An Arthurian Drama
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Masaryk University of Brno
MASARYK UNIVERSITY OF BRNO FACULTY OF EDUCATION Bachelor thesis Brno 2015 Martina Eklová Masaryk University Faculty of Education Department of English Language and Literature Concept of Love Triangle in Medieval Romance Bachelor thesis Brno 2015 Thesis supervisor: Author: Mgr. Jaroslav Izavčuk Martina Eklová Anotace Příběhy, jejichž hlavním tématem je milostný trojúhelník a nevěra, zažily ve středověké literatuře velký rozvoj. Mezi nejznámější patří příběh Tristana a královny Isoldy, stejně jako vyprávění o královně Guinevře a Lancelotovi. Bakalářská práce analyzuje a porovnává tyto dva milostné trojúhelníky a zároveň zkoumá možný vliv Tristanova příběhu na vznik legendy o Lancelotovi. První část bakalářské práce se týká žánru středověké romance a jejích prvků. Další kapitoly zahrnují analýzu milostných trojúhelníků na pozadí středověké společnosti a tehdejšího pojetí manželství a nevěry. Annotation The stories with a love triangle and adultery as its main theme developed significantly during the Middle Ages. Among the most popular ones belong the story of Tristan and Queen Iseult as well as the tale about Queen Guenever and Launcelot. The bachelor thesis analyses and compares these two love triangles and it examines the possible influence of Tristan‟s story on the legend about Launcelot. The first part of the bachelor thesis comprises the genre of medieval romance and its elements. The next chapters involve the analysis of the love triangles against the background of medieval society and its concept of marriage and adultery. Klíčová slova Středověká romance, milostný trojúhelník, manželství, nevěra, Román o Tristanovi a Isoldě, Artušova smrt, Malory, Bédier Keywords Medieval romance, love triangle, marriage, adultery, The Romance of Tristan and Iseult, Le Morte d‟Arthur, Malory, Bédier 1 Affirmation I hereby declare that I have worked on the bachelor thesis independently, using only the sources which are listed in the Bibliography. -
Frank Martin's Interpretation of the Tristan and Isolde Myth
MARTA SZOKA (Łódź) Frank Martin’s Interpretation of the Tristan and Isolde Myth: Following the Trail of a Certain Novel Some people may frown at a juxtaposition of the Tristan and Isolde myth, one of the greatest sources of artistic inspiration in Euro pean culture, and its numerous musical representations with a novel by Charles Morgan, a minor writer known today almost exclusively to English literature scholars. If, however, we assume that the practice of musicology, apart from the analysis of music in terms of purely sonic structures, embraces also critical reflection, then we can put forward a perspective which will - to quote Polish poet Zbigniew Herbert - ‘open up a dialogue with the maker of the work, with his unique inner world, his love, passion and dilemmas, and also the path of perfection charac teristic of him and given to him’.1 I set out to scrutinise Frank Martin’s work in view of certain cul tural and psychological issues, as well as the social aspect of myth. Taken out of its complex context, the music score is forced to be an autonomous organism, and thus the multidimensional sense of art in the modern world becomes forgotten. Bearing an artistic and cultural message, a work of art is a carrier of meanings beyond the author’s in tent - meanings to be reached and understood. Moreover, this process of reaching out toward meaning does not exhaust itself in a single act of cognition, supposed to establish a certain truth once and for all. I would like to adopt here Hans-Georg Gadamer’s premise of the ‘inexhaustibil ity’ of the meaning of art as well as the ever renewed process of its un derstanding.2 1 Zbigniew Herbert, ‘Willem Duyster (1599-1635) albo Dyskretny urok soldateski’ [Willem Duyster, or the Discreet charm of the soldiery], Zeszyty Literackie 68 (1999), 18. -
Iknights 2021 Background Guide
iMUNC 2021 Background Guide iKnights Chair: Kate Montano Crisis Director: Elly Tuffey Saturday, April 10 | NYC iSchool Letters From The Dias Hello Delegates, My name is Kate Montano, and I am super excited to be the chair for iKnights! I joined Model UN at the beginning of my freshman year at iSchool and am now a Junior. This is my first time chairing for iMUNC-- something that I’m excited (and nervous) for. At iSchool, Model UN is a pretty popular club so I thought I would try it out. When I began Model UN, I honestly had no idea how to conduct myself. I was incredibly intimidated by my more experienced peers, and I hardly participated. After lots of practice and lots of learning though, I found my voice and really began to love Model UN. Something that I appreciate about Model UN is the innumerable ways in which a delegate can act or lead the conference; it can start out really serious, but can also be really silly or have many unexpected endings. Model UN also intensified my love for my school; the iSchool never puts pressure on the club to be overly formal or serious. During my first conferences, I was always so worried about saying or doing something that was incorrect, but I’ve learned that you really can’t do anything incorrect in Model UN because making choices is a part of the fun. Be creative with your characters and the way you portray them-- it's all up to you! This committee in particular is based on a myth, so you really can’t go wrong with it. -
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. -
Sir Gawain and the Green Knight
A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF SIR GAWAIN AND THE GREEN KNIGHT BY KELLI McCALL SELF TEACHER’S GUIDE TEACHER’S DR Gawain TG 100912a.indd 1 10/24/12 4:55 PM 2 A Teacher’s Guide to Sir Gawain and the Green Knight TABLE OF CONTENTS INTRODUCTION ........................................................................................................................3 LIST OF CHARACTERS .............................................................................................................3 SYNOPSIS OF THE POEM .......................................................................................................4 PREREADING ACTIVITIES .......................................................................................................6 I. BUILDING BACKGROUND KNOWLEDGE IN HISTORY AND LITERATURE ................................................................................6 II. BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES ............................................10 DURING READING ACTIVITIES..........................................................................................13 I. DISCUSSION QUESTIONS ..................................................................................13 II. ACTIVITIES TO GENERATE RESPONSE AND EXPLORATION OF THE TEXT ......................................................................15 AFTER READING ACTIVITIES .............................................................................................16 I. TEXTBASED TOPICS FOR ESSAYS AND DISCUSSIONS ..........................16 -
Mordred, a Tragedy
MORDRED, A TRAGEDY HENRY NEWBOLT MORDRED, A TRAGEDY Table of Contents MORDRED, A TRAGEDY......................................................................................................................................1 HENRY NEWBOLT.....................................................................................................................................1 ACT I..........................................................................................................................................................................2 SCENE I.........................................................................................................................................................2 SCENE II.......................................................................................................................................................6 ACT II.......................................................................................................................................................................11 SCENE I.......................................................................................................................................................11 SCENE II.....................................................................................................................................................15 SCENE III....................................................................................................................................................18 SCENE IV....................................................................................................................................................22 -
4.7 the Sword in the Stone
4.7 The Sword in the Stone (King Arthur, famous in legends and history as one of the bravest and noblest Kings of Britain, grew up as an orphaned youth, before Destiny intervened, in the form of his protector and guardian, Merlin the Magician, to reveal his true identity to the people of Britain.) In ancient Britain, at a time when the land was invaded by wild barbarians, the good and noble Lord Uther fought them bravely and drove them away from his land. The people made him king of Britain and gave him the title, Pendragon, meaning Dragon’s head. King Uther Pendragon ruled Britain wisely and well; the people were content. But very soon, the king died; it was thought that he had been poisoned by some traitors. There was no heir to the throne of British. The powerful Lords and Knights who had been kept under control by King Uther, now began to demand that one of them should be crowned King of Britain. Rivalry grew amongst the Lords, and the country as a whole began to suffer. Armed robbers roamed the countryside, pillaging farms and fields. People felt unsafe and insecure in their own homes. Fear gripped the country and lawlessness prevailed over the divided kingdom. Nearly sixteen years had passed since the death of Lord Uther. All the Lords and Knights of Britain had assembled at the Great Church of London for Christmas. On Christmas morning, just as they were leaving the Church, a strange sight drew their attention. In the churchyard was a large stone, and on it an anvil of steel, and in the steel a naked sword was held, and about it was written in letters of gold, ‘Whoso pulleth out this sword is by right of birth King of England.’ Many of the knights could not hold themselves back. -
THE STORY of KING ARTHUR and HIS KNIGHTS by Howard Pyle
THE STORY OF KING ARTHUR AND HIS KNIGHTS By Howard Pyle HOW KING ARTHUR HELD A ROYAL WEDDING, AND ESTABLISHED THE ROUND TABLE. AND now was come the early fall of the year; that pleasant season when meadowland and wold were still green with the summer that had only just passed; when the sky, likewise, was as of summertime-extraordinarily blue and full of large floating clouds; when a bird might sing here and another there a short song in memory of springtime (as the smaller fowl doth when the year draweth to its ending); when all the air was tempered with, warmth and yet the leaves were everywhere turning brown and red and gold, so that when the sun shone through them it was as though a cloth of gold, broidered with brown and crimson and green, hung above the head. Now was come the early autumn season of the year, when it is exceedingly pleasant to be afield among the nut-trees with hawk and hound, or to travel abroad in the yellow world, whether it be ahorse or afoot. Such was the time of year in which had been set the marriage of King Arthur and the Lady Guinevere at Camelot, and at that place was extraordinary pomp and glory of circumstance. All the world was astir and in a great ferment of joy, for all folk were exceedingly glad that King Arthur was to have a queen. In preparation for that great occasion the town of Camelot was entirely bedight with magnificence, for the stony street along which the Lady Guinevere must come to the royal castle of the king was strewn thick with fresh-cut rushes, smoothly laid. -
King Arthur; Or, Days and Knights of the Round Table
KING ARTHUR; OR, THE DAYS AND KNIGHTS OF THE ROUND TABLE. IN ONE ACT. BY WILLIAM BROUGH, (Member of the Dramatic Authors' Society), AUTHOR OF Pennu and Andromeda; Endymion, or the Naughty Boy who Cried for the Moon; Conrad and Medora; Lalla Rookh, Perseus and Andromeda; Perdita, the Royal Milkmaid; The Sylphide; Prince Prettypet and the Butterfly; Prince Amabel, or the Fairy Roses; Rasselas, Prince of Abyssinia; The Great Sensation Trial, or Circumstantial Effie-Deans, &c. &c. THOMAS HAILES LACY, 89, STRAND, LONDON. KING ARTHUR; OR, THE DAYS AND KNIGHTS OF THE ROUND TABLE. SCENE FIRST.—Stonehenge; sunrise. Immense blocks of stone fill the stage ; in one stone, C., is a sword stuck fast. MERLIN discovered with large book and wand. MERLIN. The spell's complete—and spelling done they say, Good boys should put their spelling books away; So there !—(closes book) What! sunrise! Why, it's broad daylight, Then I've been conjuring the livelong night. Magic is hard work now. The time was once When conjuring was done by any dunce. With a few card-tricks, or with fingers nimble Working the cups and balls, or pea and thimble. Wizards must now be up in all the sciences, Have chemical, electrical, appliances. Ghosts are no longer raised by incantation, But by lime-lights, and mirrors' combination ; While for the dread in raising ghosts once latent, All we fear now's infringing Pepper's patent. But hold ! what's this? the pricking of my thumbs Informs me something human this way comes. Some mortal eye is watching me I find; That mortal I advise his eye to mind. -
Le Morte Darthur: V. 2 Free
FREE LE MORTE DARTHUR: V. 2 PDF Sir Thomas Malory,Janet Cowen,John Lawlor | 592 pages | 01 Aug 1993 | Penguin Books Ltd | 9780140430448 | English | London, United Kingdom Le Morte d'Arthur: Book V (vol 2) Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Le Morte dArthur: v. 2 Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — Le Morte d'Arthur, Vol. Le Morte d'Arthur, Vol. Janet Cowen Editor. John Lawlor Introduction. An immortal story of love, adventure, chivalry, treachery and death. Mordred's treason, the knightly exploits of Tristan, Lancelot's fatally divided loyalties and his love for Guenever, the quest for the Holy Grail; all the ele An immortal story of love, adventure, chivalry, treachery and death. Mordred's treason, the knightly exploits of Tristan, Lancelot's fatally divided loyalties and his love for Guenever, the quest for the Holy Grail; all the elements are there woven into a wonderful completeness by the magic of his prose style. The result is not only one of the most readable accounts of the knights of the Round Table but also one of the most moving. As the story advances towards the inevitable tragedy of Arthur's death the effect is cumulative, rising with an impending sense of doom and tragedy towards its shattering finale. Get A Copy. Paperbackpages. Published January 30th by Penguin Classics first published Le Morte dArthur: v. -
The Problem with Page to Screen Adaptation: a Case Study of King Arthur and Tristan and Isolt
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 5-3-2019 The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Film and Media Studies Commons, and the Medieval Studies Commons The Problem with Page to Screen Adaptation: A Case Study of King Arthur and Tristan and Isolt Christina Miller May 3, 2019 / Spring 2019 Major: English Literature, Culture, & Media Advisor: Dr. Martha Driver Department: English Miller 1 Abstract The legends of King Arthur and Tristan and Isolt have been popular for centuries, leading to multiple translations and versions of each text. Modern filmmakers have added to this legacy. Though audiences have enjoyed various contemporary film adaptations of these medieval romances, several essential elements are lost while translating the works to screen. This paper identifies a central motif in each work—King Arthur’s Round Table and Isolt’s love potion— that shapes the subsequent love triangle, and by extension, the representation and motivation of honor. While tracing the continued appearance of such components and their importance in the text sources of Geoffrey of Monmouth, Wace, Chrétien de Troyes, Thomas Malory, Gottfried von Strassburg, and Joseph Bédier, this paper will then discuss how each is manipulated by modern filmmakers and the lasting consequences on the legends as a result of such changes. Miller 2 Table of Contents I. Introduction................................................................................................................................3 II. Central Motifs of the Legends………………………………………………………......….....9 III. Fateful Love Triangles………………………………………………………………....…….14 IV. Honor: Characterization and Motivation.................................................................................18 V. -
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...........................................................