The 2, lines and stanzas that make up Sir Gawain and the Green Knight are written in what linguists call the " Alliterative Revival " style typical of the 14th century. Instead of focusing on a metrical syllabic count and rhyme , the alliterative form of this period usually relied on the agreement of a pair of stressed syllables at the beginning of the line and another pair at the end.
Each line always includes a pause, called a caesura , at some point after the first two stresses, dividing it into two half-lines. Although he largely follows the form of his day, the Gawain poet was somewhat freer with convention than his or her predecessors. The poet broke the alliterative lines into variable-length groups and ended these nominal stanzas with a rhyming section of five lines known as the bob and wheel , in which the "bob" is a very short line, sometimes of only two syllables, followed by the "wheel," longer lines with internal rhyme.
SGGK lines — . The earliest known story to feature a beheading game is the 8th-century Middle Irish tale Bricriu's Feast. A notable difference in this story is that Caradoc's challenger is his father in disguise, come to test his honour. Lancelot is given a beheading challenge in the early 13th-century Perlesvaus , in which a knight begs him to chop off his head or else put his own in jeopardy.
Lancelot reluctantly cuts it off, agreeing to come to the same place in a year to put his head in the same danger. When Lancelot arrives, the people of the town celebrate and announce that they have finally found a true knight, because many others had failed this test of chivalry.
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In Hunbaut, Gawain cuts off a man's head and, before he can replace it, removes the magic cloak keeping the man alive, thus killing him. Several stories tell of knights who struggle to stave off the advances of voluptuous women sent by their lords as a test; these stories include Yder , the Lancelot-Grail , Hunbaut , and The Knight of the Sword. The last two involve Gawain specifically. Usually the temptress is the daughter or wife of a lord to whom the knight owes respect, and the knight is tested to see whether or not he will remain chaste in trying circumstances.
In the first branch of the medieval Welsh collection of tales known as The Four Branches of the Mabinogi , Pwyll exchanges places for a year with Arawn , the lord of Annwn the Otherworld. Despite having his appearance changed to resemble Arawn exactly, Pwyll does not have sexual relations with Arawn's wife during this time, thus establishing a lasting friendship between the two men. This story may, then, provide a background to Gawain's attempts to resist the wife of the Green Knight; thus, the story of Sir Gawain and the Green Knight may be seen as a tale which combines elements of the Celtic beheading game and seduction test stories.
Additionally, in both stories a year passes before the completion of the conclusion of the challenge or exchange. Some scholars disagree with this interpretation, however, as Arawn seems to have accepted the notion that Pwyll may reciprocate with his wife, making it less of a "seduction test" per se, as seduction tests typically involve a Lord and Lady conspiring to seduce a knight, seemingly against the wishes of the Lord. After the writing of Sir Gawain and the Green Knight , several similar stories followed.
Sir Gawain and the Green Knight
The Greene Knight 15th—17th century is a rhymed retelling of nearly the same tale. Another story, The Turke and Gowin 15th century , begins with a Turk entering Arthur's court and asking, "Is there any will, as a brother, To give a buffett and take another? The Turk then praises Gawain and showers him with gifts. The Carle of Carlisle 17th century also resembles Gawain in a scene in which the Carle Churl , a lord, takes Sir Gawain to a chamber where two swords are hanging and orders Gawain to cut off his head or suffer his own to be cut off.
Unlike the Gawain poem, no return blow is demanded or given. At the heart of Sir Gawain and the Green Knight is the test of Gawain's adherence to the code of chivalry. The typical temptation fable of medieval literature presents a series of tribulations assembled as tests or "proofs" of moral virtue. The stories often describe several individuals' failures after which the main character is tested. Gawain's ability to pass the tests of his host are of utmost importance to his survival, though he does not know it.
It is only by fortuity or "instinctive-courtesy" that Sir Gawain is able to pass his test. The knight 's code of honour requires him to do whatever a damsel asks. Gawain must accept the girdle from the Lady, but he must also keep the promise he has made to his host that he will give whatever he gains that day. Gawain chooses to keep the girdle out of fear of death, thus breaking his promise to the host but honouring the lady.
Upon learning that the Green Knight is actually his host Bertilak , he realises that although he has completed his quest, he has failed to be virtuous. This test demonstrates the conflict between honour and knightly duties. In breaking his promise, Gawain believes he has lost his honour and failed in his duties. Scholars have frequently noted the parallels between the three hunting scenes and the three seduction scenes in Gawain.
They are generally agreed that the fox chase has significant parallels to the third seduction scene, in which Gawain accepts the girdle from Bertilak's wife. Gawain, like the fox, fears for his life and is looking for a way to avoid death from the Green Knight's axe. Like his counterpart, he resorts to trickery in order to save his skin. The fox uses tactics so unlike the first two animals, and so unexpectedly, that Bertilak has the hardest time hunting it. Similarly, Gawain finds the Lady's advances in the third seduction scene more unpredictable and challenging to resist than her previous attempts.
She changes her evasive language, typical of courtly love relationships, to a more assertive style. Her dress, relatively modest in earlier scenes, is suddenly voluptuous and revealing. The deer- and boar-hunting scenes are less clearly connected, although scholars have attempted to link each animal to Gawain's reactions in the parallel seduction scene.
Attempts to connect the deer hunt with the first seduction scene have unearthed a few parallels. Deer hunts of the time, like courtship, had to be done according to established rules. Women often favoured suitors who hunted well and skinned their animals, sometimes even watching while a deer was cleaned. The first seduction scene follows in a similar vein, with no overt physical advances and no apparent danger; the entire exchange is humorously portrayed. The boar-hunting scene is, in contrast, laden with detail. Boars were and are much more difficult to hunt than deer; approaching one with only a sword was akin to challenging a knight to single combat.
In the hunting sequence, the boar flees but is cornered before a ravine.
He turns to face Bertilak with his back to the ravine, prepared to fight. Bertilak dismounts and in the ensuing fight kills the boar. He removes its head and displays it on a pike. In the seduction scene, Bertilak's wife, like the boar, is more forward, insisting that Gawain has a romantic reputation and that he must not disappoint her.
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Gawain, however, is successful in parrying her attacks, saying that surely she knows more than he about love. Both the boar hunt and the seduction scene can be seen as depictions of a moral victory: both Gawain and Bertilak face struggles alone and emerge triumphant. The theme of masculinity is present throughout. In an article by Vern L. Bullough, "Being a Male in the Middle Ages," he discusses Sir Gawain and how normally, masculinity is often viewed in terms of being sexually active.
He notes that Sir Gawain is not part of this normalcy. Some argue that nature represents a chaotic, lawless order which is in direct confrontation with the civilisation of Camelot throughout Sir Gawain and the Green Knight. The green horse and rider that first invade Arthur's peaceful halls are iconic representations of nature's disturbance. Nature invades and disrupts order in the major events of the narrative, both symbolically and through the inner nature of humanity. This element appears first with the disruption caused by the Green Knight, later when Gawain must fight off his natural lust for Bertilak's wife, and again when Gawain breaks his vow to Bertilak by choosing to keep the green girdle, valuing survival over virtue.
Represented by the sin -stained girdle, nature is an underlying force, forever within man and keeping him imperfect in a chivalric sense. Several critics have made exactly the opposite interpretation, reading the poem as a comic critique of the Christianity of the time, particularly as embodied in the Christian chivalry of Arthur's court.
In its zeal to extirpate all traces of paganism, Christianity had cut itself off from the sources of life in nature and the female. The green girdle represents all the pentangle lacks. The Arthurian enterprise is doomed unless it can acknowledge the unattainability of the ideals of the Round Table, and, for the sake of realism and wholeness, recognize and incorporate the pagan values represented by the Green Knight. The chivalry that is represented within 'Gawain' is one which was constructed by court nobility.
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The violence that is part of this chivalry is steeply contrasted by the fact that King Arthur's court is Christian and the initial beheading event takes place while celebrating Christmas. The violence of an act of beheading seems to be counterintuitive to chivalric and Christian ideals, and yet it is seen as part of knighthood.
The question of politeness and chivalry is a main theme during Gawain's interactions with Bertilak's wife.
He cannot accept her advances or else lose his honour, and yet he cannot utterly refuse her advances or else risk upsetting his hostess. Gawain plays a very fine line and the only part where he appears to fail is when he conceals the green girdle from Bertilak.
The word gomen game is found 18 times in Gawain.
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