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King arthur literary analysis
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The world of Arthurian literature is filled with magic and adventure that enchants readers of all ages. T.H. White has done a fantastic job of turning the childhood adventures of Arthur by turning his narrative into spellbinding, cartoon like interpretation of the sword in the stone legend. Moral values are apparent from the beginning of White’s novel. White has cleverly connected all the educational adventures of Arthur, along with the people and animals encountered to the pulling the sword out of the stone. This marvelous amalgamation of key elements not only ties the loose ends of Arthur’s adventures together, they also solidify the reasoning behind Arthurs’ predetermined path to becoming the king of England.
Arthur’s world as a child growing up in White’s novel is centered in Sir Ector’s castle and the surrounding areas. Sir Ectors’ castle is the location where Merlyn finds a home from which to educate Arthur, with Kay part taking in Merlyn’s educating and adventures on a part time basis. Merlyn and his teaching are the focal point of White’s story that eventually leads to the pulling of the sword out of the stone, and the crowning of Arthur.
The opening chapters of The Sword in the Stone novel introduce Arthur, Kay, Sir Ector, King Pellinore and Merlyn. These characters are the foundation characters of the book. Merlyn’s role in the story is the most important. It entails educating Arthur so that he may become a legendary King of England. Throughout the Sword in the Stone story Arthur goes upon many a quest that will educate him about the world. Although Merlyn is Arthurs educator Merlyn never forces Arthur to go on any of the quests or take part in lessons. Arthur is always the one who comes to Merlyn seeking adventure,...
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“Some of them had come from the banners in the church, where they were painted in heraldry. Some from the waters and the sky and the fields about, but all, down to the smallest shrew mouse, had come to help on account of love. Wart felt his power grow.” (White, 292.)
Whites version of the sword in the stone legend although altered through the introduction of animal, god like, and fairy tale characters still engulfs the reader into the telling’s of the Arthurian world. The Sword in the Stone is enjoyable to readers of all ages through its enchantment of the telling of a young King Arthur. White cleverly connects all the adventures of Arthur throughout his book to give a cartoon like visual that tie all the loose ends together for the reader.
Works Cited
White , T.H. The Sword in the Stone . Glasgow : HarperCollins Manufacturing , 1971. Print.
King Arthur, a courageous man, who was able to pull out a sword from a rock as simple as possible. As for everyone else who tired, it was almost impossible. This was just the beginning stage of Arthur becoming a king. The thing that Merlin didn’...
Who was King Arthur? Most people would tell of a great King; a devoted circle of heroic knights; mighty castles and mightier deeds; a time of chivalry and courtly love; of Lancelot and Guinevere; of triumph and death. Historians and archaeologists, especially Leslie Alcock, point to shadowy evidence of a man who is not a king, but a commander of an army, who lived during the late fifth to early sixth century who may perhaps be the basis for Arthur. By looking at the context in which the stories of King Arthur survived, and the evidence pertaining to his castle Camelot and the Battle of Badon Hill, we can begin to see that Arthur is probably not a king as the legend holds.
The narrative artistry of Sir Gawain and The Green Knight can be attributed to the fundamental elements of chivalric life and the exploration of classic mythological elements that allows the narrative to bridge the gap between Christianity and Paganism, and allow its readers to find their own spiritual interpretation with in the text.
Because this book takes place mostly in the Forest Sauvage and in the surrounding areas, Merlyn has ample opportunity to provide Arthur with numerous out of body adventures, all of which help him prepare for the life he is destined to live. The first adventure that Merlyn provides Arthur occurs on the grounds of the castle. Merlyn turns Arthur into a fish, specifically a perch. Both Merlyn and Arthur go swimming in the moat of the castle. While in the moat, Merlyn introduces Arthur to Mr. P, the King of the Moat. When Arthur swims up to Mr. P, he sees “… a face which had been ravaged by all the passions of an absolute monarch - by cruelty, sorrow, age, pride, selfishness, loneliness and thoughts too strong for
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.
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.
Dissimilar to King Arthur’s opulent and boyish description, the Green Knight appears earthly, like an overgrown lumberjack in a debutante ball. His very entrance to the narrative aims to shatter Camelot’s superficial relationship with earthly trials. While Arthur seeks pleasure in hearing tales “of some fair feat” (92), the Green Knight undermines all formality known to be chivalrous challenging the king to a life risking game. With a “broad neck to buttocks” (137), (opposed to Arthur’s’ court depicted in the ever regal color red,) the Knight is clothed in green, the color of nature. He appears with no armor other then his faith, merely a utilitarian woodsman’s ax. While Green Knight is described like an animal who is said to have “wagged his beard” (306) yet understands the cyclical nature of life and truth of mans futility, it is only after Sir Gawain proclaims his lack of strength (though he says it at that point as a matter of chivalry) that he is able to ...
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.
The Court of King Arthur in the Tales of Lanval and Sir Gawain the Green Knight
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.
5. Howe, Helen, and Robert T. Howe. From the Ancient and Medieval Worlds. N.p.: Longman, 1992. Print.
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.
Kleiner, Fred, Gardner's Art through the Ages: A Global History, Fourteenth Edition The Middle Ages, Book B (Boston: Wadsworth, 2013), 348.
“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 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.