
Nowhere does the erotic element of the tournament appear more clearly than in the custom of the knight’s wearing the veil or the dress of his lady. In Perceforest we read how the lady spectators of the combat take off their finery, one article after another, to throw them to the knights in the lists. At the end of the fight they are bareheaded and without sleeves. A poem of the thirteenth century, the work of a Picard or a Hainault minstrel, entitled Des trois Chevaliers et del Chainse,1 has worked out this motif in all its force. The wife of a nobleman of great liberality, but not very fond of fighting, sends her shirt to three knights who serve her for love, that one of them at the tournament which her husband is going to give may wear it as a coat-armour, without any mail underneath. The first and the second knights excuse themselves. The third, who is poor, takes the shirt in his arms at night, and kisses it passionately. He appears at the tournament, dressed in the shirt and without a coat of mail; he is grievously wounded, the shirt, stained with his blood, is torn. Then his extraordinary bravery is perceived and he is awarded the prize. The lady gives him her heart. The lover asks something in his turn. He sends back the garment, all blood-stained, to the lady, that she may wear it over her gown at the meal which is to conclude the feast. She embraces it tenderly and shows herself dressed in the shirt as the knight had demanded. The majority of those present blame her, the husband is confounded, and the minstrel winds up by asking the question : Which of the two lovers sacrificed most for the sake of the other?
______
The warlike sports of the Middle Ages differ from Greek and modern athletics by being far less simple and natural. Pride, honour, love and art give additional stimulus to the competition itself. Overloaded with pomp and decoration, full of heroic fancy, they serve to express romantic needs too strong for mere literature to satisfy. The realities of court life or a military career offered too little opportunity for the fine make-belief of heroism and love, which rilled the soul. So they had to be acted. The staging of the tournament, therefore, had to be that of romance ; that is to say, the imaginary world of Arthur, where the fancy of a fairy-tale was enhanced by the sentimentality of courtly love.
Note:
[1] Of the three knights and the shirt.