CHAOS in CAMELOT! by Christy Fredrickson and Donna Rice
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Tristan and Isolde Movie Plot
Tristan and Isolde Movie Plot The film is set in Great Britain and Ireland, in the Dark Ages, after the fall of the Roman Empire in the 5th century. Lord Marke of Cornwall (Rufus Sewell) plans to unify the peoples of Britain - Celts, Angles, Saxons and Jutes - under himself as high king to resist Irish domination. Most lords agree to this, as Marke is highly regarded and respected as a fair and courageous leader. The Irish king Donnchadh (David O'Hara) discovers this and sends troops to attack a Jutish castle where a treaty between the British tribes is being discussed. The raid claims the lives of the castle's lord and his wife, and Marke saves their son Tristan at the cost of losing a hand. Feeling compassion for the young boy whose father loyally supported him, Marke welcomes Tristan (James Franco) into his home and regards him as a son. Tristan grows to be a fierce, courageous warrior whose loyalty to Marke is not that of a knight to his lord, but rather a son to his father. Tristan and other Cornish warriors launch an attack on an Irish slave caravan: in the battle, he finds himself fighting Morholt, Donnchadh's champion and leader of his army, to whom Princess Isolde (Sophia Myles) has been promised in marriage. Though he kills Morholt and Donnchadh's forces are overrun, Tristan is severely wounded in the fight and believed dead, though he is in fact only suffering the effects of Morholt's poisoned sword. Tristan's body is put out to sea on a funeral boat which eventually washes up along the shores of Ireland. -
Cligès by Chrétien De Troyes
Cligès 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/ Cligès Table of Contents Acknowledgments......................................................................................................................................3 PREPARER'S NOTE: ...............................................................................................................................4 SELECTED BIBLIOGRAPHY: ...............................................................................................................4 The Translation..........................................................................................................................................5 Part I: Vv. 1 - Vv. 2278..........................................................................................................................5 Part II: Vv. 2279 - Vv. 4574...............................................................................................................31 Part III: Vv. 4575 - Vv. 6784...............................................................................................................58 Endnotes...................................................................................................................................................84 2 Chrétien de Troyes Acknowledgments Cligès was written by the French poet Chrétien de Troyes in the twelfth century. Chrétien is a well-known poet -
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. -
Religion and Religious Symbolism in the Tale of the Grail by Three Authors
Faculty of Arts English and German Philology and Translation & Interpretation COMPARATIVE LITERATURE: RELIGION AND RELIGIOUS SYMBOLISM IN THE TALE OF THE GRAIL BY THREE AUTHORS by ASIER LANCHO DIEGO DEGREE IN ENGLISH STUDIES TUTOR: CRISTINA JARILLOT RODAL JUNE 2017 ABSTRACT: The myth of the Grail has long been recognised as the cornerstone of Arthurian literature. Many studies have been conducted on the subject of Christian symbolism in the major Grail romances. However, the aim of the present paper is to prove that the 15th-century “Tale of the Sangrail”, found in Le Morte d’Arthur, by Thomas Malory, presents a greater degree of Christian coloration than 12th-century Chrétien de Troyes’ Perceval and Wolfram von Eschenbach’s Parzival. In order to evaluate this claim, the origin and function of the main elements at the Grail Ceremony were compared in the first place. Secondly, the main characters’ roles were examined to determine variations concerning religious beliefs and overall character development. The findings demonstrated that the main elements at the Grail Ceremony in Thomas Malory’s “The Tale of the Sangrail” are more closely linked to Christian motifs and that Perceval’s psychological development in the same work conflicts with that of a stereotypical Bildungsroman, in contrast with the previous 12th-century versions of the tale. Keywords: The Tale of the Grail, Grail Ceremony, Holy Grail, Christian symbolism INDEX 1. Introduction ....................................................................................................................................... -
Merlin Season One Trivia Quiz
MERLIN SEASON ONE TRIVIA QUIZ ( www.TriviaChamp.com ) 1> In season one, Merlin arrives in Camelot and is the apprentice to the town's physician. What was his name? a. Uther b. John c. Elyan d. Gaius 2> In episode two, Valiant, what creature is painted on the shield of the knight that is facing Arthur? Hint - The creature(s) come to life. a. Gargoyles b. Demons c. Dragons d. Serpents 3> What is the name of Morgana's servant? a. Hunith b. Morgose c. Nimueh d. Gwen 4> Who was the sorceress responsible for the plaque/sickness that swept Camelot as the result of a dragon egg? a. Morgose b. Sophia c. Mordred d. Nimueh 5> What creature is half eagle and half lion that was seen in episode 5 of Season 1? a. Griffin b. Cyclops c. Hippogriff d. Narvick 6> Which character suffers extreme and terrible nightmares? a. Morgana b. Uther c. Gaius d. Arthur 7> Who tried to replace Gaius as court physician by tricking everyone into thinking he had a "cure all" for any form of sickness? a. Edwin b. Cenred c. Mardan d. Aulfric 8> Who warns Merlin of Mordred? a. Sir Percival b. Morgana c. Gaius d. The Dragon 9> Who killed a unicorn? a. Guinevere b. Merlin c. Uther d. Arthur 10> Which "knight" of Camelot had a forged nobility statement? a. Euan b. Percival c. Lancelot d. Davis 11> Which actor plays the role of Merlin? a. Bradley James b. Richard Wilson c. Rupert Young d. Colin Morgan 12> Which of the following practices is banned by King Uther Pendragon in Camelot? a. -
Chapter 4 -- the Legend of Percival
Chapter 4 -- The Legend of Percival In English literature, an important early collection of stories is the set of tales contained in Sir Thomas Mallory's “La Morte d'Arthur”, the story of King Arthur, the knights of the round table and the quest for the Holy Grail. The Arthurian legends are full of sorcery and magic, spells and demons, and tell of the ongoing conflict between good and evil where objects have special powers and symbolism; where battles and conflicts between supernatural powers lie just below the surface of normal workings. In this world—and to those who wrote them and read them—sorcerers and demons are as real as the space shuttle or things reported from on the Internet from the other side of the world are to us. One of the important characters is a knight is named Percival. Percival is a very unusual character. He does not remember his past, he does not remember his parents or his childhood, but seems to more or less have been born as a full grown adult. He is innocent and naïve. He is able to communicate as an adult, but can only see the world through the eyes of an innocent child. This man-child is then able to accomplish what many other brave and intelligent knights are not able to—save a king. If all of this seems fantastic, it is. However, our legends and our myths often present some of the clearest windows into our inner workings. This one in particular gives a very clear picture into the Medieval Era in Western Europe. -
Concealment and Construction of Knightly Identity in Chretien's Romances and Malory's Le Morte Darthur
University of Louisville ThinkIR: The University of Louisville's Institutional Repository College of Arts & Sciences Senior Honors Theses College of Arts & Sciences 5-2014 Concealment and construction of knightly identity in Chretien's romances and Malory's Le morte Darthur. Taylor Lee Gathof University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/honors Part of the English Language and Literature Commons, and the European Languages and Societies Commons Recommended Citation Gathof, Taylor Lee, "Concealment and construction of knightly identity in Chretien's romances and Malory's Le morte Darthur." (2014). College of Arts & Sciences Senior Honors Theses. Paper 88. http://doi.org/10.18297/honors/88 This Senior Honors Thesis is brought to you for free and open access by the College of Arts & Sciences at ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in College of Arts & Sciences Senior Honors Theses by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. Concealment and Construction of Knightly Identity in Chretien’s Romances and Malory’s Le Morte Darthur By Taylor Lee Gathof Submitted in partial fulfillment of the requirements for Graduation summa cum laude University of Louisville May, 2014 Gathof 2 1. Introduction This paper will discuss the phenomenon of -
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. -
Constructing Chivalry: the Symbolism of King Mark in Wagner's Tristan
Constructing Chivalry: The Symbolism of King Mark in Wagner’s Tristan und Isolde by Julie Anne Heikel Bachelor of Music, McGill University, 2007 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTERS OF ARTS in the School of Music Julie Anne Heikel, 2010 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee Constructing Chivalry: The Symbolism of King Mark in Wagner’s Tristan und Isolde by Julie Anne Heikel Bachelor of Music, McGill University, 2007 Supervisory Committee Dr. Susan Lewis Hammond, School of Music Supervisor Kurt Kellan, School of Music Co-Supervisor Dr. Michelle Fillion, School of Music Departmental Member iii Abstract Supervisory Committee Dr. Susan Lewis Hammond Supervisor Kurt Kellan Co-Supervisor Dr. Michelle Fillion Departmental Member Despite Tristan’s place as a cornerstone of the operatic repertory, there has been surprisingly little scholarship on King Mark, whom scholars often overlook in favour of the title characters. This study examines Wagner’s adaptation of his source, the Tristan of Gottfried von Strassburg, to construct a character that represents the courtly chivalric society of the opera in opposition to the new order represented in Tristan’s passionate pursuit of love and, ultimately, of death. Building on literary scholarship of the Tristan tradition, this study explores issues of duality and decline in Mark’s character and the elements of his chivalric friendship with Tristan within the homosocial constructs of the courts. Through his use of traditional operatic lament form, associative orchestration, and text expression, Wagner constructs a king who is more nuanced that any of his predecessors: one cleansed by tragedy and capable of forgiveness. -
Morgan Le Fay: the Inheritance of the Goddess
Brathair 15 (1), 2015 ISSN 1519-9053 Morgan le Fay: The Inheritance of the Goddess Ana Rita Martins English Lecturer Universidade de Lisboa, Faculdade de Letras (ULICES) [email protected] Enviado em: 30/05/2015 Aceito em: 07/07/2015 Resumo: “Morgan le Fay: A Herança da Deusa” faz uma breve análise da figura de Morgan le Fay nas narrativas arturianas na Idade Média. Começando por uma reflexão sobre os Celtas e a sua cultura, este estudo tem por objectivo demonstrar como a origem de Morgan le Fay poderá remontar às deusas célticas. Com efeito, Morgan possui características que a aproximam de A Morrígan e Modron. Todavia, é de salientar que esta personagem apenas surge pela primeira vez, em 1150, na obra Vita Merlini, de Geoffrey of Monmouth sob o nome Morgen. Suprema regente da ilha maravilhosa de Avalon, ela possui características exclusivamente benéficas. Assim, pretendemos também explicar as razões pelas quais esta se transformou numa das principais vilãs dos textos arturianos. Adicionalmente, serão considerados algumas das obras literárias medievais inglesas, bem como factores de ordem sociocultural. Palavras-chave: Morgan le Fay; Narrativas Arturianas; Mitos Célticos. Abstract: “Morgan le Fay: The Inheritance of the Goddess” will analyze Morgan le Fay’s character in Arthurian narrative during the Middle Ages. Starting from a research on the Celts and their culture, this article aims to prove that Morgan le Fay’s origin might be traced back to Celtic goddesses due to the characteristics she shares with the Celtic goddesses The Morrígan and Modron. However, Morgan is only mentioned for the first time, in 1150, in the work Vita Merlini by Geoffrey of Monmouth, where she is named Morgen. -
Kids in Camelot Script Excerpt
Kids in Camelot “Fabulous! Most suitable to this age group. Lots of small speaking parts that gave every performer a chance to shine, with just a few solo singing parts and lots of chorus work - just what we need! The music was well written - congratulations with great musical flavour and easy-to-follow, catchy melodies and clever, humourous lyrics in SINGABLE KEYS!” St Michael’s, Nowra, Australia “The students thoroughly enjoyed it. I love the script, the songs and the guidelines. Our school has used Bushfire Press musicals for the past 5 years and find they fulfill all our needs. They are well received by the community and certainly allow us to showcase the talents of our students.” Loxton Lutheran School, Australia “The theme and the script for this production was very engaging, especially for the boys. During term 3, staff in the middle and senior departments decided to make the term theme ‘Medieval Studies’ - integrating many aspects of these times and inspiring the students further still.” Eaglehawk Nth Primary School, Australia Excerpt terms and conditions • This excerpt is available to assist in your show selection. • You may view, print and download it for perusal. • Excerpts are not intended for performance or any other purpose. • An excerpt is not necessarily indicative of the entire work and perusal of any show is available (a postage and handling fee applies). You can order Kids in Camelot at www.bushfirepress.com/camelot Bushfire Press KIDS IN CAMELOT a musical fantasy book by Lynne Bartlett, Mark Leehy & Kevin O’Mara music & lyrics by David Billings, Rob Fairbairn, Mark Leehy & Kevin O’Mara adapted from A Connecticut Yankee in King Arthur's Court by Mark Twain CONDITIONS OF HIRE AND PERFORMANCE • Performance royalties are payable for ALL performances. -
King Arthur and His Knights of the Round Table Then Sir Bedivere Carried the Helpless King, Walking Ruled in the Land
Conditions and Terms of Use Copyright © Heritage History 2009 Some rights reserved This text was produced and distributed by Heritage History, an organization dedicated to the preservation of classical juvenile history books, and to the promotion of the works of traditional history authors. The books which Heritage History republishes are in the public domain and PREFACE are no longer protected by the original copyright. They may therefore be reproduced within the United States without paying a royalty to the author. This reading-book is designed primarily for pupils of the The text and pictures used to produce this version of the work, however, are fifth and sixth grades, although it is believed that those of other the property of Heritage History and are licensed to individual users with some grades can read it with profit. The stories have been collected restrictions. These restrictions are imposed for the purpose of protecting the integrity from Sir Thomas Malory's Morte d' Arthur and Tennyson's Idyls of the work itself, for preventing plagiarism, and for helping to assure that compromised or incomplete versions of the work are not widely disseminated. of the King. The material taken from the former source has been chosen with the view of presenting strictly suitable reading, and In order to preserve information regarding the origin of this text, a copyright has also at times been slightly altered for the purpose of giving by the author, and a Heritage History distribution date are included at the foot of greater unity and continuity to the stories. In the tales taken from every page of text.