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Women in medieval literature and society
Influence of french on other languages
Women in medieval literature and society
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After the Battle of Hastings (1066), descendants of Germanic adventurers, called Normans, took possession of England. They were an enormously adjustable group who had captured a large part of Northern France in the beginning of the 10th century, where they had adopted the French language and its Christian religion. Like barons who held land and castles, Norman bishops wielded both political and spiritual authority. In 1154, when Henry II became king, English monarchy's French territories (southwest France) were greatly expanded through his marriage to the divorced wife of Louis VII of France. During the reign of Henry II, his court was a center of writing and learning (poets, theologians, philosophers,and historians). Moreover, extraordinary opportunities for linguistic and societal conversions arrived in England with the presence of a French-speaking ruling class. In the course of the Anglo-Norman period, French literature dominated Western Europe (Greenblatt 8).
The twelfth-century author of Lanval used the signature Marie de France, which reveals only that her given name was Marie and she was born in France. She was very committed to writing and her works paint her as having been a highly educated, independent-thinking noblewoman who was proficient in Latin, English, and French, and who resided mainly in England. She wrote lays (narrative poem in verse) that incorporated secretiveness and the supernatural. Her tales most likely came from
oral sources and are premier examples of the genre that came to be known as the Breton lay. Furthermore, she dedicated her works to a “noble king” who is thought to be Henry II since his period of reign was from 1154-1189 (Greenblatt 98).
The plot of this poem begins with a not...
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...ais” and mentions that they were much loved and praised (Greenblatt 98). In addition, she is one of the Anglo-Norman pioneers of the writing style that eventually became known as romance (Greenblatt 8).
Of special interest to me on this piece by Marie de France are its vivid similarities to the romance and adventure novels I loved to read as a young adult. Therefore, other than the kingdom setting, I truly enjoyed this Anglo-Norman literature. Marie de France included all of the ingredients for a modern-day romance narration, except the period is medieval and not twenty-first century. The struggles within and the finish of the story fully evolve around the romantic love between Lanval and his magical mistress. Like a present-day love story, the narrative contained references to exquisite physical beauty, bravery, mystery, wealth, erotic liaisons, and fantasy.
Facing felony charges of misdeed, Lanval’s entire fate lies solely in the hands of his lady. When King Arthur agrees that: “if he [Lanval] can produce proof; / if his love would come forward, / if what he said, / what upset the queen, is true, / then he will be acquitted” (451-455), Marie places incredible power in the presence of a woman. In a time when being male was the prime prerequisite for holding authority—and women were openly seen as senseless and insignificant—Lanval’s lover’s ability to determine a knight’s fate makes a mockery of the current societal
De France, Marie. Lanval The Norton Anthology of English Literature: The Middle Ages. Ed. Stephen Greenblatt. New York: New York, 2006.
Thiebaux, Marcelle. The Writings of Medieval Women: An Anthology. New York: Garland Publishing. 1994. Print.
The evolution of human society consists mainly of ineffective ruling regimes and oppressed peasants. Medieval Europe falls into this same pervasive cycle. Social and political hierarchies intertwine which creates a grossly inefficient system. Hereditary lineage determines nobility. Commoners possess no hope of social mobility. Every aspect of life is virtually preordained. These circumstances revolve around the figure Lanval by Mari de France. Mari de France introduces Lanval as a courteous and distinguished knight of King Arthur’s court. Lanval possesses the most moral nature of all of King Arthur’s knights, yet even so, the other knights of King Arthur’s round table despise him. The many knights neglect acknowledgment of his nature as does
Lanval, a handsome knight, falls desperately in love with a beautiful maiden, who grants the knight her love on the condition that he keep their bliss in full secrecy. Upon returning home, Lanval is confronted by Guinevere, who attempts to seduce him . After her initial advances are rejected, the Queen tries a new tactic, attacking Lanval 's masculinity: "I have been told often enough that you have no desire for women. Base coward, wicked recreant, my lord is extremely unfortunate to have suffered you near him. " By questioning Lanval 's worthiness to serve by Arthur, Guinevere is questioning Lanval 's very status as a knight, and once again we see a knightly protagonist put into a hopeless situation as many of his chivalric duties--- courteousness to the Queen, faithfulness to his King, honesty and loyalty to his lover, and defense of his own honor--- are forced into an unresolvable conflict. Lanval defends his honor and honors his King 's trust, but breaks his promise to his lover and grievously insults the Queen: "I love and am loved by a lady who should be prized above all others... you can be sure that one of her servants, even the very poorest girl, is worth more than you, my lady the Queen, in body, face and beauty, wisdom and goodness. " Lanval 's inability to simultaneously commit to all of his knightly responsibilities is comically underscored by his polite hesitation ("my lady the Queen") even
In what follows, my research paper will rely on an article by Kathy Prendergast entitled “Introduction to The Gothic Tradition”. The significance of this article resides in helping to recapitulate the various features of the Gothic tradition. In this article the authoress argues that in order to overturn the Enlightenment and realistic literary mores, many of the eighteenth century novelists had recourse to traditional Romantic conventions in their works of fiction, like the Arthurian legendary tales (Prendergast).
In The Lais of Marie de France, the theme of love is conceivably of the utmost importance. Particularly in the story of Guigemar, the love between a knight and a queen brings them seemingly true happiness. The lovers commit to each other an endless devotion and timeless affection. They are tested by distance and are in turn utterly depressed set apart from their better halves. Prior to their coupling the knight established a belief to never have interest in romantic love while the queen was set in a marriage that left her trapped and unhappy. Guigemar is cursed to have a wound only cured by a woman’s love; he is then sent by an apparent fate to the queen of a city across the shores. The attraction between them sparks quickly and is purely based on desire, but desire within romantic love is the selfishness of it. True love rests on a foundation that is above mere desire for another person. In truth, the selfishness of desire is the
The romance genre is centered around many themes, the most famous being love. The protagonist is almost always the one character that is receiving love or working towards obtaining love. The Romance genre began around the 12th century in Europe. The most famous author of that genre and time was none other than Chretien De Troyes. Troyes is the author of seven poems, four of which were completed by just him. The other three have been worked on and finished by other authors. In this essay the themes from two of his works will be discussed. The works being analyzed are The Knight of the Cart (Lancelot) and The Story of the Grail (Perceval).
In France’s “Lanval,” Marie de France emphasizes the ideal and pure body of Lanval’s Fairy Queen. France describes the Fairy Queen as “elegant, her hips slim, her neck whiter than snow on a branch, her eyes bright, her face white, a beautiful mouth…” (France, 109). The Fairy Queen is presented to the reader as the classic, ideal beauty that captures the attention and, unknowingly, the mind of her lover. After meeting the Fairy Queen, Lanval pledges his life to her. He states, “There is nothing you might command, within my power, that I would not do, whether foolish or wise. I shall obey your command…” (France, 108). ...
Medieval and Renaissance literature develops the concepts of love and marriage and records the evolution of the relation between them. In Chaucer's Canterbury Tales, Christian love clashes with courtly love, as men and women grapple with such issues as which partner should rule in marriage, the proper, acceptable role of sex in marriage, and the importance of love as a basis for a successful marriage. Works by earlier writers portray the medieval literary notion of courtly love, the sexual attraction between a chivalric knight and his lady, often the knight's lord's wife. The woman, who generally held mastery in these relationships based on physical desire and consummation, dictated the terms of the knight's duties and obligations, much like a feudal lord over a vassal. This microcosm of romance between man and woman was anchored by the macrocosm of the bonds among men and their fealty to their lord. The dominance of women and fealty to the leader in courtly love contrasts with the dominance ...
In the Medieval poem “Lanval” by Marie De France, she explores the traditional theme of Guinevere by utilizing literary interests and demonstrating the original ideas of Guinevere’s character. Accordingly, she approaches when Guinevere favors others over her husband and how she follows a plan to seduce them. For this poem., Guinevere remains to be a supporting character who causes unfortunate events for the main character, Lanval. Wanting to start an affair with him, Guinevere rushes herself over to him and displays her fiery personality to the hero offering herself to him. Completely blindsiding her, Lanval refuses and walks away from her. De France shows how Guinevere manipulates Arthur by devising a well-built lie, claiming Lanval asked, “For a love-affair” and when she refused him, he insulted her beauty (De France line 318). Playing her cards to ignite a flame
The story begins with the Marquise de Merteuil corresponding with Vicomte de Valmont regarding a luscious new act of ‘revenge’, as she describes it, against the Comte de Gercourt. The young Cecile de Volanges has just come home from the convent and her marriage to Gercourt has been arranged. However, before he can wed the innocent child, Merteuil proposes Valmont ‘educate’ her, thus spoiling Gercourt’s fancy for untarnished convent girls. Valmont is uninterested in such an easy seduction and is far more aroused by the thought of lulling The Presidente’ de Tourvel, the very epitome of virtue, into submission. And so the tale unfolds.
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
The tales of King Arthur and many of their numerous characters are well known in literature. The Arthurian world is one of the great myths of modern times. Those great pieces of literature have many common themes, one of them being courtly love “L’amour Courtois”. This paper talks of courtly love as seen in King Arthur’s world especially examining “Yvain or the Knight with the Lion” and “Lancelot: or the Knight of the Cart”. Furthermore, one of the goals is to show how that courtly love could be seen in today in our world.
The tale of Sleeping Beauty is influenced by oral folklore and various written versions. Today fairytales are told as a domain for the entertainment and teachings of children. In traditional storytelling, peasants transmitted folklore orally around campfires to audiences of mixed ages. However, during the 17th century, peasant tales, such as Sleeping Beauty, were altered by writers like Charles Perrault’s, to appeal to the courts of aristocracy. Thus the characters of Sleeping Beauty adorned a courtly air to appeal to the crown, such as Louis XIV of France. Throughout history, various cultural influences transformed the tale of Sleeping Beauty through the manipulation of various social forces to achieve better entertainment purposes and reflect Christian beliefs and customs. In addition, the moral of the tale conveys a message that women remain passive in hope to marry her true lov...