ENGL 252: Great Books II: Medieval and Renaissance Literature
Dr. Debora B. Schwartz

Calendar, Spring, 2005
Week: 1 2 3 4 5 6 7 8 9 10

Week 1    (March 28 - 30)
 
Topic and Readings
Day 1
Introduction and background. Translatio studii et imperii: passing the twin torches of cultural or literary authority and of political legitimacy from one civilization to antoher. 
Day 2
Medieval Prologues and Translatio

With the exception of the pages in Chrétien de Troyes's Arthurian Romances, noted below, all of today's readings are either online or in .PDF files on e-reserve. To access these readings, click on the links below and print out the files. (For readings on e-reserve, you will be prompted to enter your last name and the barcode found on your Polycard).  Complete these readings prior to our class meeting on Wednesday, 3/30 (and don't forget to bring the print-outs with you to class!). 

I. Background readings.  To better understand the issues involved in medieval poetics, click on the links to print out and read the following background readings: 

  • W. F. Bolton, "The Conditions of Literary Composition in Medieval England" (e-reserve reading).  Previous link takes you to the document as a .PDF file.  Click here for a short web-based study guide to the e-reserve reading, which you can print out if it seems useful, or consult online (but don't follow links from it, as they will take you onto the websites for other courses in which I use this e-reserve reading.)
  • "Medieval Attitudes toward Vernacular Literature" (web-based reading).  Serves as both lecture notes/background reading and as a study guide to the medieval prologues and epilogues listed under primary readings, below.
  • Translatio studii et imperii (web-based reading).  You'll find as you read through this text that it covers material I talked about in lecture on Monday (and which I will continue talking about Wednesday and throughout the quarter).
To better understand the treatment of love in medieval works, read the following online reading:
  • "Courtly Love" (web-based reading). We will be talking about the issues outlined here on and off throughout the first half of the quarter.
(These are all REQUIRED READINGS; there MAY be background questions about them in your first Reading Quiz, and they will definitely be covered on the first midterm exam!)

II.  Primary readings:  5 medieval prologues and 1 epilogue (to 2 works by Marie de France and 3 works by Chrétien de Troyes).  These short texts range in length from 1 paragraph to 1 1/2 pages. The online reading "Medieval Attitudes toward Vernacular Literature" (above) doubles as a study guide to them.

Week 2    (April 4 - 6)
 
Topic and Readings
Day 1
Follow link for a Required Online Reading with background information on the medieval Tristan tradition.  Please note that you are responsible for the information in this background reading (and any information presented as "text info" on this course calendar) for all reading quizzes and exams.

Béroul, The Romance of Tristan.   Reading assignment for today is ONLY Béroul's text, found pp. 39-148.  Note that passages in italics are not from Béroul's poem -- they were added by the translator to "make ends meet" -- and that the episode of Tristan's madness printed in this book (and assigned for our next class meeting) is NOT in fact part of Béroul's text. The text appears long, but it is fun and it reads fast.

Text info: Béroul wrote his romance, which is in French octo-syllabic rhyming couplets, some time in the second half of the 12th century; it appears to have influenced the work of Chrétien de Troyes (active ca. 1170-1190), so we assume it to predate those of Chrétien's works which show that influence.  It is preserved in only one manuscript, in a fragment of 4,485 lines.  Part of the so-called "common tradition."

NOTE: You may find it interesting or useful to skim through the Introduction (9-35) -- but it is not required.  (The material you will be tested on is what's found in the required online background reading or listed under "text info" in the course calendar -- not what's presented in the introduction to the text.)

Day 2
Primary Readings: 
  1. The independent episode of Tristan's Madness (printed in Béroul, The Romance of Tristan, pp. 151-64).  Also read the two page summary of the end of the Tristan stories, in the italicized passages on pp. 164-5. 
  2. Selections from the Lais of Marie de France:  "Chevrefoil" (Marie's Tristan poem, pp. 190-95); as well as her "Guigemar" (pp. 30-59); "Bisclavret" (pp. 92-104); "Lanval" (pp. 105-25); and "Yonec" (pp. 137-54). 
Text info:
  • There are two versions of the episode of Tristan's Madness (or "Folie Tristan"), both of which are short French narrative poems, probably dating from the second half of the twelfth century, in octo-syllabic rhyming couplets. One is preserved in a manuscript in Berne (Switzerland) and the other is in Oxford (England).  The text we are reading is the 572-line Berne fragment (often referred to as the "Folie Tristan de Berne"); this text is associated with the so-called "common tradition" of which Béroul's poem is also a part. 
  • Marie de France was active ca. 1160s-1190s at the Anglo-Norman court; in addition to her Fables (of which we read the Prologue and the Epilogue last week), Marie wrote a collection of twelve lais, short narrative poems in French octo-syllabic rhyming couplets.  A lai (often anglicized as "lay") usually includes some sort of supernatural event; its primary focus is a love relationship.  If a romance (like Béroul's Tristan) is the medieval equivalent of the modern novel, a lai is analogous to a modern short story (or perhaps a fairy tale).

 

Week 3    (April 11 - 13)
 
Topic and Readings
Day 1
Primary Reading:  Background readings: 
  • Read carefully through the information found on the online Knight of the Cart study guide (which as usual you should print out and bring with you to class).
  • To better understand the literary techniques employed by Chrétien (e.g. his borrowing from prior literary works, including numerous Tristan elements), review the online reading "Medieval Attitudes toward Vernacular Literature."
  • You may also find it helpful or interesting to skim through the Introduction (pp. 1-22 -- but please note that the material you will be tested on is what's found in required online background readings or listed under "text info" in the course calendar -- not what's presented in optional readings such as the introduction to the text.
Text info: Chrétien de Troyes was active ca. 1170-1190; The Knight of the Cart, his fourth extant romance, was probably written simultaneously with The Knight with the Lion, as the plots of the two works are intertwined.  Like all of Chrétien's romances, it is in French octosyllabic rhyming couplets. It is noteworthy for having introduced into literary tradition the love affair between King Arthur's wife, Queen Guenevere, and Lancelot, his best knight (no trace of which exists prior to Chrétien's romance).  Contrary to what has been argued by some critics, Chrétien's intention was not to glorify an adulterous love affair; instead, the Knight of the Cart offers a witty contestation of the sort of adulterous love affair which is arguably glorified in the Tristan romances, from which it borrows freely (including variations on the flour on the floor episode, the ambiguous oath, a passion inspired by a woman's golden hair, and an adulterous passion linking a King's wife with his best knight).
Day 2
As needed, wrap up discussion of the Knight of the Cart.

New Primary Reading: 

  • An anti-Tristan: Chrétien de Troyes's Cligés (Arthurian Romances, pp. 123-205).
Text info: Chrétien de Troyes was active ca. 1170-1190; Cligés, his second extant romance, is in French octosyllabic rhyming couplets.  It offers Chrétien's clearest and most unambiguous rejection of "Tristan-love." To better understand the literary techniques employed by Chrétien (e.g. his use of numerous Tristan elements), review the online reading "Medieval Attitudes toward Vernacular Literature."

 

Week 4    (April 18 - 20)
 
Topic and Readings
Day 1
Day 2
MIDTERM EXAM 1.

 

Week 5    (April 25 - 27)
 
Topic and Readings
Day 1
    1) Chaucer, the General Prologue to The Canterbury Tales. In Selected Canterbury Tales, tr. J. U. Nicolson (Dover Thrift Editions), pp. 1-26.

    Background readings: 

    • on Chaucer, the biographical Note, pp. iii-iv in your textbook.
    • for the General Prologue: online reading, The Medieval Estates.


    ADDITIONAL READING ASSIGNMENT:  When you are done reading the General Prologue in translation, go back and read through the opening lines in Chaucer's Middle English as printed in your textbook, pp. vii-viii. 

    HINT:  in order to understand Chaucer's Middle English, try the following sure-fire steps:

    • Reread the modern translation of the passage several times to become fully familiar with its meaning (pp. 1-2, ending at line 5 of p. 2, "To take the road, as you I will apprise").  Then:
    • PRETEND that you are drunk (to lose your inhibitions -- but please note that I do NOT advocate the actual consumption of alcoholic beverages as part of this homework assignment!);
    • Put on your best "Monty Python" (or fake British) accent; and 
    • Amuse your friends / roommates / Significant Others by reading the opening lines of the Middle English text, pp. vii-viii, ALOUD.  If you proceed in this manner, I think you will be surprised by how much of the Middle English you are able to understand!


    Supplemental materials:  a map of the Pilgrimage route and chart of the Four Humours (useful details for interpreting Pilgrim portraits) are on e-reserve through the Kennedy Library (to access the .PDF file, click on the link; you will be prompted to type in your last name and library barcode, the 14-digit number beginning 20150 on the front of your PolyCard). The same map can be accessed through the Harvard Chaucer Pages website; for information on the four humours, see Michael Hanley's webpage.

    NOTE:  While our discussion of the General Prologue is likely to take up the full class meeting on Monday, you are encouraged to begin the considerably longer TWO-TALE reading assignment for Wednesday, the Knight's Tale (Selected Canterbury Tales, pp. 27-82) AND the Miller's Tale (Selected Canterbury Tales, pp. 83-102) if you have time over the week-end.  Be sure to BUDGET ADEQUATE TIME to get through  the two-tale Knight and Miller assignment before Wednesday's class!

    REMEMBER:  YOU SHOULD NOT SUBSTITUTE ANOTHER EDITION/TRANSLATION for the Dover Thrift Editions version ordered for this class!

    Text Info: Geoffrey Chaucer lived ca. 1343-1400.  All of our Chaucer readings were originally written in English rhyming couplets in iambic pentameter (ten-syllable lines with an alternating pattern of unstressed and stressed syllables). An "iamb" is a two-syllable unit in which an unstressed syllable is followed by a stressed one; five such two-syllable units form an iambic pentameter line with the stress pattern "da DUM, da DUM, da DUM, da DUM, da DUM."
     

    • The Canterbury Tales (taken as a whole) is a "frame narrative" collection on which Chaucer worked during the last 14 years of his life (ca. 1386-1400).  A "frame narrative" is a work in which a group of story-tellers tell stories to each other.  The individual stories that they tell are embedded within the narrative framework, which in the case of the Canterbury Tales is a pilgrimage to visit the shrine of St. Thomas à Becket at Canterbury Cathedral.
    • The General Prologue to the Canterbury Tales sets up the narrative framework of the collection.  It also functions independently as an example of the medieval genre known as Estates Satire. (See the online reading The Medieval Estates.)
Day 2
Chaucer, The Knight's Tale and The Miller's Tale. In Selected Canterbury Tales, tr. J. U. Nicolson (Dover Thrift Editions), pp. 27-102. DO NOT SUBSTITUTE ANOTHER EDITION/TRANSLATION; you MUST use the Dover Thrift Editions version ordered for this class!

Background:  review the online reading "Courtly Love." 

SUPPLEMENTAL MATERIAL:  click on the link to access the diagram of the STRUCTURE OF THE KNIGHT'S TALE which I  lectured on in class (available as a .PDF file on e-reserve for ENGL 430). 

Text info: Geoffrey Chaucer lived ca. 1343-1400.  All of our Chaucer readings were originally written in English rhyming couplets in iambic pentameter (ten-syllable lines with an alternating pattern of unstressed and stressed syllables). An "iamb" is a two-syllable unit in which an unstressed syllable is followed by a stressed one; five such two-syllable units form an iambic pentameter line with the stress pattern "da DUM, da DUM, da DUM, da DUM, da DUM."

  • The Knight's Tale is a romance, but note that it was written in English, not French.  By the late 14th-century, the term "romance" no longer means "a narrative in the French vernacular"; it refers to a particular genre, a story which typically has a long-ago-and-far-away setting, aristocratic characters, plots involving both love and warfare, and a happy ending.  Romances often draw on the conventions of courtly love, depicting lovers who suffer from lovesickness and express their feelings in flowery speeches.  A common plot line is the winning of a bride by a brave knight through chivalric prowess.  The primary source of the Knight's Tale is an Italian poem by Boccaccio called Il Teseida(the "Story of Theseus").  The Knight's Tale was originally written ca. 1384-5, before Chaucer began work on the Canterbury Tales collection. (In the Prologue to the Legend of Good Women, written ca. 1385, he refers to this poem as Palamon and Arcite.)  Chaucer apparently considered this "translatio romance" to be an appropriate tale for his Knight and a fitting beginning to the Canterbury Tales as a whole when he chose to incorporate it into his frame narrative collection.

  •  
  • The Miller's Tale is a fabliau, a French genre popular in the 13th century.  These short humorous narratives are characterized by a setting in the "here and now " (not the "long ago and far away" of romance); ordinary sorts of characters (not the aristocrats of romance); earthiness of tone and subject matter; an emphasis on the body in all its physicality -- sex, defecation, farting, the appetites -- rather than the emotions or the spiritual; and coarse rather than flowery language. Fabliaux (plural form) tend to flout authorities of all sorts and are frequently subversive. Characters are often "tricksters" admired for their cleverness; a common theme is the gleeful adultery of a repressed wife and a clever cleric. (For fuller information, see the beginning of the  Miller's Tale study guide.)

Week 6    (May 2 - 4)
 
Topic and Readings
Day 1
Complete Discussion of The Miller's Tale.

New reading: The Wife of Bath's Prologue and Tale. In Selected Canterbury Tales, tr. J. U. Nicolson (Dover Thrift Editions), pp. 103-135.

DO NOT SUBSTITUTE ANOTHER EDITION/TRANSLATION; you MUST use the Dover Thrift Editions version ordered for this class!

Background:  review the online reading "Courtly Love" and "Translatio"

Text info: Geoffrey Chaucer lived ca. 1343-1400.  All of our Chaucer readings were originally written in English rhyming couplets in iambic pentameter (ten-syllable lines with an alternating pattern of unstressed and stressed syllables). An "iamb" is a two-syllable unit in which an unstressed syllable is followed by a stressed one; five such two-syllable units form an iambic pentameter line with the stress pattern "da DUM, da DUM, da DUM, da DUM, da DUM."

  • The Wife of Bath's Prologue is a literary confession or "apology," a first-person narrative in which a character explains his or her character and motivation. (Note that despite the modern connotations, these terms do not imply the speaker's sense of guilt or regret about the behavior described.)

  •  
  • The Wife of Bath's Tale is a miniature Arthurian romance, with a setting in the distant past, aristocratic characters, magical events, and a happy ending. The structure is circular, beginning and ending at Arthur's court, where a knight undertakes a quest, and to which he returns when the quest is completed. 
Day 2
MIDTERM EXAM 2

 

Week 7    (May 9 - 11)
 
Topic and Readings
Day 1
Heldris of Cornwall, The Romance of Silence.  Read whole text before class meeting.

Background readings: 

Text info: The Romance of Silence is a French romance in octosyllabic rhyming couplets dating from the second half of the thirteenth century.   Nothing is known of the author other than the name "Heldris of Cornwall," which is found in the opening line and at the beginning of the epilogue (line 6684, p. 313).  Despite what is stated on the back cover of our textbook, it is a post-Arthurian romance rather than an Arthurian one.  It is preserved in a single manuscript at the University of Nottingham in England (see text intro, p. xxiii).
Day 2
Complete discussion of The Romance of Silence.

 

Week 8    (May 16 - 18)
 
Topic and Readings
Day 1
Shakespeare, A Midsummer Night's Dream.  Complete whole play before class time. 

NOTE:  Follow the link to consult a synopsis (plot summary) which can help orient you to what's going on before you start reading the play. 
It can also be helpful to watch a video of the play; there are several available at the Kennedy Library, and most commercial video stores should carry at least the 1999 film directed by Michael Hoffman.  But please note that watching the video or reading the synopsis ALONE -- without also READING THE TEXT -- will NOT be sufficient to score well on reading quizzes, or on the final exam!

Background Readings: 

Text info: A Midsummer Night's Dream  was written ca. 1595-1596 by William Shakespeare (1564-1616). It was first published in 1600 in a "quarto" edition (Q1) which is believed to have been printed from Shakespeare's own text, and is the based text used for our edition. An additional "quarto" edition, Q2, appeared in 1619, and it was also printed in the "First Folio" (F1), a posthumous collection of 36 of Shakespeare's plays published in 1623 by John Heminges and Henry Condell (Shakespeare's friends and actors in his theater company, the King's Men). 
Day 2
    Shakespeare, A Midsummer Night's Dream, cont.
     
  • Optional Background Reading: Introduction to A Midsummer Night's Dream in our textbook, pp. 207-233.
REVIEW the online readings assigned for last class: 

 

Week 9    (May 23 - 25)
 
Topic and Readings
Day 1
Shakespeare, A Midsummer Night's Dream, cont. (including screenings of scenes from several filmed versions of the play).

REVIEW the online readings assigned last week: 

Day 2
Shakespeare, A Midsummer Night's Dream, conclusion (possibly including screenings of several more scenes from filmed versions of the play).

VIDEO INFO:  scenes screened during lectures are taken from the following videos of A Midsummer Night's Dream

  1. BBC version (1981).  Directed by Elijah Moshinky.  Cast includes Helen Mirren as Titania.  Full cast listed in the IMDb. On Reserve
  2. Joseph Papp-Public Theater version (1982).  A New York Shakespeare Festival stage production, filmed live in New York's Central Park.  Directed by Emile Ardolino.  Not a commercial release.  Cast includes William Hurt as Oberon and Gary Coleman (!) as the Changeling Child.  Full cast listed in the IMDb. On Reserve. 
  3. 1999 theatrical release.  Directed by Michael Hoffman.  Cast includes Kevin Kline (Nick Bottom); Michelle Pfeiffer (Titania); Stanley Tucci (Puck); Rupert Everett (Oberon); Calista Flockheart (Helena); Christian Bale (Lysander). Full cast listed in the IMDb.  Not in Cal Poly's video collections; available for rent at most commercial video stores.
Scenes screened 5/25/05:  REVIEW the online readings assigned last week: 

 

Week 10  (May 30 - June 1)
 
Topic and Readings
Day 1
NO CLASS--HAPPY MEMORIAL DAY! 
Day 2
Final class meeting.  Possibility for EC performances and/or review session for final exam.

Scenes screened 6/1/05: 

  • I.i.1-178 (text pp. 247-56):  BBC version (1981).  On Reserve: 822.33 M584B2 (Vid.C.) Pt. 1 (first of two tapes).
  • IV.i.39-198 (text pp. 315-23):  BBC version (1981).  On Reserve: 822.33 M584B2 (Vid.C.) Pt. 1 (second of two tapes).


Peformances: 

  • David Bedard (Lysander), Lindsey Swan (Hermia), Kyle McClain (Helena): Lysander and Hermia tell Helena of their plans to elope, I.i.128-225 (pp. 253-258)
  • Megan Maydole (Helena): monologue about Love, I.i.226-251 (p. 258-9)
  • Ryan Crosbie (Lysander), Natalie Bobuk (Helena), Emily Rusche (Hermia) and Sedric Mart (Demetrius): "Cat fight" scene:  III.ii.122-345 (pp. 298-308)
  • Ross Anderson (Theseus): monologue about lovers and madmen, V.i.2-22 (pp. 326-7)
  • Abel Mejia (Pyramus), Steve Knudson (replaced Megan Wright as Thisbe), Jordan Harpole (Wall), Justin McCullom (Moonshine), Ryan Johnson (Lion), Georgianna Ng (Quince): Pyramus and Thisbe play, V.i.108-339 (pp. 331-340). 
  • Steve Knudson (Puck): Epilogue, V.i.413-28 (p. 345) 

Final Exam: Tuesday, June 7, 1:10 - 4:00 PM. KEEP THIS DATE IN MIND AS YOU MAKE YOUR TRAVEL PLANS!
 
Contents of this and all linked pages Copyright Debora B. Schwartz, 1997-2005
 
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