DOCSLIB.ORG

King Arthur and His Knights

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
King Arthur and His Knights School Picture Set Number 15 KING ARTHUR AND HIS KNIGHTS THE METROPOLITAN MUSEUM OF ART KING ARTHUR AND HIS KNIGHTS The real Arthur was probably a British warrior— not a king—who lived about A.D. 500. His defense of his countrymen against the Anglo-Saxon in­ vaders left such a strong impression on their minds that the story grew up that he was not dead but had been carried to the fairyland of Avalon, to be healed of his wounds. His name first appears in a Latin record about 826; the first stories of his life were written in Latin and French in the 12th cen­ tury. The writers made the hero a king like those of their own day, with a splendid court and a retinue of knights. The Round Table, they said, was so shaped that all would have places of equal honor. Arthur's story was first told in English be­ tween 1175 and 1205 by the chronicler Layamon; Sir Thomas Malory's great English romance was finished in 1469. The oldest pictures of Arthur come from the 12th century. About 1500 the stories of Arthur began to go out of fashion in literature and art. But in the 19th cen­ tury Englishmen, bewildered by the changes of the machine age, turned to stories of their simpler past and their national hero. The legends of Arthur were retold in the poems of Tennyson, Matthew Arnold, Swinburne, and William Morris, echoed by James Russell Lowell in America, and pictured by many artists, especially in England. THE METROPOLITAN MUSEUM OF ART 1. KING ARTHUR Detail of a carved door­ way, Italian, early 12th century. Modena Cathe­ dral, Italy THE METROPOLITAN MUSEUM OF ART This is the oldest known representation of King Arthur in art. It was carved about six centuries after his death. The inscription reads: Arius de Bretania, "Arthur of Britain." The king is shown in 12th century armor. 2. ARTHUR DRAWS THE SWORD FROM THE STONE. Manuscript illumination, French, about 1290. National Library, Paris. Arthur was brought up by a foster father and the enchanter Merlin, and only these two knew that he was the son of Uther Pendragon, King of Britain. After Uther died, a stone appeared in which was an anvil and in the anvil a sword. Golden letters said that he who could pull out the sword should be king. Only Arthur could do this; so he proved his right to the crown. It is being set on his head in the lower half of this picture. THE METROPOLITAN MUSEUM OF ART [l epivOii 'fît vtív w n V» 11 vw'fr Tiy«* f ivf U fîi nu 3. ARTHUR AND A GIANT. Manuscript illumina­ tion, English, 14th century. British Museum, Lon­ don. This picture shows one of the favorite stories of 12th century chroniclers. The Giant of Mont-St.- Michel, off the coast of Normandy, killed a maiden, and Arthur set out to avenge her. The king found the giant roasting a pig over a fire and split his skull. Arthur's court became the background for the deeds of that later hero of fairy tale, Jack the Giant Killer. THE METROPOLITAN MUSEUM OF ART 4. KING ARTHUR. Detail of a French tapestry, late 14th century, in the Metropolitan Museum. The three crowns represent England, Scotland, and Brittany. THE METROPOLITAN MUSEUM OF ART ^ k Et f_i7 S. --^i '».!*" KLJJH e • •v*.v*\ .,_>. 3H BTTTj"NaiV tx r.ntu' rìlPtttU a iv» 5. ARTHUR AND HIS KNIGHTS AT THE ROUND TABLE. Manuscript illumination, Italian, 1380-1400. National Library, Paris. The Round Table is first mentioned in a French chronicle written in England about 1155 by the Norman Wace. It was round, he said, to give all the knights places of equal honor. According to most stories, Merlin made it. In this picture it is shown hollow in the center for easy serving. At the left an old man brings Galahad to take his place at the empty Siege Perilous between Arthur and Lancelot. THE METROPOLITAN MUSEUM OF ART 6. THE ROUND TABLE AT WINCHESTER. Win­ chester Castle, England. This table was made be­ fore 1450 and may have been used at some of those tournament feasts which were called Round Tables. Perhaps it was Henry VII, the first Tudor king of England, who had it painted with the pic­ ture of Arthur and the names of some of his knights about 1486. Henry's first son, born in that year, was named for Arthur. The spokes are green and white, the Tudor colors, and the red and white rose in the center was the Tudor emblem. King Arthur, shown in the section at the top, wears a blue robe with a red mantle. THE METROPOLITAN MUSEUM OF ART 7. A TOURNAMENT AT CAMELOT Manuscript illumina­ tion, French, 1463. National Library, Paris THE METROPOLITAN MUSEUM OF ART In the background is the city of Camelot. Arthur and the ladies of the court watch from stands outside its walls. The knight in the center is Galahad. Actually, there were no tournaments when Arthur lived. ^irtrtrwT^ \rinruvnj_ 8. LANCELOT CAPTURES A CASTLE. Woodcut from a prose romance of Lancelot printed in Paris by Vérard in 1494. Lancelot, chief of Arthur's knights, is shown at the right fighting singlehanded against bands of knights. He took the castle as his own and called it Joyous Gard. THE METROPOLITAN MUSEUM OF ART t- - r uà tcVacj.tpuila v 11 to 9. THE MAID OF ASTOLAT. Manuscript illumina­ tion, French, about 1316. British Museum, London. The maid loved Lancelot, and when she found that her love was not returned she died, asking that her body be set adrift in a boat. The boat carried her to Arthur's court, where Lancelot and all the knights and ladies grieved for her. She had no name in the oldest tales, but Sir Thomas Malory called her Elaine in his English romance, the Morie d'Arthur. Four centuries later Tennyson retold Mal­ ory's story in his Elaine, and borrowed from an Italian version for his Lady of ShaJoff. THE METROPOLITAN MUSEUM OF ART , vind <)< nere. 10. THE KNIGHTS SET OUT TO SEEK THE HOLY GRAIL Manuscript illumi­ nation, Italian, 1380-1400. National Library, Paris THE METROPOLITAN MUSEUM OF ART The knights of the Round Table set out upon a quest to see the Holy Grail unveiled. At the left they say farewell to Guenevere and her ladies. At the right Arthur rides with them a little way. »imito cr inontr, ici icm CÍV.Í.U C. pr.,r U fai 'ifon a>l ,€r fc icjxirr t».* lccn.i. cr ... ¿t-' WW 11. GALAHAD RECEIVES HIS SHIELD. Manu­ script illumination, Italian, 1380-1400. National Library, Paris. Galahad set out upon the Quest of the Grail without a shield. Soon a squire brought him a white shield with a red cross, which had been kept in an abbey for centuries waiting for his coming. THE METROPOLITAN MUSEUM OF ART cv íi» -ni.iic \>tíA —ii.in ice Ha /eyt<|f< 1 12. ARTHUR SAILS TO AVALON Pen drawing from a manuscript, Ital­ ian, 1446. National Library, Florence THE METROPOLITAN MUSEUM OF ART Arthur seems to sail alone to Avalon in this picture, but according to the Italian story an invisible fairy queen was with him. An arm rises from the water to take back his sword, Excalibur, given him by the Lady of the Lake. KV'>Ä Wife I m / ¿sil»* N*É ^ ¡S" •- *"/, /f . 13. HOW ARTHUR GOT EXCALIBUR. Detail of a stained-glass window by Charles J. Connick, 1931. Princeton University Chapel. An arm rises from the water with the sword Excalibur, a gift to Arthur from the Lady of the Lake. Merlin rows the king out to take it. THE METROPOLITAN MUSEUM OF ART 14. LANCELOT AND THE LADY OF SHALOTT. Illustration made by Rossetti in 1857 for The Lady of Shalott. In this early poem Tennyson used an old Italian tale of the nameless damsel of Scalott or Astolat, but he changed it considerably. Later, in Elaine, he told Malory's story of the maid's love for Lancelot (see No. 9). THE METROPOLITAN MUSEUM OF ART 9L "VV 2 ^r . ^¥^^_| WteMß Sj^k fcPÎ' 1 ruf JB i» IIAB»_"'WÄ *& {_____•.— <____ -iiiu, \Ä». JV ^______£_K¡_| HR| ¿MIHH *•''"''• iw ; * .« • 15. SIR GALAHAD. Illustration made by Rossetti in 1857 for Tennyson's poem of the same name, first published in 1842. Here Galahad pauses at a forest shrine where unseen angels ring the bells. The story of Galahad's quest of the Grail inspired the American poet Lowell to write The Vision ot Sir Launtal. He made up a new story of the Grail and gave its hero a name from an old romance. In an introductory note to his poem he referred his read­ ers to Malory's book and Tennyson's Sir Galahad. THE METROPOLITAN MUSEUM OF ART 16. ARTHUR CARRIED TO AVALON. Illustration made by Maclise in 1857 for Tennyson's Morte d'Arthur. This poem, first published in 1842, retold Malory's story of the weeping queens who bore Arthur away in a barge that was "Dark as a funeral scarf from stem to stern." THE METROPOLITAN MUSEUM OF ART 17. ARTHUR IN AVALON. Detail from a painting by Bume-Jones, English, 19th century. Collection of Sidney Goldmann, England. Arthur, "king that was and king that shall be," lies asleep in Avalon, recovering from his wounds and waiting for the time when he shall return to help his countrymen.
Load more

Recommended publications
  • The Arthurian Legend in British Women's Writing, 1775–1845
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Online Research @ Cardiff Avalon Recovered: The Arthurian Legend in British Women’s Writing, 1775–1845 Katie Louise Garner B.A. (Cardiff); M.A. (Cardiff) A thesis submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy School of English, Communication and Philosophy Cardiff University September 2012 Declaration This work has not been submitted in substance for any other degree or award at this or any other university or place of learning, nor is being submitted concurrently in candidature for any degree or other award. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged by explicit references. The views expressed are my own. Signed ………………………………………… (candidate) Date ……………………… STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed ………………………………………… (candidate) Date………………………… STATEMENT 4: PREVIOUSLY APPROVED BAR ON ACCESS I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loans after expiry of a bar on access previously approved by the Academic Standards & Quality Committee. Signed ………………………………………… (candidate) Date………………………… Acknowledgements First thanks are due to my supervisors, Jane Moore and Becky Munford, for their unceasing assistance, intellectual generosity, and support throughout my doctoral studies.
    [Show full text]
  • ACRL News Issue (B) of College & Research Libraries
    Joni R. Roberts and Internet Reviews Carol A. Drost, editors Legends. Access: http://www.legends.dm. Legends is not confined strictly to English- net/. language source material. The link “Sagas and Legends offers “a personal journey through Sea-Kings” from the homepage contains a trans­ the worlds of Robin Hood, King Arthur, lation of “The Story of the Volsungs” from D’Artagnan, and other swashbuckling charac­ the 13th-century Icelandic Edda. Under this ters of balladry, fiction, and film, from the general heading we also find “The Nibelungenlied” and other links and synopses to W agner’s Ring Cycle. From the homepage, “Paladins and Princes” will link the researcher to “Chanson de Roland” in both Old French and English translation. “Orlando Furioso” and “The Cid” are also found under this link. Also on the homepage, “Erin and Alba” provides a corpus of early Irish tales in various medieval compilations. shores of Avalon to the dungeons of Zenda.” Anyone interested in European and English The site promises “guided access to primary folklore and mythology will find a treasure source material and up-to-date scholarship, per­ trove of fascinating and scholarly information sonal essays and extended reviews, and histori­ in Legends. The site is easy to navigate, with cal surveys and thoughtful commentary.” A obvious links and helpful annotations, but a view of the links under the general heading few of the sublinks are broken. Finally, the “King Arthur and the Matter of Britain” shows Legends site offers “romance, adventure, and that Legends delivers on this promise. panache.” Legends is that rare site, offering On the King Arthur page, the researcher scholarly information to the undergraduate stu­ will find a link to TEAMS (Consortium for the dent, and, at the same time, entertaining and Teaching of the Middle Ages) Middle English useful background information for the general texts, containing many primary Arthurian user.— Wendell johnson, Wαubonsee Community sources.
    [Show full text]
  • Read Ebook {PDF EPUB} the Story of Queen Guinevere and Sir Lancelot
    Read Ebook {PDF EPUB} The Story Of Queen Guinevere And Sir Lancelot Of The Lake With Other Poems by Wilhelm Hertz The Story Of Queen Guinevere And Sir Lancelot Of The Lake: With Other Poems by Wilhelm Hertz. Access to raw data. The story of Queen Guinevere and Sir Lancelot of the lake. After the German of Wilhelm Hertz. With other poems. Abstract. Mode of access: Internet. To submit an update or takedown request for this paper, please submit an Update/Correction/Removal Request. Suggested articles. Useful links. Blog Services About CORE Contact us. Writing about CORE? Discover our research outputs and cite our work. CORE is a not-for-profit service delivered by the Open University and Jisc. Arthur, King. King Arthur was a legendary ruler of Britain whose life and deeds became the basis for a collection of tales known as the Arthurian legends. As the leading figure in British mythology, King Arthur is a national hero and a symbol of Britain's heroic heritage. But his appeal is not limited to Britain. The Arthurian story—with its elements of mystery, magic, love, war, adventure, betrayal, and fate—has touched the popular imagination and has become part of the world's shared mythology. The Celts blended stories of the warrior Arthur with those of much older mythological characters, such as Gwydion (pronounced GWID-yon), a Welsh priest-king. Old Welsh tales and poems place Arthur in traditional Celtic legends, including a hunt for an enchanted wild pig and a search for a magic cauldron, or kettle. In addition, Arthur is surrounded by a band of loyal followers who greatly resemble the disciples of Finn , the legendary Irish hero.
    [Show full text]
  • The Failure of Family and the Demise of Dynasty in Sir Gawain
    The failure of family and the demise of dynasty in Sir Gawain Autor(en): Beekman Taylor, Paul Objekttyp: Article Zeitschrift: SPELL : Swiss papers in English language and literature Band (Jahr): 9 (1996) PDF erstellt am: 10.10.2021 Persistenter Link: http://doi.org/10.5169/seals-99932 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch
    [Show full text]
  • Abstract Thomas Malory's Arthurian Tale Recurrently Refers to the Male
    MASCULINITY IN THOMAS MALORY’S MORTE DARTHUR CHRISTOPH HOUSWITSCHKA Abstract Thomas MalRUy’s Arthurian tale recurrently refers to the male body, and both the knights’ physical and spiritual integrity are of crucial significance in maintaining masculinity. The male body represents power but is also threatened by physical violence and “fleshly lusts”. Representing ideals of chivalry, masculinity in Morte Darthur oscil- lates between scenes of male power and experiences of anxiety. While Gareth represents moderation as a way of stabilizing the destructive forces of masculinity, Lancelot is determined to remain the strongest and most powerful knight, a position beyond control or condemnation. By avoiding the question whether Lancelot slept with the Queen, Mal- ory transforms his gradual downfall into an epiphany of chivalric prowess. In a time of social disintegration the social acceptance of a knight’s masculinity determines whether his personal individuality is to the benefit or to the destruction of the Arthurian fellowship. Malory’s Morte Darthur undoubtedly belongs among the most influ- ential Arthurian stories in English Literature – kept alive by the best of British writers from Spenser to Tennyson and classics of the twentieth century such as T.H. White’s The Once and Future King. Many more lovers of the Arthurian matter have almost invariably read and adopt- ed the lengthy prose narrative of this – for quite some time – mysteri- ous knight.1 Thomas Malory, who found himself in prison towards the end of the War of the Roses, summarized all the major Arthurian tales 1 For the search after the true Thomas Malory, see, for example, Christina Hardyment, Malory: The Knight Who Became King Arthur’s Chronicler, New York: Harper and Collins, 2005.
    [Show full text]
  • Sir Lancelot Knights of the Round Table
    Sir Lancelot Knights Of The Round Table When Alaa affront his sycamines cripple not soonest enough, is Gerri stabbing? Floristic and sunproof Otis espies his racoon desegregated diversified ambitiously. Shurlocke methodize petrographically. This page look for the sir lancelot, was summoned as planned, the isle in Outside the kingdom, however, Lancelot runs into Marhaus and uncovers an evil plot. Arthur and the Sovereignty of Britain: King and Goddess in the Mabinogion. Sir Tristram, and he jumped back on his horse. Life that sir lancelot appears as trustworthy and does merlin created his knights of it could not notice of the court by the fountain of. Swiss Army knife appears from the lake. Lady of the Lake in an underwater kingdom. Arthurian legend, the body of stories and medieval romances centering on the legendary king Arthur. This item is part of a JSTOR Collection. Lancelot must then win her back by first losing to unworthy opponents at a tournament and then winning when Guinevere tells him to. Arthur by the name Aristes. These being driven back, their false allies treacherously made war upon their friends, laying waste the country with fire and sword. Although different lists provide different lists and numbers of knights, some notable knights figure in most of the Arthurian legends. Agravain and he thrusts excalibur to be included in single combat and bore for the table of sir lancelot knights. Two months later, on Easter, they tried again and still no one could remove the sword. Caliburn, best of swords, that was forged within the Isle of Avallon; and the lance that did grace his right hand was called by the name Ron, a tall lance and stout, full meet to do slaughter withal.
    [Show full text]
  • Perception of Women of the Arthurian Legend in the Middle Ages and In
    Masaryk University in Brno Faculty of Arts Department of English and American Studies English Language and Literature Marie Štefanidesová Perception of Women of the Arthurian Legend in the Middle Ages and in the Twentieth Century B.A.MajorThesis Supervisor: doc.Mgr.,MiladaFranková,CSc.M.A. 2007 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement Iwouldlike tothankmysupervisor,doc.Mgr.MiladaFranková,CSc.,M.A.,forherkind help,patienceandthe timeshededicatedtomywork. 3 Table Of Contents 1.INTRODUCTION......................................................................................................5 2.THEORIGINSAND HISTORY OFARTHURIANLITERATURE.........................7 2.1BeforeMalory-- FromCelticLegendstoFrenchRomances............................7 2.2Malory,HisTimeandtheConditionsof Women.............................................12 2.3Malory'sImpactonArturianLiterature............................................................16 3.ADIFFERENTSETTING -- THETWENTIETHCENTURY;DEVELOPMENTOF THEARTHURIAN LEGENDDEMONSTRATED ON WHITE ANDBRADLEY..19 3.1SocialBackground-GodversusGoddes.........................................................19 3.2White -- A NewApproachToTradition............................................................21 3.3Bradley -- NeoPaganismandFemaleSpirituality.............................................25 4.DEVELOPMENTOFFEMALE CHARACTERS.......................................................29
    [Show full text]
  • John William Waterhouse Introduction
    JOHN WILLIAM WATERHOUSE INTRODUCTION ARTIST: John William Waterhouse MOVEMENT: Post-Renaissance. IN BRIEF: Waterhouse was born in Italy to English parents who were both painters. He later moved to London where he enrolled in the Royal Academy of Art and began exhibiting works on large canvas depicting scenes from the daily life of ancient Greece. STYLE: Known for working in the painterly version of the Academic style and later embracing a Pre- Raphaelite-like subject matter. http://www.johnwilliamwaterhouse.com/ http://www.tate.org.uk/art/artists/john-william-waterhouse-583 Artist Overview: Nickname: Nino Birthplace: Rome, Italy Honours: Royal Academician (RA, elected 1895) Death: 10th February 1917 Burial: Kensal Green Cemetery, London Works of Art: Waterhouse painted figurative / narrative pictures primarily in the medium of oil. He found inspiration in stories and legends from British literature and Classical mythology. His paintings are scattered throughout the world: many are owned by public museums in the United Kingdom, Australia and elsewhere; others are in the hands of private collectors in the UK, USA and Russia. Reputation: In his lifetime, Waterhouse was well regarded by his fellow artists, art critics and the general public. His work fell out of fashion, along with that of other Victorian painters, with the advent of the First World War, and wouldn't become popular again (with the public at least) until the late 20th century. "Mr. Waterhouse adds to his designs a certain mystic suggestion—a touch of that sad wonderment which troubles the deep thinker." (The Art Journal, 1896) The Models: Waterhouse's paintings are famous for the feminine beauty depicted in them.
    [Show full text]
  • The Enigmatic Character of Sir Gawain: Chivalry and the Heroic Knight in Arthurian Tradition
    THE ENIGMATIC CHARACTER OF SIR GAWAIN: CHIVALRY AND THE HEROIC KNIGHT IN ARTHURIAN TRADITION by AMY KATHERINE CARR A THESIS Presented to the Department of English and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts June 2014 An Abstract of the Thesis of Amy Carr for the degree of Bachelor of Arts in the Department of English to be taken June 2014 Title: The Enigmatic Character of Sir Gawain: Chivalry and the Heroic Knight in Arthurian Tradition Approved: ----r.,==-......,.:::~::::(~'-=~~~:::====::---::::::... __ Stephanie Clark This paper examines the role of Sir Gawain as a heroic knight in six texts from the medieval English Arthurian tradition: Sir Thomas Malory's Morte D 'Arthur, The Alliterative Morte Arthure, the Stanzaic Morte Arthur, King Arthur and King Cornwall, Awntyrs offArthur, and The Wedding ofSir Gawain and Dame Ragnelle. The character Sir Gawain varies significantly between traditions and medieval texts. The conflicting heroic and chivalric codes play a large role in his portrayal, particularly when considered in conjunction with King Arthur and Sir Lancelot. As Arthur's nephew, Gawain was a fundamental part of medieval texts, but this family relation did not always result in a positive portrayal. Lancelot appears in fewer of the English texts, but where he does appear, he does so as the paragon of chivalry and creates a dichotomy between his values and Gawain's. Gawain's frequent chivalric failings, particularly in Malory, and the modem preference of romantic love over homosocial bonds have resulted in Gawain's diminished and often antagonistic roles in modem Arthurian interpretations.
    [Show full text]
  • "What Camelot Means": Women and LGBTQ+ Authors Paving the Way for a More Inclusive Arthuriana Through Young Adult Literature
    BearWorks MSU Graduate Theses Spring 2021 "What Camelot Means": Women and LGBTQ+ Authors Paving the Way for a More Inclusive Arthuriana through Young Adult Literature Jeddie Mae Bristow Missouri State University, [email protected] As with any intellectual project, the content and views expressed in this thesis may be considered objectionable by some readers. However, this student-scholar’s work has been judged to have academic value by the student’s thesis committee members trained in the discipline. The content and views expressed in this thesis are those of the student-scholar and are not endorsed by Missouri State University, its Graduate College, or its employees. Follow this and additional works at: https://bearworks.missouristate.edu/theses Part of the Children's and Young Adult Literature Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Literature in English, British Isles Commons, Modern Literature Commons, Other English Language and Literature Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Bristow, Jeddie Mae, ""What Camelot Means": Women and LGBTQ+ Authors Paving the Way for a More Inclusive Arthuriana through Young Adult Literature" (2021). MSU Graduate Theses. 3593. https://bearworks.missouristate.edu/theses/3593 This article or document was made available through BearWorks, the institutional repository of Missouri State University. The work contained in it may be protected by copyright and require permission of the copyright
    [Show full text]
  • Epor T Resumes
    :C1=7WcaMtanmmss2=ntcmoor=tw.a2zrrwtilCtllts1OMaCIMMne.wcw.t.. EPOR TRESUMES ED 010 827 24 THE FAIR MAID OF ASTOLAT. LITERATURE CURRICULUM III. BY- KITZHABER, ALBERT R. OREGON UNIV., EUGENE REPORT NUMBER CRP-H-149-56 REPORT NUMBER BR-5-0366-3S ECRS PRICE MF -40.09 HC -$0.64 16P. DESCRIPTORS- MYTHOLOGY, *LITERATURE GUIDES, *CURRICULUM 'GUIDES, LITERATURE, LEGENDS, *ENGLISH LITERATURE, GRADE 9, *STUDY GUIDES, SECONDARY EDUCATION, CURRICULUM RESEARCH: *ENGLISH CURRICULUM, INSTRUCTIONAL MATERIALS, EUGENE, PROJECT ENGLISH, NEW GRAMMAR A STUDENT GUIDE FOR THE STUDY OF "THE FAIR MAID OF ASTOLAT" WAS PREPARED FOR USE IN NINTH-GRADE ENGLISH CLASSES. THIS MYTH FROM THE STORIES OF KING ARTHUR AND HIS KNIGHTS CF THE ROUND TABLE RECOUNTS THE TALE OF THE INCOGNITO SIR LAUNCELOT AND HIS FART IN A TOURNAMENT AND HIS MEETING WITH THE FAIR MAID, ELAINE. RELATED REPORTS ARE ED-010 129 THROUGH ED 010 160 AND ED CIO 803 THROUGH ED 010 832. (AL) "=Z- =17 CO OREGON- cuAtuctimot -41701,1 C'ENTER CD %b.-4 CZ) LU oESiARTJA-Ritatitteepr ANDWELFARE lids document fiatbeeniCitniciUced Potion or exacify asreceived from orgiNizaffOnoriginating it. the !Wad donot-11PoollsetiOt pcints ot,vielv-re position *resent OffiCki opinions Or MO% Office ofEducation THE MAID OF ASTOLATf terature Curriculum III , -a. ...... ...,.....A.,....re The project reported herein was supported through the Cooperative Research Program of the Office of Education, U. S. Department of Health, Education, and Welfare. THE FAIR MAID OF ASTOLAT It happened, on a time, near the Feast' of Assumption Day, that King Arthur proclaimed a great joust and tournament that should beon that day at Camelot, otherwise called Winchester.
    [Show full text]
  • “No Gretter Perile”: Over-Mighty Subjects and Fifteenth-Century Politics in Malory’S Morte Darthur
    “No gretter perile”: Over-mighty Subjects and Fifteenth-Century Politics in Malory’s Morte Darthur Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael M. Baker, M.A. Graduate Program in English The Ohio State University 2013 Dissertation Committee: Karen A. Winstead, Advisor Richard Firth Green Ethan Knapp Copyright by Michael M. Baker 2013 Abstract Traditionally read as a deeply nostalgic text – one that looks back to Arthur’s Camelot as a Golden Age of English history and chivalry – Sir Thomas Malory’s Morte Darthur is, instead, a very contemporarily relevant text. Completed in 1469/70, at the mathematical center of the divisive Wars of the Roses (c. 1455-1485), Malory’s Morte considers problematic contemporary political issues that threaten the peace and stability of the realm. Chief among these are issues involving over-mighty subjects, identified by Sir John Fortescue in The Governance of England (c. 1471/75) as the greatest threat to fifteenth-century kings. Since K. B. McFarlane’s 1964 declaration that “only an undermighty ruler had anything to fear from overmighty subjects,” however, the over- mighty have been under-studied. It is important, though, when examining a text to consider the prevalent beliefs of its time; even if McFarlane’s statement is true, neither Fortescue nor Malory would have agreed with it. Malory’s Morte does not create perfect analogues to fifteenth-century persons or events (i.e., Lancelot is not the Kingmaker, the final battle near Salisbury is not Towton), but it does create many parallels to fifteenth-century political issues.
    [Show full text]