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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. -
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. -
Eric Auerbach Thinks Yvain Is Romance, but He's Lion
Eric Auerbach Thinks Yvain is Romance, But He’s Lion David Perretta ‘14 Chrétien de Troyes was a 12th century poet best known for his five Arthurian knight tales: Erec and Enide, Cligés, The Knight of the Cart (Lancelot), The Story of the Grail (Perceval), and The Knight with the Lion (Yvain). Traditionally, these stories are classified as medieval romance literature as they are mostly considered with chivalry, knightly duty, and courtly love. Yvain is concerned with its titular character, Yvain, as he defeats Esclados, marries his wife, takes over his kingdom, is exiled, and must ultimately regain his stature. In 1946, Erich Auerbach’s literary criticism Mimesis: The Representation of Reality in Western Literature was published. Auerbach’s work attempts to bridge two representations of reality in western literature: One from the Hellenic world, as seen in Homer’s Odyssey, with the worldview presented in the Bible. In chapter six, he uses Chrétien’s Yvain in order to define the romance genre. This essay is concerned with the holes presented in Auerbach’s definition of romance as a genre separate from epic. It points out that, by his definition, Yvain should be classified as epic rather than romance. Furthermore, its goal is to point out an underlying commonality between many epics, which have traditionally been a genre slightly too slippery to properly define. The hope is that this new definition of epic could be applied to the works of Homer, Vergil, and other classical authors. When Chrétien de Troyes began the story of Erec and Enide with boasts not only of his storytelling abilities, but the immortality of his works, he could not have foreseen the development of modern printers and the Internet – two innovations that have allowed for the proliferation of his narratives as well as the expansion of the scholarly debates surrounding them. -
LLT 180 Lecture 21 Part 1 Laudine Is Hoodwinked, Tricked Into Taking Him
LLT 180 Lecture 21 Part 1 Laudine is hoodwinked, tricked into taking him back. A fairly unsatisfactory conclusion since women usually do the tricking and not men. But I guess it's Lunete who's really doing the tricking, so that's kind of in keeping. Again, we're gonna have a test on Monday. First things first, though. Let's get through the rest of this. And sequentially, as far as use of time in here, we've been doing pretty well in our class meetings. It seems when we come up to the tests, though, we always seem to run a little short. We'll see how we do today. Again, we pick up on page 343 to the end, and so we don't have a lot to do. And the important fact here is that he is now being known as the Knight with the Lion as opposed to Yvain, and this is gonna facilitate Laudine taking him back later because she doesn't know who he is. Nor does Gawain, nor does anybody. So it's important, as far as the plot goes on here, that he is not identified. The only person who knows who he is is Lunete, again the person carrying the action forward. Now, the lion has been his big helper and the lion has come to his rescue, but the lion is in bad, bad shape now. And so he's carrying the lion. Again, I guess, Yvain is a major stud. He's been pumping iron, using that bow machine they sell on TV, and is just all pumped up like Arnold. -
Direct Discourse and Female Archetypes in Chrétien De Troyes's Romances
University of Central Florida STARS Honors Undergraduate Theses UCF Theses and Dissertations 2019 Direct Discourse and Female Archetypes in Chrétien de Troyes's Romances Raquelle A. Crotty University of Central Florida Part of the French and Francophone Literature Commons Find similar works at: https://stars.library.ucf.edu/honorstheses University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by the UCF Theses and Dissertations at STARS. It has been accepted for inclusion in Honors Undergraduate Theses by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Crotty, Raquelle A., "Direct Discourse and Female Archetypes in Chrétien de Troyes's Romances" (2019). Honors Undergraduate Theses. 569. https://stars.library.ucf.edu/honorstheses/569 DIRECT DISCOURSE AND FEMALE ARCHETYPES IN CHRÉTIEN DE TROYES’S ROMANCES by RAQUELLE ARACELI CROTTY A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in French in the College of Arts and Humanities and in the Burnett Honors College at the University of Central Florida Orlando, Florida Summer Term 2019 Thesis Chair: Dr. Geri Smith ABSTRACT The purpose of this thesis is to examine the role of the female messenger archetype in Chrétien de Troyes’s romances within the context of the rising courtly literature written in France throughout the early twelfth century. The romances by Chrétien that will serve as cases in point for this thesis are Érec et Énide, Lancelot, and Yvain. I analyze the various courtly ladies of the lower nobility to whom Chrétien attributes direct discourse and study how their verbal influence over the plot and the extent to which they are directly involved in the action of that plot correlate to one another. -
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’). -
Yvain-Corpus
‘Cuer me rendés…’ THE EMOTIONAL INVOLVEMENT OF THE CONTEMPORARY AUDIENCE IN THE YVAIN-CORPUS Master thesis RMA Medieval Studies by Chloé Vondenhoff Utrecht University, 08-02-2013 Student number: 3168662 Supervisor, first reader: Dr. F.P.C. Brandsma Second reader: Dr. A. Auer Word count: 35263 2 Table of Contents 1 INTRODUCTION .............................................................................................................. 3 1.1 EMOTION RESEARCH ....................................................................................................... 5 1.2 RESEARCH QUESTION .................................................................................................... 12 2 METHODOLOGY ........................................................................................................... 14 2.1 APPROACH .................................................................................................................... 14 2.2 METHODOLOGICAL COMMENTS .................................................................................... 16 2.3 YVAIN–CORPUS ............................................................................................................ 23 3 EPISODE I: THE PRELUDE ......................................................................................... 40 3.1 PROLOGUE .................................................................................................................... 40 3.2 CALOGRENANT’S TALE ................................................................................................ -
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. -
Chretien De Troyes: a Feminist of Twelfth Century France
Butler University Digital Commons @ Butler University Graduate Thesis Collection Graduate Scholarship 1933 Chretien De Troyes: A Feminist of Twelfth Century France Ruth H. Shull Follow this and additional works at: https://digitalcommons.butler.edu/grtheses Part of the English Language and Literature Commons Recommended Citation Shull, Ruth H., "Chretien De Troyes: A Feminist of Twelfth Century France" (1933). Graduate Thesis Collection. 221. https://digitalcommons.butler.edu/grtheses/221 This Thesis is brought to you for free and open access by the Graduate Scholarship at Digital Commons @ Butler University. It has been accepted for inclusion in Graduate Thesis Collection by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. • CHRETIEN DE TR OnS : A FElHNIST OF Ti:EL7 Tli CENTURY l"HJ..i'i"CE by RU'rH HENDHICKSON SHULL A thesis submitted in partial fulfi llment of the requirements for the degree of i,laster of Arts Department of Engll~r, Butler Un1verei '~Y India napolis 1933 L f) ·1 '01 ~,. , +~ 0 ,23" ;....,. IYJ ,:"' If' CONTENTS CFJJlJ'TER PAGE 1. THE ',;Rr r.sR 1 Clerical Education--Liberal Eduoa tion: Back ground of 'nvelfth Century Fr ance--liis Patroness, klarie de Champagne. II. HIS AUDIENCE • ••• 5 Mostly Women: During Period of Crusades--Lil'e in Chateaux--Outward Piety: Grea t Churches- Gr owing Independence--Rise of Courtly Love- Andre Ie Chapelain. III. FRENCH VER3I O?~ CF AENEAS • ••• • 13 Forerunner of Chretien's sty1e--Deve1opment of Monologue, Discussing Symptoms of Love. IV. EREC AriD ENIDE .. • 16 ----Pattern of :Married Love 1:nd the Patient Wife. -
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 -
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...........................................................