Level 2: King Arthur and the Knights of the Round Table Free Download
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Summary of the Perlesvaus Or the High History of the Grail (Probably First Decade of 13Th Century, Certainly Before 1225, Author Unknown)
Summary of the Perlesvaus or The High History of the Grail (probably first decade of 13th century, certainly before 1225, author unknown). Survives in 3 manuscripts, 2 partial copies, and one early print edition Percival starts out as the young adventurous knight who did not fulfill his destiny of achieving the Holy Grail because he failed to ask the Fisher King the question that would heal him, events related in Chrétien's work. The author soon digresses into the adventures of knights like Lancelot and Gawain, many of which have no analogue in other Arthurian literature. Often events and depictions of characters in the Perlesvaus differ greatly from other versions of the story. For instance, while later literature depicts Loholt as a good knight and illegitimate son of King Arthur, in Perlesvaus he is apparently the legitimate son of Arthur and Guinevere, and he is slain treacherously by Arthur's seneschal Kay, who is elsewhere portrayed as a boor and a braggart but always as Arthur's loyal servant (and often, foster brother. Kay is jealous when Loholt kills a giant, so he murders him to take the credit. This backfires when Loholt's head is sent to Arthur's court in a box that can only be opened by his murderer. Kay is banished, and joins with Arthur's enemies, Brian of the Isles and Meliant. Guinevere expires upon seeing her son dead, which alters Arthur and Lancelot's actions substantially from what is found in later works. Though its plot is frequently at variance with the standard Arthurian outline, Perlesvaus did have an effect on subsequent literature. -
Lancelot - the Truth Behind the Legend by Rupert Matthews
Lancelot - The Truth behind the Legend by Rupert Matthews Published by Bretwalda Books at Smashwords Website : Facebook : Twitter This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each person. If you're reading this book and did not purchase it, or it was not purchased for your use only, then please purchase your own copy. Thank you for respecting the hard work of this author. First Published 2013 Copyright © Rupert Matthews 2013 Rupert Matthews asserts his moral rights to be regarded as the author of this book. ISBN 978-1-909698-64-2 CONTENTS Introduction Chapter 1 - Lancelot the Legend Chapter 2 - Lancelot in France Chapter 3 - Lancelot in Britain Conclusion Introduction Of all the Knights of the Round Table, none is so famous as Sir Lancelot. He is both the finest of the Arthurian knights, and the worst. He is the champion of the Round Table, and the reason for its destruction. He is loyal, yet treacherous. Noble, but base. His is a complex character that combines the best and worst of the world of chivalry in one person. It is Sir Lancelot who features in every modern adaptation of the old stories. Be it an historical novel, a Hollywood movie or a British TV series, Lancelot is centre stage. He is usually shown as a romantically flawed hero doomed to eventual disgrace by the same talents and skills that earn him fame in the first place. -
Сest Romanz Fist Crestïens Chrétien De Troyes and the Birth of the French Novel
Natalia M. Dolgorukova СEST ROMANZ FIST CRESTÏENS CHRÉTIEN DE TROYES AND THE BIRTH OF THE FRENCH NOVEL BASIC RESEARCH PROGRAM WORKING PAPERS SERIES: LITERARY STUDIES WP BRP 24/LS/2017 This Working Paper is an output of a research project implemented at the National Research University Higher School of Economics (HSE). Any opinions or claims contained in this Working Paper do not necessarily reflect the views of HSE Natalia M. Dolgorukova1 СEST ROMANZ FIST CRESTÏENS CHRÉTIEN DE TROYES AND THE BIRTH OF THE FRENCH NOVEL2 The paper addresses three controversial issues in two romances by Chrétien de Troyes - Yvain, or the Knight with the Lion and Lancelot, or the Knight of the Cart. Both romances were written around 1176-1180 and because of their narrative continuity and complementarity could be considered as a diptych. First, we examine the evolution of Chretien’s conception of love, “mysteriously” changing from his first romances to Lancelot; then we enter into the debate between celtisants and their critics about the Celtic influence in Chretien and consider Celtic sources of the two romances; we conclude the article, tracing out the fairy tale paradigm in both romances, which helps us reveal new meanings of the cart and the lion, operating as magic agents in the romances. Keywords: Chrétien de Troyes, “Yvain, or the Knight with the Lion”, “Lancelot, or the Knight of the Cart”, fin’amors, Breton Cycle, Celtic material, troubadours, trouvères, V. Propp, Mabinogion, parody Jel: Z 1 National Research University Higher School of Economics. Faculty of Humanities, School of Philology. Senior Lecturer. E-mail: [email protected]. -
Sexual Politics, Pomegranates and Production: William Morris's The
113 Sexual Politics, Pomegranates and Production: William Morris’s The Defence of Guenevere and La Belle Iseult in Dialogue Anna Marie Attwell Abstract: Examining patterns in William Morris’s poetry and book art, Isolde Karen Herbert observes that ‘Morris’s perception is aesthetically and politically dialectical’. Patterns in Morris’s texts, she argues, have ‘narrative potential’1. This essay explores the dialectic quality and narrative potential of Morris’s early poetry and arts from an intertextual perspective, beginning with his first volume of poetry, The Defence of Guenevere, and Other Poems (1858) and his only surviving oil painting, La Belle Iseult (1857-58). Through recurrent visual motifs, intertextual allusions and the figurative re-working and re-presentation of Jane Burden (later Jane Morris) in paint and poetry, glass and embroidery, Morris generates a protean figure – both problematic femme fatale and martyr to love, whose silent presence points to the uncomfortable disjunction between idealism and commerce in Morris’s life and work. ___________________________________________________________________________ In The Defence of Guenevere, and Other Poems (1858) and La Belle Iseult (1857-8) (figure 3), William Morris (1834-1896) uses Arthurian myths and Chaucerian dream-visions as a prism through which translate ‘[t]he straining game’ of life2 into the ‘greatest pleasure […of…] making’.3 Morris’s Defence and La Belle Iseult – which in many ways acts as its companion piece, are not objects of Romantic escapism but creative expressions of, in Anthony Buxton’s words, ‘Morris’s fascination with the conflicts and difficulties of human relationships’:4 in particular the ménage a trois in which he found himself with Dante Gabriel Rossetti (1828-1882) and Jane Burden (1839-1914). -
Tristan As? Iseu Lt Rawn Fro M the Best Frenc H So U Rc E S
h e R o m a nc e o f Tristan as? Iseu lt rawn fro m the best Frenc h So u rc e s ’ e—to/a 5 Bédier w 72 61 R } ! . ’ ande ea im‘ o En /is/z é H Bello c r g y . New York D ead 65 Com an odd, M p y 1 9 1 4 3 C O N T E N T S PART TH E FIRST P AGE THE CHILDHOOD O F TRISTAN THE M OR HOLT OUT O F IRELAND THE QUEST O F THE LADY ! ITH THE HAIR O F GOLD TH’ E PHILTRE THE TALL PINE-TREE THE DISCO! ERY THE CHANTRY LEA P PART TH E S E COND THE ! OOD O F MO R O I S O GR I N THE HERM IT THE FORD THE O RDEAL B Y IRON PART TH E THIRD THE L ITTLE FAIRY B ELL ISEUL T O F THE ! HITE HANDS . THE MADNESS O F TRISTAN ST THE DEATH QF TRI AN C O N T E N T S PART TH E FIRST P AGE THE CHILDHOOD O F TRISTAN THE M OR HOLT OUT O F IRELAND THE QUEST O F THE LADY ! ITH THE HAIR O F GOLD TH’E PHILTRE THE TALL PINE-TREE THE DISCO! ERY THE CHANTRY LEA P PA RT TH E S ECOND ! OOD O F MO R O I S OGR IN THE HERM IT THE FORD THE O RDEAL B Y IRON PART TH E THIRD THE LITTLE FAIRY B ELL ISEULT O F THE ! HITE HANDS . -
Tristan Und Isolde - Wikipedia, the Free Encyclopedia
איזולדה Isolde – garland of flowers in her blonde hair, which has thin plaits falling down her face from her forehead. Identify your Ascended Master إيزولدى http://www.egyptianoasis.net/showthread.php?t=8350 ِاي ُزول ِدِ Ιζόλδη ISOLDE …. The origins of this name are uncertain, though some Celtic roots have been suggested. It is possible that the name is ultimately Germanic, perhaps from a hypothetic name like Ishild, composed of the elements is "ice" and hild "battle". http://www.behindthename.com/name/isolde Tristan und Isolde - Wikipedia, the free encyclopedia http://en.wikipedia.org/wiki/Tristan_und_Isolde Tristan und Isolde From Wikipedia, the free encyclopedia Tristan und Isolde ( Tristan and Isolde , or Tristan and Isolda , or Tristran and Ysolt ) is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the work not as an opera, but called it "eine Handlung" (literally a drama , a plot or an action ), which was the equivalent of the term used by the Spanish playwright Calderón for his dramas. Wagner's composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer (particularly The World as Will and Representation ) and Wagner's affair with Mathilde Wesendonck. Widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagner's unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension. -
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. -
King Arthur; Or, Days and Knights of the Round Table
KING ARTHUR; OR, THE DAYS AND KNIGHTS OF THE ROUND TABLE. IN ONE ACT. BY WILLIAM BROUGH, (Member of the Dramatic Authors' Society), AUTHOR OF Pennu and Andromeda; Endymion, or the Naughty Boy who Cried for the Moon; Conrad and Medora; Lalla Rookh, Perseus and Andromeda; Perdita, the Royal Milkmaid; The Sylphide; Prince Prettypet and the Butterfly; Prince Amabel, or the Fairy Roses; Rasselas, Prince of Abyssinia; The Great Sensation Trial, or Circumstantial Effie-Deans, &c. &c. THOMAS HAILES LACY, 89, STRAND, LONDON. KING ARTHUR; OR, THE DAYS AND KNIGHTS OF THE ROUND TABLE. SCENE FIRST.—Stonehenge; sunrise. Immense blocks of stone fill the stage ; in one stone, C., is a sword stuck fast. MERLIN discovered with large book and wand. MERLIN. The spell's complete—and spelling done they say, Good boys should put their spelling books away; So there !—(closes book) What! sunrise! Why, it's broad daylight, Then I've been conjuring the livelong night. Magic is hard work now. The time was once When conjuring was done by any dunce. With a few card-tricks, or with fingers nimble Working the cups and balls, or pea and thimble. Wizards must now be up in all the sciences, Have chemical, electrical, appliances. Ghosts are no longer raised by incantation, But by lime-lights, and mirrors' combination ; While for the dread in raising ghosts once latent, All we fear now's infringing Pepper's patent. But hold ! what's this? the pricking of my thumbs Informs me something human this way comes. Some mortal eye is watching me I find; That mortal I advise his eye to mind. -
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. -
Onetouch 4.6 Scanned Documents
LANCELOT REBORN: THE SQUIRE'S WARNING IN THE CANTERBURY TALES Kristin Bovaird-Abbo At the beginning of Geoffrey Chaucer's romance, The Squire's Tale, the Tartar king Cambyuskan, perhaps more familiar to modem audiences as Genghis Khan, celebrates his birthday with a lavish feast, when suddenly a strange knight · enters the hall. In order to communicate clearly to his audience the courtly manner in which this exotic knight greets those in attendance, the pilgrim Squire turns to Arthurian legend, noting that "Gawayn, with his olde curteisye, I Though he were comen ayeyn out of Fairye, I Ne koude hym nat amende with a word" (95-97). Thus having acquainted his audience with the manner in which the strange knight speaks, the pilgrim Squire continues his tale. The stranger knight has come on behalf of the King of Arabia and India, and bears four marvelous gifts: a steed of brass and a magic sword for Cambyuskan, and an enchanted ring and mirror for Cambyuskan' s daughter Canacee. The stranger then alights and joins the festivities, which are so sumptuous that the pilgrim Squire is unable to describe them. No man could, he says, except "Launcelot, and he is deed" (287). Through these two Arthurian references, the pilgrim Squire indicates that he is well-versed in Arthurian lore, and he expects his audience to be as well. More importantly, the pilgrim Squire sends a carefully constructed message to his fellow pilgrim whose tale has just preceded his. That is, the Merchant in his tale of old January's cuckolding at the hands of his wife May and his squire Damian has offered a demeaning portrait of squires as lecherous traitors.1 Regardless of whether or not the Merchant's disparaging remarks regarding squires are directed specifically at the pilgrim Squire, the latter warns the Merchant that he is the modem incarnation of Arthur's two greatest knights and will not tolerate such abuse of his vocation. -
Camelot Musical Notes.Pdf
GOODSPEED MUSICALS Teachers’ Instructional Guide A Guide to the Goodspeed Musicals production of Musical Notes is made possible through the generosity of: The Max Showalter Center for Education in the Musical Theater presents Book and Lyrics by ALAN JAY LErNEr Music by FrEdErICK LOEWE with BrANdON ANdrUS rONN CArrOLL CHArLES EvErETT CrOCCO ErIN dAvIE MAXIME de TOLEdO BrAdLEY dEAN MICHAEL dELEGET MATT FAUCHEr STEvE FrENCH ANdrEW HUBACHEr MArISSA McGOWAN rACHEL ALEXA NOrMAN SHAWN PENNINGTON HErMAN PETrAS rEBECCA PITCHEr rACHEL rINCIONE AMANdA SALvATOrE AdAM SHONKWILEr ALLAN SNYdEr BEN SWIMMEr MATTHEW C. THOMPSON MOLLIE vOGT-WELCH Scenery Design by Costume Design by Lighting Design by MICHAEL SCHWEIKArdT ALEJO vIETTI JOHN LASITEr Sound by Hair & Wig Design by JAY HILTON CHArLES LaPOINTE Orchestrations by Assistant Music Director dAN deLANGE F. WAdE rUSSO Production Manager Production Stage Manager Casting by r. GLEN GrUSMArK BrAdLEY G. SPACHMAN STUArT HOWArd, AMY SCHECTEr, & PAUL HArdT, CSA Associate Producer Line Producer BOB ALWINE dONNA LYNN COOPEr HILTON Music Director MICHAEL O’FLAHErTY Choreographed by rALPH PErKINS Directed by rOB rUGGIErO Produced for Goodspeed Musicals by MICHAEL P. PrICE First Performance: July 10, 2009 Goodspeed Musicals is dedicated to the heritage of the musical and the development of new works to add to the repertoire. Marquee Sponsors: LUCILLE ANd dAvE vIOLA, Sr. Sponsored by: 4 GOODSPEED MUSICALS | 2009 SEASON GOODSPEED MUSICALS | 2009 SEASON 5 Cast of Characters Musical Numbers (In order of appearance) Synopsis -
ABSTRACTION of CONVENTIONAL DEFINITIONS: ANNOTATED DEMONSTRATIONS in This Section, We Present a Series of Demonstrations Of
ABSTRACTION OF CONVENTIONAL DEFINITIONS: ANNOTATED DEMONSTRATIONS In this section, we present a series of demonstrations of our system abstracting de®nitions from the combination of its prior knowledge and the new portions of network built to represent its under- standing of story fragments that contain new words. 7.1. THE ``BRACHET'' DEMONSTRATION The examples in this chapter are taken from Malory's Le morte Darthur [Malory 1972]. In these examples, Lumiansky's translation of Malory appears in boldface. A simpler English translation, such as could be parsed by the grammar we intend to use in future versions of this work, appears in italics (in place of the SNePSUL version the system was actually given). Comments glossing the system output are pre®xed by a semi-colon. Much of the information from the story was input using the SNePSUL command "add", which causes forward-chaining inference (so that the system can notice logical conse- quences of the input). Many of these inferences (especially those found by reduction: eliminating an arc and the node at its head from a proposition) are irrelevant to the story, and so have been deleted for clarity. Unedited transcripts of these runs appear in the appendix.7 At the beginning of this run, the KB contained the following facts and rules: If x is a mammal, then it bears young. If x bears young, then it is a mammal. Mammals are animals. Quadrupeds are vertebrates. Vertebrates are animals. Harts are deer. Halls are buildings. Hounds are dogs. Dogs are mammals Dogs are quadrupeds. Dogs are carnivores. Dogs are predators.