Greatly as Greeks and Indians differ in some respects, they have two
things in common--a warlike spirit and contempt for women. "When Greek
meets Greek then comes a tug of war," and the Indian's chief delight
is scalp hunting. The Greeks, as Rohde notes (42),
"depict their greatest heroes as incited to great deeds only
by eagerness for battle and desire for glory. The love of
women barely engages their attention transiently in hours of
idleness."
Militarism is ever hostile to love except in its grossest forms. It
brutalizes the men and prevents the growth of feminine qualities,
coyness among others. Hence, wherever militarism prevails, we seek in
vain for feminine reserve. An interesting illustration of this may be
found in a brochure by Theodor Krabbes, _Die Frau im Altfranzösischen
Karls-Epos_ (9-38). The author, basing his inferences on an exhaustive
study and comparison of the Chansons de Geste of the eleventh and
twelfth centuries, draws the following general conclusions:
"Girlish shyness is not a trait of the daughters, least
of all those of heathen origin. Masculine tendencies
characterize them from childhood. Fighting pleases them
and they like to look on when there is a battle....
Love plays an important role in nearly all the Chansons
de Geste.... The woman wooes, the man grants: nearly
always in these epics we read of a woman who loves,
rarely of one who is loved.... In the very first hour
of their acquaintance the girl is apt to yield herself
entirely to the chosen knight, and she persists in her
passion for him even if she is entirely repulsed. There
is no more rest for her. Either she wooes him in
person, or chooses a messenger who invites the coveted
man to a rendezvous. The heathen woman who has to guard
captured Franks and who has given her heart to one of
them, hies herself to the dungeon and offers him her
love. She begs for his love in return and seeks in
every way to win it. If he resists, she curses him,
makes his lot less endurable, withholds his food or
threatens him with death until he is willing to accede
to her wishes. If this has come to pass she overwhelms
him with caresses at the first meeting. She is eager to
have them reciprocated; often the lover is not tender
enough to please her, then she repeatedly begs for
kisses. She embraces him delightedly even though he be
in full armor and in presence of all his companions.
Girlish shyness and modest backwardness are altogether
foreign to her nature.... She never has any moral
scruples.... If he is unwilling to give up his
campaign, she is satisfied to let him go the next
morning if he will only marry her.
"The man is generally described as cold in love.
References to a knight's desire for a woman's love are
very scant, and only once do we come across a hero who
is quite in love. The young knight prefers more serious
matters; his first desire is to win fame in battle,
make rich booty.[21] He looks on love as superfluous,
indeed he is convinced that it incapacitates him from
what he regards as his proper life-task. He also fears
the woman's infidelity. If he allows her to persuade
him to love, he seeks material gain from it; delivery
from captivity, property, vassals.... The lover is
often tardy, careless, too deficient in tenderness, so
that the woman has to chide him and invite his
caresses. A rendezvous is always brought about only
through her efforts, and she alone is annoyed if it is
disturbed too soon. Even when the man desires a woman,
he hardly appears as a wooer. He knows he is sure of
the women's favor; they make it easy for him; he can
have any number of them if he belongs to a noble
family.... Even when the knight is in love--which is
very rare--the first advances are nearly always made by
the woman; it is she who proposes marriage.
"Marriage as treated in the epics is seldom based on
love. The woman desires wedlock, because she hopes
thereby to secure her rights and better her chances of
protection. It is for this reason that we see her so
often eagerly endeavoring to secure a promise of
marriage."