Sinnekins are stock characters often found in medieval drama, especially morality plays. They most often occur as pairs of devilish characters who exert their perfidious influence on the main character of the drama. [1]
The word sinnekin comes from the Dutch word sinneken which, by 1604, connoted the words "senses" or "meanings". The word's alternative meaning, drawn from sixteenth-century Dutch rederijker drama, was "a symbolic or allegorical person in a spel van sinne," [2] an allegorically fashioned dramatic exposition of an argument on an ethical, ideological, political, or religious issue.
Like the fool with his bauble, the sinneken functioned as had the Devil in earlier medieval drama; by their costumes, actions, and words these characters usually supplied examples of foolish behavior. [3] Sinnekins, then, are allegorical characters who, in some way, instruct the audience on folly through their temptation of the main character. Indeed, sinnekens often argued for rational behavior (i.e. the repentance and salvation of the audience) while acting in just the opposite manner (i.e. foolishly).
Titus Maccius Plautus, commonly known as Plautus, was a Roman playwright of the Old Latin period. His comedies are the earliest Latin literary works to have survived in their entirety. He wrote Palliata comoedia, the genre devised by the innovator of Latin literature, Livius Andronicus. The word Plautine refers to both Plautus's own works and works similar to or influenced by his.
The Somonyng of Everyman, usually referred to simply as Everyman, is a late 15th-century morality play. Like John Bunyan's 1678 Christian novel The Pilgrim's Progress, Everyman uses allegorical characters to examine the question of Christian salvation and what Man must do to attain it.
The morality play is a genre of medieval and early Tudor drama. The term is used by scholars of literary and dramatic history to refer to a genre of play texts from the fourteenth through sixteenth centuries that feature personified concepts alongside angels and demons, who are engaged in a struggle to persuade a protagonist who represents a generic human character toward either good or evil. The common story arc of these plays follows "the temptation, fall and redemption of the protagonist."
Egyptian hieroglyphs were the formal writing system used in Ancient Egypt, used for writing the Egyptian language. Hieroglyphs combined logographic, syllabic and alphabetic elements, with some 1,000 distinct characters. Cursive hieroglyphs were used for religious literature on papyrus and wood. The later hieratic and demotic Egyptian scripts were derived from hieroglyphic writing, as was the Proto-Sinaitic script that later evolved into the Phoenician alphabet. Through the Phoenician alphabet's major child systems, the Egyptian hieroglyphic script is ancestral to the majority of scripts in modern use, most prominently the Latin and Cyrillic scripts and the Arabic script, and possibly the Brahmic family of scripts.
A contraction is a shortened version of the spoken and written forms of a word, syllable, or word group, created by omission of internal letters and sounds.
Elckerlijc is a morality play from the Low Countries which was written in Dutch somewhere around the year 1470. It was first printed in 1495. The play was extremely successful and may have been the original source for the English play Everyman, as well as many other translations for other countries. The authorship of Elckerlijc is attributed to Peter van Diest, a medieval writer from the Low Countries.
A prologue or prolog is an opening to a story that establishes the context and gives background details, often some earlier story that ties into the main one, and other miscellaneous information. The Ancient Greek prólogos included the modern meaning of prologue, but was of wider significance, more like the meaning of preface. The importance, therefore, of the prologue in Greek drama was very great; it sometimes almost took the place of a romance, to which, or to an episode in which, the play itself succeeded.
Gronings, is a collective name for some Friso-Saxon dialects spoken in the province of Groningen and around the Groningen border in Drenthe and Friesland. Gronings and the strongly related varieties in East Frisia have a strong East Frisian influence and take a remarkable position within West Low German. The dialect is characterized by a typical accent and vocabulary, which differ strongly from the other Low Saxon dialects.
Chambers of rhetoric were dramatic societies in the Low Countries. Their members were called Rederijkers, from the French word 'rhétoricien', and during the 15th and 16th centuries were mainly interested in dramas and lyrics. These societies were closely connected with local civic leaders and their public plays were a form of early public relations for the city.
Flemish literature is literature from Flanders, historically a region comprising parts of present-day Belgium, France and the Netherlands. Until the early 19th century, this literature was regarded as an integral part of Dutch literature. After Belgium became independent from the Netherlands in 1830, the term Flemish literature acquired a narrower meaning and refers to the Dutch-language literature produced in Belgium. It remains a part of Dutch-language literature.
Middle Dutch literature (1150–1500) is the Dutch literature produced in the Low Countries from the 12th century to the 16th century. It is preceded by only a few fragmentary texts existing in Old Dutch, and it was succeeded by Dutch Renaissance and Golden Age literature.
Theodiscus was a term used in the early Middle Ages to refer to the West Germanic languages. The Latin term was borrowed from the Germanic adjective meaning "of the people" but, unlike it, was used only to refer to languages. In Medieval Western Europe non-native Latin was the language of science, church and administration, hence Latin theodiscus and its Germanic counterparts were used as antonyms of Latin, to refer to the "native language spoken by the general populace". They were subsequently used in the Frankish Empire to denote the native Germanic vernaculars. As such, they were no longer used as antonym of Latin, but of walhisk, a language descendant from Latin, but nevertheless the speech of the general populace as well. In doing so Latin theodiscus and the Germanic reflexes of *þiudiskaz effectively obtained the meaning of "Germanic", or more specifically one of its local varieties – resulting in the English exonym "Dutch", the German endonym Deutsch, the modern Dutch word for "German", Duits, and older Dutch words for Dutch and German and their dialects Diets, and Duuts. In Romance languages the same word yielded the Italian word for "German", tedesco, and the old French word used for Dutch or, depending on the locality, German speakers, tiois.
This glossary of literary terms is a list of definitions of terms and concepts used in the discussion, classification, analysis, and criticism of all types of literature, such as poetry, novels, and picture books, as well as of grammar, syntax, and language techniques. For a more complete glossary of terms relating to poetry in particular, see Glossary of poetry terms.
Vice is a stock character of the medieval morality plays. While the main character of these plays was representative of every human being, the other characters were representatives of personified virtues or vices who sought to win control of man's soul. While the virtues in a morality play can be seen as messengers of God, the vices were viewed as messengers of the Devil.
Dutch dialects are primarily the dialects that are both cognate with the Dutch language and are spoken in the same language area as the Dutch standard language. Dutch dialects are remarkably diverse and are found in the Netherlands and northern Belgium.
Folly was a common allegorical figure in medieval morality plays and in allegorical artwork through the Renaissance. The depiction is generally of a young man, often similar in appearance to a jester or the tarot card, The Fool. In contrast to the many obvious classical allusions in such works, the depictions owe little to the Greek goddess Atë.
Dutch is a West Germanic language spoken by about 25 million people as a first language and 5 million as a second language. It is the third most widely spoken Germanic language, after its close relatives German and English. Afrikaans is a separate but somewhat mutually intelligible daughter language spoken, to some degree, by at least 16 million people, mainly in South Africa and Namibia, evolving from the Cape Dutch dialects of Southern Africa. The dialects used in Belgium and in Suriname, meanwhile, are all guided by the Dutch Language Union.
History is one of the three main genres in Western theatre alongside tragedy and comedy, although it originated, in its modern form, thousands of years later than the other primary genres. For this reason, it is often treated as a subset of tragedy. A play in this genre is known as a history play and is based on a historical narrative, often set in the medieval or early modern past. History emerged as a distinct genre from tragedy in Renaissance England. The best known examples of the genre are the history plays written by William Shakespeare, whose plays still serve to define the genre. History plays also appear elsewhere in British and Western literature, such as Thomas Heywood's Edward IV, Schiller's Mary Stuart or the Dutch genre Gijsbrecht van Aemstel.
Flemish (Vlaams) is a Low Franconian dialect cluster of the Dutch language. It is sometimes referred to as Flemish Dutch, Belgian Dutch, or Southern Dutch. Flemish is native to Flanders, a historical region in northern Belgium; it is spoken by Flemings, the dominant ethnic group of the region. Outside of Flanders, it is also spoken to some extent in French Flanders and the Dutch Zeelandic Flanders.
Catharina Geertruida Santing, commonly going by Catrien Santing is a Dutch medievalist. Her research focuses on cultural history and medical history in the late-medieval and early-modern Low Countries.