Category Archives: Arthurian Legends

Gawain: Gawain gets ready for the Green Knight’s blow

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About the scene and clip:
Sir Gawain, leaving Bertilak’s castle, finds the Green Knight and prepares to receive the axe blow which he believes will end his life. The Green Knight hesitates as he swings his weapon down; Gawain flinches—and the Green Knight mocks him for his lack of courage. Gawain steels himself for the blow.

About the work:
Sir Gawain and the Green Knight, one of the best loved works of medieval literature, is an anonymous Middle English romance of the 14th century. The style is “alliterative”: each poetic line is dominated by a certain letter sound that is repeated.

The story: At Christmas, a strange, huge, all-green knight arrives at King Arthur’s court. He challenges all present to an exchange of blows with his great axe. Gawain accepts, and cuts off the knight’s head—but the green man does not die! Rather, he picks up his head and, before riding away, reminds Gawain that in a year it will be his turn to receive his blow. Gawain, in his dutiful quest for the Green Knight, encounters many adventures—in particular, at a castle where he has an exchange of gifts with the lord, and where the lady attempts repeatedly to seduce the virtuous and honorable Gawain. He finally finds the Green Knight—in a surprising conclusion to the romance.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Sir Gawain and the Green Knight, tr. Brian Stone, Penguin, 2nd ed., London, 1974, IV: 91, pp. 105ff. One edition of this frequently-edited work is Sir Gawain and the Green Knight, ed. J. R. R. Tolkien and E. V. Gordon, 2nd ed. revised by Norman Davis, Oxford, Clarendon, 1968.

About the performer/ensemble:
Brandon Goodman is a Drama student in the Experimental Theatre Wing at New York University’s Tisch School of the Arts (2009).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2009. It was videoed in the classroom by a fellow student.

Gawain: The alarming Green Knight

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About the scene and clip:
It is Christmas Day. The Green Knight suddenly arrives in the hall at King Arthur’s court—an astounding sight! The performer shows how amazing and alarming this huge fellow is—how insulting his speech, how loud and rude his laughter.

About the work:
Sir Gawain and the Green Knight, one of the best loved works of medieval literature, is an anonymous Middle English romance of the 14th century. The style is “alliterative”: each poetic line is dominated by a certain letter sound that is repeated.

The story: At Christmas, a strange, huge, all-green knight arrives at King Arthur’s court. He challenges all present to an exchange of blows with his great axe. Gawain accepts, and cuts off the knight’s head—but the green man does not die! Rather, he picks up his head and, before riding away, reminds Gawain that in a year it will be his turn to receive his blow. Gawain, in his dutiful quest for the Green Knight, encounters many adventures—in particular, at a castle where he has an exchange of gifts with the lord, and where the lady attempts repeatedly to seduce the virtuous and honorable Gawain. He finally finds the Green Knight—in a surprising conclusion to the romance.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Sir Gawain and the Green Knight, tr. Brian Stone, Penguin, 2nd ed., London, 1974, I: 14, pp. 32ff. One edition of this frequently-edited work is Sir Gawain and the Green Knight, ed. J. R. R. Tolkien and E. V. Gordon, 2nd ed. revised by Norman Davis, Oxford, Clarendon, 1968.

About the performer/ensemble:
Jillian Karger is a student of English and Dramatic Literature in the College of Arts and Science at New York University (2009).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2009. It was videoed in the classroom by a fellow student.

Perceval: Maiden with Little Sleeves taunts her sister

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About the scene and clip:
This is one of the many comic scenes in this romance: a little girl—the Maiden with the Little Sleeves—taunts her older sister and the two get into a fight. The solo performer plays both roles.

About the work:
Alsace, Count of Flanders, around 1180. The romance recounts the adventures of Perceval, a noble youth who was raised in ignorance of knighthood in the woods of Wales by his widowed mother, but who gets himself knighted by King Arthur and progressively learns about knighthood; this romance also tells of adventures of Gawain, always given as a paragon of chivalry. In this work the Grail makes its first appearance in medieval literature; there will be many more.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Perceval, or The Story of the Grail, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1985, pp 150ff. Original text: Le conte du Graal, ed./trans. Charles Méla, in Romans, eds./trans. J.M. Fritz et al., Paris, Classiques Modernes/ Livre de Poche, 1994.

About the performer/ensemble:
Lisa Long is a Drama student in the Lee Strasberg Theatre & Film Institute at New York University’s Tisch School of the Arts (2009).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2009. It was videoed in the classroom by a fellow student.

Gawain: Bertilak’s wife gets Gawain to accept green girdle

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About the scene and clip:
On his journey to find the Green Knight—and to receive the return blow—Gawain is welcomed at a great castle whose lord is named Bertilak. The lord’s beautiful wife tries three times to seduce Gawain—but each time he manages to refuse her courteously and to refrain from committing the grave sin of adultery. She finally manages to persuade him to accept from her a green girdle, or belt, which she claims is magic and can save his life.

About the work:
Sir Gawain and the Green Knight, one of the best loved works of medieval literature, is an anonymous Middle English romance of the 14th century. The style is “alliterative”: each poetic line is dominated by a certain letter sound that is repeated.

The story: At Christmas, a strange, huge, all-green knight arrives at King Arthur’s court. He challenges all present to an exchange of blows with his great axe. Gawain accepts, and cuts off the knight’s head—but the green man does not die! Rather, he picks up his head and, before riding away, reminds Gawain that in a year it will be his turn to receive his blow. Gawain, in his dutiful quest for the Green Knight, encounters many adventures—in particular, at a castle where he has an exchange of gifts with the lord, and where the lady attempts repeatedly to seduce the virtuous and honorable Gawain. He finally finds the Green Knight—in a surprising conclusion to the romance.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Sir Gawain and the Green Knight, tr. Brian Stone, Penguin, 2nd ed., London, 1974, III: 74; pp. 90ff. One edition of this frequently-edited work is Sir Gawain and the Green Knight, ed. J. R. R. Tolkien and E. V. Gordon, 2nd ed. revised by Norman Davis, Oxford, Clarendon, 1968.

About the performer/ensemble:
Suzie Masser is a student in Dramatic Literature and Psychology in the College of Arts and Science at New York University (2009).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2009. It was videoed in the classroom by a fellow student.

Gawain: Bertilak’s wife tries to seduce Gawain

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About the scene and clip:
On his journey to find the Green Knight—and to receive the return blow—Gawain is welcomed at a great castle whose lord is named Bertilak. The lord’s beautiful wife tries three times to seduce Gawain—but each time he manages to refuse her courteously and to refrain from committing the grave sin of adultery. This scene shows the first seduction attempt.

About the work:
Sir Gawain and the Green Knight, one of the best loved works of medieval literature, is an anonymous Middle English romance of the 14th century. The style is “alliterative”: each poetic line is dominated by a certain letter sound that is repeated.

The story: At Christmas, a strange, huge, all-green knight arrives at King Arthur’s court. He challenges all present to an exchange of blows with his great axe. Gawain accepts, and cuts off the knight’s head—but the green man does not die! Rather, he picks up his head and, before riding away, reminds Gawain that in a year it will be his turn to receive his blow. Gawain, in his dutiful quest for the Green Knight, encounters many adventures—in particular, at a castle where he has an exchange of gifts with the lord, and where the lady attempts repeatedly to seduce the virtuous and honorable Gawain. He finally finds the Green Knight—in a surprising conclusion to the romance.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Sir Gawain and the Green Knight, tr. Brian Stone, Penguin, 2nd ed., 1974, III:45, pp. 67ff. One edition of this frequently-edited work is Sir Gawain and the Green Knight, ed. J. R. R. Tolkien and E. V. Gordon, 2nd ed. revised by Norman Davis, Oxford, Clarendon, 1968.

About the performer/ensemble:
Emily Cramer is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2009).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2009. It was videoed in the classroom by a fellow student.

Gawain: Green Knight leaves and King Arthur reacts

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About the scene and clip:
The Green Knight has just picked up his head and left the hall. King Arthur manages to respond to this astounding—and disturbing—marvel in a kingly and cheerful manner, and the Christmas feast begins.

About the work:
Sir Gawain and the Green Knight, one of the best loved works of medieval literature, is an anonymous Middle English romance of the 14th century. The style is “alliterative”: each poetic line is dominated by a certain letter sound that is repeated.

The story: At Christmas, a strange, huge, all-green knight arrives at King Arthur’s court. He challenges all present to an exchange of blows with his great axe. Gawain accepts, and cuts off the knight’s head—but the green man does not die! Rather, he picks up his head and, before riding away, reminds Gawain that in a year it will be his turn to receive his blow. Gawain, in his dutiful quest for the Green Knight, encounters many adventures—in particular, at a castle where he has an exchange of gifts with the lord, and where the lady attempts repeatedly to seduce the virtuous and honorable Gawain. He finally finds the Green Knight—in a surprising conclusion to the romance.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Sir Gawain and the Green Knight, tr. Brian Stone, Penguin, 2nd ed., London, 1974, I: 21, pp. 38ff. One edition of this frequently-edited work is Sir Gawain and the Green Knight, ed. J. R. R. Tolkien and E. V. Gordon, 2nd ed. revised by Norman Davis, Oxford, Clarendon, 1968.

About the performer/ensemble:
Colleen Smith is a Drama student in the Lee Strasberg Theatre & Film Institute at New York University’s Tisch School of the Arts (2009).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2009. It was videoed in the classroom by a fellow student.

Lancelot: Queen Guinevere is delighted with Lancelot

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About the scene and clip:
Lancelot tells Queen Guinevere’s young lady messenger that he is willing to do his best or his worst in combat—whatever the queen asks of him. The queen is delighted.

About the work:
Lancelot is one of the five surviving romances by the great narrative poet Chrétien de Troyes; it is centrally concerned with the love affair between Guinevere, wife of King Arthur, and Lancelot, one of the knights of the Round Table. This unfinished romance contains many adventures of Lancelot and Gawain as they attempt to rescue Guinevere, who has been carried off by the evil Meleagant.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Lancelot or the Knight of the Cart, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1990, pp. 162ff. French: Le Chevalier de la charrette, ed. Charles Méla, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/Livre de Poche, 1994.

About the performer/ensemble:
Brittany Holtsclaw is a Drama student in the Stonestreet Studio at New York University’s Tisch School of the Arts (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Lancelot: Queen Guinevere repents of her cruelty; Lancelot attempts suicide

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About the scene and clip:
The Queen, thinking that Lancelot has died, repents of her cruelty toward him. Then Lancelot, thinking that the Queen is dead, tries to kill himself in despair. The storyteller performs all the roles, in Old French.

About the work:
Lancelot is one of the five surviving romances by the great narrative poet Chrétien de Troyes; it is centrally concerned with the love affair between Guinevere, wife of King Arthur, and Lancelot, one of the knights of the Round Table. This unfinished romance contains many adventures of Lancelot and Gawain as they attempt to rescue Guinevere, who has been carried off by the evil Meleagant.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Abridged from Le Chevalier de la charrette, ed. Charles Méla, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/Livre de Poche, 1994, pp. 624ff. English translation: Lancelot or the Knight of the Cart, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1990.

About the performer/ensemble:
Michael Abourizk is a student in Dramatic Literature and Theatre History, with a minor in French, in the College of Arts and Science at New York University (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Lancelot cuts off Proud Knight’s head at maiden’s request

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About the scene and clip:
A maiden requests that Lancelot cut off the head of the Proud Knight, whom he has defeated in combat. Lancelot does as she asks—and the head goes flying.

About the work:
Lancelot is one of the five surviving romances by the great narrative poet Chrétien de Troyes; it is centrally concerned with the love affair between Guinevere, wife of King Arthur, and Lancelot, one of the knights of the Round Table. This unfinished romance contains many adventures of Lancelot and Gawain as they attempt to rescue Guinevere, who has been carried off by the evil Meleagant.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Lancelot or the Knight of the Cart, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 1990, pp. 80ff. French: Le Chevalier de la charrette, ed. Charles Méla, in Romans de Chrétien de Troyes, eds./trans. J.M. Fritz et al, Paris, Classiques Modernes/Livre de Poche, 1994.

About the performer/ensemble:
Ruby Joy is a Drama student in the Playwrights Horizons Theater School at New York University’s Tisch School of the Arts (2008).

About the production:
This performance was created for “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz in spring 2008; it was videoed in the classroom.

Gawain: Lady attempts to seduce Gawain

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About the scene and clip:
The lady of the castle begins her attempt to seduce Sir Gawain. The performer plays both parts.

About the work:
Sir Gawain and the Green Knight, one of the best loved works of medieval literature, is an anonymous Middle English romance of the 14th century. The style is “alliterative”: each poetic line is dominated by a certain letter sound that is repeated.

The story: At Christmas, a strange, huge, all-green knight arrives at King Arthur’s court. He challenges all present to an exchange of blows with his great axe. Gawain accepts, and cuts off the knight’s head—but the green man does not die! Rather, he picks up his head and, before riding away, reminds Gawain that in a year it will be his turn to receive his blow. Gawain, in his dutiful quest for the Green Knight, encounters many adventures—in particular, at a castle where he has an exchange of gifts with the lord, and where the lady attempts repeatedly to seduce the virtuous and honorable Gawain. He finally finds the Green Knight—in a surprising conclusion to the romance.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Sir Gawain and the Green Knight, tr. Brian Stone, Penguin, 2nd ed., London, 1974, III: 48, pp 66ff. One edition of this frequently-edited work is Sir Gawain and the Green Knight, ed. J. R. R. Tolkien and E. V. Gordon, 2nd ed. revised by Norman Davis, Oxford, Clarendon, 1968.

About the performer/ensemble:
Andrew Long is a Drama student in CAP 21 at New York University’s Tisch School of the Arts, with a minor in Spanish literature and culture in the College of Arts and Science (2008).

About the production:
This performance was created for the course “Acting Medieval Literature,” taught by Prof. Timmie (E.B.) Vitz at New York University in fall 2004.