ABSTRACT
Certain striking variations on the fin'amors theme are found in the Marian poetry of Alfonso X, el Sabio. Joseph T. Snow examines the stylistic influence of Provençal lyric on the royal poet. Alfonso's compositions partake of this courtly entertainment and allude to the ars amandi. While retaining features of his models, Alfonso refashions Midi ideals according to a new, devotional aesthetic. In his Cantigas de Santa Maria, he sings the praises not of an earthly domna, but of the Virgin Mary herself. Like the Provençal poets, Alfonso's troubadour persona lauds his Liege Lady; unlike them, his love would never attain physical consummation. Traditionally, the identity of the beloved was tactfully guarded, but Alfonso reveals his lady's name and invites all Christians to join in praising the Mother of God. Whereas the conventional courtly lover sought an earthly reward for his efforts, Alfonso's guerdon is divine: salvation, which is available to all who follow his example and offer praise to the Virgin.
