"Sir, dost thou havest any fresh water?" The man asked with a dry cough.
"Neigh serf, none thy can spare." Richard replied. Looking through his helmet's visor he looked at the poor excuse for a man. His rough sack cloth shirt reached down low enough to hide his private area, despite not having any pants. It was stained with dirt and blood. His face was covered in boils, many oozing out puss. "Now, wilst thou allow me past?" Richard asked. But the peasant stood firmly in place blocking the knight from his destination.
"Thy price be thoust water." He said. He then revealed a dagger from his sleave. "Thoust water, or thy blood." He said.
'Well at least the has enough sense left to know thee can't beat me.' Richard thought. "Thyne don't wans't thoust blood staining thy blade." Richard said. "Take thy water and allow thy passage." Richard held his canteen out, which the peasant eagerly took.
"God bless ye noble knight." The peasant stepped aside allowing Richard to pass through.
'This plague, when shalt it cease?' Richard thought. The desease had already taken everything dear to him...
Many people often see little similarity between the country of Japan and Europe. However, there are actually several similarities between these two countries. In fact, Reischauer and Jansen note that Feudal Japan had departed so far from East Asian norms that it was more similar to medieval Europe than it was to China. Thus, the knight of Europe and the samurai of Japan despite a lack of contact with one another shared several common elements. This was a result of many similarities social and cultural influences experienced by the two distant countries.
In “Conclusion” Sprague writes about T.H. White’s anti-war stance throughout The Once and Future King. White lived in the era of World War I and began to hate war. While White’s hatred of war is clear throughout his text his take on chivalry is more positive. In White’s work chivalry can be seen as the substance that pulls knights away from the ugly violence they possess within themselves. In my essay, I will use this source as an Example to show the positive perspective of chivalry within an anti-war society.
Shakespeare’s ‘King Henry IV Part I’ centres on a core theme of the conflict between order and disorder. Such conflict is brought to light by the use of many vehicles, including Hal’s inner conflict, the country’s political and social conflict, the conflict between the court world and the tavern world, and the conflicting moral values of characters from each of these worlds. This juxtaposition of certain values exists on many levels, and so is both a strikingly present and an underlying theme throughout the play. Through characterization Shakespeare explores moral conflict, and passage three is a prime example of Falstaff’s enduring moral disorder. By this stage in the play Hal has ‘reformed’, moved away from his former mentor Falstaff and become a good and honourable prince.
A serf who is a steward of a manor; he sees that the estate’s work is done and that everything is accounted for. He inspects everything and imposes fines on the workers if he finds anything wrong. Old, choleris (bad-tempered) and thin, skinny legs. Wears his hair like a priest- cut above his ears and docked on top. Chaucer starts out by saying that the Reeve does his job well, but he ends by implying that he is mean to the serfs and has become rich by embezzling from his master. He is dishonest and uses people. “A carpenter of first-rate skill” In Line 632.. Rides a dappled-gray horse named Scot. “Rode the hindmost of our cavalcade”- the last pilgrim in line on the journey.
At the exit of the Groom, one more remark gives place for us to sympathize with Richard. In contrast to Richard, who has referred to the Groom as a noble friend throughout their brief interaction, when the Keeper enters the room, Forker points out in a footnote that he “addresses the Groom as an inferior,” calling him “fellow,” rather than peer (471). His remark only contrasts all the more sharply with Richard’s kind reception of his peer the groom, a man he quite recently ruled over with a less than a kind hand. This scene sparks what becomes the paradigm shift that ends the play. No counterargument tries to re-convince the audience of the tyranny of King Richard II; that is said and done with the deposition of the tyrant. Were that the laudable
In life we have many choices. Some choices may be more difficult than others. At times as human beings we make the wrong choice, but also there’s times when our choice is the correct or the better one. Talking about choices the choices we make can affect our entire life overall or can just affect a small aspect of our life. Of course, with choices there are also consequences behind the choice if the wrong decision is made. This can sometimes re-shape our entire life and flip it upside down. Sometimes these consequences can be harsh punishments such as serving jail time for example. Through these consequences no matter how difficult they may be to overcome a lesson can almost always be taught. In The Wife of Bath’s Tale by Geoffrey Chaucer a Knight who has raped a woman and now will suffer consequences such as death. He escapes these consequences with the order of the queen to find out what most women want in life of course, The Knight thinks he’s off the hook yet some may argue that his punishment has just begun. The Knight committed a terrible crime by raping a woman and he did not receive punishment he deserved by what happened in the end of the story, the choice he had was very interesting and the Knight understands the nature of women.
What prompts Sarty to betray his own moral character is his fear of Abner, who he describes as the “black, flat, and bloodless . . . voice harsh like tin and without heat like tin”(279). Time and again, Sarty has witnesse...
"O, that this too sailed flesh would meld/or that the everlasting had not fixed/his cannon against self-slaughter" (I.ii.129-132).
In his Canterbury Tales, Chaucer fully explicates the cultural standard known as courtesy through satire. In the fourteenth century, courtesy embodied sophistication and an education in English international culture. The legends of chivalric knights, conversing in the language of courtly love, matured during this later medieval period. Chaucer himself matured in the King's Court, as is revealed in his cultural status, but he also retained an anecdotal humor about courtesy. One must only peruse his Tales to discern these sentiments, for Chaucer’s view of courtesy can seem shocking and, all together, obscene at times, it’s the similarity of the differences that make Chaucer’s tales superior. An example of this can be seen through Nicholas’ attempt at “courting” Alison versus Arcita and Palamon’s endeavors at courting Emily. Nicholas' anxious and lewd behavior, in conjunction with his explicit sexual connotation, demonstrates Chaucer’s more farcical side; where as, the manner in which Arcita and Palamon court Emily can seem more satirical. In the Miller's Tale, Chaucer juxtaposes courtly love with animalistic lust, while in the Knight’s tale, the subject of chivalry is held with much higher regard, and used as a florid, glorious attribute. These numerous references provide the reader with a remarkably rich image of the culture and class structure of late fourteenth century England.
The task which Shakespeare undertook was to mold the hateful constitution of Richard's Moral; character. Richard had to contend with the prejudices arising from his bodily deformity which was considered an indication of the depravity and wickedness of his nature. Richard's ambitious nature, his elastic intellect, and his want of faith in goodness conspire to produce his tendency to despise and degrade every surrounding being and object, even as his own person. He is never sincere except when he is about to commit a murder.
Gifted with the darkest attributes intertwined in his imperfect characteristics, Shakespeare’s Richard III displays his anti-hero traits afflicted with thorns of villains: “Plots have I laid, inductions dangerous / By drunken prophecies, libels, and dreams” (I.i.32-33). Richard possesses the idealism and ambition of a heroic figure that is destined to great achievements and power; however, as one who believes that “the end justifies the means”, Richard rejects moral value and tradition as he is willing to do anything to accomplish his goal to the crown. The society, even his family and closest friends, repudiate him as a deformed outcast. Nevertheless, he cheers for himself as the champion and irredeemable villain by turning entirely to revenge of taking self-served power. By distinguishing virtue ethics to take revenge on the human society that alienates him and centering his life on self-advancement towards kingship, Richard is the literary archetype of an anti-hero.
In Geoffrey Chaucer’s book “The Canterbury Tales” love and death play a large role in inner mechanisms of the storyline. A point where love is tremendously visible is with Palamon and Arcite. They both share an unrequited love for a woman who in their eyes is a goddess, Emily. She is only seen as an object of love and desire, although she doesn’t feel the same. They both have a love for her which is a problem considering she does not want to marry either. Death is also seen very much in “The Wife of Bath” where love almost leads to death. In “The Knight's Tale” the focus is more on the relation between love and death. A relationship between love and death is as follows.
left its mark. In other words, Chaucer is telling us that the Knight has just
‘Bring me the fairest creature…And let us make incision for your love/ To prove whose blood is reddest, or mine.’ (Act II Scene i)