...The Big Three (Three Primary Elements of Chivalry) The first thing that often comes to a person’s head when they hear medieval times is knights. They think of all of the bright shiny armour with the big swords and all of those tags that go along with it. That is really all that they think of when they think of a knight though, they think battle and bright and shiny armour. What people generally don’t perceive is what it took the knight to become a knight. Along with that they don’t realize what really even makes the knight a knight other than the fact that he has to go to battle and fight. In the stories Sir Gawain and the Green Knight translated by Marie Borroff and Morte D’Arthur by Sir Thomas Malory, they go a little deeper into what it actually means to be a knight. They begin to point out the things that actually classify one as a knight. There are three primary elements that classify a knight: courage, loyalty, and honor....
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...Of the many concepts that are prevalent in the study of the Middle Ages, few of them are as fluid and abstract as the idea of Chivalry. Chivalry is a concept that shows its head in many different pieces of literature from the time period as well as in the actions of many of the era's most prominent individuals. Knights, kings, soldiers, nobles, and more all followed the ideals of chivalry to one extent or another. The problem with examining their actions, however, lies in the fact that people within each of these groups interpreted chivalry differently. Whereas one person may view the act of war as chivalrous, others may look towards maintaining their estates and income as more important to their chivalrous valor. This makes simply defining...
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...Green Chivalry During the Renaissance period, many prestigious virtues were important parts of culture and life. Lords and knights were expected to display numerous traits such as courtly love, chivalry, and piety. The knights were expected to follow a certain code at all times. Throughout Sir Gawain and the Green Knight, Sir Gawain displays many chivalrous acts; however, he has to overcome his fears to remain a chivalrous knight. One example of chivalry in the poem is when Gawain makes an engagement with the Green Knight that he will chop off the Green Knight’s head. Gawain agreed to return in a year to allow the Green Knight to return his blow. Gawain’s chivalry is clear when he returns to receive his end of the contract with the Green Knight. This is clear as Tolkien translates, “‘On my word, sir, I welcome thee with a will to my place, / and thou hast timed thy travels as trusty man should, / and...
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...Ms. Cannon English 4 Honors 11 October 2015 Chivalry and is it Dead? Chivalry has been around for centuries. It has been respected and disgraced countless times. There will always be those who shame the very idea of it, but as long as there is one who displays its virtues, it will remain an active behavior. During the medieval period chivalry was something to follow as a code of conduct for knights. It was required by them and it meant courage in all forms. One rule that has stood out the most and has persisted through the years is how to treat a lady. The Knight in “The Wife of Bath’s Tale” blatantly dishonors chivalry by rapoing a young girl and after recieving the chance to correct his wrong doing, complains of its outcome, but after respecting his ugly but wise wife’s intuition, he is rewarded with a young, intelligent, beautiful, and loyal wife due to him giving her the freedom of choosing for him. The extensively Knight was on a heinous walk and finds himself facing an evil opportunity. A young girl is minding her own affairs and Knight takes the moment to seize and fornicate her by force. It’s boldly stated, “He saw a maiden walking all forlorn ahead of him, alone as she was born. And of that maiden, spite of all she said, by very force he took her maidenhead.” (61-64) marking the Knight as a vicious and depraved individual amongst far more deserving men of knighthood. This defilement sets the mood towards the Knight as a hateful one in which it is surprising to see...
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...Codes – ethical, honor (discipline), moral, and religious laws • Concern for order • STRUCTURE – defines their purpose in life (gives them a strong sense of purpose), as well as clarifying their responsibilities – to live a virtuous life? • Set of rules which everyone/all needed to follow; there was a moral obligation to serve the “lord” in faith and/or valor (courage/bravery) • Follow a chain of command; respect for authority (Abbott and King of the court) • Establishes commitment within a community (religious or court/chivalric code) to bring unity • ? powers used to tempt or destroy o The Green Knight – the beheading game; Lady Bertilak at the castle (3 temptations/seductions); the green girdle o Rule of St. Benedict (Prologue lines 17?)...
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...in Middle English literature. One of characters in this stories that impressed many people who read this stories is the Knight. From all characters in Canterbury Tales knight is the noblest of all of them. In “General Prologue: The Knight through the Man of Law” the author asserts that “the Knight is the noblest of the pilgrims, embodying military prowess, loyalty, honor, generosity, and good manners“(Classiclit.about). The Knight conducts himself in a polite and mild fashion, never saying an unkind word about anyone. Knight is motivated by pride and glory, he is brave and noble and he is not afraid of a challenge. In the the cantrebury tale: the knight's tale the author asserts that “ Chivalry is a big deal in "The Knight's Tale." Chivalry was a system of rituals, duties, and behaviors a knight was supposed to follow if he wished to behave with honor (Shmoop). In the tale the knight is presented as the chacarcter who brings glory and he is real example of how perfect knight sholud be. However the knight is described in terms of his commendable feats and his moderate dress and countenance, he possess moral values such as in first place honour, curtesie and fredom. The knight is described as the noble warrior who is always ready and prepared to serve to his lord, and with this serving to lord he traveled a lot and he was traveling very fast. His moral codes war presented in the battle also where he never dared to show and kind of rudeness and behave in any kind of behavior that...
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...green knight is a story about knighthood, it does not celebrate nights in the same ways other stories do. Gawain may be a knight other the round table who embodies knightly virtue, but eh ultimately fais to be an ideal knight because of the conflicting messages of the chivalry code and christrian doctrine. The question then becomes, why did the Gawain poet choose to portray gawain as a failed knight, instead of an idea one? To understand the situation better, it is best to outline the chilvalric code: A knight must always serve the king in valor, live for honor and glory, remain faithful to god, refrain from offending people, obey those above him, speak the truth. These are the major components that...
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...“By portraying the perfect, Arthurian literature exposes the contemporary imperfect.” In the light of this statement, explore the ways in which Malory, Tennyson and Monty Python present chivalry. Chivalry is the preconceived moral code by which medieval knights would behave. As the 18th century critic Richard Hurd acknowledges, chivalric knights would demonstrate ‘their romantic ideas of justice; their passion for adventures; their eagerness to run succour of the distressed and the pride they took in redressing wrongs and removing grievances’. Throughout the works of Sir Thomas Malory, Alfred Lord Tennyson and Monty Python, this definition of chivalry remains constant, although with a particular focus on the tropes of physical prowess, superhuman endurance in combat and dutiful respect of ladies. However, as Leigh Hunt remarked of Tennyson’s Idylls of the King, the poem ‘treats the modes and feelings of one generation in the style of another’. I would argue that, in fact, this applies directly to all three writers. Malory presents the reader with an earthy, realistic, yet anachronistic representation to demonstrate the worth of such ideals in a country wrought with decline and chaos during the Wars of the Roses. Tennyson idealizes this knightly conduct: this glamorization of chivalry functions as a model which, for Tennyson, reflects the applauded propriety of Prince Albert and other Victorian gentry. Monty Python, in tune with the 1960/70s synonymous with the radical...
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...classical hero and medieval hero will be the focus of this essay. Three great heroes from the early classic to medieval periods are Beowulf, Achilles, and Sir Gawain. The paper will look at the similarities and differences of literary heroes in order to discover how heroes changed over time. Beowulf and Sir Gawain are romantic heroes full of bravery, loyalty, humility, courage, and virtue. Beowulf and Sir Gawain were both involved in battles of great magnitude and admired for their super human strength. Both of them battle with the intent to bring honor to the King: Sir Gawain to honor King Arthur and Beowulf to honor Hrothgar. The battles they fight are against good and evil, “Grendel is a shepherd of evil” and the Green Knight represents pre- Christian tribal paganism. The custom of the time period was to keep their word and honor the one who helped them rise to knighthood. Beowulf kept his word as seen in the poem as he returns from the adventures and presents all his gifts to Hygelac as a sign of loyalty (line 2145). Sir Gawain keeps his word with Lord Bertilak, by agreeing to exchange their winnings at the end of each day (Sir Gawain 1105-1113). Beowulf and Sir Gawain differ as heroes in several ways. First, Sir Gawain is an Arthurian Hero and as such holds to a Christian faith while Beowulf holds to the pagan history of Britain. Sir Gawain draws strength from his devotion to Christ and the five social graces of generosity, brotherly love, chastity, courtesie, and piety...
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...and aspects in the movie The Chronicles of Narnia; The Lion, The Witch and The Wardrobe. The movie emphasizes important elements of the Middle age. It is about the four Pevensie children, Peter, Suzy, Edmund and Lucy who entered the magic land of Narnia and with the help of Aslan, the Lion, fought the Wicked White Witch Judas. Thus they gave freedom to the other animals and restored peace and harmony in Cair Paravel and Narnia. The film captures brilliantly these moments and transmits them to the public. One of the main focuses of the film was the religious belief ‘Christianity’. The movie responds to the quasi- spiritual Christian beliefs and truths of good versus bad, highlighting the defeat of the Witch and her death. Secondly, it shows how the younger brother Edmund fell in the trap of the White Witch due to his “gluttony” of the Turkish delights and betrayed his brother and sisters. Last but not the least; the movie stresses another important aspect of medieval age “knighthood”. Peter fought with the Witch and the latter’s army, overcoming his fears and was crowned as the King of Narnia, The Magnificent. Introduction The term “Medieval” comes from the Latin meaning “middle age.” The dominant religious, political and cultural force at that time was the Christian church. It laid...
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...for a natural and universal phenomenon and even brings a laxity of enquiring into its origins. However, it is difficult of not impossible to show love to be anything more than an artistic phenomenon or construct- a literary per formative innovation of Middle Ages. Courtly love was a medieval European formation of nobly, and politely expressing love and admiration. Courtly love was secret and between members of the nobility. (Simpson). The term "courtly love" was first popularized by Gaston Paris in 1883. It has since come under a wide variety of definitions and uses, even being brushed off as nineteenth-century romantic fiction. Its understanding, beginning, and weight persist as an issue of significant question. Origin of the term ‘courtly love’ The term courtly love was given its original definition by Gaston Paris in 1883 in the journal Romania in the article "Études sur les romans de la Table Ronde: Lancelot du Lac, II: Le conte de la charrette" a treatise inspecting Chretien de Troyes's Lancelot, the Knight of the Cart (1177). The term courtly was derived from the term ‘amour courtis’ which according to Paris was an admiration and an ennobling discipline. The lover accepts the autonomy of his mistress and tries to make himself worthy of her attention by trying to act bravely and doing whatever deed she desires. In order to prove to her his passion and his unwavering commitment and, he subjects himself to a series of tests and ordeals that she desires to put him. Paris...
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...barnyard, town); the appearance of leasure desperate courage in defeat, class and an audience of women rigorous adherence to the tribal code; new type of secular entertainment: major theme: agony of the lordless man, code continued but became chivalric social alienation, noble and heroic deeds; agony of alienation, physical hardships for audience: almost exclusively male;lords and the sovereign lady thanes - no mention of lower classes, strong courtly flavour, …So they duly arrived The sumptuous bed on which she lay in their grim war-graith and gear at the hall, Was beautiful. The drapes and tassel, and, weary from the sea, stacked wide shields Sheets and pillows worth a castle. of the toughest hardwood against the wall, The single gown she wore was sheer … And made her shapely form appear. … And the troops themselves She’d thrown, in order to keep warm, were as good as their weapons. Then a proud warrior An ermine stole over her arm, questioned the men concerning their origins: White fur with the lining dyed „Where do you come from, carrying these Alexandrian purple. But her side, Decorated shields and shirts of mail, Her face, her neck, her bosom These cheek-hinged helmets and javelins? Showed whiter than the hawthorn blossom. I am Hrithgar’s herald and an officer. The knight moved towards the bed’s head. I have never seen so impressive or large She asked him to sit down and...
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...Gildas, Nennius and the Annales Cambriae. Arthur's name also occurs in early poetic sources such as Y Gododdin.[3] The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain).[4] However, some Welsh and Breton tales and poems relating the story of Arthur date earlier than this work; these are usually termed "pre-Galfridian" texts (from the Latin form of Geoffrey, Galfridus). In these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies, or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn.[5] How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there was no one canonical version until Malory's Le Morte d'Arthur was published in 1485, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated...
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...книг выложен группой vk.com/create_your_english The Project Gutenberg EBook of Ivanhoe, by Walter Scott This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Ivanhoe A Romance Author: Walter Scott Release Date: June 25, 2008 [EBook #82] Last Updated: November 6, 2012 Language: English *** START OF THIS PROJECT GUTENBERG EBOOK IVANHOE *** Produced by John P. Roberts, Jr. and David Widger IVANHOE книг выложен группой vk.com/create_your_english A ROMANCE книг выложен группой vk.com/create_your_english By Sir Walter Scott Now fitted the halter, now traversed the cart, And often took leave,—but seemed loath to depart! 1 —Prior. CONTENTS INTRODUCTION TO IVANHOE. DEDICATORY EPISTLE IVANHOE. CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI CHAPTER XXXII. CHAPTER XXXIII CHAPTER XXXIV CHAPTER XXXV CHAPTER XXXVI CHAPTER XXXVII CHAPTER XXXVIII CHAPTER XXXIX CHAPTER XL CHAPTER XLI ...
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...MEDIEVAL WEAPONS Other Titles in ABC-CLIO’s WEAPONS AND WARFARE SERIES Aircraft Carriers, Paul E. Fontenoy Ancient Weapons, James T. Chambers Artillery, Jeff Kinard Ballistic Missiles, Kev Darling Battleships, Stanley Sandler Cruisers and Battle Cruisers, Eric W. Osborne Destroyers, Eric W. Osborne Helicopters, Stanley S. McGowen Machine Guns, James H. Willbanks Military Aircraft in the Jet Age, Justin D. Murphy Military Aircraft, 1919–1945, Justin D. Murphy Military Aircraft, Origins to 1918, Justin D. Murphy Pistols, Jeff Kinard Rifles, David Westwood Submarines, Paul E. Fontenoy Tanks, Spencer C. Tucker MEDIEVAL WEAPONS AN ILLUSTRATED HISTORY OF THEIR IMPACT Kelly DeVries Robert D. Smith Santa Barbara, California • Denver, Colorado • Oxford, England Copyright 2007 by ABC-CLIO, Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except for the inclusion of brief quotations in a review, without prior permission in writing from the publishers. Library of Congress Cataloging-in-Publication Data DeVries, Kelly, 1956– Medieval weapons : an illustrated history of their impact / Kelly DeVries and Robert D. Smith. p. cm. — (Weapons and warfare series) Includes bibliographical references and index. ISBN-10: 1-85109-526-8 (hard copy : alk. paper) ISBN-10: 1-85109-531-4...
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