Anglo-Norman Period Flashcards
How long did AN period last?
1066-1399
1066
The battle of Hastings - William the Conqueror, a Norman (french) invader conquers England
1154
Henry II becomes king, French wife Eleanor of Aquitaine becomes Queen further intermingling England and France
1348
the first and most virulent epidemic of the bubonic plaque sweeps Europe, eliminating 25-33% of the population.
The Normans brought what language to England
Following the Battle of Hastings, French influence bleeds into Old English. By the end of the period, this influence has shaped English so strongly, a “new” language, Middle English is formed
What are four languages spoken in England during that time period?
- Latin: the international language of learning
- French: Spoken by Norman aristocracy
- English: Spoken by AS of all social levels
- Celtic: dialects spoken in more remote areas: Scotland, Ireland, Wales, Cornwall)
Marie de France
wrote 12 lais (short romances) circa the 12th century
Chretien de Troyes
12th century romance poet, wrote about Arthurian legend
Geoffrey of Manmouth
(circa 1100 -1115) - wrote The History of the Kings of Britain
Anonymous SGGK poet
part of the alliterate revival; SGGK was written circa 1375-1400 & published with 3 religious poems
Geoffrey Chaucer
(1340-1400) - English civil servant, wrote in English, The Canterbury Tales
Lai or lay
a type of French or English romance lit. These are rhymed, narrative poems depicting love and chivalry, often depicting supernatural fairy-world Celtic motifs.
Romance
originally meant “French” since French was derived from Latin the language of Rome. Designates narrative stories of separation and return, disintegration and reintegration.
Arthurian legend
stories and medieval romances featuring the legendary English King Arthur, his wife Queen Guinevere, his knights, their castle Camelot, and their court.
Romances are “comic” stories because
not because they make us laugh but, rather they make us feel good through happy endings.
The fundamental characteris-tic of romances is
structural, not stylistic. They can be short or long, oral or literary, but to be romances they must have, or adapt, a particular story struc-ture.
Romances classically have
a tripartite structure: integration (or implied integration); disinte-gration; and reintegration. They begin in, or at least imply, a pro-tected, civilized state of some integrated social unit (e.g., family). That state is disrupted, expelling a member of the unit (the hero or heroine of the story, who is usu-ally young) into a wild place. Undergoing the tests of that wild place is the premise of return to the integrated, civilized state of familial and/or social unity.
Romances are…
symbolic stories, replaying and allaying the fears of the young as they face the apparently insuperable challenges of the adult world. Their deepest wisdom is this: civilization is not a unitary concept.