The paper below is memorable. This is because it is the first academic writing in my previous university life. Viewing the paper from today, although the English is no good, and the expressions is overwording, I still like it very much, not only of ideas but also the first success of developing my thinking pattern.
The Affective World of Troubadour’s Song:
A symbol of the relief from religious restraint
Interestingly, ‘Feudalisation of Love’ consists of certain elements of what is said to be called ‘Courtly Love’. The poet is about a serf and how he feels if he could gain more freedom from the rigid and aloof world by showing absolute obedience to the lady in regardless of whatever the pain brought. The rising of love is linked with the spring. The lady is the most beautiful in the world and the poet is submissive to her power. With releasing of his obedient love, poet seems to gain the freedom from his restrained affection world, in the other word, from the very hypocritical and superficial religious orders, and those sacraments. Through the use of feudal metaphor in troubadour’s poem, the negative, unrequited affection towards God was substituted by a kind of positive and rewarding feudalized fidelity, though deriving from poets’ imagery, was still a way of passionate relief. In fact, troubadours showed no pretence of worshipping aloofness. They really wanted the consummating embrace. But not all the idealistic love in the poems give a perfect result from their ‘Midons’, or the lady.
As we have seen that how the metaphoric ‘Feudal Love’ or ‘Courtly Love’ plays an important role in troubadours’ poem and is related with their religious affection, it is interested to point out that the cult of the Virgin Mary in the High Middle Ages is also another factor affecting their underlying emotion of the poems. Ironically, Christianity succeeded ultimately in this period because it represented a return to the pagan way of worshipping the original goddess which devotion to the Roman gods or ancient earthly goddess had precluded though the Church had attempted to stamp out previously. The importance of the adoration of the ‘Mother of Heaven’ was not only meant that the rank of the woman, at least in the middle class, was exalted, but also the rigidities of fear underlying the medieval world-views dominated by the concept and image of God’ s harsh judgment, was gradually broken down. The adoration of the Virgin, therefore, satisfied some of the attitudes that went to the troubadour system with its worship of the ‘Lady’. In a more progressive sense, the ‘Feudal Lady’ in the poem of troubadour is now transformed into Virgin Mary who was defined as a human character that could really temper justice with mercy, even with a warm or a merciful smile. On the other hand, Virgin Mary, the intercessor for the salvation of wicked human soul, tended to be humanized. She was seen as a real, fleshy and attainable human of tenderness and compassion. No matter is the ‘Goddess’ transformed to “Lady’ or vice versa, the restrained religious affection is relieved through this religious symbolization process. In poem of Bernart De Ventadorn, the ‘Lady’ is transformed to become the Virgin Mary, Goddess of love, mercy and pity. The ‘God-liked Lady’ is all beautiful and amiable. She lifts all worshippers including the poet himself up to passionate perfection and completeness and never lets down his hopes. The poem states: