Stories of King Arthur
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Malory to Milton. In: Demaria, Robert, Chang, Heesok and Zacher, Samantha (Eds.) the Blackwell Companion to British Literature: Early Modern Literature 1450-1660
Maley, Willy, and Swann, Adam (2014) The fortunes of Arthur: Malory to Milton. In: DeMaria, Robert, Chang, Heesok and Zacher, Samantha (eds.) The Blackwell Companion to British Literature: Early Modern Literature 1450-1660. Series: Blackwell companions to literature, 2. John Wiley & Sons Ltd., Oxford, pp. 16-28. ISBN 9780470656044 Copyright © 2014 John Wiley & Sons Ltd. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge Content must not be changed in any way or reproduced in any format or medium without the formal permission of the copyright holder(s) When referring to this work, full bibliographic details must be given http://eprints.gla.ac.uk/70567/ Deposited on: 10 June 2014 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk The Fortunes of Arthur: Malory to Milton Willy Maley and Adam Swann David Matthews, in his contribution to this volume, identifies a tension between veneration of significant figures from the past and scepticism surrounding their authorship, their arguments, and in some cases their existence. Elsewhere, Paul Stevens has shown the extent to which Milton was in a similar predicament, wanting to find in England’s history a subject worthy of epic, but torn between the rigorous revisionism of the likes of Camden and Selden and ‘the patriotic [tradition] mediated through Spenser, Shakespeare, and Drayton’ (Stevens 2012: 157). Between Thomas Malory’s Morte Darthur, completed by 1470, and published by Caxton – with carefully qualified scepticism about Arthur’s existence – in 1485, and Milton’s History of Britain (1670), we can follow the fortunes of Arthur as a figure contested and celebrated in equal measure. -
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. -
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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 Script
King Arthur Transcript Taken from the Director’s Cut with Notes about Changes from the Theatrical Release SCENE 1 Lancelot (voiceover): By 300 AD, the Roman Empire extended from Arabia to Britain. But they wanted more. More land. More peoples loyal and subservient to Rome. But no people so important as the powerful Sarmatians to the east. Thousands died on that field. And when the smoke cleared on the fourth day, the only Sarmatian soldiers left alive were members of the decimated but legendary cavalry. The Romans, impressed by their bravery and horsemanship, spared their lives. (on screen) 452 AD Lancelot (voiceover, during flashback): In exchange, these warriors were incorporated into the Roman military. Better they had died that day. Young Lancelot: Father. They are here. Lancelot (voiceover): For the second part of the bargain they struck indebted not only themselves... Father: The day has come. Lancelot (voiceover): ...but also their sons, and their sons, and so on, to serve the empire as knights. I was such a son. Lancelot’s father: There is a legend that fallen knights return as great horses. He has seen what awaits you, and he will protect you. Lancelot’s sister: Lancelot! Lancelot! Lancelot. Young Lancelot: Don't be afraid. I will return. Young Lancelot: How long shall we be gone? Roman captain: 15 years, not including the months it'll take to get to your post. Villagers: Lancelot! Rus! Rus! Lancelot (voiceover): Our post was Britain--or at least the southern half, for the land was divided by a 73-mile wall built three centuries before us to protect the empire from the native fighters of the north. -
King Arthur: the Movie
King Arthur: The Movie “The untold story that inspired the legend” starring … QuickTime™ and a TIFF (Uncompressed) decompressor Clive Owen - Arthur Stephen Dillane - Merlin are needed to see this picture. Ioan Gruffudd - Lancelot Stellan Skarsgård - Cerdic Mads Mikkelsen - Tristan Til Schweiger -Cynric Joel Edgerton - Gawain Sean Gilder - Jols Hugh Dancy - Galahad Pat Kinevane - Horton Ray Winstone - Bors Ivano Marescotti -Bishop Germanus Ray Stevenson - Dagonet Ken Stott - Marius Keira Knightley - Guinevere the story unfolds … Arthur, also known as Artorius Castus (Clive Owen), is portrayed as a Roman cavalry officer and commander, the son of a Roman father and a Celtic mother, who leads a military force of Sarmatian cavalry in Britain at the close of the Roman occupation in 467 A.D. He and his men guard Hadrian's Wall against the "Woads," a Celtic people who resist Roman rule, led by their mysterious leader Merlin. As the film starts, Arthur and his remaining men Lancelot (whose voiceover is heard at the beginning and end), Bors, Tristan, Gawain, Galahad and Dagonet–are expecting discharge from the service of the Empire after faithfully serving for 15 years (Lancelot's entry into service as a youth in 452 A.D. is depicted at the very beginning of the film). However, they are dispatched on a final and possibly suicidal mission to rescue an important Roman family, which includes the Pope's godson, from impending capture by the invading Saxons. The knights are charged with this rescue because Rome is retiring from Britain, now considered an indefensible outpost. In the course of this mission, Arthur encounters and rescues a Woadish princess, Guinevere (Keira Knightley), from the imprisonment and torture by the Roman citizen he is charged with rescuing. -
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. -
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«*X£- ttiolibom «^\^^£. THE NEW MEDIEVAL LIBRARY THE NHW MEDIEVAL LIUKARV THE CHATELAINE OKVERGI. Translaleil from ihe Middle- French by Ai.iCK Kkmp- Welch, with an Introduction by Professor L. M. IIkandin. {A itau and revised edition. THE BOOK OF THE DUKE OF TRUE LOVERS. Now first translated from the Middle- French, with Introduction and Notes, by Alice Kemf-Welch. The Ballads rendered into the original metres by Laukence BiNvoN and Kric Maci.agan. OF THE TUMBLER OF OUR LADY. Now first translated from the Middle-French, with Introdnction and Notes, by Alick Kemf-Wei.ch. THE LEGEND OF THE HOLY FINA. VIRGIN OF SANTO GIMINIANO. Now first trans- lated from the Fonrteenth-Cen- tury Manuscript of Fra Giovanni di Coppo, with Introduction and Notes, by M. Mansfield. THE BABEES' BOOK : Medieval Manners fou the Young. In modern English from Dr. Furnivall's texts, with Intro- duction and Notes, by Edith Ricicert. THE BOOK OF THE DIVINE CONSOLATION OF SAINT ANGELA DA FOLIGNO. Now translated from the Italian by Mary G. Steegmann, withan Introduction by Algar Thokold. Vn/'.ef'aration. Digitized by tine Internet Arcliive in 2008 witli funding from IVIicrosoft Corporation littp://www.arcliive.org/details/earlyenglisliromaOOrickuoft %^|?lf'i^^g/|^pif|^' i^i The title on the reverse of this page has been adapted by Miss Blanche C. Hunter from iJ.M. Harley MS. 2952, f. 126. EARLY ENGLISH RO- MANCES IN VERSE: DONE INTO MODERN ENGLISH BY EDITH RICKERT: ROMANCES OF LOVE CHATTO AND WINDUS : LONDON NEW YORK : DUFFIELD &" CO. 1908 A53 ,41/ ri<;hts reserved CONTENTS PAGE INTRODUCTION xi FLORIS AND BLANCHEFLODR SIR ORFEO LAY OF THE ASH . -
Through Casting in King Arthur and the Last Legion*
On second thoughts, let’s not go to Camelot: situating the ‘historical Arthur’ through casting in King Arthur and The Last Legion* Tony Keen Abstract. Hollywood produced two major Arthurian movies in the mid-2000s, King Arthur (Antoine Fuqua, 2004) and The Last Legion (Doug Lefler, 2007), even though the latter only introduces Arthur in the final scene. Both choose to place their narratives within the ‘historical Arthur’ genre, rejecting the quasi- medieval setting used by Excalibur (John Boorman, 1981), and later the TV series Merlin (UK, 2008– present), and instead placing the story in the context of the end of Roman Britain and the collapse of Roman rule in the west. They thus come within the interests of this conference. This paper is concerned with the ways in which the two movies characterise post-Roman Britain, and in particular, how they use the casting of their lead actor to underline their respective characterizations. King Arthur presents a soldier’s-eye view of the world, and is largely anti-authority (in the shape of the Pope’s representative Germanus). Arthur is a man whose first loyalty is to his men; to this end, the movie casts Clive Owen, known for working class roles in the TV series Chancer (UK, 1990–1991), Croupier (Mike Hodges, 1998) and Gosford Park (Robert Altman, 2001), as Arthur, though supporting him with more upper class figures such as Ioan Gruffudd and Joel Edgerton as Lancelot and Galahad. The Last Legion’s hero, Aurelius, is, in contrast, a man whose first loyalty is to his emperor. -
Heroic Legends
Heroic Legends Agnes Grozier Herbertson Heroic Legends Table of Contents Heroic Legends..........................................................................................................................................................1 Agnes Grozier Herbertson.............................................................................................................................1 The Two Brothers..........................................................................................................................................1 The Charcoal−Burner.....................................................................................................................................8 How my Cid the Campeador1 won the Favour of his King.........................................................................15 How the Minstrel Saved the King................................................................................................................22 How Oliver Fought for France and the Faith...............................................................................................28 The Sword in the Stone (The Legend of Arthur and Excalibur)..................................................................34 The Keeping of the Passes...........................................................................................................................41 The Knight of the Ill−Shapen Coat..............................................................................................................49 The Archer of Schwitz.................................................................................................................................56 -
The Legends of King Arthur and His Knights by James Knowles 1
The Legends Of King Arthur And His Knights by James Knowles 1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV The Legends Of King Arthur And His Knights by James Knowles The Project Gutenberg EBook of The Legends Of King Arthur And His Knights by James Knowles This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: The Legends Of King Arthur And His Knights Author: James Knowles Release Date: June 28, 2004 [EBook #12753] Language: English Character set encoding: ISO-8859-1 The Legends Of King Arthur And His Knights by James Knowles 2 *** START OF THIS PROJECT GUTENBERG EBOOK KING ARTHUR AND HIS KNIGHTS *** Produced by Zoran Stefanovic, GF Untermeyer and Distributed Proofreaders Europe, http://dp.rastko.net. The Legends of KING ARTHUR and his KNIGHTS Sir James Knowles Illustrated by Lancelot Speed TO ALFRED TENNYSON, D.C.L. POET LAUREATE THIS ATTEMPT AT A POPULAR VERSION OF THE ARTHUR LEGENDS IS BY HIS PERMISSION DEDICATED AS A TRIBUTE OF THE SINCEREST AND WARMEST RESPECT 1862 PREFACE TO THE EIGHTH EDITION The Publishers have asked me to authorise a new edition, in my own name, of this little book--now long out of print--which was written by me thirty-five years ago under the initials J.T.K.