"C’est costume d’amur de joie aveir aprés dolur." La fenomenologia amorosa in alcuni passi del 'Tristan' e del 'Cligés'
Mark Rothko, "Untitled (Violet, Black, Orange, Yellow on White and Red)," 1949: oil on canvas, 81 ½ x 66 inches (207 x 167.6 cm) - Solomon R. Guggenheim Museum, New York: Gift, Elaine and Werner Dannheisser and The Dannheisser Foundation, 1978: 78.2461
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Keywords

Old French
Verse Romances
Comparison
Emotions Words
Somatic Markers

How to Cite

Perrotta, G. (2016). "C’est costume d’amur de joie aveir aprés dolur." La fenomenologia amorosa in alcuni passi del ’Tristan’ e del ’Cligés’. Interfaces: A Journal of Medieval European Literatures, (2), 164–188. https://doi.org/10.13130/interfaces-6999

Abstract

The love described by Thomas d'Angleterre in Tristan and by Chrétien de Troyes in Cligés is conceived in different terms than the conventional model of fin'amor put forward by the troubadours; both authors treat the phase of their protagonists' falling in love as a true and proper disease whose symptoms can easily be mistaken for those of any medical condition such as sea-sickness. The two romances differ, however, in their rendering of the affective states and the somatic reactions that correspond to each of those states of the individual. A comparison of the relevant passages shows how the pathology of love brings about individual emotive characteristics and physical manifestations. This understanding of love as a disease is rooted in the literary tradition going back to Ovid, but the two authors reinterpret it in distinctive ways and leave it to their protagonists' own choice to seek healing.

https://doi.org/10.13130/interfaces-6999
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