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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
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      • BEOWULF AND GRENDELS’ MOTHER
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    • 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
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    • 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
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    • 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

Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?

Lancelot Manuscript ms. 343 Arthur and his knights sit at the Round Table. c.1380-90. Artstor, library.artstor.org/asset/ARTSTOR_103_41822001091519

From first glance, Sir Gawain and the Green Knight may seem unassuming. As part of one of the many tales including King Arthur and the Knights of the Round Table, it is easy to assume the contents of the piece: chivalry and courtly life. It is not a stretch to assume that the piece would paint the king and his court of knights in a positive manner. However, this is not actually what the author may present. Even though there are multiple ways to read literature, and thus an argument could also be made opposing this one, one thing that the author presents is a more negative depiction of King Arthur and his court of knights, some critics even suggesting that some of Arthur and the knights’ actions in the story are acts of “moral oblivion,” a condemnatory suggestion (West, 3).    

King Arthur’s Portrayal

Romance of Lancelot du Lac (branches 3. Lancelot; 4. Queste; 5. Mort Artu)., Folio #: fol. 057r. 14th century, first half (circa 1320-1330). Artstor, library-artstor-org.ezproxy-eres.up.edu/asset/BODLEIAN_10310370636

From the beginning of the poem, the author makes subtle jabs toward King Arthur and his table of knights, at one point describing Arthur as “almost boyish in his love of life,” which would imply immaturity (Sir Gawain and the Green Knight, 86-87). Traditionally, a king is regarded as a strong and charismatic leader, one who has the ability to effectively rule over his people and protect them from threats. But by saying he had a boyish love of life, the author suggests that Arthur may not be as fit to rule as he would usually be depicted, which calls into question Arthur’s nobility as well (West, 7). 

Another section in which Arthur’s authority is called into question is when Gawain is about to leave for his journey. Instead of consoling his nephew or giving him advice, “sounds of sadness and sorrow were heard” (Sir Gawain and the Green Knight, 558). During the Middle Ages, men are thought to be logical and rational, while women are seen as emotional and irrational. Here, however, King Arthur seemingly weeping over the idea of his nephew not returning suggests that the author is weakening the audience’s perception of Arthur by making him appear more “feminine.” Clearly, from a modern perspective this is not as effective, however back then, it could have been very effective in swaying the public’s opinion of the usually bold and fearless King Arthur. 

Some critics also point to the opening stanza of the poem that recounts the tragedy of Troy. The author made a very deliberate decision to begin the poem with the falling of Troy, a classic story of failure and deception. Directly following the fall of Troy, the author describes Arthur as the “most regal of rulers…who I heard is honored above all” (25-26). Considering this line follows the opening stanza, this has led some critics to “read this appellation ironically in light of the poem’s preamble” (West, 5). Could this be how the author wanted readers to view Arthur as well?

Portrayal of King Arthur’s Court

Romance of Lancelot du Lac (branches 3. Lancelot; 4. Queste; 5. Mort Artu)., Folio #: fol. 254v. 14th century, first half (circa 1320-1330). Artstor, library-artstor-org.ezproxy-eres.up.edu/asset/BODLEIAN_10310370821

As mentioned in the previous essay, kings do not rule their kingdom by themselves. On the contrary, many have court advisors and ambassadors to help them. King Arthur has his gaggle of knights who, in most modern renditions, are depicted as brave and chivalric. Yet, when the Green Knight makes his way into the hall, “several of the lords were like statues in their seats, left speechless and rigid, not risking a response” (Sir Gawain and the Green Knight, 241-242). Despite the brave façade that many of the knights and people of the court would put on, once they face a mysterious stranger they quickly retreat and hold their tongues, 
“stunned and stilled by dread” (246-247). 

The Green Knight himself takes to taunting Arthur’s knights once none step forward to accept his challenge, saying “Where’s the fortitude and fearlessness you’re so famous for?” (311). The Green Knight can be seen as a potential voice of the public in regard to their thoughts of monarchs and royal life at court. This pulls down the façade that kings and their knights are fearless and bold. By showing how neither the knights nor Arthur were willing to take up the challenge, the author voices commentary on the monarchical system.  

Something that Sir Gawain and the Green Knight does really well is point out the more human aspects of Arthur and his knights, people who were previously regarded in overwhelmingly positive descriptions of bravery and chivalric actions. By pointing out Arthur’s humanity—that he is not quite so special as people may have thought—also calls into question his God given right to sit on the throne. 

Lancelot Manuscript ms. 343 Arthur and his knights sit at the Round Table. c.1380-90. Artstor, library-artstor-org.ezproxy-eres.up.edu/asset/ARTSTOR_103_41822001091519

Further Reading:

Homepage

The Divine Right to Rule: Past Perceptions of Monarchy

The Faerie Queene: Spenser’s Ode to Queen Elizabeth I

Works Cited:

 “Sir Gawain and the Green Knight.” The Norton Anthology of English Literature: The Middle Ages, edited by Stephen Greenblatt, vol. A, no. 10, W. W. Norton & Company Inc., 2018, pp. 201-256.

 West, Kevin R. “Tokens of Sin, Badges of Honor: Julian of Norwich and Sir Gawain and the Green Knight.” Renascence: Essays on Values in Literature, vol. 69, no. 1, 2017, pp. 3–16. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=mzh&AN=2017393254&login.asp%3fcustid%3ds8474154&site=ehost-live&scope=site.

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