Thomas Malory
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Actions Héroïques
Shadows over Camelot FAQ 1.0 Oct 12, 2005 The following FAQ lists some of the most frequently asked questions surrounding the Shadows over Camelot boardgame. This list will be revised and expanded by the Authors as required. Many of the points below are simply a repetition of some easily overlooked rules, while a few others offer clarifications or provide a definitive interpretation of rules. For your convenience, they have been regrouped and classified by general subject. I. The Heroic Actions A Knight may only do multiple actions during his turn if each of these actions is of a DIFFERENT nature. For memory, the 5 possible action types are: A. Moving to a new place B. Performing a Quest-specific action C. Playing a Special White card D. Healing yourself E. Accusing another Knight of being the Traitor. Example: It is Sir Tristan's turn, and he is on the Black Knight Quest. He plays the last Fight card required to end the Quest (action of type B). He thus automatically returns to Camelot at no cost. This move does not count as an action, since it was automatically triggered by the completion of the Quest. Once in Camelot, Tristan will neither be able to draw White cards nor fight the Siege Engines, if he chooses to perform a second Heroic Action. This is because this would be a second Quest-specific (Action of type B) action! On the other hand, he could immediately move to another new Quest (because he hasn't chosen a Move action (Action of type A.) yet. -
Introduction: the Legend of King Arthur
Department of History University of Wisconsin-Eau Claire “HIC FACET ARTHURUS, REX QUONDAM, REXQUE FUTURUS” THE ANALYSIS OF ORIGINAL MEDIEVAL SOURCES IN THE SEARCH FOR THE HISTORICAL KING ARTHUR Final Paper History 489: Research Seminar Professor Thomas Miller Cooperating Professor: Professor Matthew Waters By Erin Pevan November 21, 2006 1 Copyright for this work is owned by the author. This digital version is published by McIntyre Library, University of Wisconsin – Eau Claire with the consent of the author. 2 Department of History University of Wisconsin-Eau Claire Abstract of: “HIC FACET ARTHURUS, REX QUONDAM, REXQUE FUTURUS” THE ANALYSIS OF ORIGINAL MEDIEVAL SOURCES IN THE SEARCH FOR THE HISTORICAL KING ARTHUR Final Paper History 489: Research Seminar Professor Thomas Miller Cooperating Professor: Matthew Waters By Erin Pevan November 21, 2006 The stories of Arthurian literary tradition have provided our modern age with gripping tales of chivalry, adventure, and betrayal. King Arthur remains a hero of legend in the annals of the British Isles. However, one question remains: did King Arthur actually exist? Early medieval historical sources provide clues that have identified various figures that may have been the template for King Arthur. Such candidates such as the second century Roman general Lucius Artorius Castus, the fifth century Breton leader Riothamus, and the sixth century British leader Ambrosius Aurelianus hold high esteem as possible candidates for the historical King Arthur. Through the analysis of original sources and authors such as the Easter Annals, Nennius, Bede, Gildas, and the Annales Cambriae, parallels can be established which connect these historical figures to aspects of the Arthur of literary tradition. -
Celtic Folklore Welsh and Manx
CELTIC FOLKLORE WELSH AND MANX BY JOHN RHYS, M.A., D.LITT. HON. LL.D. OF THE UNIVERSITY OF EDINBURGH PROFESSOR OF CELTIC PRINCIPAL OF JESUS COLLEGE, OXFORD VOLUME II OXFORD CLARENDON PRESS 1901 Page 1 Chapter VII TRIUMPHS OF THE WATER-WORLD Une des légendes les plus répandues en Bretagne est celle d’une prétendue ville d’ls, qui, à une époque inconnue, aurait été engloutie par la mer. On montre, à divers endroits de la côte, l’emplacement de cette cité fabuleuse, et les pecheurs vous en font d’étranges récits. Les jours de tempéte, assurent-ils, on voit, dans les creux des vagues, le sommet des fléches de ses églises; les jours de calme, on entend monter de l’abime Ie son de ses cloches, modulant l’hymne du jour.—RENAN. MORE than once in the last chapter was the subject of submersions and cataclysms brought before the reader, and it may be convenient to enumerate here the most remarkable cases, and to add one or two to their number, as well as to dwell at some- what greater length on some instances which may be said to have found their way into Welsh literature. He has already been told of the outburst of the Glasfryn Lake and Ffynnon Gywer, of Llyn Llech Owen and the Crymlyn, also of the drowning of Cantre’r Gwaelod; not to mention that one of my informants had something to say of the sub- mergence of Caer Arianrhod, a rock now visible only at low water between Celynnog Fawr and Dinas Dintte, on the coast of Arfon. -
LEGENDS of the ROUND TABLE by JEFF POSSON
LEGENDS OF THE ROUND TABLE by JEFF POSSON 2 LEGENDS OF THE ROUND TABLE SETTING The forests of England in the Middle Ages. A Lake with magic in its waters. CHARACTERS Merlin – A wizard Morgan Le Fay – An enchantress who likes to make fun of Merlin King Arthur- A king, Morgan Le Fey’s brother Sir Bedivere- A knight The Black Knight- A knight, a bit of a bully Sir Gawain- A knight The Green Knight- A knight, has a magical talent Sir Galahad- A knight The Lady of the Lake- A mystical goddess of the water Villager- Running from a dragon Scene 1 MERLIN Oh a legend is sung! Of when England was young And Knights were brave and.... (MORGAN runs on because she is tired of MERLIN’S singing.) MORGAN STOP! MERLIN What? MORGAN !Stop singing! I’m trying to cast a spell and it is INCREDIBLY distracting. MERLIN! Oh come now Morgan, it is not that distracting. MORGAN! It is, it really is. You may be the most famous wizard in history, Merlin, but your pitch is all over the place. MERLIN! 3 Fine, I’ll stop.... wait, what spell are you casting, Morgan Le Fey? Are you up to mischief again? MORGAN Oh yes, without a doubt. Mischief is what I do. MERLIN Well, you should stop it. ! MORGAN Pardon me? Do youth think I need your permission to do anything? MERLIN Well... no but...! MORGAN! No buts Merlin. This is my island you’re currently sitting on. Avalon, the isle of Apples. My island, my rules, I can do what I want. -
Arthurian Legend
Nugent: English 11 Fall What do you know about King Arthur, Camelot and the Knights of the Round Table? Do you know about any Knights? If so, who? If you know anything about King Arthur, why did you learn about King Arthur? If you don’t know anything, what can you guess King Arthur, Camelot, or Knights. A LEGEND is a story told about extraordinary deeds that has been told and retold for generations among a group of people. Legends are thought to have a historical basis, but may also contain elements of magic and myth. MYTH: a story that a particular culture believes to be true, using the supernatural to interpret natural events & to explain the nature of the universe and humanity. An ARCHETYPE is a reoccurring character type, setting, or action that is recognizable across literature and cultures that elicits a certain feeling or reaction from the reader. GOOD EVIL • The Hero • Doppelganger • The Mother The Sage • The Monster • The Scapegoat or sacrificial • The Trickster lamb • Outlaw/destroyer • The Star-crossed lovers • The Rebel • The Orphan • The Tyrant • The Fool • The Hag/Witch/Shaman • The Sadist A ROMANCE is an imaginative story concerned with noble heroes, chivalric codes of honor, passionate love, daring deeds, & supernatural events. Writers of romances tend to idealize their heroes as well as the eras in which the heroes live. Romances typically include these MOTIFS: adventure, quests, wicked adversaries, & magic. Motif: an idea, object, place, or statement that appears frequently throughout a piece of writing, which helps contribute to the work’s overall theme 1. -
Exploring Stories
Exploring Stories Overview Beyond Booked Up aims to inspire a love of reading in Year 7 and 8 students through engagement with high quality writing across a range of formats. Exploring Stories is the Beyond Booked Up autumn term resource for Year 8 students. This resource includes a range of ways to explore the story of King Arthur. The tale of King Arthur is one of the most enduring stories in Britain’s history. The various legends, along with the limited historical evidence, have combined to leave an indelible and intriguing narrative legacy. From 12th-century manuscripts, to 21st-century film and television, King Arthur, Merlin and the Knights of the Round Table have been reimagined and retold for over 800 years. Exploring Stories aims to support students to develop a love of reading by delving into these exciting myths, using a wide range of texts, forms and genres. This CD-Rom resource features a rich variety of extracts that are designed to provide a fun and accessible route into discussions about storytelling. Learning Objectives: Exploring Stories provides a great opportunity for students to widen their reading experiences by engaging with a range of different texts, forms and genres. Specifically, the Exploring Stories resource is intended to support students to: • develop a love of reading through exploring different forms of storytelling • increase familiarity with a wide range of books, including myths and legends Resources: The CD-Rom contains extracts from a range of different versions of the King Arthur story, with a focus on the retellings of the sword in the stone, Excalibur and the Lady in the Lake. -
Myths and Legends of the Celtic Race by Thomas William Rolleston
The Project Gutenberg EBook of Myths and Legends of the Celtic Race by Thomas William Rolleston This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Myths and Legends of the Celtic Race Author: Thomas William Rolleston Release Date: October 16, 2010 [Ebook 34081] Language: English ***START OF THE PROJECT GUTENBERG EBOOK MYTHS AND LEGENDS OF THE CELTIC RACE*** MYTHS & LEGENDS OF THE CELTIC RACE Queen Maev T. W. ROLLESTON MYTHS & LEGENDS OF THE CELTIC RACE CONSTABLE - LONDON [8] British edition published by Constable and Company Limited, London First published 1911 by George G. Harrap & Co., London [9] PREFACE The Past may be forgotten, but it never dies. The elements which in the most remote times have entered into a nation's composition endure through all its history, and help to mould that history, and to stamp the character and genius of the people. The examination, therefore, of these elements, and the recognition, as far as possible, of the part they have actually contributed to the warp and weft of a nation's life, must be a matter of no small interest and importance to those who realise that the present is the child of the past, and the future of the present; who will not regard themselves, their kinsfolk, and their fellow-citizens as mere transitory phantoms, hurrying from darkness into darkness, but who know that, in them, a vast historic stream of national life is passing from its distant and mysterious origin towards a future which is largely conditioned by all the past wanderings of that human stream, but which is also, in no small degree, what they, by their courage, their patriotism, their knowledge, and their understanding, choose to make it. -
King Arthur and His Knights
King Arthur and his Knights by George Gibson 1/23 Contents Chapter One: Young Arthur............................................................................3 Chapter Two: The sword in the stone............................................................. 4 Chapter Three: Britain has a King...................................................................5 Chapter Four: Excalibur.................................................................................. 6 Chapter Five: Arthur meets Guinevere........................................................... 7 Chapter Six: The five Kings............................................................................8 Chapter Seven: Lancelot............................................................................... 10 Chapter Eight: The Holy Grail...................................................................... 12 Chapter Nine: King Arthur goes to Aralon................................................... 14 Track 1: Was King Arthur Only a Legend?.................................................. 16 Track 2: Before Arthur's Time...................................................................... 17 Track 3: Knight............................................................................................. 18 Track 4: Page, Squire, Knight....................................................................... 19 Track 5: Castles.............................................................................................20 Track 6: Old Castle of Great Interest........................................................... -
The Theme of the Magical Weapon 1. Excalibur
The Theme of the Magical Weapon Below, you will find three stories or portions of stories from different myths, movies, and legends. All three are tales about a magical sword or a wand. They all have similarities and differences. Focus on the similarities. Use the chart below to compare these items to one another. 1. Excalibur Excalibur is the mythical sword of King Arthur, sometimes attributed with magical powers or associated with the rightful sovereignty of Great Britain. Sometimes Excalibur and the Sword in the Stone (the proof of Arthur's lineage) are said to be the same weapon, but in most versions they are considered separate. The sword was associated with the Arthurian legend very early; in Welsh, the sword was called Caledfwlch. Excalibur and the Sword in the Stone In surviving accounts of Arthur, there are two originally separate legends about the sword's origin. The first is the "Sword in the Stone" legend, originally appearing in Robert de Boron's poem Merlin, in which Excalibur can only be drawn from the stone by Arthur, the rightful king. The second comes from the later Post-Vulgate Suite du Merlin, which was taken up by Sir Thomas Malory. Here, Arthur receives Excalibur from the Lady of the Lake after breaking his first sword, called Caliburn, in a fight with King Pellinore. The Lady of the Lake calls the sword "Excalibur, that is as to say as Cut-steel," and Arthur takes it from a hand rising out of the lake. As Arthur lay dying, he tells a reluctant Sir Bedivere (Sir Griflet in some versions) to return the sword to the lake by throwing it into the water. -
Who Was King Arthur?
Exploring Stories – King Arthur Lesson 1 – Who was King Arthur? Learning objectives Students will learn to: • develop their understanding of King Arthur and Arthurian legend • explore the significance of different types of media texts in the representation of Arthurian legend • develop their understanding and analysis of the graphic novel form. Resources - Graphic novel extract: Excalibur: The Legend of King Arthur by Tony Lee and Sam Hart - Comic book extract: King Arthur and the Knights of the Round Table by Marcia Williams - Google images (Arthurian Legend) - Mind map template Possible additional resources: - Disney’s The Sword in the Stone (opening clip), available on YouTube - King Arthur trailer (2004), available on YouTube Starter Put up several different images relating to King Arthur and Arthurian legend on the whiteboard as students enter the room. Typing ‘Arthurian legend’ into Google images, for example, provides a wide variety. You could have the images timed to rotate on a PowerPoint. Consider showing as many different types of images as possible from historical paintings/drawings to more modern animation and film images. Elicit from students what they know about the content of the images. They could write down their thoughts to begin with on a blank piece of paper or on the mind map template provided. Then discuss as a whole group. Subsequently, you could then ask students to consider the different types of media that have been shown (eg film image, cartoon image, modern painting, historical drawing) and the ways in which Arthurian legend has been represented throughout history. You could ask students whether they think the type of media influences the type of representation in any way. -
Armstrong, Dor Ch 1-2 P 1-109
Introduction o This book examines the function of gender in Sir Thomas Malory’s Morte d’Arthur, arguing that an understanding of the particular construction of gender in Malory’s text is critical to any attempt to engage with its narra- tive project. Like many other medieval romance texts, the Morte d’Arthur focuses on the masculine activity of chivalry—fighting, questing, ruling— while simultaneously revealing the chivalric enterprise as impossible without the presence of the feminine in a subjugated position. However, Malory’s text differs from other Arthurian and medieval romance litera- ture in the explicit legislation (as opposed to implicit coding) of chivalric values, most notably in the swearing of the Pentecostal Oath, an event unique to Malory’s text. This study examines how the institution of the Oath defines and sharpens specific ideals of masculine and feminine gen- der identities in the Arthurian community, arguing that a compulsion to fulfill these ideals drives the narrative of the Morte d’Arthur forward to its inevitable ending. While I generally agree with scholars who see the Morte d’Arthur as, at least in part, a comment on the strife and instability of fifteenth-century England, I feel also that the Morte is a text that does much more than simply reflect and engage the anxieties of the author’s time by turning nostalgically to a long-distant past for guidance and reas- surance. Malory’s text examines the very idea of chivalry by setting into motion the knightly enterprise and following it through to its ultimate conclusion. A sustained, book-length treatment of gender in the Morte d’Arthur is long overdue; while the works of other medieval authors—most notably Chaucer—have in recent years been subjected to rigorous and fruitful scrutiny by scholars with an interest in gender and feminist studies,1 the Morte d’Arthur has received comparatively cursory attention in this area. -
Challenging Teenage and Young Adult Reading in the UK: the Novels of Philip Reeve
Challenging teenage and Young Adult reading in the UK: the novels of Philip Reeve. Professor Jean Webb, Director of the International Forum for Research in Children's Literature, Institute of Humanities & Creative Arts, University of Worcester, UK. September 2013. The UK and American market in young adult and teen fiction is very buoyant with a considerable number of new books each year, not to mention those which are published in the American market and are available in the UK. I have therefore decided to focus on the work of Philip Reeve who is a particularly outstanding author who has won or been nominated for a number of major awards, including winning the Carnegie Medal and the Guardian Children’s Fiction Prize for No Such Thing As Dragons (2009). Reeve’s novels are wide ranging and challenge the thinking of teenage and young adult readers. His work includes science fiction in his Mortals Engines series (2001-2006) to heroic legend in Here Lies Arthur (2007) and touching on the essential components of fairy tale in No Such Thing As Dragons (2009). Reeve is a brilliant storyteller who challenges his readers to think whilst engaging them in a complex and evocative adventure. To date there has been very little academic consideration of his work. The extant book reviews do little other than re-tell the story to attract readers, yet Reeve makes his readers think about the contemporary world through imaginative and unusual situations raising practical questions about responsibility for the environment in his Mortal Engines series and philosophical and moral questions in Here Lies Arthur and No Such Thing As Dragons.