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Arthurian legend essays
King arthur's myths and legends
King arthur's myths and legends
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Guinevere of the King Arthur legends is called the daughter of King Leodegrance. (Britannia) In early Welsh tales she was said to be the daughter of a giant. (Senior 84) She is actually the daughter of a Roman Roman noble. (Britannia) Born in C.AD 490 . (Fords) Guinevere descended from a noble family of romans. (Lace 63) It is true that Guinevere is sexual, that she craves the love of a man who (unlike Arthur) has “A touch of earth.” (MaChan 200) She is also self-centered and small-minded. (MaChan 200) She is occasionally a political pawn in the hands of Modred, other knights, and even Arthur himself. (Guinevere) With the help of Lancelot, she escapes a number of predicaments, including kidnapping by Sir Meliaguant, burning at the stake, and later marriage with her step son. (Guinevere) In Malory she flees after Arthur’s death to Amesbury, where she becomes a nun, as well as “abbess and ruler, as reason would.” (Guinevere)
Guinevere was developed into a major character in the story of Arthur by Chretien. (Lace 63) She is surpassingly beautiful and desirable, if morally lax from the time of the 13th century. (Britannia) She is one of the most beautiful maidens in Britain. (Fords) She became important in the tradition as the wife of King Arthur. (Senior 84) She is often considered the ultimate traitor to King Arthur. (Arthurian Legends) Guinevere also attempts diplomacy. (Arthurian Legends) Guinevere is a complex woman who was frequently at the center of the adventures of the Knights of the Round Table. (Day 112) Guinevere throws a dinner party for the entire Round Table to promote peace among the knights. (Arthurian Legends) Guinevere gives the party partially because she resents Lancelot, who has taken with another woman. (Arthu...
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...ilt and hope for atonement, Guinevere has put aside earthly things and inspires Lancelot to become a monk. (Guinevere)
Works Cited
"Arthurian Biographies: Guinevere." Arthurian Biographies: Guinevere. Britannia, 2011. Web. 15 Apr. 2014.
Bloom, Harold. "Tennyson's King Arthur and the Violence of Manliness." King Arthur. Philadelphia: Chelsea House, 2004. N. pag. Print.
"Character Analysis of Guinevere." Arthurian Legends. N.p., 2008. Web. 15 Apr. 2014.
Day, David. "Guuinevere and Lancelot." The Search for King Arthur. New York: Facts on File, 1995. N. pag. Print.
"EBK: Queen Guinevere." EBK: Queen Guinevere. Nash Fords, 2007. Web. 15 Apr. 2014.
"Guinevere." Guinevere. N.p., n.d. Web. 15 Apr. 2014.
Lace, William W. King Arthur. San Diego, CA: ReferencePoint, 2008. Print.
Senior, Michael. Illustrated Who's Who in Mythology. New York: MacMillan, 1985. Print.
The love triangle of Arthur, Lancelot, and Guenever is a constant theme throughout every account of the Arthurian legend. Geoffrey Ashe's The Arthurian Handbook states that "We may say that these knights are expected to serve their King..."(81). The revelation of the affair finally comes when Sir Agravaine shouts, "'Traitor Knight! Sir Lancelot, now art thou taken'"(White 569). Lancelot was summoned to Queen Guenever's bedroom, and Sir Agravaine is finally exposing the affair and gaining revenge on Lancelot for unhorsing him many times in the past. The two people that Arthur trusts most are Guenever and Lancelot. Arthur is well aware of the affair between the two, but chooses to pretend that nothing is going on. Due to this naivety, Arthur earns the disrespect (and even hatred) of Agravaine and Mordred, who eventual...
The figure of Gawain throughout Arthurian literature is an interesting one; he appears in more texts as a secondary character than any other knight named, and often gains glory even at the expense of the main hero (Busby 1980, 5). The first characteristic which separates him from the other knights is his relationship to Arthur: it is usually stated that he is Arthur's sister's son, a kinship that is found from William of Malmesbury's Gesta Regum Anglorum (c. 1125) and Geoffrey of Monmouth's Historia Regum Britanniae (c. 1136) onward (Busby 1980, 31). However, it is notable that Gawain often seems more like a type than an individual; in Old French literature he is never the subject of a biographical romance, as are most of the other knights, he never has one particular lady's name associated with him, and he is frequently used as a constant against which other knights are judged, the perfect embodiment of good qualities, more a symbol of perfection than an actual person (Busby 1980, 7).
... La Faye, Guinevere, and Lady Bercilak were all important factors in making Gawain realize that he is not perfect and that his pride overtakes all aspects in his life. Different characteristics of the women showed how no matter what beauty, magical powers, and obedience they had, they all shared the same goal to influence the men and play a large role in their everyday lives. Without women during the middle ages and also in the present time, society would not be what it is today, because women play very important roles that benefit and influence men.
In Malory’s famous account of the King Arthur legend, the most notable example of woman as destructive sexual temptation is, of course, Queen Guinevere. Sir Lancelot’s affair wi...
In the novel The Once and Future King, by T.H. White, the character, Queen Guenever, is depicted as a confused and lost woman in an arranged marriage. She had an internal struggle with a shameful secret, an affair with the ugly knight, Lancelot. In the time of King Arthur, women were limited to what they could do, and what decisions they were able to make. She ultimately made some wrong choices in her life, which led to the disapproval from those around her. She was in her marriage by force and had no malicious intensions, but did what she felt she needed.
The Arthurian legends of Iwein and Gawain and the Green Knight are two examples of the medieval initiation story: a tale in which a character, usually in puberty or young adulthood, leaves home to seek adventures and, in the process, maturity. Through the course of their adventures, including a meeting with the man of the wilderness, temptations at the hands of women, and a permanent physical or mental wounding, the character grows from adolescent awkwardness and foolishness to the full potential knightly honor. While both Arthurian legends fit this format, the depth of character development, specifically in terms of relationships, is vastly different. Whereas Gawain and the Green Knight does little more with relationships than demonstrate the evils of female temptations, Iwein effectively explores the formation, destruction, and resurrection of numerous male and female relationships.
Anonymous, “Sir Gawain and the Green Knight” in The Norton Anthology of English Literature, eds. Abrams, et al. (New York: Norton, 1993), 200.
...e’s heavenly elevation. In addition, Lancelot literally sacrifices himself for her, when he finds out mistakenly that she has died, he tries to kill him self. Guinevere is portrayed as a divinely creature. Only she had the power to save Lancelot and soothe his agony and pain. Lancelot reaffirming her alleviating power, begs Guinevere to allow him to go to her: “If you grant me permission, my way is clear. But if my scheme does not suit you, then the way is so difficult for me that my entry is impossible." Once she permits him to enter "…Lancelot had every wish ….as he held [Guinevere] in his arms… greatest joy and pleasure,” confirming that his salvation was in her hands.2
However, Camelot dashes this expectation and shows their first interaction to be one filled with disdain caused by Lancelot’s pride and Guinevere’s indignation. Upon their introduction, Lancelot not only steals the attention of her man, he insults Guinevere belittling her agency and placing her in a position of docile, simple minded woman. She responds with quick wit and constructs a plan for his demise. Her ability to control the actions of Arthur’s strongest, most capable men shows her power and favor in the court. Within her own right she has the power to do anything she wants and the mental capability to orchestrate a plan and sway men. In “Then You May Take Me to the Fair” she convinces Arthur’s strongest men to joust against Lancelot by telling them she’s “convinced that splendid Frenchman can easily conquer one and all / And besting all our local henchmen” thereby making them feel inferior and act defensive (Then You May Take Me to the Fair). In this song she wields power that extends past the feminine influence a queen has over the men in her court. She shows intelligence and keen observance skills that shape her into a strong character that does not just easily bend to her carnal whims. The woman she portrays in this song serves as a contrast to the woman
Malory, Sir Thomas. “The Crowning of Arthur.” Literature. Ed. Applebee, Arthur et. al. NY, New
As this mythical poem begins readers are quickly introduced to the pinnacle of this “pyramid of power”, the king and queen. King Arthur and his “full beauteous” wife Queen Guinevere were “set in the midst, placed on the rich dais adorned all about” (Neilson 3). During this time, royal monarchs often hosted large illustrious gatherings in order to display their wealth, prestige and power. This display of rank is evident when the all powerful “King Arthur and the other knights watch approvingly as Sir Gawain advances” to take the place of his cherished king and accept the Green Knights challenge (Swanson 1). Randy Schiff further clarifies the difference between kings and knights in medieval times when he states, “ Displaying his mastery of courtly deference, Gawain in “Sir Gawain and the Green Knight” publicly defines himself through kinship, telling Arthur that he is praiseworthy only “for as much” as Arthur is his “em” (uncle)”(1). In the fourteenth century feudal system the top ranking social class position belong to the king and the queen.
Macleod, Mary, and John W. Hales. The Book of King Arthur and his Noble Knights.
Sir Gawain and The Green Knight is an example of medieval misogyny. Throughout Medieval literature, specifically Arthurian legends like Sir Gawain and the Green Knight, the female characters, Guinevere, the Lady, and Morgan leFay are not portrayed as individuals but social constructs of what a woman should be. Guinevere plays a passive woman, a mere token of Arthur. The Lady is also a tool, but has an added role of temptress and adulteress. Morgan leFay is the ultimate conniving, manipulating, woman. While the three women in this legend have a much more active role than in earlier texts, this role is not a positive one; they are not individuals but are symbols of how men of this time perceive women as passive tokens, adulteresses, and manipulators.
Sir Gawain and the Green Knight. Trans. Brian Stone. The Middle Ages, Volume 1A. Eds. Christopher Baswell and Anne Howland Schotter. The Longman Anthology of British Literature. Fourth ed. Gen.eds David Damrosch, and Kevin J. H. Dettmar. New York: Pearson-Longman, 2010. 222-77. Print.
The Arthurian Legend, an amazing composition of multiple fantasies, love stories and battles. But what does it all lead to? Some die, but some live with complete happiness. In the legend there are too many instances of cruelty and betrayal, but we must look on the bright side, we must look at all of the great endings. In the legend there are so many instances that end in love, happiness, and a loyal relationship. Many such as Gwaine, Uther, and Arthur are great examples of the “ Happily Ever After “ of the Arthurian Legend.