An ingenious device that resulted in stifling the amatory advances of a king is related in Boccaccio’s Decameron: The Fifth Story of the First Day. King Phillippe of France, learning of the beauty of the Marchioness of Monferrato, journeys to her domain, in the absence of the Marquis. He is invited to a banquet:
The ordinance of the repast and of the viands she reserved to herself alone and having forthright caused collect as many hens as were in the country, she bade her cooks dress various dishes of these alone for the royal table.
The king came at the appointed time and was received by the lady with great honor and rejoicing. When he beheld her, she seemed to him fair and noble and well-bred beyond that which he had conceived from the courtier’s words, whereat he marvelled exceedingly and commended her amain, waxing so much the hotter in his desire as he found the lady over-passing his foregone conceit of her. After he had taken somewhat of rest in chambers adorned to the utmost with all that pertaineth to the entertainment of such a king, the dinner hour being come, the king and the marchioness seated themselves at one table, whilst the rest, according to their quality, were honorably entertained at others. The king, being served with many dishes in succession, as well as with wines of the best and costliest, and to boot gazing with delight the while upon the lovely marchioness, was mightily pleased with his entertainment; but, after awhile, as the viands followed one upon another, he began somewhat to marvel, perceiving that, for all the diversity of the dishes, they were nevertheless of nought other than hens, and this although he knew the part where he was to be such as should abound in game of various kinds and although he had, by advising the lady in advance of his coming, given her time to send a-hunting. However, much as he might marvel at this, he chose not to take occasion of engaging her in parley thereof, otherwise than in the matter of her hens, and accordingly, turning to her with a merry air, ‘Madam,’ quoth he, ‘are hens only born in these parts, without ever a cock?’ The marchioness, who understood the king’s question excellent well, herseeming God had vouchsafed her, according to her wish, an oportune occasion of discovering her mind, turned to him and answered boldly, ‘Nay, my lord; but women, albeit in apparel and dignities they may differ somewhat from others, are natheless all of the same fashion here as elsewhere.’
The King, hearing this, right well apprehended the meaning of the banquet of hens and the virtue hidden in her speech and perceived that words would be wasted upon such a lady, and that violence was out of the question; wherefore, even as he had ill-advisedly taken fire for her, so now it behoved him sagely, for his own honor’s sake, stifle his ill-conceived passion.
The medieval love poem, usually sung to an accompaniment on the lyre or other musical instrument, was often, in spite of its superficially innocuous tone, full of amatory innuendoes and erotic provocations. The love song, in fact, was virtually an amatory philtre intended to set the listener afire, or to inspire the object of the implicit passion with an equal fervor, or to divert a passion in the direction of the songster. The concluding story of the fifth day, in Boccaccio’s Decameron, contains a song of this nature:
O Love, the amorous light
That beameth from yon fair one’s lovely eyes
Hath made me thine and hers in servant-guise.
The splendor of her lovely eyes, it wrought