Sir Gawain and the Green Knight: Part III

Part Three of Sir Gawain and the Green Knight contain one of the most interesting symbols of Sir Gawain and his chivalry. One way this is displayed is through the bedroom scenes that occur between the host’s wife and our knight. These scenes test both Gawain’s courtesy and his chastity, things that were often revered in knights of the Middle Ages. Each time Gawain refused the lady’s advances, she accused him of being discourteous toward her; however, when he would then try to act more courteously, she would again begin try to push him to be unchaste. This would have been a dangerous – and probably very conflicting – tug-of-war with two aspects of the code that Gawain holds so dear.
Another sense of chivalry comes through the three animals that the host hunts. The deer would represent the cautious and shy characteristics, while the boar would symbolize Gawain’s brave and ferocious qualities, and the fox would portray the knight’s cunning.

Sir Gawain and the Green Knight: Part II

In this part of our tale, the chivalry of Sir Gawain is shown through that of a symbol: the pentangle shield he bears. Though this particular shield stood for many things, it also represented the characteristics help by the knight:

The fifth of the five fives followed by this knight
Were beneficence boundless and brotherly love
And pure mind and manners, that none might impeach,
And compassion most precious – these peerless five
Were forged and made fast in him, foremost of men. (176)

Another way that Gawain was able to show his knightly worth was from the fact that, though he rode to face what was possibly his death, he remained brave and steadfast in his quest – this is not to mention that, on his journey, he also had to face many hardships along the way.

Now with serpents he wars, now with savage wolves,
Now with wild men of the woods, that watched from the rocks,
Both with bulls and with bears, and with boars besides,
And giants that came gibbering from the jagged steps.Had he not borne himself bravely, and been on God’s side,
He had met with many mishaps and mortal harms. (177)

Sir Gawain and the Green Knight: Part I

During much of the Arthurian tales, the code of chivalry comes through at one point or another. This is probably because such a code was held at the highest esteem during the periods in which these stories were written. Sir Gawain and the Green Knight contain this as well, but the vessel used for showing this is that of Sir Gawain. Whether it is from actions, symbols, or words, all four Parts of our story allow for some facet of the chivalric code to shine through.
Starting with Part One, Gawain embodies the chivalric code in both actions and words. Shortly after the Green Knight humiliates the court by declaring that they did not have the bravery to face him – and after Arthur rises to defend his court – Gawain steps in. It is rather surprising to note that a knight such as he, sharing the blood of King Arthur, declares that he should be the one to face the Green Knight because he is the weakest, and that it would spare Arthur from harm. It is difficult to determine whether this was done from the idea of Gawain’s own self-worth, or if it was an act of humility to hide what otherwise could have become boasting. It could also be said that Gawain takes this course of action because that is what the chivalric code deems necessary.

“I am the weakest, well I know, and of wit feeblest;
And the loss of my life would be least of any;
That I have you for an uncle is my only praise;
My body, but for your blood, is barren of worth;
And for that this folly befits not a king,And ‘tis I that have asked it, it ought to be mine” (169)

Lanval

Throughout the ages, the portrayal of women has undergone dramatic change. Taking Beowulf, for instance and the queen Wealhtheow; she was a woman of elegance and was portrayed as an almost “glittery” being. This reflected the attitude of the time – women were to present themselves according to their station. Lanval spins a different image of women. This may have been because Maire de France wrote with a secular, aristocratic, and feminine view point. Regardless, the women in Lanval were depicted as “sexy,” and played a more dominate role over males, which is quite the departure from the aforementioned Wealhtheow. Take, for instance, the moment Lanval first met the fairy maiden: “The single gown she wore was sheer/and made her shapely form appear” (144). Later, after Lanval returns her love, “she presented him her heart/and her body, every part” (145). This idea of a strong, sexy woman is furthered by the entrance of other fairies in Arthur’s court, which reduces the men to drooling imbeciles (which may have been another incentive for Marie’s portrayal of women, or at least I would like to think so):

On two fine steeds, riding apace,
Who were extremely fair of face.
Of purple taffeta a sheath
They wore with nothing underneath. (152)

The Arthurian Texts

It is amazing to think, even by today’s standards, how much the Arthurian legend has changed over the course of history. First, Geoffrey of Monmouth’s piece, largely “is devoted to the birth and reign of King Arthur” (118). This is an interest statement to take into account, as Geoffrey often described Arthur as a tyrant. Even looking at Wace, this attitude is changed and begins to reflect on the strength and power – as well as the love of his subjects – of the King: “God wants to exalt you: don’t hold back and lose any time! Make yourself master of the empire, which is ready to surrender to you of its own will” (124). Lastly, Layamon takes a different turn of the legends in his text, which expands upon Wace’s text – the fall of Arthur. This is a feature of the Arthurian legends that is expanded upon and changed even today, whether it be through film, literary text, or some other medium: Arthur’s defeat by his nephew Mordred and the betrayal of Guinevere. It is through texts – and continuous changes – such as these that the Arthurian legends have been perceived as some of the greatest in history.

I am telling you the truth, dear king, for I am merely your underling:
Mordred has done these things: he has adopted your queen,
And has placed in his own hands your lovely land
He is king and she is queen… (126)

Ancrene Riwle

Literary texts often reflect the codes or values of its time; take Beowulf for instance (discussed earlier), it is laced with much of the heroic code. Though written for three sisters of noble birth, Ancrene Riwle is no different. In this instance, however, it reflects the chivalric code and the values of courtly love and it is Christ who embodies those aspects of Anglo-Norman society. Take, for example, the fact that – while trying to win the unknown woman’s love – Christ “entered the tournament,” which is also used later in reference to the knights of old (159). This reference is made again after Christ’s death, making mention of the memorial most knights were given after death: “…after a brave knight’s death, his shield is hung high in the church in his memory. Just so this shield – that is, the crucifix – is place in church where it can be seen most easily…” (159). The most amazing passage – the one that most reflects the Anglo-Norman values – takes place at the very end of the text.

His beloved should see in this how he bought her love: he let his shield be pierced, his side open up, to show her his heart, to show her openly how deeply he loved her, and to
attract her heart. (159)

Beowulf – a double blog

Hwaet! The tale of Beowulf, the great hero, defeater of Grendel, shall now be told.
There are several dualities within the text that is Beowulf: one being between Beowulf in his youth and in old age, and the other being between Wealhtheow and Grendel’s mother. Beginning with the dualities of Beowulf, he was depicted as a strong, brave man in his youth. Not only had he defeated Grendel and his mother, but at an earlier time had partaken in a bet that had almost perilous results:

Time and again, foul things attacked me, lurking and stalking, but I lashed out, gave as good as I got with my sword. My flesh was not for feasting on…
…in the morning, mangled and sleeping the sleep of the sword, they slopped and floated like the oceans leavings. (45)

However, later in life and overcome with old age, it appeared that even his boasts had lost their some of their fire:

I risked my life often when I was young. Now I am old, but as king of these people I shall pursue this fight for the glory of winning, if the evil one will only abandon his earth-fort and face me in the open. (86)

The fate of Beowulf was said best on page eighty-eight, “…that final day was the first time when Beowulf fought and fate denied him glory in battle."

The dualities of Wealhtheow and Grendel’s mother have a different story to tell. Wealhtheow is portrayed as an elegant, graceful, and “glittery” woman. One that speaks measured words and knows the role she must play as Hrothgar’s queen:

Wealhtheow came in, Hrothgar’s queen, observing the courtesies. Adorned in her gold, she graciously saluted the men in the hall, then handed the cup first to Hrothgar…
…So the Helming woman went on her rounds, queenly and dignified, decked out in rings, offering the goblet to all ranks… (46)

Grendel’s mother, however, is portrayed as vicious, angry, and almost beastly. This is a vast departure to the poise of Hrothgar’s queen.

…he pitched his killer opponent to the floor but she rose quickly and retaliated, grappled him tightly in her grim embrace. The sure-footed fighter felt daunted, the strongest of warriors stumbled and fell. So she pounced upon him and pulled out a broad, whetted knife: now she would avenge her only child. (67)