THE STORY of KING ARTHUR and HIS KNIGHTS by Howard Pyle
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The Character Model in Le Morte Darthur
The Character Model in Le Morte Darthur Anat Koplowitz-Breier ([email protected]) BAR-ILAN UNIVERSITY (RAMAT-GAN) Resumen Palabras clave Los personajes de La muerte de Arturo, La muerte de Arturo de Sir Thomas Malory, no se ajustan a la Malory definición estándar típica de los Caracterización personajes del romance. De hecho, Tipo pueden ser ubicados en una especie de Modelo de personaje estado transitorio que ha sido La dama denominado modelo de personaje. Tras La mujer con poderes mágicos dilucidar la naturaleza de tal concepto, este artículo procede a investigar dos modelos relativos a mujeres en La Muerte de Arturo: «La Dama» y «La Mujer con Poderes Mágicos». Abstract Key words The characters in Sir Thomas ’ Le Morte Darthur La Morte ’ do not conform to Malory the standard definition of Romance Characterization personae. In fact, they can be placed in Type a kind of transitional stage which has ’Model been called a ’ Model. After The Lady elucidating the nature of such a The Woman with Magical Power concept, this paper goes on to investigate two ’ Models of women in the Le Morte Darthur: «The Lady» and «The Woman with Magical AnMal Electrónica 25 (2008) Powers». ISSN 1697-4239 In the memory of my beloved teacher Prof. Ruth Reichelberg, who taught me what it means to be an academic person and a true Character Sir Thomas Malory's Morte is a mixture of at least two genres, Romance and Chronicle (Pochoda 1971). As McCarthy writes, his style is not of one piece: «’ matière is the matière of romance, but the sens, the ‘’ is perhaps not» (1988: 148). -
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. -
The Adventures of Sir Lancelot Du Lake
1 The Adventures of Sir Lancelot du Lake There was held a feast of the Round Table at Caerleon, with high splendour; and all the knights thereof held many games and jousts. And therein Sir Lancelot increased in fame and worship above all men, for he overthrew all comers, and never was unhorsed or worsted, save by treason and enchantment. When Queen Guinevere had seen his wondrous feats, she held him in great favour, and smiled more on him than on any other knight. And Lancelot thought on her as fairest of all ladies, and done his best to win her grace. So the queen often sent for him, and bade him tell of his birth and strange adventures: how he was only son of great King Ban of Brittany, and how, one night, his father, with his mother Helen and himself, fled from his burning castle; how his father, groaning deeply, fell to the ground and died of grief and wounds, and how his mother, running to her husband, left himself alone; how, as he thus lay wailing, came the lady of the lake, and took him in her arms and went with him into the midst of the waters, where, with his cousins Lionel and Bors he had been cherished all his childhood until he came to King Arthur’s court; and how this was the reason why men called him Lancelot du Lake. Anon it was ordained by King Arthur, that in every year at Pentecost there should be held a festival of all the knights of the Round Table at Caerleon, or such other place as he should choose. -
ROBERT GERAINT GRUFFYDD Robert Geraint Gruffydd 1928–2015
ROBERT GERAINT GRUFFYDD Robert Geraint Gruffydd 1928–2015 GERAINT GRUFFYDD RESEARCHED IN EVERY PERIOD—the whole gamut—of Welsh literature, and he published important contributions on its com- plete panorama from the sixth to the twentieth century. He himself spe- cialised in two periods in particular—the medieval ‘Poets of the Princes’ and the Renaissance. But in tandem with that concentration, he was renowned for his unique mastery of detail in all other parts of the spec- trum. This, for many acquainted with his work, was his paramount excel- lence, and reflected the uniqueness of his career. Geraint Gruffydd was born on 9 June 1928 on a farm named Egryn in Tal-y-bont, Meirionnydd, the second child of Moses and Ceridwen Griffith. According to Peter Smith’sHouses of the Welsh Countryside (London, 1975), Egryn dated back to the fifteenth century. But its founda- tions were dated in David Williams’s Atlas of Cistercian Lands in Wales (Cardiff, 1990) as early as 1391. In the eighteenth century, the house had been something of a centre of culture in Meirionnydd where ‘the sound of harp music and interludes were played’, with ‘the drinking of mead and the singing of ancient song’, according to the scholar William Owen-Pughe who lived there. Owen- Pughe’s name in his time was among the most famous in Welsh culture. An important lexicographer, his dictionary left its influence heavily, even notoriously, on the development of nineteenth-century literature. And it is strangely coincidental that in the twentieth century, in his home, was born and bred for a while a major Welsh literary scholar, superior to him by far in his achievement, who too, for his first professional activity, had started his career as a lexicographer. -
Masaryk University of Brno
MASARYK UNIVERSITY OF BRNO FACULTY OF EDUCATION Bachelor thesis Brno 2015 Martina Eklová Masaryk University Faculty of Education Department of English Language and Literature Concept of Love Triangle in Medieval Romance Bachelor thesis Brno 2015 Thesis supervisor: Author: Mgr. Jaroslav Izavčuk Martina Eklová Anotace Příběhy, jejichž hlavním tématem je milostný trojúhelník a nevěra, zažily ve středověké literatuře velký rozvoj. Mezi nejznámější patří příběh Tristana a královny Isoldy, stejně jako vyprávění o královně Guinevře a Lancelotovi. Bakalářská práce analyzuje a porovnává tyto dva milostné trojúhelníky a zároveň zkoumá možný vliv Tristanova příběhu na vznik legendy o Lancelotovi. První část bakalářské práce se týká žánru středověké romance a jejích prvků. Další kapitoly zahrnují analýzu milostných trojúhelníků na pozadí středověké společnosti a tehdejšího pojetí manželství a nevěry. Annotation The stories with a love triangle and adultery as its main theme developed significantly during the Middle Ages. Among the most popular ones belong the story of Tristan and Queen Iseult as well as the tale about Queen Guenever and Launcelot. The bachelor thesis analyses and compares these two love triangles and it examines the possible influence of Tristan‟s story on the legend about Launcelot. The first part of the bachelor thesis comprises the genre of medieval romance and its elements. The next chapters involve the analysis of the love triangles against the background of medieval society and its concept of marriage and adultery. Klíčová slova Středověká romance, milostný trojúhelník, manželství, nevěra, Román o Tristanovi a Isoldě, Artušova smrt, Malory, Bédier Keywords Medieval romance, love triangle, marriage, adultery, The Romance of Tristan and Iseult, Le Morte d‟Arthur, Malory, Bédier 1 Affirmation I hereby declare that I have worked on the bachelor thesis independently, using only the sources which are listed in the Bibliography. -
An Arthurian Drama
EXCALIBUR: AN ARTHURIAN DRAMA RALPH ADAMS CRAM EXCALIBUR: AN ARTHURIAN DRAMA Table of Contents EXCALIBUR: AN ARTHURIAN DRAMA...........................................................................................................1 RALPH ADAMS CRAM..............................................................................................................................1 Advertisement:...............................................................................................................................................1 Prologue.........................................................................................................................................................2 Act I................................................................................................................................................................6 ACT II..........................................................................................................................................................44 i EXCALIBUR: AN ARTHURIAN DRAMA RALPH ADAMS CRAM This page copyright © 2002 Blackmask Online. http://www.blackmask.com • Advertisement: • Prologue • Act I • ACT II Advertisement: Excalibur is the introductory drama of a contemplated trilogy founded on the Arthurian legends as the perfect embodiment of the spirit and impulse of that great Christian epoch we call Mediævalism. The attempt is again madehowever inadequately to do for the epic of our own race, and in a form adapted to dramatic presentation, a small measure of that which -
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’). -
The Logic of the Grail in Old French and Middle English Arthurian Romance
The Logic of the Grail in Old French and Middle English Arthurian Romance Submitted in part fulfilment of the degree of Doctor of Philosophy Martha Claire Baldon September 2017 Table of Contents Introduction ................................................................................................................................ 8 Introducing the Grail Quest ................................................................................................................ 9 The Grail Narratives ......................................................................................................................... 15 Grail Logic ........................................................................................................................................ 30 Medieval Forms of Argumentation .................................................................................................. 35 Literature Review ............................................................................................................................. 44 Narrative Structure and the Grail Texts ............................................................................................ 52 Conceptualising and Interpreting the Grail Quest ............................................................................ 64 Chapter I: Hermeneutic Progression: Sight, Knowledge, and Perception ............................... 78 Introduction ..................................................................................................................................... -
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. -
Mordred, a Tragedy
MORDRED, A TRAGEDY HENRY NEWBOLT MORDRED, A TRAGEDY Table of Contents MORDRED, A TRAGEDY......................................................................................................................................1 HENRY NEWBOLT.....................................................................................................................................1 ACT I..........................................................................................................................................................................2 SCENE I.........................................................................................................................................................2 SCENE II.......................................................................................................................................................6 ACT II.......................................................................................................................................................................11 SCENE I.......................................................................................................................................................11 SCENE II.....................................................................................................................................................15 SCENE III....................................................................................................................................................18 SCENE IV....................................................................................................................................................22 -
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