ABSTRACT
This conclusion presents some closing thoughts on the concepts covered in the preceding chapters of this book. The book explores how the representation of love magic continued to adapt and flow in Iberian literature, symbolizing the often paradoxical relationship between Christian orthodoxy and non-Christian practices. It analyzes two songs from the royally commissioned Galician-Portuguese Cantigas de Santa Maria. The book explores the Don Melon–Dona Endrina episode of the Libro de buen amor. It continues exploring go-betweens by taking a closer look at Celestina, who in many ways is the inheritor of Trotaconventos. The book challenges the notion of courtly love and how fictional love magic serves as an alternative to understanding the societal expectations and loopholes.
