Chretien de Troyes Arthurian works is easily divided in to four works, two based on the Mabinogion stories referenced above (Erec and Enide, Yvain), and two original works, the stories of Cliges and the knight Lancelot. While the Mabinogi stories are difficult to date, de Troyes wrote and published in Twelfth Century France during the height of the age of chivalry.
Erec and Enide is based off of Geraint and Enide, with the title changed, but there are some differences throughout, mostly in how de Troyes uses the story in comparison to his other works. Within this tale one of the most identifiable characteristics is the perfection of the protagonists. Early on in the text, de Troyes tells the reader that “of all the knights that ever were there, never one received such praise [as Erec]; and he was so fair that nowhere in the world need one seek a fairer knight than he” (De Troyes Erec and Enide Vv 67-114). Enide is declared by King Arthur himself as “the most charming and beautiful to be found, as I may say, before you come to where Heaven and earth meet” (De Troyes Erec and Enide Vv 1751-1844). At numerous points do strangers give
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In fact, within all of de Troyes stories there is an element of perfection,
She stays loyal to Erec when most would not, she defied her lord to save his life when most would not, and Enide is brave, caring, loving and loyal. She is everything a knight like Erec needs. With all these qualities, she is able to prove herself worthy of a knight like Erec. Chretien takes all these qualities and demonstrates how a relationship in chivalric romances should be. He did not just use the same damsel in distress scenario as other writers. Chretien turned Enide into something revolutionary, a strong woman in medieval
Froissart’s Chronicles, simply known as the Chroniques, is considered by historians as the one of the important entities that recounts the events which happened during the Hundred Years’ War period. It was an extensive literary work with approximately 1.5 million words in length, written in Middle French prose by Jean Froissart. The Chronicles start by narrating the deposition of King Edward II in year 1326 and covering events from this time onward up to year 1400, hence can be significant in the study of the first part of the Hundred Years’ War. This source is also of vital importance in the study as well as the understanding of the chivalric culture of the 14th century England and French as chivalry and knighthood are the central ideal of
T. H. White's The Once and Future King is one of the most complete and unique portrayals of the immortal legend of King Arthur. Though it has been in print for less than half a century, it has already been declared a classic by many, and is often referred to as the "bible" of Arthurian legend. White recreates the epic saga of King Arthur, from his childhood education and experiences until his very death, in a truly insightful and new way. This is not, however, the first complete novel of Arthur's life. In the fifteenth century, Sir Thomas Malory wrote Morte d'Arthur, the first complete tale of Arthur's life. Since then, a countless number of books have been written on the subject, yet none can compare to The Once and Future King. It has easily become the most popular of all the Arthurian novels as it is loved by both children and adults. Though similar in many ways to other works of the same subject, such as Malory's, White gives new details, meanings, and insightful modernization to the story, giving it an earthy quality, which the reader can identify with. White's rendering of the Arthurian legend differs from the traditional versions in that he includes contemporary knowledge and concepts, adds new stories and characters to the legend, and provides new perspectives by probing deeper into the existing tales.
Just as with Erec, the origin of Enide is widely debated. There are two basic theories of how she came into existence in medieval literature. One theory is that it was Chretien De Troyes who created the characters Erec and Enide, and it was the Welsh that drew off of Chretienís work in order to fabricate their own tales of the two (Owen xvi). This theory may have evolved due to the fact that "Wales contributed very little, or even nothing of importance to the Arthurian legend as it developed in France, and Germany and then in England" (Jones and Jones xxv). Chretien was therefore given the credit because of his extensive writings on the Arthurian legends, and the fact that he was French. However, a more widely accepted theory is that the story of Erec and Enide was derived from the Welsh (Jones xxv). Evidence supporting this theory is that of the "comparative folktale, of proper names and linguistics, and what may be reasonably if tentatively deduced from the methods of literary composition in the Middle Ages" (Jones xxvi). Due to the fact that no one is sure who wrote about Enide first, the task of finding where she first appears in literature is daunting undertaking. Nevertheless, we are able to fill in some of the gaps as to where Enide is mentioned in some texts. Circa 1170, Chretien De Troyes wrote Erec and Enide that can be found in Chretienís collection entitled Arthurian Romances. Erec also appears in The Mabinogion, another collection of Arthurian tales. In this book, Erec, also called Geraint, appears in the tale Geraint son of Erbin. Lord Alfred Tennyson includes Enide in two out of the four Idylls of the King. Both "The Marriage of Geraint" and "Geraint and Enide" were written between 1809 and 1892. Enide also appears in some lesser-known, more modern works. These include two plays: Ernest Rhyís Enid: A Lyric Play (1918) and Donald R. Raweís Geraint: last of the Arthurians (1972), and Marion Lee Reynoldsí poem Geraint of Devon (Lupack).
There is bitter controversy among scholars and theologians alike as to whether of not Merlin was a real historical figure or a product of literary imagination. Much of the earlier poetry attributed to him in Welsh manuscripts, it seems, comes from authentic prophetic verse that Merlin himself spoke. Merlin was first seen in Geoffrey of Monmouthís History of the Kings of Britain written c. 1136. Many people do not accept Geoffreyís words as truth. Many say that Geoffrey wrote Merlinís legendary Prophecy referring to twelfth-century politics of King Henry IIí court. Reality or legend, Merlin is still one of the most prominent and popular characters of Arthurian literature. Merlinís close relationship with King Arthur has led him to appear in a large majority of Arthurís stories.
The Mabinogion is a collection of eleven tales from the Welsh myths, preserved in two manuscripts, the White Book of Rhydderch and Red Book of Hergest. The tales from the Mabinogion are divided into three categories: the first four tales belong to the Four Branches; the next four are the Independent tales; and the last three are called the Three Romances, which show strong association to the French romances written by Chretien de Troyes. Historia Peredur ab Efrawg shares significant material in common with Chretien’s Perceval or Le Conte du Graal; the Welsh romance of Owain, subtitled Chwedl Iarlles Y Fynawn is clearly related to Yvain, Le Chevalier du Lion; and the chwedl (Welsh tale) Geraint ab Erbin follows the plot-line of Chretien’s Erec et Enid perfectly. These similarities immediately call into question the origin, history, and influences of the tales – or so called mabinogionfrage. Through examining the work of Chretien de Troyes and historical and thematic evidence, we will elucidate the relationship between these parallel stories and attempt to explain the mabinogionfrage.
As the Knight begins his tale, which he embarks upon without preamble, we are instantly reminded of the stateliness of the Knight, his overwhelming human dignity and moral world view, which Chaucer described in the general prologue. The Knight is the epitome of a man of the first estate - noble and humble, courageous and gentle, a warrior and a saint. As befits his elevated class, he speaks with elegance and seriousness about the important attitudes and values that any human - and a privileged human in particular - should cherish.
Behind every good man is a strong woman but is that truly the case with Arthur and Guinevere. Over the course thus far, the constantly changing characters and aspects of the stories have been analyzed. Obvious main characters like Arthur are easy to notice change in but what is to be said about Guinevere. In The History of the Kings of Britain by Geoffrey of Monmouth, Guinevere is illustrated as a secondary character with a minimalistic supporting role whereas in The Knight of the Cart by Chretien de Troyes, Guinevere is shown to be a main character. Although the basic details known about Guinevere are maintained throughout the stories up till now, her role grows and reflects upon women in society as well.
Stories of kings and queens have captivated readers for centuries, and arguably, the tales of King Arthur and Guinevere are among the most enchanting. Arthur ruled the kingdom of Camelot, and Guinevere was his queen. But were they real people or fictional characters? The debate has continued for centuries. Though many scholars have found evidence that the legendary Arthur was, at the very least, based on a real person who lived in Britain roughly between 450 and 1[Marker for question 1] 500 CE. They continue to search for the historical identity of Guinevere.
Closely associated to the romance tradition are two idealized standards of behavior, especially for knights: courage and chivalry. The protagonist within many medieval romances proved their worth by going on quests, as many a knights went in those times, thus returning with great tales of their travels and deeds. Many modern people think of chivalry as referring to a man's gallant treatment of women, and although that sense is derived from the medieval chivalric ideal, chivalry could be seen as more than that. Knights were expected to be brave, loyal, and honorable-sent to protect the weak, be noble to...
Historians agree that the man called King Arthur had little or anything at allto do with the picture that we now associate the French poems with. The anecdotal character was mearly a perception of the perfect lord of the High Middle Ages when these sentiments were composed, not the 6th century warlord who effectively managed to keep the Saxons under control.
Thus is Emily, the least often discussed of the four central characters in the Knight's Tale, described upon her first important entrance in the tale, when the knights initially view her in all of her loveliness. This description of Emily fits in with the common criticism that she is more a symbol of the beauty and goodness that chivalric nature desires than an actual character with thoughts, actions and emotions of her own (Donaldson 49). However, although Emily does lack an individual nature and depth of mind, she still has a certain power and dynamic nature about her that is unusual for a woman in the time period during which Chaucer wrote her story (Spearing 43).
In the Middle Ages, when The Canterbury Tales was written, society became captivated by love and the thought of courtly and debonair love was the governing part of all relationships and commanded how love should be conducted. These principles changed literature completely and created a new genre dedicated to brave, valorous knights embarking on noble quests with the intention of some reward, whether that be their life, lover, or any other want. The Canterbury Tales, written in the 14th century by Geoffrey Chaucer, accurately portrays and depicts this type of genre. Containing a collection of stories within the main novel, only one of those stories, entitled “The Wife of Bath’s Tale”, truly outlines the 14th century community beliefs on courtly love.
Geoffrey Chaucer, and English writer and civil servant, began writing his most famous work The Canterbury Tales in 1386 (Chaucer iii). The story is about a group of pilgrims who journey together to Canterbury to seek the shrines of St. Thomas á Becket, Archbishop of Canterbury, who was killed by order of Henry II in 1170 (1). During this pilgrimage, each character is introduced and is given a chance to tell a story to pass the time. In “The Knight’s Tale,” and “The Wife of Bath’s Prologue,” Chaucer represents two very different type of medieval women by representing women who differ in power over men and virtues.
The earliest mentions of Arthur occur in Welsh poetry, previous to any stories the French poets wrote of him. There are no mentions of his name in chronicle literature of the pre-Norman period, though there are brief references to campaigns that he supposedly fought in. As far as his being mentioned in Welsh poetry, this is more evidence of the "real" Arthur and will therefore be discussed late...