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Sir Gawain and the Green Knight

• Sir Gawain and the Green Knight (Translation)

Introduction

• Fytte the First
• Fytte the Second
• Fytte the Third
• Fytte the Fourth
• Sir Gawain and the Green Knight (Original)
• Trebuchet MS

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Sir Gawain and the Green Knight is the finest representative of a great cycle of verse romances devoted wholly or principally to the adventures of Gawain. Of these there still survive in English a dozen or so; in French—the tongue in which romance most flourished — seven or eight more; and these, of course, are but a fraction of what must once have existed. 1 No other knight of the Round Table occupies anything like so important a place as Gawain in the literature of the middle ages. He is the first mentioned of Arthur’s knights, for about 1125, ten years before Geoffrey of Monmouth dazzled the world with his revelation of King Arthur, William of Malmesbury in his Chronicle of the Kings of England had told of the discovery of Gawain’s tomb in Ross, Wales, and had described him as Arthur’s nephew and worthy second. Where other knights quailed, Gawain was serene; where other champions were beaten, Gawain won; and where no resolution, strength, or skill could avail, Gawain succeeded by his kindness, his virtue, and his charming speech. The strange knight in the Squire’s Tale gave his message so politely, says Chaucer,

“That Gawain with his old curteisye Though he were come ageyn out of Fairye Ne coude him nat amende with a word.”

But in time other heroes became more popular than he, and in some of the French prose romances of the thirteenth century Gawain’s character was defaced that others might appear to excel him; and Malory in his Morte Darthur ( c. 1470), which is based chiefly upon these later French romances, and Tennyson in his Idylls of the King , which in turn is mostly based on Malory, have unfortunately perpetuated this debased portrait. To get a glimpse of the real Gawain one should read, besides our piece, such romances as the Carl of Carlisle , 2 Golagros and Gawain , 3 The Wedding of Sir Gawain , 4 the Mule Sans Frein 5 and the episodes in Miss Weston’s Sir Gawain at the Grail Castle , and Sir Gawain and the Lady of Lys , in the attractive little series of Arthurian Romances Unrepresented in Malory’s Morte d’Arthur . 6

Gawain and the Green Knight  has been preserved to us, like many another precious work — for example  Beowulf  — by a single lucky manuscript, Cotton Nero A. X. of the British Museum. It is found there along with three other remarkable poems of the same dialect and style, all in the same handwriting; and naturally the four pass as the work of one author, although not all scholars are agreed on this point. These three are  Pearl  (1212 lines), a highly finished elegy in an elaborate stanza, a masterpiece of delicate beauty and craftsmanship;  Patience , and  Cleanness  (or  Purity ), of 500 and 1800 lines respectively, both written in the most powerful and highly colored alliterative verse, the former telling the story of Jonah, the latter of Belshazzar’s feast and fate. 7

These poems are the artistic culmination of what is called the alliterative revival of the fourteenth century in England, the best known example of which is  Piers the Ploughman . Other splendid pieces, worthy to stand beside these, are  Winner and Waster ,  The Parliament of Three Ages , and the Thornton  Morte Arthure . 8  It is a surprising and not-well-explained phenomenon that after two centuries or so of the short-lined, rhyming verse in stanzas or in couplets such as the young Chaucer wrote — which is generally considered to have been of French origin — there should suddenly appear a great bulk of poetry in the archaic unrhymed style of the Anglo-Saxons. The great peculiarity of this verse is alliteration, the repeating of the same letter or sound at the beginning of several words in a line — a device which has never been given up in English poetry. A characteristic Anglo-Saxon line is,

“ W adan ofer  w ealdas;  w udd baer sunu.”
 To wade over the wolds; the son bare the wood.

Any vowel could alliterate with any other, thus, —

“ I nnan ond  u tan  i ren-bendum.”
 Inside and outside with iron-bands.

The chief accent fell on the alliterative syllables, of which there could be three, as in the examples given, or two — these being the commonest types; or four, or none — these rarer. The number of unaccented syllables was immaterial; but a line consisted normally of four feet, with a cæsural pause in the middle. In our poem we find somewhat the same conventions, as in line 3, —

“The tulk that the trammes of tresoun there wrought”;

and line 27, —

“For-thi an aunter in erde I attle to schawe.”

In our piece groups of such lines are concluded by an odd phrase and a little rhyming stanza of five lines, often called a “bob and a wheel.” This poetry was dignified, strong, resonant, and in skillful hands apt for stirring deeds and rich, highly colored description; but it was the alliteration, probably, which tempted to use words in a forced sense, and to invent odd and fanciful terms — at any rate, these northern and Scottish poets were very much given to that sort of thing. Of course, the fact that they wrote with extreme virtuosity in a richly worded dialect, strange to us heirs of a more southern speech, has much to do with this effect. This poetry flourished chiefly in the north. Chaucer, naturally, was familiar with it, and makes his parson say, —

“But trusteth wel, I am a Southren man,
 I can nat geste — rum, ram, ruf — by lettre,
 Ne, God wot, rym hold I but little bettre;”

which rather sounds as if Chaucer had meant to have an alliterative poem precede the  Parson’s Tale . 9

Our romance, and the rich field of folklore within which it lies have recently been made the subject of a penetrating study by Professor G.L. Kittredge, 10  whose main results may be thus summarized.  Gawain and the Green Knight  is doubtless, like the great majority of the mediæval English romances, a translation from the French, although the French original is now lost. To the author of this French poem is due the happy combination of two fine old widely current stories. One of these, the “Challenge,” can be traced back to an elaborate Irish version of the year 1000 or earlier — the manuscript containing it, the celebrated  Book of the Dun Cow , was written about 1100. In this a supernatural being with a replaceable head tests the hero’s courage much as he does in our poem. In the other, the “Temptation,” the chosen hero, by resisting the seductive lady, is enabled to free the lady’s husband from an enchantment. Both these tales occur separately in mediæval romances, the former in the  Book of Caradoc  — a continuation of Chrétien’s  Percival , 11 the  Mule Sans Frein ,  Perlesvaus 12  and  Humbaut , 13  the latter in the  Carl of Carlisle , the  Chevalier à l’Épée , 14  and elsewhere. The work of the brilliant French combiner was, like numerous other French Arthurian romances of his period, a well-constructed and pellucid narrative. It did not attain the moral depth of our poem, where Gawain’s virtues, the elaborateness and keenness of his temptation, and his repentance for his slight fault, are more powerfully set forth. There is no reason to suppose that the beautiful descriptions of wild nature were in the French poem; and very likely the arming of the hero and the hunting were less elaborated there. It seems probable, too, that our author has changed the motivation and ending of the story; for in his original it would be natural to suppose from the analogues that the Green Knight enticed Gawain to his castle in order that this greatest of heroes might rid him of his strange hue and giant form, and that, after Gawain had succeeded, the disenchanted knight accompanied him to Arthur’s Court. The English author gave this up, and invented another and weaker motivation, based on the well-known hatred of Morgan la Fay for Queen Guinevere. It is the only blemish in the otherwise faultless construction that the reason here assigned for the Green Knight’s visit to Arthur’s Court is Morgan’s desire to frighten Guinevere out of her wits.

Another English version of our tale is found in Bishop Percy’s Folio Manuscript. This is a late romance of 516 lines, in six-line stanzas like the following: —

“He had a lady to his wiffe,
 He loved her deerlye as his liffe,
 She was both blyth and blee;
 Because Sir Gawaine was stiffe in stowre
 She loved him privilye paramour,
      And she never him see.”

Most scholars regard the  Ballad Green Knight , as it is often called, as a mere working-over of the alliterative romance; but because the author of it has reverted to a better and older sort of motivation — i.e., the love of the Green Knight’s wife for Gawain — and because he has likewise restored the presumably older features of the Green Knight’s becoming one of the Round Table, and for other reasons, some hold that the  Ballad Green Knight  is derived from a form of the story older than our romance; and that in this older form the Green Knight’s wife was a fairy, who for love of Gawain lured him to the other-world by this odd heading adventure. 15

It is also said in the  Ballad Green Knight  that it is because of this adventure of Gawain’s that the Knights of the Bath wear a lace about the neck until they have won their spurs, or a lady takes it off. And after the alliterative romance in our manuscript follows the motto of the Knights of the Garter — “Hony soyt qui mal pence.” Obviously, then, there has always been an effort to connect Gawain’s green lace with some chivalrous order in England, and such efforts still continue; but as yet it has not been made to seem very probable that the writer of the present poem had in mind anything of the kind. 16

Of our author we know only what can be deduced from his works. He must have been a native of Lancashire or thereabouts, since he employs the North-West Midland dialect, as it is called, and since he describes with so much accuracy and gusto the wild scenery of the three north-western counties of England. None but a person truly religious could have written a poem informed with so lofty a moral tone. Perhaps no other writer of his age could have pictured the scenes between Gawain and the lady without having them border either on the luscious or the coarse. And only a man conversant with the highest society of his time, a man who had seen the world, could describe with such loving wealth of detail the knightly trappings, the merry evenings at the castle, and the stirring hunts. More elaborate guesses about his personality may be found in the editions of Gollancz and Bateson. His work appears to fall within the third quarter of the fourteenth century, a time when a great number of French romances were being translated into English, and when Wycliffe, Gower, Chaucer, and Langland were flourishing.

K. G. T. W EBSTER .

1. The English romances were first collected by Sir Frederick Madden in his  Syr Gawayne , edited for the Bannatyne Club in 1859; the French have been described by G. Paris in the  Histoire Littéraire de la France , vol. xxx, pp. 29–103. Nothing like a complete study of Gawain has been made; the best accounts available are those of Miss J. L. Weston in her  Sir Gawain , London, 1897; of Schofield,  English Literature from the Norman Conquest to Chaucer , p. 124; of Nutt in the new  Encyclopædia Britannica  under “Gawain”; and of J. E. Wells in his recent  Manual of the Writings in Middle English , p. 51.

2. Edited by Madden,  Syr Gawayne Bishop Percy’s Folio Manuscript, ed. Hales and Furnivall, vol. III, p. 275.

3. Ed. Madden, p. 129, and Amours,  Scottish Alliterative Poems , Scottish Text Society, 1897.

4. Madden, p. 297;  Bishop Percy’s Folio Manuscript , vol. I, p. 103.

5. Edited Méon,  Nouveau Recueil de Fabliaux et Contes , 1823, vol. I, p. 1; R. T. Hill, Baltimore, 1911; Orlowski, Paris, 1911.

6. London, 1903 and 1907.

7. The only easily accessible edition of  Gawain and the Green Knight  is that of R. Morris for the Early English Text Society in 1864 — revised edition by Gollancz in 1897. Translations have been published by Miss Jessie L. Weston,  Sir Gawain and the Green Knight , in  Arthurian Romances Unrepresented in Malory’s Morte d’Arthur , London, 1898, in prose; and in  Romance, Vision, and Satire , Boston, 1912, in verse; by E. J. B. Kirtlan, London, 1912; and by C. M. Lewis, New Haven, Conn., 1913 — the last a very free, entertaining fantasy on the original theme. The other three poems were edited by Morris for the Early English Text Society in  Early English Alliterative Poems , 1864 (several subsequent editions).  Pearl  has been well edited, with a valuable introduction, by C. G. Osgood in the  Belles-Lettres Series , 1906; and by I. Gollancz, London, 1907;  Patience  by H. Bateson, Manchester, 1912.

8. The first two were edited together by Gollancz for the Roxburghe Club in 1897; the  Parliament , separately, Oxford, 1915; the  Morte Arthure  by Perry and Brock for the Early English Text Society, and by Miss M. M. Banks, London, 1900; translation of the last by A. Boyle in Everyman’s Library.

9. A learned discussion of alliterative verse may be found in J. Schipper’s  History of English Versification , Oxford, 1910, chapters II and III.

10. Cambridge, Harvard University Press, 1916.

11. Edited Potvin,  Perceval , vol. III, p.117.

12. Ditto, vol. I.

13. Edited Stürzinger and Breuer, Dresden, 1914.

14. Edited Méon, 1, 127; E. C. Armstrong, Baltimore, 1900.

15. This theory is set forth by Mr. J. R. Hulbert in  Modern Philology , vol. XIII, pp.49 and 113.

16. The latest protagonist of this theory is Mr. Isaac Jackson in  Anglia , vol. XXXVII, p.393. The whole question is sensibly reviewed by Mr. Hulbert in the last portion of his article.

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Sir Gawain and the Green Knight

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Gawain & the Green Knight: Introduction

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Historical Context of Sir Gawain and the Green Knight

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• Full Title: Sir Gawain and the Green Knight
• When Written: Sometime between 1340 and 1400
• Where Written: West Midlands, England
• Literary Period: Medieval Romance Literature
• Genre: Epic poetry, Romance, Adventure, Arthurian Legend
• Setting: The court of Camelot, then across the wilderness of Britain to Bertilak’s castle and environs
• Climax: Gawain’s long-awaited meeting with the Green Knight at the Green Chapel, where he expects to lose his life but, after much suspense, is spared
• Antagonist: Initially, it seems that the Green Knight, who destroys the court’s revelry and forces Gawain to face his own death, is the antagonist of the poem. But by the end, it becomes evident that the real conflict is between Gawain’s desire to adhere to the knightly code of virtues and his more natural desire to stay alive.
• Point of View: An omniscient, third person narrator. This narrator follows Gawain for most of his journey, and of all the characters comes closest to Gawain’s internal world, occasionally noting his thoughts and feelings.

Extra Credit for Sir Gawain and the Green Knight

All that Alliteration. When Sir Gawain was written, verse was primarily written in ways that were quite different animal from the rhyming patterns that are best known today. Alliteration, the repetition of the initial consonant sounds of nearby words, was the major poetic device of the time, pre-dating rhyme. Sir Gawain and the Green Knight is the model of an Middle English alliterative poem, using an alliterative phrase on nearly every single line of verse.

The Beheading Game. While Sir Gawain and the Green Knight has a legacy of spin-off tales, it has also inspired a brand of adventure plots cutely nicknamed The Beheading Game, in which two characters engage in a beheading challenge. In fact, though, Gawain did not originate this literary idea, as it was passed down from even earlier Irish myths like The Feast of Bricriu.

63 Sir Gawain and the Green Knight Essay Topics & Examples

Looking for Sir Gawain and the Green Knight essay topics? A famous English chivalric romance of the 14th century that still remains popular is worth focusing on!

• ❓ Essay Questions
• 🏆 Best Essay Topics
• 📌 A+ Essay Examples
• 👍 Exciting Essay Topics

In your Sir Gawain and the Green Knight essay, you might want to focus on its symbolism or themes. Another option is to talk about the context of the romance. One more idea is to take a look at one of the modern adaptations of the literary piece. In this article, we’ve collected top Sir Gawain and the Green Knight essay examples, topics, and questions for research and discussion.

❓ Sir Gawain and the Green Knight Essay Questions

• Who is the author of “Sir Gawain and the Green Knight”? The main hypotheses.
• What are the features of “Sir Gawain and the Green Knight” verse form?
• What is the significance of “Sir Gawain and the Green Knight” in medieval literature?
• What are “Sir Gawain and the Green Knight” themes?
• What is the color symbolism of “Sir Gawain and the Green Knight”?
• What is the genre of “Sir Gawain and the Green Knight”?

🏆 Best Sir Gawain and the Green Knight Essay Topics

• Chivalry in Sir Gawain and the Green Knight – Examples & Quotes In the 14th century poem, Sir Gawain and the Green Knight, the character of a knight Sir Gawain is a perfect example of the chivalric behavior of a Middle Age knight.
• “Sir Gawain and the Green Knight” Symbolism In the context of the “Sir Gawain and the Green Knight”, the pentangle brings together the influence of “the five virtues, the five wounds of Christ, the five senses, the five joys of Mary the […]
• The Symbolic Role of Green Color in “Sir Gawain and the Green Knight” The actual name of the character “Green Knight” is not provided, but throughout the poem, the person is described as “green” and thus the color green describe the person himself.
• Gawain as a Hero Gawain is not aware of the plan but is wise enough to find his way out and by so doing he proves to be a hero again, as he is strong enough to avoid the […]
• “Sir Gawain and the Green Knight”: Themes, Aspects, and Writing Style The poem “Sir Gawain and the Green Knight” is a piece in which the plot is supported by Christian morality underpinning the chivalry of the characters and their occasional failure to comply with this notion.
• Magic and Christianity in “Sir Gawain and the Green Knight” Sir Gawain and the Green Knight is a story that comprises of the themes of Christianity and magic as they both play an important role in the story.
• “Sir Gawain and the Green Knight”: The Bedroom and Hunting Scenes Consequently, from this point on, the narrative splits into two parallel lines that show the reader the perspective of the lord and Gawain throughout the day.
• Depiction of Heroism in “Beowulf”, “Sir Gawain and the Green Knight” and “Le Morte D’Arthur” In Le Morte D’Arthur, Sir Gawain and the Green Knight, and Beowulf, the central characters in the tales appear to represent their own unique description of heroism.
• Knightly Virtue in “Sir Gawain and the Green Knight” Poem Sir Gawain and the Green Knight is an epic poem where the protagonist illustrates knightly virtues through overcoming the trials sent to him by the Green Knight.
• Testing in Sir Gawain and the Green Knight Sir Gawain and the Green Knight is a chivalric novel written in the 14th century by an unknown author about the exploits of Sir Gawain, King Arthur’s nephew, showing the spirit of chivalry and faithfulness […]
• The Poem “Sir Gawain and the Green Knight” by Simon Armitage The first aspect of this poem is the focus on the conduct of the male characters from the perspective of honor.
• “Sir Gawain and the Green Knight” Christian Poem In the poem, Sir Gawain is visited by a green knight in the form of a mysterious warrior. Sir Gawain accepts the challenge and chops off the head of the knight in only one blow.
• The Knight Without Blemish and Without Reproach: The Color of Virtue Although there is no actual rhyme in the given piece, the way it is structured clearly shows that this is a poem; for instance, the line “At the head sat Bishop Baldwin as Arthur’s guest […]
• Sir Gawain and the Green Knight In the real sense, it is at the Green Knight’s abode that Gawain rests on his way to the chapel. This causes Gawain to flinch and he is reprimanded by the knight for that action.

📌 A+ Sir Gawain and the Green Knight Essay Examples

• The Faith, Strength, and Loyalty of the Arthurian Knight Gawain in “Sir Gawain and the Green Knight”
• Women’s Indirect Power in “Sir Gawain and the Green Knight”
• The Theme of Courtly Love in “Beowulf,” “The Romance of Tristan,” “Troilus and Criseyde,” and “Sir Gawain and the Green Knight”
• Parallelism Between the Scenes of “Sir Gawain and the Green Knight”
• The Significance of the Color Green in “Sir Gawain and the Green Knight”
• Self-Realization and the Hero’s Quest in “Beowulf,” “Sir Gawain and the Green Knight,” and “Everyman”
• The Pentangle in “Sir Gawain and the Green Knight”
• Ideas of Morality and Wealth During the Medieval Era in “Sir Gawain and the Green Knight”
• Women Courtly Love and the Creation Myth in “Sir Gawain and the Green Knight”
• “Sir Gawain and the Green Knight”: Warrior in the Primal Village
• “Sir Gawain and the Green Knight” and Monty Python and the Holy Grail
• The Unnamed Wife in “Sir Gawain and the Green Knight”
• The Impossible Pentangle: Chivalry, Christianity, and Ethical Dualism in “Sir Gawain and the Green Knight”
• Religious Beliefs Observed in “Beowulf” and “Sir Gawain and the Green Knight”
• The Meaning and Symbolism of the Hunting Scenes in “Sir Gawain and the Green Knight”
• Medieval Values in “Sir Gawain and the Green Knight”
• Comparison of Knights in “Canterbury Tales” and “Sir Gawain and the Green Knight”
• The Roles of Women Portrayed in “Sir Gawain and the Green Knight”
• Romantic Tradition in “Sir Gawain and the Green Knight”
• Women’s Roles in “Epic of Gilgamesh,” “Sir Gawain and the Green Knight,” and “The Canterbury Tales”

👍 Exciting Essay Topics for Sir Gawain and the Green Knight

• The Influence of the Supernatural on Courtly Conduct, Christianity, and Chivalry in “Sir Gawain and the Green Knight”
• The Use of the Supernatural in “Beowulf” and “Sir Gawain and the Green Knight”
• The Character of Sir Gawain as a Coward in “Sir Gawain and the Green Knight” by Pearl Poet
• Virtue, Vice, and Valor in “Sir Gawain and the Green Knight”
• The Knightly Virtues of Courage, Courtesy, and Loyalty in “Sir Gawain and the Green Knight”
• The Ideal of Knighthood as Presented in “Sir Gawain and the Green Knight”
• The Relationship of Binary Opposition in “Sir Gawain and the Green Knight”
• The Contrast in the Characteristics of a Hero in “Beowulf” and “Sir Gawain and the Green Knight”
• Importance of the “Beheading Game” in “Sir Gawain and the Green Knight”
• Image of Virgin Mary in the Poem “Sir Gawain and the Green Knight”
• Compare the Green Knight and Lord Bertilak in “Sir Gawain and the Green Knight”
• The Similarities and Differences Between Dante’s “Inferno” and “Sir Gawain and the Green Knight”
• The Presentation of Sin and Redemption in “Sir Gawain and the Green Knight”
• The Five Virtues of Chivalry Exemplified by the Pentangle in “Sir Gawain and the Green Knight”
• Comparison of “The Wife of Bath” and “Sir Gawain and the Green Knight”
• Psychoanalytic Approach to “Sir Gawain and the Green Knight”
• The Themes of Maturity and the Medieval Quest in “Sir Gawain and the Green Knight”
• Personification of Ideologies in “Sir Gawain and the Green Knight”
• The Effective Use of Sound, Alliteration, and Personification in “Sir Gawain and the Green Knight”
• The Noble Knight in the Poem “Sir Gawain and the Green Knight”
• Free the Ambiguity of Chivalry and Temptation in “Sir Gawain and the Green Knight”
• Journey From Childhood to Adulthood in “Sir Gawain and the Green Knight”
• The Imperfection of Mankind: The Chivalric Code in “Sir Gawain and the Green Knight”
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Bibliography

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Type of Work

....... Sir Gawain and the Green Knight is a medieval romance, a long poem resembling an epic in its focus on heroic deeds. Unlike an epic, however, a medieval romance is light in tone, and its content is at times fantastic and magical. In a medieval romance chivalrous knights pay homage to lovely ladies. The knights are often pure in heart and soul, although sorely tempted by the wiles of beautiful women. There may be merriment and singing. The manuscript of Sir Gawain and the Green Knight appeared circa 1375, although it may have been written some years earlier. Because the original language of the poem is difficult for the modern reader, it appears today in translations. This study guide is based on Jesse L. Weston's public-domain prose translation of Sir Gawain and the Green Knight , published in 1898. . Author

....... The author of Sir Gawain and the Green Knight has never been identified. He or she wrote with considerable skill and sophistication, using specific details and vivid imagery to develop the story. Three other works — The Pearl , Purity , and Patience — are also attributed to this author.

....... The action takes place in Medieval England and Wales in the age of the legendary King Arthur and his Knights of the Round Table. The story begins at Arthur's castle at Camelot when his nephew — the doughty Sir Gawain — takes part in a test of valor proposed by a visitor, a giant of green complexion and attire. The scene shifts to the countryside, then to another castle, then to the countryside, then to the valley of the giant — the centerpiece of which is a mysterious Green Chapel — and finally back to Camelot. The location of Camelot, if it existed, is uncertain. Some legends place it in Monmouthshire, Wales. Others place it in England in Corneal, Soberest, or Hampshire. 

Sir Gawain : Brave, chivalrous young knight of Camelot who is the nephew of King Arthur and Morgan le Fay. He takes up the challenge proposed by the fearsome Green Knight. King Arthur : Ruler of the legendary Camelot. Guinevere : Queen of Camelot. Green Knight / Bernlak de Hautdesert : Giant of green complexion and attire who pays a surprise visit to Camelot at Christmastide to challenge the knights to a test of bravery. The narrator reveals him at the climax as Bernlak de Hautdesert. Magic worked by Morgan le Fay enabled him to assume the guise of the gigantic knight. Morgan (or Morgain) le Fay : Half-sister of King Arthur and aunt of Sir Gawain. (She is the daughter of Ygraine, Arthur's mother, and Ygraine’s first husband.) She resides at the castle of Bernlak de Hautdesert as the companion of Bernlak wife. From books and from Merlin the Magician, Morgan le Fay learned sorcery and was particularly skilled in the arts of healing and changing shape. Some accounts depict her as sinister and others as generous and beneficent. She became an enemy of Queen Guinevere after the latter banished Guitar, Morgan paramour. It was Morgan who enabled Bernlak de Hautdesert to change into the Green Knight in order to work a jest against Camelot, frighten Guinevere, and test the mettle of young Gawain. The Lady : Bernlak's beautiful wife. She participates in the scheme of Morgan and Bernlak.  Guide : Man who leads Gawain to a high place overlooking the valley of the Green Knight and the mysterious Green Chapel at which Gawain is to meet the Green Knight. Knights of the Round Table : Besides Gawain, these include Ywain, Erec, Sir Dodinel le Sauvage, the Duke of Clarence, Lancelot, Lionel, Lucan the Good, Sir Bors, Sir Bedivere, Sir Mador de la Port, and Agravain à la dure main.  Bishop Bawdewyn : Guest at Camelot. Catholic Priest : Clergyman who hears Gawain’s Confession. Porter : Man who greets Gawain at the entrance of Bernlak castle. Ladies, Servants, and Others at the Courts of Arthur and Bernlak Gringalet : Gawain’s trusty steed.

Plot Summary By Michael J. Cummings ... © 2008 Based on Jesse L. Weston's public-domain prose translation of Sir Gawain and the Green Knight , published in 1898

The place whither ye go is accounted full perilous, for he who liveth in that waste is the worst on earth, for he is strong and fierce, and loveth to deal mighty blows; taller is he than any man on earth, and greater of frame than any four in Arthur's court, or in any other. And this is his custom at the Green Chapel; there may no man pass by that place, however proud his arms, but he does him to death by force of his hand, for he is a discourteous knight, and shews no mercy. 

I will to the chapel let chance what may, and talk with that man, even as I may list, whether for weal or for woe as fate may have it. Fierce though he may be in fight, yet God knoweth well how to save His servants.

....... The story begins and ends at Camelot. Between the Camelot episodes are an episode in the wilderness, an episode at Bernlak's Castle, another episode in the wilderness, and an episode at the Green Chapel in which the Green Knight (Bernlak) wields the axe against Gawain. Thus, the plot structure is balanced, with two Camelot episodes, two wilderness episodes, and two episodes in Bernlak's domain (at his castle and at the Green Chapel).  ....... This study guide is based on Jesse L. Weston's public-domain prose translation of Sir Gawain and the Green Knight . The original text is in Middle English and largely unintelligible to all but Middle English scholars. In his preface to the first edition of the translation, published in 1898, Weston describes the structure, language and style of the poem as follows:

....... Our poem, or, to speak more correctly, metrical romance, contains over 2500 lines, and is composed in staves [stanzas] of varying length, ending in five short rhyming lines, technically known as a bob and a wheel, — the lines forming the body of the stave being not rhyming, but alliterative. The dialect in which it is written has been decided to be West Midland, probably Lancaster, and is by no means easy to understand. Indeed, it is the real difficulty and obscurity of the language, which, in spite of careful and scholarly editing, will always place the poem in its original form outside the range of any but professed students of medieval literature, which has encouraged me to make an attempt to render it more accessible to the general public, by giving it a form that shall be easily intelligible, and at the same time preserve as closely as possible the style of the author. ....... For that style, in spite of a certain roughness, unavoidable at a period in which the language was still in a partially developed and amorphous stage, is really charming. The author has a keen eye for effect; a talent for description, detailed without becoming wearisome; a genuine love of Nature and sympathy with her varying moods; and a real refinement and elevation of feeling which enable him to deal with a risqué situation with an absence of coarseness, not, unfortunately, to be always met with in a medieval writer. Standards of taste vary with the age, but even judged by that of our own day the author of Sir Gawain and the Green Knight comes not all too badly out of the ordeal!

Gawain's Conflicts

....... The climax occurs when Gawain discovers that the Green Knight reveals that his grazing axe blow was a feint intended to expose Gawain as a less-than-godlike warrior who resorted to a charm (the sash) to protect himself. 

Flawed Humanity — or, Nobody's Perfect

....... Gawain tries to be the perfect knight. And he is indeed brave, chivalrous, respectful, self-confident, and deeply religious. But during his sojourn at Bernlak's castle, he accepts on several occasions — though he does not invite — the kisses of Bernlak's wife, a woman of surpassing beauty. In addition, he accepts from her a sash that he believes will make him invulnerable to the axe blow of the Green Knight. He keeps secret all that passes between him and the lady. These episodes reveal Gawain as a flawed human, a young man who is less than he thinks he is. Here is why:

• Passive acceptance of the lady's amorous advances is no less reprehensible than active acceptance. His action wrongs his host.
• Accepting the sash impugns his bravery and self-confidence, for it reveals him as doubtful of his ability to defeat the Green Knight.
• Keeping secret his acceptance of the sash — and the kisses — makes him seem devious and disloyal.

Woman Power

....... Through their wiles, Morgan le Fay and the lady teach Gawain a lesson that enlightens him about himself. It was Morgan, not Bernlak, who contrived the scheme to deceive the court at Camelot. “She sent me in this guise to yon fair hall to test the truth of the renown that is spread abroad of the valor of the Round Table,” Bernlak tells Gawain.” She taught me this marvel to betray your wits, to vex Guinevere and fright her to death by the man who space with his head in his hand at the high table.” Bernlak wife playas a key role in the scheme.

Friendship and Camaraderie

....... The entire court of Camelot supports Gawain as he leaves Camelot to find the Green Knight. When he returns from his adventure downcast and embarrassed, the knights and ladies comfort him and decide to wear a green sash in solidarity with him.  .

The Pentangle on the Shield

....... On Gawain's shield is a golden pentangle against a field of red. A pentagle is a star with five points. Because the lines forming the pentangle on Gawain's shield are continuous and never broken, the star is a symbol of integrity; it signifies that all the knightly virtues and moral values of the knight who bears the shield are intact in the knight's character. Whether these virtues and values will remain intact after Gawain leaves Camelot to find the Green Knight becomes a key question in the story. The narrator of the story explains and describes the pentangle, including the symbolism of each point of the star, in this way:

And why that noble prince bare the pentangle I am minded to tell you, though my tale tarry thereby. It is a sign that Solomon set ere-while [some time ago], as betokening truth; for it is a figure with five points and each line overlaps the other, and nowhere hath it beginning or end, so that in English it is called "the endless knot." And therefore was it well suiting to this knight and to his arms, since Gawain was faithful in five and five-fold, for pure was he as gold, void of all villainy and endowed with all virtues. Therefore he bare the pentangle on shield and surcoat as truest of heroes and gentlest of knights. For first he was faultless in his five senses; and his five fingers never failed him; and all his trust upon earth was in the five wounds that Christ bare on the cross, as the Creed tells. And wherever this knight found himself in stress of battle he deemed well that he drew his strength from the five joys which the Queen of Heaven had of her Child. And for this cause did he bear an image of Our Lady on the one half of his shield, that whenever he looked upon it he might not lack for aid. And the fifth five that the hero used were frankness and fellowship above all, purity and courtesy that never failed him, and compassion that surpasses all; and in these five virtues was that hero wrapped and clothed. And all these, five-fold, were linked one in the other, so that they had no end, and were fixed on five points that never failed, neither at any side were they joined or sundered, nor could ye find beginning or end. And therefore on his shield was the knot shapen, red-gold upon red, which is the pure pentangle.

Ave : Ave Maria, or Hail Mary, a prayer said by Roman Catholics. betide : Happen or happen to. baldric : B elt or sash that winds across the chest from a shoulder to the opposite hip, then up the back to the shoulder. It may be used to support support a sword, dagger or horn.  byrny : Tunic of chain mail.  chain mail : Flexible metal armor. chamberlain : Servant assigned to a bedchamber. chivalry : Exemplary conduct expected of a knight; a knight's code of behavior.  Credo : Creed, or profession of belief, in the Roman Catholic Mass. The Credo (Latin for I believe ) is called the Nicene Creed. It is sung or recited. cuisses : Armor pieces protecting the thighs. doublet : Sleeveless jacket. greave : Armor covering the lower leg, from the knee to the ankle. hauberk : Coat of chain-mail armor. helm : Helmet. holt : Woods encompassing only a small area. Logres : A name for the land ruled by King Arthur. matins : Prayers recited early in the morning. Michaelmas : In Roman Catholicism, the feast day of St. Michael, an archangel, on September 29. Middle Ages : Period of history beginning about AD 400 and lasting until 1500; period between ancient and modern eras.  Paternoster : The Lord's Prayer. Also called the "Our Father." Reynard : Another name for a fox in folklore and fables. rood : Cross of Christ. squire : Aspiring knight who attends a knight and is second in rank to a knight. surcoat : Tunic, or loose-fitting garment, worn by a knight over his armor. vintail : Alternate spelling of ventail , movable covering for the face on the front of a metal helmet. wis : Know, suppose, imagine.

The Feudal Age

How Feudalism Worked

....... The king of a domain granted an expanse of land ( fief ) to selected men of high standing in return for a pledge of allegiance and military service. These men, who came to be known as great lords (or grands seigneurs ) then awarded portions of their land to lesser lords, or vassals, for a similar pledge of loyalty, or fealty , as well as dues and an agreement to fight the lord's enemies. In return, the great lord met the everyday needs of the vassals. Knights, highly trained mounted warriors, were the backbone of the great lord's army. Failure by a great lord or a vassal to live up to a commitment, or warranty , was a felony , a crime punishable by loss of the offender's title, land, and other assets. In severe cases, the offender sometimes lost his life or a limb. 

..... What a King or Great Lord Gave ---> Land ..... What a King or Great Lord Received ---> Protection (Military Service)

The Land and Its Workers

....... The estate on which a lord lived was called a manor. Peasants, or serfs , were attached to the land as property. They paid rents and taxes, farmed the land and performed many other servile duties. Sometimes freemen also worked the land. The lord exercised full political and social control over his land. ...  What Was a Castle?

....... A castle was a walled fortress of a king or lord. The word castle is derived from the Latin castellum , meaning a fortified place . Generally, a castle was situated on an eminence (a piece of high ground) that had formed naturally or was constructed by laborers. High ground constructed by laborers was called a motte (French for mound ); the motte may have been 100 to 200 feet wide and 40 to 80 feet high. The area inside the castle wall was called the bailey . Some castles had several walls, with smaller circles within a larger circle or smaller squares within a larger square.  ....... The outer wall of a castle was usually topped with a battlement , a protective barrier with spaced openings through which defenders could shoot arrows at attackers. This wall sometimes was surrounded by a water-filled ditch called a moat , a defensive barrier to prevent the advance of soldiers, horses and war machines. At the main entrance was a drawbridge , which could be raised to prevent entry. Behind the drawbridge was a portcullis [port KUL is], or iron gate, which could be lowered to further secure the castle. Within the castle was a tower, or keep , to which castle residents could withdraw if an enemy breached the portcullis and other defenses. Over the entrance of many castles was a projecting gallery with machicolations [muh CHIK uh LAY shuns], openings in the floor through which defenders could drop hot liquids or stones on attackers. In the living quarters of a castle, the king and his family dined in a great hall on an elevated platform called a dais [DAY is], and they slept in a chamber called a solar .  ....... The age of castles ended after the development of gunpowder and artillery fire enabled armies to breach thick castle walls instead of climbing over them.

Study Questions and Essay Topics

1. In planning their trick, did Morgan le Fay and the Green Knight foresee that Gawain would accept the challenge? (In other tales about the Knights of the Roundtable, Gawain frequently appears as headstrong and reckless in his willingness to accept challenges and prove his mettle.)  2. When the lady tells Gawain that the sash is a talisman that will protect him, he does not doubt her. Does his belief in its power reveal him as naive and gullible? 3. Interpreters of the story speculate that the color of the knight and the sash, green, has special meaning. Some say it signifies evil; some say it represents spoilage, corrosion, and death. Still others maintain that it suggests rebirth and growth, like the green plants of spring. What do you believe the color symbolizes in the story? 4. Write an essay that attempts to explain the motives behind the decisions Gawain makes. 5. In an argumentative essay, take a stand on whether stories about King Arthur and his knights are based on historical persons. .

Jesse L. Weston Translation W.A. Neilson Translation Paul Deane Translation Original Text Edited by J.R.R. Tolkien and E.V. Gordon Original Text With English Translation (University of Toronto)

Sir Gawain and the Green Knight, I & II

About the manuscript.

Sir Gawain and the Green Knight probably composed c. 1375-1400. One surviving manuscript, containing three other poems, thought to be by same author ( Pearl, Patience, and Purity ).

Written in the dialect of the NW Midlands (south Lancashire, Cheshire, Staffordshire; the area Gawain ends up in after his journey north

About the Poem

For a brief discussion of the alliterative verse of the poem and of its stanzaic construction (and its use of the "bob" and "wheel"), see intro to Borroff.

The poem is an example of medieval romance. Romance starts off as term designating a story written in one of the languages which derive from Latin (the "Romanish" languages, as it were: e.g, French, Spanish, Italian). Gradually, the term becomes associated with particular KINDS of stories told in these vernaculars: narratives of chivalric adventure, quests and tests, ennobling challenges.

Romances often contain magical and supernatural elements and often treat of love between aristocratic characters.

"Exfoliating" Sign Systems

This poem is full of complex sign systems, ambiguous texts, which constantly invite our interpretation.

Consider the ambiguous nature of the Green Knight: the multiplying mixed signals his description offers (e.g., the holly bush and the ax in his hands: green branch of peace, weapon of war).

The challenge: the "Christmas game," which also involves a legal contract and a test of Gawain's "trouthe," a Middle English word whose connotations encompass truth, pledged word, faithfulness between lovers, personal integrity. See Kane�s essay "The Liberating Truth" (in Chaucer and Langland ).

The arming of Gawain as knight of the pentangle: resonance (both secular and spiritual) of the pentangle as sign of Gawain

The "endless knot": The five defining virtues associated with Gawain (see Borroff and Longman intros).

Gawain's Journey North

Consider the significance of what the poet does and does not choose to expand upon in narrating the journey. In particular look at Christian references.

The northern court: structural doubling of Green Knight's arrival at Camelot in the arrival of Gawain, the stranger, at the mysterious castle.

The business of naming (the resonance of the surrendered identity).

The northern courtiers' reconstruction of Gawain's identity, their emphasis on his command of the courtly arts and of "love-talking."

The new game: Gawain's trouthe on the line again in the "exchange of winnings" contract.

Sir Gawain and the Green Knight, III & IV

Sir gawain and its audience.

Note the poet's manipulation of readerly expectations and of the conventions of romance.

What is the real quest, what is the real test in this poem? What interpretative challenges are posed when the readers know more than the protagonist apparently does?

The Element of the Erotic

Courtly love, or fin amor : the emphasis on graceful and idealized relations between the sexes. Note: Courtly love is an almost entirely literary phenomenon. See secondary readings

The northern court's emphasis (and the lady's particular emphasis) on Gawain's reputation for graceful dalliance and "love-talking." Gawain, not Lancelot, as representative of idealizing love that supposedly moves the lover to improved moral status

Narrative Interlace

The poem's sophisticated narrative design: the significant interlacing of the three outdoor hunts and the skirmishes in the bedroom.

"Courtesye" vs. "Clannes" in the verbal battles in the bedroom: Gawain's dilemma being that his trouthe is on the line in the exchange-of-winnings game.

The redefinition of the green girdle from love token to magical talisman.

Roles played by Christian ceremonial (prayers, blessings, Mass, confession)

What precisely is the nature of Gawain's mistake or failing in accepting the girdle?

The meeting in the Green Chapel: once it is revealed that Gawain's host and the Green Knight are the same person, the need for retrospective reinterpretation of Gawain's experience.

Entanglement of the outcome of the "beheading" game with the outcome of the "exchange-of-winnings" game, which itself was all bound up with how Gawain responded to the temptation of the hostess.

The Moral of the Story?

Status of Green Knight at end of poem: Spiritual guide? Father confessor? Force of nature? Agent of mysterious supernatural forces? To what extent is he a free agent?

Antifeminist rants, roles played (in retrospect) by Guinevere, Bercilak�s wife, Morgan le Fay?

Multiplication of testers; of tests, games and contracts; of temptations; and multiplying judgments upon Gawain's performance.

How do we reconcile the Green Knight's judgment of Gawain, Gawain's self-judgment, and the Round Table's assessment of his success? (Note that the poet doesn't explicitly tell us which to prioritize.)

The constant renegotiation of the significance of the green girdle in the later stages of the poem: its metamorphosis into a WWGD lace.

Redefinition of Gawain's identity? The knight defined by the endless knot of the pentangle becomes the knight who is marked by the green girdle.

The poet's refusal to offer us any encompassing moral; the reader must make the final call on the particular significance of Gawain's questing and testing.

Cp. and contrast with Pearl : same poet, more complex poetic technique, more sophisticated moral stances, less explicitly clear theological positions.

Advance on genre�philosophical and ethical romance�real advance over Marie and French precursors.

ClassicNotes on Sir Gawain and the Green Knight

Main Themes

Nature vs. Human Society: This is the central conflict which Gawain must deal with in his quest. He is forced to confront the forces of Nature � both external and internal -- in the form of the Green Knight, the winter landscape, his own sexual desire, and ultimately, his own fear of death. Throughout, Gawain counters this with his own faith in God and in chivalric values. But in the end his natural fear of death overcomes his sense of human morality, causing him to accept the green girdle. And when Gawain returns to human society at the end of the poem, it is with a sense of unease, having realized the power of Nature in comparison to his human beliefs. Throughout the poem, we see natural settings and impulses constantly opposed to those of human society and civility. And while humans shy away from their inevitable death, it is Nature which can continue to restore and regenerate itself, as seen in the indestructible Green Knight and the passing and resurrection of the year.

The Futility of Human Constructions: The poem is full of detailed descriptions of human constructs, like armor, clothing, food, architecture, even the cutting of hunted deer. There is a ritualistic, overly technical sense to these descriptions, where the poet seems to be hinting at the superficiality of these human constructs and questioning their purpose. For example, the concept of Courtly Love is one such elaborate human construction, but in Fitt III, it is essentially parodied in the conversations between Gawain and Lady Bertilak. And Gawain's sumptuous armor, no matter how well-forged or polished, will be of little use to him when he receives the exchange stroke from the Green Knight. In comparison to the powerful descriptions of natural forces, these human constructions appear silly, excessive, and ultimately futile.

The Viability of Chivalric Values: Perhaps the most significant of these human constructions is chivalric code which forms such an essential part of medieval literature and of Gawain's belief system. Gawain is the very embodiment of chivalric values, yet his encounter with the seductive Lady Bertilak forces a crisis in the chivalric value system: should he honor the requests of the noble lady or remain faithful to his lord? Upon his return to Camelot, King Arthur does not even detect the moral crisis within Gawain. And most unexpectedly, the "test" of Gawain's chivalric values have been in fact a game engineered by Morgan le Fay for a less-than-noble purpose. Disillusioned, the once-idealistic Gawain finds that the code of chivalry which once formed his moral core has now been shaken.

Faith in God: In contrast to the questionable nature of the chivalric code, the poet upholds Christian faith as the ultimate, saving grace for humanity. Ever pious, Gawain continuously finds guidance in God: from the image of the Virgin Mary on the inside of his shield to his prayers while journeying alone, to his narrow escape from the adulterous temptations of Lady Bertilak. It is, in a sense, faith in God which enables mankind to negotiate between the dangers of human society and the dangers of the natural world. To affirm this, the poem concludes with a supplication to Jesus Christ, the Savior.

Celtic Pagan Sources and Christian overlay: Despite its Christian message, the poem has strong roots in Celtic pagan myth. There are many elements common to pre-Christian Celtic mythology, such as the waiting period of twelve months and a day, the Beheading Game, and the Temptation Game. The Green Knight himself is a strongly pagan character, similar to the Green Man or Wild Man of the Woods who symbolizes fertility in folklore. Gawain's journey can even be seen as the hero's archetypical encounter with the Otherworld, an essential theme in pagan belief. The Pentangle is often a pagan symbol; thus Gawain' s shield, with the Pentangle on one side and the Virgin Mary on the other, comes to represent the dual pagan/Christian nature of the poem. Typical of the Arthurian tradition: the seemingly comfortable co-existence of Christian and pagan in the tradition.

Questioning the Romance: The poem contains many conventions of the medieval romance tradition, but in many ways it does not celebrate the genre. Many elements verge on parody; others seem deliberately excessive. The conversation between the seductive Lady Bertilak and the diplomatic Gawain satirizes the language of Courtly Love, the descriptions of armor and clothing can be over-the-top, and the poem does not conclude with the resolution of the typical romance. Instead, there is a sense of unease, as the poet concludes what seems to be a subtle questioning of the romance genre.

The Fall of Man and Loss of Innocence: Biblical parallels can be found in the appearance of Bertilak's castle (Paradise) and the role of his wife as temptress (Eve). Accordingly, Gawain loses his moral innocence when his value system is shattered by the end of the poem. Such an allegory emphasizes once more the poet's Christian message, and the relationship between mankind and the divine.

Fitt I Summary

The poem begins with a lengthy description which establishes the setting firmly in Arthurian Britain. The writer traces the history of Britain from the Trojan War, the founding of Rome by Aeneas, and through to the eventual founding of Britain by the legendary Felix Brutus. Britain is a land of great wonders and strife, but King Arthur has established a court of utmost nobility and chivalry, peopled with the bravest knights and fairest ladies. The poet will now proceed to relate a particularly extraordinary episode from King Arthur's court, which begins at a lavish New Year's celebration in Camelot.

A rich description of the celebration follows, where the poet carefully conveys luxurious details of decoration and attire. There is the incomparably beautiful Queen Guinevere, Arthur himself, and seated in honor around them, various noble knights and relatives of Arthur, including Sir Gawain . We learn that Arthur does not like to begin his feasts until he has heard a great tale or witnessed a great marvel. Indeed, in the midst of the feasting, a wondrous stranger bursts into the hall. The stranger is most remarkable because he is entirely green, and the poet devotes nearly 100 lines to a meticulous description of his appearance.

Giant-like with an enormous green beard, the stranger nevertheless carries an air of handsome civility, wearing sumptuous green and gold clothes and armor. His horse is equally decked in ornate green, and the knight himself holds a branch of holly in one hand and a formidable battle-axe in the other. He demands, somewhat arrogantly, to speak to the ruler of the company, while the court stares on in stunned silence. When Arthur finally speaks, the stranger explains that he has come to this famously valiant court to play a Christmas game. Whoever agrees to play this game will be allowed to strike the Green Knight on the spot, in the middle of the court; in exchange, the Green Knight will strike a return blow upon the volunteer a year and a day hence. None of the court volunteers as the game seems to imply certain death for whomever plays; the stranger ridicules them all for Camelot's supposed bravery. Eventually Arthur agrees to play the game, but as he is about to wield the great battle-axe, Gawain speaks. In polite and self-effacing language, Gawain begs to take up the boon instead, so the life of the king can be spared in place of a knight as weak and lowly as he. The court agrees to let Gawain play, and after restating the terms of the agreement to each other, the stranger gives the battle-axe to Gawain, then exposes his neck for the blow. Gawain cleaves off the stranger's head in one blow, but the stranger does not die, despite the abundant bloodshed. In fact, the body of the Green Knight picks up the severed head, which then addresses Gawain. The stranger charges Gawain to meet him at the Green Chapel next New Year's morning, so that he may receive his exchange blow.

After the stranger leaves, Arthur urges Guinevere to continue reveling, while he tells Gawain to hang up the stranger's battle-axe and forget about his new mission for the time being . The New Year's feast continues unaffected, but the poet ends the fitt by foreshadowing the dangerous adventures Gawain must face.

Fitt I Analysis

The conventions of the romance genre : Gawain appears to fit neatly into the genre of the medieval romance, a French poetic form which had great influence in England beginning in the middle of the twelfth century. The romance has several characteristics: a celebration of warrior society, a setting amidst the feudal nobility, close attention to details of pageantry, and � most importantly � an emphasis on the chivalric concept of courtly love. This last idea hinged on the relationship between the ideal hero � the knight errant � and the noble woman he loves. However, in the aristocratic society of chivalry, the most supreme kind of courtly love was for an unattainable woman, often the queen of a knight's lord. A knight's love for this lady would inspire him to braver deeds, just as, in the traditional Arthurian material, Sir Lancelot was driven to great accomplishments by his love for Queen Guinevere Thus, in a larger sense, the code of chivalry focused on the protection of the weak and fair elements of society by the loyal, self-sacrificing knight. But it also included a knight's fidelity to his court and king, and his respect for other warriors and the rules of combat.

It is important to consider Gawain in light of the conventions of the romance genre. All the characteristics of the romance are present, however, closer examination suggests a questioning of the values of chivalry and the typical romance. Does the poet really support these values, even when he writes in the style of the romance? Is there a not a greater irony to his description of conventional romance elements, or to the way the events unfold in the poem? Remember the poem was written sometime in the fourteenth century, at a time when the romance genre was already a dying form. Thus, the poet, while not exactly satirizing the romance, could certainly be expressing his doubts about the values and social institution of the chivalric court by playing within the bounds of the romance genre.

Fitt I and the Romance Genre : From the very beginning, Fitt I corresponds with expected conventions of the romance genre. Among these is the opening exposition which establishes the historical setting via a list of previous battles and legendary heroes. Many other romances and epics (another popular genre of the time) began this way, establishing a link with the legendary past and thereby legitimizing the unfolding content of the current narrative. When the poet focuses upon Arthur's court, this too is a romantic convention, for Arthur and his knights were already a popular topic of romances, serving as the ideal of chivalric loyalty and valor. Again, it is no surprise that the scene unfolds at a great New Year's feast, another romantic convention, for this provides the poet with a chance to display the chivalric society at its greatest and most vibrant. Notice how he describes Arthur and his knights in superlatives, as the most famous knights in Christendom and the handsomest of kings. Superlative mention is also made of Queen Guinevere, her beauty and nobility, with particular attention paid to the details of her dress and accoutrements. Finally, the poet emphasizes Arthur's wish for a great wonder or tale to entertain him at the feast, again an affirmation of the typical view of Camelot as a place of adventure and unparalleled bravery. In all these elements � the historical opening, the Arthurian setting, the opulent feast, the superlative portrayal of Guinevere, the lavish attention to detail, and Arthur's desire for adventure � in all of these, the poet acts clearly within the convention of the romance.

But perhaps it is not so simple, for as we have noted earlier, the poet seems to be questioning the values of the chivalric romance at the same time he uses the conventions. The historical opening hints at the darker side of British history, writing that war, misery and distress, have alternated with prosperity since the founding of Britain. Already, this is no glorifying portrayal of military values. Also, the superlative description of Camelot verges on the excessive. A poet this skilled in description would surely be able to exalt Arthur and his court in a less simplistic manner. But lines 36-40 are so unsophisticated in their utmost praise of Camelot that we cannot help but question the poet's genuine belief in its glory. Certainly this supposed "greatness" of Camelot is something we will want to consider at the end of the poem, when Gawain has returned to Arthur after his momentous adventure.

In similar ways, the poet's description of the lavishness and merriment at the New Year's feast suggests a certain decadence in Arthur's court. The description of Guinevere thus far is in keeping with romantic conventions of the exalted noble woman, but these portrayals of women will continue to evolve throughout the poem, calling into question the concept of courtly love. Meanwhile, in Line 86 the poet describes Arthur as restless, youthfully light-hearted and rather boyish ("so joly of his joyfnes, and sumquat childgered"). While this is certainly a young, attractive King Arthur, in the springtime of life, we get the sense that this Arthur is also somewhat immature, demanding great wonders as an entertainment before his feast, and not as events with serious outcomes and implications. Again, we should consider this at the end of the poem, when Arthur and the court react to the result of Gawain's quest.

For the meantime, Fitt I continues with more subtly ambiguous treatment of romantic conventions. Considerable detail is lavished on the stranger's physical appearance, down to the ornamental knots in the mane of his horse. When the stranger speaks, his half-mocking tone provides another chance to criticize the chivalric court. And surely, the initial silence of the court affirms his censure of Camelot's cowardice, despite its reputation of valor. Arthur responds nobly to the challenge, but the poet describes the wary king in not-so-flattering terms, at least in comparison to the magnificent and towering stranger. Gawain's speech, while deferential and self-effacing, is perhaps too deferential, perhaps hiding a criticism of the other cowardly court members as he begrudgingly accepts the challenge for his king? The repeated terms of agreement between the Green Knight and Gawain serve to reinforce the chivalric code of respect for the rules of combat. Yet for all their seriousness, Arthur at the end of the fitt lightly ignores the implications of Gawain's mission, urging for more revelry and suggesting again, the immature and decadent Camelot of this complicated romance. As the poem progresses and Gawain moves from Camelot to other settings, it will be important to view other romantic conventions as they appear and consider their commentary on the values of chivalry.

Links with Celtic mythology : Another way to view Gawain is to consider its relationship with Celtic mythology, something frequently present in Arthurian material. The Celts, the people who lived in the British Isles prior to the arrival of the Romans and the Anglo-Saxons, had a strong body of pagan belief, ritual practices, and stories surrounding those beliefs and practices. Many of the characters in these myths were gods and goddesses; many of their ritual practices and beliefs echoed motifs in their myths. As the Middle Ages progressed and Christianity grew more dominant, these motifs and characters were often preserved in the folklore and literature of the British Isles. Arthurian material is particularly notable for its ties to Celtic myth, for many of the characters and events in these stories resemble gods and motifs in the older myths. In Gawain, there is a constant sense of the Celtic, pagan cosmology underlying the events with the Green Knight and Gawain's quest. As the poem progresses, this becomes especially complicated when set against the obvious Christianity in the story: Christian belief and pagan ritual mingle in intricate ways in Gawain.

Fitt I and Celtic mythology : In Fitt I, this link with Celtic belief is most noticeable in two ways: in the Christmas/New Years setting of the scene and in the figure of the Green Knight. Celtic pagan belief considered the year to be an important cycle in both the human and natural worlds. The Celts designated a certain time of year as the end of the old year and the beginning of the new one. At this "limbo" time of year, strange, supernatural events were likely to happen and the human world was likely to come in contact with the Otherworld of mystical beings. At the same time, though, the year was made new and revelry often took place to celebrate the new year and release the excess of spiritual energy. Traditionally, this designated time of year took place around November 1 for the Celts, and was known as Samhain. However, with the influence of Christianity and more Continental beliefs, this limbo time was moved to the period between Christmas and New Year's day.

Gawain corresponds with this pattern, with the strange Green Knight bursting in upon King Arthur's court on New Year's day. In this way, he can be seen as an Otherworldly visitor to the human world, as a strange, unaccountable force of nature entering Camelot, the epitome of civilized society. The bizarre beheading game has been seen to represent the ritual slaying and renewal of the year. There are in fact direct parallels between the beheading game in Gawain and an eighth-century Irish myth, "Bricriu's Feast." In this tale, the Celtic hero Cuchulainn must behead an Otherworldly figure at a feast, with similar consequences � the apparent immortality of the other figure and the challenge for an exchange stroke a year later. In both cases, the Beheading Game has a ritual, pagan significance, suggesting the regenerative quality of Nature and the turning of the year.

In Gawain, the Green Knight in fact designates the following New Year's day as the date for the exchange blow, thus emphasizing the significance of the year as a cycle of time. And renewal and regeneration are certainly implicit in the Green Knight's immortality, since the beheading has no effect on him. Another clue to his Otherworldly nature would be his green color. Green, as the dominant color in nature, here suggests the natural cycle of rebirth and renewal that is so essential to the concept of the year and, as well, to the character of the Green Knight.

Symbols in Fitt I : The Green Knight himself thus serves as an important symbol in the story. We have already established that he personifies the renewable, indestructible forces of nature, entering human society on New Year's Day. But his description merits a closer look, for the poet does not portray him solely as a figure of terror and foreignness. In fact, the Green Knight is a mixture of the familiar (the civil) and the foreign (the raw). He is opulently dressed and clearly noble, yet his green color and sheer size indicate he is not entirely of this world. Thus, the Green Knight functions as a liminal figure, mediating between the civilized world of chivalry and the unknown world of nature. As we will see later on, he not only signifies the ritual renewal of the natural cycle, but also calls into question the civilized structure of chivalric and Christian values which confront Gawain.

Several specific traits of the Green Knight should be noted in this light. First, he bears in one of his hands a branch of holly and in another a cruel battle-axe. This clearly symbolizes his dual function. On one level it indicates his civilized wish for peace, offset by his potential for destruction. On another level, it symbolizes his understanding of the rules of society, despite his innate link with the natural world.

We should also note the recurring colors of green and gold in the description of the Green Knight. Similar to the battle-axe and holly, the green obviously indicates his raw, natural character, yet the gold implies something different. Gold is, after all, often associated with wealth, royalty, and the ultimate level of society. In medieval times, it was seen as the desired end product of the meticulous process of alchemy, the final possible attainment for human beings. Thus, the gold here brings a note of civility and social greatness to the figure of the Green Knight, in addition to his Otherworldly nature. As the poem progresses, green and gold will continue to take on a greater significance, especially in relation to the character of Gawain himself.

Fitt II Summary

The second part of Sir Gawain and the Green Knight opens with a lush, detailed description of Nature and the passing of the year. After the Christmas feast and the Green Knight's challenge, the winter passes into a fair, green springtime and then a rich, joyful summer. But eventually harvest season approaches, the leaves fall, "and so the year descends into yesterdays, / And winter returns again as the world requires" (Gardner ll. 530-1). At this point of the year, Gawain remembers his agreement with the Green Knight and so, at a Michaelmas feast, sadly bids farewell to Arthur's court. Although Gawain pretends not to be bothered by the upcoming Quest, all the lords and ladies are silently sorrowful that a knight as worthy as Gawain must go to his doom by receiving the exchange blow from the Green Knight.

The next few stanzas are dedicated to a meticulous description of Gawain as he dons his ornate armor the next morning. Both he and his horse Gringolet are richly attired: Gawain's helmet, for example, has a priceless veil embroidered with parrots and turtledoves, and above that he wears a diamond-studded crown. But most important of all is his shield, which bears the emblem of the Pentangle, the five-pointed star. The poet pays particular attention to the Pentangle, the emblem of truth, known everywhere as "the endless knot." It is particularly suitable for Gawain because the five points of the star represent the five different ways in which Gawain, like purified gold, embodies faultless virtue. These five ways are in themselves five groups of five: 1) he is perfect in the five senses; 2) his five fingers are unfailing; 3) his faith is fixed firmly on the five wounds which Christ received on the cross; 4) he draws his strength from the five joys Mary had through Jesus; and 5) he embodies, better than any other living man, the five virtues. These virtues are Franchise, Fellowship, Cleanness, Courtesy, and above all, Charity.

On the inside of his shield is an image of the Virgin Mary, to which Gawain would look as a source of courage.

Once armed with his shield, Gawain rides away from Camelot, the court mourning that such a young, faultless knight should sacrifice his life as a result of a silly Christmas game. Gawain rides for months through a rough, unfriendly, and godless land. Often alone, Gawain has no friends but his horse and talks to no one but God. And no one he encounters knows of the Green Knight or the Green Chapel. Gawain battles with beasts and giants in his travels and struggles through a harsh, cold country which would have killed a weaker or more faithless man. On Christmas Eve, after toiling through a daunting wood, Gawain beseeches the Lord and Mary to guide him to some haven where he may attend mass and properly pray on Christmas morning. Almost immediately, Gawain stumbles upon a moated fortress, a beautiful castle with strong defences and intricate architectural flourishes. Awed and grateful, Gawain asks the porter of the castle for entrance and is greeted by a great, joyful, and eager company. He is welcomed by the lord of the castle, a massive, civilized, capable-looking man who sees to it that Gawain receives the best of care. Gawain is dressed in luxurious robes, and -- looking as refreshed and radiant as the spring -- he is brought to a lavish table and fed the best of wines and food. Eventually, his company learns that he is none other than Sir Gawain of Arthur's court, and they are delighted to have such an honored personage in their presence, the embodiment of good breeding and chivalry himself.

After dinner, the company attends the Christmastide mass, where Gawain meets the lady of the castle. She is incomparably beautiful, even lovelier than Guinevere, and she is accompanied by an ancient noble lady, whose utter ugliness enhances her own beauty. Gawain is pleased to meet her, and their companionship deepens the next morning at the Christmas Day feast. They are seated next to each other, while the ancient lady is given the highest seat, and the lord the next highest. A third day passes in revelry, and on the day of St. John, the guests of the castle leave to go home. Gawain thanks the lord and declares himself his servant, but regrets that he must leave the next morning to continue his quest. The lord, however, reveals that the Green Chapel is but two miles away, so Gawain must stay for the remaining three days and relax in bed. Jubilant, Gawain again declares himself the servant of the lord, ready to do his bidding. The lord decides that the next day, Gawain will stay in bed until attending high mass and dinner with the lady of the castle; in the meantime, the lord himself will rise at dawn to go hunting. He suggests one more thing: whatever he wins in the forest tomorrow will be given to Gawain, and in exchange, whatever Gawain wins in the castle during the day he must give to the lord. Gawain agrees to this bargain, and the lord calls for more wine and revelry to celebrate their game.

Fitt II Analysis

Description of Nature : The first two stanzas of Fitt II are notable for their lovely description of Nature and the passing of the seasons. The poet portrays Nature as an ever-changing world which sustains the human world and yet is not affected it, always continuing forward in its yearly cycle. Thus, as much as Gawain would like to avoid the impending meeting with the Green Knight, the year moves forward inexorably and the seasons push along to winter again: "A year turns all too soon, and all things change: / The opening and the closing are seldom the same" (Gardner ll. 499-500). The overall picture enhances the superior power of Nature � in its creative and destructive aspects through springtime back to winter � and the insignificance of human actions and emotions in comparison to the natural world.

The next description of Nature emphasizes this disparity even more, as the despondent Gawain, a solitary human figure, traverses a great and desolate wasteland in search of the Green Chapel. On his journey he encounters all the malevolent, destructive aspects of Nature: vicious beasts, cold rain, wild forests, ragged moss, treacherous bogs. Again, Nature is an overpowering world that belittles the individual human. The one thing that saves Gawain from destruction is his faith in God, and in a larger sense, it is only this � religion � which can guide and rescue the human from the dangerous world around him. Faith in God enables mankind to negotiate and survive the forces of Nature, both those natural forces outside and within him.

Imposing Form and Deconstructing the Romance : In contrast to this wild, untamed world of Nature, the Gawain-poet also presents us with the seemingly ordered and carefully crafted world of human society. We have already glimpsed this world in Fitt I, as epitomized by Arthur's lavish court, but in Fitt II, the poet digresses into long, somewhat technical descriptions of Gawain's armor, the architecture of the mysterious castle, and luxurious court within it. These detailed passages, with their technical language and excessive description, create a sense of extreme artifice in the human world. The embroidered fabrics, the skillfully cooked fish, the intricately ornamented castle, the expertly crafted armor � these all stand in direct contrast to the ever-changing, primal world of Nature. On a larger level, these human constructions (armor, architecture, cuisine, etc) impose form on the natural world. They are a means by which humans control their own sphere within the larger world and establish a sense of order. By listing the technical details of these human productions, the poet opposes society, order, craftsmanship, and artifice against unbridled nature, wildness, fertility, and destructiveness.

But the Gawain -poet is not so simplistic in his portrayals of these two opposing worlds. He does not praise the civility of the human world over the wildness of Nature. In fact, his representation of human society is subtly complicated: he seems to be implying that perhaps human society is not as wonderful and ordered as it strives to be. Just as in Fitt I, with the descriptions of Arthur's court, the poet verges on the excessive. Is he merely glorifying the appearance of the castle, the armor, the banquet-hall, or does he ask if this is perhaps too much, too lavish, too superficial? In all these descriptions there is such an emphasis on externalities and sensuality � appearances, the texture of the fabrics, the taste of the food � that there seems to be a distancing from the spiritual. Indeed, doesn't Gawain appear to be closer to God when he toils alone through the forest than when he revels at a royal feast?

In questioning these constructions and forms, the poet eventually questions the romance genre itself. As we pointed out in Fitt I, the conventions of the romance include such lavish descriptions of feasts, armor, and clothing. But by subtly undermining these descriptions, perhaps the poet is deconstructing the romance and its reason for creating such constructions. Ultimately, what is the purpose of the romance genre: is it merely another false construction, a product of human society that eventually separates us from our spiritual selves and the natural world? The romance, like the excessive feasts and armor of the poem, perhaps strive to impose form on nature but in a way that only serves to confuse and superficialize the human soul.

Chivalric Values : Sir Gawain and the Green Knight is often noted for its complicated commentary on chivalric values, one of the most important conventions of the medieval romance and of medieval society. In Fitt II, we see Gawain as the idealistic knight, the very embodiment of chivalric values. The poet writes: "Like purified gold, Sir Gawain was known for his goodness, / All dross refined away, adorned with virtues/ �A man still undefiled, / And of all knights most gentle." (Gardner ll. 623-39) Here we have the metaphor of gold which appeared in Fitt I (see Symbols under Analysis for Fitt I); again, the allusion is to the medieval process of alchemy, in which gold was seen as the final, perfect product of a long, refining process � the metallic symbol of divine transcendence. With such a metaphor, there is no question here that the poet intends to portray Gawain as the ultimate paragon of medieval virtue and chivalry. To emphasize this, he delves into a lengthy explanation of the pentangle on Gawain's shield, stressing how Gawain possesses, better than any other man, all the five points of Christian and chivalric perfection. (See Symbols below.)

Gawain is also notable because he believes so fully in these societal values. For him, there is no question as to whether or not he should set off on this quest, as unpleasant as it is. He volunteered to undertake the Green Knight's challenge from his sense of chivalric duty. He insists on keeping his side of the bargain, again, as part of his chivalric duty. The poet makes clear that Gawain is guided and protected entirely by his sense of morality, both Christian and chivalric, which is symbolized by the shield with Christian and chivalric symbols on it.

But is this enough protection for one as idealistic as young Gawain? As the poem progresses into Fitts III and IV, Gawain will be confronted with numerous challenges to his strong moral idealism. Thus far in Fitt II he has survived the natural perils of his journey largely as a result of his own Christian piety. But eventually he will encounter perils that come from other members of society and from within his own human nature. Will his unerring moral sense be enough to protect him from these more disguised forces? And are Christian and chivalric perfection enough to make a man whole? This ultimately is crux of the poem. Throughout, the writer questions the viability of societal values when pitted against human nature and societal imperfection.

Through his excessive descriptions of luxury and revelry, the poet has already implied the weaknesses and superficiality of human society. Gawain himself seems too perfect, too idealistic to survive unscathed in the less-than-perfect human world.

The Fall of Man and the Castle as Paradise : When describing this less-than-perfect human world, medieval writers frequently would allude to the Biblical story of the Fall of Man. According to the Bible, Man was intended by God to be a perfect creature, and the first man, Adam, originally lived in an untouched Paradise (the Garden of Eden), along with the first woman, Eve. They lived in a state of perfect, ignorant bliss, like children, and did not have to work to survive. But Eve was eventually tempted by Satan, became (sexually) curious, and convinced Adam to eat the forbidden fruit from the Tree of Knowledge. As punishment for their Original Sin, they were thrown from Paradise to earth, where mankind has since had to labor in order to survive. Hence, the Fall of Man, the ultimate metaphor for the loss of human innocence.

You may wonder what this Biblical story has to do with Sir Gawain and the Green Knight . The poem is certainly not an outright parallel, but there are many allusions and motifs. Gawain, like Adam and Eve in the beginning, exists as a purely faultless creature, even ignorant in his idealism. Perhaps he, too, will eventually lose his innocence and undergo a fall from the paradise of ignorant bliss. Paradise is perhaps also symbolized in the poem by the shining image of the castle, towering over the dark forest. Medieval literature and art was full of such images of Paradise; often it appeared as an oasis, a garden, or a castle amidst a threatening desert or wasteland. In Gawain, we clearly have this medieval convention, but perhaps this castle � as welcoming and as luxurious as it first seems to Gawain � is not the bastion of moral virtue and perfection that the original Eden was. This castle is a complicated symbol, for it appears to have all the trappings of a Paradise; it appears to Gawain immediately after he has prayed for salvation in the dark forest, and the descriptions of its architecture emphasize its strength and impregnability. But as we will see, there is much more to this castle and its inhabitants than simple appearances. And for Gawain, learning this lesson may be akin to falling from his original moral perfection.

Symbols in Fitt II : In the previous paragraphs, we have already explained the significance of the castle as a symbol: it seems to be the very symbol of salvation and Paradise for Gawain, harking back to a medieval convention of castles as Paradise. But perhaps it is not as morally pefect as the Biblical Paradise, and the excessive, technical descriptions of the castle's superficialities seem to imply this falseness.

One other symbol dominates Fitt II, and this may be the most important symbol in the poem: Gawain's two-sided shield. There are several things one can say about the shield. On one level it functions as both his form of physical protection and as his symbol of moral protection. Gawain as a character drives his strength from his belief in Christian and chivalric values, and the shield is the perfect representation of this, protecting him from physical dangers while serving as a reminder of his spiritual and moral beliefs. The Pentangle on the outside can be seen as a symbol of chivalric values; indeed the five virtues of Franchise, Fellowship, Cleanness, Courtesy, and Charity quickly summarize the chivalric code. The image of the Virgin Mary, on the other hand, obviously symbolizes Christian faith. Thus, Gawain displays his chivalric beliefs and behavior outwardly to the rest of society, but Christian faith -- as symbolized by the image of Mary on the inside of his shield � Christian faith is his inner strength.

One further interpretation of the shield should be mentioned. Recall again the role that Celtic, pagan mythology plays in the poem. The Pentangle is often seen as a pagan, and not a Christian, symbol, so it is unusual that it should appear on Gawain's shield, with the image of Mary on the reverse side. The two-sided shield, with a pagan symbol on one side and a Christian symbol on the other, can thus represent the dual pagan-Christian nature of the story. Furthermore, the poet writes that the Pentangle is noteworthy because it is an "endless knot" � it has no beginning and no end, and wherever you start, the beginning ultimately becomes the end. In this way, the Pentangle comes to resemble the yearly cycle which the poet described so beautifully at the start of Fitt II � again, something endless with no beginning or end. Just as the circularity of the year testified to the superior, replenishing power of Nature, the endless Pentangle on Gawain's shield may also allude to the eternality of Nature and the need to balance this with a strong faith in religion.

Fitt III Summary

Part Three of Sir Gawain and the Green Knight covers the three days before Gawain must leave the lord's castle to meet the Green Knight on New Year's Day. On the first day, as planned, the lord arises early to go hunting. The poet describes in detail the hunting party as it moves through the winter forest, hounds and blaring horns in hot pursuit of deer. Then, almost drastically, the scene switches to the interior of the castle, to Gawain's bedroom where he still lies beneath the covers as the morning breaks. The lovely lady of the castle silently enters his bedroom and sits on his bed, watching Gawain. The knight is already awake, but he pretends to sleep, wary of the situation and the lady's intentions. Eventually, he "wakes up" and acts surprised to find the lady there.

A careful dialogue follows between Gawain and the lady, where he delicately and diplomatically evades and parries her sexual advances. First, the lady threatens flirtatiously to keep him prisoner; then praising his greatness as a knight, she assures Gawain that their situation is secret and offers her body to him. Gawain replies that he is "certainly honored" (Gardner l. 1247), but declares himself wholly unworthy for a lady as good as her. The lady denies this and replies that if she were to choose any husband, she would choose Gawain himself. Gawain tells her that she has done better already, subtly reminding her of her own husband, and their pleasant conversation continues until mid-morning. As she is about to leave him, she asks for a kiss, and Gawain, as befits the chivalrous knight, grants her that. The rest of the day Gawain spends at mass and then in the company of the two ladies of the castle.

In the meantime, the lord's hunting party has slaughtered a great number of deer by sunset, and they then begin the meticulous process of cutting and dividing the bodies of the game. Once this is done, they return home and Gawain commends the lord for his fine hunting. As promised, the lord gives the game to Gawain and Gawain, in exchange, gives the lord a sweet kiss he received that day, but refuses to reveal who it was won from, claiming that it was not part of the agreement. The two men revel for the rest of the evening and agree to continue their contract, by exchanging their winnings of the next day.

The second day begins with the hunting party out before dawn, frantically on the trail of an ancient, huge, and vicious boar. Both men and hounds are injured in the dogged pursuit of this savage beast. Meanwhile, Gawain welcomes the lady as she enters his bedchamber, as dogged as ever in her pursuit of him. More flirtatious conversation ensues: she reprimands him for forgetting to kiss her, he states that he does not like to take things by force, she says that he would hardly need force. Then she praises his reputation in Courtly Love and asks to be taught; he wisely replies that she already knows more in the art of love. In the end, Gawain evades the lady's amorous intentions, with only two kisses being exchanged. Outside, the hunt of the boar continues viciously, and the savage swine is eventually cornered in a pool of water. The lord boldly wades in the water alone to confront the beast and wins the battle by thrusting his sword into the boar's heart. Another complicated process divides the body of the boar, and the triumphant hunting party returns to the castle. Again, Gawain and the lord are joyously reunited; just as the lord gives the boar to Gawain, the younger knight bestows two kisses on him. For the rest of the night, there is much merriment and singing of carols, while the lady continues to dote adoringly on Gawain. The lord convinces Gawain to stay a third day, with the same contract of exchanging winnings. He intones ominously: "For I've tested you twice, my friend, and found you faithful, / But it's always the third strike that counts" (Gardner ll. 1677-8).

The third day dawns with a description of its brilliant, wintry beauty, and the hunting dogs fall on the trail of a cunning fox, which constantly outwits and eludes the hunting party. Inside the castle, the lady enters Gawain's bedchamber while wearing a lovely and very revealing gown. She wakes him from his sorrowful slumber, as he dreads the impending day of doom at the Green Chapel. Relentless and charming as ever, she kisses him and asks if he is not promised to another lady elsewhere. Gawain denies this, and the lady begs him to leave her a token of remembrance. He has nothing to give her, but she in turn offers him a valuable ring of gold, which he kindly refuses. The lady then offers him a green silk tunic, which he at first refuses, but then she reveals that whoever wears the green girdle cannot be killed. Aware of his impending meeting with the Green Knight, Gawain accepts the girdle, which the lady begs to keep secret. After receiving a third kiss from her that morning, Gawain dresses, confesses his sins to a priest in preparation for his challenge the next day, and then spends the rest of the day in utter merriment. Meanwhile, after much dogged pursuit, the hunting party succeeds in stunning the wily fox, and the lord triumphantly captures the sly creature. That evening at the castle, Gawain gives the lord three kisses, who in turn gives him the lone product of the day's hard work, the "foul-smelling fox". But the party continues into the night and the lord assigns a servant to guide Gawain to the Green Chapel the next morning. Heavy-hearted, Gawain bids farewell to the people of the castle, all of whom are sad to see him go. That night, Gawain has trouble sleeping for fear of the next day's events.

Fitt III Analysis

In analyzing Fitt III of the poem, it is impossible not to ignore the careful structuring of the three days of events, each with their parallel scenes of drama, both outdoors and indoors. On all three days, the structure is very similar: the lord hunts outdoors, while indoors, Sir Gawain is being hunted by the lady. At the end of each day, these two separate and very different hunts are brought together by the exchange of winnings between Gawain and the lord. The poet clearly intends to parallel the lord's hunting of beasts with the lady's hunting of Gawain. The very masculine pursuit of animals is thus equated to the lady's very feminine sexual pursuit of this chivalric hero.

But much more remains to be said about this deliberate parallel of hunting episodes. In many ways, this parallel de-constructs the superficial constructions of society which the poet has, throughout the poem, subtly questioned. By equating the delicate, artfully crafted pursuit of the knight to the rough, primal pursuit of the beasts, the poet has effectively reduced to basics all that medieval society has built up as the ultimate in chivalric behavior. The lady for the most part pursues Gawain by using complex flirtations and societal conventions that recall his sense of duty to a noble lady; yet she is banking on a very basic human instinct � lust. Their dialogue is complex, drawing upon many medieval attitudes to courtesy and humility. Yet what it all comes down to is something very primal, very (in a sense) uncivil and animalistic. Again, then, we get a sense of the falseness of societal constructions. As with the descriptions of luxurious clothes and architecture, the careful, diplomatic dialogue between Gawain and the lady is extremely complex. But ultimately, they are only used to mask the real nature of human lust � another example of societal artifice imposing itself falsely upon nature.

Interestingly enough, though, Gawain uses this very sense of civility to fend off the dangers of lust. It is only through his diplomatic responses and references to social rules (her existing marriage to the lord, his refusal to use force, etc.) that he is able to extricate himself from a very complicated situation. Indeed, Gawain's conflict is a very complex one because in rejecting the lady's requests he runs the risk of offending a moral code which until this moment, had never posed a problem to him. Chivalric duty had always required service and deference to both one's lord and one's lady, but only now does Gawain's fervent belief in chivalry create a conundrum for him. On the one hand, he is tempted to give into the lady's advances by his own human nature and by her appeal to his sense of chivalry to a noble lady. On the other hand, he counters this with his sense of chivalry to a sworn lord and his strong Christian belief. As with the earlier trial in the dark forest, it is Gawain's sense of Christian righteousness which ultimately saves him. The poet writes: "But the danger might have been great / Had Mary not watched her knight!" (Gardner ll. 1769-70)

But Gawain does not entirely evade the lady's seductions. His acceptance of the green girdle may at the time seem small, but it has huge consequences by the end of the poem. Thus, it is something worth examining. By secretly accepting the girdle and refusing to give it away, Gawain violates the agreement he had with his lord � thereby violating the chivalric code of honor that binds such contracts. It is not nearly as great a violation as adultery would have been, but it nevertheless shatters the code of chivalry which Gawain lives by. Thus, where the lady failed to seduce Gawain by appealing to his desire for sex, she succeeds by appealing to his desire to live. Both are basic animal instincts, and while Gawain can smother the one through his strong moral sense, he cannot ultimately ignore the other: the fear of death hangs too much on him. In this way, the idealistic Gawain finally allows himself to be guided by his own nature, and not by his sense of societal duty.

Gawain's fear of mortality is obviously linked to his impending meeting with the Green Knight, and this is where the poet so masterfully connects this story about Gawain in the castle with the larger framework of the first, more imposing story about Gawain and the Green Knight. Furthermore, the poet's careful cross-cutting between outdoors and indoors hunting scenes equates Gawain with the hunted beasts � both are pursued, both are gripped by the fear of death. Hence while Gawain does not at the time connect the lady's advances with the Green Knight's return stroke, the magical, death-defying green girdle does it for him, causing him to break his ever-important code of chivalry because of his fear of death.

To push the hunting parallel further, the language used during the bedroom scenes often employs metaphors of fighting and fencing. For example, a polite Gawain at first says to the forward lady: "I surrender my arms at once and sue for kind treatment" (Gardner l.1035). Later, the poet writes: "But Sir Gawain remained, in his graceful way, en garde. / � Even so, his mind would be drawn to the dark that he need not long await, / The stroke that must destroy him" (Gardner ll.1279-83) At the same time, Gawain, aware of the lady's advances and afraid of his impending doom, is equivalent to the deer that the lord is hunting right now � both await their final stroke. The overall effect of these parallels is to equate the two scenes of the exposed, dangerous exterior forest and "sheltered," "safe" interior bedroom. Thus, the poet reduces the complicated, artificialized world of human society to the basic, primeval world of nature, and shows that the societal code is merely a pretense which sometimes cannot always hold up.

The Role of the Lady and Temptress and Healer : In Fitt III, the character of the lady � until now a pleasant companion to Gawain � takes a turn for the worse. She suddenly becomes a temptress, attempting to seduce Gawain into violating his sense of morality. In this way, the lady easily resembles archetypal female characters in earlier literature.

Medieval, Arthurian, and Celtic lore often had such female temptresses, all of whom existed to distract the knight errant from his moral task. The Lady in Sir Gawain and the Green Knight obviously fits this role, but we should also not forget the Biblical story of the Fall of Man which we discussed in our analysis of Fitt II. There we saw how the castle in the poem resembled popular medieval representations of Paradise, emerging miraculously from a dark wasteland. In Sir Gawain and the Green Knight , this "Paradise" is not all it seems to Gawain, for rather than bring him salvation, it now only provides him with further perils, in the guise of the predatory lady. Indeed, by appealing to Gawain's sexual desire, the lady becomes an Eve-figure in this false Paradise, tempting the hero to violate his moral agreement with his higher lord.

Another resemblance should be noted, and that is to the archetypal enchantress/healing women of Celtic myth. Folklore abounded with Otherworldly women who could cure wounded warriors and bring them back to health. The lady in Sir Gawain and the Green Knight , strangely enough, offers Gawain a cure in the form of the green girdle. Its magical healing properties associate her with such archetypal female healers, yet it is this very girdle which lies at the root of Gawain's moral deception. Instead of curing him, it only taints him in a moral sense. Thus, the lady does not heal but instead wounds Gawain, and, just as with the false Paradise of the castle, nothing is as it seems.

Symbols : The most obvious symbol in Fitt III is the green girdle which Gawain secretly accepts from the lady. As discussed above, it is a deceptive object, for it claims to protect a man, but in this case has only caused Gawain to breach his moral code and (as we will see) ruin his sense of self. Although Gawain accepts it because of his fear of death, there are still all the trappings of romantic love: the lady unties it from her waist and wraps it around Gawain's. On the outside, it still appears as a love-token, thereby emphasizing the sense of deception when Gawain hides it from the lord. Also, of course, it is green, linking it immediately with the Green Knight whom Gawain must meet the next day. In a sense, it is a sort of a reverse-magic to that of the supernatural, indestructible knight � or at least Gawain hopes so. Yet both the Green Knight and the green girdle seem to hark from a world of the magical, the otherworldly, the natural and fertile and indestructible. Again, there are pagan connotations with the obvious emphasis on fertility. We can even see the pagan, magical green girdle as representing everything that is not acceptable by chivalric and Christian standards: in keeping it, Gawain goes against his code of honesty, courage, and faith.

Fitt IV Summary

The final, dreaded episode of Sir Gawain and the Green Knight � the day of Gawain's exchange stroke � opens ominously with a fierce winter storm that keeps Gawain up at night. Before dawn on New Year's Day, the knight is awake and getting dressed, garbing himself in rich, bejeweled clothes -- most importantly the green girdle which the lady had given him. With the servant accompanying him, Gawain mounts his horse Gringolet and leaves the castle, thinking fondly of the court and his host and hostess. Gawain and the servant travel through a somber, snow-covered landscape, and at the top of a hill, the servant stops and begs Gawain to reconsider his mission. He warns that the Green Knight is a horrible, cruel monster: huge, merciless, someone who kills for pure joy. The servant begs Gawain to run away; he would not tell anyone. But Gawain refuses to run, as that would prove himself a cowardly knight. Resigned, the servant leaves Gawain with the final directions to the Green Chapel, and the knight moves forward through a rough, ominous wood to an ancient cave. Gawain marvels at the deserted ugliness of the place, fearing that he might encounter the Devil himself in such a place.

Suddenly, Gawain hears the sound of a blade being sharpened on a grindstone, but the terrified knight resolves to continue and calls out for the Green Knight. He is answered and in due time, the Green Knight, huge and formidable as before, meets Gawain with a monstrous axe. He welcomes Gawain, praising him for maintaining his part of the agreement and asking him to remove his helmet, so the exchange stroke can be received. The horrified Gawain exposes his neck, but at the last moment, he flinches from the axe and the Green Knight stops to yell at the cowardly Gawain. Gawain promises not to move the next time, but the second attempt stops short as well, enraging Gawain. On the third stroke, the Green Knight splits the skin on Gawain's neck but that is all the injury done. An elated Gawain quickly leaps up to defend himself and remind the Green Knight that the agreement allowed for one stroke of the ax only.

The Green Knight explains his unusual behavior: he and the lord of the castle are one and the same man, and the two feinted ax strokes represent the first two days of the game, when Gawain faithfully gave everything he won that day to the King. But that third day, Gawain did conceal the sash from the King and as a result is punished by the slight scrape on his neck. The lord reveals that he arranged his wife's advances upon Gawain, but having seen the result, he is convinced that Gawain is the finest man alive, his one failure stemming understandably from his love of life. But Gawain is harsher on himself, cursing his cowardice and covetousness and rejecting the green sash which made him guilty. The Green Knight forgives Gawain, urges him to keep the sash as a token of their struggle, and invites him back to the castle to celebrate the New Year. Gawain declines, sends his wishes to the two noble ladies, and laments on four Biblical figures (Adam, Solomon, Samson, and David) who were all ruined by the wiles of a lovely woman. He agrees to keep the girdle to remind himself of the "fault and frailty of the foolish flesh" (Gardner l. 2425). To answer Gawain's question, the Green Knight reveals himself to be Bertilak de Hautdesert, servant to the sorceress Morgan le Fay. It was Morgan who engineered the entire game, sending Bertilak down to Camelot so that Guinevere would be shocked to death by the staged beheading. In fact, Morgan was the ancient noble lady at Hautdesert castle and is the scheming half-sister to Arthur, the kindg's traditional nemesis. Despite Bertilak's invitation, Gawain decides not to return to the castle for more merriment, and moves back to Camelot, traveling "through the wild woods of the world" with the green girdle on his shoulders. Once at the Arthur's court, Gawain is greeted with much cheering and joy from Arthur, Guinevere, and the others. He recounts his entire adventure, but is ashamed when he tells of his ultimate failing as a result of the green girdle. Nevertheless, Arthur and the courtiers, unaware of Gawain's shame, adopt the green baldric as a heraldic token in honor of Gawain. From there, the poet concludes in much the same way he opened the poem, praising Arthur, moving back through Brutus to the siege of Troy. The final two lines implore Jesus Christ for bliss.

Fitt IV Analysis

Description of the Natural World : Fitt IV is filled with some of the poet's most striking images of the desolate, wintry world of Nature. The first stanza alone describes a terrible storm on New Year's Eve, emphasizing Gawain's sense of dread as he fearfully anticipates the meeting with the Green Knight. This is a good example of pathetic fallacy, a literary device whereby the weather and the natural world echo the emotions of a character. Here, the night storm reflects Gawain's dread, but it also heightens the sense of an overpowering, superior force of Nature which mankind cannot possibly contend with. The effect is the same as the descriptions of Nature in Fitt II: the individual human is belittled when compared to the magnitude and power of the natural world. As Gawain and the servant approach the Green Chapel, there are more remarkable descriptions of Nature. Always, it is a cold, intimidating, barren world they are moving through; the bleak, dead surroundings heighten the bleakness of Gawain's task and seem to foreshadow his own doom.

The servant's frightened outburst at the end of the Green Chapel serves much the same purpose. Just as the poet described the terror of the natural world during the journey, the servant here describes the terror of the Green Knight. Here, too, is an overpowering, superior force that seems impossible to contend with. In this way, there is an implicit linking of Green Knight with Nature (see "The Green Knight Revealed" below). This, of course, has been the association all along since the poem's start, but here, nearing the suspenseful climax of the story, the extreme horror of the Green Knight and of Nature are magnified to dizzying proportions. It is the poet's clever way of building suspense, while also emphasizing the nobility and idealism of Gawain's character. For all his dread and all the warnings from other humans, Gawain will not abandon his chivalric duty to uphold the terms of the agreement. He remains courageous in the face of imminent death and a terrifying force of Nature.

The Futility of Human Constructions : Just as Fitt II had detailed descriptions of nature and armor, so too does Fitt IV. Stanzas 2 and 3 concentrate on Gawain's careful arming of himself on New Year's Day. It is very similar to previous descriptions of armor we have encountered before: in Fitt I with the Green Knight and in Fitt II with Gawain before setting off on his quest. But at this point in the story, the meticulously polished armor and clothing bear a particular irony for the reader and for Gawain. No matter how strong or how beautiful his armor is, it still will not save him from the impending blow of the Green Knight. Why, then, go through this ritualistic arming process, when it will ultimately prove futile?

The poet seems once more to be hinting at the futility of human constructions, with his ironic description of the elaborate, but ultimately useless armor. The poem thus far has been filled with such elaborate, technical descriptions of armor, castle architecture, the cutting of the hunted deer. All these are elements of medieval aristocratic life which are meant to enhance the sense of the noble and the refined in medieval society. But here finally, such an elaborate, ennobling social construction (the armor) is pitted against the finality of death, and it proves to be useless.

To go further, is the poet again implying the futility of human constructions like the romance genre and our moral code? The conventions of the romance have been mocked in a way: the grand armor is useless, the language of courtly love has been used not to ennoble but to deceive and seduce. And the greatest human construction of all � the moral code which guides the faultless Gawain � has crumbled under the natural, primal threat of death.

The Green Knight Revealed : The character of the Green Knight is key to understanding the theme of nature and human society in the poem. Recall again that in Fitt I he appeared as a liminal figure between the natural and the human worlds: with a civilized look to his armor and clothes, yet clearly Otherworldly. Here in Fitt IV, we realize that the Green Knight has been in the story all along, in the guise of Lord Bertilak, Gawain's host during the holidays. Certainly both we and Gawain are surprised, but what does this revelation say about the relationship between the natural and the human worlds?

Scholars such as Brian Stone have argued that the Green Knight is essentially a stand-in for the Devil, a trickster who changes identities, appears always invincible, and challenges humans to abandon their Christian and moral principles. Gawain, for example, is certainly tempted by the sensual luxuries of Bertilak's court and by the sexual advances of Bertilak's wife. Just as the Devil frequently makes bargains with hapless human beings in folktales and medieval stories, the Green Knight also makes bargains (two in fact) with Gawain. Gawain even comments that the Green Chapel seems like a place where one would meet Satan himself. And the description and name of the Green Chapel are in some ways a parody of the clean, welcoming, sanctuary of the Christian church, the House of God. Pacts with the Devil traditionally ended with the human giving up his soul, and one can even argue that by the end of the poem, Gawain does seem to have lost his soul � or at least, the moral faith that guided his soul.

But it is possible to view the devilish role of the Green Knight as merely a medieval Christian overlay to a pagan figure, where the conflict between the human and the Otherworldly/natural has been transformed into a conflict between the Christian and the Satanic. Indeed, the Green Knight, in both his forms, seems to maintain an innate link with Nature. As Bertilak, he still carries a unique, instinctual natural-ness, as evidenced by his prowess and physicality during the hunts in Fitt III. With Bertilak ranging through the wild forests and Gawain in bed having a diplomatic, flirtatious conversation with Lady Bertilak, it seems there could be no greater polarity between the vigorous natural world and the guarded human world.

If the natural vs. the human is the real conflict, then Nature would seem to have won out in this story, for the human constructions (as we have seen above) have proven to be futile and Gawain ultimately lets himself be guided by his own natural impulse to survive. But what confuses everything at the end is the revelation that none of this has been, in a sense, genuine, and that all of it has been a carefully engineered construction, planned by Morgan le Fay. In a sense, it isn't at all Nature or the "all-natural" Green Knight that Gawain has been contending with, but merely the machinations of another human being, driven by human jealousies and emotions, and dependent on constructions and artifices just as elaborate as those we have already encountered in the other human characters. In this light, Gawain's challenge hasn't been natural in the least, but instead the very definition of artificial.

Morgan le Fay, Gawain's "Misogynistic" Speech, and the Fall of Man : With the revelation of Morgan le Fay's villainy, nothing is as it seems, and the Green Knight, instead of the dynamic embodiment of Nature, ends up as the puppet of a relatively minor character in the story. Again, many critics have objected to the final explanation in Fitt IV, that it seems forced, doesn't "ring true," and that the poet was merely giving into the conventions of the larger Arthurian genre. Whether or not this is true, and whether Morgan's character really does play a vital role in a complex story or is merely a tack-on, the mention of her does cause Gawain's outburst in the eighteenth stanza, where he mentions Biblical figures who have been deceived by women. This speech is often labeled "misogynistic" (woman-hating) and out-of-character for Gawain. It may even reveal the underlying misogyny of the poet himself.

But Gawain's speech, drawing upon Biblical parables, relies upon his fervent faith in Christian morality. Shattered by the realization that everything has been a false game, he seems to be angrily lashing out at the weakening vices of "cowardice and covetousness" and the predatory women that prey upon such vices. Bertilak himself helps to draw the parallel between Morgan and the dangerous Biblical women when he talks of how Morgan gained her skills in sorcery by seducing Merlin. Needless to say, the same trope of the temptress lies (as we have seen) in the figures of Eve and Lady Bertilak. Only now, with Bertilak's explanation, do the lady's seductive actions seem to bear a more planned, but somehow more sinister motive to the entire game. But the basic motif remains the same: the temptress, the Paradise which is no longer, and the Fall from innocence. Here, Gawain's Fall comes with the realization that his entire quest has been an artifice, a mere game, and as a result, his moral belief in the world around him is shattered.

Gawain's Disillusionment : The final episode, where Gawain returns to Arthur's court, only serves to drive home his sense of disillusionment. Already, Gawain's trust in things has been weakened by the realization that he has been played all along by Sir Bertilak, Lady Bertilak, and Morgan le Fay � all of whom appeared, at first, to be respectable, noble characters. But when he arrives at Arthur's court, their inability to see his moral failure ruins his moral conviction even more. Why is it that the noblest court in all of Britain cannot understand his moral dilemma and celebrates his cowardice as courage? The poem even ends with Gawain in a moral quagmire, bearing his green girdle as a mark of shame, while the rest of Camelot continues to celebrate and raises the green girdle in blind admiration of Gawain. It is a complex ending, and certainly not the conventional sense of resolution that is found in most romances.

Yet, as we have realized by now, the poet does not aim to simply re-create the romance genre and its chivalric code, but also to question it. Gawain's final disillusionment has been foreshadowed all along by the poet in his excessive, overly technical descriptions of romance conventions. If previous in Fitt I, we got the sense that Camelot's lords and ladies were a bit shallow and too decadent in their revelries, then our suspicions are confirmed here, when Gawain returns to this glowing world at the end of the poem. Arthur's court is still reveling, and yet, they do not have the moral seriousness to realize Gawain's dilemma. Perhaps this world � this supposed epitome of human civility and chivalry � does not glow as brightly as it once did for the idealistic knight.

Ultimately, the poem implies the loss of the importance of chivalric values, for as Gawain has learned, they do not always bring peace to the individual soul.

Narrative Structure and the Mythic Journey : Finally, it is important to note the narrative structure of the poem, the way in which the events of the poem are patterned and what these have to do with the themes. If we look closely, we can notice that the fitts seem to alternate in terms of similarity of events. For example, the first fitt takes place within a royal court, the second fitt is a perilous journey outdoors which ends at another royal court, the third fitt alternates between the setting of the royal court and the perilous outdoors, and the final fitt is again a journey outdoors that ends at the same, original court of Arthur. Notice, for one, that the poem's setting alternates between the outdoors (the natural world) and the royal court (the human world). Gawain begins safely in the human world, and is fully confident in the rules of chivalry and morality which supposedly guide human society. But after taking his perilous journey into the natural world and encountering many challenges (both natural and society), he returns to the human world not with a reaffirmed confidence in its safety and righteousness, but instead with a nagging uncertainty about the moral code he once believed so strongly.

This is quite different from the conventional narrative structure of conflict and restoration � a structure which goes back as far as the Celtic myths which lie at the roots of the poem. Pre-Christian Celtic myths often had motifs of exchanges between the human world and the Otherworld, with the time period of a year and a day commonly used. A mythic interpretation of the poem would have the Green Knight as an Otherworldly lord and Gawain's journey from Camelot into a terrifying, strange land as the hero's archetypical descent into the Otherworld or Underworld. (Some examples of the Otherworld journey include Aeneas' descent into Hades in the Aeneid or � more closely related to Sir Gawain and the Green Knight -- the Irish hero Cuchulainn's journey to the Otherworld in the Celtic myth "The Wasting Sickness of Cuchulainn.") In most cases, the hero undertakes the journey to right some previous wrong or restore balance to the natural order. In Sir Gawain and the Green Knight , the poem's symmetry would suggest that the natural order has been restored, as the New Year dawns brightly on Arthur's court, but this masks the fact that within Gawain's individual soul, the moral order has been uprooted.

Sir Gawayne

The green knight:, an alliterative romance-poem,, (ab. 1360 a.d.), by the author of, "early english alliterative poems.", re-edited from cotton. ms. nero, a.x., in the british museum,, richard morris,, editor of hampole's "pricke of conscience," "early english alliterative poems," etc.;, member of the council of the philological society., second edition, revised, 1869., published for the early english text society, by n. trübner & co., 60, paternoster row,, john childs and son, printers..

NOTE: The Old English "yogh" characters have been translated both upper and lower-case yoghs to digit 3's. There are Unicode allocations for these (in HTML Ȝ and ȝ) but at present no font which implements these. Substiting the digit 3 seemed a workable compromise which anybody can read. The linked html "Old English 'yogh' file" uses Ȝ and ȝ representations, and is included for users with specialist fonts.

PREFACE TO THE FIRST EDITION.

In re-editing the present romance-poem I have been saved all labour of transcription by using the very accurate text contained in Sir F. Madden's "Syr Gawayne."

I have not only read his copy with the manuscript, but also the proof-sheets as they came to hand, hoping by this means to give the reader a text free from any errors of transcription.

The present edition differs from that of the earlier one in having the contractions of the manuscript expanded and side-notes added to the text to enable the reader to follow with some degree of ease the author's pleasant narrative of Sir Gawayne's adventures.

The Glossary is taken from Sir F. Madden's "Syr Gawayne," 1 to which, for the better interpretation of the text, I have made several additions, and have, moreover, glossed nearly all the words previously left unexplained.

For a description of the Manuscript, and particulars relating to the authorship and dialect of the present work, the reader is referred to the preface to Early English Alliterative Poems .

December 22, 1864.

[ 1 Sir F. Madden has most generously placed at the disposal of the Early English Text Society any of his works which it may determine to re-edit.]

INTRODUCTION.

No Knight of the Round Table has been so highly honoured by the old Romance-writers as Sir Gawayne, the son of Loth, and nephew to the renowned Arthur. They delighted to describe him as Gawayne the good, a man matchless on mould, the most gracious that under God lived, the hardiest of hand, the most fortunate in arms, and the most polite in hall, whose knowledge, knighthood, kindly works, doings, doughtiness, and deeds of arms were known in all lands.

When Arthur beheld the dead body of his kinsman lying on the ground bathed in blood, he is said to have exclaimed, "O righteous God, this blood were worthy to be preserved and enshrined in gold!" Our author, too, loves to speak of his hero in similar terms of praise, calling him the knight faultless in his five wits, void of every offence, and adorned with every earthly virtue. He represents him as one whose trust was in the five wounds, and in whom the five virtues which distinguished the true knight were more firmly established than in any other on earth.

The author of the present story, who, as we know from his religious poems, had an utter horror of moral impurity, could have chosen no better subject for a romance in which amusement and moral instruction were to be combined. In the following tale he shows how the true knight, though tempted sorely not once alone, but twice, nay thrice, breaks not his vow of chastity, but turns aside the tempter's shafts with the shield of purity and arm of faith, and so passes scatheless through the perilous defile of trial and opportunity seeming safe.

But while our author has borrowed many of the details of his story from the "Roman de Perceval" by Chrestien de Troyes, he has made the narrative more attractive by the introduction of several original and highly interesting passages which throw light on the manners and amusements of our ancestors.

The following elaborate descriptions are well deserving of especial notice:—

I. The mode of completely arming a knight (ll. 568-589).

II. The hunting and breaking the deer (ll. 1126-1359).

III. The hunting and unlacing the wild boar (ll. 1412-1614).

IV. A fox hunt (ll. 1675-1921).

The following is an outline of the story of Gawayne's adventures, more or less in the words of the writer himself:—

Arthur, the greatest of Britain's kings, holds the Christmas festival at Camelot, surrounded by the celebrated knights of the Round Table, noble lords, the most renowned under heaven, and ladies the loveliest that ever had life (ll. 37-57). This noble company celebrate the New Year by a religious service, by the bestowal of gifts, and the most joyous mirth. Lords and ladies take their seats at the table—Queen Guenever, the grey-eyed, gaily dressed, sits at the daïs, the high table, or table of state, where too sat Gawayne and Ywain together with other worthies of the Round Table (ll. 58-84, 107-115). Arthur, in mood as joyful as a child, his blood young and his brain wild, declares that he will not eat nor sit long at the table until some adventurous thing, some uncouth tale, some great marvel, or some encounter of arms has occurred to mark the return of the New Year (ll. 85-106).

The first course was announced with cracking of trumpets, with the noise of nakers and noble pipes.

"Each two had dishes twelve,

Good beer and bright wine both."

Scarcely was the first course served when another noise than that of music was heard. There rushes in at the hall-door a knight of gigantic stature—the greatest on earth—in measure high. He was clothed entirely in green, and rode upon a green foal (ll. 116-178). Fair wavy hair fell about the shoulders of the Green Knight, and a great beard like a bush hung upon his breast (ll. 179-202).

The knight carried no helmet, shield, or spear, but in one hand a holly bough, and in the other an axe "huge and unmeet," the edge of which was as keen as a sharp razor (ll. 203-220). Thus arrayed, the Green Knight enters the hall without saluting any one. The first word that he uttered was, "Where is the govenour of this gang? gladly would I see him and with himself speak reason." To the knights he cast his eye, looking for the most renowned. Much did the noble assembly marvel to see a man and a horse of such a hue, green as the grass. Even greener they seemed than green enamel on bright gold. Many marvels had they seen, but none such as this. They were afraid to answer, but sat stone-still in a dead silence, as if overpowered by sleep;

"Not all from fear, but some for courtesy" (ll. 221-249).

Then Arthur before the high daïs salutes the Green Knight, bids him welcome, and entreats him to stay awhile at his Court. The knight says that his errand is not to abide in any dwelling, but to seek the most valiant of the heroes of the Round Table that he may put his courage to the proof, and thus satisfy himself as to the fame of Arthur's court. "I come," he says, "in peace, as ye may see by this branch that I bear here. Had I come with hostile intentions, I should not have left my hauberk, helmet, shield, sharp spear, and other weapons behind me. But because I desire no war, 'my weeds are softer.' If thou be so bold as all men say, thou wilt grant me the request I am about to make." "Sir courteous knight," replies Arthur, "if thou cravest battle only, here failest thou not to fight." "Nay," says the Green Knight, "I seek no fighting. Here about on this bench are only beardless children. Were I arrayed in arms on a high steed no man here would be a match for me (ll. 250-282). But it is now Christmas time, and this is the New Year, and I see around me many brave ones;—if any be so bold in his blood that dare strike a stroke for another, I shall give him this rich axe to do with it whatever he pleases. I shall abide the first blow just as I sit, and will stand him a stroke, stiff on this floor, provided that I deal him another in return.

And yet give I him respite,

A twelvemonth and a day;

Now haste and let see tite (soon)

Dare any here-in ought say.'"

If he astounded them at first, much more so did he after this speech, and fear held them all silent. The knight, righting himself in his saddle, rolls fiercely his red eyes about, bends his bristly green brows, and strokes his beard awaiting a reply. But finding none that would carp with him, he exclaims, "What! is this Arthur's house, the fame of which has spread through so many realms? Forsooth, the renown of the Round Table is overturned by the word of one man's speech, for all tremble for dread without a blow being struck!" (ll. 283-313). With this he laughed so loud that Arthur blushed for very shame, and waxed as wroth as the wind. "I know no man," he says, "that is aghast at thy great words. Give me now thy axe and I will grant thee thy request!" Arthur seizes the axe, grasps the handle, and sternly brandishes it about, while the Green Knight, with a stern cheer and a dry countenance, stroking his beard and drawing down his coat, awaits the blow (ll. 314-335). Sir Gawayne, the nephew of the king, beseeches his uncle to let him undertake the encounter; and, at the earnest entreaty of his nobles, Arthur consents "to give Gawayne the game" (ll. 336-365).

Sir Gawayne then takes possession of the axe, but, before the blow is dealt, the Green Knight asks the name of his opponent. "In good faith," answers the good knight, "Gawayne I am called, that bids thee to this buffet, whatever may befall after, and at this time twelvemonth will take from thee another, with whatever weapon thou wilt, and with no wight else alive." "By Gog," quoth the Green Knight, "it pleases me well that I shall receive at thy fist that which I have sought here—moreover thou hast truly rehearsed the terms of the covenant,—but thou shalt first pledge me thy word that thou wilt seek me thyself, wheresoever on earth thou believest I may be found, and fetch thee such wages as thou dealest me to-day before this company of doughty ones." "Where should I seek thee?" replies Gawayne, "where is thy place? I know not thee, thy court, or thy name. I wot not where thou dwellest, but teach me thereto, tell me how thou art called, and I shall endeavour to find thee,—and that I swear thee for truth and by my sure troth." "That is enough in New Year," says the groom in green, "if I tell thee when I have received the tap. When thou hast smitten me, then smartly I will teach thee of my house, my home, and my own name, so that thou mayest follow my track and fulfil the covenant between us. If I spend no speech, then speedest thou the better, for then mayest thou remain in thy own land and seek no further; but cease thy talking 1 (ll. 366-412). Take now thy grim tool to thee and let us see how thou knockest." "Gladly, sir, for sooth," quoth Gawayne, and his axe he brandishes.

[ 1 This, I think, is the true explanation of slokes .]

The Green Knight adjusts himself on the ground, bends slightly his head, lays his long lovely locks over his crown, and lays bare his neck for the blow. Gawayne then gripped the axe, and, raising it on high, let it fall quickly upon the knight's neck and severed the head from the body. The fair head fell from the neck to the earth, and many turned it aside with their feet as it rolled forth. The blood burst from the body, yet the knight never faltered nor fell; but boldly he started forth on stiff shanks and fiercely rushed forward, seized his head, and lifted it up quickly. Then he runs to his horse, the bridle he catches, steps into his stirrups and strides aloft. His head by the hair he holds in his hands, and sits as firmly in his saddle as if no mishap had ailed him, though headless he was (ll. 413-439). He turned his ugly trunk about—that ugly body that bled,—and holding the head in his hand, he directed the face toward the "dearest on the dais." The head lifted up its eyelids and looked abroad, and thus much spoke with its mouth as ye may now hear:

"Loke, Gawayne, thou be prompt to go as thou hast promised, and seek till thou find me according to thy promise made in the hearing of these knights. Get thee to the Green Chapel, I charge thee, to fetch such a dint as thou hast dealt, to be returned on New Year's morn. As the Knight of the Green Chapel I am known to many, wherefore if thou seekest thou canst not fail to find me. Therefore come, or recreant be called." With a fierce start the reins he turns, rushes out of the hall-door, his head in his hand, so that the fire of the flint flew from the hoofs of his foal. To what kingdom he belonged knew none there, nor knew they from whence he had come. What then?

"The king and Gawayne there

At that green (one) they laugh and grin."

Though Arthur wondered much at the marvel, he let no one see that he was at all troubled about it, but full loudly thus spake to his comely queen with courteous speech:

"Dear dame, to-day be never dismayed, well happens such craft at Christmas time. I may now proceed to meat, for I cannot deny that I have witnessed a wondrous adventure this day" (ll. 440-475).

He looked upon Sir Gawayne and said, "Now, sir, hang up thine axe, for enough has it hewn." So the weapon was hung up on high that all might look upon it, and "by true title thereof tell the wonder." Then all the knights hastened to their seats at the table, so did the king and our good knight, and they were there served with all dainties, "with all manner of meat and minstrelsy."

Though words were wanting when they first to seat went, now are their hands full of stern work, and the marvel affords them good subject for conversation. But a year passes full quickly and never returns,—the beginning is seldom like the end; wherefore this Christmas passed away and the year after, and each season in turn followed after another (ll. 476-520). Thus winter winds round again, and then Gawayne thinks of his wearisome journey (ll. 521-535). On All-hallows day Arthur entertains right nobly the lords and ladies of his court in honour of his nephew, for whom all courteous knights and lovely ladies were in great grief. Nevertheless they spoke only of mirth, and, though joyless themselves, made many a joke to cheer the good Sir Gawayne (ll. 536-565). Early on the morrow Sir Gawayne, with great ceremony, is arrayed in his armour (ll. 566-589), and thus completely equipped for his adventure he first hears mass, and afterwards takes leave of Arthur, the knights of the Round Table, and the lords and ladies of the court, who kiss him and commend him to Christ. He bids them all good day, as he thought, for evermore (ll. 590-669);

" Very much was the warm water that poured from eyes that day ."

Now rides our knight through the realms of England with no companion but his foal, and no one to hold converse with save God alone. From Camelot, in Somersetshire, he proceeds through Gloucestershire and the adjoining counties into Montgomeryshire, and thence through North Wales to Holyhead, adjoining the Isle of Anglesea (ll. 670-700), from which he passes into the very narrow peninsula of Wirral, in Cheshire, where dwelt but few that loved God or man. Gawayne enquires after the Green Knight of the Green Chapel, but all the inhabitants declare that they have never seen "any man of such hues of green."

The knight thence pursues his journey by strange paths, over hill and moor, encountering on his way not only serpents, wolves, bulls, bears, and boars, but wood satyrs and giants. But worse than all those, however, was the sharp winter, "when the cold clear water shed from the clouds, and froze ere it might fall to the earth. Nearly slain with the sleet he slept in his armour, more nights than enough, in naked rocks" (ll. 701-729).

Thus in peril and plight the knight travels on until Christmas-eve, and to Mary he makes his moan that she may direct him to some abode. On the morn he arrives at an immense forest, wondrously wild, surrounded by high hills on every side, where he found hoary oaks full huge, a hundred together. The hazel and the hawthorn intermingled were all overgrown with moss, and upon their boughs sat many sad birds that piteously piped for pain of the cold. Gawayne besought the Lord and Mary to guide him to some habitation where he might hear mass (ll. 730-762). Scarcely had he crossed himself thrice, when he perceived a dwelling in the wood set upon a hill. It was the loveliest castle he had ever beheld. It was pitched on a prairie, with a park all about it, enclosing many a tree for more than two miles. It shone as the sun through the bright oaks (ll. 763-772).

Gawayne urges on his steed Gringolet, and finds himself at the "chief gate." He called aloud, and soon there appeared a "porter" on the wall, who demanded his errand.

"Good sir," quoth Gawayne, "wouldst thou go to the high lord of this house, and crave a lodging for me?"

"Yea, by Peter!" replied the porter, "well I know that thou art welcome to dwell here as long as thou likest."

The drawbridge is soon let down, and the gates opened wide to receive the knight. Many noble ones hasten to bid him welcome (ll. 773-825). They take away his helmet, sword, and shield, and many a proud one presses forward to do him honour. They bring him into the hall, where a fire was brightly burning upon the hearth. Then the lord of the land 1 comes from his chamber and welcomes Sir Gawayne, telling him that he is to consider the place as his own. Our knight is next conducted to a bright bower, where was noble bedding—curtains of pure silk, with golden hems, and Tarsic tapestries upon the walls and the floors (ll. 826-859). Here the knight doffed his armour and put on rich robes, which so well became him, that all declared that a more comely knight Christ had never made (ll. 860-883).

[ 1 Gawayne is now in the castle of the Green Knight, who, divested of his elvish or supernatural character, appears to our knight merely as a bold one with a beaver-hued beard.]

A table is soon raised, and Gawayne, having washed, proceeds to meat. Many dishes are set before him—"sews" of various kinds, fish of all kinds, some baked in bread, others broiled on the embers, some boiled, and others seasoned with spices. The knight expresses himself well pleased, and calls it a most noble and princely feast.

After dinner, in reply to numerous questions, he tells his host that he is Gawayne, one of the Knights of the Round Table. When this was made known great was the joy in the hall. Each one said softly to his companion, "Now we shall see courteous behaviour and learn the terms of noble discourse, since we have amongst us 'that fine father of nurture.' Truly God has highly favoured us in sending us such a noble guest as Sir Gawayne" (ll. 884-927). At the end of the Christmas festival Gawayne desires to take his departure from the castle, but his host persuades him to stay, promising to direct him to the Green Chapel (about two miles from the castle), that he may be there by the appointed time (ll. 1029-1082).

A covenant is made between them, the terms of which were that the lord of the castle should go out early to the chase, that Gawayne meanwhile should lie in his loft at his ease, then rise at his usual hour, and afterwards sit at table with his hostess, and that at the end of the day they should make an exchange of whatever they might obtain in the interim. "Whatever I win in the wood," says the lord, "shall be yours, and what thou gettest shall be mine" (ll. 1083-1125).

Full early before daybreak the folk uprise, saddle their horses, and truss their mails. The noble lord of the land, arrayed for riding, eats hastily a sop, and having heard mass, proceeds with a hundred hunters to hunt the wild deer (ll. 1126-1177).

All this time Gawayne lies in his gay bed. His nap is disturbed by a little noise at the door, which is softly opened. He heaves up his head out of the clothes, and, peeping through the curtains, beholds a most lovely lady (the wife of his host). She came towards the bed, and the knight laid himself down quickly, pretending to be asleep. The lady stole to the bed, cast up the curtains, crept within, sat her softly on the bed-side, and waited some time till the knight should awake. After lurking awhile under the clothes considering what it all meant, Gawayne unlocked his eyelids, and put on a look of surprise, at the same time making the sign of the cross, as if afraid of some hidden danger (ll. 1178-1207). "Good morrow, sir," said that fair lady, "ye are a careless sleeper to let one enter thus. I shall bind you in your bed, of that be ye sure." "Good morrow," quoth Gawayne, "I shall act according to your will with great pleasure, but permit me to rise that I may the more comfortably converse with you." "Nay, beau sir," said that sweet one, "ye shall not rise from your bed, for since I have caught my knight I shall hold talk with him. I ween well that ye are Sir Gawayne that all the world worships, whose honour and courtesy are so greatly praised. Now ye are here, and we are alone (my lord and his men being afar off, other men, too, are in bed, so are my maidens), and the door is safely closed, I shall use my time well while it lasts. Ye are welcome to my person to do with it as ye please, and I will be your servant" (ll. 1208-1240).

Gawayne behaves most discreetly, for the remembrance of his forthcoming adventure at the Green Chapel prevents him from thinking of love (ll. 1205-1289). At last the lady takes leave of the knight by catching him in her arms and kissing him (ll. 1290-1307). The day passes away merrily, and at dusk the Lord of the castle returns from the chase. He presents the venison to Gawayne according to the previous covenant between them. Our knight gives his host a kiss as the only piece of good fortune that had fallen to him during the day. "It is good," says the other, "and would be much better if ye would tell me where ye won such bliss" (ll. 1308-1394). "That was not in our covenant," replies Gawayne, "so try me no more." After much laughing on both sides they proceed to supper, and afterwards, while the choice wine is being carried round, Gawayne and his host renew their agreement. Late at night they take leave of each other and hasten to their beds. "By the time that the cock had crowed and cackled thrice" the lord was up, and after "meat and mass" were over the hunters make for the woods, where they give chase to a wild boar who had grown old and mischievous (ll. 1395-1467).

While the sportsmen are hunting this "wild swine" our lovely knight lies in his bed. He is not forgotten by the lady, who pays him an early visit, seeking to make further trial of his virtues. She sits softly by his side and tells him that he has forgotten what she taught him the day before (ll. 1468-1486). "I taught you of kissing," says she; "that becomes every courteous knight." Gawayne says that he must not take that which is forbidden him. The lady replies that he is strong enough to enforce his own wishes. Our knight answers that every gift not given with a good will is worthless. His fair visitor then enquires how it is that he who is so skilled in the true sport of love and so renowned a knight, has never talked to her of love (ll. 1487-1524). "You ought," she says, "to show and teach a young thing like me some tokens of true-love's crafts; I come hither and sit here alone to learn of you some game; do teach me of your wit while my lord is from home." Gawayne replies that he cannot undertake the task of expounding true-love and tales of arms to one who has far more wisdom than he possesses. Thus did our knight avoid all appearance of evil, though sorely pressed to do what was wrong (ll. 1525-1552). The lady, having bestowed two kisses upon Sir Gawayne, takes her leave of him (ll. 1553-1557).

At the end of the day the lord of the castle returns home with the shields and head of the wild boar. He shows them to his guest, who declares that "such a brawn of a beast, nor such sides of a swine," he never before has seen. Gawayne takes possession of the spoil according to covenant, and in return he bestows two kisses upon his host, who declares that his guest has indeed been rich with "such chaffer" (ll. 1558-1647).

After much persuasion, Gawayne consents to stop at the castle another day (ll. 1648-1685). Early on the morrow the lord and his men hasten to the woods, and come upon the track of a fox, the hunting of which affords them plenty of employment and sport (ll. 1686-1730). Meanwhile our good knight sleeps soundly within his comely curtains. He is again visited by the lady of the castle. So gaily was she attired, and so "faultless of her features," that great joy warmed the heart of Sir Gawayne. With soft and pleasant smiles "they smite into mirth," and are soon engaged in conversation. Had not Mary thought of her knight, he would have been in great peril (ll. 1731-1769). So sorely does the fair one press him with her love, that he fears lest he should become a traitor to his host. The lady enquires whether he has a mistress to whom he has plighted his troth. The knight swears by St John that he neither has nor desires one. This answer causes the dame to sigh for sorrow, and telling him that she must depart, she asks for some gift, if it were only a glove, by which she might "think on the knight and lessen her grief" (ll. 1770-1800). Gawayne assures her that he has nothing worthy of her acceptance; that he is on an "uncouth errand," and therefore has "no men with no mails containing precious things," for which he is truly sorry.

Quoth that lovesome (one)—

"Though I had nought of yours,

Yet should ye have of mine.

Thus saying, she offers him a rich ring of red gold "with a shining stone standing aloft," that shone like the beams of the bright sun. The knight refused the gift, as he had nothing to give in return. "Since ye refuse my ring," says the lady, "because it seems too rich, and ye would not be beholden to me, I shall give you my girdle that is less valuable" (ll. 1801-1835). But Gawayne replies that he will not accept gold or reward of any kind, though "ever in hot and in cold" he will be her true servant.

"Do ye refuse it," asks the lady, "because it seems simple and of little value? Whoso knew the virtues that are knit therein would estimate it more highly. For he who is girded with this green lace cannot be wounded or slain by any man under heaven." The knight thinks awhile, and it strikes him that this would be a "jewel for the jeopardy" that he had to undergo at the Green Chapel. So he not only accepts the lace, but promises to keep the possession of it a secret (ll. 1836-1865). By that time the lady had kissed him thrice, and she then takes "her leave and leaves him there."

Gawayne rises, dresses himself in noble array, and conceals the "love lace" where he might find it again. He then hies to mass, shrives him of his misdeeds, and obtains absolution. On his return to the hall he solaces the ladies with comely carols and all kinds of joy (ll. 1866-1892). The dark night came, and then the lord of the castle, having slain the fox, returns to his "dear home," where he finds a fire brightly turning and his guest amusing the ladies (ll. 1893-1927). Gawayne, in fulfilment of his agreement, kisses his host thrice. 1 "By Christ," quoth the other knight, "ye have caught much bliss. I have hunted all this day and nought have I got but the skin of this foul fox (the devil have the goods!), and that is full poor for to pay for such precious things" (ll. 1928-1951).

After the usual evening's entertainment, Gawayne retires to rest. The next morning, being New Year's day, is cold and stormy. Snow falls, and the dales are full of drift. Our knight in his bed locks his eyelids, but full little he sleeps. By each cock that crows he knows the hour, and before day-break he calls for his chamberlain, who quickly brings him his armour (ll. 1952-2014). While Gawayne clothed himself in his rich weeds he forgot not the "lace, the lady's gift," but with it doubly girded his loins. He wore it not for its rich ornaments, "but to save himself when it behoved him to suffer," and as a safeguard against sword or knife (ll. 2015-2046).

Having thanked his host and all the renowned assembly for the great kindness he had experienced at their hands, "he steps into stirrups and strides aloft" (ll. 2047-2068).

The drawbridge is let down, and the broad gates unbarred and borne open upon both sides, and the knight, after commending the castle to Christ, passes thereout and goes on his way accompanied by his guide, that should teach him to turn to that place where he should receive the much-dreaded blow. They climb over cliffs, where each hill had a hat and a mist-cloak, until the next morn, when they find themselves on a full high hill covered with snow. The servant bids his master remain awhile, saying, "I have brought you hither at this time, and now ye are not far from that noted place that ye have so often enquired after. The place that ye press to is esteemed full perilous, and there dwells a man in that waste the worst upon earth, for he is stiff and stern and loves to strike, and greater is he than any man upon middle-earth, and his body is bigger than the best four in Arthur's house. He keeps the Green Chapel; there passes none by that place, however proud in arms, that he does not 'ding him to death with dint of his hand.' He is a man immoderate and 'no mercy uses,' for be it churl or chaplain that by the chapel rides, monk or mass-priest, or any man else, it is as pleasant to him to kill them as to go alive himself. Wherefore I tell thee truly, 'come ye there, ye be killed, though ye had twenty lives to spend. He has dwelt there long of yore, and on field much sorrow has wrought. Against his sore dints ye may not defend you' (ll. 2069-2117). Therefore, good Sir Gawayne, let the man alone, and for God's sake go by some other path, and then I shall hie me home again. I swear to you by

[ 1 He only in part keeps to his covenant, as he holds back the love-lace .]

God and all His saints that I will never say that ever ye attempted to flee from any man."

Gawayne thanks his guide for his well-meant kindness, but declares that to the Green Chapel he will go, though the owner thereof be "a stern knave," for God can devise means to save his servants.

"Mary!" quoth the other, "since it pleases thee to lose thy life I will not hinder thee. Have thy helmet on thy head, thy spear in thy hand, and ride down this path by yon rock-side, till thou be brought to the bottom of the valley. Then look a little on the plain, on thy left hand, and thou shalt see in that slade the chapel itself, and the burly knight that guards it (ll. 2118-2148). Now, farewell Gawayne the noble! for all the gold upon ground I would not go with thee nor bear thee fellowship through this wood 'on foot farther.'" Thus having spoken, he gallops away and leaves the knight alone.

Gawayne now pursues his journey, rides through the dale, and looks about. He sees no signs of a resting-place, but only high and steep banks, and the very shadows of the high woods seemed wild and distorted. No chapel, however, could he discover. After a while he sees a round hill by the side of a stream; thither he goes, alights, and fastens his horse to the branch of a tree. He walks about the hill, debating with himself what it might be. It had a hole in the one end and on each side, and everywhere overgrown with grass, but whether it was only an old cave or a crevice of an old crag he could not tell (ll. 2149-2188).

"Now, indeed," quoth Gawayne, "a desert is here; this oratory is ugly with herbs overgrown. It is a fitting place for the man in green to 'deal here his devotions after the devil's manner.' Now I feel it is the fiend (the devil) in my five wits that has covenanted with me that he may destroy me. This is a chapel of misfortune—evil betide it! It is the most cursed kirk that ever I came in." With his helmet on his head, and spear in his hand, he roams up to the rock, and then he hears from that high hill beyond the brook a wondrous wild noise. Lo! it clattered in the cliff as if one upon a grindstone were grinding a scythe. It whirred like the water at a mill, and rushed and re-echoed, terrible to hear. "Though my life I forgo," says Gawayne, "no noise shall cause me to fear."

Then he cried aloud, "Who dwells in this place, discourse with me to hold? For now is good Gawayne going right here if any brave wight will hie him hither, either now or never" (ll. 2189-2216).

"Abide," quoth one on the bank above, over his head, "and thou shalt have all in haste that I promised thee once."

Soon there comes out of a hole in the crag, with a fell weapon a Danish axe quite new, the "man in the green," clothed as at first as his legs, locks and beard. But now he is on foot and walks on the earth. When he reaches the stream, he hops over and boldly strides about. He meets Sir Gawayne, who tells him that he is quite ready to fulfil his part of the compact. "Gawayne," quoth that 'green gome' (man), "may God preserve thee! Truly thou art welcome to my place, 'and thou hast timed thy travel' as a true man should. Thou knowest the covenants made between us, at this time twelve-month, that on New Year's day I should return thee thy blow. We are now in this valley by ourselves, and can do as we please (ll. 2217-2246). Have, therefore, thy helmet off thy head, and 'have here thy pay.' Let us have no more talk than when thou didst strike off my head with a single blow."

"Nay, by God!" quoth Gawayne, "I shall not begrudge thee thy will for any harm that may happen, but will stand still while thou strikest."

Then he stoops a little and shows his bare neck, unmoved by any fear. The Green Knight takes up his "grim tool," and with all his force raises it aloft, as if he meant utterly to destroy him. As the axe came gliding down Gawayne "shrank a little with the shoulders from the sharp iron." The other withheld his weapon, and then reproved the prince with many proud words. "Thou art not Gawayne that is so good esteemed, that never feared for no host by hill nor by vale, for now thou fleest for fear before thou feelest harm (ll. 2247-2272). Such cowardice of that knight did I never hear. I never flinched nor fled when thou didst aim at me in King Arthur's house. My head flew to my feet and yet I never fled, wherefore I deserve to be called the better man."

Quoth Gawayne, "I shunted once, but will do so no more, though my head fall on the stones. But hasten and bring me to the point; deal me my destiny, and do it out of hand, for I shall stand thee a stroke and start no more until thine axe has hit me—have here my troth." "Have at thee, then," said the other, and heaves the axe aloft, and looks as savagely as if he were mad. He aims at the other mightily, but withholds his hand ere it might hurt. Gawayne readily abides the blow without flinching with any member, and stood still as a stone or a tree fixed in rocky ground with a hundred roots.

Then merrily the other did speak, "Since now thou hast thy heart whole it behoves me to strike, so take care of thy neck." Gawayne answers with great wroth, "Thrash on, thou fierce man, thou threatenest too long; I believe thy own heart fails thee."

"Forsooth," quoth the other, "since thou speakest so boldly, I will no longer delay" (ll. 2273-2304). Then, contracting "both lips and brow," he made ready to strike, and let fall his axe on the bare neck of Sir Gawayne. "Though he hammered" fiercely, he only "severed the hide," causing the blood to flow. When Gawayne saw his blood on the snow, he quickly seized his helmet and placed it on his head. Then he drew out his bright sword, and thus angrily spoke: "Cease, man, of thy blow, bid me no more. I have received a stroke in this place without opposition, but if thou givest me any more readily shall I requite thee, of that be thou sure. Our covenant stipulates one stroke, and therefore now cease."

The Green Knight, resting on his axe, looks on Sir Gawayne, as bold and fearless he there stood, and then with a loud voice thus addresses the knight: "Bold knight, be not so wroth, no man here has wronged thee (ll. 2305-2339); I promised thee a stroke, and thou hast it, so hold thee well pleased. I could have dealt much worse with thee, and caused thee much sorrow. Two blows I aimed at thee, for twice thou kissedst my fair wife; but I struck thee not, because thou restoredst them to me according to agreement. At the third time thou failedst, and therefore I have given thee that tap. That woven girdle, given thee by my own wife, belongs to me. I know well thy kisses, thy conduct also, and the wooing of my wife, for I wrought it myself. I sent her to try thee, and truly methinks thou art the most faultless man that ever on foot went. Still, sir, thou wert wanting in good faith; but as it proceeded from no immorality, thou being only desirous of saving thy life, the less I blame thee."

Gawayne stood confounded, the blood rushed into his face, and he shrank within himself for very shame. "Cursed," he cried, "be cowardice and covetousness both; in you are villany and vice, that virtue destroy." Then he takes off the girdle and throws it to the knight in green, cursing his cowardice and covetousness. The Green Knight, laughing, thus spoke: "Thou hast confessed so clean, and acknowledged thy faults, that I hold thee as pure as thou hadst never forfeited since thou wast first born. I give thee, sir, the gold-hemmed girdle as a token of thy adventure at the Green Chapel. Come now to my castle, and we shall enjoy together the festivities of the New Year" (ll. 2340-2406).

"Nay, forsooth," quoth the knight, "but for your kindness may God requite you. Commend me to that courteous one your comely wife, who with her crafts has beguiled me. But it is no uncommon thing for a man to come to sorrow through women's wiles; for so was Adam beguiled with one, and Solomon with many. Samson was destroyed by Delilah, and David suffered much through Bathsheba. 'It were indeed great bliss for a man to love them well and believe them not.' Since the greatest upon earth were so beguiled, methinks I should be excused. But God reward you for your girdle, which I will ever wear in remembrance of my fault, and when pride shall exalt me, a look to this love-lace shall lessen it (ll. 2407-2438). But since ye are the lord of yonder land, from whom I have received so much honour, tell me truly your right name, and I shall ask no more questions."

Quoth the other, "I am called Bernlak de Hautdesert, through might of Morgain la Fay, who dwells in my house. Much has she learnt of Merlin, who knows all your knights at home. She brought me to your hall for to essay the prowess of the Round Table. She wrought this wonder to bereave you of your wits, hoping to have grieved Guenever and affrighted her to death by means of the man that spoke with his head in his hand before the high table. She is even thine aunt, Arthur's half sister; wherefore come to thine aunt, for all my household love thee."

Gawayne refuses to accompany the Green Knight, and so, with many embraces and kind wishes, they separate—the one to his castle, the other to Arthur's court.

After passing through many wild ways, our knight recovers from the wound in his neck, and at last comes safe and sound to the court of King Arthur. Great then was the joy of all; the king and queen kiss their brave knight, and make many enquiries about his journey. He tells them of his adventures, hiding nothing—"the chance of the chapel, the cheer of the knight, the love of the lady, and lastly of the lace." Groaning for grief and shame he shows them the cut in his neck, which he had received for his unfaithfulness (ll. 2439-2504). The king and his courtiers comfort the knight—they laugh loudly at his adventures, and unanimously agree that those lords and ladies that belonged to the Round Table, and each knight of the brotherhood should ever after wear a bright green belt for Gawayne's sake. And he upon whom it was conferred honoured it evermore after.

Thus in Arthur's time this adventure befell, whereof the "Brutus Books" bear witness (ll. 2505-2530).

I need not say that the Brutus Books we possess do not contain the legend here set forth, though it is not much more improbable than some of the statements contained in them. If the reader desires to know the relation in which this and the like stories stand to the original Arthur legends, he will find it discussed in Sir F. Madden's Preface to his edition of "Syr Gawayne," which also contains a sketch of the very different views taken of Sir Gawayne by the different Romance writers.

Into this and other literary questions I do not enter here, as I have nothing to add to Sir F. Madden's statements; but in the text of the Poem I have differed from him in some few readings, which will be found noticed in the Notes and Glossary.

As the manuscript is fast fading, I am glad that the existence of the Early English Text Society has enabled us to secure a wider diffusion of its contents before the original shall be no longer legible.

We want nothing but an increased supply of members to enable us to give to a large circle of readers many an equally interesting record of Early English minds.

SYR GAWAYN AND THE GRENE KNY3T.

[fytte the first.].

Siþen þe sege & þe assaut wat3 sesed at Troye,

Þe bor3 brittened & brent to bronde3 & aske3,

Þe tulk þat þe tra m mes of tresou n þ er wro3t,

Wat3 tried for his tricherie, þe trewest on erthe;

Hit wat3 Ennias þe athel, & his high e kynde,

Þat siþen depreced p ro uinces, & patrou n es bicome

Welne3e of al þe wele i n þe west iles,

Fro riche Romulus to Rome ricchis hy m swyþe,

W i t h gret bobbau n ce þat bur3e he biges vpon fyrst,

& neuenes hit his aune nome, as hit now hat;

Ticius to Tuskan [turnes,] & teldes bigy n nes;

Langaberde i n Lu m bardie lyftes vp homes;

& fer ou er þe French flod Felix Brut us

On mony bonkkes ful brode Bretayn he sette3,

wyth wy n ne;

Where werre, & wrake, & wonder,

Bi syþe3 hat3 wont þ er -i n ne,

& oft boþe blysse & blu n der

Ful skete hat3 skyfted sy n ne.

Ande quen þis Bretayn wat3 bigged bi þis burn rych,

Bolde bredden þer-i n ne, baret þat lofden,

In mony turned tyme tene þat wro3ten;

Mo ferlyes on þis folde han fallen here oft

Þen in any oþ er þat I wot, syn þat ilk tyme.

Bot of alle þat here bult of Bretaygne ky n ges

Ay wat3 Arthur þe hendest; as I haf herde telle;

For-þi an au n t er in erde I attle to schawe,

Þat a selly in si3t su m me men hit holden,

& an outtrage awenture of Arthure3 wond er e3;

If 3e wyl lysten þis laye bot on littel quile,

I schal telle hit, as-tit, as I i n tou n herde,

w i t h tonge;

As hit is stad & stoken,

In stori stif & stronge,

W i t h lel lett er es loken,

I n londe so hat3 ben longe.

Þis ky n g lay at Camylot vpon kryst-masse,

W i t h mony luflych lorde, lede3 of þe best,

Rekenly of þe rou n de table alle þo rich breþ er ,

W i t h rych reuel ory3t, & rechles m er þes;

Þ er to ur nayed tulkes bi-tyme3 ful mony,

Iusted ful Iolilé þise gentyle kni3tes,

Syþen kayred to þe court, caroles to make.

For þer þe fest wat3 ilyche ful fiften dayes,

With alle þe mete & þe mirþe þat me n couþe a-vyse;

Such glaumande gle glorio us to here,

Dere dyn vp-on day, dau n sy n g on ny3tes,

Al wat3 hap vpon he3e i n halle3 & chambre3,

With lorde3 & ladies, as leuest hi m þo3t;

With all þe wele of þe worlde þay woned þ er samen,

Þe most kyd kny3te3 vnder kryst e seluen,

& þe louelokkest ladies þat eu er lif haden,

& he þe comlokest ky n g þat þe court haldes;

For al wat3 þis fayre folk i n her first age,

Þe hapnest vnder heuen,

Ky n g hy3est mo n of wylle,

Hit were 1 now gret nye to neue n

So hardy a here o n hille.

1 MS. werere.

Wyle nw 3er wat3 so 3ep þat h i t wat3 nwe cu m men,

Þat day doubble on þe dece wat3 þe douth serued,

Fro þe ky n g wat3 cu m men w i t h kny3t es i n to þe halle,

Þe chau n tre of þe chapel cheued to an ende;

Loude crye wat3 þer kest of clerke3 & oþer,

Nowel nayted o-newe, neuened ful ofte;

& syþen riche forth ru n nen to reche honde-selle,

3e3ed 3eres 3iftes on hi3, 3elde hem bi hond,

Debated busyly aboute þo giftes;

Ladies la3ed ful loude, þo3 þay lost haden,

& he þat wan wat3 not wrothe, þ a t may 3e wel trawe.

Alle þis mirþe þay maden to þe mete tyme;

When þay had waschen, worþyly þay wenten to sete,

Þe best burne ay abof, as hit best semed;

Whene Guenore ful gay, grayþed i n þe myddes.

Dressed on þe dere des, dubbed al aboute,

Smal sendal bisides, a selure hir ou er

Of tryed Tolouse, of Tars tapites i n -nogh e ,

Þat were enbrawded & beten wyth þe best ge m mes,

Þat my3t be preued of prys wyth penyes to bye,

Þe comlokest to discrye,

Þer glent w i t h y3en gray,

A semloker þat eu er he sy3e,

Soth mo3t no mon say.

Bot Arthure wolde not ete til al were serued,

He wat3 so Ioly of his Ioyfnes, & su m -quat child gered,

His lif liked hy m ly3t, he louied þe lasse

Auþ er to lenge lye, or to longe sitte,

So bi-sied him his 3onge blod & his brayn wylde;

& also anoþ er maner meued hi m eke,

Þat he þur3 nobelay had nomen, ho wolde neu er ete

Vpon such a dere day, er hy m deuised were

Of su m auentur us þy n g an vncouþe tale,

Of su m mayn m er uayle, þat he my3t trawe,

Of 1 alderes, of armes, of oþ er auentur us ,

Oþ er sum segg hy m bi-so3t of su m siker kny3t,

To Ioyne wyth hy m i n iusty n g in Iopardé to lay,

Lede lif for lyf, leue vchon oþ er ,

As fortune wolde fulsu n ho m þe fayrer to haue.

Þis wat3 [þe] ky n ges cou n tenau n ce where he i n co ur t were,

At vch farand fest amo n g his fre meny,

Þer-fore of face so fere.

He sti3tle3 stif in stalle,

Ful 3ep i n þat nw 3ere,

Much mirthe he mas w i t h alle.

1 Of of, in MS.

Thus þ er stondes i n stale þe stif ky n g his-seluen,

Talkkande bifore þe hy3e table of trifles ful hende

There gode Gawan wat3 g ra yþed, Gwenore bisyde

& Ag ra uayn a la dure mayn on þat oþ er syde sittes

Boþe þe ky n ges sist er su n es, & ful siker kni3tes;

Bischop Bawdewyn abof bi-gine3 þe table,

& Ywan, Vryn son, ette wit hy m -seluen;

Þise were di3t on þe des, & derworþly serued,

& siþen mony siker segge at þe sidborde3.

Þe n þe first cors come with crakky n g of tru m pes,

Wyth mony baner ful bry3t, þat þer-bi henged,

Nwe nakryn noyse w i t h þe noble pipes,

Wylde werbles & wy3t wakned lote,

Þat mony hert ful hi3e hef at her towches;

Dayntes dryuen þer-wyth of ful dere metes,

Foysou n of þe fresche, & on so fele disches,

Þat pine to fynde þe place þe peple bi-forne

For to sette þe syluen er , 1 þat sere sewes halden,

Iche lede as he loued hy m -selue

Þer laght w i t h -outen loþe,

Ay two had disches twelue,

Good ber, & bry3t wyn boþe.

1 svlu er en (?) (dishes).

Now wyl I of hor seruise say yow no more,

For veh wy3e may wel wit no wont þat þ er were;

An oþ er noyse ful newe ne3ed biliue,

Þat þe lude my3t haf leue lif-lode to cach.

For vneþe wat3 þe noyce not a whyle sesed,

& þe fyrst co ur ce i n þe co ur t kyndely serued,

Þer hales i n at þe halle dor an aghlich mayst er ,

On þe most on þe molde on mesure hygh e ;

Fro þe swyre to þe swange so sware & so þik,

& his lyndes & his lymes so longe & so grete,

Half etayn i n erde I hope þat he were.

Bot mon most I algate my n n hy m to bene,

& þat þe myriest i n his muckel þat my3t ride;

For of bak & of brest al were his bodi sturne,

Bot his wombe & his wast were worthily smale,

& alle his fetures fol3ande, i n forme þat he hade,

For wonder of his hwe me n hade,

Set i n his semblau n t sene;

He ferde as freke were fade,

& ou er -al enker grene.

Ande al grayþed i n grene þis gome & his wedes,

A strayt cote ful stre3t, þat stek on his sides,

A mere mantile abof, mensked w i t h -i n ne,

W i t h pelure pured apert þe pane ful clene,

W i t h blyþe blau n n er ful bry3t, & his hod boþe,

Þat wat3 la3t fro his lokke3, & layde on his schulderes

Heme wel haled, hose of þat same grene,

Þat spenet on his sparlyr, & clene spures vnder,

Of bry3t golde, vpon silk bordes, barred ful ryche

& scholes vnder schankes, þere þe schalk rides;

& alle his vesture uerayly wat3 clene v er dure,

Boþe þe barres of his belt & oþ er blyþe stones,

Þ a t were richely rayled i n his aray clene,

Aboutte hy m -self & his sadel, vpon silk werke3,

Þat were to tor for to telle of tryfles þe halue,

Þat were enbrauded abof, wyth bryddes & fly3es,

With gay gaudi of grene, þe golde ay i n myddes;

Þe pendau n tes of his payttrure, þe proude cropure

His molaynes, & alle þe metail anamayld was þe n ne

Þe steropes þat he stod on, stayned of þe same,

& his arsou n 3 al after, & his aþel sturtes,

Þat euer glem er ed 1 & glent al of grene stones.

Þe fole þat he ferkkes on, fyn of þat ilke,

A grene hors gret & þikke,

A stede ful stif to strayne,

I n brawden brydel quik,

To þe gome he wat3 ful gayn.

1 glemed (?).

Wel gay wat3 þis gome gered i n grene,

& þe here of his hed of his hors swete;

Fayre fannand fax vmbe-foldes his schulderes;

A much berd as 1 a busk ou er his brest henges,

Þat wyth his hi3lich here, þat of his hed reches,

Wat3 euesed al vmbe-torne, a-bof his elbowes,

Þat half his armes þer vnder were halched i n þe wyse

Of a ky n ge3 capados, þat closes his swyre.

Þe mane of þat mayn hors much to hit lyke,

Wel cresped & ce m med wyth knottes ful mony,

Folden i n wyth fildore aboute þe fayre grene,

Ay a herle of þe here, an oþ er of golde;

Þe tayl & his toppy n g twy n nen of a sute,

& bou n den boþe wyth a bande of a bry3t grene,

Dubbed wyth ful dere stone3, as þe dok lasted,

Syþen þrawen wyth a þwong a þwarle knot alofte,

Þer mony belle3 ful bry3t of brende golde rungen.

Such a fole vpon folde, ne freke þat hy m rydes,

Wat3 neu er sene i n þat sale wyth sy3t er þat tyme,

w i t h y3e;

He loked as layt so ly3t,

So sayd al þat hy m sy3e,

Hit semed as no mon my3t,

Vnd er his dyntte3 dry3e.

1 as as, in MS.

Wheþ er hade he no helme ne hawb[e]rgh nauþ er ,

Ne no pysan, ne no plate þat pented to armes,

Ne no schafte, ne no schelde, to schwne ne to smyte,

Bot i n his on honde he hade a holyn bobbe,

Þat is grattest i n grene, when greue3 ar bare,

& an ax i n his oþ er , a hoge & vn-mete,

A spetos sparþe to expou n i n spelle quo-so my3t;

Þe hede of an eln3erde þe large lenkþe hade,

Þe grayn al of grene stele & of golde hewen,

Þe bit burnyst bry3t, w i t h a brod egge,

As wel schapen to schere as scharp rasores;

Þe stele of a stif staf þe sturne hit bi-grypte,

Þat wat3 wou n den wyth yrn to þe wande3 ende,

& al bigrauen w i t h grene, i n g ra cios 1 werkes;

A lace lapped aboute, þat louked at þe hede,

& so aft er þe halme halched ful ofte,

Wyth tryed tassele3 þerto tacched i n -noghe,

On botou n 3 of þe bry3t grene brayden ful ryche.

Þis haþel helde3 hy m i n , & þe halle entres,

Driuande to þe he3e dece, dut he no woþe,

Haylsed he neu er one, bot he3e he ou er loked.

Þe fyrst word þat he warp, "wher is," he sayd,

"Þe gou er no ur of þis gy n g? gladly I wolde

Se þat segg i n sy3t, & w i t h hy m self speke

raysou n ."

To kny3te3 he kest his y3e,

& reled hy m vp & dou n ,

He stemmed & con studie,

Quo walt þer most renou n .

1 looks like graco n s in MS .

Ther wat3 loky n g on lenþe, þe lude to be-holde,

For vch mo n had meruayle quat hit mene my3t,

Þat a haþel & a horse my3t such a hwe lach,

As growe grene as þe gres & grener hit semed,

Þen grene aumayl on golde lowande bry3te r ;

Al studied þat þ er stod, & stalked hy m nerre,

Wyth al þe wonder of þe worlde, what he worch schulde.

For fele sellye3 had þay sen, bot such neu er are,

For-þi for fantou m & fayry3e þe folk þere hit demed;

Þer-fore to answare wat3 ar3e mony aþel freke,

& al stouned at his steuen, & stonstil seten,

In a swogh e sylence þur3 þe sale riche

As al were slypped vpon slepe so slaked hor lote3

I deme hit not al for doute,

Bot su m for cortaysye,

Bot let hy m þat al schulde loute,

Cast vnto þat wy3e.

Þe n n Arþo ur bifore þe hi3 dece þat auenture byholde3,

& rekenly hy m reu er enced, for rad was he neu er ,

& sayde, "wy3e, welcu m iwys to þis place,

Þe hede of þis ostel Artho ur I hat,

Li3t luflych adou n , & lenge, I þe praye,

& quat so þy wylle is, we schal wyt aft er ."

"Nay, as help me," q uod þe haþel, "he þat on hy3e syttes,

To wone any quyle i n þis won, hit wat3 not my n ernde;

Bot for þe los of þe lede is lyft vp so hy3e,

& þy bur3 & þy burnes best ar holden,

Stifest vnder stel-gere on stedes to ryde,

Þe wy3test & þe worþyest of þe worldes kynde,

Preue for to play wyth in oþ er pure layke3;

& here is kydde cortaysye, as I haf herd carp,

& þat hat3 wayned me hider, I-wyis, at þis tyme.

3e may be seker bi þis brau n ch þat I bere here,

Þat I passe as i n pes, & no ply3t seche;

For had I fou n ded i n fere, i n fe3ty n g wyse,

I haue a haubergh e at home & a helme boþe,

A schelde, & a scharp spere, schinande bry3t,

Ande oþ er weppenes to welde, I wene wel als,

Bot for I wolde no were, my wede3 ar soft er .

Bot if þ o u be so bold as alle burne3 tellen,

Þ o u wyl g ra nt me godly þe gomen þat I ask,

Artho ur con onsware,

& sayd, "s ir cortays kny3t,

If þ o u craue batayl bare,

Here fayle3 þ o u not to fy3t."

"Nay, frayst I no fy3t, i n fayth I þe telle,

Hit arn aboute on þis bench bot berdle3 chylder;

If I were hasped i n armes on a he3e stede,

Here is no mon me to mach, for my3te3 so 1 wayke.

For-þy I craue i n þis co ur t a crystmas gome n ,

For hit is 3ol & nwe 3er, & here ar 3ep mony;

If any so hardy i n þis ho us holde3 hy m -seluen,

Be so bolde i n his blod, brayn i n hys hede,

Þat dar stifly strike a strok for an oþ er ,

I schal gif hy m of my gyft þys giserne ryche,

Þis ax, þat is heué i n -nogh, to hondel e as hy m lykes,

& I schal bide þe fyrst bur, as bare as I sitte.

If any freke be so felle to fonde þat I telle,

Lepe ly3tly me to, & lach þis weppen,

I quit clayme hit for eu er , kepe hit as his auen,

& I schal stonde hy m a strok, stif on þis flet,

Elle3 þ o u wyl di3t me þe dom to dele hy m an oþ er ,

& 3et gif hy m respite,

A twelmonyth & a day;—

Now hy3e, & let se tite

Dar any her-i n ne o3t say."

If he hem stowned vpon fyrst, stiller were þa n ne

Alle þe hered-men i n halle, þe hy3 & þe lo3e;

Þe renk on his rou n ce hy m ruched i n his sadel,

& runisch-ly his rede y3en he reled aboute,

Bende his bresed bro3e3, bly-cande grene,

Wayued his berde for to wayte quo-so wolde ryse.

When non wolde kepe hy m w i t h carp he co3ed ful hy3e,

Ande rimed hy m ful richl e y, & ry3t hy m to speke:

"What, is þis Arþures ho us ," q uod þe haþel þe n ne,

"Þat al þe ro us re n nes of, þur3 ryalmes so mony?

Where is now yo ur so ur quydrye & yo ur co n questes,

Yo ur gry[n]del-layk, & yo ur greme, & yo ur grete wordes?

Now is þe reuel & þe renou n of þe rou n de table

Ou er -walt wyth a worde of on wy3es speche;

For al dares for drede, w i t h -oute dynt schewed!"

Wyth þis he la3es so loude, þat þe lorde greued;

Þe blod schot for scham i n -to his schyre face

& lere;

He wex as wroth as wynde,

So did alle þat þer were

Þe ky n g as kene bi kynde,

Þe n stod þat stif mon nere.

Ande sayde, "haþel, by heuen þy n asky n g is nys,

& as þ o u foly hat3 frayst, fynde þe be-houes;

I know no gome þat is gast of þy grete wordes.

Gif me now þy geserne, vpon gode3 halue,

& I schal bayþen þy bone, þat þ o u boden habbes."

Ly3tly lepe3 he hy m to, & la3t at his honde;

Þen feersly þat oþ er freke vpon fote ly3tis.

Now hat3 Arthure his axe, & þe halme grype3,

& sturnely sture3 hit aboute, þat stryke wyth hit þo3t.

Þe stif mon hy m bifore stod vpon hy3t,

Herre þen ani in þe ho us by þe hede & more;

Wyth sturne schere 1 þer he stod, he stroked his berde,

& wyth a cou n tenau n ce dry3e he dro3 dou n his cote,

No more mate ne dismayd for hys may n dinte3,

Þen any burne vpon bench hade bro3t hy m to drynk

Gawan, þat sate bi þe quene,

To þe ky n g he can enclyne,

"I be-seche now w i t h sa3e3 sene,

Þis melly mot be myne."

1 chere (?).

"Wolde 3e, worþilych lorde," q uod Gawan to þe ky n g,

"Bid me bo3e fro þis benche, & stonde by yow þere,

Þat I wyth-oute vylanye my3t voyde þis table,

& þat my legge lady lyked not ille,

I wolde com to yo ur cou n seyl, bifore yo ur cort ryche.

For me þink hit not semly, as hit is soþ knawen,

Þer such an asky n g is heuened so hy3e i n yo ur sale,

Þa33e 3o ur -self be talenttyf to take hit to yo ur -seluen,

Whil mony so bolde yow aboute vpon bench sytten,

Þat vnder heuen, I hope, non ha3er er of wylle,

Ne bett er bodyes on bent, þer baret is rered;

I am þe wakkest, I wot, and of wyt feblest,

& lest lur of my lyf, quo laytes þe soþe,

Bot for as much as 3e ar myn em, I am only to prayse,

No bou n té bot yo ur blod I in my bodé knowe;

& syþen þis note is so nys, þ a t no3t hit yow falles,

& I haue frayned hit at yow fyrst, folde3 hit to me,

& if I carp not comlyly, let alle þis cort rych,

bout blame."

Ryche to-geder con rou n ,

& syþen þay redden alle same,

To ryd þe ky n g wyth crou n ,

& gif Gawan þe game.

Þen comau n ded þe ky n g þe kny3t for to ryse;

& he ful radly vp ros, & ruchched hy m fayre,

Kneled dou n bifore þe ky n g, & cache3 þat weppen;

& he luflyly hit hy m laft, & lyfte vp his honde,

& gef hy m godde3 blessy n g, & gladly hy m biddes

Þat his hert & his honde schulde hardi be boþe.

"Kepe þe cosyn," q uod þe ky n g, "þat þ o u on kyrf sette,

& if þou rede3 hy m ry3t, redly I trowe,

Þat þou schal byden þe bur þat he schal bede aft er .

Gawan got3 to þe gome, w i t h giserne i n honde,

& he baldly hy m byde3, he bayst neu er þe helder

Þen carppe3 to s ir Gawan þe kny3t i n þe grene,

"Refourme we oure for-wardes, er we fyrre passe.

Fyrst I eþe þe, haþel, how þat þou hattes,

Þat þ o u me telle truly, as I tryst may?"

"In god fayth," q uod þe goode kny3t, "Gawan I hatte,

Þat bede þe þis buffet, quat-so bi-falle3 aft er ,

& at þis tyme twelmonyth take at þe anoþ er ,

Wyth what weppen so 1 þ o u wylt, & wyth no wy3 elle3,

Þat oþ er on-sware3 agayn,

"Sir Gawan, so mot I þryue,

As I am ferly fayn.

Þis dint þat þ o u schal dryue."

"Bigog," q uod þe grene kny3t, "s ir Gawan, melykes,

Þat I schal fange at þy fust þat I haf frayst here;

& þ o u hat3 redily rehersed, bi resou n ful trwe,

Clanly al þe couenau n t þat I þe ky n ge asked,

Saf þat þ o u schal siker me, segge, bi þi trawþe,

Þat þ o u schal seche me þi-self, where-so þ o u hopes

I may be funde vpon folde, & foch þe such wages

As þ o u deles me to day, bifore þis douþe ryche."

"Where schulde I wale þe," q uod Gauan, "where is þy place?

I wot neu er where þ o u wonyes, bi hy m þat me wro3t,

Ne I know not þe, kny3t, þy cort, ne þi name.

Bot teche me truly þer-to, & telle me howe þ o u hattes,

& I schal ware alle my wyt to wy n ne me þeder,

& þat I swere þe for soþe, & by my seker traweþ."

"Þat is in-nogh in nwe 3er, hit nedes no more,"

Q uod þe gome i n þe grene to Gawan þe hende,

"3if I þe telle trwly, quen I þe tape haue,

& þ o u me smoþely hat3 smyten, smartly I þe teche

Of my ho us , & my home, & myn owen nome,

Þen may þ o u frayst my fare, & forwarde3 holde,

& if I spende no speche, þe n ne spede3 þ o u þe bett er ,

For þ o u may leng i n þy londe, & layt no fyrre,

bot slokes;

Ta now þy gry m me tole to þe,

& let se how þ o u cnoke3."

"Gladly s ir , for soþe,"

Q uod Gawan; his ax he strokes.

The grene kny3t vpon grou n de grayþely hy m dresses,

A littel lut w i t h þe hede, þe lere he discou er e3,

His longe louelych lokke3 he layd ou er his crou n .

Let þe naked nec to þe note schewe.

Gauan gripped to his ax, & gederes hit on hy3t,

Þe kay fot on þe folde he be-fore sette,

Let hit dou n ly3tly ly3t on þe naked,

Þat þe scharp of þe schalk schyndered þe bones,

& schra n k þur3 þe schyire grece, & scade hit i n twy n ne,

Þat þe bit of þe brou n stel bot on þe grou n de.

Þe fayre hede fro þe halce hit [felle] to þe erþe,

Þat fele hit foyned wyth her fete, þere hit forth roled;

Þe blod brayd fro þe body, þ a t blykked on þe grene;

& nawþer falt er ed ne fel þe freke neu er þe helder,

Bot styþly he start forth vpon styf schonkes,

& ru[n]yschly he ra3t out, þere as renkke3 stoden,

La3t to his lufly hed, & lyft hit vp sone;

& syþen bo3e3 to his blonk, þe brydel he cachche3,

Steppe3 i n to stel bawe & stryde3 alofte,

& his hede by þe here i n his honde halde3;

& as sadly þe segge hy m i n his sadel sette,

As non vnhap had hy m ayled, þa3 hedle3 he 1 we[re],

i n stedde;

He brayde his bluk 2 aboute,

Þat vgly bodi þat bledde,

Moni on of hy m had doute,

Bi þat his resou n 3 were redde.

1 MS. ho. 2 blunk (?).

For þe hede in his honde he halde3 vp euen,

To-ward þe derrest on þe dece he dresse3 þe face,

& hit lyfte vp þe y3e-lydde3, & loked ful brode,

& meled þ us much w i t h his muthe, as 3e may now here.

"Loke, Gawan, þ o u be grayþe to go as þ o u hette3,

& layte as lelly til þ o u me, lude, fynde,

As þ o u hat3 hette i n þis halle, herande þise kny3tes;

To þe grene chapel þ o u chose, I charge þe to fotte,

Such a dunt as þ o u hat3 dalt disserued þ o u habbe3,

To be 3ederly 3olden on nw 3eres morn;

Þe kny3t of þe grene chapel men knowen me mony;

For-þi me forto fynde if þ o u frayste3, fayle3 þ o u neu er ,

Þer-fore com, oþ er recreau n t be calde þe be-houe us ."

With a runisch rout þe rayne3 he torne3,

Halled out at þe hal-dor, his hed i n his hande,

Þat þe fyr of þe flynt fla3e fro fole houes.

To quat kyth he be-com, knwe non þere,

Neu er more þen þay wyste fram queþen he wat3 wo n nen;

what þe n ne?

Þe ky n g & Gawen þare,

At þat grene þay la3e & gre n ne,

3et breued wat3 hit ful bare,

A m er uayl amo ng þo me n ne.

Þa3 Arþ er þe hende ky n g at hert hade wonder,

He let no semblau n t be sene, bot sayde ful hy3e

To þe comlych quene, wyth cortays speche,

"Dere dame, to day demay yow neu er ;

Wel by-co m mes such craft vpon c r istmasse,

Layky n g of ent er lude3, to la3e & to syng.

Amo n g þise, kynde caroles of kny3te3 & ladye3;

Neu er -þe-lece to my mete I may me wel dres,

For I haf sen a selly, I may not for-sake."

He glent vpon s ir Gawen, & gaynly he sayde,

"Now s ir , heng vp þyn ax, þat hat3 i n -nogh hewen."

& hit wat3 don abof þe dece, on doser to henge,

Þer alle men for m er uayl my3t on hit loke,

& bi trwe tytel þ er -of to telle þe wonder.

Þe n ne þay bo3ed to a borde þise burnes to-geder,

Þe ky n g & þe gode kny3t, & kene me n he m serued

Of alle dayntye3 double, as derrest my3t falle,

Wyth alle maner of mete & mynstralcie boþe;

Wyth wele walt þay þat day, til worþed an ende,

Now þenk wel, s ir Gawan,

For woþe þat þ o u ne wonde,

Þis auenture forto frayn,

Þat þ o u hat3 tan on honde.

[FYTTE THE SECOND.]

This hansell e hat3 Arthur of auenturus on fyrst,

In 3onge 3er, for he 3erned 3elpy n g to here,

Tha3 hym worde3 were wane, when þay to sete wenten;

Now ar þay stoken of sturne werk staf-ful her hond.

Gawan wat3 glad to be-gy n ne þose gomne3 i n halle,

Bot þa3 þe ende be heuy, haf 3e no wonder;

For þa3 men be n mery in my n de, quen þay han mayn drynk,

A 3ere 3ernes ful 3erne, & 3elde3 neu er lyke,

Þe forme to þe fynisment folde3 ful selden.

For-þi þis 3ol ou er -3ede, & þe 3ere aft er ,

& vche sesou n serlepes sued after oþ er ;

After crysten-masse com þe crabbed lentou n ,

Þat frayste3 flesch wyth þe fysche & fode more symple

Bot þe n ne þe weder of þe worlde wyth wynter hit þrepe3,

Colde clenge3 adou n , cloude3 vp-lyften,

Schyre schede3 þe rayn i n schowre3 ful warme,

Falle3 vpon fayre flat, flowre3 þere schewen,

Boþe grou n de3 & þe greue3 grene ar her wede3,

Brydde3 busken to bylde, & bremlych sy n gen,

For solace of þe softe som er þat sues þer aft er ,

& blossu m e3 bolne to blowe,

Bi rawe3 rych & ronk,

Þe n note3 noble i n -no3e,

Ar herde in wod so wlonk.

After þe sesou n of som er wyth þe soft wynde3,

Quen 3efer us syfle3 hy m -self on sede3 & erbe3,

Wela-wy n ne is þe wort þat woxes þer-oute.

When þe donkande dewe drope3 of þe leue3,

To bide a blysful blusch of þe bry3t su n ne.

Bot þe n hy3es heruest, & hardenes hy m sone.

Warne3 hy m for þe wynter to wax ful rype;

He dryues wyth dro3t þe dust for to ryse.

Fro þe face of þe folde to fly3e ful hy3e;

Wroþe wynde of þe welkyn wrastele3 w i t h þe su n ne,

Þe leue3 lancen fro þe lynde, & ly3ten on þe grou n de,

& al grayes þe gres, þat grene wat3 ere;

Þe n ne al rype3 & rote3 þat ros vpon fyrst,

& þ us 3irne3 þe 3ere i n 3isterdaye3 mony,

& wynter wynde3 a3ayn, as þe worlde aske3

Til me3el-mas mone,

Wat3 cu m en wyth wynter wage;

Þen þenkke3 Gawan ful sone,

Of his anio us uyage.

3et quyl al-hal-day w i t h Arþ er he lenges,

& he made a fare on þ a t fest, for þe freke3 sake,

W i t h much reuel & ryche of þe rou n de table;

Kny3te3 ful cortays & comlych ladies,

Al for luf of þat lede i n longy n ge þay were,

Bot neu er -þe-lece ne þe lat er þay neuened bot m er þe,

Mony ioyle3 for þat ientyle iape3 þer maden.

For aftter mete, w i t h mo ur ny n g he mele3 to his eme,

& speke3 of his passage, & pertly he sayde,

"Now, lege lorde of my lyf, leue I yow ask;

3e knowe þe cost of þis cace, kepe I no more

To telle yow tene3 þer-of neu er bot t r ifel;

Bot I am bou n to þe bur barely to morne,

To sech þe gome of þe grene, as god wyl me wysse."

Þe n ne þe best of þe bur3 bo3ed to-geder,

Aywan, & Errik, & oþ er ful mony,

S ir Doddinaual de Sauage, þe duk of Clarence,

Launcelot, & Lyonel, & Lucan þe gode,

S ir Boos, & sir Byduer, big me n boþe,

& mony oþ er menskful, w i t h Mador de la Port.

Alle þis compayny of court com þe ky n g nerre,

For to cou n seyl þe kny3t, with care at her hert;

Þere wat3 much derue 1 doel driuen i n þe sale,

Þat so worthe as Wawan schulde wende on þat ernde,

To dry3e a delful dynt, & dele no more

wyth bronde.

Þe kny3t mad ay god chere,

& sayde, "quat schuld I wonde,

Of destines derf & dere,

What may mon do bot fonde?"

1 derne (?).

He dowelle3 þer al þat day, and dresse3 on þe morn,

Aske3 erly hys arme3, & alle were þay bro3t

Fyrst a tule tapit, ty3t ou er þe flet,

& miche wat3 þe gyld gere þat glent þer alofte;

Þe stif mon steppe3 þeron, & þe stel hondole3,

Dubbed i n a dublet of a dere tars,

& syþen a crafty capados, closed aloft,

Þat wyth a bry3t blau n ner was bou n den w i t h -i n ne;

Þe n ne set þay þe sabatou n 3 vpon þe segge fote3,

His lege3 lapped i n stel w i t h luflych greue3,

W i t h polayne3 piched þer-to, policed ful clene,

Aboute his kne3 knaged wyth knote3 of golde;

Queme quyssewes þe n , þat coyntlych closed

His thik þrawen þy3e3 w i t h þwonges to-tachched;

& syþen þe brawden bryne of bry3t stel ry n ge3,

Vmbe-weued þat wy3, vpon wlonk stuffe;

& wel bornyst brace vpon his boþe armes,

W i t h gode cowters & gay, & gloue3 of plate,

& alle þe godlych gere þat hy m gayn schulde

Wyth ryche cote armure,

His gold spore3 spend w i t h pryde,

Gurde wyth a bront ful sure,

W i t h silk sayn vmbe his syde.

When he wat3 hasped i n armes, his harnays wat3 ryche,

Þe lest lachet ou[þ] er loupe lemed of golde;

So harnayst as he wat3 he herkne3 his masse,

Offred & hono ur ed at þe he3e auter;

Syþen he come3 to þe ky n g & to his cort fere3,

Lache3 lufly his leue at lorde3 & ladye3;

& þay hy m kyst & conueyed, bikende hy m to kryst.

Bi þat wat3 Gryngolet grayth, & gurde w i t h a sadel,

Þat glemed ful gayly w i t h mony golde frenges,

Ay quere naylet ful nwe for þat note ryched;

Þe brydel barred aboute, w i t h bry3t golde bou n den;

Þe apparayl of þe payttrure, & of þe proude skyrte3,

Þe cropore, & þe couertor, acorded wyth þe arsou n e3;

& al wat3 rayled on red ryche golde nayle3,

Þat al glytered & glent as glem of þe su n ne.

Þe n ne hentes he þe holme, & hastily hit kysses,

Þat wat3 stapled stifly, & stoffed wyth-i n ne:

Hit wat3 hy3e on his hede, hasped bihynde,

Wyth a ly3tli vrysou n ou er þe auentayle,

Enbrawden & bou n den wyth þe best ge m me3,

On brode sylkyn borde, & brydde3 on seme3,

As papiaye3 paynted perny n g bitwene,

Tortors & trulofe3 entayled so þyk,

As mony burde þer aboute had be n seue n wynt er

i n tou n e;

Þe cercle wat3 more o prys,

Þat vmbe-clypped hys crou n ,

Of diamau n te3 a deuys,

Þat boþe were bry3t & brou n .

Then þay schewed hy m þe schelde, þat was of schyr goule3,

Wyth þe pentangel de-paynt of pure golde hwe3;

He brayde3 hit by þe baude-ryk, aboute þe hals kest es ,

Þat bisemed þe segge semlyly fayre.

& quy þe pentangel apende3 to þat prynce noble,

I am i n tent yow to telle, þof tary hyt me schulde;

Hit is a sy n gne þat Salamon set su m -quyle,

I n bytokny n g of trawþe, bi tytle þat hit habbe3,

For hit is a figure þat halde3 fyue poynte3,

& vche lyne vmbe-lappe3 & louke3 i n oþer,

& ay quere hit is endele3, 1 & Englych hit callen

Ou er -al, as I here, þe endeles knot.

For-þy hit acorde3 to þis kny3t, & to his cler arme3,

For ay faythful i n fyue & sere fyue syþe3,

Gawan wat3 for gode knawen, & as golde pured,

Voyded of vche vylany, wyth vertue3 2 e n no ur ned

For-þy þe pen-tangel nwe

He ber i n schelde & cote,

As tulk of tale most trwe,

& gentylest kny3t of lote.

1 MS emdele3. 2 MS v er ertue3

Fyrst he wat3 funden fautle3 i n his fyue wytte3,

& efte fayled neu er þe freke i n his fyue fyngres,

& alle his afyau n ce vpon folde wat3 i n þe fyue wou n de3

Þat Cryst ka3t on þe croys, as þe crede telle3;

& quere-so-eu er þys mon i n melly wat3 stad,

His þro þo3t wat3 i n þat, þur3 alle oþ er þy n ge3,

Þat alle his forsnes he fong at þe fyue ioye3,

Þat þe hende heuen quene had of hir chylde;

At þis cause þe kny3t comlyche hade

I n þe more half of his schelde hir ymage depaynted,

Þat quen he blusched þerto, his belde neu er payred.

Þe fyrst 1 fyue þat I finde þat þe frek vsed,

Wat3 frau n chyse, & fela3schyp for-be 2 al þy n g;

His clannes & his cortaysye croked were neu er ,

& pite, þat passe3 alle poynte3, þyse pure fyue

Were harder happed on þat haþel þe n on any oþ er .

Now alle þese fyue syþe3, forsoþe, were fetled on þis kny3t,

& vchone halched in oþ er , þat non ende hade,

& fyched vpon fyue poynte3, þat fayld neu er ,

Ne samned neu er i n no syde, ne sundred nouþ[er],

W i t h -outen ende at any noke [a]i quere fynde,

Where-eu er þe gomen bygan, or glod to an ende.

Þer-fore on his schene schelde schapen wat3 þe knot,

Þus alle wyth red golde vpon rede gowle3,

Þat is þe pure pentaungel wyth þe peple called,

w i t h lore.

Now grayþed is Gawan gay,

& la3t his lau n ce ry3t þore,

& gef hem alle goud day,

He wende for eu er more.

1 MS fyft. 2 for-bi (?).

He sperred þe sted w i t h þe spure3, & sprong on his way,

So stif þat þe ston fyr stroke out þer-aft er ;

Al þat se3 þat semly syked i n hert,

& sayde soþly al same segges til oþ er ,

Carande for þat comly, "bi Kryst, hit is scaþe,

Þat þ o u, leude, schal be lost, þat art of lyf noble!

To fynde hys fere vpon folde, i n fayth is not eþe;

Warloker to haf wro3t had more wyt bene,

& haf dy3t 3onder dere a duk to haue worþed;

A lowande leder of lede3 i n londe hy m wel seme3,

& so had bett er haf ben þe n britned to no3t,

Hadet wyth an aluisch mon, for angarde3 pryde.

Who knew eu er any ky n g such cou n sel to take,

As kny3te3 i n cauelou n 3 on cryst-masse gomne3!"

Wel much wat3 þe warme water þ a t walt er ed of y3en,

When þat semly syre so3t fro þo wone3

þat 1 daye;

He made non abode,

Bot wy3tly went hys way,

Mony wylsu m way he rode,

Þe bok as I herde say.

Now ride3 þis renk þur3 þe ryalme of Logres,

S ir Gauan on Gode3 halue, þa3 hy m no gomen þo3t;

Oft, leudle3 alone, he lenge3 on ny3te3,

Þer he fonde no3t hy m byfore þe fare þat he lyked;

Hade he no fere bot his fole, bi frythe3 & dou n e3,

Ne no gome bot God, bi gate wyth to karp,

Til þat he ne3ed ful nogh e 1 i n to þe Norþe Wale3;

Alle þe iles of Anglesay on lyft half he halde3,

& fare3 ou er þe forde3 by þe for-londe3,

Ou er at þe Holy-Hede, til he hade eft bonk

I n þe wyldrenesse of Wyrale; wonde þer bot lyte

Þat auþ er God oþ er gome wyth goud hert louied.

& ay he frayned, as he ferde, at freke3 þat he met,

If þay hade herde any karp of a kny3t grene,

I n any grou n de þer-aboute, of þe grene chapel; 2

& al nykked hy m wyth nay, þat neu er i n her lyue

Þay se3e neu er no segge þat wat3 of suche hwe3

Þe kny3t tok gates straunge,

I n mony a bonk vnbene,

His cher ful oft con chau n ge,

Þat chapel er he my3t sene.

1 nygh e (?). 2 MS. clapel.

Mony klyf he ou er -clambe i n contraye3 strau n ge,

Fer floten fro his frende3 fremedly he ryde3;

At vche warþe oþer wat er þer þe wy3e passed,

He fonde a foo hy m byfore, bot ferly hit were,

& þat so foule & so felle, þat fe3t hy m by-hode;

So mony m er uayl hi mou n t þ er þe mon fynde3,

Hit were to tore for to telle of þe tenþe dole.

Sumwhyle wyth worme3 he werre3, & w i t h wolues als,

Su m whyle wyth wodwos, þat woned i n þe knarre3,

Boþe wyth bulle3 & bere3, & bore3 oþ er -quyle,

& etayne3, þat hy m a-nelede, of þe he3e felle;

Nade he ben du3ty & dry3e, & dry3tyn had serued,

Douteles he hade ben ded, & dreped ful ofte.

For werre wrathed hy m not so much, þat wy n t er was wors,

When þe colde cler wat er fro þe cloude3 schadden,

& fres er hit falle my3t to þe fale erþe;

Ner slayn wyth þe slete he sleped i n his yrnes,

Mo ny3te3 þe n i n -noghe i n naked rokke3,

Þ er as clat er ande fro þe crest þe colde borne re n ne3,

& henged he3e ou er his hede i n hard ÿsse-ikkles.

Þus i n peryl, & payne, & plytes ful harde,

Bi contray carye3 þis kny3t, tyl kryst-masse euen,

Þe kny3t wel þat tyde,

To Mary made his mone.

Þat ho hy m red to ryde,

& wysse hy m to su m wone.

Bi a mou n te on þe morne meryly he rydes,

Into a forest ful dep, þat ferly wat3 wylde,

Hi3e hille3 on vche a halue, & holt wode3 vnder,

Of hore oke3 fill hoge a hundreth to-geder;

Þe hasel & þe ha3-þorne were harled al samen,

W i t h ro3e raged mosse rayled ay-where,

With mony brydde3 vnblyþe vpon bare twyges,

Þat pitosly þer piped for pyne of þe colde.

Þe gome vpon Gryngolet glyde3 hem vnder,

Þur3 mony misy & myre, mo n al hy m one,

Carande for his costes, lest he ne keu er schulde,

To se þe seruy 1 of þat syre, þat on þat self ny3t

Of a burde wat3 borne, oure baret to quelle;

& þerfore syky n g he sayde, "I be-seche þe, lorde,

& Mary, þat is myldest moder so dere.

Of su m herber, þer he3ly I my3t here masse.

Ande þy matyne3 to-morne, mekely I ask,

& þer-to prestly I pray my pat er & aue,

& crede."

He rode i n his prayere,

& cryed for his mysdede,

He sayned hy m i n syþes sere,

& sayde "cros Kryst me spede!"

1 seruyce (?).

Nade he sayned hy m -self, segge, bot þrye,

Er he wat3 war i n þe wod of a won i n a mote.

Abof a lau n de, on a lawe, loken vnder bo3e3,

Of mony borelych bole, aboute bi þe diches;

A castel þe comlokest þat eu er kny3t a3te,

Pyched on a prayere, a park al aboute,

W i t h a pyked palays, pyned ful þik,

Þat vmbe-te3e mony tre mo þe n two myle.

Þat holde on þat on syde þe haþel auysed,

As hit schemered & schon þur3 þe schyre oke3;

Þe n ne hat3 he hendly of his helme, & he3ly he þonke3

Iesus & say[nt] Gilyan, þat gentyle ar boþe,

Þat cortaysly hade hy m kydde, & his cry herkened.

"Now bone hostel," coþe þe burne, "I be-seche yow 3ette!"

Þe n ne gedere3 he to Gryngolet w i t h þe gilt hele3,

& he ful chau n cely hat3 chosen to þe chef gate,

Þat bro3t bremly þe burne to þe bryge ende,

Þe bryge wat3 breme vp-brayde,

Þe 3ate3 wer stoken faste,

Þe walle3 were wel arayed,

Hit dut no wynde3 blaste.

Þe burne bode on bonk, þat on blonk houed,

Of þe depe double dich þat drof to þe place,

Þe walle wod i n þe wat er wonderly depe,

Ande eft a ful huge he3t hit haled vpon lofte,

Of harde hewen ston vp to þe table3,

Enbaned vnder þe abataylme n t, i n þe best lawe;

& syþen garyte3 ful gaye gered bi-twene,

Wyth mony luflych loupe, þat louked ful clene;

A bett er barbican þat burne blusched vpon neu er ;

& i n nermore he be-helde þat halle ful hy3e,

Towre telded bytwene trochet ful þik,

Fayre fylyole3 þat fy3ed, & ferlyly long,

With coruon coprou n es, craftyly sle3e;

Chalk whyt chymnees þer ches he i n -no3e,

Vpon bastel roue3, þat blenked ful quyte;

So mony pynakle payntet wat3 poudred ay quere,

Amo n g þe castel carnele3, clambred so þik,

Þat pared out of papure purely hit semed.

Þe fre freke on þe fole hit fayr i n -n[o]ghe þo3t,

If he my3t keu er to com þe cloyst e r wyth-i n ne,

To herber i n þat hostel, whyl halyday lested

He calde, & sone þer com

A porter pure plesau n t,

On þe wal his ernd he nome,

& haylsed þe kny3t errau n t.

"Gode s ir ," q uod Gawan, "wolde3 þ o u go my n ernde,

To þe he3 lorde of þis ho us , herber to craue?"

"3e, Pet er ," q uod þe port er , "& purely I trowe, 1

Þat 3e be, wy3e, welcu m to won quyle yow lyke3."

Þe n 3ede þ a t wy3e a3ayn awyþe,

& folke frely hy m wyth, to fonge þe kny3t;

Þay let dou n þe grete dra3t, & derely out 3eden,

& kneled dou n on her knes vpon þe colde erþe,

To welcu m þis ilk wy3, as worþy hom þo3t;

Þay 3olden hy m þe brode 3ate, 3arked vp wyde,

& he hem raysed rekenly, & rod ou er þe brygge;

Sere segge3 hy m sesed by sadel, quel 2 he ly3t,

& syþen stabeled his stede stif me n i n -no3e.

Kny3te3 & swyere3 comen dou n þe n ne,

For to bry n g þis burne 3 wyth blys i n -to halle;

Quen he hef vp his helme, þer hi3ed i n -nogh e

For to hent hit at his honde, þe hende to seruen,

His bronde & his blasou n boþe þay token.

Þe n haylsed he ful hendly þo haþele3 vch one,

& mony proud mon þer p re sed, þat pry n ce to hono ur ;

Alle hasped i n his he3 wede to halle þay hy m wo n nen,

Þer fayre fyre vpon flet fersly bre n ned.

Þe n ne þe lorde of þe lede loute3 fro his chambre,

For to mete wyth menske þe mon on þe flor;

He sayde, "3e ar welcu m to welde as yow lyke3,

Þat here is, al is yowre awen, to haue at yowre wylle

& welde."

"Grau n t mercy," q uod Gawayn,

"Þer Kryst hit yow for-3elde,"

As freke3 þat semed fayn,

Ayþ er oþ er i n arme3 co n felde.

1 trowoe, MS. 2 quyle (?) or quen (?). 3 buurne, MS.

Gawayn gly3t on þe gome þat godly hy m gret,

& þu3t hit a bolde burne þat þe bur3 a3te,

A hoge haþel for þe none3, & of hygh e elde; 1

Brode bry3t wat3 his berde, & al beu er hwed,

Sturne stif on þe stryþþe on stal-worth schonke3,

Felle face as þe fyre, & fre of hys speche;

& wel hy m semed for soþe, as þe segge þu3t,

To lede a lortschyp i n lee of leude3 ful gode.

Þe lorde hy m charred to a chambre, & chefly cu m au n de3 2

To delyu er hym a leude, hym lo3ly to serue;

& þere were bou n at his bode burne3 i n -no3e,

Þat bro3t hy m to a bry3t boure, þ er beddy n g wat3 noble,

Of cortynes of clene sylk, wyth cler golde he m me3,

& cou er tore3 ful curious, w i t h comlych pane3,

Of bry3t blaunni er a-boue enbrawded bisyde3,

Rudele3 re n nande on rope3, red golde ry n ge3,

Tapyte3 ty3t to þe wo3e, of tuly & tars,

& vnder fete, on þe flet, of fol3ande sute.

Þer he wat3 dispoyled, wyth speche3 of my er þe,

Þe burn of his bruny, & of his bry3t wede3;

Ryche robes ful rad renkke3 hem 3 bro3ten,

For to charge, & to chaunge, & chose of þe best.

Sone as he on hent, & happed þ er -i n ne,

Þat sete on hym 4 semly, wyth saylande skyrte3,

Þe ver by his uisage verayly hit semed

Wel ne3 to vche haþel alle on hwes,

Lowande & lufly, alle his ly m me3 vnder,

Þat a comloker kny3t neue r Kryst made,

Wheþen i n worlde he were,

Hit semed as he my3t

Be prynce w i t h -outen pere,

I n felde þ er felle me n fy3t.

1 eldee, MS. 2 clesly, MS. 3 hym (?). 4 MS. hyn.

A cheyer by-fore þe chemné, þ er charcole bre n ned,

Wat3 grayþed for s ir Gawan, grayþely w i t h cloþe3,

Whyssynes vpon queldepoynt es , þa[t] koy n t wer boþe;

& þe n ne a mere mantyle wat3 on þat mon cast,

Of a brou n bleeau n t, enbrauded ful ryche,

& fayre furred wyth-i n ne w i t h felle3 of þe best,

Alle of ermyn i n erde, his hode of þe same;

& he sete i n þat settel semlych ryche,

& achaufed hy m chefly, 1 & þe n ne his cher mended.

Sone wat3 telded vp a tapit, on treste3 ful fayre,

Clad wyth a clene cloþe, þat cler quyt schewed,

Sanap, & salure, & syluer-i n spone3;

Þe wy3e wesche at his wylle, & went to his mete

Segge3 hym serued semly i n -no3e,

Wyth sere sewes & sete, 2 sesou n de of þe best,

Double felde, as hit falle3, & fele kyn fische3;

Su m me baken i n bred, su m me brad on þe glede3,

Su m me soþen, su m me i n sewe, sau er ed w i t h spyces,

& ay sawes 3 so sle3e3, þat þe segge lyked.

Þe freke calde hit a fest ful frely & ofte,

Ful hendely, quen alle þe haþeles re-hayted hy m at one3

"Þis penau n ce now 3e take,

& eft hit schal amende;"

Þat mon much m er þe con make.

For wy n i n his hed þat wende.

1 MS. cefly. 2 swete (?). 3 sewes (?).

Þe n ne wat3 spyed & spured vpon spare wyse.

Bi preue poynte3 of þat prynce, put to hy m -seluen,

Þat he be-knew cortaysly of þe court þat he were,

Þat aþel Arthure þe hende halde3 hy m one,

Þat is þe ryche ryal ky n g of þe rou n de table;

& hit wat3 Wawen hy m -self þat i n þat won sytte3,

Comen to þat krystmasse, as case hy m þen lymped.

When þe lorde hade lerned þat he þe leude hade,

Loude la3ed he þ er at, so lef hit hy m þo3t,

& alle þe men i n þat mote maden much joye,

To apere i n his presense prestly þat tyme,

Þat alle prys, & prowes, & pured þewes

Apendes to hys persou n , & praysed is eu er ,

By-fore alle men vpon molde, his mensk is þe most.

Vch segge ful softly sayde to his fere,

"Now schal we semlych se sle3te3 of þewe3,

& þe teccheles termes of talky n g noble,

Wich spede is i n speche, vnspurd may we lerne,

Sy n we haf fonged þat fyne fader of nurture;

God hat3 geuen v us his g ra ce godly for soþe,

Þat such a gest as Gawan grau n te3 v us to haue,

When burne3 blyþe of his burþe schal sitte

& sy n ge.

I n meny n g of man er e3 mere,

Þis burne now schal v us bry n g,

I hope þat may hy m here,

Schal lerne of luf-talky n g."

Bi þat þe diner wat3 done, & þe dere vp,

Hit wat3 ne3 at þe niy3t ne3ed þe tyme;

Chaplayne3 1 to þe chapeles chosen þe gate,

Ru n gen ful rychely, ry3t as þay schulden,

To þe hersu m euensong of þe hy3e tyde.

Þe lorde loutes þerto, & þe lady als,

I n -to a comly closet coyntly ho entre3;

Gawan glyde3 ful gay, & gos þeder sone;

Þe lorde laches hy m by þe lappe, & lede3 hy m to sytte,

& couþly hy m knowe3, & calle3 hy m his nome,

& sayde he wat3 þe welcomest wy3e of þe worlde;

& he hy m þonkked þroly, & ayþ er halched oþer.

& seten soberly samen þe seruise-quyle;

Þe n ne lyst þe lady to loke on þe kny3t.

Þe n ne com ho of hir closet, w i t h mony cler burde3,

Ho wat3 þe fayrest i n felle, of flesche & of lyre,

& of compas, & colo ur , & costes of alle oþ er ,

& wener þen Wenore, as þe wy3e þo3t.

He ches þur3 þe chau n sel, to cheryche þat hende;

An oþer lady hir lad bi þe lyft honde,

Þat wat3 alder þen ho, an au n cian hit semed,

& he3ly honowred w i t h haþele3 aboute.

Bot yn-lyke on to loke þo ladyes were,

For if þe 3onge wat3 3ep, 3ol3e wat3 þ a t oþ er ;

Riche red on þat on rayled ay quere,

Rugh ronkled cheke3 þat oþ er on rolled;

Kerchofes of þat on wyth mony cler perle3

Hir brest & hir bry3t þrote bare displayed,

Schon schyrer þe n snawe, þat scheder 2 on hille3;

Þat oþ er wyth a gorger wat3 gered ou er þe swyre,

Chymbled ou er hir blake chyn w i t h mylk-quyte vayles,

Hir frou n t folden i n sylk, enfoubled ay quere,

Toret & treieted w i t h tryfle3 aboute,

Þat no3t wat3 bare of þat burde bot þe blake bro3es.

Þe tweyne y3en, & þe nase, þe naked lyppe3,

& þose were soure to se, & sellyly blered;

A mensk lady on molde mo n may hir calle,

Hir body wat3 schort & þik.

Hir buttoke3 bay & brode,

More lykker-wys on to lyk,

Wat3 þat scho hade on lode.

1 MS. [claplayne3.] 2 schedes (?).

When Gawayn gly3t on þ a t gay, þ a t g ra cio us ly loked,

Wyth leue la3t of þe lorde he went hem a3aynes;

Þe alder he haylses, heldande ful lowe,

Þe loueloker he lappe3 a lyttel i n arme3,

He kysses hir comlyly, & kny3tly he mele3;

Þay kallen hy m of a quoy n tau n ce, & he hit quyk aske3

To be her seruau n t sothly, if hem-self lyked.

Þay tan hy m bytwene hem, wyth talky n g hy m leden

To chambre, to chemné, & chefly þay asken

Spyce3, þat vn-sparely me n speded hom to bry n g,

& þe wy n ne-lych wyne þ er -w i t h vche tyme.

Þe lorde luflych aloft lepe3 ful ofte,

My n ned m er the to be made vpon mony syþe3.

Hent he3ly of his hode, & on a spere henged,

& wayned hom to wy n ne þe worchip þer-of,

Þat most myrþe my3t mene 1 þ a t crystenmas whyle;

"& i schal fonde, bi my fayth, to fylt er wyth þe best,

Er me wont þe wede3, w i t h help of my frende3."

Þ us wyth la3ande lote3 þe lorde hit tayt 2 make3,

For to glade s ir Gawayn w i t h gomne3 i n halle

þ a t ny3t;

Til þat hit wat3 tyme,

Þe ky n g comau n det ly3t,

S ir Gawen his leue con nyme,

& to his bed hy m di3t.

1 meue (?). 2 layt (?).

On þe morne, as vch mon myne3 þat tyme,

[Þ]at dry3tyn for oure destyné to de3e wat3 borne,

Wele waxe3 i n vche a won i n worlde, for his sake;

So did hit þere on þat day, þur3 dayntes mony;

Boþe at mes & at mele, messes ful quaynt

Derf men vpon dece drest of þe best.

Þe olde au n cian wyf he3est ho sytte3;

Þe lorde lufly her by lent, as I trowe;

Gawan & þe gay burde to-geder þay seten,

Euen i n -mydde3, as þe messe metely come;

& syþen þur3 al þe sale, as hem best semed,

Bi vche grome at his degre g ray þely wat3 serued.

Þ er wat3 mete, þer wat3 myrþe, þ er wat3 much ioye,

Þat for to telle þerof hit me tene were,

& to poynte hit 3et I pyned me p ar aue n ture;

Bot 3et I wot þat Wawen & þe wale burde

Such comfort of her compaynye ca3ten to-geder,

Þur3 her dere dalyau n ce of her derne worde3,

Wyth clene cortays carp, closed fro fylþe;

& hor play wat3 passande vche prynce gomen,

i n vayres;

Tru m pe3 & nakerys,

Much pypy n g þ er repayres,

Vche mo n tented hys,

& þay two te n ted þayres.

Much dut wat3 þer dryuen þat day & þat oþ er ,

& þe þryd as þro þronge i n þeraft er ;

Þe ioye of sayn Ione3 day wat3 gentyle to here,

& wat3 þe last of þe layk, leude3 þer þo3ten.

Þer wer gestes to go vpon þe gray morne,

For-þy wonderly þay woke, & þe wyn dronken,

Dau n sed ful dre3ly wyth dere carole3;

At þe last, when hit wat3 late, þay lachen her leue,

Vchon to wende on his way, þat wat3 wy3e stronge.

Gawan gef hy m god-day, þe god mo n hy m lachche3,

Ledes hy m to his awen chambre, þ[e] chy m né bysyde,

& þere he dra3e3 hy m on-dry3e, & derely hy m þonkke3,

Of þe wy n ne worschip & 1 he hy m wayned hade,

As to hono ur his ho us on þat hy3e tyde,

& enbelyse his bur3 w i t h his bele chere.

"I-wysse s ir , quyl I leue, me worþe3 þe better,

Þat Gawayn hat3 ben my gest, at Godde3 awen fest."

"G ra nt merci 2 s ir ," q uod Gawayn, "i n god fayth hit is yowre3,

Al þe hono ur is yo ur awen, þe he3e ky n g yow 3elde;

& I am wy3e at yo ur wylle, to worch yo ur e hest,

As I am halden þ er -to, i n hy3e & i n lo3e,

Þe lorde fast can hy m payne,

To holde lenger þe kny3t,

To hy m answre3 Gawayn,

Bi non way þat he my3t.

1 þat (?). 2 nerci, in MS.

Then frayned þe freke ful fayre at him-selue n ,

Quat derne 1 dede had hy m dryuen, at þat dere tyme,

So kenly fro þe ky n ge3 kourt to kayre al his one,

Er þe halidaye3 holly were halet out of tou n ?

"For soþe s ir ," q uod þe segge, "3e sayn bot þe trawþe

A he3e ernde & a hasty me hade fro þo wone3,

For I am su m ned my selfe to sech to a place,

I wot 2 i n worlde wheder warde to wende, hit to fynde;

I nolde, bot if I hit negh my3t on nw3eres morne,

For alle þe londe i n -wyth Logres, so me oure lorde help!

For-þy, s ir , þis enquest I require yow here,

Þat 3e me telle w i t h trawþe, if eu er 3e tale herde

Of þe grene chapel, quere hit on grou n de stonde3,

& of þe kny3t þat hit kepes, of colo ur of grene?

Þ er wat3 stabled bi statut a steuen v us by-twene,

To mete þat mon at þ a t mere, 3if I my3t last;

& of þat ilk nw3ere hot neked now wonte3,

& I wolde loke on þat lede, if God me let wolde,

Gladloker, bi Godde3 su n , þe n any god welde!

For-þi, I-wysse, bi 3owre wylle, wende me bi-houes,

Naf I now to busy bot bare þre daye3,

& me als fayn to falle feye as fayly of myy n ernde."

Þe n ne la3ande q uod þe lorde, "now leng þe by-houes,

For I schal teche yow to þa[t] terme bi þe tyme3 ende,

Þe grene chapayle vpon grou n de, greue yow no more;

Bot 3e schal be i n yowre bed, burne, at þy n ese,

Quyle forth dayej, & ferk on pe fyrst of pe 3ere,

& cum to þat merk at mydmorn, to make quat yow like3

in spe n ne;

Dowelle3 whyle new 3eres daye,

& rys, & rayke3 þe n ne,

Mo n schal yow sette i n waye,

Hit is not two myle he n ne."

1 derue (?). 2 not (?).

Þe n ne wat3 Gawan ful glad, & gomenly he la3ed,—

"Now I þonk yow þryuandely þur3 alle oþ er þy n ge,

Now acheued is my chau n ce, I schal at yo ur wylle

Dowelle, & elle3 do quat 3e demen."

Þe n ne sesed hy m þe syre, & set hy m bysyde,

Let þe ladie3 be fette, to lyke he m þe bett er ;

Þer wat3 seme solace by hem-self stille;

Þe lorde let for luf lote3 so myry,

As wy3 þat wolde of his wyte, ne wyst quat he my3t.

Þe n ne he carped to þe kny3t, criande loude,

"3e han demed to do þe dede þat I bidde;

Wyl 3e halde þis hes here at þys one3?"

"3e s ir , for-soþe," sayd þe segge trwe,

"Whyl I byde i n yowre bor3e, be bayn to 3ow[r]e hest."

"For 3e haf trauayled," q uod þe tulk, "towen fro ferre,

& syþen waked me wyth, 3e arn not wel waryst,

Nauþ er of sostnau n ce ne of slepe, soþly I knowe;

3e schal lenge i n yo ur lofte, & ly3e i n yo ur ese,

To morn quyle þe messe-quyle, & to mete wende,

When 3e wyl, wyth my wyf, þat wyth yow schal sitte,

& comfort yow w i t h compayny, til I to cort torne,

& I schal erly ryse,

On hu n ty n g wyl I wende."

Gauayn g ra nte3 alle þyse,

Hy m heldande, as þe hende.

"3et firre," q uod þe freke, "a forwarde we make;

Quat-so-euer I wy n ne i n þe wod, hit worþe3 to yo ur e3,

& quat chek so 3e acheue, chau n ge me þer-forne;

Swete, swap we so, sware w i t h trawþe,

Queþer, leude, so lymp lere oþ er bett er ."

"Bi God," q uod Gawayn þe gode, "I gra nt þ er -tylle,

& þat yow lyst forto layke, lef hit me þynk es .

"Who bri n ge3 v us þis beu er age, þis bargayn is maked:"

So sayde þe lorde of þat lede; þay la3ed vchone,

Þay dronken, & daylyeden, & dalten vnty3tel, 1

Þise lorde3 & ladye3, quyle þat hem lyked;

& syþen w i t h frenkysch fare & fele fayre lote3

Þay stoden, & stemed, & stylly speken,

Kysten ful comlyly, & ka3ten her leue.

W i t h mony leude ful ly3t, & lemande torches,

Vche burne to his bed wat3 bro3t at þe laste,

To bed 3et er þay 3ede,

Recorded couenau n te3 ofte;

Þe olde lorde of þat leude, 2

Cowþe wel halde layk a-lofte.

1 vntyl ny3te (?). 2 lede (?).

[FYTTE THE THIRD.]

Ful erly bifore þe day þe folk vp-rysen,

Gestes þat go wolde, hor grome3 þay calden,

& þay busken vp bilyue, blonkke3 to sadel,

Tyffen he[r] takles, trussen her males,

Richen hem þe rychest, to ryde alle arayde,

Lepen vp ly3tly, lachen her brydeles,

Vche wy3e on his way, þer hy m wel lyked.

Þe leue lorde of þe londe wat3 not þe last,

A-rayed for þe rydy n g, w i t h renkke3 ful mony;

Ete a sop hastyly, when he hade herde masse,

W i t h bugle to bent felde he buske3 by-lyue;

By þat þat any day-ly3t lemed vpon erþe,

He w i t h his haþeles on hy3e horsses weren.

Þe n ne þise cacheres þat couþe, cowpled hor hou n de3,

Vnclosed þe kenel dore, & calde hem þ er -oute,

Blwe bygly i n bugle3 þre bare mote;

Braches bayed þ er fore, & breme noyse maked,

& þay chastysed, & charred, on chasy n g þat went;

A hundreth of hunt er es, as I haf herde telle,

of þe best;

To trystors vewters 3od,

Couples huntes of kest,

Þ er ros for blaste3 gode,

Gret rurd i n þat forest.

At þe fyrst quethe of þe quest quaked þe wylde;

Der drof i n þe dale, doted for drede,

Hi3ed to þe hy3e, bot het er ly þay were

Restayed w i t h þe stablye, þat stoutly ascryed;

Þay let þe hertte3 haf þe gate, w i t h þe hy3e hedes,

Þe breme bukke3 also, w i t h hor brode paume3;

For þe fre lorde hade de-fende i n fermysou n tyme,

Þ a t þ er schulde no mon mene 1 to þe male dere.

Þe hinde3 were halden i n , w i t h hay & war,

Þe does dryuen w i t h gret dyn to þe depe slade3;

Þer my3t mon se, as þay slypte, slenty n g of arwes,

At vche [þat] wende vnder wande wapped a flone,

Þat bigly bote on þe brou n , w i t h ful brode hede3,

What! þay brayen, & bleden, bi bonkke3 þay de3en.

& ay rachches i n a res radly hem fol3es,

Hu n tere3 wyth hy3e horne hasted hem aft er ,

Wyth such a crakkande kry, as klyffes haden brusten;

What wylde so at-waped wy3es þat schotten,

Wat3 al to-raced & rent, at þe resayt.

Bi þay were tened at þe hy3e, & taysed to þe wattre3,

Þe lede3 were so lerned at þe lo3e trysteres,

& þe gre-hou n de3 so grete, þat geten hem bylyue,

& hem to fylched, as fast as freke3 my3t loke,

Þe lorde for blys abloy

Ful oft con lau n ce & ly3t,

& drof þat day wyth Ioy

Thus to þe derk ny3t.

1 meue (?).

Þ us layke3 þis lorde by lynde wode3 eue3,

& G. þe god mon, i n gay bed lyge3,

Lurkke3 quyl þe day-ly3t lemed on þe wowes,

Vnder couerto ur ful clere, cortyned aboute;

& as i n slom er y n g he slode, sle3ly he herde

A littel dyn at his dor, & derfly vpon;

& he heue3 vp his hed out of þe cloþes,

A corner of þe cortyn he ca3t vp a lyttel,

& wayte3 warly þider-warde, quat hit be my3t.

Hit wat3 þe ladi, loflyest to be-holde,

Þat dro3 þe dor aft er hir ful dernly 1 & stylle,

& bo3ed to-warde þe bed; & þe burne schamed.

& layde hy m dou n lystyly, & let as he slepte.

& ho stepped stilly. & stel to his bedde,

Kest vp þe cortyn, & creped w i t h -i n ne,

& set hir ful softly on þe bed-syde,

& lenged þere selly longe, to loke que n he wakened.

Þe lede lay lurked a ful longe quyle,

Compast i n his concience to quat þat cace my3t

Mene oþ er amou n t, to m er uayle hy m þo3t;

Bot 3et he sayde i n hy m -self, "more semly hit were

To aspye wyth my spelle [in] space quat ho wolde."

þen he wakenede, & wroth, & to hir warde torned,

& vn-louked his y3e-lydde3, & let as hy m wondered,

& sayned hy m , as bi his sa3e þe sau er to worthe,

w i t h hande;

Wyth chy n ne & cheke ful swete,

Boþe quit & red i n -blande,

Ful lufly con ho lete,

Wyth lyppe3 smal la3ande.

1 deruly (?).

"God morou n , s ir Gawayn," sayde þat fayr lady,

"3e ar a slep er vn-sly3e, þat mo n may slyde hider;

Now ar 3e tan astyt, bot t r ue v us may schape,

I schal bynde yow i n yo ur bedde, þat be 3e trayst:"

Al la3ande þe lady lanced þo bourde3.

"Goud morou n g[aye]," 1 q uod Gawayn þe blyþe,

"Me schal worþe at yo ur wille, & þat me wel lyke3,

For I 3elde me 3ederly, & 3e3e aft er g ra ce,

& þat is þe best, be my dome, for me by-houe3 nede;"

& þus he bourded a-3ayn w i t h mony a blyþe la3t er .

"Bot wolde 3e, lady louely, þe n leue me g ra nte,

& de-prece yo ur prysou n , & pray hy m to ryse,

I wolde bo3e of þis bed, & busk me bett er ,

I schulde keu er þe more comfort to karp yow wyth."

"Nay, for soþe, beau s ir ," sayd þat swete,

"3e schal not rise of yo ur bedde, I rych yow bett er ,

I schal happe yow here þat oþ er half als,

& syþen karp wyth my kny3t þat I ka3t haue;

For I wene wel, Iwysse, s ir Wawen 3e are,

Þat alle þe worlde worchipe3, quere-so 3e ride;

Yo ur hono ur , yo ur hendelayk is hendely praysed

W i t h lorde3, wyth ladyes, w i t h alle þat lyf bere.

& now 3e ar here, iwysse, & we bot oure one;

"My lorde & his lede3 ar on lenþe faren,

Oþ er burne3 i n her bedde, & my burde3 als,

Þe dor drawen, & dit w i t h a derf haspe;

& syþen I haue i n þis ho us hy m þat al lyke3,

I schal ware my whyle wel, quyl hit laste3,

w i t h tale;

3e ar welcu m to my cors,

Yowre awen won to wale,

Me be-houe3 of fyne force,

Yo ur seruau n t be & schale."

1 This word is illegible in the MS.

"In god fayth," q uod Gawayn, "gay n hit me þynkke3,

Þa3 I be not now he þat 3e of speken;

To reche to such reuerence as 3e reherce here

I am wy3e vn-worþy, I wot wel my-seluen;

Bi God, I were glad, & yow god þo3t,

At sa3e oþ er at seruyce þat I sette my3t

To þe plesau n ce of yo ur prys, hit were a pure ioye."

"In god fayth, s ir Gawayn," q uod þe gay lady,

"Þe prys & þe prowes þat plese3 al oþ er ,

If I hit lakked, oþ er set at ly3t, hit were littel daynté;

Bot hit ar ladyes i n -no3e, þat leu er wer nowþe

Haf þe hende i n hor holde, as I þe habbe here,

To daly w i t t derely yo ur daynté worde3,

Keu er hem comfort, & colen her care3,

Þe n much of þe garysour n oþ er golde þat 1 þay hauen;

Bot I louue 2 þat ilk lorde þ a t þe lyfte halde3,

I haf hit holly i n my honde þ a t al desyres,

þur3e grace."

Scho made hy m so gret chere,

Þat wat3 so fayr of face,

Þe kny3t w i t h speches skere,

A[n]swared to vche a cace.

1 MS. þat þ a t. 2 louie or loune (?).

"Madame," q uod þe myry mon, "Mary yow 3elde,

For I haf fou n den, i n god fayth, yowre frau n chis nobele,

& oþ er ful much of oþ er folk fongen hor dede3;

Bot þe daynté þ a t þay delen for my disert nysen,

Hit is þe worchyp of yo ur -self, þ a t no3t hot wel co n ne3."

"Bi Mary," q uod þe menskful, "me þynk hit anoþ er ;

For were I worth al þe wone of wy m men alyue,

& al þe wele of þe worlde were i n my honde,

& I schulde chepen & chose, to cheue me a lorde,

For þe costes þat I haf knowen vpun þe kny3t here,

Of bewté, & debonerté, & blyþe semblau n t,

& þat I haf er herkkened, & halde hit here trwee,

Þ er schulde no freke vpon folde bifore yow be chosen."

"I-wysse, worþy," q uod þe wy3e, "3e haf waled wel bett er ,

Bot I am proude of þe prys þat 3e put on me,

& soberly yo ur seruau n t my sou er ayn I holde yow,

& yowre kny3t I be-com, & Kryst yow for-3elde."

Þ us þay meled of much-quat, til myd-morn paste,

& ay þe lady let lyk, a 1 hy m loued mych;

Þe freke ferde w i t h defence, & feted ful fayre.

Þa3 I were burde bry3test, þe burde i n mynde hade,

Þe lasse luf i n his lode, for lur þat he so3t,

boute hone;

Þe dunte þat schulde 2 hy m deue,

& nede3 hit most be done;

Þe lady þe n n spek of leue.

He g ra nted hir ful sone.

1 and (?) 2 sclulde, in MS.

Þe n ne ho gef hy m god-day, & wyth a glent la3ed.

& as ho stod, ho stonyed hy m wyth ful stor worde3:

"Now he þat spede3 vche spech, þis disport 3elde yow!

Bot þat 3e be Gawan, hit got3 i n my n de."

"Quer-fore?" q uod þe freke, & freschly he aske3,

Ferde lest he hade fayled i n fo ur me of his castes;

Bot þe burde hy m blessed, & bi þis skyl sayde,

"So god as Gawayn gaynly is halden,

& cortaysye is closed so clene i n hy m -seluen,

Couth not ly3tly haf lenged so long wyth a lady,

Bot he had craued a cosse, bi his co ur taysye,

Bi su m towch of su m me tryfle, at su m tale3 ende."

Þe n q uod Wowen, "I-wysse, worþe as yow lyke3,

I schal kysse at yo ur comau n dement, as a kny3t falle3,

& fire 1 lest he displese yow, so 2 plede hit no more."

Ho comes nerre w i t h þat, & cache3 hy m i n arme3,

Loute3 luflych adou n , & þe leude kysse3;

Þay comly byke n nen to Kryst ayþ er oþ er ;

Ho dos hir forth at þe dore, w i t h -outen dyn more.

& he ryches hy m to ryse, & rapes hy m sone,

Clepes to his chamberlayn, choses his wede,

Bo3e3 forth, quen he wat3 bou n , blyþely to masse,

& þe n ne he meued to his mete, þ a t me n skly hy m keped,

& made myry al day til þe mone rysed,

w i t h game;

W i t h 3 neu er freke fayrer fonge,

Bitwene two so dy n gne dame,

Þe alder & þe 3onge,

Much solace set þay same.

1 fere (?). 2 fo, in MS. 3 Was (?) Nas (?).

And ay þe lorde of þe londe is lent on his gamne3,

To hu n t i n holte3 & heþe, at hynde3 barayne,

Such a sowme he þ er slowe bi þat þe su n ne heldet,

Of dos & of oþ er dere, to deme were wonder.

Þe n ne fersly þay flokked i n folk at þe laste,

& quykly of þe quelled dere a querré þay maked;

Þe best bo3ed þerto, w i t h burne3 i n -nogh e ,

Gedered þe grattest of gres þat þer were,

& didden hem derely vndo, as þe dede aske3;

Serched hem at þe asay, su m me þat þ er were,

Two fy n geres þay fonde of þe fowlest of alle;

Syþe n þay slyt þe slot, sesed þe erber,

Schaued wyth a scharp knyf, & þe schyre knitten;

Syþen rytte þay þe foure ly m mes, & rent of þe hyde,

Þe n brek þay þe bale, þe bale3 out token,

Lystily forlancy n g, & bere of þe knot;

Þay gryped to þe gargulu n , & g ra yþely departed

Þe wesau n t fro þe wynt-hole, & walt out þe gutte3;

Þe n scher þay out þe schuldere3 w i t h her scharp knyue3,

Haled hem by a lyttel hole, to haue hole sydes;

Siþen britned þay þe brest, & brayden hit i n twy n ne,

& eft at þe gargulu n bigyne3 on þe n ne,

Ryue3 hit vp radly, ry3t to þe by3t,

Voyde3 out þe a-vanters, & v er ayly þ er aft er

Alle þe ryme3 by þe rybbe3 radly þay lance;

So ryde þay of by resou n bi þe rygge bone3,

Euenden to þe haunche, þat henged alle samen,

& heuen hit vp al hole, & hwen hit of þere,

& þat þayneme for þe nou m bles, bi nome as I trowe,

Bi þe by3t al of þe þy3es,

Þe lappe3 þay lance bi-hynde,

To hewe hit i n two þay hy3es,

Bi þe bak-bon to vnbynde.

Boþe þe hede & þe hals þay hwen of þe n ne,

& syþen sunder þay þe syde3 swyft fro þe chyne,

& þe corbeles fee þay kest i n a greue; 1

Þe n n þurled þay ayþer þik side þur3, bi þe rybbe,

& henged þe n ne a[y]þ er bi ho3es of þe fourche3,

Vche freke for his fee, as falle3 forto haue.

Vpon a felle of þe fayre best, fede þay þayr hou n des,

Wyth þe lyu er & þe ly3te3, þe leþer of þe paunche3,

& bred baþed i n blod, blende þer amo n ge3;

Baldely þay blw prys, bayed þayr rachche3,

Syþen fonge þay her flesche folden to home,

Strakande ful stoutly mony stif mote3.

Bi þat þe dayly3t wat3 done, þe douthe wat3 al wonen

I n -to þe comly castel, þer þe kny3t bide3

ful stille;

Wyth blys & bry3t fyr bette,

Þe lord is comen þ er -tylle,

When Gawayn wyth hy m mette,

Þer wat3 bot wele at wylle.

1 grene (?).

The n ne comau n ded þe lorde i n þ a t sale to samen alle þe meny,

Boþe þe ladyes on logh e to ly3t w i t h her burdes,

Bi-fore alle þe folk on þe flette, freke3 he bedde3

V er ayly his venysou n to fech hy m byforne;

& al godly i n gomen Gaway[n] he called,

Teche3 hy m to þe tayles of ful tayt bestes,

Schewe3 hy m þe schyree grece schorne vpon rybbes.

"How paye3 yow þis play? haf I prys wo n nen?

Haue I þryuandely þonk þur3 my craft serued?"

"3e I-wysse," q uod þat oþ er wy3e, "here is wayth fayrest

Þat I se3 þis seuen 3ere i n sesou n of wynt er ."

"& al I gif yow, Gawayn," q uod þe gome þe n ne,

"For by a-corde of couenau n t 3e craue hit as yo ur awen."

"Þis is soth," q uod þe segge, "I say yow þatilke,

& 1 I haf worthyly þis wone3 wyth-i n ne,

I-wysse w i t h as god wylle hit worþe3 to 3o ur e3."

He hasppe3 his fayre hals his arme3 wyth-i n ne,

& kysses hy m as comlyly as he 2 couþe awyse:

"Tas yow þere my cheuicau n ce, I cheued no more,

I wowche hit saf fynly, þa3 feler hit were."

"Hit is god," q uod þe god mon, "g ra nt m er cy þ er fore,

Hit may be such, hit is þe bett er , & 1 3e me breue wolde

Where 3e wan þis ilk wele, biwytte of hor 3 seluen?"

"Þat wat3 not forward," q uod he, "frayst me no more,

For 3e haftan þat yow tyde3, trawe3e non oþ er

Þay la3ed, & made hem blyþe,

Wyth lote3 þat were to lowe,

To soper þay 3ede asswyþe,

Wyth dayntes nwe i n -nowe.

1 And = an. 2 ho, in MS. 3 your (?).

And syþen by þe chymné i n chamber þay seten.

Wy3e3 þe walle wyn we3ed to hem oft,

& efte i n her bourdy n g þay bayþen i n þe morn,

To fylle þe same forwarde3 þat þay by-fore maden,

Þat chau n ce so bytyde3 hor cheuysau n ce to chau n ge,

What nwe3 so þay nome, at na3t quen þay mette n

Þay acorded of þe couenau n te3 byfore þe co ur t alle;

Þe beuerage wat3 bro3t forth i n bourde at þat tyme;

Þe n ne þay louelych le3ten leue at þe last,

Vche burne to his bedde busked bylyue.

Bi þat þe coke hade crowe3 1 & cakled bot þryse,

Þe lorde wat3 lopen of his bedde, [&] þe leude3 vch one,

So þat þe mete & þe masse wat3 metely delyu er ed;

Þe douthe dressed to þe wod, er any day sprenged,

He3 w i t h hu n te & horne3,

Þur3 playne3 þay passe i n space,

Vn-coupled amo n g þo þorne3,

Rache3 þat ran on race.

1 crowed (?).

Sone þay calle of a quest i n aker syde,

Þe hu n t re-hayted þe hou n de3, þat hit fyrst my n ged,

Wylde worde3 hy m warp wyth a wrast noyce;

Þe hownde3 þat hit herde, hastid þider swyþe,

& fellen as fast to þe fuyt, fourty at ones;

Þe n ne such a glau er ande glam of gedered rachche3

Ros, þat þe rochere3 ru n gen aboute;

Hu n tere3 hem hardened w i t h horne & wyth muthe.

Þe n al i n a semblé sweyed to-geder,

Bitwene a flosche i n þat fryth, & a foo cragge;

In a knot, bi a clyffe, at þe kerre syde,

Þ er as þe rogh rocher vn-rydely wat3 fallen,

[Þay] ferden to þe fyndy n g, & freke3 hem aft er ;

Þay vmbe-kesten þe knarre & þe knot boþe.

Wy3e3, whyl þay wysten wel wyt i n ne he m hit were,

Þe best þat þer breued wat3 wyth þe blod hou n de3.

Þe n ne þay beten on þe buske3, & bede hy m vp ryse,

& he vnsou n dyly out so3t segge3 ou er -þwert,

On þe sellokest swyn swenged out þere,

Long sythen for 1 þe sou n der þat wi3t for-olde,

For he wat3 b[este &] bor alþer grattest,

[And eue]re quen he gronyed, þe n ne greued mony,

For [þre a]t þe fyrst þrast he þry3t to þe erþe,

& [sped hym] forth good sped, boute spyt more,

[Ande þay] halowed hygh e ful hy3e & hay! hay! cryed

Haden horne3 to mouþe heterly rechated;

Mony wat3 þe myry mouthe of men & of hou n de3,

Þat buskke3 aft er þis bor, w i t h bost & wyth noyse,

Ful oft he byde3 þe baye,

& mayme3 þe mute I n n-melle,

He hurte3 of þe hou n de3, & þay

Ful 3omerly 3aule & 3elle.

Schalke3 to schote at hy m schowen to þe n ne,

Haled to hym of her arewe3, hitten hym oft;

Bot þe poy n te3 payred at þe pyth þ a t py3t i n his schelde3,

& þe barbe3 of his browe bite non wolde,

Þa3 þe schauen schaft schyndered i n pece3,

Þe hede hypped a3ayn, were-so-eu er hit hitte;

Bot quon þe dynte3 hy m dered of her dry3e stroke3,

Þen, brayn-wod for bate, on burne3 he rase3,

Hurte3 hem ful heterly þer he forth hy3e3,

& mony ar3ed þerat, & on-lyte dro3en.

Bot þe lorde on a ly3t horce lau n ces hym aft er ,

As burne bolde vpon bent his bugle he blowe3,

He rechated, & r[ode] 1 þur3 rone3 ful þyk,

Suande þis wy[ld]e swyn til þe su n ne schafted.

Þis day wyth þis ilk dede þay dryuen on þis wyse,

Whyle oure luflych lede lys i n his bedde,

Gawayn g ra yþely at home, i n gere3 ful ryche

Þe lady no3t for3ate,

Com to hy m to salue,

Ful erly ho wat3 hy m ate,

His mode forto remwe.

1 The MS. is here almost illegible.

Ho co m mes to þe cortyn, & at þe kny3t totes,

S ir Wawen her welcu m ed worþy on fyrst,

& ho hy m 3elde3 a3ayn, ful 3erne of hir worde3,

Sette3 hir sof[t]ly by his syde, & swyþely ho la3e3,

& wyth a luflych loke ho layde 1 hy m þyse worde3:

"S ir , 3if 3e be Wawen, wonder me þynkke3,

Wy3e þat is so wel wrast alway to god,

& conne3 not of compaynye þe coste3 vnder-take,

& if mon ke n nes yow hom to knowe, 3e kest hom of yo ur my n de;

Þou hat3 for-3eten 3ederly þat 3ist er day I ta3tte

alder-truest token of talk þat I cowþe."

"What is þat?" q uod þe wygh e , "I-wysse I wot neu er ,

If hit be sothe þat 3e breue, þe blame is my n awen."

"3et I kende yow of kyssy n g," q uod þe clere þe n ne,

"Quere-so cou n tenau n ce is couþe, quikly to clayme,

Þat bicu m es vche a kny3t, þat cortaysy vses."

"Do way," q uod þat derf mon, "my dere, þat speche,

For þat durst I not do, lest I denayed were,

If I were werned, I were wrang I-wysse, 3if I p ro fered."

"Ma fay," q uod þe mere wyf, "3e may not be werned,

3e ar stif i n -nogh e to constrayne wyth strenkþe, 3if yow lyke3,

3if any were so vilano us þat yow denaye 2 wolde."

"3e, be God," q uod Gawayn, "good is yo ur speche,

Bot þrete is vn-þryuande i n þede þ er I lende,

& vche gift þat is geuen not w i t h goud wylle;

I am at yo ur comaundeme n t, to kysse quen yow lyke3,

3e may lach quen yow lyst, & leue quen yow þynkke3,

Þe lady loute3 a-dou n ,

& comlyly kysses his face,

Much speche þay þ er expou n ,

Of druryes greme & g ra ce.

1 sayde (?). 2 de vaye, in MS.

"I woled 1 wyt at yow, wy3e," þat worþy þer sayde,

"& yow wrathed not þer-wyth, what were þe skylle,

Þat so 3ong & so 3epe, as 3e [ar] at þis tyme,

So cortayse, so kny3tyly, as 3e ar knowen oute,

& of alle cheualry to chose, þe chef þy n g a-losed,

Is 2 þe lel layk of luf, þe lettrure of armes;

F[or] to telle of þis tenely n g of þis trwe kny3te3,

Hit is þe tytelet, token, & tyxt of her werkke3,

How le[des] for her lele luf hor lyue3 han au n tered,

Endured for her drury dulful stou n de3,

& aft er wenged w i t h her walo ur & voyded her care,

& bro3t blysse i n -to boure, w i t h bou n tees hor awen.

& 3e ar kny3t com-lokest kyd of yo ur elde,

Yo ur worde & yo ur worchip walke3 ay quere,

& I haf seten by yo ur -self here sere twyes,

3et herde I neu er of yo ur hed helde no worde3

Þat eu er longed to luf, lasse ne more;

& 3e, þat ar so cortays & coy n t of yo ur hetes,

Ogh e to a 3onke þy n k 3ern to schewe,

& teche su m tokene3 of trweluf craftes.

Why ar 3e lewed, þat alle þe los welde3,

Oþ er elles 3e demen me to dille, yo ur dalyau n ce to herken?

for schame!

I com hider sengel, & sitte,

To lerne at yow su m game,

Dos, teche3 me of yo ur wytte,

Whil my lorde is fro hame."

1 wolde (?). 2 In (?).

"In goud fayþe," q uod Gawayn, "God yow for3elde,

Gret is þe gode gle, & gomen to me huge,

Þat so worþy as 3e wolde wy n ne hidere,

& pyne yow w i t h so pou er a mon, as play wyth yo ur kny3t,

With any sky n ne3 cou n tenau n ce, hit keu er e3 me ese;

Bot to take þe toruayle 1 to my-self, to trwluf expou n ,

& towche þe teme3 of tyxt, & tale3 of arme3,

To yow þat, I wot wel, welde3 more sly3t

Of þat art, bi þe half, or a hu n dreth of seche

As I am, oþ er eu er schal, i n erde þer I leue,

Hit were a fole fele-folde, my fre, by my trawþe.

I wolde yowre wylny n g worche at my my3t,

As I am hy3ly bihalden, & eu er -more wylle

Be seruau n t to yo ur -seluen, so saue me dry3tyn!"

Þ us hy m frayned þat fre, & fondet hy m ofte,

Forto haf wo n nen hy m to wo3e, what-so scho þo3t elle3,

Bot he de fended hy m so fayr, þat no faut semed,

Ne non euel on nawþ er halue, nawþ er þay wysten,

bot blysse;

Þay la3ed & layked longe,

At þe last scho con hy m kysse,

Hir leue fayre con scho fonge,

& went hir waye Iwysse.

1 tornayle (?).

Then ruþes hy m þe renk, & ryses to þe masse,

& siþen hor din er wat3 dy3t & derely serued.

Þe lede w i t h þe ladye3 layked alle day,

Bot þe lorde ou er þe londe3 lau n ced ful ofte,

Swe3 his vncely swyn, þat swy n ge3 bi þe bonkke3,

& bote þe best of his brache3 þe bakke3 i n su n der;

Þer he bode i n his bay, tel 1 bawe-men hit breken,

& made 2 hym, maw-gref his bed, forto mwe vtt er ;

So felle flone3 per flete, when þe folk gedered;

Bot 3et þe styffest to start bi stou n de3 he made,

Til at þe last he wat3 so mat, he my3t no more re n ne,

Bot i n þe hast þat he my3t, he to a hole wy n ne3,

Of a rasse, bi a rokk, þ er re n ne3 þe boerne,

He gete þe bonk at his bak, bigy n e3 to scrape,

Þe froþe femed 3 at his mouth vnfayre bi þe wyke3,

Whette3 his whyte tusche3; w i t h hy m þe n irked

Alle þe burne3 so bolde, þat hy m by stoden,

To nye hy m on-ferum, bot ne3e hy m non durst

He hade hurt so mony byforne,

Þat al þu3t 4 þe n ne ful loþe,

Be more wyth his tusche3 torne,

Þat breme wat3 [&] bray n -wod both e .

1 til (?). 2 madee, in MS. 3 fomed (?). 4 þo3t (?).

Til þe kny3t com hy m -self, kachande his blonk,

Sy3 hy m byde at þe bay, his burne3 bysyde,

He ly3t es luflych 1 adou n , leue3 his corso ur ,

Brayde3 out a bry3t bront, & bigly forth stryde3,

Fou n de3 fast þur3 þe forth, þer þe felle byde3,

Þe wylde wat3 war of þe wy3e w i t h weppen i n honde,

Hef hy3ly þe here, so hett er ly he fnast,

Þat fele ferde for þe freke3, 2 lest felle hy m þe worre;

Þe swyn sette3 hy m out on þe segge euen,

Þat þe burne & þe bor were boþe vpon hepe3,

In þe wy3t-est of þe wat er , þe worre hade þat oþ er ;

For þe mon merkke3 hy m wel, as þay mette fyrst,

Set sadly þe scharp i n þe slot euen,

Hit hy m vp to þe hult, þat þe hert schyndered,

& he 3arrande hy m 3elde, & 3edou n 3 þe wat er ,

A hu n dreth hou n de3 hy m hent,

Þat bremely con hy m bite,

Burne3 hi m bro3t to bent,

& dogge3 to dethe endite.

1 MS. luslych. 2 freke (?). 3 3ede doun (?).

There wat3 blawy n g of prys i n mony breme home,

He3e halowi n g on hi3e, w i t h haþele3 þat my3t;

Brachetes bayed þat best, as bidden þe mayst er e3,

Of þat chargeau n t chace þat were chef hu n tes.

Þe n ne a wy3e þat wat3 wys vpon wod crafte3,

To vnlace þis bor lufly bigy n ne3;

Fyrst he hewes of his hed, & on hi3e sette3,

& syþen rende3 him al rogh e bi þe rygge after,

Brayde3 out þe boweles, bre n ne3 ho m on glede,

With bred blent þer-w i t h his braches rewarde3;

Syþen he britne3 out þe brawen i n bry3t brode [s]chelde3,

& hat3 out þe hastlette3, as hi3tly biseme3;

& 3et hem halche3 al hole þe halue3 to-geder,

& syþen on a stif stange stoutly hem henges.

Now with þis ilk swyn þay swengen to home;

Þe bores hed wat3 borne bifore þe burnes seluen,

Þat hi m for-ferde i n þe forþe, þur3 forse of his honde,

so stronge;

Til he se3 s ir Gawayne,

I n halle hy m þo3t ful longe,

He calde, & he com gayn,

His fee3 þ er for to fonge.

Þe lorde ful lowde w i t h lote, & la3ed myry,

Whe n he se3e s ir G: w i t h solace he speke3;

Þe goude ladye3 were geten, & gedered þe meyny,

He schewe3 hem þe schelde3, & schapes hem þe tale,

Of þe largesse, & þe lenþe, þe liþ er ne3 alse,

Of þe were of þe wylde swyn, i n wod þer he fled.

Þat oþ er kny3t ful comly comended his dede3,

& praysed hit as gret prys, þat he proued hade;

For suche a brawne of a best, þe bolde burne sayde,

Ne such sydes of a swyn, segh he neu er are.

Þe n ne hondeled þay þe hoge hed, þe hende mo n hit praysed,

& let lodly þerat þe lorde forte here:

"Now Gawayn," q uod þe god mon, "þis gomen is yo ur awen,

Bi fyn for-warde & faste, faythely 3e knowe."

"Hit is sothe," q uod þe segge, "& as siker trwe;

Alle my get I schal yow gif agayn, bi my trawþe."

He [hent] þe haþel aboute þe halse, & hendely hy m kysses,

& eft er -sones of þe same he serued hy m þere.

"Now ar we euen," q uod þe haþel, "in þis euen-tide,

Of alle þe couenau n tes þat we knyt, syþen I com hider,

Þe lorde sayde, "bi saynt Gile,

3e ar þe best þat I knowe,

3e ben ryche i n a whyle,

Such chaffer & 3e drowe."

Þe n ne þay teldet table3 [on] trestes alofte,

Kesten cloþe3 vpon, clere ly3t þe n ne

Wakned bi wo3e3, waxen torches

Segge3 sette, & serued i n sale al aboute;

Much glam & gle glent vp þ er -i n ne,

Aboute þe fyre vpon flet, & on fele wyse,

At þe soper & aft er , mony aþel songe3,

As cou n dutes of kryst-masse, & carole3 newe,

With alle þe man er ly m er þe þ a t mon may of telle.

& eu er oure luflych kny3t þe lady bi-syde;

Such semblau n t to þat segge semly ho made,

Wyth stille stollen cou n tenau n ce, þat stalworth to plese,

Þat al for-wondered wat3 þe wy3e, & wroth w i t h hy m -seluen,

Bot he nolde not for his nurture nurne hir a-3ayne3,

Bot dalt w i t h hir al i n daynte, how-se-eu er þe dede turned

Quen þay hade played i n halle,

As longe as hor wylle hom last,

To chambre he 1 con hy m calle,

& to þe chem-ne þay past.

Ande þer þay dronken, & dalten, & demed eft nwe,

To norne on þe same note, on nwe3ere3 euen;

Bot þe kny3t craued leue, to kayre on þe morn,

For hit wat3 ne3 at þe terme, þat he to 1 schulde.

Þe lorde hy m letted of þat, to lenge hy m resteyed,

& sayde, "as I am trwe segge, I siker my trawþe,

Þ o u schal cheue to þe grene chapel, þy charres to make,

Leude, on nw3ere3 ly3t, longe bifore pryme:

For-þy þow lye i n þy loft, & lach þyn ese,

& I schal hu n t in þis holt, & halde þe towche3,

Chau n ge wyth þe cheuisau n ce, bi þat I charre hider;

For I haf fraysted þe twys, & faythful I fynde þe,

Now þrid tyme þrowe best þenk on þe morne,

Make we mery quyl we may, & my n ne vpon Ioye,

For þe lur may mon lach, when so mon lyke3."

Þis wat3 grayþely grau n ted, & Gawayn is lenged,

Bliþe bro3t wat3 hym drynk, & þay to bedde 3eden,

w i t h li3t;

S ir G: lis & slepes,

Ful stille & softe al ni3t;

Þe lorde þat his crafte3 kepes,

Ful erly he wat3 di3t.

Aft er messe a morsel 1 he & his men token,

Miry wat3 þe morny n g, his mou n ture he askes;

Alle þe haþeles þat on horse schulde helden hy m aft er ,

Were bou n busked on hor blonkke3, bi-fore 2 þe halle 3ate3;

Ferly fayre wat3 þe folde, for þe forst clenged,

I n rede rudede vpon rak rises þe su n ne,

& ful clere coste3 3 þe clowdes of þe welkyn.

Hu n teres vnhardeled bi a holt syde,

Rocheres rou n gen bi rys, for rurde of her hornes;

Su m me fel i n þe fute, þer þe fox bade,

Trayle3 ofte a trayt er es 4 , bi trau n t of her wyles;

A kenet kryes þerof, þe hu n t on hy m calles,

His fela3es fallen hy m to, þ a t fnasted ful þike,

Ru n nen forth i n a rabel, i n his ry3t fare;

& he fyske3 hem by-fore, þay fou n den hy m sone,

& quen þay segh e hy m wit h sy3t, þay sued hy m fast,

Wre3ande h[y m ] ful [w]eterly with a wroth noyse;

& he trantes & tornayee3 þur3 mony tene greue;

Hamlou n e3, & herkene3, bi hegge3 ful ofte;

At þe last bi a littel dich he lepe3 ou er a spe n né,

Stele3 out ful stilly bi a strothe rande,

Went haf wylt of þe wode, w i t h wyle3 fro þe hou n des,

Þe n ne wat3 he went, er he wyst, to 5 a wale tryst er ,

Þer þre þro at a þrich þrat hy m at ones,

He blenched a3ayn bilyue,

& stifly start onstray,

With alle þe wo on lyue,

To þe wod he went away.

1 MS. nnorsel. 2 bi-forere, in MS. 3 caste3 (?). 4 trayveres (?). 5 to to, in MS.

The n ne wat3 hit lif vpon list to lyþen þe hou n de3,

When alle þe mute hade hy m met, menged to-geder,

Suche a sor3e at þat sy3t þay sette on his hede,

As alle þe clamberande clyffes hade clat er ed on hepes;

Here he wat3 halawed, when haþele3 hy m metten,

Loude he wat3 3ayned, w i t h 3arande speche;

Þer he wat3 þreted, & ofte þef called,

& ay þe titleres at his tayl, þat tary he ne my3t;

Ofte he wat3 ru n nen at, when he out rayked,

& ofte reled i n a3ayn, so reniarde wat3 wylé.

& 3e he lad hem bi lag, mon, þe lorde & his meyny;

On þis man er bi þe mou n tes, quyle myd, ou er , vnder,

Whyle þe hende kny3t at home holsu m ly slepe3,

With-i n ne þe comly corty n es, on þe colde morne.

Bot þe lady for luf let not to slepe,

Ne þe purpose to payre, þat py3t i n hir hert,

Bot ros hir vp radly, rayked hir þeder,

In a mery mantyle, mete to þe erþe,

Þat wat3 furred ful fyne w i t h felle3, wel pured,

No hwe3 goud on hir hede, bot þe ha3er stones

Trased aboute hir tresso ur , be twenty i n clust er es;

Hir þryuen face & hir þrote þrowen al naked,

Hir brest bare bifore, & bihinde eke.

Ho come3 w i t h -i n ne þe chambre dore, & closes hit hir aft er ,

Wayne3 1 vp a wyndow, & on þe wy3e calle3,

& radly þ us re-hayted hy m , w i t h hir riche worde3,

w i t h 2 chere;

"A! mon, how may þ o u slepe,

Þis morni n g is so clere?"

He wat3 i n drowpi n g depe,

Bot þe n ne he con hir here.

1 wayue3(?). 2 bi, à sec. manu.

In dre3 droupy n g of dreme draueled þat noble,

As mon þat wat3 in morny n g of mony þro þo3tes,

How þat destiné schulde þat day [dy3t] his wyrde,

At þe grene chapel, when he þe gome metes,

& bi-houes his buffet abide, with-oute debate more;

Bot quen þat comly he keu er ed his wyttes,

Swenges out of þe sweuenes, & sware3 w i t h hast.

Þe lady luflych com la3ande swete,

Felle ou er his fayre face, & fetly hi m kyssed;

He welcu m e3 hir worþily, with a wale chere;

He se3 hir so glorio us , & gayly atyred,

So fautles of hir fetures, & of so fyne hewes,

Wi3t wallande Ioye warmed his hert;

W i t h smoþe smyly n g & smolt þay smeten i n -to m er þe,

Þat al wat3 blis & bonchef, þat breke hem bi-twene,

& wy n ne,

Þay lanced wordes gode,

Much wele þe n wat3 þ er -i n ne,

Gret p er ile bi-twene hem stod,

Nif mare of hir kny3t my n ne.

For þat prynce of pris de-presed hy m so þikke.

Nurned hy m so ne3e þe þred, þat nede hy m bi-houed,

Oþ er lach þer hir luf, oþ er lodly re-fuse;

He cared for his cortaysye, lest craþayn he were,

& more for his meschef, 3if he schulde make sy n ne,

& be traytor to þat tolke, þat þ a t telde a3t.

"God schylde," q uod þe schalk, "þat schal not be-falle!"

W i t h luf-la3y ng a lyt, he layd hy m by-syde

Alle þe speche3 of specialté þat sprange of her mouthe.

Q uod þat burde to þe burne, "blame 3e disserue,

3if 3e luf not þat lyf þat 3e lye nexte,

Bifore alle þe wy3e3 i n þe worlde, wou n ded i n hert,

Bot if 3e haf a le m man, a leu er , þat yow lyke3 bett er ,

& folden fayth to þat fre, festned so harde,

Þat yow lausen ne lyst, & þat I leue nouþe;

And þat 3e telle me þat, now trwly I pray yow,

For alle þe lufe3 vpon lyue, layne not þe soþe,

Þe kny3t sayde, "be sayn Ion,"

& smeþely con he smyle,

"In fayth I welde ri3t non,

Ne non wil welde þe quile."

"Þat is a worde," q uod þat wy3t, "þat worst is of alle,

Bot I am swared for soþe, þat sore me þinkke3;

Kysse me now coraly, & I schal cach heþen,

I may bot mo ur ne vpon molde, as may þat much louyes."

Sykande ho swe3e dou n , & semly hy m kyssed,

& siþen ho seu e res hy m fro, & says as ho stondes,

"Now, dere, at þis de-party n g, do me þis ese,

Gif me sumquat of þy gifte, þi gloue if 1 hit were,

Þat I may my n ne on þe mon, my mo ur ny n g to lassen."

"Now Iwysse," q uod þat wy3e, "I wolde I hade here

Þe leuest þi n g for þy luf, þat I in londe welde,

For 3e haf deserued, forsoþe, sellyly ofte

More rewarde bi resou n , þe n I reche my3t,

Bot to dele yow for drurye, þ a t dawed bot neked;

Hit is not yo ur hono ur to haf at þis tyme

A gloue for a garysou n , of Gawayne3 gifte3,

& I am here [on] an erande i n erde3 vncouþe,

& haue no me n wyth no male3, w i t h menskful þi n ge3;

Þat mislyke3 me, ladé, for luf at þis tyme, 2

Iche tolke mon do as he is tan, tas to non ille,

"Nay, hende of hy3e hono ur s,"

Q uod þat lufsu m vnder lyne,

"Þa3 I hade o3t 3 of yo ur e3,

3et schulde 3e haue of myne."

1 of, in MS. 2 tyne, in MS. 3 no3t (?).

Ho ra3t hy m a riche rynk 1 of red golde werke3,

Wyth a starande ston, stondande alofte,

Þat bere blusschande beme3 as þe bry3t su n ne;

Wyt 3e wel, hit wat3 worth wele ful hoge.

Bot þe renk hit renayed, & redyly he sayde,

"I wil no gifte3 for gode, my gay, at þis tyme;

I haf none yow to norne, ne no3t wyl I take."

Ho bede hit hy m ful bysily, & he hir bode wernes,

& swere swyftel[y] his sothe, þat he hit sese nolde;

& ho sore þat he forsoke, & sayde þ er -after,

"If 3e renay my rynk, to ryche for hit seme3,

3e wolde not so hy3ly halden be to me,

I schal gif yow my girdel, þat gaynes yow lasse."

Ho la3t a lace ly3tly, þat 2 leke vmbe hir syde3,

Knit vpon hir kyrtel, vnder þe clere mantyle,

Gered hit wat3 w i t h grene sylke, & w i t h golde schaped,

No3t bot arou n de brayden, beten w i t h fyngre3;

& þat ho bede to þe burne, & blyþely bi-so3t

Þa3 hit vn-worþi were, þat he hit take wolde.

& he nay þat he nolde negh e i n no wyse,

Nauþer golde ne garysou n , er God hy m g ra ce sende,

To acheue to þe chau n ce þat he hade chosen þere.

"& þerfore, I pray yow, displese yow no3t,

& lette3 be yo ur bisinesse, for I bayþe hit yow neu er

to grau n te;

I am derely to yow biholde,

Bi-cause of yo ur sembelau n t,

& eu er i n hot & colde

To be yo ur trwe seruau n t.

1 ryng (?). 2 þat þat, in MS.

"Now forsake 3e þis silke." sayde þe burde þe n ne,

"For hit is symple i n hit-self. & so hit wel seme3?

Lo! so hit is littel, & lasse hit is worþy;

Bot who-so knew þe costes þat knit ar þer-i n ne,

He wolde hit prayse at more prys, parauenture;

For quat gome so is gorde w i t h þis grene lace,

While he hit hade hemely halched aboute,

Þer is no haþel vnder heuen to-hewe hym þat my3t;

For he my3t not he slayn, for sly3t vpon erþe."

Þe n kest þe kny3t, & hit come to his hert,

Hit were a Iuel for þe Iopardé, þat hy m iugged were,

When he acheued to þe chapel, his chek forto fech;

My3 1 he haf slypped to þe vn-slayn, þe sle3t were noble.

Þe n ne ho þulged with hir þrepe, & þoled hir to speke,

& ho bere on hy m þe belt, & bede hit hy m swyþe,

& he g ra nted, & [ho] hy m gafe with a goud wylle,

& biso3t hy m , for hir sake, disceu er hit neu er ,

Bot to lelly layne for 2 hir lorde; þe leude hy m acorde3.

Þat neu er wy3e schulde hit wyt, Iwysse, bot þay twayne,

He þonkked hir oft ful swyþe,

Ful þro w i t h hert & þo3t.

Bi þat on þry n ne syþe,

He hat3 kyst þe kny3t so to3t.

1 my3t (?). 2 fro (?).

The n ne lachche3 ho hir leue, & leue3 hy m þere,

For more myrþe of þat mon mo3t ho not gete;

When ho 1 wat3 gon, s ir G. gere3 hy m sone,

Rises, & riches hy m i n araye noble,

Lays vp þe luf-lace, þe lady hy m ra3t,

Hid hit ful holdely, þ er he hit eft fonde;

Syþe n cheuely to þe chapel choses he þe waye,

Preuely aproched to a prest, & prayed hy m þere

Þat he wolde lyfte 2 his lyf, & lern hy m bett er ,

How his sawle schulde be saued, when he schuld seye heþe n .

Þere he schrof hy m schyrly, & schewed his mysdede3,

Of þe more & þe my n ne, & m er ci beseche3,

& of absoluciou n he on þe segge calles;

& he asoyled hy m surely, & sette hy m so clene,

As dome3-day schulde haf ben di3t on þe morn.

& syþen he mace hy m as mery amo n g þe fre ladyes,

W i t h comlych caroles, & alle ky n nes ioye,

As neu er he did bot þat daye, to þe derk ny3t,

w i t h blys;

Vche mon hade daynte þare,

Of hy m , & sayde Iwysse,

Þ us myry he wat3 neu er are,

Syn he com hider, er þis.

1 he, in MS. 2 lyste (?).

Now hy m lenge i n þat lee, þ er luf hy m bi-tyde;

3et is þe lorde on þe lau n de, ledande his gomnes,

He hat3 forfaren þis fox, þ a t he fol3ed longe;

As he sprent ou er a spe n né, to spye þe schrewe,

Þer as he herd þe howndes, þat hasted hy m swyþe,

Renaud com richchande þur3 a ro3e greue,

& alle þe rabel i n a res, ry3t at his hele3.

Þe wy3e wat3 war of þe wylde, & warly abides,

& brayde3 out þe bry3t bronde, & at þe best caste3;

& he schu n t for þe scharp, & schulde haf arered,

A rach rapes hy m to, ry3t er he my3t,

& ry3t bifore þe hors fete þay fel on hy m alle,

& woried me þis wyly wyth a wroth noyse.

Þe lorde ly3te3 bilyue, & cache3 by 1 sone,

Rased hy m ful radly out of þe rach mouþes,

Halde3 he3e ou er his hede, halowe3 faste,

& þ er bayen hy m mony bray 2 hou n de3;

Hu n tes hy3ed hem þeder, w i t h horne3 ful mony,

Ay re-chatande ary3t til þay þe renk se3en;

Bi þat wat3 comen his compeyny noble,

Alle þat eu er ber bugle blowed at ones,

& alle þise oþ er halowed, þat hade no hornes,

Hit wat3 þe myriest mute þat eu er me n herde,

Þe rich rurd þat þ er wat3 raysed for renaude saule,

w i t h lote;

Hor hou n de3 þay þ er rewarde,

Her 3 hede3 þay fawne & frote,

& syþen þay tan reynarde,

& tyrnen of his cote.

1 hy m (?). 2 braþ (?). 3 Her her, in MS.

& þe n ne þay helden to home, for hit wat3 nie3 ny3t,

Strakande ful stoutly i n hor store horne3;

Þe lorde is ly3t at þe laste at hys lef home,

Fynde3 fire vpon flet, þe freke þ er by-side,

Sir Gawayn þe gode, þat glad wat3 w i t h alle,

Amo n g þe ladies for luf he ladde much ioye,

He were a bleau n t of blwe, þat bradde to þe erþe,

His surkot semed hy m wel, þat softe wat3 forred,

& his hode of þat ilke henged on his schulder,

Blande al of blau n ner were boþe al aboute.

He mete3 me þis god mon i n mydde3 þe flore,

& al with gomen he hy m gret, & goudly he sayde,

"I schal fylle vpon fyrst oure forwarde3 nouþe,

Þat we spedly han spoken, þer spared wat3 no drynk;"

Þen acoles he [þe] kny3t, & kysses hy m þryes,

As sauerly & sadly as he hem sette couþe.

"Bi Kryst," q uod þat oþ er kny3t, "3e cach much sele,

I n cheuisau n ce of þis chaffer, 3if 3e hade goud chepe3."

"3e of þe chepe no charg," q uod chefly þat oþ er ,

"As is pertly payed þe chepe3 þat I a3te."

"Mary," q uod þat oþ er mon, "myn is bi-hynde,

For I haf hu n ted al þis day, & no3t haf I geten,

Bot þis foule fox felle, þe fende haf þe gode3,

& þat is ful pore, for to pay for suche prys þi n ges,

As 3e haf þry3t me here, þro suche þre cosses,

"I-no3," q uod s ir Gawayn,

"I þonk yow, bi þe rode;"

& how þe fox wat3 slayn,

He tolde hy m , as þay stode.

With m er þe & mynstralsye, wyth mete3 at hor wylle,

Þay maden as mery as any me n mo3ten,

W i t h la3y n g of ladies, w i t h lote3 of bordes;

Gawayn & þe gode mo n so glad were þay boþe,

Bot if þe douthe had doted, oþ er dronken ben oþ er ,

Boþe þe mon & þe meyny maden mony iape3,

Til þe sesou n wat3 se3en, þat þay seu er moste;

Burne3 to hor bedde be-houed at þe laste.

Þe n ne lo3ly his leue at þe lorde fyrst

Fochche3 þis fre mon, & fayre he hy m þonkke3;

"Of such a sellyly 1 soiorne, as I haf hade here,

Yo ur hono ur , at þis hy3e fest, þe hy3e ky n g yow 3elde!

I 3ef yow me for on of yo ur e3, if yowre-self lyke3,

For I mot nedes, as 3e wot, meue to morne;

& 3e me take su m tolke, to teche, as 3e hy3t,

Þe gate to þe grene chapel, as god wyl me suffer

To dele, on nw3ere3 day, þe dome of my wyrdes."

"In god fayþe," q uod þe god mon. "wyth a goud wylle;

Al þat eu er I yow hy3t, halde schal I rede."

Þer asy n gnes he a seruau n t, to sett hy m i n þe waye,

& cou n due hy m by þe downe3, þat he no drechch had,

For to f[e]rk þur3 þe fryth, & fare at þe gaynest,

Þe lorde Gawayn con þonk,

Such worchip he wolde hy m weue;

Þe n at þo ladye3 wlonk.

Þe kny3t hat3 tan his leue.

1 selly (?).

With care & wyth kyssy n g he carppe3 hem tille,

& fele þryuande þonkke3 he þrat hom to haue,

& þay 3elden hy m a3ay[n] 3eply þat ilk;

Þay bikende hy m to Kryst, w i t h ful colde syky n ge3.

Syþen fro þe meyny he menskly de-partes;

Vche mon þat he mette, he made hem a þonke,

For his seruyse, & his solace, & his sere pyne,

Þat þay wyth busynes had ben, aboute hy m to serue;

& vche segge as sore, to seu er w i t h hy m þere,

As þay hade wonde worþyly w i t h þat wlonk eu er .

Þe n w i t h ledes & ly3t he wat3 ladde to his chambre,

& blybely bro3t to his bedde, to be at his rest;

3if he ne slepe sou n dyly, say ne dar I,

For he hade muche on þe morn to my n ne, 3if he wolde,

Let hy m ly3e þere stille,

He hat3 1 nere þat he so3t,

& 3e wyl a whyle be stylle,

I schal telle yow how þay wro3t.

1 wat3 (?).

[FYTTE THE FOURTH.]

Now ne3e3 þe nw3ere, & þe ny3t passe3,

Þe day dryue3 to þe derk, as dry3tyn bidde3;

Bot wylde wedere3 of þe worlde wakned þeroute,

Clowdes kesten kenly þe colde to þe erþe,

Wyth ny3e 1 in-nogh e of þe norþe, þe naked to tene;

Þe snawe snitered ful snart, þat snayped þe wylde;

Þe werbelande wynde wapped fro þe hy3e,

& drof vche dale ful of dryftes ful grete.

Þe leude lystened ful wel, þat le3 i n his bedde,

Þa3 he lowke3 his lidde3, ful lyttel he slepes;

Bi vch kok þat crue, he knwe wel þe steuen.

De-liu er ly he dressed vp, er þe day sprenged,

For þere wat3 ly3t of a lau[m]pe, þat lemed i n his chambre;

He called to his chamberlayn, þat cofly hy m swared,

& bede hy m bry n g hy m his bruny, & his blonk sadel;

Þat oþ er ferke3 hy m vp, & feche3 hy m his wede3,

& grayþe3 me s ir Gawayn vpon a grett wyse.

Fyrst he clad hy m i n his cloþe3, þe colde for to were;

& syþen his oþ er harnays, þat holdely wat3 keped,

Boþe his pau n ce, & his plate3, piked ful clene,

Þe ry n ge3 2 rokked of þe roust, of his riche bruny;

& al wat3 fresch as vpon fyrst, & he wat3 fayn þe n ne

He hade vpon vche pece,

Wypped ful wel & wlonk;

Þe gayest i n to Grece,

Þe burne bede bry n g his blonk.

1 nywe (?). 2 rynke3 (?).

Whyle þe wlonkest wedes he warp on hy m -seluen;

His cote, wyth be conysau n ce of þe clere werke3,

Ennurned vpon veluet v er tuu us 1 stone3,

Aboute beten, & bou n den, enbrauded seme3,

& fayre furred w i t h -i n ne wyth fayre pelures.

3et laft he not þe lace, þe ladie3 gifte,

Þat for-gat not Gawayn, for gode of hy m -seluen;

Bi he hade belted þe bronde vpon his bal3e hau n che3,

Þe n n dressed he his drurye double hy m aboute;

Swyþe sweþled vmbe his swange swetely, þat kny3t,

Þe gordel of þe grene silke, þat gay wel bisemed,

Vpon þat ryol red cloþe, þat ryche wat3 to schewe.

Bot wered not þis ilk wy3e for wele þis gordel,

For pryde of þe pendau n te3, þa3 polyst þay were,

& þa3 þe glyt er ande golde glent vpon ende3,

Bot forto sau en hy m -self, when suffer hy m by-houed,

To byde bale w i t h -oute dabate, of bronde hy m to were,

oþ er knyffe;

Bi þat þe bolde mon bou n ,

Wy n ne3 þeroute bilyue,

Alle þe meyny of renou n ,

He þonkke3 ofte ful ryue.

1 v er tuo us (?).

The n ne wat3 Gryngolet grayþe, þat gret wat3 & huge,

& hade ben soio ur ned sau er ly, & i n a siker wyse,

Hy m lyst prik for poy n t, þat proude hors þe n ne;

Þe wy3e wy n ne3 hy m to, & wyte3 on his lyre,

& sayde soberly hy m -self, & by his soth swere3,

"Here is a meyny i n þis mote, þat on menske þenkke3,

Þe mon hem maynteines, ioy mot þay haue;

Þe leue lady, on lyue luf hir bityde;

3if þay for charyté cherysen a gest,

& halden hono ur i n her honde, þe haþel he m 3elde,

Þat halde3 þe heuen vpon hy3e, & also yow alle!

& 3if I my3t lyf vpon londe lede any quyle,

I schuld rech yow su m rewarde redyly, if I my3t."

Þe n n steppe3 he i n -to stirop, & stryde3 alofte;

His schalk schewed hy m his schelde, on schulder he hit la3t,

Gorde3 to Gryngolet, w i t h his gilt hele3,

& he starte3 on þe ston, stod he no lenger,

to prau n ce;

His haþel on hors wat3 þe n ne,

Þat bere his spere & lau n ce.

"Þis kastel to Kryst I ke n ne,

He gef hit ay god chau n ce!"

The brygge wat3 brayde dou n , & þe brode 3ate3

Vnbarred, & born open, vpon boþe halue;

Þe burne blessed hy m bilyue, & þe brede3 passed;

Prayses þe porter, bifore þe prynce kneled,

Gef hym God & goud day, þat Gawayn he saue;

& went on his way, w i t h his wy3e one,

Þat schulde teche hy m to to ur ne to þat tene place,

Þer þe ruful race he schulde re-sayue.

Þay bo3en bi bonkke3, þ er bo3e3 ar bare,

Þay clomben bi clyffe3, þer clenge3 þe colde;

Þe heuen wat3 vp halt, bot vgly þer vnder,

Mist muged on þe mor, malt on þe mou n te3,

Vch hille hade a hatte, a myst-hakel huge;

Broke3 byled, & breke, bi bonkke3 aboute,

Schyre schat er ande on schore3, þ er þay dou n schowued.

Welawylle wat3 þe way, þer þay bi wod schulden,

Til hit wat3 sone sesou n , þat þe su n ne ryses,

Þay were on a hille ful hy3e,

Þe quyte snaw lay bisyde;

Þe burne þat rod hy m by

Bede his mayster abide.

"For I haf wo n nen yow hider, wy3e, at þis tyme,

& now nar 3e not fer fro þat note place,

Þat 3e han spied & spuryed so specially aft er ;

Bot I schal say yow for soþe, syþen I yow knowe,

& 3e ar a lede vpon lyue, þat I wel louy,

Wolde 3e worch bi my wytte, 3e worþed þe bett er .

Þe place þat 3e prece to, ful perelo us is halden;

Þer wone3 a wy3e i n þat waste, þe worst vpon erþe;

For he is stiffe, & sturne, & to strike louies,

& more he is þe n any mon vpon myddelerde,

& his body bigger þe n þe best fowre.

Þat ar i n Arþure3 ho us , Hestor 1 oþ er oþ er .

He cheue3 þat chau n ce at þe chapel grene;

Þer passes non bi þat place, so proude i n his armes,

Þat he ne dy n ne3 hy m to deþe, w i t h dynt of his honde;

For he is a mon methles, & mercy non vses,

For be hit chorle, oþ er chaplayn, þat bi þe chapel rydes,

Monk, oþ er masse-prest, oþ er any mon elles,

H ym þynk as queme hy m to quelle, as quyk go hy m seluen.

For-þy I say þe as soþe as 3e i n sadel sitte,

Com 3e þere, 3e be kylled, [I] may þe kny3t rede,

Trawe 3e me þat trwely, þa3 3e had twenty lyues

He hat3 wonyd here ful 3ore,

On bent much baret bende,

A3ayn his dynte3 sore,

3e may not yow defende."

1 Hector (?).

"For-þy, goude s ir Gawayn, let þe gome one,

& got3 a-way su m oþ er gate; vpon Godde3 halue;

Cayre3 bi su m oþ er kyth, þer Kryst mot yow spede;

& I schal hy3 me hom a3ayn, & hete yow fyrre,

Þat I schal swere bi God, & alle his gode hal3e3,

As help me God & þe halydam, & oþe3 i n -nogh e ,

Þat I schal lelly yow layne, & lance neu er tale,

Þat eu er 3e fondet to fle, for freke þat I wyst."

"G ra nt m er ci;" q uod Gawayn, & gruchy ng he sayde,

"Wel worth þe wy3e, þat wolde3 my gode,

& þat lelly me layne, I leue wel þ o u wolde3!

Bot helde þ o u hit neu er so holde, & I here passed,

Fou n ded for ferde for to fle, i n fo ur me þat þ o u telle3,

I were a kny3t kowarde, I my3t not 1 be excused.

Bot I wy1 to þe chape1, for chau n ce þat may falle,

& talk wyth þat ilk tulk þe tale þat me lyste,

Worþe hit wele, oþ er wo, as þe wyrde lyke3

Þa3e he be a sturn knape,

To sti3tel, & 2 stad w i t h staue,

Ful wel con dry3tyn schape,

His seruau n te3 forto saue."

1 mot, in MS. 2 & &, in MS.

"Mary!" q uod þat oþ er mon, "now þ o u so much spelle3,

Þat þ o u wylt þyn awen nye nyme to þy-seluen,

& þe lyst lese þy lyf, þe lette I ne kepe;

Haf here þi helme on þy hede, þi spere i n þi honde,

& ryde me dou n þis ilk rake, bi 3on rokke syde,

Til þ o u be bro3t to þe boþem of þe brem valay;

Þe n ne loke a littel on þe lau n de, on þi lyfte honde,

& þ o u schal se i n þat slade þe self chapel,

& þe borelych burne on bent, þat hit kepe3.

Now fare3 wel on Gode3 half, Gawayn þe noble,

For alle þe golde vpon grou n de I nolde go with þe,

Ne bere þe fela3schip þur3 þis fryth on fote fyrre."

Bi þat þe wy3e i n þe wod wende3 his brydel,

Hit þe hors w i t h þe hele3, as harde as he my3t,

Lepe3 hy m ou er þe lau n de, & leue3 þe kny3t þere,

"Bi Godde3 self," q uod Gawayn,

"I wyl nauþ er grete ne grone,

To Godde3 wylle I am ful bayn,

& to hy m I haf me tone."

The n ne gyrde3 he to Gryngolet, & gedere3 þe rake,

Schowue3 i n bi a schore, at a scha3e syde,

Ride3 þur3 þe ro3e bonk, ry3t to þe dale;

& þe n ne he wayted hy m aboute, & wylde hit hy m þo3t,

& se3e no sy n gne of resette, bisyde3 nowhere,

Bot hy3e bonkke3 & brent, vpon boþe halue,

& ru3e knokled knarre3, w i t h knorned stone3;

Þe skwe3 of þe scowtes skayued 1 hy m þo3t.

Þe n ne he houed, & wyth-hylde his hors at þat tyde,

& ofte chau n ged his cher, þe chapel to seche;

He se3 non suche i n no syde, & selly hy m þo3t,

Sone a lyttel on a lau n de, a lawe as hit we[re];

A bal3 ber3, bi a bonke, þe bry m me by-syde,

Bi a for3 of a flode, þ a t ferked þare;

Þe borne blubred þer-i n ne, as hit boyled hade.

Þe kny3t kache3 his caple, & com to þe lawe,

Li3te3 dou n luflyly, & at a lynde tache3

Þe rayne, & his riche, with a ro3e brau n che;

Þe n [n]e he bo3e3 to þe ber3e, aboute hit he walke,

D[e]batande w i th hy m -self, quat hit be my3t.

Hit hade a hole on þe ende, & on ayþer syde,

& ou er -growen w i t h gresse i n glodes ay where,

& al wat3 hol3 i n -w i t h , nobot an olde caue,

Or a creuisse of an olde cragge, he couþe hit no3t deme

w i t h spelle,

"We, 2 lorde," q uod þe gentyle kny3t,

"Wheþer þis be þe grene chapelle;

He my3t aboute myd-ny3t,

[Þ]e dele his maty n nes telle!"

1 skayned (?). 2 wel (?).

"Now i-wysse," q uod Wowayn, "wysty is here;

Þis oritore is vgly, w i t h erbe3 ou er -growen;

Wel biseme3 þe wy3e wruxled i n grene

Dele here his deuociou n , on þe deuele3 wyse;

Now I fele hit is þe fende, i n my fyue wytte3,

Þat hat3 stoken me þis steuen, to strye me here;

Þis is a chapel of meschau n ce, þat chekke hit by-tyde,

Hit is þe corsedest kyrk, þat eu er i com i n ne!"

With he3e helme on his hede, his lau n ce i n his honde,

He rome3 vp to þe rokke of þo ro3 wone3;

Þene herde he of þat hy3e hil, i n a harde roche,

Bi3onde þe broke, i n a bonk, a wonder breme noyse,

Quat! hit clat er ed i n þe clyff, as hit cleue schulde,

As one vpon a gryndelston hade grou n den a syþe;

What! hit wharred, & whette, as wat er at a mulne,

What! hit rusched, & ronge, rawþe to here.

Þe n ne "bi Godde," q uod Gawayn, "þat gere as 1 I trowe,

Is ryched at þe reu er ence, me renk to mete,

Let God worche we loo,

Hit helppe3 me not a mote,

My lif þa3 I for-goo,

Drede dot3 me no lote."

1 at, in MS.

The n ne þe kny3t con calle ful hy3e,

"Who sti3tle3 i n þis sted, me steuen to holde?

For now is gode Gawayn goande ry3t here,

If any wy3e o3t wyl wy n ne hider fast,

Oþ er now, oþ er neu er , his nede3 to spede."

"Abyde," q uod on on þe bonke, abouen ou er his hede,

"& þ o u schal haf al i n hast, þat I þe hy3t ones."

3et he rusched on þat rurde, rapely a þrowe,

& wyth quetty n g a-wharf, er he wolde ly3t;

& syþen he keu er e3 bi a cragge, & come3 of a hole,

Whyrlande out of a wro, wyth a felle weppen,

A dene3 ax nwe dy3t, þe dynt w i t h [t]o 3elde

W i t h a borelych bytte, bende by þe halme,

Fyled i n a fylor, fowre fote large,

Hit wat3 no lasse, bi þat lace þat lemed ful bry3t.

& þe gome i n þe erene gered as fyrst,

Boþe þe lyre & þe legge3, lokke3, & berde,

Saue þat fayre on his fote he fou n de3 on þe erþe,

Sette þe stele to þe stone, & stalked bysyde.

When he wan to þe watter, þer he wade nolde,

He hypped ou er on hys ax, & orpedly stryde3,

Bremly broþe on a bent, þat brode wat3 a-boute,

S ir Gawayn þe kny3t con mete.

He ne lutte hy m no þy n g lowe,

Þat oþ er sayde, "now, s ir swete,

Of steuen mon may þe trowe."

"Gawayn," q uod þat grene gome, "God þe mot loke!

I-wysse þ o u art welcom, 1 wy3e, to my place,

& þ o u hat3 tymed þi trauayl as t ru e 2 mo n schulde;

& þ o u knowe3 þe couenau n te3 kest v us by-twene,

At þis tyme twelmonyth þ o u toke þ a t þe falled,

& I schulde at þis nwe 3ere 3eply þe quyte.

& we ar i n þis valay, v er ayly oure one,

Here ar no renkes vs to rydde, rele as v us like3;

Haf þy 3 helme of þy hede, & haf here þy pay;

Busk no more debate þ en I þe bede þe n ne,

"When þ o u wypped of my hede at a wap one."

"Nay, bi God," q uod Gawayn, "þ a t me gost lante,

I schal gruch þe no grwe, for grem þat falle3;

Botsty3tel þe vpon on strok, & I schal stonde stylle,

& warp þe no werny n g, to worch as þe lyke3,

He lened w i t h þe nek, & lutte,

& schewed þat schyre al bare,

& lette as he no3t dutte,

For drede he wolde not dare.

1 welcon, in MS. 2 t ru ee in MS. 3 MS. þy þy.

The n þe gome i n þe grene grayþed hy m swyþe,

Gedere3 yp hys gry m me tole, Gawayn to smyte;

W i t h alle þe bur i n his body he ber hit on lofte,

Mu n t as ma3tyly, as marre hy m he wolde;

Hade hit dryuen adou n , as dre3 as he atled,

Þer hade ben ded of his dynt, þat do3ty wat3 eu er .

Bot Gawayn on þat giserne glyfte hy m bysyde,

As hit com glydande adou n , on glode hy m to schende,

& schranke a lytel w i t h þe schulderes, for þe scharp yrne.

Þat oþ er schalk wyth a schu n t þe schene wythhalde3,

& þe n ne repreued he þe prynce w i t h mony prowde worde3:

"Þ o u art not Gawayn," q uod þe gome, "þ a t is so goud halden,

Þat neu er ar3ed for no here, by hylle ne be vale,

& now þ o u fles for ferde, er þ o u fele harme3;

Such cowardise of þat kny3t cowþe I neu er here.

Nawþ er fyked I, ne fla3e, freke, quen þ o u myntest,

Ne kest no kauelac i on, in ky n ge3 ho us Arthor,

My hede fla3 to my fote, & 3et fla3 I neu er ;

& þ o u, er any harme hent, ar3e3 i n hert,

Wherfore þe better burne me burde be called

þ e r-fore."

Q uod G:, "I schu n t one3,

& so wyl I no more,

Bot pa3 my hede falle on þe stone3,

I con not hit restore.

Bot busk, burne, bi þi fayth, & bry n g me to þe poy n t,

Dele to me my destiné, & do hit out of honde,

For I schal stonde þe a strok, & start no more,

Til þy n ax haue me hitte, haf here my trawþe."

"Haf at þe þe n ne," q uod þ a t oþ er , & heue3 hit alofte,

& wayte3 as wroþely, as he wode were;

He mynte3 at hy m ma3tyly, bot not þe mon ryue3, 1

With-helde het er ly h[i]s honde, er hit hurt my3t.

Gawayn grayþely hit byde3, & glent w i t h no membre,

Bot stode stylle as þe ston, oþ er a stubbe auþer,

Þat raþeled is i n roche grou n de, w i t h rote3 a hundreth.

Þe n muryly efte con he mele, þe mon i n þe grene,

"So now þ o u hat3 þi hert holle, hitte me bihou[e]s;

Halde þe now þe hy3e hode, þat Arþur þe ra3t,

& kepe þy kanel at þis kest, 3if hit keu er may."

G: ful gryndelly w i t h greme þe n ne sayde,

"Wy þresch on, þ o u þro mon, þ o u þrete3 to longe,

I hope þat þi hert ar3e wyth þyn awen seluen."

"For soþe," q uod þat oþ er freke, "so felly þ o u speke3,

I wyl no leng er on lyte lette þin ernde,

ri3t nowe."

Þe n ne tas he 2 hy m stryþe to stryke,

& frou n ses boþe lyppe & browe,

No meruayle þa3 hy m myslyke,

Þat hoped of no rescowe.

1 ? ryne3 = touches. 2 he he, in MS.

He lyftes ly3tly his lome, & let hit dou n fayre,

W i t h þe barbe of þe bitte bi þe bare nek

Þa3 he homered het er ly, hurt hy m no more,

Bot snyrt hy m on þat on syde, þat seu er ed þe hyde;

Þe scharp schrank to þe flesche þur3 þe schyre grece,

Þat þe schene blod ov er his schulderes schot to þe erþe.

& quen þe burne se3 þe blode blenk on þe snawe,

He sprit forth spe n ne fote more þe n a spere lenþe,

Hent het er ly his helme, & on his hed cast,

Schot wit h his schuldere3 his fayre schelde vnder,

Brayde3 out a bry3t sworde, & bremely he speke3;

Neu er syn þat he wat3 burne borne of his moder,

Wat3 he neu er i n þis worlde, wy3e half so blyþe:—

"Bly n ne, burne, of þy bur, bede me no mo;

I haf a stroke i n þis sted w i t h -oute stryf hent,

& if þow reche3 me any mo, I redyly schal quyte,

& 3elde 3ederly a3ayn, & þ er to 3e tryst,

Bot on stroke here me falle3,

Þe couenau n t schop ry3t so,

[Sikered] 1 in Arþure3 halle3,

& þer-fore, hende, now hoo!"

1 Illegible.

The haþel heldet hy m fro, & on his ax rested,

Sette þe schaft vpon schore, & to be scharp lened,

& loked to þe leude, þat on þe launde 3ede,

How þat do3ty dredles deruely þer stonde3,

Armed ful a3le3; i n hert hit hy m lyke3.

þe n n he mele3 muryly, wyth a much steuen,

& wyth a r[a]ykande rurde he to þe renk sayde,

"Bolde burne, on þis bent be not so gryndel;

No mon here vn-man er ly þe mys-boden habbe,

Ne kyd, bot as couenau n de, at ky n ge3 kort schaped;

I hy3t þe a strok, & þ o u hit hat3, halde þe wel payed,

I relece þe of þe remnau n t, of ry3tes alle oþ er ;

3if 1 I deliuer had bene, a boffet, parau n t e r,

I couþe wroþeloker haf waret, [&] to þe haf wro3t ang er . 2

Fyrst I mansed þe muryly, w i t h a mynt one,

& roue þe wyth no rof, sore w i t h ry3t I þe p ro fered,

For þe forwarde that we fest i n þe fyrst ny3t,

& þ o u trystyly þe trawþe & trwly me halde3,

Al þe gayne þow me gef, as god mon shulde;

Þat oþ er mu n t for þe morne, mon, I þe profered,

Þ o u kyssedes my clere wyf, þe cosse3 me ra3te3,

For boþe two here I þe bede bot two bare myntes,

boute scaþe;

Trwe mon trwe restore,

Þe n ne þar mo n drede no waþe;

At þe þrid þ o u fayled þore,

& þ er -for þat tappe ta þe.

1 uf, in MS. 2 This word is doubtful.

For hit is my wede þat þ o u were3, þ a t ilke wouen girdel,

Myn owen wyf hit þe weued, I wot wel forsoþe;

Now know I wel þy cosses, & þy costes als,

& þe wowy n g of my wyf, I wro3t hit myseluen;

I sende hir to asay þe, & sothly me þynkke3,

On þe fautlest freke, þat eu er on fote 3ede;

As perle bi þe quite pese is of prys more,

So is Gawayn, i n god fayth, bi oþ er gay kny3te3.

Bot here you lakked a lyttel, s ir , & lewte yow wonted,

Bot þat wat3 for no wylyde werke, ne wowy n g nauþ er ,

Bot for 3e lufed yo ur lyf, þe lasse I yow blame."

Þat oþ er stif mon i n study stod a gret whyle;

So agreued for greme he gryed w i t h -i n ne,

Alle þe blode of his brest blende i n his face,

Þat al he schrank for schome, þat þe schalk talked.

Þe forme worde vpon folde, þat þe freke meled,—

"Corsed worth cowarddyse & couetyse boþe!

I n yow is vylany & vyse, þat v er tue disstrye3."

Þe n ne he ka3t to þe knot, & þe kest lawse3,

Brayde broþely þe belt to þe burne seluen:

"Lo! þer þe falssy n g, foule mot hit falle!

For care of þy knokke cowardyse me ta3t

To a-corde me w i t h couetyse, my kynde to for-sake,

Þat is larges & lewte, þat longe3 to kny3te3.

Now am I fawty, & falce, & ferde haf ben eu er ;

Of trecherye & vn-trawþe boþe bityde sor3e

& care!

I bi-knowe yow, kny3t, here stylle,

Al fawty is my fare,

Lete3 me ou er -take yo ur wylle,

& efle I schal be ware."

The n ne lo3e þat oþ er leude, & luflyly sayde,

"I halde hit hardily 1 hole, þe harme þat I hade;

Þ o u art confessed so clene, be-knowen of þy mysses,

& hat3 þe penau n ce apert, of þe poy n t of myn egge,

I halde þe polysed of þat ply3t, & pured as clene,

As þ o u hade3 neu er forfeted, syþe n þ o u wat3 fyrst borne.

& I gif þe, s ir , þe gurdel þat is golde he m med;

For hit is grene as my goune, s ir G:, 3e maye

Þenk vpon þis ilke þrepe, þ er þ o u forth þry n ge3

Amo n g prynces of prys, & þis a pure token

Of þe chau n ce of þe grene chapel, at cheualro us kny3te3;

& 3e schal i n þis nwe 3er a3ayn to my wone3,

& we schy n reuel þe remnau n t of þis ryche fest,

Þer laþed hy m fast þe lorde,

& sayde, "w i t h my wyf, I wene,

We schal yow wel acorde,

Þat wat3 yo ur enmy kene."

1 hardilyly, in MS.

"Nay, for soþe," q uod þe segge, & sesed hys helme,

& hat3 hit of hendely, & þe haþel þonkke3,

"I haf soiorned sadly, sele yow bytyde,

& he 3elde hit yow 3are, þat 3arkke3 al me n skes!

& comau n de3 me to þat cortays, yo ur comlych fere,

Boþe þat on & þat oþ er , myn hono ur ed ladye3.

Þat þ us hor kny3t wyth hor kest han koy n tly bigyled.

Bot hit is no ferly, þa3 a fole madde,

& þur3 wyles of wy m men be wonen to sor3e;

For so wat3 Adam i n erde w i t h one bygyled,

& Salamon w i t h fele sere, & Samson eft sone3,

Dalyda dalt hy m hys wyrde, & Dauyth þer-aft er

Wat3 blended w i t h Barsabe, þat much bale þoled.

Now þese were wrathed wyth her wyles, h i t were a wy n ne huge,

To luf hom wel, & leue hem not, a leude þat couþe,

For þes wer forne 1 þe freest þat fol3ed alle þe sele,

Ex-ellently of alle þyse oþ er , vnder heuen-ryche,

& alle þay were bi-wyled,

With 2 wy m men þat þay vsed,

Þa3 I be now bigyled,

Me þink me burde be excused."

1 forme (?) 2 with wyth, in MS.

"Bot yo ur gordel," q uod G: "God yow for-3elde!

Þat wyl I welde wyth good wylle, not for þe wy n ne golde,

Ne þe saynt, ne þe sylk, ne þe syde pendau n des,

For wele, ne for worchyp, ne for þe wlonk werkke3,

Bot i n sy n gne of my surfet I schal se hit ofte;

When I ride i n renou n , remorde to myseluen

Þe faut & þe fayntyse of þe flesche crabbed,

How tender hit is to entyse teches of fylþe;

& þ us , quen pryde schal me pryk, for prowes of armes,

Þe loke to þis luf lace schal leþe my hert.

Bot on I wolde yow pray, displeses yow neu er ;

Syn 3e be lorde of þe 3onde[r] londe, þ er I haf lent i n ne,

Wyth yow wyth worschyp,—þe wy3e hit yow 3elde

Þat vp-halde3 þe heu en , & on hy3 sitte3,—

How norne 3e yowre ry3t nome, & þe n ne no more?"

"Þat schal I telle þe trwly," q uod þ a t oþ er þe n ne,

"Bernlak de Hautdesert I hat i n þis londe,

Þur3 my3t of Morgne la Faye, þat i n my ho us lenges,

& 1 koyntyse of clergye, bi craftes wel lerned,

Þe maystres of M er lyn, mony ho 2 taken;

For ho hat3 dalt drwry ful dere su m tyme,

With þat conable klerk, þat knowes alle yo ur kny3te3

Morgne þe goddes,

Þer-fore hit is hir name;

Welde3 non so hy3e hawtesse,

Þat ho ne con make ful tame.

1 in (?). 2 ho hat3 (?).

Ho wayned me vpon þis wyse to yo ur wy n ne halle,

For to assay þe surquidre, 3if hit soth were,

Þat re n nes of þe grete renou n of þe Rou n de Table;

Ho wayned me þis wonder, yo ur wytte3 to reue,

For to haf greued Gayno ur , & gart hir to dy3e.

W i t h gopny n g 1 of þat ilke gomen, þat gostlych speked,

W i t h his hede i n his honde, bifore þe hy3e table.

Þat is ho þat is at home, þe au n cian lady;

Ho is euen þyn au n t, Arþure3 half suster,

Þe duches do3ter of Tyntagelle, þat dere Vt er aft er

Hade Arþur vpon, þat aþel is nowþe.

Þerfore I eþe þe, haþel, to com to þy nau n t,

Make myry i n my ho us , my meny þe louies,

& I wol þe as wel, wy3e, bi my faythe,

As any gome vnder God, for þy grete trauþe."

& he nikked hy m naye, he nolde bi no wayes;

Þay acolen & kyssen, [bikennen] ayþer oþ er

To þe prynce of paradise, & parten ry3t þere,

Gawayn on blonk ful bene,

To þe ky n ge3 bur3 buske3 bolde,

& þe kny3t i n þe enker grene,

Whider-warde so eu er he wolde.

1 glopnyng (?).

Wylde waye3 i n þe worlde Wowen now ryde3,

On Gryngolet, þat þe g ra ce hade geten of his lyue;

Ofte he herbered i n house, & ofte al þeroute,

& mony a-venture i n vale, & venquyst ofte,

Þat I ne ty3t, at þis tyme, i n tale to remene.

Þe hurt wat3 hole, þat he hade hent i n his nek,

& þe blykkande belt he bere þeraboute,

A belef as a bauderyk, bou n den bi his syde,

Loken vnder his lyfte arme, þe lace, w i t h a knot,

I n tokeny n g he wat3 tane i n tech of a faute;

& þ us he co m mes to þe co u rt, kny3t al i n sou n de.

Þer wakned wele i n þat wone, when wyst þe grete,

Þat gode G: wat3 co m men, gayn hit hym þo3t;

Þe ky n g kysse3 þe kny3t, & þe whene alce,

& syþen mony syker kny3t, þat so3t hy m to haylce,

Of his fare þat hy m frayned, & ferlyly he telles;

Biknowo3 alle þe costes of care þat he hade,—

Þe chau n ce of þe chapel, þe chere of þe kny3t,

Þe luf of þe ladi, þe lace at þe last.

Þe nirt i n þe nek he naked hem schewed,

Þat he la3t for his vnleute at þe leudes hondes,

He tened quen he schulde telle,

He groned for gref & grame;

Þe blod i n his face con melle,

When he hit schulde schewe, for schame.

"Lo! lorde," q uod þe leude, & þe lace hondeled,

"Þis is þe bende of þis blame I bere [in] my nek,

Þis is þe laþe & þe losse, þat I la3t haue,

Of couardise & couetyse, þat I haf ca3t þare,

Þis is þe token of vn-trawþe, þat I am tan i n ne,

& I mot nede3 hit were, wyle I may last;

For non may hyden his harme, bot vnhap ne may hit,

For þ er hit one3 is tachched, twy n ne wil hit neu er ."

Þe ky n g comforte3 þe kny3t, & alle þe co u rt als,

La3en loude þ er -at, & luflyly acorden,

Þat lordes & ladis, þ a t longed to þe Table,

Vche burne of þe broþ er -hede a bauderyk schulde haue,

A bende, a belef hy m aboute, of a bry3t grene,

& þat, for sake of þat segge, i n swete to were.

For þat wat3 acorded þe renou n of þe Rou n de Table,

& he hono ur ed þat hit hade, eu er -more aft er ,

As hit is breued i n þe best boke of romau n ce.

Þ us i n Arthur us day þis au n t er bitidde,

Þe Brut us boke es þ er -of beres wyttenesse;

Syþ en Brut us , þe bolde burne, bo3ed hider fyrst,

Aft er þe segge & þe asaute wat3 sesed at Troye,

Mony au n t er e3 here bi-forne,

Haf fallen suche er þis:

Now þat bere þe crou n of þorne,

He bry n g v us to his blysse! AMEN.

SYR GAWAYN AND THE GRENE KNYȜT.

Siþen þe sege & þe assaut watȝ sesed at Troye,

Þe borȝ brittened & brent to brondeȝ & askeȝ,

Þe tulk þat þe tra m mes of tresou n þ er wroȝt,

Watȝ tried for his tricherie, þe trewest on erthe;

Hit watȝ Ennias þe athel, & his high e kynde,

Welneȝe of al þe wele i n þe west iles,

W i t h gret bobbau n ce þat burȝe he biges vpon fyrst,

On mony bonkkes ful brode Bretayn he setteȝ,

Bi syþeȝ hatȝ wont þ er -i n ne,

Ful skete hatȝ skyfted sy n ne.

Ande quen þis Bretayn watȝ bigged bi þis burn rych,

In mony turned tyme tene þat wroȝten;

Ay watȝ Arthur þe hendest; as I haf herde telle;

Þat a selly in siȝt su m me men hit holden,

& an outtrage awenture of Arthureȝ wond er eȝ;

If ȝe wyl lysten þis laye bot on littel quile,

I n londe so hatȝ ben longe.

W i t h mony luflych lorde, ledeȝ of þe best,

W i t h rych reuel oryȝt, & rechles m er þes;

Þ er to ur nayed tulkes bi-tymeȝ ful mony,

Iusted ful Iolilé þise gentyle kniȝtes,

For þer þe fest watȝ ilyche ful fiften dayes,

Dere dyn vp-on day, dau n sy n g on nyȝtes,

Al watȝ hap vpon heȝe i n halleȝ & chambreȝ,

With lordeȝ & ladies, as leuest hi m þoȝt;

Þe most kyd knyȝteȝ vnder kryst e seluen,

For al watȝ þis fayre folk i n her first age,

Ky n g hyȝest mo n of wylle,

Wyle nw ȝer watȝ so ȝep þat h i t watȝ nwe cu m men,

Þat day doubble on þe dece watȝ þe douth serued,

Fro þe ky n g watȝ cu m men w i t h knyȝt es i n to þe halle,

Loude crye watȝ þer kest of clerkeȝ & oþer,

Ȝeȝed ȝeres ȝiftes on hiȝ, ȝelde hem bi hond,

Ladies laȝed ful loude, þoȝ þay lost haden,

& he þat wan watȝ not wrothe, þ a t may ȝe wel trawe.

Þat myȝt be preued of prys wyth penyes to bye,

Þer glent w i t h yȝen gray,

A semloker þat eu er he syȝe,

Soth moȝt no mon say.

He watȝ so Ioly of his Ioyfnes, & su m -quat child gered,

His lif liked hy m lyȝt, he louied þe lasse

So bi-sied him his ȝonge blod & his brayn wylde;

Þat he þurȝ nobelay had nomen, ho wolde neu er ete

Of su m mayn m er uayle, þat he myȝt trawe,

Oþ er sum segg hy m bi-soȝt of su m siker knyȝt,

Þis watȝ [þe] ky n ges cou n tenau n ce where he i n co ur t were,

He stiȝtleȝ stif in stalle,

Ful ȝep i n þat nw ȝere,

Talkkande bifore þe hyȝe table of trifles ful hende

There gode Gawan watȝ g ra yþed, Gwenore bisyde

Boþe þe ky n ges sist er su n es, & ful siker kniȝtes;

Bischop Bawdewyn abof bi-gineȝ þe table,

Þise were diȝt on þe des, & derworþly serued,

& siþen mony siker segge at þe sidbordeȝ.

Wyth mony baner ful bryȝt, þat þer-bi henged,

Wylde werbles & wyȝt wakned lote,

Þat mony hert ful hiȝe hef at her towches;

Good ber, & bryȝt wyn boþe.

For veh wyȝe may wel wit no wont þat þ er were;

An oþ er noyse ful newe neȝed biliue,

Þat þe lude myȝt haf leue lif-lode to cach.

For vneþe watȝ þe noyce not a whyle sesed,

& þat þe myriest i n his muckel þat myȝt ride;

& alle his fetures folȝande, i n forme þat he hade,

A strayt cote ful streȝt, þat stek on his sides,

W i t h blyþe blau n n er ful bryȝt, & his hod boþe,

Þat watȝ laȝt fro his lokkeȝ, & layde on his schulderes

Of bryȝt golde, vpon silk bordes, barred ful ryche

& alle his vesture uerayly watȝ clene v er dure,

Aboutte hy m -self & his sadel, vpon silk werkeȝ,

Þat were enbrauded abof, wyth bryddes & flyȝes,

& his arsou n ȝ al after, & his aþel sturtes,

To þe gome he watȝ ful gayn.

Wel gay watȝ þis gome gered i n grene,

Þat wyth his hiȝlich here, þat of his hed reches,

Watȝ euesed al vmbe-torne, a-bof his elbowes,

Of a ky n geȝ capados, þat closes his swyre.

& bou n den boþe wyth a bande of a bryȝt grene,

Dubbed wyth ful dere stoneȝ, as þe dok lasted,

Þer mony belleȝ ful bryȝt of brende golde rungen.

Watȝ neu er sene i n þat sale wyth syȝt er þat tyme,

w i t h yȝe;

He loked as layt so lyȝt,

So sayd al þat hy m syȝe,

Hit semed as no mon myȝt,

Vnd er his dyntteȝ dryȝe.

Þat is grattest i n grene, when greueȝ ar bare,

A spetos sparþe to expou n i n spelle quo-so myȝt;

Þe hede of an elnȝerde þe large lenkþe hade,

Þe bit burnyst bryȝt, w i t h a brod egge,

Þat watȝ wou n den wyth yrn to þe wandeȝ ende,

Wyth tryed tasseleȝ þerto tacched i n -noghe,

On botou n ȝ of þe bryȝt grene brayden ful ryche.

Þis haþel heldeȝ hy m i n , & þe halle entres,

Driuande to þe heȝe dece, dut he no woþe,

Haylsed he neu er one, bot heȝe he ou er loked.

Se þat segg i n syȝt, & w i t h hy m self speke

To knyȝteȝ he kest his yȝe,

Ther watȝ loky n g on lenþe, þe lude to be-holde,

For vch mo n had meruayle quat hit mene myȝt,

Þat a haþel & a horse myȝt such a hwe lach,

Þen grene aumayl on golde lowande bryȝte r ;

For fele sellyeȝ had þay sen, bot such neu er are,

For-þi for fantou m & fayryȝe þe folk þere hit demed;

Þer-fore to answare watȝ arȝe mony aþel freke,

In a swogh e sylence þurȝ þe sale riche

As al were slypped vpon slepe so slaked hor loteȝ

i n hyȝe;

Cast vnto þat wyȝe.

Þe n n Arþo ur bifore þe hiȝ dece þat auenture byholdeȝ,

& sayde, "wyȝe, welcu m iwys to þis place,

Liȝt luflych adou n , & lenge, I þe praye,

"Nay, as help me," q uod þe haþel, "he þat on hyȝe syttes,

To wone any quyle i n þis won, hit watȝ not my n ernde;

Bot for þe los of þe lede is lyft vp so hyȝe,

& þy burȝ & þy burnes best ar holden,

Þe wyȝtest & þe worþyest of þe worldes kynde,

Preue for to play wyth in oþ er pure laykeȝ;

& þat hatȝ wayned me hider, I-wyis, at þis tyme.

Ȝe may be seker bi þis brau n ch þat I bere here,

Þat I passe as i n pes, & no plyȝt seche;

For had I fou n ded i n fere, i n feȝty n g wyse,

A schelde, & a scharp spere, schinande bryȝt,

Bot for I wolde no were, my wedeȝ ar soft er .

Bot if þ o u be so bold as alle burneȝ tellen,

bi ryȝt."

& sayd, "s ir cortays knyȝt,

Here fayleȝ þ o u not to fyȝt."

"Nay, frayst I no fyȝt, i n fayth I þe telle,

Hit arn aboute on þis bench bot berdleȝ chylder;

If I were hasped i n armes on a heȝe stede,

Here is no mon me to mach, for myȝteȝ so 1 wayke.

For hit is ȝol & nwe ȝer, & here ar ȝep mony;

If any so hardy i n þis ho us holdeȝ hy m -seluen,

Lepe lyȝtly me to, & lach þis weppen,

Elleȝ þ o u wyl diȝt me þe dom to dele hy m an oþ er ,

& ȝet gif hy m respite,

Now hyȝe, & let se tite

Dar any her-i n ne oȝt say."

Alle þe hered-men i n halle, þe hyȝ & þe loȝe;

& runisch-ly his rede yȝen he reled aboute,

Bende his bresed broȝeȝ, bly-cande grene,

When non wolde kepe hy m w i t h carp he coȝed ful hyȝe,

Ande rimed hy m ful richl e y, & ryȝt hy m to speke:

"Þat al þe ro us re n nes of, þurȝ ryalmes so mony?

Ou er -walt wyth a worde of on wyȝes speche;

Wyth þis he laȝes so loude, þat þe lorde greued;

& as þ o u foly hatȝ frayst, fynde þe be-houes;

Gif me now þy geserne, vpon godeȝ halue,

Lyȝtly lepeȝ he hy m to, & laȝt at his honde;

Þen feersly þat oþ er freke vpon fote lyȝtis.

Now hatȝ Arthure his axe, & þe halme grypeȝ,

& sturnely stureȝ hit aboute, þat stryke wyth hit þoȝt.

Þe stif mon hy m bifore stod vpon hyȝt,

& wyth a cou n tenau n ce dryȝe he droȝ dou n his cote,

No more mate ne dismayd for hys may n dinteȝ,

Þen any burne vpon bench hade broȝt hy m to drynk

"I be-seche now w i t h saȝeȝ sene,

"Wolde ȝe, worþilych lorde," q uod Gawan to þe ky n g,

"Bid me boȝe fro þis benche, & stonde by yow þere,

Þat I wyth-oute vylanye myȝt voyde þis table,

Þer such an asky n g is heuened so hyȝe i n yo ur sale,

Þaȝȝe ȝo ur -self be talenttyf to take hit to yo ur -seluen,

Þat vnder heuen, I hope, non haȝer er of wylle,

Bot for as much as ȝe ar myn em, I am only to prayse,

& syþen þis note is so nys, þ a t noȝt hit yow falles,

& I haue frayned hit at yow fyrst, foldeȝ hit to me,

Þen comau n ded þe ky n g þe knyȝt for to ryse;

Kneled dou n bifore þe ky n g, & cacheȝ þat weppen;

& gef hy m goddeȝ blessy n g, & gladly hy m biddes

& if þou redeȝ hy m ryȝt, redly I trowe,

Gawan gotȝ to þe gome, w i t h giserne i n honde,

& he baldly hy m bydeȝ, he bayst neu er þe helder

Þen carppeȝ to s ir Gawan þe knyȝt i n þe grene,

"In god fayth," q uod þe goode knyȝt, "Gawan I hatte,

Þat bede þe þis buffet, quat-so bi-falleȝ aft er ,

Wyth what weppen so 1 þ o u wylt, & wyth no wyȝ elleȝ,

Þat oþ er on-swareȝ agayn,

"Bigog," q uod þe grene knyȝt, "s ir Gawan, melykes,

& þ o u hatȝ redily rehersed, bi resou n ful trwe,

I wot neu er where þ o u wonyes, bi hy m þat me wroȝt,

Ne I know not þe, knyȝt, þy cort, ne þi name.

"Þat is in-nogh in nwe ȝer, hit nedes no more,"

"ȝif I þe telle trwly, quen I þe tape haue,

& þ o u me smoþely hatȝ smyten, smartly I þe teche

Þen may þ o u frayst my fare, & forwardeȝ holde,

& if I spende no speche, þe n ne spedeȝ þ o u þe bett er ,

& let se how þ o u cnokeȝ."

The grene knyȝt vpon grou n de grayþely hy m dresses,

A littel lut w i t h þe hede, þe lere he discou er eȝ,

His longe louelych lokkeȝ he layd ou er his crou n .

Gauan gripped to his ax, & gederes hit on hyȝt,

Let hit dou n lyȝtly lyȝt on þe naked,

& schra n k þurȝ þe schyire grece, & scade hit i n twy n ne,

& ru[n]yschly he raȝt out, þere as renkkeȝ stoden,

Laȝt to his lufly hed, & lyft hit vp sone;

& syþen boȝeȝ to his blonk, þe brydel he cachcheȝ,

Steppeȝ i n to stel bawe & strydeȝ alofte,

& his hede by þe here i n his honde haldeȝ;

As non vnhap had hy m ayled, þaȝ hedleȝ he 1 we[re],

Bi þat his resou n ȝ were redde.

For þe hede in his honde he haldeȝ vp euen,

To-ward þe derrest on þe dece he dresseȝ þe face,

& hit lyfte vp þe yȝe-lyddeȝ, & loked ful brode,

& meled þ us much w i t h his muthe, as ȝe may now here.

"Loke, Gawan, þ o u be grayþe to go as þ o u hetteȝ,

As þ o u hatȝ hette i n þis halle, herande þise knyȝtes;

Such a dunt as þ o u hatȝ dalt disserued þ o u habbeȝ,

To be ȝederly ȝolden on nw ȝeres morn;

Þe knyȝt of þe grene chapel men knowen me mony;

For-þi me forto fynde if þ o u fraysteȝ, fayleȝ þ o u neu er ,

With a runisch rout þe rayneȝ he torneȝ,

Þat þe fyr of þe flynt flaȝe fro fole houes.

Neu er more þen þay wyste fram queþen he watȝ wo n nen;

At þat grene þay laȝe & gre n ne,

ȝet breued watȝ hit ful bare,

Þaȝ Arþ er þe hende ky n g at hert hade wonder,

He let no semblau n t be sene, bot sayde ful hyȝe

Layky n g of ent er ludeȝ, to laȝe & to syng.

Amo n g þise, kynde caroles of knyȝteȝ & ladyeȝ;

"Now s ir , heng vp þyn ax, þat hatȝ i n -nogh hewen."

& hit watȝ don abof þe dece, on doser to henge,

Þer alle men for m er uayl myȝt on hit loke,

Þe n ne þay boȝed to a borde þise burnes to-geder,

Þe ky n g & þe gode knyȝt, & kene me n he m serued

Of alle dayntyeȝ double, as derrest myȝt falle,

Þat þ o u hatȝ tan on honde.

This hansell e hatȝ Arthur of auenturus on fyrst,

In ȝonge ȝer, for he ȝerned ȝelpy n g to here,

Thaȝ hym wordeȝ were wane, when þay to sete wenten;

Gawan watȝ glad to be-gy n ne þose gomneȝ i n halle,

Bot þaȝ þe ende be heuy, haf ȝe no wonder;

For þaȝ men be n mery in my n de, quen þay han mayn drynk,

A ȝere ȝernes ful ȝerne, & ȝeldeȝ neu er lyke,

Þe forme to þe fynisment foldeȝ ful selden.

For-þi þis ȝol ou er -ȝede, & þe ȝere aft er ,

Þat fraysteȝ flesch wyth þe fysche & fode more symple

Bot þe n ne þe weder of þe worlde wyth wynter hit þrepeȝ,

Colde clengeȝ adou n , cloudeȝ vp-lyften,

Schyre schedeȝ þe rayn i n schowreȝ ful warme,

Falleȝ vpon fayre flat, flowreȝ þere schewen,

Boþe grou n deȝ & þe greueȝ grene ar her wedeȝ,

Bryddeȝ busken to bylde, & bremlych sy n gen,

& blossu m eȝ bolne to blowe,

Bi raweȝ rych & ronk,

Þe n noteȝ noble i n -noȝe,

After þe sesou n of som er wyth þe soft wyndeȝ,

Quen ȝefer us syfleȝ hy m -self on sedeȝ & erbeȝ,

When þe donkande dewe dropeȝ of þe leueȝ,

To bide a blysful blusch of þe bryȝt su n ne.

Bot þe n hyȝes heruest, & hardenes hy m sone.

Warneȝ hy m for þe wynter to wax ful rype;

He dryues wyth droȝt þe dust for to ryse.

Fro þe face of þe folde to flyȝe ful hyȝe;

Wroþe wynde of þe welkyn wrasteleȝ w i t h þe su n ne,

Þe leueȝ lancen fro þe lynde, & lyȝten on þe grou n de,

& al grayes þe gres, þat grene watȝ ere;

Þe n ne al rypeȝ & roteȝ þat ros vpon fyrst,

& þ us ȝirneȝ þe ȝere i n ȝisterdayeȝ mony,

& wynter wyndeȝ aȝayn, as þe worlde askeȝ

Til meȝel-mas mone,

Watȝ cu m en wyth wynter wage;

Þen þenkkeȝ Gawan ful sone,

Ȝet quyl al-hal-day w i t h Arþ er he lenges,

& he made a fare on þ a t fest, for þe frekeȝ sake,

Knyȝteȝ ful cortays & comlych ladies,

Mony ioyleȝ for þat ientyle iapeȝ þer maden.

For aftter mete, w i t h mo ur ny n g he meleȝ to his eme,

& spekeȝ of his passage, & pertly he sayde,

ȝe knowe þe cost of þis cace, kepe I no more

To telle yow teneȝ þer-of neu er bot t r ifel;

Þe n ne þe best of þe burȝ boȝed to-geder,

For to cou n seyl þe knyȝt, with care at her hert;

Þere watȝ much derue 1 doel driuen i n þe sale,

To dryȝe a delful dynt, & dele no more

Þe knyȝt mad ay god chere,

He dowelleȝ þer al þat day, and dresseȝ on þe morn,

Askeȝ erly hys armeȝ, & alle were þay broȝt

Fyrst a tule tapit, tyȝt ou er þe flet,

& miche watȝ þe gyld gere þat glent þer alofte;

Þe stif mon steppeȝ þeron, & þe stel hondoleȝ,

Þat wyth a bryȝt blau n ner was bou n den w i t h -i n ne;

Þe n ne set þay þe sabatou n ȝ vpon þe segge foteȝ,

His legeȝ lapped i n stel w i t h luflych greueȝ,

W i t h polayneȝ piched þer-to, policed ful clene,

Aboute his kneȝ knaged wyth knoteȝ of golde;

His thik þrawen þyȝeȝ w i t h þwonges to-tachched;

& syþen þe brawden bryne of bryȝt stel ry n geȝ,

Vmbe-weued þat wyȝ, vpon wlonk stuffe;

W i t h gode cowters & gay, & gloueȝ of plate,

His gold sporeȝ spend w i t h pryde,

When he watȝ hasped i n armes, his harnays watȝ ryche,

So harnayst as he watȝ he herkneȝ his masse,

Offred & hono ur ed at þe heȝe auter;

Syþen he comeȝ to þe ky n g & to his cort fereȝ,

Lacheȝ lufly his leue at lordeȝ & ladyeȝ;

Bi þat watȝ Gryngolet grayth, & gurde w i t h a sadel,

Þe brydel barred aboute, w i t h bryȝt golde bou n den;

Þe apparayl of þe payttrure, & of þe proude skyrteȝ,

Þe cropore, & þe couertor, acorded wyth þe arsou n eȝ;

& al watȝ rayled on red ryche golde nayleȝ,

Þat watȝ stapled stifly, & stoffed wyth-i n ne:

Hit watȝ hyȝe on his hede, hasped bihynde,

Wyth a lyȝtli vrysou n ou er þe auentayle,

Enbrawden & bou n den wyth þe best ge m meȝ,

On brode sylkyn borde, & bryddeȝ on semeȝ,

As papiayeȝ paynted perny n g bitwene,

Tortors & trulofeȝ entayled so þyk,

Þe cercle watȝ more o prys,

Of diamau n teȝ a deuys,

Þat boþe were bryȝt & brou n .

Then þay schewed hy m þe schelde, þat was of schyr gouleȝ,

Wyth þe pentangel de-paynt of pure golde hweȝ;

He braydeȝ hit by þe baude-ryk, aboute þe hals kest es ,

& quy þe pentangel apendeȝ to þat prynce noble,

I n bytokny n g of trawþe, bi tytle þat hit habbeȝ,

For hit is a figure þat haldeȝ fyue poynteȝ,

& vche lyne vmbe-lappeȝ & loukeȝ i n oþer,

& ay quere hit is endeleȝ, 1 & Englych hit callen

For-þy hit acordeȝ to þis knyȝt, & to his cler armeȝ,

For ay faythful i n fyue & sere fyue syþeȝ,

Gawan watȝ for gode knawen, & as golde pured,

Voyded of vche vylany, wyth vertueȝ 2 e n no ur ned

& gentylest knyȝt of lote.

1 MS emdeleȝ. 2 MS v er ertueȝ

Fyrst he watȝ funden fautleȝ i n his fyue wytteȝ,

& alle his afyau n ce vpon folde watȝ i n þe fyue wou n deȝ

Þat Cryst kaȝt on þe croys, as þe crede telleȝ;

& quere-so-eu er þys mon i n melly watȝ stad,

His þro þoȝt watȝ i n þat, þurȝ alle oþ er þy n geȝ,

Þat alle his forsnes he fong at þe fyue ioyeȝ,

At þis cause þe knyȝt comlyche hade

Watȝ frau n chyse, & felaȝschyp for-be 2 al þy n g;

& pite, þat passeȝ alle poynteȝ, þyse pure fyue

Now alle þese fyue syþeȝ, forsoþe, were fetled on þis knyȝt,

& fyched vpon fyue poynteȝ, þat fayld neu er ,

Þer-fore on his schene schelde schapen watȝ þe knot,

Þus alle wyth red golde vpon rede gowleȝ,

& laȝt his lau n ce ryȝt þore,

He sperred þe sted w i t h þe spureȝ, & sprong on his way,

Al þat seȝ þat semly syked i n hert,

Warloker to haf wroȝt had more wyt bene,

& haf dyȝt ȝonder dere a duk to haue worþed;

A lowande leder of ledeȝ i n londe hy m wel semeȝ,

& so had bett er haf ben þe n britned to noȝt,

Hadet wyth an aluisch mon, for angardeȝ pryde.

As knyȝteȝ i n cauelou n ȝ on cryst-masse gomneȝ!"

Wel much watȝ þe warme water þ a t walt er ed of yȝen,

When þat semly syre soȝt fro þo woneȝ

Bot wyȝtly went hys way,

Now rideȝ þis renk þurȝ þe ryalme of Logres,

S ir Gauan on Godeȝ halue, þaȝ hy m no gomen þoȝt;

Oft, leudleȝ alone, he lengeȝ on nyȝteȝ,

Þer he fonde noȝt hy m byfore þe fare þat he lyked;

Hade he no fere bot his fole, bi frytheȝ & dou n eȝ,

Til þat he neȝed ful nogh e 1 i n to þe Norþe Waleȝ;

Alle þe iles of Anglesay on lyft half he haldeȝ,

& fareȝ ou er þe fordeȝ by þe for-londeȝ,

& ay he frayned, as he ferde, at frekeȝ þat he met,

If þay hade herde any karp of a knyȝt grene,

Þay seȝe neu er no segge þat watȝ of suche hweȝ

Þe knyȝt tok gates straunge,

Þat chapel er he myȝt sene.

Mony klyf he ou er -clambe i n contrayeȝ strau n ge,

Fer floten fro his frendeȝ fremedly he rydeȝ;

At vche warþe oþer wat er þer þe wyȝe passed,

& þat so foule & so felle, þat feȝt hy m by-hode;

So mony m er uayl hi mou n t þ er þe mon fyndeȝ,

Sumwhyle wyth wormeȝ he werreȝ, & w i t h wolues als,

Su m whyle wyth wodwos, þat woned i n þe knarreȝ,

Boþe wyth bulleȝ & bereȝ, & boreȝ oþ er -quyle,

& etayneȝ, þat hy m a-nelede, of þe heȝe felle;

Nade he ben duȝty & dryȝe, & dryȝtyn had serued,

When þe colde cler wat er fro þe cloudeȝ schadden,

& fres er hit falle myȝt to þe fale erþe;

Mo nyȝteȝ þe n i n -noghe i n naked rokkeȝ,

Þ er as clat er ande fro þe crest þe colde borne re n neȝ,

& henged heȝe ou er his hede i n hard ÿsse-ikkles.

Bi contray caryeȝ þis knyȝt, tyl kryst-masse euen,

Þe knyȝt wel þat tyde,

Into a forest ful dep, þat ferly watȝ wylde,

Hiȝe hilleȝ on vche a halue, & holt wodeȝ vnder,

Of hore okeȝ fill hoge a hundreth to-geder;

Þe hasel & þe haȝ-þorne were harled al samen,

W i t h roȝe raged mosse rayled ay-where,

With mony bryddeȝ vnblyþe vpon bare twyges,

Þe gome vpon Gryngolet glydeȝ hem vnder,

Þurȝ mony misy & myre, mo n al hy m one,

To se þe seruy 1 of þat syre, þat on þat self nyȝt

Of a burde watȝ borne, oure baret to quelle;

Of su m herber, þer heȝly I myȝt here masse.

Ande þy matyneȝ to-morne, mekely I ask,

Er he watȝ war i n þe wod of a won i n a mote.

Abof a lau n de, on a lawe, loken vnder boȝeȝ,

A castel þe comlokest þat eu er knyȝt aȝte,

Þat vmbe-teȝe mony tre mo þe n two myle.

As hit schemered & schon þurȝ þe schyre okeȝ;

Þe n ne hatȝ he hendly of his helme, & heȝly he þonkeȝ

"Now bone hostel," coþe þe burne, "I be-seche yow ȝette!"

Þe n ne gedereȝ he to Gryngolet w i t h þe gilt heleȝ,

& he ful chau n cely hatȝ chosen to þe chef gate,

Þat broȝt bremly þe burne to þe bryge ende,

Þe bryge watȝ breme vp-brayde,

Þe ȝateȝ wer stoken faste,

Þe walleȝ were wel arayed,

Hit dut no wyndeȝ blaste.

Ande eft a ful huge heȝt hit haled vpon lofte,

Of harde hewen ston vp to þe tableȝ,

& syþen garyteȝ ful gaye gered bi-twene,

& i n nermore he be-helde þat halle ful hyȝe,

Fayre fylyoleȝ þat fyȝed, & ferlyly long,

With coruon coprou n es, craftyly sleȝe;

Chalk whyt chymnees þer ches he i n -noȝe,

Vpon bastel roueȝ, þat blenked ful quyte;

So mony pynakle payntet watȝ poudred ay quere,

Amo n g þe castel carneleȝ, clambred so þik,

Þe fre freke on þe fole hit fayr i n -n[o]ghe þoȝt,

If he myȝt keu er to com þe cloyst e r wyth-i n ne,

& haylsed þe knyȝt errau n t.

"Gode s ir ," q uod Gawan, "woldeȝ þ o u go my n ernde,

To þe heȝ lorde of þis ho us , herber to craue?"

"ȝe, Pet er ," q uod þe port er , "& purely I trowe, 1

Þat ȝe be, wyȝe, welcu m to won quyle yow lykeȝ."

Þe n ȝede þ a t wyȝe aȝayn awyþe,

& folke frely hy m wyth, to fonge þe knyȝt;

Þay let dou n þe grete draȝt, & derely out ȝeden,

To welcu m þis ilk wyȝ, as worþy hom þoȝt;

Þay ȝolden hy m þe brode ȝate, ȝarked vp wyde,

Sere seggeȝ hy m sesed by sadel, quel 2 he lyȝt,

& syþen stabeled his stede stif me n i n -noȝe.

Knyȝteȝ & swyereȝ comen dou n þe n ne,

Quen he hef vp his helme, þer hiȝed i n -nogh e

Þe n haylsed he ful hendly þo haþeleȝ vch one,

Alle hasped i n his heȝ wede to halle þay hy m wo n nen,

Þe n ne þe lorde of þe lede louteȝ fro his chambre,

He sayde, "ȝe ar welcu m to welde as yow lykeȝ,

"Þer Kryst hit yow for-ȝelde,"

As frekeȝ þat semed fayn,

Ayþ er oþ er i n armeȝ co n felde.

Gawayn glyȝt on þe gome þat godly hy m gret,

& þuȝt hit a bolde burne þat þe burȝ aȝte,

A hoge haþel for þe noneȝ, & of hygh e elde; 1

Brode bryȝt watȝ his berde, & al beu er hwed,

Sturne stif on þe stryþþe on stal-worth schonkeȝ,

& wel hy m semed for soþe, as þe segge þuȝt,

To lede a lortschyp i n lee of leudeȝ ful gode.

Þe lorde hy m charred to a chambre, & chefly cu m au n deȝ 2

To delyu er hym a leude, hym loȝly to serue;

& þere were bou n at his bode burneȝ i n -noȝe,

Þat broȝt hy m to a bryȝt boure, þ er beddy n g watȝ noble,

Of cortynes of clene sylk, wyth cler golde he m meȝ,

& cou er toreȝ ful curious, w i t h comlych paneȝ,

Of bryȝt blaunni er a-boue enbrawded bisydeȝ,

Rudeleȝ re n nande on ropeȝ, red golde ry n geȝ,

Tapyteȝ tyȝt to þe woȝe, of tuly & tars,

& vnder fete, on þe flet, of folȝande sute.

Þer he watȝ dispoyled, wyth specheȝ of my er þe,

Þe burn of his bruny, & of his bryȝt wedeȝ;

Ryche robes ful rad renkkeȝ hem 3 broȝten,

Þat sete on hym 4 semly, wyth saylande skyrteȝ,

Wel neȝ to vche haþel alle on hwes,

Lowande & lufly, alle his ly m meȝ vnder,

Þat a comloker knyȝt neue r Kryst made,

hem þoȝt;

Hit semed as he myȝt

I n felde þ er felle me n fyȝt.

Watȝ grayþed for s ir Gawan, grayþely w i t h cloþeȝ,

& þe n ne a mere mantyle watȝ on þat mon cast,

& fayre furred wyth-i n ne w i t h felleȝ of þe best,

Sone watȝ telded vp a tapit, on tresteȝ ful fayre,

Sanap, & salure, & syluer-i n sponeȝ;

Þe wyȝe wesche at his wylle, & went to his mete

Seggeȝ hym serued semly i n -noȝe,

Double felde, as hit falleȝ, & fele kyn fischeȝ;

Su m me baken i n bred, su m me brad on þe gledeȝ,

& ay sawes 3 so sleȝeȝ, þat þe segge lyked.

Ful hendely, quen alle þe haþeles re-hayted hy m at oneȝ

"Þis penau n ce now ȝe take,

Þe n ne watȝ spyed & spured vpon spare wyse.

Bi preue poynteȝ of þat prynce, put to hy m -seluen,

Þat aþel Arthure þe hende haldeȝ hy m one,

& hit watȝ Wawen hy m -self þat i n þat won sytteȝ,

Loude laȝed he þ er at, so lef hit hy m þoȝt,

"Now schal we semlych se sleȝteȝ of þeweȝ,

God hatȝ geuen v us his g ra ce godly for soþe,

Þat such a gest as Gawan grau n teȝ v us to haue,

When burneȝ blyþe of his burþe schal sitte

I n meny n g of man er eȝ mere,

Bi þat þe diner watȝ done, & þe dere vp,

Hit watȝ neȝ at þe niyȝt neȝed þe tyme;

Chaplayneȝ 1 to þe chapeles chosen þe gate,

Ru n gen ful rychely, ryȝt as þay schulden,

To þe hersu m euensong of þe hyȝe tyde.

I n -to a comly closet coyntly ho entreȝ;

Gawan glydeȝ ful gay, & gos þeder sone;

Þe lorde laches hy m by þe lappe, & ledeȝ hy m to sytte,

& couþly hy m knoweȝ, & calleȝ hy m his nome,

& sayde he watȝ þe welcomest wyȝe of þe worlde;

Þe n ne lyst þe lady to loke on þe knyȝt.

Þe n ne com ho of hir closet, w i t h mony cler burdeȝ,

Ho watȝ þe fayrest i n felle, of flesche & of lyre,

& wener þen Wenore, as þe wyȝe þoȝt.

He ches þurȝ þe chau n sel, to cheryche þat hende;

Þat watȝ alder þen ho, an au n cian hit semed,

& heȝly honowred w i t h haþeleȝ aboute.

For if þe ȝonge watȝ ȝep, ȝolȝe watȝ þ a t oþ er ;

Rugh ronkled chekeȝ þat oþ er on rolled;

Kerchofes of þat on wyth mony cler perleȝ

Hir brest & hir bryȝt þrote bare displayed,

Schon schyrer þe n snawe, þat scheder 2 on hilleȝ;

Þat oþ er wyth a gorger watȝ gered ou er þe swyre,

Toret & treieted w i t h tryfleȝ aboute,

Þat noȝt watȝ bare of þat burde bot þe blake broȝes.

Þe tweyne yȝen, & þe nase, þe naked lyppeȝ,

Hir body watȝ schort & þik.

Hir buttokeȝ bay & brode,

Watȝ þat scho hade on lode.

1 MS. [claplayneȝ.] 2 schedes (?).

When Gawayn glyȝt on þ a t gay, þ a t g ra cio us ly loked,

Wyth leue laȝt of þe lorde he went hem aȝaynes;

Þe loueloker he lappeȝ a lyttel i n armeȝ,

He kysses hir comlyly, & knyȝtly he meleȝ;

Þay kallen hy m of a quoy n tau n ce, & he hit quyk askeȝ

Spyceȝ, þat vn-sparely me n speded hom to bry n g,

Þe lorde luflych aloft lepeȝ ful ofte,

My n ned m er the to be made vpon mony syþeȝ.

Hent heȝly of his hode, & on a spere henged,

Þat most myrþe myȝt mene 1 þ a t crystenmas whyle;

Er me wont þe wedeȝ, w i t h help of my frendeȝ."

Þ us wyth laȝande loteȝ þe lorde hit tayt 2 makeȝ,

For to glade s ir Gawayn w i t h gomneȝ i n halle

þ a t nyȝt;

Til þat hit watȝ tyme,

Þe ky n g comau n det lyȝt,

& to his bed hy m diȝt.

On þe morne, as vch mon myneȝ þat tyme,

[Þ]at dryȝtyn for oure destyné to deȝe watȝ borne,

Wele waxeȝ i n vche a won i n worlde, for his sake;

So did hit þere on þat day, þurȝ dayntes mony;

Þe olde au n cian wyf heȝest ho sytteȝ;

Euen i n -myddeȝ, as þe messe metely come;

& syþen þurȝ al þe sale, as hem best semed,

Bi vche grome at his degre g ray þely watȝ serued.

Þ er watȝ mete, þer watȝ myrþe, þ er watȝ much ioye,

& to poynte hit ȝet I pyned me p ar aue n ture;

Bot ȝet I wot þat Wawen & þe wale burde

Such comfort of her compaynye caȝten to-geder,

Þurȝ her dere dalyau n ce of her derne wordeȝ,

& hor play watȝ passande vche prynce gomen,

Tru m peȝ & nakerys,

Much dut watȝ þer dryuen þat day & þat oþ er ,

Þe ioye of sayn Ioneȝ day watȝ gentyle to here,

& watȝ þe last of þe layk, leudeȝ þer þoȝten.

Dau n sed ful dreȝly wyth dere caroleȝ;

At þe last, when hit watȝ late, þay lachen her leue,

Vchon to wende on his way, þat watȝ wyȝe stronge.

Gawan gef hy m god-day, þe god mo n hy m lachcheȝ,

& þere he draȝeȝ hy m on-dryȝe, & derely hy m þonkkeȝ,

As to hono ur his ho us on þat hyȝe tyde,

& enbelyse his burȝ w i t h his bele chere.

"I-wysse s ir , quyl I leue, me worþeȝ þe better,

Þat Gawayn hatȝ ben my gest, at Goddeȝ awen fest."

"G ra nt merci 2 s ir ," q uod Gawayn, "i n god fayth hit is yowreȝ,

Al þe hono ur is yo ur awen, þe heȝe ky n g yow ȝelde;

& I am wyȝe at yo ur wylle, to worch yo ur e hest,

As I am halden þ er -to, i n hyȝe & i n loȝe,

bi riȝt."

To holde lenger þe knyȝt,

To hy m answreȝ Gawayn,

Bi non way þat he myȝt.

So kenly fro þe ky n geȝ kourt to kayre al his one,

Er þe halidayeȝ holly were halet out of tou n ?

"For soþe s ir ," q uod þe segge, "ȝe sayn bot þe trawþe

A heȝe ernde & a hasty me hade fro þo woneȝ,

I nolde, bot if I hit negh myȝt on nwȝeres morne,

Þat ȝe me telle w i t h trawþe, if eu er ȝe tale herde

Of þe grene chapel, quere hit on grou n de stondeȝ,

& of þe knyȝt þat hit kepes, of colo ur of grene?

Þ er watȝ stabled bi statut a steuen v us by-twene,

To mete þat mon at þ a t mere, ȝif I myȝt last;

& of þat ilk nwȝere hot neked now wonteȝ,

Gladloker, bi Goddeȝ su n , þe n any god welde!

For-þi, I-wysse, bi ȝowre wylle, wende me bi-houes,

Naf I now to busy bot bare þre dayeȝ,

Þe n ne laȝande q uod þe lorde, "now leng þe by-houes,

For I schal teche yow to þa[t] terme bi þe tymeȝ ende,

Bot ȝe schal be i n yowre bed, burne, at þy n ese,

Quyle forth dayej, & ferk on pe fyrst of pe ȝere,

& cum to þat merk at mydmorn, to make quat yow likeȝ

Dowelleȝ whyle new ȝeres daye,

& rys, & raykeȝ þe n ne,

Þe n ne watȝ Gawan ful glad, & gomenly he laȝed,—

"Now I þonk yow þryuandely þurȝ alle oþ er þy n ge,

Dowelle, & elleȝ do quat ȝe demen."

Let þe ladieȝ be fette, to lyke he m þe bett er ;

Þer watȝ seme solace by hem-self stille;

Þe lorde let for luf loteȝ so myry,

As wyȝ þat wolde of his wyte, ne wyst quat he myȝt.

Þe n ne he carped to þe knyȝt, criande loude,

"Ȝe han demed to do þe dede þat I bidde;

Wyl ȝe halde þis hes here at þys oneȝ?"

"Ȝe s ir , for-soþe," sayd þe segge trwe,

"Whyl I byde i n yowre borȝe, be bayn to ȝow[r]e hest."

"For ȝe haf trauayled," q uod þe tulk, "towen fro ferre,

& syþen waked me wyth, ȝe arn not wel waryst,

Ȝe schal lenge i n yo ur lofte, & lyȝe i n yo ur ese,

When ȝe wyl, wyth my wyf, þat wyth yow schal sitte,

ȝe lende;

Gauayn g ra nteȝ alle þyse,

"Ȝet firre," q uod þe freke, "a forwarde we make;

Quat-so-euer I wy n ne i n þe wod, hit worþeȝ to yo ur eȝ,

& quat chek so ȝe acheue, chau n ge me þer-forne;

"Who bri n geȝ v us þis beu er age, þis bargayn is maked:"

So sayde þe lorde of þat lede; þay laȝed vchone,

Þay dronken, & daylyeden, & dalten vntyȝtel, 1

Þise lordeȝ & ladyeȝ, quyle þat hem lyked;

& syþen w i t h frenkysch fare & fele fayre loteȝ

Kysten ful comlyly, & kaȝten her leue.

W i t h mony leude ful lyȝt, & lemande torches,

Vche burne to his bed watȝ broȝt at þe laste,

To bed ȝet er þay ȝede,

Recorded couenau n teȝ ofte;

1 vntyl nyȝte (?). 2 lede (?).

Gestes þat go wolde, hor gromeȝ þay calden,

& þay busken vp bilyue, blonkkeȝ to sadel,

Lepen vp lyȝtly, lachen her brydeles,

Vche wyȝe on his way, þer hy m wel lyked.

Þe leue lorde of þe londe watȝ not þe last,

A-rayed for þe rydy n g, w i t h renkkeȝ ful mony;

W i t h bugle to bent felde he buskeȝ by-lyue;

By þat þat any day-lyȝt lemed vpon erþe,

He w i t h his haþeles on hyȝe horsses weren.

Þe n ne þise cacheres þat couþe, cowpled hor hou n deȝ,

Blwe bygly i n bugleȝ þre bare mote;

To trystors vewters ȝod,

Þ er ros for blasteȝ gode,

Hiȝed to þe hyȝe, bot het er ly þay were

Þay let þe hertteȝ haf þe gate, w i t h þe hyȝe hedes,

Þe breme bukkeȝ also, w i t h hor brode paumeȝ;

Þe hindeȝ were halden i n , w i t h hay & war,

Þe does dryuen w i t h gret dyn to þe depe sladeȝ;

Þer myȝt mon se, as þay slypte, slenty n g of arwes,

Þat bigly bote on þe brou n , w i t h ful brode hedeȝ,

What! þay brayen, & bleden, bi bonkkeȝ þay deȝen.

& ay rachches i n a res radly hem folȝes,

Hu n tereȝ wyth hyȝe horne hasted hem aft er ,

What wylde so at-waped wyȝes þat schotten,

Watȝ al to-raced & rent, at þe resayt.

Bi þay were tened at þe hyȝe, & taysed to þe wattreȝ,

Þe ledeȝ were so lerned at þe loȝe trysteres,

& þe gre-hou n deȝ so grete, þat geten hem bylyue,

& hem to fylched, as fast as frekeȝ myȝt loke,

þ er ryȝt.

Ful oft con lau n ce & lyȝt,

Thus to þe derk nyȝt.

Þ us laykeȝ þis lorde by lynde wodeȝ eueȝ,

& G. þe god mon, i n gay bed lygeȝ,

Lurkkeȝ quyl þe day-lyȝt lemed on þe wowes,

& as i n slom er y n g he slode, sleȝly he herde

& he heueȝ vp his hed out of þe cloþes,

A corner of þe cortyn he caȝt vp a lyttel,

& wayteȝ warly þider-warde, quat hit be myȝt.

Hit watȝ þe ladi, loflyest to be-holde,

Þat droȝ þe dor aft er hir ful dernly 1 & stylle,

& boȝed to-warde þe bed; & þe burne schamed.

Compast i n his concience to quat þat cace myȝt

Mene oþ er amou n t, to m er uayle hy m þoȝt;

Bot ȝet he sayde i n hy m -self, "more semly hit were

& vn-louked his yȝe-lyddeȝ, & let as hy m wondered,

& sayned hy m , as bi his saȝe þe sau er to worthe,

Wyth lyppeȝ smal laȝande.

"Ȝe ar a slep er vn-slyȝe, þat mo n may slyde hider;

Now ar ȝe tan astyt, bot t r ue v us may schape,

I schal bynde yow i n yo ur bedde, þat be ȝe trayst:"

Al laȝande þe lady lanced þo bourdeȝ.

"Me schal worþe at yo ur wille, & þat me wel lykeȝ,

For I ȝelde me ȝederly, & ȝeȝe aft er g ra ce,

& þat is þe best, be my dome, for me by-houeȝ nede;"

& þus he bourded a-ȝayn w i t h mony a blyþe laȝt er .

"Bot wolde ȝe, lady louely, þe n leue me g ra nte,

I wolde boȝe of þis bed, & busk me bett er ,

"Ȝe schal not rise of yo ur bedde, I rych yow bett er ,

& syþen karp wyth my knyȝt þat I kaȝt haue;

For I wene wel, Iwysse, s ir Wawen ȝe are,

Þat alle þe worlde worchipeȝ, quere-so ȝe ride;

W i t h lordeȝ, wyth ladyes, w i t h alle þat lyf bere.

& now ȝe ar here, iwysse, & we bot oure one;

"My lorde & his ledeȝ ar on lenþe faren,

Oþ er burneȝ i n her bedde, & my burdeȝ als,

& syþen I haue i n þis ho us hy m þat al lykeȝ,

I schal ware my whyle wel, quyl hit lasteȝ,

Ȝe ar welcu m to my cors,

Me be-houeȝ of fyne force,

"In god fayth," q uod Gawayn, "gay n hit me þynkkeȝ,

Þaȝ I be not now he þat ȝe of speken;

To reche to such reuerence as ȝe reherce here

I am wyȝe vn-worþy, I wot wel my-seluen;

Bi God, I were glad, & yow god þoȝt,

At saȝe oþ er at seruyce þat I sette myȝt

"Þe prys & þe prowes þat pleseȝ al oþ er ,

If I hit lakked, oþ er set at lyȝt, hit were littel daynté;

Bot hit ar ladyes i n -noȝe, þat leu er wer nowþe

To daly w i t t derely yo ur daynté wordeȝ,

Keu er hem comfort, & colen her careȝ,

Bot I louue 2 þat ilk lorde þ a t þe lyfte haldeȝ,

þurȝe grace."

Þat watȝ so fayr of face,

Þe knyȝt w i t h speches skere,

"Madame," q uod þe myry mon, "Mary yow ȝelde,

& oþ er ful much of oþ er folk fongen hor dedeȝ;

Hit is þe worchyp of yo ur -self, þ a t noȝt hot wel co n neȝ."

For þe costes þat I haf knowen vpun þe knyȝt here,

"I-wysse, worþy," q uod þe wyȝe, "ȝe haf waled wel bett er ,

Bot I am proude of þe prys þat ȝe put on me,

& yowre knyȝt I be-com, & Kryst yow for-ȝelde."

Þaȝ I were burde bryȝtest, þe burde i n mynde hade,

Þe lasse luf i n his lode, for lur þat he soȝt,

& nedeȝ hit most be done;

Þe n ne ho gef hy m god-day, & wyth a glent laȝed.

& as ho stod, ho stonyed hy m wyth ful stor wordeȝ:

"Now he þat spedeȝ vche spech, þis disport ȝelde yow!

Bot þat ȝe be Gawan, hit gotȝ i n my n de."

"Quer-fore?" q uod þe freke, & freschly he askeȝ,

Couth not lyȝtly haf lenged so long wyth a lady,

Bi su m towch of su m me tryfle, at su m taleȝ ende."

Þe n q uod Wowen, "I-wysse, worþe as yow lykeȝ,

I schal kysse at yo ur comau n dement, as a knyȝt falleȝ,

Ho comes nerre w i t h þat, & cacheȝ hy m i n armeȝ,

Louteȝ luflych adou n , & þe leude kysseȝ;

Boȝeȝ forth, quen he watȝ bou n , blyþely to masse,

Þe alder & þe ȝonge,

And ay þe lorde of þe londe is lent on his gamneȝ,

To hu n t i n holteȝ & heþe, at hyndeȝ barayne,

Þe best boȝed þerto, w i t h burneȝ i n -nogh e ,

& didden hem derely vndo, as þe dede askeȝ;

Þe n brek þay þe bale, þe baleȝ out token,

Þe wesau n t fro þe wynt-hole, & walt out þe gutteȝ;

Þe n scher þay out þe schuldereȝ w i t h her scharp knyueȝ,

& eft at þe gargulu n bigyneȝ on þe n ne,

Ryueȝ hit vp radly, ryȝt to þe byȝt,

Voydeȝ out þe a-vanters, & v er ayly þ er aft er

Alle þe rymeȝ by þe rybbeȝ radly þay lance;

So ryde þay of by resou n bi þe rygge boneȝ,

Bi þe byȝt al of þe þyȝes,

Þe lappeȝ þay lance bi-hynde,

To hewe hit i n two þay hyȝes,

& syþen sunder þay þe sydeȝ swyft fro þe chyne,

Þe n n þurled þay ayþer þik side þurȝ, bi þe rybbe,

& henged þe n ne a[y]þ er bi hoȝes of þe fourcheȝ,

Vche freke for his fee, as falleȝ forto haue.

Wyth þe lyu er & þe lyȝteȝ, þe leþer of þe pauncheȝ,

& bred baþed i n blod, blende þer amo n geȝ;

Baldely þay blw prys, bayed þayr rachcheȝ,

Strakande ful stoutly mony stif moteȝ.

Bi þat þe daylyȝt watȝ done, þe douthe watȝ al wonen

I n -to þe comly castel, þer þe knyȝt bideȝ

Wyth blys & bryȝt fyr bette,

Þer watȝ bot wele at wylle.

Boþe þe ladyes on logh e to lyȝt w i t h her burdes,

Bi-fore alle þe folk on þe flette, frekeȝ he beddeȝ

Techeȝ hy m to þe tayles of ful tayt bestes,

Scheweȝ hy m þe schyree grece schorne vpon rybbes.

"How payeȝ yow þis play? haf I prys wo n nen?

Haue I þryuandely þonk þurȝ my craft serued?"

"Ȝe I-wysse," q uod þat oþ er wyȝe, "here is wayth fayrest

Þat I seȝ þis seuen ȝere i n sesou n of wynt er ."

"For by a-corde of couenau n t ȝe craue hit as yo ur awen."

& 1 I haf worthyly þis woneȝ wyth-i n ne,

I-wysse w i t h as god wylle hit worþeȝ to ȝo ur eȝ."

He hasppeȝ his fayre hals his armeȝ wyth-i n ne,

I wowche hit saf fynly, þaȝ feler hit were."

Hit may be such, hit is þe bett er , & 1 ȝe me breue wolde

Where ȝe wan þis ilk wele, biwytte of hor 3 seluen?"

"Þat watȝ not forward," q uod he, "frayst me no more,

For ȝe haftan þat yow tydeȝ, traweȝe non oþ er

ȝe mowe."

Þay laȝed, & made hem blyþe,

Wyth loteȝ þat were to lowe,

To soper þay ȝede asswyþe,

Wyȝeȝ þe walle wyn weȝed to hem oft,

To fylle þe same forwardeȝ þat þay by-fore maden,

Þat chau n ce so bytydeȝ hor cheuysau n ce to chau n ge,

What nweȝ so þay nome, at naȝt quen þay mette n

Þay acorded of þe couenau n teȝ byfore þe co ur t alle;

Þe beuerage watȝ broȝt forth i n bourde at þat tyme;

Þe n ne þay louelych leȝten leue at þe last,

Bi þat þe coke hade croweȝ 1 & cakled bot þryse,

Þe lorde watȝ lopen of his bedde, [&] þe leudeȝ vch one,

So þat þe mete & þe masse watȝ metely delyu er ed;

Heȝ w i t h hu n te & horneȝ,

Þurȝ playneȝ þay passe i n space,

Vn-coupled amo n g þo þorneȝ,

Racheȝ þat ran on race.

Þe hu n t re-hayted þe hou n deȝ, þat hit fyrst my n ged,

Wylde wordeȝ hy m warp wyth a wrast noyce;

Þe howndeȝ þat hit herde, hastid þider swyþe,

Þe n ne such a glau er ande glam of gedered rachcheȝ

Ros, þat þe rochereȝ ru n gen aboute;

Hu n tereȝ hem hardened w i t h horne & wyth muthe.

Þ er as þe rogh rocher vn-rydely watȝ fallen,

[Þay] ferden to þe fyndy n g, & frekeȝ hem aft er ;

Wyȝeȝ, whyl þay wysten wel wyt i n ne he m hit were,

Þe best þat þer breued watȝ wyth þe blod hou n deȝ.

Þe n ne þay beten on þe buskeȝ, & bede hy m vp ryse,

& he vnsou n dyly out soȝt seggeȝ ou er -þwert,

Long sythen for 1 þe sou n der þat wiȝt for-olde,

For he watȝ b[este &] bor alþer grattest,

For [þre a]t þe fyrst þrast he þryȝt to þe erþe,

[Ande þay] halowed hygh e ful hyȝe & hay! hay! cryed

Haden horneȝ to mouþe heterly rechated;

Mony watȝ þe myry mouthe of men & of hou n deȝ,

Þat buskkeȝ aft er þis bor, w i t h bost & wyth noyse,

Ful oft he bydeȝ þe baye,

& maymeȝ þe mute I n n-melle,

He hurteȝ of þe hou n deȝ, & þay

Ful ȝomerly ȝaule & ȝelle.

Schalkeȝ to schote at hy m schowen to þe n ne,

Haled to hym of her areweȝ, hitten hym oft;

Bot þe poy n teȝ payred at þe pyth þ a t pyȝt i n his scheldeȝ,

& þe barbeȝ of his browe bite non wolde,

Þaȝ þe schauen schaft schyndered i n peceȝ,

Þe hede hypped aȝayn, were-so-eu er hit hitte;

Bot quon þe dynteȝ hy m dered of her dryȝe strokeȝ,

Þen, brayn-wod for bate, on burneȝ he raseȝ,

Hurteȝ hem ful heterly þer he forth hyȝeȝ,

& mony arȝed þerat, & on-lyte droȝen.

Bot þe lorde on a lyȝt horce lau n ces hym aft er ,

As burne bolde vpon bent his bugle he bloweȝ,

He rechated, & r[ode] 1 þurȝ roneȝ ful þyk,

Gawayn g ra yþely at home, i n gereȝ ful ryche

Þe lady noȝt forȝate,

Ful erly ho watȝ hy m ate,

Ho co m mes to þe cortyn, & at þe knyȝt totes,

& ho hy m ȝeldeȝ aȝayn, ful ȝerne of hir wordeȝ,

Setteȝ hir sof[t]ly by his syde, & swyþely ho laȝeȝ,

& wyth a luflych loke ho layde 1 hy m þyse wordeȝ:

"S ir , ȝif ȝe be Wawen, wonder me þynkkeȝ,

Wyȝe þat is so wel wrast alway to god,

& conneȝ not of compaynye þe costeȝ vnder-take,

& if mon ke n nes yow hom to knowe, ȝe kest hom of yo ur my n de;

Þou hatȝ for-ȝeten ȝederly þat ȝist er day I taȝtte

If hit be sothe þat ȝe breue, þe blame is my n awen."

"Ȝet I kende yow of kyssy n g," q uod þe clere þe n ne,

Þat bicu m es vche a knyȝt, þat cortaysy vses."

If I were werned, I were wrang I-wysse, ȝif I p ro fered."

"Ma fay," q uod þe mere wyf, "ȝe may not be werned,

Ȝe ar stif i n -nogh e to constrayne wyth strenkþe, ȝif yow lykeȝ,

Ȝif any were so vilano us þat yow denaye 2 wolde."

"Ȝe, be God," q uod Gawayn, "good is yo ur speche,

I am at yo ur comaundeme n t, to kysse quen yow lykeȝ,

Ȝe may lach quen yow lyst, & leue quen yow þynkkeȝ,

Þe lady louteȝ a-dou n ,

"I woled 1 wyt at yow, wyȝe," þat worþy þer sayde,

Þat so ȝong & so ȝepe, as ȝe [ar] at þis tyme,

So cortayse, so knyȝtyly, as ȝe ar knowen oute,

F[or] to telle of þis tenely n g of þis trwe knyȝteȝ,

Hit is þe tytelet, token, & tyxt of her werkkeȝ,

How le[des] for her lele luf hor lyueȝ han au n tered,

Endured for her drury dulful stou n deȝ,

& broȝt blysse i n -to boure, w i t h bou n tees hor awen.

& ȝe ar knyȝt com-lokest kyd of yo ur elde,

Yo ur worde & yo ur worchip walkeȝ ay quere,

Ȝet herde I neu er of yo ur hed helde no wordeȝ

& ȝe, þat ar so cortays & coy n t of yo ur hetes,

Ogh e to a ȝonke þy n k ȝern to schewe,

& teche su m tokeneȝ of trweluf craftes.

Why ar ȝe lewed, þat alle þe los weldeȝ,

Oþ er elles ȝe demen me to dille, yo ur dalyau n ce to herken?

Dos, techeȝ me of yo ur wytte,

"In goud fayþe," q uod Gawayn, "God yow forȝelde,

Þat so worþy as ȝe wolde wy n ne hidere,

& pyne yow w i t h so pou er a mon, as play wyth yo ur knyȝt,

With any sky n neȝ cou n tenau n ce, hit keu er eȝ me ese;

& towche þe temeȝ of tyxt, & taleȝ of armeȝ,

To yow þat, I wot wel, weldeȝ more slyȝt

I wolde yowre wylny n g worche at my myȝt,

As I am hyȝly bihalden, & eu er -more wylle

Be seruau n t to yo ur -seluen, so saue me dryȝtyn!"

Forto haf wo n nen hy m to woȝe, what-so scho þoȝt elleȝ,

Þay laȝed & layked longe,

& siþen hor din er watȝ dyȝt & derely serued.

Þe lede w i t h þe ladyeȝ layked alle day,

Bot þe lorde ou er þe londeȝ lau n ced ful ofte,

Sweȝ his vncely swyn, þat swy n geȝ bi þe bonkkeȝ,

& bote þe best of his bracheȝ þe bakkeȝ i n su n der;

So felle floneȝ per flete, when þe folk gedered;

Bot ȝet þe styffest to start bi stou n deȝ he made,

Til at þe last he watȝ so mat, he myȝt no more re n ne,

Bot i n þe hast þat he myȝt, he to a hole wy n neȝ,

Of a rasse, bi a rokk, þ er re n neȝ þe boerne,

He gete þe bonk at his bak, bigy n eȝ to scrape,

Þe froþe femed 3 at his mouth vnfayre bi þe wykeȝ,

Whetteȝ his whyte tuscheȝ; w i t h hy m þe n irked

Alle þe burneȝ so bolde, þat hy m by stoden,

To nye hy m on-ferum, bot neȝe hy m non durst

Þat al þuȝt 4 þe n ne ful loþe,

Be more wyth his tuscheȝ torne,

Þat breme watȝ [&] bray n -wod both e .

1 til (?). 2 madee, in MS. 3 fomed (?). 4 þoȝt (?).

Til þe knyȝt com hy m -self, kachande his blonk,

Syȝ hy m byde at þe bay, his burneȝ bysyde,

He lyȝt es luflych 1 adou n , leueȝ his corso ur ,

Braydeȝ out a bryȝt bront, & bigly forth strydeȝ,

Fou n deȝ fast þurȝ þe forth, þer þe felle bydeȝ,

Þe wylde watȝ war of þe wyȝe w i t h weppen i n honde,

Hef hyȝly þe here, so hett er ly he fnast,

Þat fele ferde for þe frekeȝ, 2 lest felle hy m þe worre;

Þe swyn setteȝ hy m out on þe segge euen,

Þat þe burne & þe bor were boþe vpon hepeȝ,

In þe wyȝt-est of þe wat er , þe worre hade þat oþ er ;

For þe mon merkkeȝ hy m wel, as þay mette fyrst,

& he ȝarrande hy m ȝelde, & ȝedou n 3 þe wat er ,

A hu n dreth hou n deȝ hy m hent,

Burneȝ hi m broȝt to bent,

& doggeȝ to dethe endite.

1 MS. luslych. 2 freke (?). 3 ȝede doun (?).

There watȝ blawy n g of prys i n mony breme home,

Heȝe halowi n g on hiȝe, w i t h haþeleȝ þat myȝt;

Brachetes bayed þat best, as bidden þe mayst er eȝ,

Þe n ne a wyȝe þat watȝ wys vpon wod crafteȝ,

To vnlace þis bor lufly bigy n neȝ;

Fyrst he hewes of his hed, & on hiȝe setteȝ,

& syþen rendeȝ him al rogh e bi þe rygge after,

Braydeȝ out þe boweles, bre n neȝ ho m on glede,

With bred blent þer-w i t h his braches rewardeȝ;

Syþen he britneȝ out þe brawen i n bryȝt brode [s]cheldeȝ,

& hatȝ out þe hastletteȝ, as hiȝtly bisemeȝ;

& ȝet hem halcheȝ al hole þe halueȝ to-geder,

Þe bores hed watȝ borne bifore þe burnes seluen,

Þat hi m for-ferde i n þe forþe, þurȝ forse of his honde,

Til he seȝ s ir Gawayne,

I n halle hy m þoȝt ful longe,

His feeȝ þ er for to fonge.

Þe lorde ful lowde w i t h lote, & laȝed myry,

Whe n he seȝe s ir G: w i t h solace he spekeȝ;

Þe goude ladyeȝ were geten, & gedered þe meyny,

He scheweȝ hem þe scheldeȝ, & schapes hem þe tale,

Of þe largesse, & þe lenþe, þe liþ er neȝ alse,

Þat oþ er knyȝt ful comly comended his dedeȝ,

Bi fyn for-warde & faste, faythely ȝe knowe."

ȝe ar þe best þat I knowe,

Ȝe ben ryche i n a whyle,

Such chaffer & ȝe drowe."

Þe n ne þay teldet tableȝ [on] trestes alofte,

Kesten cloþeȝ vpon, clere lyȝt þe n ne

Wakned bi woȝeȝ, waxen torches

Seggeȝ sette, & serued i n sale al aboute;

At þe soper & aft er , mony aþel songeȝ,

As cou n dutes of kryst-masse, & caroleȝ newe,

& eu er oure luflych knyȝt þe lady bi-syde;

Þat al for-wondered watȝ þe wyȝe, & wroth w i t h hy m -seluen,

Bot he nolde not for his nurture nurne hir a-ȝayneȝ,

To norne on þe same note, on nweȝereȝ euen;

Bot þe knyȝt craued leue, to kayre on þe morn,

For hit watȝ neȝ at þe terme, þat he to 1 schulde.

Leude, on nwȝereȝ lyȝt, longe bifore pryme:

& I schal hu n t in þis holt, & halde þe towcheȝ,

For þe lur may mon lach, when so mon lykeȝ."

Þis watȝ grayþely grau n ted, & Gawayn is lenged,

Bliþe broȝt watȝ hym drynk, & þay to bedde ȝeden,

w i t h liȝt;

Ful stille & softe al niȝt;

Þe lorde þat his crafteȝ kepes,

Ful erly he watȝ diȝt.

Miry watȝ þe morny n g, his mou n ture he askes;

Were bou n busked on hor blonkkeȝ, bi-fore 2 þe halle ȝateȝ;

Ferly fayre watȝ þe folde, for þe forst clenged,

& ful clere costeȝ 3 þe clowdes of þe welkyn.

Trayleȝ ofte a trayt er es 4 , bi trau n t of her wyles;

His felaȝes fallen hy m to, þ a t fnasted ful þike,

Ru n nen forth i n a rabel, i n his ryȝt fare;

& he fyskeȝ hem by-fore, þay fou n den hy m sone,

& quen þay segh e hy m wit h syȝt, þay sued hy m fast,

Wreȝande h[y m ] ful [w]eterly with a wroth noyse;

& he trantes & tornayeeȝ þurȝ mony tene greue;

Hamlou n eȝ, & herkeneȝ, bi heggeȝ ful ofte;

At þe last bi a littel dich he lepeȝ ou er a spe n né,

Steleȝ out ful stilly bi a strothe rande,

Went haf wylt of þe wode, w i t h wyleȝ fro þe hou n des,

Þe n ne watȝ he went, er he wyst, to 5 a wale tryst er ,

He blenched aȝayn bilyue,

1 MS. nnorsel. 2 bi-forere, in MS. 3 casteȝ (?). 4 trayveres (?). 5 to to, in MS.

The n ne watȝ hit lif vpon list to lyþen þe hou n deȝ,

Suche a sorȝe at þat syȝt þay sette on his hede,

Here he watȝ halawed, when haþeleȝ hy m metten,

Loude he watȝ ȝayned, w i t h ȝarande speche;

Þer he watȝ þreted, & ofte þef called,

& ay þe titleres at his tayl, þat tary he ne myȝt;

Ofte he watȝ ru n nen at, when he out rayked,

& ofte reled i n aȝayn, so reniarde watȝ wylé.

& ȝe he lad hem bi lag, mon, þe lorde & his meyny;

Whyle þe hende knyȝt at home holsu m ly slepeȝ,

Ne þe purpose to payre, þat pyȝt i n hir hert,

Þat watȝ furred ful fyne w i t h felleȝ, wel pured,

No hweȝ goud on hir hede, bot þe haȝer stones

Ho comeȝ w i t h -i n ne þe chambre dore, & closes hit hir aft er ,

Wayneȝ 1 vp a wyndow, & on þe wyȝe calleȝ,

& radly þ us re-hayted hy m , w i t h hir riche wordeȝ,

He watȝ i n drowpi n g depe,

1 wayueȝ(?). 2 bi, à sec. manu.

In dreȝ droupy n g of dreme draueled þat noble,

As mon þat watȝ in morny n g of mony þro þoȝtes,

How þat destiné schulde þat day [dyȝt] his wyrde,

Swenges out of þe sweuenes, & swareȝ w i t h hast.

Þe lady luflych com laȝande swete,

He welcu m eȝ hir worþily, with a wale chere;

He seȝ hir so glorio us , & gayly atyred,

Wiȝt wallande Ioye warmed his hert;

Þat al watȝ blis & bonchef, þat breke hem bi-twene,

Much wele þe n watȝ þ er -i n ne,

Nif mare of hir knyȝt my n ne.

Nurned hy m so neȝe þe þred, þat nede hy m bi-houed,

& more for his meschef, ȝif he schulde make sy n ne,

& be traytor to þat tolke, þat þ a t telde aȝt.

W i t h luf-laȝy ng a lyt, he layd hy m by-syde

Alle þe specheȝ of specialté þat sprange of her mouthe.

Q uod þat burde to þe burne, "blame ȝe disserue,

Ȝif ȝe luf not þat lyf þat ȝe lye nexte,

Bifore alle þe wyȝeȝ i n þe worlde, wou n ded i n hert,

Bot if ȝe haf a le m man, a leu er , þat yow lykeȝ bett er ,

And þat ȝe telle me þat, now trwly I pray yow,

For alle þe lufeȝ vpon lyue, layne not þe soþe,

Þe knyȝt sayde, "be sayn Ion,"

"In fayth I welde riȝt non,

"Þat is a worde," q uod þat wyȝt, "þat worst is of alle,

Bot I am swared for soþe, þat sore me þinkkeȝ;

Sykande ho sweȝe dou n , & semly hy m kyssed,

"Now Iwysse," q uod þat wyȝe, "I wolde I hade here

For ȝe haf deserued, forsoþe, sellyly ofte

More rewarde bi resou n , þe n I reche myȝt,

A gloue for a garysou n , of Gawayneȝ gifteȝ,

& I am here [on] an erande i n erdeȝ vncouþe,

& haue no me n wyth no maleȝ, w i t h menskful þi n geȝ;

Þat mislykeȝ me, ladé, for luf at þis tyme, 2

"Nay, hende of hyȝe hono ur s,"

"Þaȝ I hade oȝt 3 of yo ur eȝ,

Ȝet schulde ȝe haue of myne."

1 of, in MS. 2 tyne, in MS. 3 noȝt (?).

Ho raȝt hy m a riche rynk 1 of red golde werkeȝ,

Þat bere blusschande bemeȝ as þe bryȝt su n ne;

Wyt ȝe wel, hit watȝ worth wele ful hoge.

"I wil no gifteȝ for gode, my gay, at þis tyme;

I haf none yow to norne, ne noȝt wyl I take."

"If ȝe renay my rynk, to ryche for hit semeȝ,

Ȝe wolde not so hyȝly halden be to me,

Ho laȝt a lace lyȝtly, þat 2 leke vmbe hir sydeȝ,

Gered hit watȝ w i t h grene sylke, & w i t h golde schaped,

Noȝt bot arou n de brayden, beten w i t h fyngreȝ;

& þat ho bede to þe burne, & blyþely bi-soȝt

Þaȝ hit vn-worþi were, þat he hit take wolde.

"& þerfore, I pray yow, displese yow noȝt,

& letteȝ be yo ur bisinesse, for I bayþe hit yow neu er

"Now forsake ȝe þis silke." sayde þe burde þe n ne,

"For hit is symple i n hit-self. & so hit wel semeȝ?

Þer is no haþel vnder heuen to-hewe hym þat myȝt;

For he myȝt not he slayn, for slyȝt vpon erþe."

Þe n kest þe knyȝt, & hit come to his hert,

Myȝ 1 he haf slypped to þe vn-slayn, þe sleȝt were noble.

& bisoȝt hy m , for hir sake, disceu er hit neu er ,

Bot to lelly layne for 2 hir lorde; þe leude hy m acordeȝ.

Þat neu er wyȝe schulde hit wyt, Iwysse, bot þay twayne,

for noȝte;

Ful þro w i t h hert & þoȝt.

He hatȝ kyst þe knyȝt so toȝt.

1 myȝt (?). 2 fro (?).

The n ne lachcheȝ ho hir leue, & leueȝ hy m þere,

For more myrþe of þat mon moȝt ho not gete;

When ho 1 watȝ gon, s ir G. gereȝ hy m sone,

Lays vp þe luf-lace, þe lady hy m raȝt,

Þere he schrof hy m schyrly, & schewed his mysdedeȝ,

Of þe more & þe my n ne, & m er ci besecheȝ,

As domeȝ-day schulde haf ben diȝt on þe morn.

As neu er he did bot þat daye, to þe derk nyȝt,

Þ us myry he watȝ neu er are,

Ȝet is þe lorde on þe lau n de, ledande his gomnes,

He hatȝ forfaren þis fox, þ a t he folȝed longe;

Renaud com richchande þurȝ a roȝe greue,

& alle þe rabel i n a res, ryȝt at his heleȝ.

Þe wyȝe watȝ war of þe wylde, & warly abides,

& braydeȝ out þe bryȝt bronde, & at þe best casteȝ;

A rach rapes hy m to, ryȝt er he myȝt,

& ryȝt bifore þe hors fete þay fel on hy m alle,

Þe lorde lyȝteȝ bilyue, & cacheȝ by 1 sone,

Haldeȝ heȝe ou er his hede, haloweȝ faste,

& þ er bayen hy m mony bray 2 hou n deȝ;

Hu n tes hyȝed hem þeder, w i t h horneȝ ful mony,

Ay re-chatande aryȝt til þay þe renk seȝen;

Bi þat watȝ comen his compeyny noble,

Hit watȝ þe myriest mute þat eu er me n herde,

Þe rich rurd þat þ er watȝ raysed for renaude saule,

Hor hou n deȝ þay þ er rewarde,

Her 3 hedeȝ þay fawne & frote,

& þe n ne þay helden to home, for hit watȝ nieȝ nyȝt,

Strakande ful stoutly i n hor store horneȝ;

Þe lorde is lyȝt at þe laste at hys lef home,

Fyndeȝ fire vpon flet, þe freke þ er by-side,

Sir Gawayn þe gode, þat glad watȝ w i t h alle,

His surkot semed hy m wel, þat softe watȝ forred,

He meteȝ me þis god mon i n myddeȝ þe flore,

"I schal fylle vpon fyrst oure forwardeȝ nouþe,

Þat we spedly han spoken, þer spared watȝ no drynk;"

Þen acoles he [þe] knyȝt, & kysses hy m þryes,

"Bi Kryst," q uod þat oþ er knyȝt, "ȝe cach much sele,

I n cheuisau n ce of þis chaffer, ȝif ȝe hade goud chepeȝ."

"Ȝe of þe chepe no charg," q uod chefly þat oþ er ,

"As is pertly payed þe chepeȝ þat I aȝte."

For I haf hu n ted al þis day, & noȝt haf I geten,

Bot þis foule fox felle, þe fende haf þe godeȝ,

As ȝe haf þryȝt me here, þro suche þre cosses,

"I-noȝ," q uod s ir Gawayn,

& how þe fox watȝ slayn,

With m er þe & mynstralsye, wyth meteȝ at hor wylle,

Þay maden as mery as any me n moȝten,

W i t h laȝy n g of ladies, w i t h loteȝ of bordes;

Boþe þe mon & þe meyny maden mony iapeȝ,

Til þe sesou n watȝ seȝen, þat þay seu er moste;

Burneȝ to hor bedde be-houed at þe laste.

Þe n ne loȝly his leue at þe lorde fyrst

Fochcheȝ þis fre mon, & fayre he hy m þonkkeȝ;

Yo ur hono ur , at þis hyȝe fest, þe hyȝe ky n g yow ȝelde!

I ȝef yow me for on of yo ur eȝ, if yowre-self lykeȝ,

For I mot nedes, as ȝe wot, meue to morne;

& ȝe me take su m tolke, to teche, as ȝe hyȝt,

To dele, on nwȝereȝ day, þe dome of my wyrdes."

Al þat eu er I yow hyȝt, halde schal I rede."

& cou n due hy m by þe downeȝ, þat he no drechch had,

For to f[e]rk þurȝ þe fryth, & fare at þe gaynest,

Þe n at þo ladyeȝ wlonk.

Þe knyȝt hatȝ tan his leue.

With care & wyth kyssy n g he carppeȝ hem tille,

& fele þryuande þonkkeȝ he þrat hom to haue,

& þay ȝelden hy m aȝay[n] ȝeply þat ilk;

Þay bikende hy m to Kryst, w i t h ful colde syky n geȝ.

Þe n w i t h ledes & lyȝt he watȝ ladde to his chambre,

& blybely broȝt to his bedde, to be at his rest;

ȝif he ne slepe sou n dyly, say ne dar I,

For he hade muche on þe morn to my n ne, ȝif he wolde,

in þoȝt;

Let hy m lyȝe þere stille,

He hatȝ 1 nere þat he soȝt,

& ȝe wyl a whyle be stylle,

I schal telle yow how þay wroȝt.

1 watȝ (?).

Now neȝeȝ þe nwȝere, & þe nyȝt passeȝ,

Þe day dryueȝ to þe derk, as dryȝtyn biddeȝ;

Bot wylde wedereȝ of þe worlde wakned þeroute,

Wyth nyȝe 1 in-nogh e of þe norþe, þe naked to tene;

Þe werbelande wynde wapped fro þe hyȝe,

Þe leude lystened ful wel, þat leȝ i n his bedde,

Þaȝ he lowkeȝ his liddeȝ, ful lyttel he slepes;

For þere watȝ lyȝt of a lau[m]pe, þat lemed i n his chambre;

Þat oþ er ferkeȝ hy m vp, & fecheȝ hy m his wedeȝ,

& grayþeȝ me s ir Gawayn vpon a grett wyse.

Fyrst he clad hy m i n his cloþeȝ, þe colde for to were;

& syþen his oþ er harnays, þat holdely watȝ keped,

Boþe his pau n ce, & his plateȝ, piked ful clene,

Þe ry n geȝ 2 rokked of þe roust, of his riche bruny;

& al watȝ fresch as vpon fyrst, & he watȝ fayn þe n ne

1 nywe (?). 2 rynkeȝ (?).

His cote, wyth be conysau n ce of þe clere werkeȝ,

Ennurned vpon veluet v er tuu us 1 stoneȝ,

Aboute beten, & bou n den, enbrauded semeȝ,

Ȝet laft he not þe lace, þe ladieȝ gifte,

Bi he hade belted þe bronde vpon his balȝe hau n cheȝ,

Swyþe sweþled vmbe his swange swetely, þat knyȝt,

Vpon þat ryol red cloþe, þat ryche watȝ to schewe.

Bot wered not þis ilk wyȝe for wele þis gordel,

For pryde of þe pendau n teȝ, þaȝ polyst þay were,

& þaȝ þe glyt er ande golde glent vpon endeȝ,

Wy n neȝ þeroute bilyue,

He þonkkeȝ ofte ful ryue.

The n ne watȝ Gryngolet grayþe, þat gret watȝ & huge,

Þe wyȝe wy n neȝ hy m to, & wyteȝ on his lyre,

& sayde soberly hy m -self, & by his soth swereȝ,

"Here is a meyny i n þis mote, þat on menske þenkkeȝ,

Ȝif þay for charyté cherysen a gest,

& halden hono ur i n her honde, þe haþel he m ȝelde,

Þat haldeȝ þe heuen vpon hyȝe, & also yow alle!

& ȝif I myȝt lyf vpon londe lede any quyle,

I schuld rech yow su m rewarde redyly, if I myȝt."

Þe n n steppeȝ he i n -to stirop, & strydeȝ alofte;

His schalk schewed hy m his schelde, on schulder he hit laȝt,

Gordeȝ to Gryngolet, w i t h his gilt heleȝ,

& he starteȝ on þe ston, stod he no lenger,

His haþel on hors watȝ þe n ne,

The brygge watȝ brayde dou n , & þe brode ȝateȝ

Þe burne blessed hy m bilyue, & þe bredeȝ passed;

& went on his way, w i t h his wyȝe one,

Þay boȝen bi bonkkeȝ, þ er boȝeȝ ar bare,

Þay clomben bi clyffeȝ, þer clengeȝ þe colde;

Þe heuen watȝ vp halt, bot vgly þer vnder,

Mist muged on þe mor, malt on þe mou n teȝ,

Brokeȝ byled, & breke, bi bonkkeȝ aboute,

Schyre schat er ande on schoreȝ, þ er þay dou n schowued.

Welawylle watȝ þe way, þer þay bi wod schulden,

Til hit watȝ sone sesou n , þat þe su n ne ryses,

Þay were on a hille ful hyȝe,

"For I haf wo n nen yow hider, wyȝe, at þis tyme,

& now nar ȝe not fer fro þat note place,

Þat ȝe han spied & spuryed so specially aft er ;

& ȝe ar a lede vpon lyue, þat I wel louy,

Wolde ȝe worch bi my wytte, ȝe worþed þe bett er .

Þe place þat ȝe prece to, ful perelo us is halden;

Þer woneȝ a wyȝe i n þat waste, þe worst vpon erþe;

Þat ar i n Arþureȝ ho us , Hestor 1 oþ er oþ er .

He cheueȝ þat chau n ce at þe chapel grene;

Þat he ne dy n neȝ hy m to deþe, w i t h dynt of his honde;

For he hit chorle, oþ er chaplayn, þat bi þe chapel rydes,

For-þy I say þe as soþe as ȝe i n sadel sitte,

Com ȝe þere, ȝe be kylled, [I] may þe knyȝt rede,

Trawe ȝe me þat trwely, þaȝ ȝe had twenty lyues

He hatȝ wonyd here ful ȝore,

Aȝayn his dynteȝ sore,

Ȝe may not yow defende."

& gotȝ a-way su m oþ er gate; vpon Goddeȝ halue;

Cayreȝ bi su m oþ er kyth, þer Kryst mot yow spede;

& I schal hyȝ me hom aȝayn, & hete yow fyrre,

Þat I schal swere bi God, & alle his gode halȝeȝ,

As help me God & þe halydam, & oþeȝ i n -nogh e ,

Þat eu er ȝe fondet to fle, for freke þat I wyst."

"Wel worth þe wyȝe, þat woldeȝ my gode,

& þat lelly me layne, I leue wel þ o u woldeȝ!

Fou n ded for ferde for to fle, i n fo ur me þat þ o u telleȝ,

I were a knyȝt kowarde, I myȝt not 1 be excused.

Worþe hit wele, oþ er wo, as þe wyrde lykeȝ

Þaȝe he be a sturn knape,

To stiȝtel, & 2 stad w i t h staue,

Ful wel con dryȝtyn schape,

His seruau n teȝ forto saue."

"Mary!" q uod þat oþ er mon, "now þ o u so much spelleȝ,

& ryde me dou n þis ilk rake, bi ȝon rokke syde,

Til þ o u be broȝt to þe boþem of þe brem valay;

& þe borelych burne on bent, þat hit kepeȝ.

Now fareȝ wel on Godeȝ half, Gawayn þe noble,

Ne bere þe felaȝschip þurȝ þis fryth on fote fyrre."

Bi þat þe wyȝe i n þe wod wendeȝ his brydel,

Hit þe hors w i t h þe heleȝ, as harde as he myȝt,

Lepeȝ hy m ou er þe lau n de, & leueȝ þe knyȝt þere,

"Bi Goddeȝ self," q uod Gawayn,

To Goddeȝ wylle I am ful bayn,

The n ne gyrdeȝ he to Gryngolet, & gedereȝ þe rake,

Schowueȝ i n bi a schore, at a schaȝe syde,

Rideȝ þurȝ þe roȝe bonk, ryȝt to þe dale;

& þe n ne he wayted hy m aboute, & wylde hit hy m þoȝt,

& seȝe no sy n gne of resette, bisydeȝ nowhere,

Bot hyȝe bonkkeȝ & brent, vpon boþe halue,

& ruȝe knokled knarreȝ, w i t h knorned stoneȝ;

Þe skweȝ of þe scowtes skayued 1 hy m þoȝt.

He seȝ non suche i n no syde, & selly hy m þoȝt,

A balȝ berȝ, bi a bonke, þe bry m me by-syde,

Bi a forȝ of a flode, þ a t ferked þare;

Þe knyȝt kacheȝ his caple, & com to þe lawe,

Liȝteȝ dou n luflyly, & at a lynde tacheȝ

Þe rayne, & his riche, with a roȝe brau n che;

Þe n [n]e he boȝeȝ to þe berȝe, aboute hit he walke,

D[e]batande w i th hy m -self, quat hit be myȝt.

& al watȝ holȝ i n -w i t h , nobot an olde caue,

Or a creuisse of an olde cragge, he couþe hit noȝt deme

"We, 2 lorde," q uod þe gentyle knyȝt,

He myȝt aboute myd-nyȝt,

Þis oritore is vgly, w i t h erbeȝ ou er -growen;

Wel bisemeȝ þe wyȝe wruxled i n grene

Dele here his deuociou n , on þe deueleȝ wyse;

Now I fele hit is þe fende, i n my fyue wytteȝ,

Þat hatȝ stoken me þis steuen, to strye me here;

With heȝe helme on his hede, his lau n ce i n his honde,

He romeȝ vp to þe rokke of þo roȝ woneȝ;

Þene herde he of þat hyȝe hil, i n a harde roche,

Biȝonde þe broke, i n a bonk, a wonder breme noyse,

Hit helppeȝ me not a mote,

My lif þaȝ I for-goo,

Drede dotȝ me no lote."

The n ne þe knyȝt con calle ful hyȝe,

"Who stiȝtleȝ i n þis sted, me steuen to holde?

For now is gode Gawayn goande ryȝt here,

If any wyȝe oȝt wyl wy n ne hider fast,

Oþ er now, oþ er neu er , his nedeȝ to spede."

"& þ o u schal haf al i n hast, þat I þe hyȝt ones."

Ȝet he rusched on þat rurde, rapely a þrowe,

& wyth quetty n g a-wharf, er he wolde lyȝt;

& syþen he keu er eȝ bi a cragge, & comeȝ of a hole,

A deneȝ ax nwe dyȝt, þe dynt w i t h [t]o ȝelde

Hit watȝ no lasse, bi þat lace þat lemed ful bryȝt.

Boþe þe lyre & þe leggeȝ, lokkeȝ, & berde,

Saue þat fayre on his fote he fou n deȝ on þe erþe,

He hypped ou er on hys ax, & orpedly strydeȝ,

Bremly broþe on a bent, þat brode watȝ a-boute,

S ir Gawayn þe knyȝt con mete.

I-wysse þ o u art welcom, 1 wyȝe, to my place,

& þ o u hatȝ tymed þi trauayl as t ru e 2 mo n schulde;

& þ o u knoweȝ þe couenau n teȝ kest v us by-twene,

& I schulde at þis nwe ȝere ȝeply þe quyte.

Here ar no renkes vs to rydde, rele as v us likeȝ;

I schal gruch þe no grwe, for grem þat falleȝ;

Botstyȝtel þe vpon on strok, & I schal stonde stylle,

& warp þe no werny n g, to worch as þe lykeȝ,

& lette as he noȝt dutte,

Gedereȝ yp hys gry m me tole, Gawayn to smyte;

Mu n t as maȝtyly, as marre hy m he wolde;

Hade hit dryuen adou n , as dreȝ as he atled,

Þer hade ben ded of his dynt, þat doȝty watȝ eu er .

Þat oþ er schalk wyth a schu n t þe schene wythhaldeȝ,

& þe n ne repreued he þe prynce w i t h mony prowde wordeȝ:

Þat neu er arȝed for no here, by hylle ne be vale,

& now þ o u fles for ferde, er þ o u fele harmeȝ;

Such cowardise of þat knyȝt cowþe I neu er here.

Nawþ er fyked I, ne flaȝe, freke, quen þ o u myntest,

Ne kest no kauelac i on, in ky n geȝ ho us Arthor,

My hede flaȝ to my fote, & ȝet flaȝ I neu er ;

& þ o u, er any harme hent, arȝeȝ i n hert,

Q uod G:, "I schu n t oneȝ,

Bot paȝ my hede falle on þe stoneȝ,

"Haf at þe þe n ne," q uod þ a t oþ er , & heueȝ hit alofte,

& wayteȝ as wroþely, as he wode were;

He mynteȝ at hy m maȝtyly, bot not þe mon ryueȝ, 1

With-helde het er ly h[i]s honde, er hit hurt myȝt.

Gawayn grayþely hit bydeȝ, & glent w i t h no membre,

Þat raþeled is i n roche grou n de, w i t h roteȝ a hundreth.

"So now þ o u hatȝ þi hert holle, hitte me bihou[e]s;

Halde þe now þe hyȝe hode, þat Arþur þe raȝt,

& kepe þy kanel at þis kest, ȝif hit keu er may."

"Wy þresch on, þ o u þro mon, þ o u þreteȝ to longe,

I hope þat þi hert arȝe wyth þyn awen seluen."

"For soþe," q uod þat oþ er freke, "so felly þ o u spekeȝ,

riȝt nowe."

No meruayle þaȝ hy m myslyke,

1 ? ryneȝ = touches. 2 he he, in MS.

He lyftes lyȝtly his lome, & let hit dou n fayre,

Þaȝ he homered het er ly, hurt hy m no more,

Þe scharp schrank to þe flesche þurȝ þe schyre grece,

& quen þe burne seȝ þe blode blenk on þe snawe,

Schot wit h his schuldereȝ his fayre schelde vnder,

Braydeȝ out a bryȝt sworde, & bremely he spekeȝ;

Neu er syn þat he watȝ burne borne of his moder,

Watȝ he neu er i n þis worlde, wyȝe half so blyþe:—

& if þow recheȝ me any mo, I redyly schal quyte,

& ȝelde ȝederly aȝayn, & þ er to ȝe tryst,

Bot on stroke here me falleȝ,

Þe couenau n t schop ryȝt so,

[Sikered] 1 in Arþureȝ halleȝ,

& loked to þe leude, þat on þe launde ȝede,

How þat doȝty dredles deruely þer stondeȝ,

Armed ful aȝleȝ; i n hert hit hy m lykeȝ.

þe n n he meleȝ muryly, wyth a much steuen,

Ne kyd, bot as couenau n de, at ky n geȝ kort schaped;

I hyȝt þe a strok, & þ o u hit hatȝ, halde þe wel payed,

I relece þe of þe remnau n t, of ryȝtes alle oþ er ;

Ȝif 1 I deliuer had bene, a boffet, parau n t e r,

I couþe wroþeloker haf waret, [&] to þe haf wroȝt ang er . 2

& roue þe wyth no rof, sore w i t h ryȝt I þe p ro fered,

For þe forwarde that we fest i n þe fyrst nyȝt,

& þ o u trystyly þe trawþe & trwly me haldeȝ,

Þ o u kyssedes my clere wyf, þe cosseȝ me raȝteȝ,

For hit is my wede þat þ o u wereȝ, þ a t ilke wouen girdel,

& þe wowy n g of my wyf, I wroȝt hit myseluen;

I sende hir to asay þe, & sothly me þynkkeȝ,

On þe fautlest freke, þat eu er on fote ȝede;

So is Gawayn, i n god fayth, bi oþ er gay knyȝteȝ.

Bot þat watȝ for no wylyde werke, ne wowy n g nauþ er ,

Bot for ȝe lufed yo ur lyf, þe lasse I yow blame."

I n yow is vylany & vyse, þat v er tue disstryeȝ."

Þe n ne he kaȝt to þe knot, & þe kest lawseȝ,

For care of þy knokke cowardyse me taȝt

Þat is larges & lewte, þat longeȝ to knyȝteȝ.

Of trecherye & vn-trawþe boþe bityde sorȝe

I bi-knowe yow, knyȝt, here stylle,

Leteȝ me ou er -take yo ur wylle,

The n ne loȝe þat oþ er leude, & luflyly sayde,

& hatȝ þe penau n ce apert, of þe poy n t of myn egge,

I halde þe polysed of þat plyȝt, & pured as clene,

As þ o u hadeȝ neu er forfeted, syþe n þ o u watȝ fyrst borne.

For hit is grene as my goune, s ir G:, ȝe maye

Þenk vpon þis ilke þrepe, þ er þ o u forth þry n geȝ

Of þe chau n ce of þe grene chapel, at cheualro us knyȝteȝ;

& ȝe schal i n þis nwe ȝer aȝayn to my woneȝ,

Þat watȝ yo ur enmy kene."

& hatȝ hit of hendely, & þe haþel þonkkeȝ,

& he ȝelde hit yow ȝare, þat ȝarkkeȝ al me n skes!

& comau n deȝ me to þat cortays, yo ur comlych fere,

Boþe þat on & þat oþ er , myn hono ur ed ladyeȝ.

Þat þ us hor knyȝt wyth hor kest han koy n tly bigyled.

Bot hit is no ferly, þaȝ a fole madde,

& þurȝ wyles of wy m men be wonen to sorȝe;

For so watȝ Adam i n erde w i t h one bygyled,

& Salamon w i t h fele sere, & Samson eft soneȝ,

Watȝ blended w i t h Barsabe, þat much bale þoled.

For þes wer forne 1 þe freest þat folȝed alle þe sele,

Þaȝ I be now bigyled,

"Bot yo ur gordel," q uod G: "God yow for-ȝelde!

For wele, ne for worchyp, ne for þe wlonk werkkeȝ,

Syn ȝe be lorde of þe ȝonde[r] londe, þ er I haf lent i n ne,

Wyth yow wyth worschyp,—þe wyȝe hit yow ȝelde

Þat vp-haldeȝ þe heu en , & on hyȝ sitteȝ,—

How norne ȝe yowre ryȝt nome, & þe n ne no more?"

Þurȝ myȝt of Morgne la Faye, þat i n my ho us lenges,

For ho hatȝ dalt drwry ful dere su m tyme,

With þat conable klerk, þat knowes alle yo ur knyȝteȝ

Weldeȝ non so hyȝe hawtesse,

1 in (?). 2 ho hatȝ (?).

For to assay þe surquidre, ȝif hit soth were,

Ho wayned me þis wonder, yo ur wytteȝ to reue,

For to haf greued Gayno ur , & gart hir to dyȝe.

W i t h his hede i n his honde, bifore þe hyȝe table.

Ho is euen þyn au n t, Arþureȝ half suster,

Þe duches doȝter of Tyntagelle, þat dere Vt er aft er

& I wol þe as wel, wyȝe, bi my faythe,

To þe prynce of paradise, & parten ryȝt þere,

To þe ky n geȝ burȝ buskeȝ bolde,

& þe knyȝt i n þe enker grene,

Wylde wayeȝ i n þe worlde Wowen now rydeȝ,

Þat I ne tyȝt, at þis tyme, i n tale to remene.

Þe hurt watȝ hole, þat he hade hent i n his nek,

I n tokeny n g he watȝ tane i n tech of a faute;

& þ us he co m mes to þe co u rt, knyȝt al i n sou n de.

Þat gode G: watȝ co m men, gayn hit hym þoȝt;

Þe ky n g kysseȝ þe knyȝt, & þe whene alce,

& syþen mony syker knyȝt, þat soȝt hy m to haylce,

Biknowoȝ alle þe costes of care þat he hade,—

Þe chau n ce of þe chapel, þe chere of þe knyȝt,

Þat he laȝt for his vnleute at þe leudes hondes,

Þis is þe laþe & þe losse, þat I laȝt haue,

Of couardise & couetyse, þat I haf caȝt þare,

& I mot nedeȝ hit were, wyle I may last;

For þ er hit oneȝ is tachched, twy n ne wil hit neu er ."

Þe ky n g comforteȝ þe knyȝt, & alle þe co u rt als,

Laȝen loude þ er -at, & luflyly acorden,

A bende, a belef hy m aboute, of a bryȝt grene,

For þat watȝ acorded þe renou n of þe Rou n de Table,

Syþ en Brut us , þe bolde burne, boȝed hider fyrst,

Aft er þe segge & þe asaute watȝ sesed at Troye,

Mony au n t er eȝ here bi-forne,

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Essay of sir Gawain and the green knight. Plsss

Sir Gawain, can be said to be a good Christian by the virtue of him having been knighted by King Arthur. He is valiant, pure and chivalrous. The poet describes him as pure as gold. Gawain begins with a symbolic shield, as opposed to having acquired it in his adventures. Gawain took up his shield seeking out for the Green Knight and faced the tradition culture with one of its five symbols and given new meaning, and was backed by the new acquired culture’s faith.

Now Green Knight stands almost in a fatherly position to Gawain. Green Knight, is seen referring Arthur’s knights as beardless children, and says he will be playing a game with them rather than battling with them. This appears as a cruel taunt, implying that Arthur’s knights have childlike innocence, perhaps being their young cultures innocence. When knight was in shock at the Green Knight’s stiff challenge, Arthur was to leap to accept it, but Gawain strongly denied him because was not supposed to accept it. To them he was a parent like figure, and it was they, who were young, be tested, not he, proved his worth.

Arthur, in that instance, was almost a mother figure to those knights of his caliber. The sooner he realized that knights were not going to defend the honor of the court, he leapt to do it by himself, as mother bears to defend her cubs. This seems to be a ruse on his part so as to shame the knights. Gawain realized that the test had turned into a rite of passage, but not actual challenge, and stepped up so as to take it upon him. Arthur argued with Gawain, so as to be sure that he knew what he was getting to himself, and after Gawain appealed that it was him supposed to accept the challenge, Arthur moved to him, handing to him an axe, which was the tool to help him meet challenge.

The appearance and challenge of the Green Knight were not only rite of passage in which new Christian culture was to get wisdom and knowledge of Gallo Celtic culture that preceded it, but also as a reminiscent of older Celtic story about the passing tradition of the Holly King and the Oak King. In the story, the Holly King, here identified as the Green Knight, challenges the Oak King into a mocking battle during the New Year eve so that, in being beheaded, he shall pass on kingdom. In the course of the year, Oak King grew older and wiser, and was beheaded by Holly King at the end of summer, and the cycle restarts.

In the Third Fit, Gawain gets involved in a game with Lord Bertilak who was the castles lord in which stayed awaiting the confrontation between him and the Green knight. They traded for three days he stayed inside the castle, what they gained during the day. He did not realize, though, that that the game was a part of Green Knight’s tests against him. The first two days, the game proceeded well, with Bertilak being the meat deliverer, and Gawain delivering the kisses Lady Bertilak bestowed upon him faithfully.

In the third day, Gawain was trading the Lady’s kisses for Bertilak’s fox meat, but not girdle she had earlier given him, because he had vowed to her that he would not. This happened to be Gawain’s only mistake, as we see in the Fourth Fitt. Which concludes his trials when he faced off against the green knight for what he was thinking was the second time, but later discovered it was the third. In Gawain’s meetings with Green Knight, it is noted that two of the three trials were also the three part trials unto them (Besserman).

These were the three nights which were in the castle, and the three blows with an axe at the end. The sets of the three were considered to be magical in nearly every culture of the world, because they usually were the representatives of a basic family unit. However it was strange that there were to be only two sets of the three sub-trials instead of three, which required that I might have missed something in the first fitt, but I could not have found even a hint that trial of beheading the Green Knight, had three divisional parts.

In the last trial, Green Knight swung for three times at Gawain’s neck and finally nicking him during the third swipe. By having given the three blows, Green Knight revealed that he was Bertilak, and explained to Gawain that each blow was representing every night spent in the castle. Gawain’s only mistake was not that of mentioning the girdle to Bertilak, for which he had been nicked with the axe. Gawain would not accept that he had passed the three tests, and that, in Bertilak’s eyes, was even a further proof that he had passed. Gawain’s perfect honesty and humility rendered him worthy to receiving wisdom that Bertilak had to offer (Greenblatt).

Explanation:

Related Questions

need help!!!!!!! writing at least three complete sentences. Read the poem and then explain what it means. Make sure you use evidence from the poem to support your response. i am trying to remember you and let you go at the same time -the mourn

In this poem, it talks about the feelings of grief and loss, as well as rememberance. The poet is saying, “i am trying to remember you,” which shows that they like the person they are talking about and that they want the person around. But they have also said, “and let you go/at/the same time,” which is a show of care for the person. The rememberance part of the poem shows that they care for this person enough to let them go.

Hope this is what you needed, have a great day! (;

Answer the questions about "Who Lives, Who Dies, Who Tells Your Story?"What is Hamilton's legacy according to this song? Consider what each character shares about how Hamilton influenced the country. What is Hamilton's impact? How should he be remembered and why? Why does Angelica say, "Every other founding father's story gets told"? What does this show about how Hamilton is remembered compared to other leaders of his time period? Consider the musical as a whole. What does Lin-Manuel Miranda want the audience to understand and believe about Alexander Hamilton?

gegs sudbbd usage ysgdv ysgdv hsh

hah hshdjrj ysgdv ishdh usgdvd ushvevd ysgvdvd ysgdv dueve dud dud dud xusv soccer d

hshxhdbjx dudvd fhs dud dud dus did xia xis s icd dibd xox sjc eoc dix six s xis zisvsjxh six djajx jsixnr bxisjxs d xus d js s xjdbs xjsba xjxb dkcnd z xjdjbw chdhf dudhjfjorb didhhr dhbdf idbdvd iebevfk

Select the correct text in the passage. Which sentence from this excerpt indicates that Fortunato is still alive? The Cask of Amontillado by Edgar Allan Poe (excerpt) But to these words I hearkened in vain for a reply. I grew impatient. I called aloud - "Fortunatol" No answer. I called again - "Fortunato!" No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick, it was the dampness of the catacombs that made it so. I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescati Reset Next entum. All rights reserved.

There came forth in return only a jingling of the bells.

The planetary motto of the World State is “Community, Identity, Stability.” Why do you think these three concepts are necessary for a properly functioning societal unit? If you had to pick three or four words to best capture the elements of the United States of America, what would they be and why? Fully explain. Please help me with this!

Putting punctuation marks at the end of each sentence is an example of a(n) _____________.

Answer: grammar rule

Grammar rule simply means the acceptable way of forming words or sentences.

Some of the basic grammar rules are that a sentence should begin with capital letter, there should be a subject and also a verb for every sentence.

Also, Putting punctuation marks at the end of each sentence is an example of a grammar rule.

List two examples of a community college. What is the difference between a certificate program and an associate's degree?

 A community college is a type of educational institution. The term can ... Thus, for example, the University of Guelph "twins" with Humber College and York University does  ...

A certificate is generally obtained as an add-on to an associate degree, and usually requires some career or educational experience to be admitted to the program. An associate degree only requires a high school diploma or completion of the General Education Development (GED) test.

They say this officer is corrupt change in passive voice... pls help​

This officer is corrupt is what they said.

When Miles's parents first met, his father spilled a bowl of salsa on his mom. O True False

Answer: True

In which sentence is the adverb clause punctuated correctly? A. After he took out the trash he played video games. B. After he took out the trash, he played video games. C. He played video games, after he took out the trash.

B. After he took out the trash, he played video games

Karim buys 200 tiles.There are 25 tiles in each box.Each box of tiles costs £9.75.Work out the total cost of the boxes of tiles Karim buys.

200/25=8 boxes

why the word "starts" is incorrect in the sentence "Benjamin, who’s the most artistic, place marshmallows around the top."

Melted ice cream dripped down the cone and across her sticky fingers. What is the verb in the sentence

The conflict is resolved in the resolution of a story. true or false

resolution is when the conflict is solved

•) how is the cultivation of paddy different from the cultivation of other crops ?​

Question 1 (10 points) To help conserve water, the town approved a strict that restricted people from washing their cars more than once a month.

Is this for K12?

Helpppppp Please, thanks Read the passage carefully. Woman does not ask man for the right of suffrage. That is something which man has no power to give. Rights do not have their source in the will or the grace of man. . . . All that woman can properly ask man to do in this case, and all that man can do, is to get out of the way, to take his obstructive forces of fines and imprisonment and his obstructive usages out of the way, and let woman express her sentiments at the polls and in the government, equally with himself. Give her fair play and let her alone. –Speech on the emancipation of women, Frederick Douglass Which statement best expresses Douglass's point of view about women’s suffrage? Women who vote should pay fines or go to jail. Men are obstructing women’s right to vote. Men should vote on behalf of women’s interests. Men have the power to give women the right to vote.

I think the answer is B, men are obstructing women's right to vote

Select the three adjectives. Don't select any articles (a, an, or the).Grover Cleveland was in office from 1885 to 1889 and from 1893 to 1897. This circumstance makes him the twenty-second and the twenty-fourth president.

Thank you to anyone who answers .

Why are you having a test about a book by dr. suess for five year olds??

And your level says college

How does the mental image of Fate as a stubborn old girl help deepen the reader's understanding of the essay? (R115) 0 A. By using a simile, the author helps the reader see how Fate is like something else. O B. By using hyperbole, the author helps the reader see the great power of Fate. C. By using personification, the author helps the reader picture Fate as being determined to win. D. By using imagery, the author helps the reader imagine what Fate might look like.

Put real answer in the comments if i'm wrong

In understanding the essay, the author uses hyperbole to helps the reader see the great power of Fate.

An author is the writer of a book, article, play, or other written work. A broader definition of the word "author" states:"An author is 'the person who originated or gave existence to anything' and whose authorship determines responsibility for what was created.

Typically, the first owner of a copyright is the person who created the work, i.e. the author. If more than one person created the work, then a case of joint authorship takes place. Copyright laws differ around the world. The United States Copyright Office, for example, defines copyright as "a form of protection provided by the laws of the United States (title 17, U.S. Code) to authors of 'original works of authorship.

Learn more about author ,here:

https://brainly.com/question/9260046

Sarah Post Smooth-Dribbling Soccer Cleats 2 Left fullback Suzie Martinez steals the ball from the other team in the championship game of the season. Rival player Jen Smith tries to recover the ball, but she slips on the sloppy, wet field. Suzie glides easily around her fallen opponent and kicks the ball toward the goal. The other team's defensive player backpedals in an attempt to block Suzie's kick, but falls in front of the goal. Suzie's teammate, Becky Fuller, is ready and waiting when the ball comes to her. Becky shifts her weight and throws herself into a kick, scoring the winning goal. According to the passage, what caused soccer player Jen Smith to fall on the field? A) Becky's winning goal B) Jen's new soccer cleats C) the sloppy, wet soccer field D) the school newspaper reporter

C the sloppy, wet soccer cleats

your brain visualises the information. what is meant by the word 'visualise'​

You are the team leader For a group project. You are meeting with a team member who is unhappy because another team member is not doing their part. How should you best discuss the issue with the nonparticipating team member? Email Phone Text message Face to face

Face-to-face

The team member isn't doing their part and it's affecting the others. This means that the issue must be handled appropriately.

If you used an email, then the unhappy team member would feel as if you're not taking things seriously and are just being lazy.

Texting is even worse, so you wouldn't pick that one as that's more informal.

Using a phone call isn't as bad, however it would still be ineffective as the lazy team member may not pick up, be angry over the phone at a supposed 'accusation' or they'd just make excuses.

Face-to-face is best as you can pick up on body language and visual cues as well as their voice, plus it would indicate to your team members that you take their requests seriously and will act accordingly. This puts you in a great leadership position as it shows confidence, maturity and strong leadership qualities.

How does the air temperature at the bottom of a mountain compare with the air temperature at the top of the mountain? The air is colder at the bottom. The air is warmer at the top. The air temperature at the top is lower. The air temperature is the same.

Answer: The air temperature at the top is lower. it c

Explanation:hope this helps u

For whom is a United States representative responsible? OA) the members of his party all over the country OB) the members of his party in his state OC) all the people in his congressional district OD) the registered voters in his congressional district

OA)the members of his party all over the country

Can anyone help? Please I will mark brainliest.

No one is going to do this for 13 points and brainliest trust me. Sorry :/

Walking is not the most exciting form of exercise a person can take on for fitness. Yet it is low impact and requires no fancy equipment. That makes walking a simple activity for those new to exercise. Walking is less likely than other exercises to cause injury to leg tendons and muscles. All it requires is a good pair of sneakers—no cables, stylish outfits, or weights required. Of course, a person could increase the benefit of a workout by adding weights or speed walking. How does the third sentence ("That makes walking...") support the main idea of the paragraph? Walking is a difficult and safe exercise for beginners. Walking is an easy and safe exercise for beginners. Walking is a boring and dangerous form of exercise. Walking is an exciting and very effective form of exercise

Walking is an Easy and Safe exercise for beginners

Can you give specific examples of collaborative learning activities/tasks that students can do?

more group work

you can have students sit in a circle and create a story one by one, by this i mean that the person at beginning of the circle will say one word to start the story then the person next to them will say another word to ceate a story and it moves around the circle till your story is done.

You could have students create videos or posters about the topic that you want them to learn about

pls help urgent!!!!!!!!!!!!!!!!!!!!!!! pwese:( Convert the following sentences into reported speech (a) He said, “I am waiting for my sister.” (b)She said to me, “I have bought a blue sari.” (c) Mother said, “The dogs bark at the strangers.” 11⁄2 15 Change the following sentences from active to passive voice. (a) As all expected, the government is announcing the results right now. (b)Mr and Mrs. Desai will inaugurate their new factory on Friday. Transformation of sentences (a) He has suffered from flu. He is weak now. (convert to compound) (b)Wait here, I will come back. (convert to complex) (c) He has succeeded. (Identify the type of sentence)

He said that he was waiting for his sister

She told me that she bought a blue sari.

My mother told me that the dogs bark at the strangers.

The government is announcing the results right now just as it was expected.

The new factory will be inaugurated by Mr and Mrs. Desai on Friday

He has suffered from flu so he is weak now.

(b)Wait here, I will come back. (convert to complex)

(c) He has succeeded. (Identify the type of sentence)

Simple sentence.

Part B: which detail from the text best supports the answer to Part A?

Answer: what text???

How does the section "The Roots of War" contribute to the development of the ideas in "How Archaeologists Found the Lost City of Troy"? It describes the several layers of Troy found buried under a mound in Turkey. It reveals accounts of Troy's fall by authors other than Homer. It contrasts Homer's explanation for the cause of the war with modern theories. It recounts how Odysseus came up with the plan to use the wooden horse.

C. It contrasts Homer's explanation for the cause of the war with modern theories.

Explanation: I did the quiz and got it right!!! (also super late)

The section "The Roots of War" contribute to the development of the ideas in "How Archaeologists Found the Lost City of Troy" by the fact that it contrasts Homer's explanation for the cause of the war with modern theories. Thus, it's C .

The responsibilities of Archaeologists may include washing, sorting, cataloging, and storing the recovered artifacts after significantly bringing them back from the field. These artifacts may include fossils, antique things, and important historical evidence.

According to the context of this question, the Roots of War contribute to the development of numerous ideas correspondingly. It may gather all sorts of evidence, and historical information, representing the similarity and differences between past and present events, things, and structures.

Therefore, the given section contrasts Homer's explanation for the cause of the war with modern theories . Thus, the correct option for this question is C.

To learn more about   Archaeologists , refer to the link:

https://brainly.com/question/928273

Home — Essay Samples — Literature — Sir Gawain and The Green Knight — Pagan Villainy in “Sir Gawain and the Green Knight”

Pagan Villainy in "Sir Gawain and The Green Knight"

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