The intent of this dissertation is to provide an in-depth study of the phenomenon of jealousy in the courtly love literature of Occitania, with particular emphasis on three novas of the late twelfth and early thirteenth centuries, Castia-Gilos, Las Novas del papagay, and Flamenca The introductory chapter presents an overview of the terminology and ideology of fin'amors and illustrates the courtly triangle (lady, lover, and obstacles to their love) as it appears in the cansos of selected troubadours. There follows a consideration of the vidas and razos of the troubadours and the light which these works shed on the biographical and poetic background of the treatment of jealousy The Castia-Gilos is studied as the model for the presentation of the punishment of the jealous husband; its structure reveals that the lady, much more so than her chevalier, is the active agent in overcoming obstacles and reestablishing order in the courtly universe. The theme of the jaloux cache, introduced comically in the Castia-Gilos, dominates Las Novas del papagai in that the husband is never presented; his existence is suggested by the presence of gardadors who might function as lauzengiers. Las Novas del papagai appears to be primarily an esthetic expression of the lovers' ability to overcome apparently insurmountable obstacles to their union Flamenca, the longest and most complex of the novas, presents a study of jealousy that approaches modern concepts of paranoia, while simultaneously exploiting all of the literary possibilities of the theme, including jealousy's complete invasion of the courtly universe and its alteration of the concept of love itself. It presents the first well-defined lauzengier, the Queen of France herself; it carries the theme of the jaloux cache to the extreme of the gilos' complete loss of humanity; it reveals the psychological depths of the courtly triangle, and it displays a profound sense of characterization Our study leads to the conclusion that the theme of jealousy is necessary to the universe of courtly love and that previous critical studies have generally understated its importance and, most particularly, its multiple complex manifestations throughout the corpus of the medieval literature of Occitania