• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Adultery in “Sir Gawain and the Green Knight”

“For the lips of a strange woman drop as an honeycomb, and her mouth is smoother than oil; But her end is bitter as wormwood, sharp as a two-edged sword. Her feet go down to death; her steps take hold on hell” (Proverbs 5:35).

“Sir Gawain and the Green Knight.” Wikimedia Commons, late 14th century, https://commons.wikimedia.org/wiki/File: Gawain_and_the_Green_Knight.jpg.

It is much more obvious how the lens of adultery can be concretely applied to Sir Gawain and the Green Knight than it is with Lanval. The relationship between Sir Gawain and Bertilak’s wife, while never resulting in intercourse, can still be considered adulterous because there is a physical aspect to it. Furthermore, since Bertilak knows about and even orchestrates his wife’s relationship with Sir Gawain, Bertilak himself would have been subject to punishment under medieval law; husbands who condoned their wives’ extramarital relations could be punished as pimps under both civil and religious laws (Bullough 11).  

Bertilak’s wife is flirtatious and very upfront about her attraction to Sir Gawain. She clearly states her intentions to him, saying, “You’re free to have my all,/do with me what you will” (Gawain 1237-1238). After she “charmed him and she chased” (Gawain 1260), she convinces Sir Gawain to let her kiss him. Not only does Gawain let Bertilak’s wife kiss him once, he allows her to kiss him multiple times over the subsequent days. 

“Temptation of Sir Gawain by Lady Bertilak (late 14th century illustration).” Wikimedia Commons, https://en.wikipedia.org/wiki/Lady_Bertilak #/media/File:Lady_tempt_Gawain.jpg.

Interestingly, the people involved in this adultery are largely portrayed as positive characters. Like Lanval’s love, Bertilak’s wife is said to be more beautiful than Queen Guinevere, which signifies her high status and value as a woman in medieval times. Sir Gawain himself is portrayed as chivalric and upstanding, and this is consistently upheld throughout the adulterous scenes. Even Bertilak, who would have been considered a pimp under medieval law, is portrayed as a gracious host and a fine knight. 

Despite all of these positive characteristics, each of the characters involved in the adultery do have a downfall of some kind. Bertilak is under the power of Morgan le Fay and has been deceiving Sir Gawain the entire time. His wife was simply following his and Morgan le Fay’s orders to seduce Sir Gawain, and she is therefore stripped of her semblance of power over Sir Gawain. Sir Gawain himself has the greatest fall. He is humiliated and brought down by Bertilak. His downfall, however, is not the adultery, but the fact that he lied about the girdle Bertilak’s wife gave him. He is punished for being afraid of losing his own life, not for his adulterous relationship with Bertilak’s wife.

Sandys, Frederick. “Morgan-le-Fay.” Wikimedia Commons, 1863-1864, https://commons.wikimedia.org/wiki/File: Raimund_von_Wichera_-_Guinevere_and_the_Court_at_Camelot.jpg.

Sir Gawain repents, however, and Bertilak says he has done penance by confessing. This confession and penance is for his cowardice and lying, but it could also be interpreted as penance for his violation of Bertilak’s property rights (through his wife). Sir Gawain brings up that Adam, Solomon, Samson, and David all fell because of women (Gawain 253), which could be interpreted as him saying that Bertilak’s wife was his downfall and he feels the need to repent for his adultery, as an adulterer in the Middle Ages would have been required to do by the church. 

The adultery in Sir Gawain and the Green Knight is clearly much more concrete than that in Lanval and reflects more of the aspects of civil and religious laws surrounding adultery in the Middle Ages. While Bertilak and his wife do not face much punishment for their roles as pimp and adulterer, Sir Gawain confesses and does penance for his crimes, reflecting the proper actions of an adulterer in the Middle Ages. 

Works Cited

Bullough, Vern L. “Medieval Concepts of Adultery.” Arthuriana, vol. 7, no. 4, Scriptorium Press, Winter 1997, pp. 5-15.

“Sir Gawain and the Green Knight.” Norton Anthology of English Literature: The Middle Ages, edited by Stephen Greenblatt, 2018, pp. 204-256.

Primary Sidebar

Recent Posts

  • Hello world!

Recent Comments

  • A WordPress Commenter on Hello world!

Archives

  • August 2019

Categories

  • Uncategorized

Meta

  • Log in
  • Entries feed
  • Comments feed
  • WordPress.org

Copyright © 2025 · News Pro with Full Header on Genesis Framework · WordPress · Log in