Andreas Capellanus (De arte honeste amandi),

Andreas Capellanus was the twelfth century author of a treatise commonly titled De amore ("About Love"), also known as De arte honeste amandi, for which a possible English translation is The Art of Courtly Love. His real identity has never been determined, but has been a matter of extended academic debate. Andreas Capellanus is sometimes known by a French translation of his name, André le Chapelain.

His work

De Amore was written sometime between 1186 and 1190. It was most likely intended for the French court of Philip Augustus. It has been supposed to have been written in 1185 at the request of Marie de Champagne, daughter of King Louis VII of France and of Eleanor of Aquitaine. A dismissive allusion in the text to the "wealth of Hungary" has suggested the hypothesis that it was written after 1184, at the time when Bela III of Hungary had sent to the French court a statement of his income and had proposed marriage to Marie's sister Marguerite of France, but before 1186, when his proposal was accepted.

John Jay Parry, who edited De Amore, has described it as "one of those capital works which reflect the thought of a great epoch, which explains the secret of a civilization." It may be viewed as didactic, mocking, or merely descriptive; in any event it preserves the attitudes and practices that were the foundation of a long and significant tradition in Western literature.

The social system of "courtly love", as gradually elaborated by the Provençal troubadours from the mid twelfth-century, soon spread. It is often associated with Eleanor of Aquitaine (herself the granddaughter of an early troubadour poet, William IX of Aquitaine), but this is pure conjecture. It has been claimed that De Amore codifies the social and sexual life of Eleanor's court at Poitiers between 1169 and 1174 because the author mentions both Eleanor and her daughter Marie by name; but there is no evidence that Marie ever saw her mother again after Eleanor's divorce from Louis VII in 1152.

The basic conception of Capellanus is that courtly love ennobles both the lover and the beloved, provided that certain codes of behaviour are respected. Interestingly, De amore describes the affection between spousesas an unrelated emotion, stating that "love can have no place between husband and wife," although they may feel even "immoderate affection" for one another. Rather, the most ennobling love is generally secret and extremely difficult to obtain, serving as a means for inspiring men to great deeds.

Book I: After an introductory analysis of "What love is" (Parry, pp. 28–36), Book One of De Amore sets out a series of nine imaginary dialogues (pp. 36–141) between men and women of different social classes, from bourgeoisie to royalty. In each dialogue the man is pleading inconclusively to be accepted as the woman's lover, and in each he finds some small reason for optimism. The dialogs are delightful compositions, with many well-crafted arguments (albeit based on medieval rather than modern concepts) by both the ardent suitor and the skeptical lady; typically, the older man asks to be rewarded for his accomplishments whereas the young men or men of lower birth ask to be given inspiration so that they might accomplish something. These dialogues are followed by short discussions of love with priests, with nuns, for money, with peasant women, and with prostitutes (pp. 141–150).

Book II: This book takes love as established, and begins with a discussion of how love is maintained and how and why it comes to an end (pp. 151–167). Following this comes a series of twenty-one "judgements of love" (pp. 167–177), said to have been pronounced in contentious cases by great ladies. Among these, three judgements are attributed to "Queen Eleanor" and another four simply to "the Queen", seven to Eleanor's daughter Marie of Troyes ("the Countess of Champagne"), two to Eleanor's niece Isabelle of Vermandois ("the Countess of Flanders", daughter of Petronilla of Aquitaine), one to "a court of ladies in Gascony", and five to Viscountess Ermengarde of Narbonne, who is thus singled out as the only patron of a "Court of Love" not belonging to the immediate family of Eleanor of Aquitaine. However, it has been suggested that "the Queen" is not Eleanor but Adèle of Champagne, Eleanor's successor as wife of Louis VII and Queen of France. Book Two concludes (pp. 177–186) by setting out "The Rules of Love".

Book III: This book is the briefest (pp. 187–212), and is titled "The Rejection of Love". This book seeks to remedy the natural affection of men for women, by painting all women as disgusting as possible in so few words. For example, women are described as being completely untrustworthy ("everything a woman says is said with the intention of deceiving"), insanely greedy and willing to do anything for food, weak-minded and easily swayed by false reasoning, "slanderers filled with envy and hate," drunkards, loud-mouthed and gossipy, unfaithful in love, disobedient, vain and tortured by envy of all other women's beauty, "even her daughter's." The historical example of Eve is cited at several points as evidence. This book is a disclaimer for the rest of the work—as is evidenced by its heading. It includes reasons why love affairs of the sort found in this book should not be conducted, and that personal abstinence from love was the preferred route. Capellanus states that this abstinence would allow one to “win an eternal recompense and thereby deserve a greater reward from God.” This last book constitutes one reason not to take the bulk of Capellanus' work at face value. Though some social practices acceptable during the Middle Ages may be reflected in Capellanus' work, it cannot be clearly demonstrated to be a reliable source on the common medieval attitude to "courtly love."

De Amore gives a listing of the stages of love, which resembles in some ways the modern baseball euphemism:

"Throughout all the ages, there have been only four degrees [gradus] in love:

"The first consists in arousing hope;

"The second in offering kisses;

"The third in the enjoyment of intimate embraces;

"The fourth in the abandonment of the entire person."