Final

Question 1

Tale of Genji

Answer 1

Lady Murasaki (Shikibu), Medieval Japan

Question 2

The Pillow Book

Answer 2

Sei Shonagon, Medieval Japan

Question 3

The Lay of Chevrefoil

Answer 3

Marie de France, Medieval France

Question 4

The Song of Roland

Answer 4

Anonymous, Medieval France

Question 5

History of the First Crusade

Answer 5

Anonymous, Medieval France

Question 6

The Collection of Histories

Answer 6

Ibn Al-Athir, Medieval Mesopotamia

Question 7

The Inferno

Answer 7

Dante, Medieval Italy

Question 8

The Book of Muhammad’s Ladder

Answer 8

Anonymous, Medieval Spain

Question 9

Canterbury Tales: The General Prologue

Answer 9

Geoffrey Chaucer, Medieval England

Question 10

The Decameron

Answer 10

Bocaccio, Medieval Italy

Question 11

Essays: Of Cannibals

Answer 11

Michel de Montaigne, Renaissance England

Question 12

The Tempest

Answer 12

William Shakespeare, Renaissance England

Question 13

The History of the Indies

Answer 13

Bartolome de las Casas, Renaissance Spain

Question 14

apocalypse

Answer 14

(Greek: “to disclose”)
Comprised of prophetic or quasi-prophetic writings which tend to present doom-laden visions of the world and sombre and minatory predictions of mankind’s destiny. Often includes a vision of heaven and hell
EXAMPLES:
Dante’s Inferno
The Book of Muhammad’s Ladder

Question 15

chanson de geste

Answer 15

(French: “song of deeds”)
Old French epic poems which relate the heroic deeds of Carolingian noblemen and other feudal lords. Some describe wars against the Saracens. They exhibit a combination of history and legend and also reflect a definite conception of religious chivalry.
EXAMPLES
The Song of Roland

Question 16

courtly love/ fin’amor

Answer 16

had its origins in southern France and was celebrated in the poetry of the troubadours. It was primarily a literary and aristocratic phenomenon; it idealizes women, and often led to adulterous affairs (adulterous love was actually considered&raquo_space;»> marriage love); worked a lot in the feudal system. Appear to be fundamental elements which are fairly universal: (1) the four marks of courtly love are humility, courtesy, adultery and religion of love; (2) the love is desire; (3) it is an ennobling and dynamic force; (4) it generates a cult of the beloved.
EXAMPLES:
Poetry: Ibn Hazm (My Beloved Comes), Judah Ha-Levi (The Apple), Guillaume IX (My companions, I am going to make a vers that is refined; Now when we see the meadows once again), Countess of Dia (Of things I’d rather keep in silence I must sing), Petrarch( Canzoniere, 1 and 3)
The Lay of Chevrefoil

Question 17

essay

Answer 17

could be discursive, informal and intimate OR terse, didactic and aloof; can be long or short; tended towards personal and reflective informality; personal reflections; one view to the next
EXAMPLES:
Essays: The Cannibals (the term was actually coined by Montaigne)

Question 18

estates satire

Answer 18

Traditionally, the estates of the realm are three: nobility, religious, everyone else; society was carefully structured in a hierarchical system that embraced “natural order”. Satires on the estates were a kind of exposition of the duties and responsibilities of different members and the characteristics of individual groups plus criticism of their shortcomings.
EXAMPLES:
Chaucer’s Prologue

Question 19

lyric poetry

Answer 19

Usually fairly short, not often longer than 50/60 lines, and often between a dozen and thirty lines; and it usually expresses the feelings and thoughts of a single speaker (not necessarily the poet himself) in a personal and subjective fashion. The range and variety of lyric verse is immense, and lyric poetry comprises the bulk of all poetry. During the Middle Ages, much of it was composed by troubadours and wandering minstrils. Many of the lyric forms had specific names, and it was intended to be sung and often danced too. The Renaissance period was the great age of the lyric (i.e. people like PETRARCH)
EXAMPLES:
Look up the poet peeps
Petrarch

Question 20

romance (play)

Answer 20

It is principally a form of entertainment. It may also be didactic but this is usually incidental. Usually concerned with characters (and thus with events) who live in a courtly world somewhat remote from the everyday. This suggests elements of fantasy, improbability, extravagance and nivety. Also suggests elements of love, adventure, the marvelous and the “mythic.”
EXAMPLE:
The Tempest

Question 21

sonnet

Answer 21

(Italian: “little sound” or “song”)
Ordinary sonnet contains 14 lines, usually in iambic pentameter with considerable variations in rhyme scheme. There are 3 basic sonnets (but we only have to know one: Petrarchan). Petrarchan sonnets have an octave rhyming ABBAABBA and a sestet, rhyming CDECDE or CDCDCD, or in any combination except a rhyming couplet. The octave develops one thought; then there is a “turn” or volta, and the sestet grows out of the octave, varies it, and completes it.
EXAMPLE:
Petrarch

Question 22

terza rima

Answer 22

(Italian: “in third rhyme”)
The measure adopted by Dante for Divina Commedia, consisting of a series of interlocking tercets in which the second line of each one rhymes with the first and third lines of the one succeeding, thus: ABA, BCB, CDC. At the end of the canto, a single line rhymes with the second from last: WXYX. Terza rima was also used by Petrarch and Boccaccio. Because it is a difficult form to manage (few Italian poets have used it successfully) it has never been adopted outside of Italy. 
EXAMPLE:
Dante
Petrarch (maybe. idk about his sonnets)
Boccaccio

Question 23

troubadour

Answer 23

Poets who flourished in the South of France between c. 1100 and 1350. They were attached to various courts and were responsible for the phenomenon known as courtly love. Most of their lyrics were amorous; some satirical and political. The troubadours had considerable influence on Dante and Petrarch, and indeed on the whole development of the lyric in Europe.
EXAMPLE:
Guillaume IX