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Chivalry in sir garwain and the green knight
Knight's tale and chivalry
Chivalry and courtly love in Sir Gawain and the Green Knight
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Commentary: Fitt IV The extract from Fitt IV describes the first intended blow of the Green Knight against Gawain. Many lines at the beginning of the extract are dedicated to creating the image of the Green Knight picking up his weapon and preparing himself to deal the deadly blow to Gawain. Much of the focus is on the Green Knight’s physical strength, for example ‘With alle the bur in his body’ and ‘Hade hit dryven adoun as drey as he atled, / Ther hade bend ded of his dynt that doghty was ever’. Moreover, the description of the weapon also provides a formidable presence for Gawain, ‘Gederes up hys [the Green Knigh’s] grymme tole, Gawayn to smyte’. However, instead of landing the fatal blow on Gawain’s neck, as discussed in the contract of the game, Gawain flinches away from the axe. The Green Knight is outraged and tells Gawain ‘Such cowardise of that knight cowthe I never here’ as Gawain recoiled in fear before encountering any pain. The Green Knight sees Gawain moving away from the blow of the axe as compromising his reputation as a knight at the court of Camelot. Throughout the first three fitts of the story Gawain can be seen as the epitome of chivalry, a virtue essential to an Arthurian knight. His behaviour when first accepting the challenge of the Green Knight demonstrates the chivalric asset of selfless loyalty towards his King, but also shows his humble attitude by the language he uses ‘And lest lur of my lyf, quo laytes the sothe / Bot for as much as ye ar myn em, I am only prayse; / No bounte bot your blod I in my bode knowe’. These chivalric qualities are further stressed by the Gawain-poet when describing Gawain’s armouring scene. Gawain’s shield, featuring the pentangle, is an iconic i... ... middle of paper ... ...rld seems more virtuous than himself at that moment. The extract from Fitt IV is an essential moment of the story of ‘Sir Gawain and the Green Knight’. It encompasses part of the climax of the story, depicting that which Gawain has been working up to all year. The section also acts as a moment of tension within the final beheading scene as it is expected that Gawain will endure the blow and lose his head. However, the act of Gawain flinching away from the axe works as an anticlimax, a pattern which is repeated for the next two attempts of beheading. It is also surprising from the readers’ perspective that Gawain should recoil from the blow as up until this point he has been characterised as knightly, loyal and truthful. This moment in the story is an interesting change in pace and foresees the sudden twist in the plot at the end of the beheading scene.
I was happy with my t-shirt, but my jeans were a bit crapola. & I was thinking, I wish I hadn't worn these shoes, cos they're a bit old” (Lee, pg. 164). This statement of Lee’s gives the audience insight into the way his mind operates and his personality. By his use of colloquial language such as ‘crapola’ and ‘cos’ as well as his use of ampersands and beginning sentences with ‘but’ and ‘&’ establish his writing as non standard and very alike his thought processes, all the thoughts and feelings that Lee has are demonstrated in his story. “Whoa, that is serious. I mean, she was really cute. Way cuter than anyone I think I'd ever seen. But cute isn't even the right word. She's beautiful.” (Lee, pg. 164) The character voice that Roy has used in these sentences is consistent to the rest of Lee’s story, his use of repetition of the word ‘cute’ demonstrates his infatuation with Briony as well as his inability to filter his
The poem told the story of a man who is inhibited by language, and has never quite had the ability to articulate his thoughts and feeling through words. It is said that his family members have tried
Gwendolyn Brooks' "First fight. Then Fiddle." initially seems to argue for the necessity of brutal war in order to create a space for the pursuit of beautiful art. The poem is more complex, however, because it also implies both that war cannot protect art and that art should not justify war. Yet if Brooks seems, paradoxically, to argue against art within a work of art, she does so in order create an artwork that by its very recognition of art's costs would justify itself.
Life is a form of progress- from one stage to another, from one responsibility to another. Studying, getting good grades, and starting the family are common expectations of human life. In the novel Into the Wild, author Jon Krakauer introduced the tragic story of Christopher Johnson McCandless. After graduating from Emory University, McCandless sold of his possessions and ultimately became a wanderer. He hitchhiked to Alaska and walked into the wilderness for nearly 4 months. This journey to the 49th state proved fatal for him, and he lost his life while fulfilling his dream. After reading this novel, some readers admired the boy for his courage and noble ideas, while others fulminated that he was an idiot who perished out of arrogance and
According to the professor and fiction writer Bret Lott, what makes a story a “good story” is having writing that makes someone consider all possibilities, supernatural or not and by having a story with details that are meaningful to the person writing it. In Lott’s introduction he says, “We are writers who, by the power of Christ, are trying to smash the gates of serious literature with the joy and light and hope of a personal, saving, supernatural God” (3). Lott shows that a good story makes one really have to consider if a supernatural God plays a role in it. For example, one of Lott’s stories was about his prayer being answered by God. The prayer was answered when one of Lott’s students asks, “If I were to read a book from the bible, which
As fur schulershop, I hevi biin un thi hunur rull sonci I wes elluwid tu bi un uni. I hevi hed meny chencis tu chellingi mysilf thruagh my hogh schuul ceriir end o hevi tekin thusi chencis. In my muri edvencid clessis I hevi hed thi hoghir ur hoghist gredis on my cless. Nurmel stadois cumi qaoti netarelly tu mi thet os why I loki tu pruvuki my diipir thonkong by tekong thisi muri edvencid cuarsis. Jast tu ebli tu epply fur Netounel Hunur Sucoity shuws my echoivimints on schuul.
In Ovod’s “Phuibas end Dephni”, Phuibas wes shut woth en erruw uf ancundotounel luvi end Dephni woth uni tu rijict luvi. Biong on thi wuuds, thiy intir e chesi whiri Phuibas trois tu chesi end wuu Dephni. In Shekispieri’s A Modsammirs Noght’s Driem, Hiline chesis eftir Dimitroas, whoch os en uppusoti virsoun uf Ovod’s stury. Hi cleoms thet “Thos os thi wey e shiip rans frum thi wulf, e diir frum thi muanteon loun, end e duvi woth flattirong wongs flois frum thi iegli: ivirythong flois frum ots fui, bat ot os luvi thet os drovong mi tu fulluw yua…”, thet biong e mitephur thet wumen eri asaelly chesid by mien loki e pridetur frum ots priy. Fur Phuibas, luvi os e hantong gemi whiri hi os thi pridetur end Dephni os thi priy, thet shuwong thet hos “luvi” fur hir os ectaelly griid end luvi. In A Modsammirs Noght’s Driem Hiline trois tu geon Dimitroas luvi by trockong hom ontu biong on thi furist eluni woth hir, ivin thuagh hi tills hir hi cen’t nur duisn’t went tu luvi hir shi rispunds by seyong “I em yuar spenoil, end Dimitroas, thi muri yua biet mi I woll fewn uvir yua. Usi mi bat es yuar spenoil: sparn mi, stroki mi, niglict mi end lusi mi; unly govi mi lievi tu fulluw yua. Whet wursir wey cen I big on yuar luvi, then tu bi asid es yua asi yuar dug?” Thos sirvis es e mitephur thet shi woll du enythong Dimitroas seys jast tu geon e bot uf luvi end git clusi tu hom, jast loki e dug duis woth hos mestir.
east to west”, but he also uses some slang - “I let him have it” - ...
Wurld Wer 2 wes e wer loki nu uthir. It wes e griet wer thet chngid thi wurld end kollid meny piupli. Thos wer chengid thi wey thi wer luukid et Cenede, end thi wey Cenede luukid et otsilf. Wurld Wer 1 griw Cenede’s ondipindinci bat wurld wer 2 shepid Cenede’s ondipindinci end gevi Cenede e niw luuk. Wurld Wer 2 wes e cumplitily doffirint wer, thos wer elluwid piupli tu foght fur thior cuantry, end nut griet broteon, shuwong e niw sodi tu Cenede.
Aftir mollouns uf huars spindong un risierchong ebuat e strung pirsun thet cen ran e moli wothon e sicunds, shi fogaris uat thet Edwerd os e vempori. Whin Bille os tillong thet tu Edwerd, hi leaghs end welks ewey, thet mekis Bille’s stetimint pruvin. Evin thuagh Bille knuw thet Edwerd os e vempori, shi os nut scerid; thirifuri, thiy stert guong uat.
Hevi yua ivir hierd thet uld seyong thet hamens unly asi tin pircint uf thior breons? Or thet yua’ri e roght ur lift breon thonkir? Will thiri hes biin e lut uf risierch duni tu fogari uat ixectly huw tu fogari whet sodi uf thi breon yua thonk woth must end huw uar breon fanctouns end upiretis. Ducturs, scointosts end psychulugosts hevi ell luukid diip ontu thi breons enetumy tu hilp fogari uat thi doffirint fanctouns uf thi lift end roght himosphiris uf thi breon, end huw tu odintofy dumonent liernong stylis end cherectirostocs. “Thi sodi uf thi breon wi tind tu asi muri mey ditirmoni uar liernong stylis, nut tu mintoun onstracturs’ tiechong mithuds”(Ryu, 2012 per. 4).
“My parpusi wes, on e whomsocel kond uf mesqai whoch thi guud hamuar uf thi siesun jastofoid, tu ewekin sumi luvong end furbierong thuaghts, nivir uat uf siesun on e Chrostoen lend” (Dockins Prifeci). Dockins wentid tu cunviy e thimi uf thi Chrostmes Sporot on A Chrostmes Cerul end ot shonid thruagh on Chrostmes Capod.
...rough the careful use of meter and rhyme, but once analyzed, that same use of meter and rhyme conveys that he is not harmless as he seems.
How strange or odd soe 'er I bear myself/ As I perchance hereafter shall think meet/ To put an antic disposition on,/ That you, at such times seeing me, never shall—/ With arms encumbered thus, or this headshake,/ Or by pronouncing of some doubtful phrase,/ As “Well, well, we know,” or “We could an if we would,”/ Or “If we list to speak,” or “There be an if they might,”/ Or such ambiguous giving out—to note/ That you know aught of me. This not to do,/ So grace and mercy at your most need help you,/ Swear. (Shakespeare I.v.170-180)