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The story of King Arthur is widely known, either his beginnings told in The Sword in the Stone or how he led the Knights of the Round Table. While there are many version of his story T. H. White’s written version and Disney’s animated version of The Sword in the Stone are two of the most recognized versions. Most movies have the ability to embody the original intent of the book they were based upon. Disney’s movie version of T. H. White’s rendition of The Sword in the Stone, however, while portraying the correct story, does not truly convey enough elements of White’s version to be effective in telling the original story. The characterization and Merlyn’s ‘lessons’ within the movie inhibit the film from being an effective portrayal of the book.
Disney’s rendition of T. H. White’s novel greatly misrepresents many supporting characters of the story. In the film, Wart’s foster father, Sir Ector, was depicted as completely unsupportive of everything relating to Wart. When Wart returned late from his Fish Lesson with Merlyn and tried to explain himself Sir Ector says: “That’s three demerits for being late, and three more for the fish story. Now hop it to the kitchen” (The Sword in the Stone). Another example of Sir Ector’s disapproval is how fast he was to reassign the duty of Kay’s squire to Hob, removing Wart from that title and putting him further down in the hierarchy of that time as a Page: “You said aplenty, boy! All that popping off just cooked your goose! Kay, from now on, young Hobbes is your squire. Ha! Did you hear that, Wart? Hobbes is going to be Kay's squire, hm-mmm” (The Sword in the Stone). Sir Ector’s quickness to punish Wart for every little thing he does shows how unsupportive he was of Wart. Sir Ector’s characters wa...
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...it to be a king, and the lessons in the film do not convey this fact or give him the chance to prove himself as a worthy King.
Disney’s representation of the Sword in the Stone does not depict the characters or the various lessons in a manner that successfully conveys T. H. White’s book version. Although the movie does hit the major points of Arthur’s beginning of becoming king, the over exaggeration of the characters takes away from those messages and the morals of the original story are important concepts for children to learn. By removing the original morals, the story loses its importance to the intended audience of children.
Works Cited
The Sword in the Stone. Dir. Wolfgang Reitherman. Perf. Rickie Sorensen, Sebastian Cabot, Karl Swenson. Walt Disney Productions, 1963. Film.
White, T. H.. The Sword in the Stone. New York: G.P. Putnam's Sons, 1958. Print.
The Arthurian cycle shows a sporadic awareness of the impossibility of mere humans fulfilling all the ideals that Arthur and his court represent. The story of Lancelot and Guenevere, Merlin's imprisonment by Nimu‘, and numerous other instances testify to the recognition of this tension between the real and the unrealistic.
Thomas Malory’s Le Morte D’arthur, T.H. White ’s Once and Future King, and George Romero’s Knightriders encompass the evolution of the Arthurian tale from Malory’s time to the 1980s. Through this time many things have changed and these changes can be seen within the differences between each work. While there are many prominent differences chivalry or the knightly code is one of the main forces that tie these tales together.
Marie De France’s Lanval is a remarkable short narrative that engages the reader into a world filled with unrealistic elements, but enhances on the true meaning of romance, chivalry and nature during the years that King Arthur reigned. “Sir Gawain and The Green Knight” unfortunately does not have an author that can be recognized but this epic poem demonstrates the ghastly adventure of a knight who decides to defend the honor of young King Arthur against a supernatural being in this malicious game of cat and mouse. Both of these pieces of literature have enchanting characteristics that define them as a masterpiece of their era and that’s why they both are easily compared and contrasted. In addition, both Lanval and “Sir Gawain and The Green Knight” can be classified as similar through their themes, style and plots, although they are different through their language and diction. Even though both of these literatures can be viewed as similar as well as contrasting, in the end, each of these tales have illuminated the realm of fantasy throughout the court of King Arthur.
When referring to archaic writing, it is clear to see the recurring archetypes and symbols throughout plots and situations. Understandably, certain patterns involving such motifs have continued through centuries, resulting in various works based around the same monomythic template with slight variations. All the big movie titles we love, Aladdin, Shrek, even, Sharknado contain more than traces of these archetypal patterns, consisting of a hero, a mentor, a dark figure and so on. Prime examples of this archetypal plot structure, with their own unique adaptations, may be found within the two poetic narratives Beowulf and Sir Gawain and the Green Knight. Aside from their completely disparate backgrounds and morals, both works include and follow the monomythic journey, as perceived by Joseph Campbell in The Hero with a Thousand Faces, as well as in the secondary works of others who have helped to further our understanding of this analytical method. This generalization, however, is shifted when one dissects further into these two pieces of literature. As in the majority of monomythic quest narratives, the protagonist often practices and displays the characteristics of courage, loyalty, humility
In literature, fictional stories can teach characters important lessons needed for their future. The Once and Future King, by T.H. White, tells the story of how the main character, Arthur, reaches his full potential of protecting and supporting his country. All of the knowledge Arthur learns in his youth is key in developing his skills and intellect. In the story Arthur has several unique learning experiences presented by his magical tutor, Merlyn. Learning from Merlyn’s lessons allows Arthur to lose the innocence of childhood and evolve into a wise and powerful king.
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.
King Arthur’s story about how he pulled the sword out of the stone has changed over time because the people telling the story make changes to it to satisfy the reader. Arthurian legends are much different now, than when they were told earlier in time. Many stories told earlier in time are not told today, but the ones that are told today are much different than the original. Earlier in time there was more religion involved and would have more blood and gore, but because the audience has changed, the story has changed as well.
...h century or today, is human and subject to failings, as well. Gawain learned his lesson from the Green Knight and communicated it to Arthur's court. I believe that the author hopes that his audience will take the message to heart, as well.
“Sir Gawain and the Green knight” is a romantic Middle English poem written in the fourteenth century by an unknown author. This poem is a fairy-tale like story that gives its readers a glimpse into the social class system of Medieval England. This literary work opens with the famous King Arthur, a local bishop, and King Arthur’s knights enjoying a royal feast at Camelot during the Christmas season. This poem provides an accurate depiction of the feudal system of the middle ages. Within this tale are individuals representing the “pyramid of power” that symbolizes the social class system of Medieval England. This top of the pyramid group consists of royalty, clergy and noble knights.
Sir Gawain is, undoubtably, the most varied of the Arthurian characters: from his first minor appearance as Gwalchmei in the Welsh tales to his usually side-line participation in the modern retelling of the tales, no other character has gone from such exalted heights (being regarded as a paragon of virtue) to such dismal depths (being reduced to a borderline rapist, murderer, and uncouth bore), as he. This degree of metamorphosis in character, however, has allowed for a staggering number of different approaches and studies in Gawain.
If children or adults think of the great classical fairy tales today, be it Snow White, Sleeping Beauty, or Cinderella, they will think Walt Disney. Their first and perhaps lasting impression of these tales and others will have emanated from Disney film, book, or artefacts (Zipes 72)
to dominate over and control his kingdom/state, it was obviously not meant for lesser mortals. It
The poem’s intricately balanced structure challenges the reader to seek out a resolution coherent with his or her own ethics. An admirable knight of King Arthur's renowned court, Sir Gawain is directed by a complex set of ethos, a collaboration of principles symbolized by the mystical pentangle. A five-pointed star composed of five interlocking lines; the figure represents a multitude of guiding tenets, representing both religious and knightly ideals. One can recognize that “the pentangle cognizance is explicated by the poet to signal Gawain’s complete Christian perfection, and for the reader to be aware of contemporary concerns about magical protective practices, hinting at human frailty” (Hardman 251).
It’s no brain teaser that classic fairy tales are dark, grim and violent. They are filled with situations that leave your mind blown or saying to yourself “That’s insane!” Children have a hard time distinguishing the line between the real world and make believe. In the fairy tale “Ashputtle”, the stepmother orders her daughter to cut of her own toes so the gold slipper would fit and she would become queen. This is where the line can become very fuzzy for some children. A few children might comprehend this as an example of problem solving. “Oh, my shoe does not fit anymore. I’m going to cut off my big toe because I love my limited edition light up shoes and I don’t want new ones.” I can see why Disney did not put that into the movie, I would not want to be the cause of children around...
Over the years, fairytales have been distorted in order to make them more family friendly. Once these changes occur, the moral and purpose of the stories begin to disappear. The tales featured in the many Disney movies - beloved by so many - have much more malignant and meaningful origins that often served to scare children into obeying their parents or learning valuable life lessons.