DMLA 1161

SECOND PUBLIC EXAMINATION

Honour School of Modern Languages
Honour School of English and Modern Languages
Honour School of History and Modern Languages
Honour School of Philosophy and Modern Languages

FRENCH VI
TOPICS IN THE PERIOD OF LITERATURE (i): TO 1530

TRINITY TERM 2014

Thursday, 29 May, 9.30 a.m. 12.30 p.m.

Candidates must answer THREE questions, AT LEAST ONE from each section.
Candidates may NOT make material prescribed for the Preliminary Examination the
sole or principal subject of ANY of their answers.
Candidates must NOT answer questions with reference wholly or chiefly to writers
whom they are offering as Prescribed Authors, or with reference wholly or chiefly to
texts which form the principal topic of their Special Subject or Optional Extended
Essay.
Candidates should NOT make the same author or work the principal subject of
MORE THAN ONE answer.
Candidates are advised to read all the questions before deciding which ones to
answer.

Do not turn over until told that you may do so.

SECTION A

1.

It is impossible to interpret the chansons de geste without reference to their historical

context. How valid do you consider this claim to be?

2.

It would be erroneous to claim that the lais constitute a distinct literary genre. Do you agree?
Discuss with reference to both the Lais de Marie de France and other lais.

3.

The romances of Chrtien de Troyes are more concerned with the individual than with the
collective. Evaluate this claim with reference to AT LEAST TWO of the texts that you have
studied.

4.

The distinction commonly drawn between the courtly and popular versions of the Tristan
legend is not valid. How far do you agree?

5.

The characters in the prose romances are trapped by forces beyond their control. Do you
agree? Discuss with reference to AT LEAST TWO of the texts that you have studied.

6.

The value of medieval chronicles as historical documents is greatly overestimated. Consider

this claim with reference to EITHER Villehardouin and Clari OR Joinville.

7.

Old French comic narrative cannot be fully appreciated without consideration of its treatment
of gender. How far do you agree?

8.

Early medieval French lyric impresses more by its emotional spontaneity than by its literary
sophistication. How far do you agree?

9.

The spiritual perfection of medieval saints lessens the didactic potential of their lives.
Evaluate this view of Old French hagiography.

10.

There is little room for the development of character in Old French drama. How far do you
agree?

11.

EITHER, (a) The clerical humour of the Roman de la rose is nearly impossible for a
modern reader to appreciate. How far do you agree?
OR,
(b) Jean de Meuns continuation bears precious little similarity to the poem
begun by Guillaume de Lorris. Discuss.

12.

Violence in Old French literature is by no means a solely negative force. Discuss with
reference to AT LEAST TWO texts that you have studied.

DMLA 1161

SECTION B

13.

EITHER, (a) The issue of narrative voice is of particular importance in the interpretation
of late medieval prose narrative. Do you agree?
OR,
(b) The structure of late medieval prose narrative does not impress by its
complexity. Discuss.

14.

Late medieval didactic writing is always conservative in its social criticism. How far do you
agree?

15.

It is the intensely personal nature of late lyric poetry which captivates the reader. Discuss.

16.

The subtlety of their satire belies the coarseness of their action. Evaluate this claim with
reference to AT LEAST TWO farces.

17.

In Villons work, the most subversive feature is the manipulation of language. How far do
you agree?

18.

Christine de Pizans interests are more artistic than polemical. Discuss.

19.

In late medieval historiography, the evolution of the first-person voice is of as much interest
as the events that it recounts. How far do you agree?

20.

EITHER, (a) Late medieval narrative poetry values inventiveness in allegory more than
clarity of message. How far do you agree?
OR,
(b) The past counts more than the present in late medieval narrative poetry.
Discuss.

21.

One of the most exceptional features of late medieval French writing is its formal virtuosity.
Discuss with reference to AT LEAST TWO texts/authors.

22.

Late medieval literature reaches new heights in the questioning of gender stereotypes.
Discuss with reference to AT LEAST TWO texts/authors.

DMLA 1161

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