Gawain And The Green Knight Quotes

And wonder, dread and war have lingered in that land where loss and love in turn have held the upper hand.

Of all the things that men may heed 'Tis most of love they sing indeed.

Once I discovered Robin Hood and the medieval poem “Sir Gawain and the Green Knight,” I realized that I felt a very deep calling to the Wild forest, the deep forest, the Wood that holds the Deep Mysteries and where the Wild Hunt is run....

Yet though I must lose my life, fear shall never make me change colour.

Now take care, Sir Gawain, Not to shrink from danger. This is quite an ordeal That you have taken on.

Why should I not defy Destinies strong and dear; What can man do but try? (Kirtlan translation)

My God . . . that grinding is a greeting. My arrival is honored with the honing of an axe

Honor is a balancing act and only the heart can strike that balance.

I totally geeked when I discovered (while in college) that Tolkien had a published version of 'Sir Gawain and the Green Knight', so that's my favorite version. I think I have 3 or 4 copies on my bookshelf

At least I’m the one leaving. It’s so much easier to leave than to be left.

The fairy or fantastic world replaces the classical Hades (or Hell) in Sir Orfeo, and Sir Gawain and the Green Knight takes this fantasy element to new heights. Sir Gawain is one of the Knights of the Round Table, the followers of King Arthur, who is so much of a presence in English history, myth and literature.

She shone in beauty upon the shore; Long did my glance on her alight, and the longer I looked I knew her more.

No hill was so tall that it stayed my tread.

Then red fur rips--Reynard out of his pelt is prised.

Well, the old English tale of Sir Gawain and the Green Knight is a famous one.

John Matthews' title, 'Gawain, Knight of the Goddess', was confirmation that I wasn't imagining the many layers of Gawain, the court of King Arthur, and most assuredly Gawain's role as a Protector and Champion of the Mother Goddess

Two literary figures bridge the gap between the mediaeval age and the Renaissance. They are Sir Thomas Malory, the author of Le Morte D'Arthur, and the first 'poet-laureate', John Skelton. In their entirely separate ways, they made distinctive contributions to the history of literature and to the growth of English as a literary language. ........ Le Morte D'Arthur is, in a way, the climax of a tradition of writing, bringing together myth and history, with an emphasis on chivalry as a kind of moral code of honour. The supernatural and fantastic aspects of the story, as in Sir Gawain and the Green Knight, are played down, and the more political aspects, of firm government and virtue, emphasised. It was a book for the times. The Wars of the Roses ended in the same year as Le Morte D'Arthur was published. Its values were to influence a wide readership for many years to come. There is sadness, rather than heroism, in Arthur's final battle.. ...... John Skelton is one of the unjustly neglected figures of literature. His reputation suffered at the hands of one of the earliest critics of poetry, George Puttenham, and he is not easily categorised in terms of historical period, since he falls between clearly identified periods like 'mediaeval' and 'Renaissance'. He does not fit in easily either because of the kinds of poetry he wrote. But he is one of the great experimenters, and one of the funniest poets in English.

... right glad is the grass that grows in the open, when the damp dewdrops are dripping from the leaves, to greet a gay glance of the glistening sun.

The world is an ambitious business. It continuously expands and evolves. But people are lazy and God is far too lovely to do something about it.

... she shone in beauty upon the shore; Long did my glance on her alight, and the longer I looked I knew her more.

... for a man may cover his blemish, but unbind it he cannot, for where once 'tis applied, thence part will it never.

Wake up! You’re a sacred soul and glory is yours for the taking.

I am but dirt and dust in kind, and you a rich and radiant rose...

Marry! Good man, 'tis madness thou askest, and since folly thou hast sought, thou deservest to find it.

Beside the refined, almost Greek, simplicity of Chaucer's poetry, the ornamented verse of the contemporary north-western poet rears like A Hindu temple, exotic and densely fashioned.

There are well known Arthurian figures in the book, and some not so well known. Mabon plays a pivotal role in the tale as the Motherless Child who helps Rhowbyn, the narrator of the tale, to find and reconcile with his missing parent. Th ere is a game of riddles in which Mabon and Rhowbyn engage that is both an homage to Tolkien and a nod of acknowledgement to events from 'The Mabinogion' and specifically the tale of Culwch and Olwen

And [Gawain] constantly enquires of those he encounters / if they know, or not, in this neck of the woods, / of a great green man or a green chapel. / No, they say, never. Never in their lives. / They know of neither a chap nor a chapel / so strange.

As we rode slowly through the battle camp, the sounds and smells of war overwhelmed my senses: horses stamping and sweating in anticipation; men shouting; the steady rhythm of metal grinding on stone; leather snapping and buckling, and woo d crackling in flame. The simmering energy of warriors as they eagerly awaited battle slithered through the camp like an invisible serpent

In the energies of the Green Knight, we have an Elder who comes to the entire court of Arthur to challenge and "open a bridge" to the Otherworld. Here is the Holly King, the Forest Lord, the Green Man. The Green Knight enters Arthur's court at a Yuletide festival and challenges at once both Arthur and his warriors to step forth and take part in the traditional Beheading contest

The Lord and Lady of the Fair Folk sat at our own table, dressed in robes of red and black, their faces painted in patterns with ash and oils. Their eyes were intense, almost searing, and I found myself still unable to hold their gaze for more than a moment. I felt naked within their gaze, but even more so, unwhole. As if there were parts of me missing and only they knew where to find them

I suppose it could be said that indeed all my roads to Arthur have led to my novel, The Green Knight’s Apprentice. I read Malory when I was very young and my first reading left me with very v ivid images that haunt me still: white stags, headless damsels, horns hanging from tree limbs, and giants. Oh yes, I had the usual sword in the stone, lady of the lake, and Holy Grail images, too, I assure you.

In the Medieval poem, we are surrounded by Winter, but I always imagined the Green Chapel and the castle of Lord and Lady Bercilak in all seasons. I was quite convinced (and still am) that Gawain did not return to Camelot immediately after his initiatory encounter with the Green Knight. That's where 'The Green Knight's Apprentice' began, I think, in my imaginings of what Gawain would learn and experience after his initiation was complete

KING ARTHUR: it’s Christmas so anyone who wants to come to my house and absolutely scream at me is entirely welcome to do so GREEN KNIGHT: hi hi hi, merry Christmas, look at my neck! (it’s green) (that’s not all of me that’s green ;) ) come over it’ll be fun let’s cut each other’s heads off with swords or this axe GAWAIN: what GREEN KNIGHT: you can make out with my wife GAWAIN: sorry what GREEN KNIGHT: you can make out with me GAWAIN: what

He felt like a character in a book. He thought of Mary Lennox as she discovered her secret garden. The blackberry bushes had become too thick to ride through and Percy dismounted, leaving Prince beneath the shade of a thick-trunked oak tree. He chose a strong whip of wood and started carving his way through the knotted vines. He was no longer a boy whose legs didn't always do as he wished; he was Sir Gawain on the lookout for the Green Knight, Lord Byron on his way to fight a duel, Beowulf leading an army upon Grendel. So keen was his focus on his swordplay that he didn't realize at first that he'd emerged from the forested area and was standing now on what must have been the top of a gravel driveway. Looming above him was not so much a house as a castle. Two enormous floors, with mammoth rectangular windows along each face and an elaborate stone balustrade of Corinthian columns running around all four sides of its flat roof. He thought at once of Pemberley, and half expected to see Mr. Darcy come striding through the big double doors, riding crop tucked beneath his arm as he jogged down the stone steps that widened in an elegant sweep as they reached the turning circle where he stood.

(Writing about the Green Knight in long poem Sir Gawain and The Green Knight) It seems safe to say, first, that the peom is not an allegory, in any simple sense of the term. Bercilak, as a supernatural creature tempting Gawain to sin, has elememts of a devil, as a genial host who leads Sir Gawain to self-knowledge, he is a friendly guide; and as a green man who dies in winter and is miraculously reborn, he has elements of a fertility deity. But he cannot be flatly equated with any of these figures without falisfyjng the complexity.

John Turner lived at Saltersford Hall, where his father was a tenant farmer. He was born in 1706 and became a packman, or jagger, with a train of four horses. His main occupation was from Chester and Northwich, carrying salt, to Derby, from where he would return with malt. His home in Saltersford was ideally placed on this prehistoric trade route. On Christmas Eve, 1735, (that is, when John was twenty-nine), he was on his way back from Northwich. It was snowing. But packmen were used to being on the road in all weathers and at all hours. They knew the hills better than anyone. They took no risks. Jaggers were essential to their communities and yet at the same time mistrusted. Travel in eighteenth century England was not for ordinary folk. Most people didn’t move more than four miles from their birthplace in their entire lives. Jaggers were looked on as boundary-striders, as Grendel is described in Beowulf, wild men, wodwose, as in Sir Gawain and the Green Knight. They belonged more to the hills than to the valleys. Yet on that Christmas Eve, John Turner did not reach home. The next morning he was found dead, though his team of horses survived, covered by drifts. And by him, on the white, wind-smoothed land, was the single print of a woman’s shoe in the snow.

Sir Gawain and the Green Knight

In fact, the fantasy traditions of medieval Great Britain generally tend to lend the color green to all creatures coming from the otherworld, as is perfectly illustrated by Sir Gawain and the Green Knight, a twelfth-century romance.

Waiting for one’s execution is worse than dying. To seek my beheading is glory. Who went to his execution willingly? Jesus did. Jesus even dragged his cross half way to Golgotha. I think he would have nailed himself to the cross if he had to.

The world eclipses and it’s just her and him. No it’s just her eyes and his soul. Her eyes expose and violate him, she turns him inside out. Then, her eyes drop him like a boring toy.

IT is instructive to note the form Mr. Lewis has chosen for his imaginative Pegasus; the blunt-nosed space-ship of Verne and Wells. It is instructive for two reasons. First, it provides an obvious revelation of his relish for the right recognized masterpieces in the genre from H.G. Wells’ Time Machine to Edgar Rice Burroughs’ Martian series. (Yes, Burroughs, too, literary snobbistes; even if he does not cite by name amid his popular predilections this American Dumas of Tarzana, California, there is a distinct probability, I should say, that the Lord and Lady of Perelandra owe their green color to his Tars Tarkas and Sola rather than to the more academically presentable Gawain and the Green Knight.)

Tolkien THE HOBBIT LEAF BY NIGGLE ON FAIRY-STORIES FARMER GILES OF HAM THE HOMECOMING OF BEORHTNOTH THE LORD OF THE RINGS THE ADVENTURES OF TOM BOMBADIL THE ROAD GOES EVER ON (WITH DONALD SWANN) SMITH OF WOOTTON MAJOR WORKS PUBLISHED POSTHUMOUSLY SIR GAWAIN AND THE GREEN KNIGHT, PEARL AND SIR ORFEO* THE FATHER CHRISTMAS LETTERS THE SILMARILLION* PICTURES BY J.R.R. TOLKIEN* UNFINISHED TALES* THE LETTERS OF J.R.R. TOLKIEN* FINN AND HENGEST MR BLISS THE MONSTERS AND THE CRITICS & OTHER ESSAYS* ROVERANDOM THE CHILDREN OF HÚRIN* THE LEGEND OF SIGURD AND GUDRÚN* THE FALL OF ARTHUR* BEOWULF: A TRANSLATION AND COMMENTARY* THE STORY OF KULLERVO THE LAY OF AOTROU & ITROUN BEREN AND LÚTHIEN* THE FALL OF GONDOLIN* THE NATURE OF MIDDLE-EARTH THE HISTORY OF MIDDLE-EARTH – BY CHRISTOPHER TOLKIEN ​I THE BOOK OF LOST TALES, PART ONE ​II THE BOOK OF LOST TALES, PART TWO ​III THE LAYS OF BELERIAND ​IV THE SHAPING OF MIDDLE-EARTH ​V THE LOST ROAD AND OTHER WRITINGS ​VI THE RETURN OF THE SHADOW ​VII THE TREASON OF ISENGARD VIII THE WAR OF THE RING ​IX SAURON DEFEATED ​X MORGOTH’S RING ​XI THE WAR OF THE JEWELS ​XI THE PEOPLES OF MIDDLE-EARTH

The growing interest in medieval-period reconstruction is vividly legible in the music, cinema listings and television schedules of the late 1960s and early 70s. Besides the BBC Tudor series mentioned earlier – which led to a spin-off cinema version, Henry VIII and his Six Wives, in 1972 – there was Anne of the Thousand Days (1969), centred on Henry’s first wife Anne Boleyn, starring Richard Burton and Geneviève Bujold; the Thomas More biopic A Man for All Seasons (1966); Peter O’Toole as Henry II in Anthony Harvey’s The Lion in Winter (1968); David Hemmings as Alfred the Great (1969); the hysterical convent of Russell’s The Devils (1971); and future singer Murray Head in a melodramatic retelling of Gawain and the Green Knight (1973). In the same period HTV West made a series of often repeated mud-and-guts episodes of Arthur of the Britons (1972–3), and visionary Italian director Pier Paolo Pasolini unveiled his earthy adapations of the Decameron (1970) and The Canterbury Tales (1971). From the time of the English Civil War, Ken Hughes cast Richard Harris in his erratic portrait of Cromwell (1970); and the twenty-three-year-old doomed genius Michael Reeves made his Witchfinder General in 1968, in which the East Anglian farmland becomes a transfigured backdrop to a tale of superstition and violent religious persecution in 1645. Period reconstruction, whether in film, television or music, has been a staple of British culture, innate to a mindset that always finds its identity in the grain of the past.

The University of Leicester recently announced that it would stop teaching Geoffrey Chaucer in favour of modules on race and sexuality. The English department was told that texts like The Canterbury Tales, Mort d’Arthur, Sir Gawain and the Green Knight and Beowulf would no longer be taught and that mediaeval literature would be banned. Viking myths and sagas, the role of the church and the state in literature – all gone. Nothing written before 1500 AD will be taught. Paradise Lost seems likely to disappear though the University of Leicester did agree that teaching on William Shakespeare would remain in place. It seems that Shakespeare isn’t yet quite old enough to be banished.

I’ve always like Medieval literature. As a young girl I read mythologies and Norse legends, that sort of thing. I loved Sir Gawain and the Green Knight. While I was studying at Middle Tennessee State University for doctoral program I came in contact with more ancient literature. I examined older literature more seriously which intrigued and fascinated me very much; I was drawn to it. For the book I used all my own translations of Beowulf from my doctorate. Culture is contained in language, if you study a language you’ll see bits of culture, because the words are different and you see into the lives of the people. The Anglo-Saxon language touched me very deeply. Some of it is the heroic. Some of it is the melancholy. But there is also honor. You uphold, you fight to the death. Even if you watch movies, like Marvel comic book movies, like Thor: you want the great ones to win. Its even better if they have a fault. But you want the heroic character to win.