1.
Discuss
medieval
writing
as
a
social
act.
While
many
medieval
texts
exhibit
a
distinct
orality
which
makes
them
appropriate
subjects
for
a
discussion
of
'social'
literature,
medieval
romances,
particularly
Arthurian
texts,
provide
a
more
complex
and
illuminating
study
of
medieval
life
and
the
role
of
literature
within
it.
Romances
do
themselves,
in
their
written
appropriations,
reveal
an
oral
residue
which
suggestions
that
their
original
communication
may
have
indeed
been
a
'social
act'
however
their
subject
matter
and
history
reveal
many
interesting
aspects
about
medieval
society.
The
development
of
the
genre
in
England,
which
has
its
antecedence
in
Geoffrey
of
Monmouth's
History
of
the
King's
of
Britain
(1136)
reveals
a
widespread
social
desire
for
national
pride.
Geoffrey's
inclusion
of
Arthur,
an
otherwise
obscure
Celtic
warrior
in
the
conquest
of
Rome,
as
well
as
the
description
of
Brutus,
grandson
of
Aeneas,
the
legendary
founder
of
Rome,
who
allegedly
founded
the
Kingdom
of
'Britain'
did
much
to
elevate
British
self
opinion
under
French
domination.
The
Anglo--Norman
kings
of
England
were
eager
to
distinguish
themselves
(both
politically
and
culturally)
from
France,
they
did
not
want
to
be
considered
the
vassals
of
the
King
of
France,
(which
they
technically
were
since
William
was
also
Duke
of
Normandy).
The
story
of
Brutus
as
provided
by
Geoffrey
provided
the
perfect
mythology
for
justifying
political
independence;
while
the
French
had
claimed
authority
as
"descendants"
of
classical
Rome
in
the
figure
of
Charlemagne,
seeing
him
as
a
representative
of
the
transfer
of
legitimate
political
power
from
Rome,
England
now
had
as
much
legitimacy
from
Brutus'
lineage
as
well
as
a
new
hero
-
Arthur
in
which
is
express
this
new
assertion
of
power
in
the
present.
Although
Geoffrey
presented
his
text
as
a
serious
Latin
and
scholarly
text,
its
influence
and
propagation
in
the
text
three
centuries
is
a
testament
to
its
social
importance
and
how
the
genre
of
Romance
can
be
characterised
by
its
engagement
with
social
concerns.
Northrop
Frye's
definition
of
Romance
as
an
act
of
"wish
fulfilment"
is
appropriate
here
as
one
can
see
how
it
its
very
conception
is
rooted
in
a
desire
for
a
seemingly
impossible
national
emaciation.
Wace's
first
translation
of
Geoffrey's
text
(1155),
was
one
not
only
of
language
but
also
of
tone;
by
calling
it
the
'Romance
of
Brutus'
and
dedicating
it
to
Eleanor
of
Aquitaine,
(who
did
much
to
develop
the
poetry
of
courtly
love)
he
helped
to
establish
the
story
of
Brutus
and
of
Arthur
within
the
already
developing
genre
of
Romance.
This
transition
between
scholarly
political
text
and
literary
romance
itself
mirrors
the
continued
reflection
between
medieval
society
and
medieval
romance
which
is
explore
in
the
numerous
subsequent
Arthurian
texts.
The
fact
that
he
added
in
the
idea
of
the
Round
Table,
a
counterpart
to
Charlemagne's
groups
of
12
warrior
followers
called
"peers",
reminds
us
that
while
Wace
may
have
acted
with
a
literary
imperative,
he
was
still
very
much
aware
of
the
political
and
social
effect
of
his
text.
As
well
as
providing
a
sense
of
'wish
fulfilment',
a
fantasy
of
power,
medieval
romances
offer,
within
their
narratives
and
themes,
an
exploration
of
many
social
concerns.
For
example,
issues
of
social
judgement,
how
value
should
be
ascribed
or
attributed
to
certain
people
and
acts
is
frequently
addressed
in
medieval
romances.
For
example,
noble
characters
like
Sir
Launfal
and
Havelok
are
shunned
on
account
of
their
poverty
and
Sir
Amadance
fears
a
similar
fate.
Dame
Ragnell
too,
who
is
judged
initially
on
the
basis
of
her
grotesque
appearance,
demands
to
be
treated
nonetheless
with
'gentilese'.
Havelok
(1280--90)
provides
a
more
complex
discussion
of
value.
While
he
is
loved
when
he
is
merely
the
cook's
servant
by
all
who
know
him
"bothen
heye
men
and
loew"
because
of
his
good
nature,
this
in
it
self
is
more
of
a
dramatic
foreshadowing
of
his
later
kingship
and
a
sign
that
he
is
'special',
in
other
areas
of
the
text,
admiration
is
presented
as
entirely
condition.
Similarly,
claiming
that
the
love
Grim
and
his
family
have
for
Havelok
is
justified
by
the
character
and
the
actions
of
Havelok,
rather
than
his
regal
nature
is
undermined
by
the
fact
that
they
know
his
true
identity
and
that
Grim
had
originally
been
ready
to
drown
him
for
riches.
The
issue
of
the
basis
of
character
evaluation,
which
is
seen
in
other
works
such
as
Lay
Le
Freine,
Sir
Amadace
and
Sir
Launfal,
is
complication
in
Havelok
by
his
Kingship
which
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