Although it was not uncommon for authors of Chaucer's time to incorporate Roman and Greek mythology, I was surprised to find such a stark allusion to the Greek classic Antigone. The Knight's character Creon is not only guilty of the same crimes as Sophocles', but Chaucer also briefly addresses a similar issue: that there moral laws ultimately more binding than the rule of man. In arguing who has a "right" to the Emelye's love, Palamon reminds his cousin Arcite of the unspoken contract he is bound to as a cousin. Arcite's defends his claim to Emelye as a right of love, which is of higher law than the rules to which Palamon alludes. It seems this was a political issue which still perplexed society at Chaucer's time.
I was also surprised by the petty story line of Part 1, which culminated in a sort of "the grass is always greener" tale. As far as things that are shockingly stupid go, it seems a bit absurd that the two cousins would determine their luck based on "love" for a woman they've never even met--in fact, they can't even decide if she's a goddess or the real deal.
Chaucer's lengthy description of Emelye is reminiscent of Sir Gawain's flowery language. Although Chaucer briefly describes the beauty of the sunrise and the garden in which Emelye paces, her "yellow hair...a yard long" and the grace with which she "gathers flowers, mixed white and red,/ To man an intricate garden for her head" certainly steals the show (lines 1049, 1054). Emelye's description almost tricks the reader into believing the cousins' infatuation isn't so ridiculous after all.
Monday, January 28, 2013
Wednesday, January 23, 2013
Blog #4: A Motley Crew
Before I highlight pilgrims individually, it's interesting to consider the motley crew they ultimately compose: a proper prioress rides alongside a shipman who "of nyce conscience took he no keep"(line 398). The diversity within this group certainly speaks to the influence of Thomas a Beckett and the mission to Canterbury.
The Summoner's portrait, striking and fearsome, was among the most memorable of the characters. His gruesome physical description and supposed drunken tendencies present him as quite an unpleasant companion. Further, the fact that his willingness to allow "a good felaw to have his concubyn"is apparently his best quality leaves plenty of room for personal improvement. A bearer of bad news by profession, it is also interesting that he rides along with his friend, the Pardoner.
The Pardoner serves as an ultimate foil to the Summoner. The description of his yellow hair and clear skin provide physical contrast, and his ability to sing beautifully compares with the Summoner's drunken Latin outcries. However, despite all these qualities, the narrator seems to hold the Pardoner in lower esteem than the brutish Summoner, ultimately concluding him to be a "a geldyng or a mare" (line 691). I'd like to know if the tales told by these characters show any insight towards the narrator's final opinion on them.
The Doctor of Medicine's emphasis on natural science rather than theology is noteworthy considering the purpose of the group's journey. However, his portrait is still painted as thoroughly admirable: he is friendly, brilliant, and a "verray, parfit praktisour" (line 422). The fact that he is not particularly knowledgable in scripture seems to be of little importance to Chaucer, who mentions it only in passing towards the end of the Doctor's portrait. This seems to be true for most of the portraits. Despite the fact that this journey is a religious pilgrimage, Chaucer is most interested in the individual character rather than one's religious devotion.
On that note, the host actually strikes me as the most interesting character. For him, the draw of the trip is not the destination, but the company he will share the journey with. His purpose in riding with the pilgrims is simply to hear what they have to say and judge who told it best. Further, he's quite transparent about his interest in the company and not the religious appeal of Canterbury. This provides an interesting foil to characters like the Friar, who lives an apparently religious lifestyle despite secretly sinful tendencies.
The Summoner's portrait, striking and fearsome, was among the most memorable of the characters. His gruesome physical description and supposed drunken tendencies present him as quite an unpleasant companion. Further, the fact that his willingness to allow "a good felaw to have his concubyn"is apparently his best quality leaves plenty of room for personal improvement. A bearer of bad news by profession, it is also interesting that he rides along with his friend, the Pardoner.
The Pardoner serves as an ultimate foil to the Summoner. The description of his yellow hair and clear skin provide physical contrast, and his ability to sing beautifully compares with the Summoner's drunken Latin outcries. However, despite all these qualities, the narrator seems to hold the Pardoner in lower esteem than the brutish Summoner, ultimately concluding him to be a "a geldyng or a mare" (line 691). I'd like to know if the tales told by these characters show any insight towards the narrator's final opinion on them.
The Doctor of Medicine's emphasis on natural science rather than theology is noteworthy considering the purpose of the group's journey. However, his portrait is still painted as thoroughly admirable: he is friendly, brilliant, and a "verray, parfit praktisour" (line 422). The fact that he is not particularly knowledgable in scripture seems to be of little importance to Chaucer, who mentions it only in passing towards the end of the Doctor's portrait. This seems to be true for most of the portraits. Despite the fact that this journey is a religious pilgrimage, Chaucer is most interested in the individual character rather than one's religious devotion.
On that note, the host actually strikes me as the most interesting character. For him, the draw of the trip is not the destination, but the company he will share the journey with. His purpose in riding with the pilgrims is simply to hear what they have to say and judge who told it best. Further, he's quite transparent about his interest in the company and not the religious appeal of Canterbury. This provides an interesting foil to characters like the Friar, who lives an apparently religious lifestyle despite secretly sinful tendencies.
Wednesday, January 16, 2013
Sir Gawain and the Lady
So often knights are depicted as iron-clad heroes in battle, men fighting for the honor and glory of their lord and kingdom. Fitt 3 of Sir Gawain and the Green Knight offers a different, softer perspective of the knight. Rather than focusing on the glory of knighthood, the Lady serves to highlight the chivalry that was also characteristic to knighthood. The Lady seeks not Gaiwain's protection, but rather compassion. For the Lady, "knights have ventured their lives for true love,/ Suffered for their love-longings dismal times" (199). Romance and courting takes precedence in the kingdom as Gawain prepares for his final journey.
The contrast of the Lord's hunt serves to emphasis this quality in Gawain. While the men of the kingdom spend their day valiantly hunting deer and ferocious boar--a creature which, notably, maintains an invincible character comparable to the Green Knight--Gawain remains in the company of the ladies. Further, Gawain is praised not for his bravery, but most often his courtesy and charm within the walls of the kingdom. Thus, Gawain's time spent in the kingdom serves as a foil to his ultimate mission. It is a time for Gawain to exercise his chivalric duties of knighthood before facing the challenge of the Green Knight.
The contrast of the Lord's hunt serves to emphasis this quality in Gawain. While the men of the kingdom spend their day valiantly hunting deer and ferocious boar--a creature which, notably, maintains an invincible character comparable to the Green Knight--Gawain remains in the company of the ladies. Further, Gawain is praised not for his bravery, but most often his courtesy and charm within the walls of the kingdom. Thus, Gawain's time spent in the kingdom serves as a foil to his ultimate mission. It is a time for Gawain to exercise his chivalric duties of knighthood before facing the challenge of the Green Knight.
Monday, January 14, 2013
Sir Gawain: All Good Things
In class Thursday, a brief discussion highlighted the influence of Norman conquest on the English Language. I first found the distinction between "British" and "English," highlighted on the first page of the introduction very interesting, and also imperative in understanding the development of what we today understand as the English language. Further, I was intrigued by the details surrounding the birth of feudalism in England following the Norman Conquest. It was surprising to me that many of the characteristics associated with early English royalty were in fact a product of Norman influence. William the Conquerer's "Domesday Book" ultimately led to the feudal system that would define the English middle ages. Further, the development of record-keeping would eventually lead to the birth of the guild system; these merchant guilds facilitated the urbanization and class growth in England. It seems the Normans do not receive due credit for the influence their early innovations had on the societal growth of England.
In the first scenes of Gawain and the Green Night, King Arthur and his nights are enjoying the festivities of Christmas and New Years: "Everywhere resounded in chambers and halls/ Among lords and ladies, whatever pleased them most" (162). This scene of carefree jubilee provides a contrast for the eery entrance of the Green Knight, described as handsome yet fearfully "giant" and tinged an emerald green. This intruder not only interrupts the happy-go-lucky attitude of Camelot, but perhaps seeks to put a permanent end to this state through an absurd challenge. Ironically, the joy of the opening pages ultimately serves as a sort of omen: a reminder that all good things must come to an end.
The BABL introduction addressed the tendency of early English writers to call on familiar mythology spanning cultures and regions in their own literature. This is certainly so in Sir Gawain. The references to Troy and Romulus amongst England's own Brutus provided an interesting introduction to the story. Notably, each kingdom referenced in the first stanza faced "turns/ And often joy and turmoil/ Have alternated since" (161). The theme of jubilee followed by sorrow in kingdoms is again visited, this time citing common history and mythology.
In the first scenes of Gawain and the Green Night, King Arthur and his nights are enjoying the festivities of Christmas and New Years: "Everywhere resounded in chambers and halls/ Among lords and ladies, whatever pleased them most" (162). This scene of carefree jubilee provides a contrast for the eery entrance of the Green Knight, described as handsome yet fearfully "giant" and tinged an emerald green. This intruder not only interrupts the happy-go-lucky attitude of Camelot, but perhaps seeks to put a permanent end to this state through an absurd challenge. Ironically, the joy of the opening pages ultimately serves as a sort of omen: a reminder that all good things must come to an end.
The BABL introduction addressed the tendency of early English writers to call on familiar mythology spanning cultures and regions in their own literature. This is certainly so in Sir Gawain. The references to Troy and Romulus amongst England's own Brutus provided an interesting introduction to the story. Notably, each kingdom referenced in the first stanza faced "turns/ And often joy and turmoil/ Have alternated since" (161). The theme of jubilee followed by sorrow in kingdoms is again visited, this time citing common history and mythology.
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