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Queen Guinevere
Ingvarsdóttir 1 Hugvísindasvið Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir June 2011 Ingvarsdóttir 2 Háskóli Íslands Hugvísindasvið Enskudeild Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir Kt.: 060389-3309 Supervisor: Ingibjörg Ágústsdóttir June 2011 Ingvarsdóttir 3 Abstract This essay is an attempt to recollect and analyze the character of Queen Guinevere in Arthurian literature and movies through time. The sources involved here are Welsh and other Celtic tradition, Latin texts, French romances and other works from the twelfth and thirteenth centuries, Malory’s and Tennyson’s representation of the Queen, and finally Guinevere in the twentieth century in Bradley’s and Miles’s novels as well as in movies. The main sources in the first three chapters are of European origins; however, there is a focus on French and British works. There is a lack of study of German sources, which could bring different insights into the character of Guinevere. The purpose of this essay is to analyze the evolution of Queen Guinevere and to point out that through the works of Malory and Tennyson, she has been misrepresented and there is more to her than her adulterous relation with Lancelot. This essay is exclusively focused on Queen Guinevere and her analysis involves other characters like Arthur, Lancelot, Merlin, Enide, and more. First the Queen is only represented as Arthur’s unfaithful wife, and her abduction is narrated. We have here the basis of her character. Chrétien de Troyes develops this basic character into a woman of important values about love and chivalry. -
King Arthur and Medieval Knights
Renata Jawniak KING ARTHUR AND MEDIEVAL KNIGHTS 1. Uwagi ogólne Zestaw materiałów opatrzony wspólnym tytułem King Arthur and Medieval Knights jest adresowany do studentów uzupełniających studiów magisterskich na kierun- kach humanistycznych. Przedstawione ćwiczenia mogą być wykorzystane do pracy z grupami studentów filologii, kulturoznawstwa, historii i innych kierunków hu- manistycznych jako materiał przedstawiający kulturę Wielkiej Brytanii. 2. Poziom zaawansowania: B2+/C1 3. Czas trwania opisanych ćwiczeń Ćwiczenia zaprezentowane w tym artykule są przeznaczone na trzy lub cztery jednostki lekcyjne po 90 minut każda. Czas trwania został ustalony na podstawie doświadcze- nia wynikającego z pracy nad poniższymi ćwiczeniami w grupach na poziomie B2+. 4. Cele dydaktyczne W swoim założeniu zajęcia mają rozwijać podstawowe umiejętności językowe, takie jak czytanie, mówienie, słuchanie oraz pisanie. Przy układaniu poszczegól- nych ćwiczeń miałam również na uwadze poszerzanie zasobu słownictwa, dlatego przy tekstach zostały umieszczone krótkie słowniczki, ćwiczenia na odnajdywa- nie słów w tekście oraz związki wyrazowe. Kolejnym celem jest cel poznawczy, czyli poszerzenie wiedzy studentów na temat postaci króla Artura, jego legendy oraz średniowiecznego rycerstwa. 5. Uwagi i sugestie Materiały King Arthur and Medieval Knights obejmują pięć tekstów tematycznych z ćwiczeniami oraz dwie audycje z ćwiczeniami na rozwijanie umiejętności słucha- nia. Przewidziane są tu zadania na interakcję student–nauczyciel, student–student oraz na pracę indywidualną. Ćwiczenia w zależności od poziomu grupy, stopnia 182 IV. O HISTORII I KULTURZE zaangażowania studentów w zajęcia i kierunku mogą być odpowiednio zmodyfiko- wane. Teksty tu zamieszczone możemy czytać i omawiać na zajęciach (zwłaszcza z grupami mniej zaawansowanymi językowo, tak by studenci się nie zniechęcili stopniem trudności) lub część przedstawionych ćwiczeń zadać jako pracę domo- wą, jeżeli nie chcemy poświęcać zbyt dużo czasu na zajęciach. -
Lancelot, the Knight of the Cart by Chrétien De Troyes
Lancelot, The Knight of the Cart by Chrétien de Troyes Translated by W. W. Comfort For your convenience, this text has been compiled into this PDF document by Camelot On-line. Please visit us on-line at: http://www.heroofcamelot.com/ Lancelot, the Knight of the Cart Table of Contents Acknowledgments......................................................................................................................................3 PREPARER'S NOTE: ...............................................................................................................................4 SELECTED BIBLIOGRAPHY: ...............................................................................................................4 The Translation..........................................................................................................................................5 Part I: Vv. 1 - Vv. 1840..........................................................................................................................5 Part II: Vv. 1841 - Vv. 3684................................................................................................................25 Part III: Vv. 3685 - Vv. 5594...............................................................................................................45 Part IV: Vv. 5595 - Vv. 7134...............................................................................................................67 Endnotes...................................................................................................................................................84 -
Writing and Literary Study Spring 2010 the Chivalrous Sir Gawain If
Ahmed 1 Sarin Taslima Ahmed College Writing II: Writing and Literary Study Spring 2010 The Chivalrous Sir Gawain If a man does not open the door for a woman, she may think chivalry is dead or forget that it ever existed at all. Today's woman is not a damsel in distress, but rather stands on equal ground with her masculine counterpart. She has no need to acknowledge that there was ever a time when men lived and died for the sake of honor. However, around 1066 a.d. to 1485 a.d., that was exactly what European knights, and those around the world, did (Achlin). Of these brave soldiers, the most famous were the Knights of the Round Table, subjects of Camelot and King Arthur. Perhaps the most acclaimed knights are dubbed Sir Lancelot and Sir Gawain. Lancelot is still known as the greatest of all knights, the perfect knight, but based on Gawain's actions in Sir Gawain and the Green Knight by the Pearl Poet and those of Lancelot in The Once and Future King by T.H. White, I've come to the conclusion that Gawain is a greater model of chivalry than Lancelot. Following the code of chivalry, Gawain is faithful to God, his King, and he is respectful to women. Lancelot is very talented, but he does not feel the need to follow the laws of knighthood, and ends up disregarding King Arthur, Queen Guinevere and even God because of it. "Two virtues above all else were held to mark the good knight and bring him honor. -
A Welsh Classical Dictionary
A WELSH CLASSICAL DICTIONARY DACHUN, saint of Bodmin. See s.n. Credan. He has been wrongly identified with an Irish saint Dagan in LBS II.281, 285. G.H.Doble seems to have been misled in the same way (The Saints of Cornwall, IV. 156). DAGAN or DANOG, abbot of Llancarfan. He appears as Danoc in one of the ‘Llancarfan Charters’ appended to the Life of St.Cadog (§62 in VSB p.130). Here he is a clerical witness with Sulien (presumably abbot) and king Morgan [ab Athrwys]. He appears as abbot of Llancarfan in five charters in the Book of Llandaf, where he is called Danoc abbas Carbani Uallis (BLD 179c), and Dagan(us) abbas Carbani Uallis (BLD 158, 175, 186b, 195). In these five charters he is contemporary with bishop Berthwyn and Ithel ap Morgan, king of Glywysing. He succeeded Sulien as abbot and was succeeded by Paul. See Trans.Cym., 1948 pp.291-2, (but ignore the dates), and compare Wendy Davies, LlCh p.55 where Danog and Dagan are distinguished. Wendy Davies dates the BLD charters c.A.D.722 to 740 (ibid., pp.102 - 114). DALLDAF ail CUNIN COF. (Legendary). He is included in the tale of ‘Culhwch and Olwen’ as one of the warriors of Arthur's Court: Dalldaf eil Kimin Cof (WM 460, RM 106). In a triad (TYP no.73) he is called Dalldaf eil Cunyn Cof, one of the ‘Three Peers’ of Arthur's Court. In another triad (TYP no.41) we are told that Fferlas (Grey Fetlock), the horse of Dalldaf eil Cunin Cof, was one of the ‘Three Lovers' Horses’ (or perhaps ‘Beloved Horses’). -
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. -
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 -
Camelot Directed by Neroli Sweetman (Burton) Musical Director Justin Freind Assistant MD Katherine Freind
The Old Mill Theatre presents Camelot Directed by Neroli Sweetman (Burton) Musical Director Justin Freind Assistant MD Katherine Freind “Who was King Arthur? Did he ever exist? Was there an Arthurian Age in England in the 5th & 6th centuries A.D. when knights gathered at a round table and laid down laws of chivalry? Or was the legend of Arthur simply a cultural product of later times, when people needed to believe there were lives and ways of living more romantic, nobler, better than their own”? “The legend of King Arthur has enchanted generation after generation. Throughout the centuries Arthur has been introduced as a daring mischievous yet modest lovable boy. Even after he had been acknowledged king he continued to go in search of adventure like the humblest knight. The tragic overthrow of his pure, perfect kingdom, brought on by the conduct between Queen Guenevere and the Round Table’s bravest knight Lancelot, and affected by his wrongly begotten son, Mordred, assures that Arthur remains a human being in spite of his perfection.” The words above are taken from the program of the Australian 1984 tour of this legendary musical written by Lerner and Lowe and presented by Kevin Jacobsen Productions. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ SHOW DETAILS The performances will run: 1st, 2nd, 3rd December 2017 7th, 8th, 9th 10th December 2017 13th, 14th, 15th, 16th December 2017. Evening performances are at 7:30pm and Sunday matinees are at 2:00pm. AUDITION DETAILS Auditions will be held on Saturday 2nd & Sunday 3rd September. All lead, supporting and ensemble roles will need to prepare a song to sing at the audition. -
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. -
1 the Æğelen of Engle
1 The Æðelen of Engle: Constructing Ethnic and Regional Identities in Laõamon’s Brut At the beginning of Laõamon’s Brut, the author makes a striking point of identifying himself by telling us his name and that of his father Leovenath. This strong statement of identity—an oddity for a vernacular writer of the late twelfth or early thirteenth century—sets up ethnic and national tensions that permeate the rest of the poem.1 To some readers, Laõamon’s Scandinavian name and his father’s Anglo-Saxon one may have suggested that the author was of mixed ancestry.2 Whether or not this was the case, the names serve as a reminder of the multiple origins of Laõamon’s countrymen, foreshadowing the ethnic ambiguities that problematise his attempt to 1 See Lesley Johnson and Jocelyn Wogan-Browne, “National, World and Women’s History: Writers and Readers in Post-Conquest England,” in The Cambridge History of Medieval English Literature, ed. David Wallace (Cambridge: Cambridge University Press, 1999), pp. 92-121 at p. 96. For the dating of the Brut, see Françoise Le Saux, Laõamon’s Brut: The Poem and its Sources (Cambridge: D.S. Brewer, 1989), p. 10. 2 The word lagamaðr or lögmaðr originally applied to a judicial office in Scandinavia or regions settled by Scandinavians but passed from a title to a personal name as early as the eleventh century; however, it may still have been a marker of Scandinavian heritage one or two hundred years later. See J.S.P. Tatlock, The Legendary History of Britain: Geoffrey of Monmouth’s Historia Regum Britanniæ and Its Early Vernacular Versions (Berkeley and Los Angeles: University of California Press, 1950), p. -
Cornwall in the Early Arthurian Tradition It Is Believed That an Actual “King Arthur” Lived in 6Th Century AD in the Southwe
Cornwall in the Early Arthurian Tradition Heather Dale April 2008 It is believed that an actual “King Arthur” lived in 6th Century AD in the southwestern area of Britain. A brief history lesson is needed to provide the backdrop to this historical Arthur. In 43 AD, the Romans occupied Britain, subduing the northern Pictish & Scottish tribes, and incorporating the pre-literate but somewhat more civilized Celtic peoples into the Roman Empire. The Romans intermarried with the Celts, who emulated their customs and superior technology; these Romanized Celts became known as Britons. When the Romans abandoned Britain in 410 AD, the Britons found themselves attacked on all sides: the northern tribes pushed south, the Irish raided from the west, and fierce Germanic tribes (Angles, Saxons, Jutes, Franks, Frisians) and Norsemen slowly pushed the Celts into southwestern Wales and Cornwall. Some even fled across to the Continent, establishing Brittany in western France and becoming known as Bretons. It is in this turbulent post-Roman time that a brave man, perhaps a sort of tribal chieftain, led a small force of Britons into battle with the Germanic tribes. And due to tactical skill, superior fighting prowess and/or incredible luck (we will never know) this Artorius or Arthur held back the Germanic hordes from his corner of Britain for 30 years, a full generation. This incredible feat is first mentioned in a 6th century quasi-historical Latin chronicle by the monk Gildas. Later chroniclers added detail of dubious historical accuracy but great heroism to the tale of Arthur. The Venerable Bede wrote in 731 AD about the first great victory over the Saxons at Mount Badon (surmised by some to be Liddington Castle near Swindon), and the Welsh chronicler Nennius bases his 9th century story on material from the rich Welsh storytelling tradition. -
The Legends of King Arthur
SÄNDNINGSDATUM: 2013-12-06 PRODUCENT: PAMELA TAIVASSALO WIKHOLM PROGRAMNR: 103173ra6 The Legends of King Arthur The Final Battle and Avalon Script and Word list Keith Foster: Once upon a time a battle between a father and a son ended in tragedy. In the battle of Camlann, King Arthur and his son Mordred fought. And the badly wounded King Arthur retreated to Avalon, which is said to have magic properties, in a hope that he heal hela, bota could be healed. King Arthur died, but the once and future king will return in the hour of England’s greatest need. Cliff Eastabrook: Now, the battle of Camlann, when Mordred, who had sought to usurp the country and take over all of Arthur’s lands while usurp lägga beslag på, tillskanska sig Arthur was away fighting on the continent. Mordred brought his armies to Camlann and there, despite dire förfärlig, hemsk, dire warnings from the ghost of Gawain, Arthur went into ödesdiger battle with him. Both armies were destroyed in a terrible battle. The bodies raven korp covered the ground, stained red with their blood. And the ravens feasted on their corpses. corps lik And amongst this carnage, Arthur and Mordred, his son, slew carnage blodbad, slakt each other. slew dräpte (slay,slew,slain – dräpa, slå ihjäl någon) 1 SÄNDNINGSDATUM: 2013-12-06 PRODUCENT: PAMELA TAIVASSALO WIKHOLM PROGRAMNR: 103173ra6 Mordred is growing up thinking he is the son of King Lot, but Morgause eventually tells him the truth of the matter and how he is the son of her and her half-brother Arthur, they both being children of Igraine.