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<H1 id="firstHeading" class="firstHeading" lang="en"><I>Sir Gawain and the Green Knight</I></H1>			<DIV id="bodyContent" class="mw-body-content">
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				<DIV id="mw-content-text" lang="en" dir="ltr" class="mw-content-ltr"><DIV class="mw-parser-output"><DIV role="note" class="hatnote navigation-not-searchable">For the 1973 film adaptation, see <A href="/wiki/Gawain_and_the_Green_Knight_(film)" title="Gawain and the Green Knight (film)">Gawain and the Green Knight (film)</A>.</DIV>
<TABLE class="infobox vcard" style="width:22em">
<CAPTION style="font-style:italic;padding-bottom:0.2em;">Sir Gawain and the Green Knight</CAPTION>
<TBODY><TR>
<TD colspan="2" style="text-align:center"><A href="/wiki/File:Sir_Gawain_first_page_670x990.jpg" class="image"><IMG alt="Sir Gawain first page 670x990.jpg" src="//upload.wikimedia.org/wikipedia/commons/thumb/9/96/Sir_Gawain_first_page_670x990.jpg/220px-Sir_Gawain_first_page_670x990.jpg" width="220" height="310" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/96/Sir_Gawain_first_page_670x990.jpg/330px-Sir_Gawain_first_page_670x990.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/96/Sir_Gawain_first_page_670x990.jpg/440px-Sir_Gawain_first_page_670x990.jpg 2x" data-file-width="913" data-file-height="1287" /></A>
<DIV>First page of survived manuscript, circa 14th century.</DIV>
</TD>
</TR>
<TR>
<TH scope="row">Author</TH>
<TD><A href="/wiki/Anonymous_work" title="Anonymous work">Anonymous</A></TD>
</TR>
<TR>
<TH scope="row">Country</TH>
<TD><A href="/wiki/Kingdom_of_England" title="Kingdom of England">Kingdom of England</A></TD>
</TR>
<TR>
<TH scope="row">Language</TH>
<TD><A href="/wiki/Middle_English" title="Middle English">Middle English</A></TD>
</TR>
<TR>
<TH scope="row">Genre</TH>
<TD><A href="/wiki/Poem" class="mw-redirect" title="Poem">Poem</A>, <A href="/wiki/Chivalric_romance" title="Chivalric romance">chivalric romance</A>, <A href="/wiki/Arthurian" class="mw-redirect" title="Arthurian">Arthurian</A> and <A href="/wiki/Alliterative_verse" title="Alliterative verse">alliterative verse</A>.</TD>
</TR>
<TR>
<TH scope="row">
<DIV style="padding:0.1em 0;line-height:1.2em;">Publication date</DIV>
</TH>
<TD>14th century</TD>
</TR>
</TBODY></TABLE>
<P><I><B>Sir Gawain and the Green Knight</B></I> (<A href="/wiki/Middle_English" title="Middle English">Middle English</A>: <I>Sir Gawayn and þe Grene Knyȝt</I>) is a late 14th-century Middle English <A href="/wiki/Chivalric_romance" title="Chivalric romance">chivalric romance</A>. It is one of the best known <A href="/wiki/Arthurian" class="mw-redirect" title="Arthurian">Arthurian</A> stories, with its plot combining two types of folklore motifs, the beheading game and the exchange of winnings. The Green Knight is interpreted by some as a representation of the <A href="/wiki/Green_Man" title="Green Man">Green Man</A> of folklore and by others as an allusion to Christ. Written in stanzas of <A href="/wiki/Alliterative_verse" title="Alliterative verse">alliterative verse</A>, each of which ends in a rhyming <A href="/wiki/Bob_and_wheel" title="Bob and wheel">bob and wheel</A>,<SUP id="cite_ref-1" class="reference"><A href="#cite_note-1">[1]</A></SUP> it draws on <A href="/wiki/Welsh_people" title="Welsh people">Welsh</A>, Irish, and English stories, as well as the French <A href="/wiki/Chivalric" class="mw-redirect" title="Chivalric">chivalric</A> tradition. It is an important example of a <A href="/wiki/Romance_(heroic_literature)" class="mw-redirect" title="Romance (heroic literature)">chivalric romance</A>, which typically involves a hero who goes on a quest which tests his prowess, and it remains popular to this day in modern English renderings from <A href="/wiki/J._R._R._Tolkien" title="J. R. R. Tolkien">J. R. R. Tolkien</A>, <A href="/wiki/Simon_Armitage" title="Simon Armitage">Simon Armitage</A>, and others, as well as through film and stage adaptations.</P>
<P>It describes how Sir <A href="/wiki/Gawain" title="Gawain">Gawain</A>, a knight of <A href="/wiki/King_Arthur" title="King Arthur">King Arthur</A>'s <A href="/wiki/Round_Table" title="Round Table">Round Table</A>, accepts a challenge from a mysterious "<A href="/wiki/Green_Knight" title="Green Knight">Green Knight</A>" who challenges any knight to strike him with his axe if he will take a return blow in a <A href="/wiki/Year_and_a_day_rule" title="Year and a day rule">year and a day</A>. Gawain accepts and beheads him with his blow, at which the Green Knight stands up, picks up his head, and reminds Gawain of the appointed time. In his struggles to keep his bargain, Gawain demonstrates <A href="/wiki/Chivalry" title="Chivalry">chivalry</A> and <A href="/wiki/Loyalty" title="Loyalty">loyalty</A> until his honour is called into question by a test involving <A href="/wiki/Lady_Bertilak" title="Lady Bertilak">Lady Bertilak</A>, the lady of the Green Knight's castle.</P>
<P>The poem survives in a single manuscript, the <I>Cotton Nero A.x.</I>, which also includes three religious <A href="/wiki/Narrative_poetry" title="Narrative poetry">narrative poems</A>: <I><A href="/wiki/Pearl_(poem)" title="Pearl (poem)">Pearl</A></I>, <I><A href="/wiki/Cleanness_(poem)" class="mw-redirect" title="Cleanness (poem)">Purity</A></I> and <I><A href="/wiki/Patience_(poem)" title="Patience (poem)">Patience</A></I>. All are thought to have been written by the same unknown author, dubbed the "<A href="/wiki/Pearl_Poet" title="Pearl Poet">Pearl Poet</A>" or "Gawain Poet", since all four are written in a <A href="/wiki/North_Midlands" title="North Midlands">North</A> <A href="/wiki/West_Midlands_(region)" title="West Midlands (region)">West Midland</A> dialect of Middle English.<SUP id="cite_ref-norton_2-0" class="reference"><A href="#cite_note-norton-2">[2]</A></SUP><SUP id="cite_ref-ucalgary_3-0" class="reference"><A href="#cite_note-ucalgary-3">[3]</A></SUP></P>
<P></P>
<DIV id="toc" class="toc">
<DIV class="toctitle" lang="en" dir="ltr" xml:lang="en">
<H2>Contents</H2>
<SPAN class="toctoggle"> [<A role="button" tabindex="0" class="togglelink">hide</A>] </SPAN></DIV>
<UL>
<LI class="toclevel-1 tocsection-1"><A href="#Synopsis"><SPAN class="tocnumber">1</SPAN> <SPAN class="toctext">Synopsis</SPAN></A></LI>
<LI class="toclevel-1 tocsection-2"><A href="#"Pearl_Poet""><SPAN class="tocnumber">2</SPAN> <SPAN class="toctext">"Pearl Poet"</SPAN></A></LI>
<LI class="toclevel-1 tocsection-3"><A href="#Verse_form"><SPAN class="tocnumber">3</SPAN> <SPAN class="toctext">Verse form</SPAN></A></LI>
<LI class="toclevel-1 tocsection-4"><A href="#Similar_stories"><SPAN class="tocnumber">4</SPAN> <SPAN class="toctext">Similar stories</SPAN></A></LI>
<LI class="toclevel-1 tocsection-5"><A href="#Themes"><SPAN class="tocnumber">5</SPAN> <SPAN class="toctext">Themes</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-6"><A href="#Temptation_and_testing"><SPAN class="tocnumber">5.1</SPAN> <SPAN class="toctext">Temptation and testing</SPAN></A></LI>
<LI class="toclevel-2 tocsection-7"><A href="#Hunting_and_seduction"><SPAN class="tocnumber">5.2</SPAN> <SPAN class="toctext">Hunting and seduction</SPAN></A></LI>
<LI class="toclevel-2 tocsection-8"><A href="#Nature_and_chivalry"><SPAN class="tocnumber">5.3</SPAN> <SPAN class="toctext">Nature and chivalry</SPAN></A></LI>
<LI class="toclevel-2 tocsection-9"><A href="#Games"><SPAN class="tocnumber">5.4</SPAN> <SPAN class="toctext">Games</SPAN></A></LI>
<LI class="toclevel-2 tocsection-10"><A href="#Times_and_seasons"><SPAN class="tocnumber">5.5</SPAN> <SPAN class="toctext">Times and seasons</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-11"><A href="#Symbolism"><SPAN class="tocnumber">6</SPAN> <SPAN class="toctext">Symbolism</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-12"><A href="#Significance_of_the_colour_green"><SPAN class="tocnumber">6.1</SPAN> <SPAN class="toctext">Significance of the colour green</SPAN></A></LI>
<LI class="toclevel-2 tocsection-13"><A href="#The_Green_Knight"><SPAN class="tocnumber">6.2</SPAN> <SPAN class="toctext">The Green Knight</SPAN></A></LI>
<LI class="toclevel-2 tocsection-14"><A href="#Girdle"><SPAN class="tocnumber">6.3</SPAN> <SPAN class="toctext">Girdle</SPAN></A></LI>
<LI class="toclevel-2 tocsection-15"><A href="#Pentangle"><SPAN class="tocnumber">6.4</SPAN> <SPAN class="toctext">Pentangle</SPAN></A></LI>
<LI class="toclevel-2 tocsection-16"><A href="#The_Lady's_Ring"><SPAN class="tocnumber">6.5</SPAN> <SPAN class="toctext">The Lady's Ring</SPAN></A></LI>
<LI class="toclevel-2 tocsection-17"><A href="#Numbers"><SPAN class="tocnumber">6.6</SPAN> <SPAN class="toctext">Numbers</SPAN></A></LI>
<LI class="toclevel-2 tocsection-18"><A href="#Wounds"><SPAN class="tocnumber">6.7</SPAN> <SPAN class="toctext">Wounds</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-19"><A href="#Interpretations"><SPAN class="tocnumber">7</SPAN> <SPAN class="toctext">Interpretations</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-20"><A href="#Gawain_as_medieval_romance"><SPAN class="tocnumber">7.1</SPAN> <SPAN class="toctext"><I>Gawain</I> as medieval romance</SPAN></A></LI>
<LI class="toclevel-2 tocsection-21"><A href="#Christian_interpretations"><SPAN class="tocnumber">7.2</SPAN> <SPAN class="toctext">Christian interpretations</SPAN></A></LI>
<LI class="toclevel-2 tocsection-22"><A href="#Feminist_interpretations"><SPAN class="tocnumber">7.3</SPAN> <SPAN class="toctext">Feminist interpretations</SPAN></A></LI>
<LI class="toclevel-2 tocsection-23"><A href="#Postcolonial_interpretations"><SPAN class="tocnumber">7.4</SPAN> <SPAN class="toctext">Postcolonial interpretations</SPAN></A></LI>
<LI class="toclevel-2 tocsection-24"><A href="#Gawain's_journey"><SPAN class="tocnumber">7.5</SPAN> <SPAN class="toctext">Gawain's journey</SPAN></A></LI>
<LI class="toclevel-2 tocsection-25"><A href="#Homoerotic_interpretations"><SPAN class="tocnumber">7.6</SPAN> <SPAN class="toctext">Homoerotic interpretations</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-26"><A href="#Modern_adaptations"><SPAN class="tocnumber">8</SPAN> <SPAN class="toctext">Modern adaptations</SPAN></A>
<UL>
<LI class="toclevel-2 tocsection-27"><A href="#Books"><SPAN class="tocnumber">8.1</SPAN> <SPAN class="toctext">Books</SPAN></A></LI>
<LI class="toclevel-2 tocsection-28"><A href="#Film_and_television"><SPAN class="tocnumber">8.2</SPAN> <SPAN class="toctext">Film and television</SPAN></A></LI>
<LI class="toclevel-2 tocsection-29"><A href="#Theatre"><SPAN class="tocnumber">8.3</SPAN> <SPAN class="toctext">Theatre</SPAN></A></LI>
<LI class="toclevel-2 tocsection-30"><A href="#Opera"><SPAN class="tocnumber">8.4</SPAN> <SPAN class="toctext">Opera</SPAN></A></LI>
</UL>
</LI>
<LI class="toclevel-1 tocsection-31"><A href="#References"><SPAN class="tocnumber">9</SPAN> <SPAN class="toctext">References</SPAN></A></LI>
<LI class="toclevel-1 tocsection-32"><A href="#External_links"><SPAN class="tocnumber">10</SPAN> <SPAN class="toctext">External links</SPAN></A></LI>
</UL>
</DIV>
<P></P>
<H2><SPAN class="mw-headline" id="Synopsis">Synopsis</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=1" title="Edit section: Synopsis">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
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Sir Gawain and the Green Knight (from original manuscript, artist unknown)</DIV>
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<P>In <A href="/wiki/Camelot" title="Camelot">Camelot</A> on New Year's Day, King Arthur's court is exchanging gifts and waiting for the feasting to start when the king asks first to see or hear of an exciting adventure. A gigantic figure, entirely green in appearance and riding a green horse, rides unexpectedly into the hall. He wears no armour but bears an axe in one hand and a holly bough in the other. Refusing to fight anyone there on the grounds that they are all too weak to take him on, he insists he has come for a friendly "Christmas game": someone is to strike him once with his axe on condition that the Green Knight may return the blow in a year and a day.<SUP id="cite_ref-4" class="reference"><A href="#cite_note-4">[4]</A></SUP> The splendid axe will belong to whoever takes him on. Arthur himself is prepared to accept the challenge when it appears no other knight will dare, but Sir Gawain, youngest of Arthur's knights and his nephew, begs for the honour instead. The giant bends and bares his neck before him and Gawain neatly beheads him in one stroke. However, the Green Knight neither falls nor falters, but instead reaches out, picks up his severed head and remounts, holding up his bleeding head to Queen <A href="/wiki/Guinevere" title="Guinevere">Guinevere</A> while its writhing lips remind Gawain that the two must meet again at the <A href="/wiki/Green_Chapel" class="mw-redirect" title="Green Chapel">Green Chapel</A>. He then rides away. Gawain and Arthur admire the axe, hang it up as a trophy and encourage Guinevere to treat the whole matter lightly.</P>
<P>As the date approaches, Sir Gawain sets off to find the Green Chapel and keep his side of the bargain. Many adventures and battles are alluded to (but not described) until Gawain comes across a splendid castle where he meets Bertilak de Hautdesert, the lord of the castle, and his beautiful wife, who are pleased to have such a renowned guest. Also present is an old and ugly lady, unnamed but treated with great honour by all. Gawain tells them of his New Year's appointment at the Green Chapel and that he only has a few days remaining. Bertilak laughs, explains that the Green Chapel is less than two miles away and proposes that Gawain rest at the castle till then. Relieved and grateful, Gawain agrees.</P>
<P>Before going hunting the next day Bertilak proposes a bargain: he will give Gawain whatever he catches on the condition that Gawain give him whatever he might gain during the day. Gawain accepts. After Bertilak leaves, <A href="/wiki/Lady_Bertilak" title="Lady Bertilak">Lady Bertilak</A> visits Gawain's bedroom and behaves seductively, but despite her best efforts he yields nothing but a single kiss in his unwillingness to offend her. When Bertilak returns and gives Gawain the deer he has killed, his guest gives a kiss to Bertilak without divulging its source. The next day the lady comes again, Gawain again courteously foils her advances, and later that day there is a similar exchange of a hunted <A href="/wiki/Boar" class="mw-redirect" title="Boar">boar</A> for two kisses. She comes once more on the third morning, this time offering Gawain a gold ring as a keepsake. He gently but steadfastly refuses but she pleads that he at least take her belt, a girdle of green and gold silk which, the lady assures him, is charmed and will keep him from all physical harm. Tempted, as he may otherwise die the next day, Gawain accepts it, and they exchange three kisses. That evening, Bertilak returns with a fox, which he exchanges with Gawain for the three kisses – but Gawain says nothing of the girdle.</P>
<P>The next day, Gawain leaves for the Green Chapel with the girdle wound twice around his waist. He finds the Green Knight sharpening an axe and, as promised, Gawain bends his bared neck to receive his blow. At the first swing Gawain flinches slightly and the Green Knight belittles him for it. Ashamed of himself, Gawain doesn’t flinch with the second swing; but again the Green Knight withholds the full force of his blow. The knight explains he was testing Gawain's nerve. Angrily Gawain tells him to deliver his blow and so the knight does, causing only a slight wound on Gawain's neck. The game is over. Gawain seizes his sword, helmet and shield, but the Green Knight, laughing, reveals himself to be the lord of the castle, Bertilak de Hautdesert, transformed by magic. He explains that the entire adventure was a trick of the 'elderly lady' Gawain saw at the castle, who is actually the sorceress <A href="/wiki/Morgan_le_Fay" title="Morgan le Fay">Morgan le Fay</A>, Arthur's sister, who intended to test Arthur's knights and frighten Guinevere to death.<SUP id="cite_ref-5" class="reference"><A href="#cite_note-5">[5]</A></SUP> Gawain is ashamed to have behaved deceitfully but the Green Knight laughs and professes him the most blameless knight in all the land. The two part on cordial terms. Gawain returns to Camelot wearing the girdle as a token of his failure to keep his promise. The <A href="/wiki/Knights_of_the_Round_Table" class="mw-redirect" title="Knights of the Round Table">Knights of the Round Table</A> absolve him of blame and decide that henceforth that they will wear a green <A href="/wiki/Sash" title="Sash">sash</A> in recognition of Gawain's adventure and as a reminder to be always honest.</P>
<H2><SPAN id=".22Pearl_Poet.22"></SPAN><SPAN class="mw-headline" id=""Pearl_Poet"">"Pearl Poet"</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=2" title="Edit section: "Pearl Poet"">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<DIV role="note" class="hatnote navigation-not-searchable">Main article: <A href="/wiki/Pearl_Poet" title="Pearl Poet">Pearl Poet</A></DIV>
<P>Though the real name of "The <I>Gawain</I> Poet" (or poets) is unknown, some inferences about him can be drawn from an informed reading of his works. The manuscript of <I>Gawain</I> is known in academic circles as <I>Cotton Nero A.x.</I>, following a naming system used by one of its owners, <A href="/wiki/Robert_Bruce_Cotton" class="mw-redirect" title="Robert Bruce Cotton">Robert Cotton</A>, a collector of Medieval English texts.<SUP id="cite_ref-ucalgary_3-1" class="reference"><A href="#cite_note-ucalgary-3">[3]</A></SUP> Before the <I>Gawain</I> manuscript came into Cotton's possession, it was in the library of Henry Savile of Banke in <A href="/wiki/Yorkshire" title="Yorkshire">Yorkshire</A>.<SUP id="cite_ref-6" class="reference"><A href="#cite_note-6">[6]</A></SUP> Little is known about its previous ownership, and until 1824, when the manuscript was introduced to the academic community in a second edition of <A href="/wiki/Thomas_Warton" title="Thomas Warton">Thomas Warton</A>'s <I>History</I> edited by <A href="/wiki/Richard_Price_(British_historian)" class="mw-redirect" title="Richard Price (British historian)">Richard Price</A>, it was almost entirely unknown. Even then, the <I>Gawain</I> poem was not published in its entirety until 1839.<SUP id="cite_ref-7" class="reference"><A href="#cite_note-7">[7]</A></SUP><SUP id="cite_ref-8" class="reference"><A href="#cite_note-8">[8]</A></SUP> Now held in the <A href="/wiki/British_Library" title="British Library">British Library</A>, it has been dated to the late 14th century, meaning the poet was a contemporary of <A href="/wiki/Geoffrey_Chaucer" title="Geoffrey Chaucer">Geoffrey Chaucer</A>, author of <I><A href="/wiki/The_Canterbury_Tales" title="The Canterbury Tales">The Canterbury Tales</A></I>, though it is unlikely that they ever met.<SUP id="cite_ref-9" class="reference"><A href="#cite_note-9">[9]</A></SUP> The three other works found in the same manuscript as <I>Gawain</I> (commonly known as <I><A href="/wiki/Pearl_(poem)" title="Pearl (poem)">Pearl</A></I>, <I><A href="/wiki/Patience_(poem)" title="Patience (poem)">Patience</A></I>, and <I><A href="/wiki/Cleanness_(poem)" class="mw-redirect" title="Cleanness (poem)">Purity</A></I> or <I>Cleanliness</I>) are often considered to be written by the same author. However, the manuscript containing these poems was transcribed by a copyist and not by the original poet. Although nothing explicitly suggests that all four poems are by the same poet, comparative analysis of dialect, verse form, and diction have pointed towards single authorship.<SUP id="cite_ref-poet_10-0" class="reference"><A href="#cite_note-poet-10">[10]</A></SUP></P>
<P>What is known today about the poet is largely general. As <A href="/wiki/J._R._R._Tolkien" title="J. R. R. Tolkien">J. R. R. Tolkien</A> and <A href="/wiki/E._V._Gordon" title="E. V. Gordon">E. V. Gordon</A>, after reviewing the text's allusions, style, and themes, concluded in 1925:</P>
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<P>He was a man of serious and devout mind, though not without humour; he had an interest in theology, and some knowledge of it, though an amateur knowledge perhaps, rather than a professional; he had Latin and French and was well enough read in French books, both romantic and instructive; but his home was in the West Midlands of England; so much his language shows, and his metre, and his scenery.<SUP id="cite_ref-Tolkien_11-0" class="reference"><A href="#cite_note-Tolkien-11">[11]</A></SUP></P>
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<P>The most commonly suggested candidate for authorship is John Massey of Cotton, Cheshire.<SUP id="cite_ref-12" class="reference"><A href="#cite_note-12">[12]</A></SUP> He is known to have lived in the dialect region of the Pearl Poet and is thought to have written the poem <I><A href="/wiki/St._Erkenwald_(poem)" title="St. Erkenwald (poem)">St. Erkenwald</A></I>, which some scholars argue bears stylistic similarities to <I>Gawain</I>. <I>St. Erkenwald</I>, however, has been dated by some scholars to a time outside the Gawain poet's era. Thus, ascribing authorship to John Massey is still controversial and most critics consider the Gawain poet an unknown.<SUP id="cite_ref-poet_10-1" class="reference"><A href="#cite_note-poet-10">[10]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Verse_form">Verse form</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=3" title="Edit section: Verse form">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<P>The 2,530 lines and 101 <A href="/wiki/Stanzas" class="mw-redirect" title="Stanzas">stanzas</A> that make up <I>Sir Gawain and the Green Knight</I> are written in what linguists call the "<A href="/wiki/Alliterative_Revival" title="Alliterative Revival">Alliterative Revival</A>" style typical of the 14th century. Instead of focusing on a <A href="/wiki/Meter_(poetry)" class="mw-redirect" title="Meter (poetry)">metrical</A> syllabic count and <A href="/wiki/Rhyme" title="Rhyme">rhyme</A>, the <A href="/wiki/Alliterative_verse" title="Alliterative verse">alliterative form</A> of this period usually relied on the agreement of a pair of stressed syllables at the beginning of the line and another pair at the end. Each line always includes a pause, called a <I><A href="/wiki/Caesura" title="Caesura">caesura</A></I>, at some point after the first two stresses, dividing it into two half-lines. Although he largely follows the form of his day, the Gawain poet was somewhat freer with convention than his or her predecessors. The poet broke the alliterative lines into variable-length groups and ended these nominal stanzas with a rhyming section of five lines known as the <I><A href="/wiki/Bob_and_wheel" title="Bob and wheel">bob and wheel</A></I>, in which the "bob" is a very short line, sometimes of only two syllables, followed by the "wheel," longer lines with <A href="/wiki/Internal_rhyme" title="Internal rhyme">internal rhyme</A>.<SUP id="cite_ref-norton_2-1" class="reference"><A href="#cite_note-norton-2">[2]</A></SUP></P>
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<TH><I>Gawain</I></TH>
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<TH>Translation</TH>
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<TD><I>(bob)</I><BR />
<P>ful clene<BR />
<I>(wheel)</I><BR />
for wonder of his hwe men hade<BR />
set in his semblaunt sene<BR />
he ferde as freke were fade<BR />
and oueral enker grene (SGGK lines 146–150)<SUP id="cite_ref-bob_13-0" class="reference"><A href="#cite_note-bob-13">[13]</A></SUP></P>
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<P><I>(bob)</I><BR />
full clean.<BR />
<I>(wheel)</I><BR />
Great wonder of the knight<BR />
Folk had in hall, I ween,<BR />
Full fierce he was to sight,<BR />
And over all bright green. (SGGK lines 146–150)<SUP id="cite_ref-bob_13-1" class="reference"><A href="#cite_note-bob-13">[13]</A></SUP></P>
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<H2><SPAN class="mw-headline" id="Similar_stories">Similar stories</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=4" title="Edit section: Similar stories">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
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The legendary Irish figure <A href="/wiki/C%C3%BAchulainn" class="mw-redirect" title="Cúchulainn">Cúchulainn</A> faced a trial similar to Gawain's (<I>Cúchulain Slays the Hound of Culain</I> by <A href="/wiki/Stephen_Reid_(artist)" title="Stephen Reid (artist)">Stephen Reid</A>, 1904).</DIV>
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<P>The earliest known story to feature a beheading game is the 8th-century <A href="/wiki/Middle_Irish" title="Middle Irish">Middle Irish</A> tale <I><A href="/wiki/Bricriu%27s_Feast" class="mw-redirect" title="Bricriu's Feast">Bricriu's Feast</A></I>. This story parallels <I>Gawain</I> in that, like the Green Knight, <A href="/wiki/C%C3%BA_Chulainn" title="Cú Chulainn">Cú Chulainn</A>'s antagonist feints three blows with the axe before letting his target depart without injury. A beheading exchange also appears in the late 12th-century <I><A href="/wiki/Caradoc" title="Caradoc">Life of Caradoc</A></I>, a <A href="/wiki/Middle_French" title="Middle French">Middle French</A> narrative embedded in the anonymous <A href="/wiki/Perceval,_the_Story_of_the_Grail#First_Continuation" title="Perceval, the Story of the Grail">First Continuation</A> of <A href="/wiki/Chr%C3%A9tien_de_Troyes" title="Chrétien de Troyes">Chrétien de Troyes</A>' <I><A href="/wiki/Perceval,_the_Story_of_the_Grail" title="Perceval, the Story of the Grail">Perceval, the Story of the Grail</A></I>. A notable difference in this story is that Caradoc's challenger is his father in disguise, come to test his honour. <A href="/wiki/Lancelot" title="Lancelot">Lancelot</A> is given a beheading challenge in the early 13th-century <I><A href="/wiki/Perlesvaus" title="Perlesvaus">Perlesvaus</A></I>, in which a knight begs him to chop off his head or else put his own in jeopardy. Lancelot reluctantly cuts it off, agreeing to come to the same place in a year to put his head in the same danger. When Lancelot arrives, the people of the town celebrate and announce that they have finally found a true knight, because many others had failed this test of chivalry.<SUP id="cite_ref-Brewer_14-0" class="reference"><A href="#cite_note-Brewer-14">[14]</A></SUP></P>
<P>The stories <I>The Girl with the Mule</I> (alternately titled <I>The Mule Without a Bridle</I>) and <I>Hunbaut</I> feature Gawain in beheading game situations. In <I>Hunbaut,</I> Gawain cuts off a man's head and, before he can replace it, removes the magic cloak keeping the man alive, thus killing him. Several stories tell of knights who struggle to stave off the advances of voluptuous women sent by their lords as a test; these stories include <I>Yder</I>, the <A href="/wiki/Lancelot-Grail" title="Lancelot-Grail">Lancelot-Grail</A>, <I>Hunbaut</I>, and <I>The Knight of the Sword</I>. The last two involve Gawain specifically. Usually the temptress is the daughter or wife of a lord to whom the knight owes respect, and the knight is tested to see whether or not he will remain <A href="/wiki/Chaste" class="mw-redirect" title="Chaste">chaste</A> in trying circumstances.<SUP id="cite_ref-Brewer_14-1" class="reference"><A href="#cite_note-Brewer-14">[14]</A></SUP></P>
<P>In the first branch of the medieval Welsh collection of tales known as the <I><A href="/wiki/Mabinogion" title="Mabinogion">Mabinogion</A></I>, <A href="/wiki/Pwyll" title="Pwyll">Pwyll</A> exchanges places for a year with <A href="/wiki/Arawn" title="Arawn">Arawn</A>, the lord of <A href="/wiki/Annwn" title="Annwn">Annwn</A> (the Otherworld). Despite having his appearance changed to resemble Arawn exactly, Pwyll does not have sexual relations with Arawn's wife during this time, thus establishing a lasting friendship between the two men. This story may, then, provide a background to Gawain's attempts to resist the wife of the Green Knight; thus, the story of Sir Gawain and the Green Knight may be seen as a tale which combines elements of the Celtic beheading game and seduction test stories. Additionally, in both stories a year passes before the completion of the conclusion of the challenge or exchange. Some scholars disagree with this interpretation, however, as Arawn seems to have accepted the notion that Pwyll may reciprocate with his wife, making it less of a "seduction test" per se, as seduction tests typically involve a Lord and Lady conspiring to seduce a knight, seemingly <I>against</I> the wishes of the Lord.<SUP id="cite_ref-friedman_15-0" class="reference"><A href="#cite_note-friedman-15">[15]</A></SUP></P>
<P>After the writing of <I>Sir Gawain and the Green Knight</I>, several similar stories followed. <I><A href="/wiki/The_Greene_Knight" title="The Greene Knight">The Greene Knight</A></I> (15th–17th century) is a rhymed retelling of nearly the same tale.<SUP id="cite_ref-16" class="reference"><A href="#cite_note-16">[16]</A></SUP> In it, the plot is simplified, motives are more fully explained, and some names are changed. Another story, <I>The Turke and Gowin</I> (15th century), begins with a <A href="/wiki/Turkish_people" title="Turkish people">Turk</A> entering Arthur's court and asking, "Is there any will, as a brother, To give a buffett and take another?"<SUP id="cite_ref-turke_17-0" class="reference"><A href="#cite_note-turke-17">[17]</A></SUP> At the end of this poem the Turk, rather than buffeting Gawain back, asks the knight to cut off his head, which Gawain does. The Turk then praises Gawain and showers him with gifts. <I><A href="/wiki/The_Carle_of_Carlisle" class="mw-redirect" title="The Carle of Carlisle">The Carle of Carlisle</A></I> (17th century) also resembles <I>Gawain</I> in a scene in which the Carle (Churl), a lord, takes Sir Gawain to a chamber where two swords are hanging and orders Gawain to cut off his head or suffer his own to be cut off.<SUP id="cite_ref-18" class="reference"><A href="#cite_note-18">[18]</A></SUP> Gawain obliges and strikes, but the Carle rises, laughing and unharmed. Unlike the <I>Gawain</I> poem, no return blow is demanded or given.<SUP id="cite_ref-Brewer_14-2" class="reference"><A href="#cite_note-Brewer-14">[14]</A></SUP><SUP id="cite_ref-friedman_15-1" class="reference"><A href="#cite_note-friedman-15">[15]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Themes">Themes</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=5" title="Edit section: Themes">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Temptation_and_testing">Temptation and testing</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=6" title="Edit section: Temptation and testing">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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Knights of <I>Gawain's</I> time were tested in their ability to balance the male-oriented <A href="/wiki/Chivalry" title="Chivalry">chivalric code</A> with the female-oriented rules of <A href="/wiki/Courtly_love" title="Courtly love">courtly love</A>. (<I>God Speed!</I> – <A href="/wiki/Edmund_Blair_Leighton#List_of_works" class="mw-redirect" title="Edmund Blair Leighton">Edmund Blair Leighton</A> 1900)</DIV>
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<P>At the heart of <I>Sir Gawain and the Green Knight</I> is the test of Gawain's adherence to the code of <A href="/wiki/Chivalry" title="Chivalry">chivalry</A>. The typical <A href="/wiki/Temptation" title="Temptation">temptation</A> <A href="/wiki/Fable" title="Fable">fable</A> of <A href="/wiki/Medieval_literature" title="Medieval literature">medieval literature</A> presents a series of tribulations assembled as tests or "proofs" of moral <A href="/wiki/Virtue" title="Virtue">virtue</A>. The stories often describe several individuals' failures after which the main character is tested.<SUP id="cite_ref-kittsix_19-0" class="reference"><A href="#cite_note-kittsix-19">[19]</A></SUP> Success in the proofs will often bring immunity or good fortune. Gawain's ability to pass the tests of his host are of utmost importance to his survival, though he does not know it. It is only by fortuity or "instinctive-courtesy" that Sir Gawain is able to pass his test.<SUP id="cite_ref-kitteight_20-0" class="reference"><A href="#cite_note-kitteight-20">[20]</A></SUP> Gawain does not realize, however, that these tests are all orchestrated by Sir Bertilak.<SUP id="cite_ref-21" class="reference"><A href="#cite_note-21">[21]</A></SUP> In addition to the laws of chivalry, Gawain must respect another set of laws concerning <A href="/wiki/Courtly_love" title="Courtly love">courtly love</A>. The <A href="/wiki/Knight" title="Knight">knight</A>'s code of honour requires him to do whatever a <A href="https://en.wiktionary.org/wiki/damsel" class="extiw" title="wikt:damsel">damsel</A> asks. Gawain must accept the girdle from the Lady, but he must also keep the promise he has made to his host that he will give whatever he gains that day. Gawain chooses to keep the girdle out of fear of death, thus breaking his promise to the host but honouring the lady. Upon learning that the Green Knight is actually his host (Bertilak), he realises that although he has completed his quest, he has failed to be virtuous. This test demonstrates the conflict between honour and knightly duties. In breaking his promise, Gawain believes he has lost his honour and failed in his duties.<SUP id="cite_ref-22" class="reference"><A href="#cite_note-22">[22]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Hunting_and_seduction">Hunting and seduction</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=7" title="Edit section: Hunting and seduction">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Scholars have frequently noted the parallels between the three hunting scenes and the three seduction scenes in <I>Gawain</I>. They are generally agreed that the fox chase has significant parallels to the third seduction scene, in which Gawain accepts the girdle from Bertilak's wife. Gawain, like the fox, fears for his life and is looking for a way to avoid death from the Green Knight's axe. Like his counterpart, he resorts to trickery in order to save his skin. The fox uses tactics so unlike the first two animals, and so unexpectedly, that Bertilak has the hardest time hunting it. Similarly, Gawain finds the Lady's advances in the third seduction scene more unpredictable and challenging to resist than her previous attempts. She changes her evasive language, typical of <A href="/wiki/Courtly_love" title="Courtly love">courtly love</A> relationships, to a more assertive style. Her dress, relatively modest in earlier scenes, is suddenly voluptuous and revealing.<SUP id="cite_ref-Burnley_23-0" class="reference"><A href="#cite_note-Burnley-23">[23]</A></SUP></P>
<P>The deer- and boar-hunting scenes are less clearly connected, although scholars have attempted to link each animal to Gawain's reactions in the parallel seduction scene. Attempts to connect the deer hunt with the first seduction scene have unearthed a few parallels. Deer hunts of the time, like courtship, had to be done according to established rules. Women often favoured suitors who hunted well and skinned their animals, sometimes even watching while a deer was cleaned.<SUP id="cite_ref-Burnley_23-1" class="reference"><A href="#cite_note-Burnley-23">[23]</A></SUP><SUP id="cite_ref-24" class="reference"><A href="#cite_note-24">[24]</A></SUP> The sequence describing the deer hunt is relatively unspecific and nonviolent, with an air of relaxation and exhilaration. The first seduction scene follows in a similar vein, with no overt physical advances and no apparent danger; the entire exchange is humorously portrayed.<SUP id="cite_ref-Burnley_23-2" class="reference"><A href="#cite_note-Burnley-23">[23]</A></SUP></P>
<P>The boar-hunting scene is, in contrast, laden with detail. Boars were (and are) much more difficult to hunt than deer; approaching one with only a sword was akin to challenging a knight to single combat. In the hunting sequence, the boar flees but is cornered before a ravine. He turns to face Bertilak with his back to the ravine, prepared to fight. Bertilak dismounts and in the ensuing fight kills the boar. He removes its head and displays it on a pike. In the seduction scene, Bertilak's wife, like the boar, is more forward, insisting that Gawain has a romantic reputation and that he must not disappoint her. Gawain, however, is successful in parrying her attacks, saying that surely she knows more than he about love. Both the boar hunt and the seduction scene can be seen as depictions of a moral victory: both Gawain and Bertilak face struggles alone and emerge triumphant.<SUP id="cite_ref-Burnley_23-3" class="reference"><A href="#cite_note-Burnley-23">[23]</A></SUP> Masculinity has also been associated with hunting. The theme of masculinity is present throughout. In an article by Vern L. Bullough, "Being a Male in the Middle Ages," he discusses Sir Gawain and how normally, masculinity is often viewed in terms of being sexually active. He notes that Sir Gawain is not part of this normalcy.</P>
<H3><SPAN class="mw-headline" id="Nature_and_chivalry">Nature and chivalry</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=8" title="Edit section: Nature and chivalry">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Some argue that nature represents a chaotic, lawless order which is in direct confrontation with the civilisation of Camelot throughout <I>Sir Gawain and the Green Knight</I>. The green horse and rider that first invade Arthur’s peaceful halls are iconic representations of nature's disturbance.<SUP id="cite_ref-25" class="reference"><A href="#cite_note-25">[25]</A></SUP> Nature is presented throughout the poem as rough and indifferent, constantly threatening the order of men and courtly life. Nature invades and disrupts order in the major events of the narrative, both symbolically and through the inner nature of humanity. This element appears first with the disruption caused by the Green Knight, later when Gawain must fight off his natural lust for Bertilak’s wife, and again when Gawain breaks his vow to Bertilak by choosing to keep the green girdle, valuing survival over virtue. Represented by the <A href="/wiki/Sin" title="Sin">sin</A>-stained girdle, <A href="/wiki/Nature" title="Nature">nature</A> is an underlying force, forever within man and keeping him imperfect (in a chivalric sense).<SUP id="cite_ref-woodsw_26-0" class="reference"><A href="#cite_note-woodsw-26">[26]</A></SUP> In this view, Gawain is part of a wider conflict between nature and chivalry, an examination of the ability of man's order to overcome the chaos of nature.<SUP id="cite_ref-rhg_27-0" class="reference"><A href="#cite_note-rhg-27">[27]</A></SUP></P>
<P>Several critics have made exactly the opposite interpretation, reading the poem as a comic critique of the Christianity of the time, particularly as embodied in the Christian chivalry of Arthur's court. In its zeal to extirpate all traces of paganism, Christianity had cut itself off from the sources of life in nature and the female. The green girdle represents all the pentangle lacks. The Arthurian enterprise is doomed unless it can acknowledge the unattainability of the ideals of the Round Table, and, for the sake of realism and wholeness, recognize and incorporate the pagan values represented by the Green Knight.<SUP id="cite_ref-28" class="reference"><A href="#cite_note-28">[28]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Games">Games</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=9" title="Edit section: Games">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>The word <I>gomen</I> (game) is found 18 times in <I>Gawain</I>. Its similarity to the word <I>gome</I> (man), which appears 21 times, has led some scholars to see men and games as centrally linked. Games at this time were seen as tests of worthiness, as when the Green Knight challenges the court's right to its good name in a "Christmas game".<SUP id="cite_ref-game_29-0" class="reference"><A href="#cite_note-game-29">[29]</A></SUP> The "game" of exchanging gifts was common in Germanic cultures. If a man received a gift, he was obliged to provide the giver with a better gift or risk losing his honour, almost like an exchange of blows in a fight (or in a "beheading game").<SUP id="cite_ref-30" class="reference"><A href="#cite_note-30">[30]</A></SUP> The poem revolves around two games: an exchange of beheading and an exchange of winnings. These appear at first to be unconnected. However, a victory in the first game will lead to a victory in the second. Elements of both games appear in other stories; however, the linkage of outcomes is unique to <I>Gawain</I>.<SUP id="cite_ref-norton_2-2" class="reference"><A href="#cite_note-norton-2">[2]</A></SUP><SUP id="cite_ref-Tolkien_11-1" class="reference"><A href="#cite_note-Tolkien-11">[11]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Times_and_seasons">Times and seasons</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=10" title="Edit section: Times and seasons">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Times, dates, seasons, and cycles within <I>Gawain</I> are often noted by scholars because of their symbolic nature. The story starts on New Year's Eve with a beheading and culminates on the next New Year's Day. Gawain leaves Camelot on <A href="/wiki/All_Saints_Day" class="mw-redirect" title="All Saints Day">All Saints Day</A> and arrives at Bertilak's castle on Christmas Eve. Furthermore, the Green Knight tells Gawain to meet him at the Green Chapel in "a year and a day"—a period of time seen often in medieval literature.<SUP id="cite_ref-year_31-0" class="reference"><A href="#cite_note-year-31">[31]</A></SUP> Some scholars interpret the yearly cycles, each beginning and ending in winter, as the poet's attempt to convey the inevitable fall of all things good and noble in the world. Such a theme is strengthened by the image of <A href="/wiki/Trojan_War" title="Trojan War">Troy</A>, a powerful nation once thought to be invincible which, according to the <I><A href="/wiki/Aeneid" title="Aeneid">Aeneid</A></I>, fell to the Greeks due to pride and ignorance. The Trojan connection shows itself in the presence of two virtually identical descriptions of Troy's destruction. The poem's first line reads: "Since the siege and the assault were ceased at Troy" and the final stanzaic line (before the bob and wheel) is "After the siege and the assault were ceased at Troy".<SUP id="cite_ref-christian_32-0" class="reference"><A href="#cite_note-christian-32">[32]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Symbolism">Symbolism</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=11" title="Edit section: Symbolism">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Significance_of_the_colour_green">Significance of the colour green</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=12" title="Edit section: Significance of the colour green">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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In the 15th-century <I><A href="/wiki/Saint_Wolfgang" class="mw-redirect" title="Saint Wolfgang">Saint Wolfgang</A> and the Devil</I> by <A href="/wiki/Michael_Pacher" title="Michael Pacher">Michael Pacher</A>, the <A href="/wiki/Devil" title="Devil">Devil</A> is green. Poetic contemporaries such as <A href="/wiki/Geoffrey_Chaucer" title="Geoffrey Chaucer">Chaucer</A> also drew connections between the colour green and the devil, leading scholars to draw similar connections in readings of the Green Knight.<SUP id="cite_ref-33" class="reference"><A href="#cite_note-33">[33]</A></SUP></DIV>
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<P>Given the varied and even contradictory interpretations of the colour green, its precise meaning in the poem remains ambiguous. In <A href="/wiki/English_folklore" title="English folklore">English folklore</A> and literature, green was traditionally used to symbolise nature and its associated attributes: fertility and rebirth. Stories of the medieval period also used it to allude to love and the base desires of man.<SUP id="cite_ref-34" class="reference"><A href="#cite_note-34">[34]</A></SUP><SUP id="cite_ref-35" class="reference"><A href="#cite_note-35">[35]</A></SUP> Because of its connection with <A href="/wiki/Faeries" class="mw-redirect" title="Faeries">faeries</A> and spirits in early English folklore, green also signified <A href="/wiki/Witchcraft" title="Witchcraft">witchcraft</A>, devilry and evil. It can also represent decay and toxicity.<SUP id="cite_ref-evil_36-0" class="reference"><A href="#cite_note-evil-36">[36]</A></SUP> When combined with gold, as with the Green Knight and the girdle, green was often seen as representing youth's passing.<SUP id="cite_ref-37" class="reference"><A href="#cite_note-37">[37]</A></SUP> In <A href="/wiki/Celtic_mythology" title="Celtic mythology">Celtic mythology</A>, green was associated with misfortune and death, and therefore avoided in clothing.<SUP id="cite_ref-knight_38-0" class="reference"><A href="#cite_note-knight-38">[38]</A></SUP> The green girdle, originally worn for protection, became a symbol of shame and cowardice; it is finally adopted as a symbol of honour by the knights of <A href="/wiki/Camelot" title="Camelot">Camelot</A>, signifying a transformation from good to evil and back again; this displays both the spoiling and regenerative connotations of the colour green.<SUP id="cite_ref-knight_38-1" class="reference"><A href="#cite_note-knight-38">[38]</A></SUP></P>
<H3><SPAN class="mw-headline" id="The_Green_Knight">The Green Knight</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=13" title="Edit section: The Green Knight">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV role="note" class="hatnote navigation-not-searchable">Main article: <A href="/wiki/Green_Knight" title="Green Knight">Green Knight</A></DIV>
<P>Scholars have puzzled over the Green Knight's symbolism since the discovery of the poem. He could be a version of the <A href="/wiki/Green_Man" title="Green Man">Green Man</A>, a mythological being connected with nature in <A href="/wiki/Medieval_art" title="Medieval art">medieval art</A>, a Christian symbol, or the <A href="/wiki/Devil" title="Devil">Devil</A> himself. British medieval scholar <A href="/wiki/C._S._Lewis" title="C. S. Lewis">C. S. Lewis</A> said the character was "as vivid and concrete as any image in literature" and <A href="/wiki/J._R._R._Tolkien" title="J. R. R. Tolkien">J. R. R. Tolkien</A> said he was the "most difficult character" to interpret in <I>Sir Gawain</I>. His major role in Arthurian literature is that of a judge and tester of knights, thus he is at once terrifying, friendly, and mysterious.<SUP id="cite_ref-knight_38-2" class="reference"><A href="#cite_note-knight-38">[38]</A></SUP> He appears in only two other poems: <I>The Greene Knight</I> and <I>King Arthur and King Cornwall</I>.<SUP id="cite_ref-39" class="reference"><A href="#cite_note-39">[39]</A></SUP><SUP id="cite_ref-40" class="reference"><A href="#cite_note-40">[40]</A></SUP> Scholars have attempted to connect him to other mythical characters, such as <A href="/wiki/Jack_in_the_green" title="Jack in the green">Jack in the green</A> of English tradition and to <A href="/wiki/Al-Khidr" class="mw-redirect" title="Al-Khidr">Al-Khidr</A>,<SUP id="cite_ref-lasater_41-0" class="reference"><A href="#cite_note-lasater-41">[41]</A></SUP> but no definitive connection has yet been established.<SUP id="cite_ref-lasater_41-1" class="reference"><A href="#cite_note-lasater-41">[41]</A></SUP><SUP id="cite_ref-42" class="reference"><A href="#cite_note-42">[42]</A></SUP></P>
<P>However, there is a possibility, as Alice Buchanan has argued, that the colour green is erroneously attributed to the Green Knight due to the poet's mistranslation or misunderstanding of the Irish word <I>glas</I>, which could either mean grey or green. In the Death of Curoi (one of the Irish stories from Bricriu's Feast), Curoi stands in for Bertilak, and is often called "the man of the grey mantle". Though the words usually used for grey in the Death of Curoi are <I>lachtna</I> or <I>odar</I>, roughly meaning milk-coloured and shadowy respectively, in later works featuring a green knight, the word <I>glas</I> is used and may have been the basis of misunderstanding.<SUP id="cite_ref-43" class="reference"><A href="#cite_note-43">[43]</A></SUP></P>
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Another famous Arthurian woman, <A href="/wiki/The_Lady_of_Shalott" title="The Lady of Shalott">The Lady of Shalott</A>, with a medieval <A href="/wiki/Girdle" title="Girdle">girdle</A> around her waist (<A href="/wiki/John_William_Waterhouse" title="John William Waterhouse">John William Waterhouse</A>, 1888)</DIV>
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<H3><SPAN class="mw-headline" id="Girdle">Girdle</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=14" title="Edit section: Girdle">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV role="note" class="hatnote navigation-not-searchable">See also: <A href="/wiki/Girdle#Girdle_in_literature" title="Girdle">Girdle in literature</A></DIV>
<P>The girdle's symbolic meaning, in <I>Sir Gawain and the Green Knight</I>, has been construed in a variety of ways. Interpretations range from sexual in nature to spiritual. Those who argue for the sexual inference view the girdle as a "trophy".<SUP id="cite_ref-44" class="reference"><A href="#cite_note-44">[44]</A></SUP> However, it is not entirely clear who the "winner" is: Sir Gawain or Lady Bertilak. The girdle is given to Gawain by Lady Bertilak in order to keep him safe when he confronts the Green Knight. When Lord Bertilak returns home from his hunting trip, Gawain does not reveal the girdle to his host but, instead, hides it. This introduces the spiritual interpretation, that Gawain’s acceptance of the girdle is a sign of his faltering faith in God, at least in the face of death.<SUP id="cite_ref-45" class="reference"><A href="#cite_note-45">[45]</A></SUP> To some, the Green Knight is Christ, who overcomes death, while Gawain is the Every Christian, who in his struggles to follow Christ faithfully, chooses the easier path. In <I>Sir Gawain</I>, the easier choice is the girdle, which promises what Gawain most desires. Faith in God, alternatively, requires one’s acceptance that what one most desires does not always coincide with what God has planned. It is arguably best to view the girdle not as an either–or situation, but as a complex, multi-faceted symbol that acts to test Gawain in more ways than one. While Gawain is able to resist Bertilak’s wife’s sexual advances, he is unable to resist the powers of the girdle. Gawain is operating under the laws of chivalry which, evidently, have rules that can contradict each other. In the story of <I>Sir Gawain</I>, Gawain finds himself torn between doing what a damsel asks (accepting the girdle) and keeping his promise (returning anything given to him while his host is away).<SUP id="cite_ref-46" class="reference"><A href="#cite_note-46">[46]</A></SUP></P>
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<H3><SPAN class="mw-headline" id="Pentangle">Pentangle</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=15" title="Edit section: Pentangle">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV role="note" class="hatnote navigation-not-searchable">See also: <A href="/wiki/Pentagram" title="Pentagram">Pentagram</A></DIV>
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The pentangle on Gawain's shield is described as gold on a red background</DIV>
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<P>The <A href="/wiki/Pentagram" title="Pentagram">pentangle</A> on Gawain's shield is seen by many critics as signifying Gawain's perfection and power over evil.<SUP id="cite_ref-47" class="reference"><A href="#cite_note-47">[47]</A></SUP> The poem contains the only representation of such a symbol on Gawain's shield in the Gawain literature. What is more, the poet uses a total of 46 lines in order to describe the meaning of the pentangle; no other symbol in the poem receives as much attention or is described in such detail.<SUP id="cite_ref-48" class="reference"><A href="#cite_note-48">[48]</A></SUP> The poem describes the pentangle as a symbol of faithfulness and an "endless knot". From lines 640 to 654, the five points of the pentangle relate directly to Gawain in five ways: five senses, his five fingers, his faith found in the <A href="/wiki/Five_wounds_of_Christ" class="mw-redirect" title="Five wounds of Christ">five wounds of Christ</A>, the five joys of <A href="/wiki/Holy_Mary" class="mw-redirect" title="Holy Mary">Mary</A> (whose face was on the inside of the shield) and finally friendship, fraternity, purity, politeness and pity (traits that Gawain possessed around others). In line 625, it is described as "a sign by Solomon". <A href="/wiki/Solomon" title="Solomon">Solomon</A>, the third king of <A href="/wiki/Israel" title="Israel">Israel</A>, in the 10th century BC, was said to have the mark of the pentagram on his ring, which he received from the <A href="/wiki/Archangel" title="Archangel">archangel</A> <A href="/wiki/Michael_(archangel)" title="Michael (archangel)">Michael</A>. The pentagram seal on this ring was said to give Solomon power over <A href="/wiki/Demons" class="mw-redirect" title="Demons">demons</A>.<SUP id="cite_ref-49" class="reference"><A href="#cite_note-49">[49]</A></SUP></P>
<P>Along these lines, some academics link the Gawain pentangle to magical traditions. In Germany, the symbol was called a <I>Drudenfuß</I> and was placed on household objects to keep out evil.<SUP id="cite_ref-Hulbert_50-0" class="reference"><A href="#cite_note-Hulbert-50">[50]</A></SUP> The symbol was also associated with magical charms that, if recited or written on a weapon, would call forth magical forces. However, concrete evidence tying the magical pentagram to Gawain's pentangle is scarce.<SUP id="cite_ref-Hulbert_50-1" class="reference"><A href="#cite_note-Hulbert-50">[50]</A></SUP><SUP id="cite_ref-51" class="reference"><A href="#cite_note-51">[51]</A></SUP></P>
<P>Gawain’s pentangle also symbolises the "phenomenon of physically endless objects signifying a temporally endless quality."<SUP id="cite_ref-52" class="reference"><A href="#cite_note-52">[52]</A></SUP> Many poets use the symbol of the circle to show infinity or endlessness, but Gawain’s poet insisted on using something more complex. In medieval number theory, the number five is considered a "circular number", since it "reproduces itself in its last digit when raised to its powers".<SUP id="cite_ref-rossfour_53-0" class="reference"><A href="#cite_note-rossfour-53">[53]</A></SUP> Furthermore, it replicates itself geometrically; that is, every pentangle has a smaller pentagon that allows a pentangle to be embedded in it and this "process may be repeated forever with decreasing pentangles".<SUP id="cite_ref-rossfour_53-1" class="reference"><A href="#cite_note-rossfour-53">[53]</A></SUP> Thus, by reproducing the number five, which in medieval number symbolism signified incorruptibility, Gawain's pentangle represents his eternal incorruptibility.<SUP id="cite_ref-54" class="reference"><A href="#cite_note-54">[54]</A></SUP></P>
<H3><SPAN id="The_Lady.27s_Ring"></SPAN><SPAN class="mw-headline" id="The_Lady's_Ring">The Lady's Ring</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=16" title="Edit section: The Lady's Ring">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Gawain's refusal of the Lady Bertilak's ring has major implications for the remainder of the story. While the modern student may tend to pay more attention to the girdle as the eminent object offered by the lady, readers in the time of Gawain would have noticed the significance of the offer of the ring as they believed that rings, and especially the embedded gems, had talismanic properties similarly done by the Gawain-poet in <I>Pearl</I>.<SUP id="cite_ref-cooke_55-0" class="reference"><A href="#cite_note-cooke-55">[55]</A></SUP> This is especially true of the lady's ring as scholars believe it to be a <A href="/wiki/Ruby" title="Ruby">ruby</A> or carbuncle, indicated when the Gawain-Poet describes it as a "brygt sunne" (line 1819),<SUP id="cite_ref-56" class="reference"><A href="#cite_note-56">[56]</A></SUP> a "fiery sun."<SUP id="cite_ref-57" class="reference"><A href="#cite_note-57">[57]</A></SUP> This red colour can be seen as symbolizing royalty, divinity, and the Passion of the Christ, something that Gawain as a knight of the Round Table would strive for,<SUP id="cite_ref-58" class="reference"><A href="#cite_note-58">[58]</A></SUP> but this colour could also represent the negative qualities of temptation and covetousness.<SUP id="cite_ref-59" class="reference"><A href="#cite_note-59">[59]</A></SUP> Given the importance of magic rings in <A href="/wiki/Arthurian_romance" class="mw-redirect" title="Arthurian romance">Arthurian romance</A>, this remarkable ring would also have been believed to protect the wearer from harm just as Lady Bertilak claims the girdle will.<SUP id="cite_ref-60" class="reference"><A href="#cite_note-60">[60]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Numbers">Numbers</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=17" title="Edit section: Numbers">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>The poet highlights number symbolism to add symmetry and meaning to the poem. For example, three kisses are exchanged between Gawain and Bertilak's wife; Gawain is tempted by her on three separate days; Bertilak goes hunting three times, and the Green Knight swings at Gawain three times with his axe. The number two also appears repeatedly, as in the two beheading scenes, two confession scenes, and two castles.<SUP id="cite_ref-61" class="reference"><A href="#cite_note-61">[61]</A></SUP> The five points of the pentangle, the poet adds, represent Gawain's virtues, for he is "faithful five ways and five times each".<SUP id="cite_ref-62" class="reference"><A href="#cite_note-62">[62]</A></SUP> The poet goes on to list the ways in which Gawain is virtuous: all five of his senses are without fault; his five fingers never fail him, and he always remembers the <A href="/wiki/Rosary#Sorrowful_Mysteries" title="Rosary">five wounds of Christ</A>, as well as the <A href="/wiki/Rosary#Joyful_Mysteries" title="Rosary">five joys</A> of the <A href="/wiki/Virgin_Mary" class="mw-redirect" title="Virgin Mary">Virgin Mary</A>. The fifth five is Gawain himself, who embodies the five moral virtues of the code of <A href="/wiki/Chivalry" title="Chivalry">chivalry</A>: "<A href="/wiki/Friendship" title="Friendship">friendship</A>, <A href="/wiki/Generosity" title="Generosity">generosity</A>, <A href="/wiki/Chastity" title="Chastity">chastity</A>, <A href="/wiki/Courtesy" title="Courtesy">courtesy</A>, and <A href="/wiki/Piety" title="Piety">piety</A>".<SUP id="cite_ref-63" class="reference"><A href="#cite_note-63">[63]</A></SUP> All of these virtues reside, as the poet says, in the "Endless Knot" of the pentangle, which forever interlinks and is never broken.<SUP id="cite_ref-64" class="reference"><A href="#cite_note-64">[64]</A></SUP> This intimate relationship between symbol and faith allows for rigorous allegorical interpretation, especially in the physical role that the shield plays in Gawain's quest.<SUP id="cite_ref-65" class="reference"><A href="#cite_note-65">[65]</A></SUP> Thus, the poet makes Gawain the epitome of perfection in <A href="/wiki/Knighthood" class="mw-redirect" title="Knighthood">knighthood</A> through number symbolism.<SUP id="cite_ref-stanza_66-0" class="reference"><A href="#cite_note-stanza-66">[66]</A></SUP></P>
<P>The number five is also found in the structure of the poem itself. <I>Sir Gawain</I> is 101 stanzas long, traditionally organised into four 'Fits' of 21, 24, 34, and 22 stanzas. These divisions, however, have since been disputed; scholars have begun to believe that they are the work of the copyist and not of the poet. The surviving manuscript features a series of capital letters added after the fact by another scribe, and some scholars argue that these additions were an attempt to restore the original divisions. These letters divide the manuscript into nine parts. The first and last parts are 22 stanzas long. The second and second-to-last parts are only one stanza long, and the middle five parts are eleven stanzas long. The number eleven is associated with transgression in other medieval literature (being one more than ten, a number associated with the <A href="/wiki/Ten_Commandments" title="Ten Commandments">Ten Commandments</A>). Thus, this set of five elevens (55 stanzas) creates the perfect mix of transgression and incorruption, suggesting that Gawain is faultless in his faults.<SUP id="cite_ref-stanza_66-1" class="reference"><A href="#cite_note-stanza-66">[66]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Wounds">Wounds</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=18" title="Edit section: Wounds">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>At the story's climax, Gawain is wounded superficially in the neck by the Green Knight's axe. During the medieval period, the body and the soul were believed to be so intimately connected that wounds were considered an outward sign of inward sin. The neck, specifically, was believed to correlate with the part of the soul related to <A href="/wiki/Will_(philosophy)" title="Will (philosophy)">will</A>, connecting the reasoning part (the head) and the courageous part (the heart). Gawain's sin resulted from using his will to separate reasoning from courage. By accepting the girdle from the lady, he employs reason to do something less than courageous—evade death in a dishonest way. Gawain's wound is thus an outward sign of an internal wound. The Green Knight's series of tests shows Gawain the weakness that has been in him all along: the desire to use his will pridefully for personal gain, rather than submitting his will in humility to God. The Green Knight, by engaging with the greatest knight of Camelot, also reveals the moral weakness of pride in all of Camelot, and therefore all of humanity. However, the wounds of Christ, believed to offer healing to wounded souls and bodies, are mentioned throughout the poem in the hope that this sin of prideful "stiffneckedness" will be healed among fallen mortals.<SUP id="cite_ref-67" class="reference"><A href="#cite_note-67">[67]</A></SUP><SUP id="cite_ref-68" class="reference"><A href="#cite_note-68">[68]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Interpretations">Interpretations</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=19" title="Edit section: Interpretations">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Gawain_as_medieval_romance"><I>Gawain</I> as medieval romance</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=20" title="Edit section: Gawain as medieval romance">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<DIV role="note" class="hatnote navigation-not-searchable">Further information: <A href="/wiki/Order_of_the_Garter" title="Order of the Garter">Order of the Garter</A> and <A href="/wiki/Romance_(heroic_literature)" class="mw-redirect" title="Romance (heroic literature)">Romance (heroic literature)</A></DIV>
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Gawain represented the perfect knight, as a fighter, a lover, and a religious devotee. (<I><A href="/wiki/The_Vigil" title="The Vigil">The Vigil</A></I> by <A href="/wiki/John_Pettie" title="John Pettie">John Pettie</A>, 1884)</DIV>
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<P>Many critics argue that <I>Sir Gawain and the Green Knight</I> should be viewed, above all, as a <A href="/wiki/Romance_(heroic_literature)" class="mw-redirect" title="Romance (heroic literature)">romance</A>. Medieval romances typically recount the marvellous adventures of a chivalrous, <A href="/wiki/Hero" title="Hero">heroic</A> <A href="/wiki/Knight" title="Knight">knight</A>, often of super-human ability, who abides by chivalry's strict codes of honour and demeanour, embarks upon a <A href="/wiki/Quest" title="Quest">quest</A> and defeats monsters, thereby winning the favour of a <A href="/wiki/Princesse_lointaine" title="Princesse lointaine">lady</A>. Thus, medieval romances focus not on love and sentiment (as the term "romance" implies today), but on <A href="/wiki/Adventure_novel" class="mw-redirect" title="Adventure novel">adventure</A>.<SUP id="cite_ref-69" class="reference"><A href="#cite_note-69">[69]</A></SUP></P>
<P>Gawain's function, as medieval scholar Alan Markman says, "is the function of the romance hero … to stand as the champion of the human race, and by submitting to strange and severe tests, to demonstrate human capabilities for good or bad action."<SUP id="cite_ref-markman_70-0" class="reference"><A href="#cite_note-markman-70">[70]</A></SUP> Through Gawain's adventure, it becomes clear that he is merely human. The reader becomes attached to this human view in the midst of the poem's romanticism, relating to Gawain's humanity while respecting his knightly qualities. Gawain "shows us what moral conduct is. We shall probably not equal his behaviour, but we admire him for pointing out the way."<SUP id="cite_ref-markman_70-1" class="reference"><A href="#cite_note-markman-70">[70]</A></SUP></P>
<P>In viewing the poem as a chivalric romance, many scholars see it as intertwining chivalric and <A href="/wiki/Courtly_love" title="Courtly love">courtly love</A> laws under the English <A href="/wiki/Order_of_the_Garter" title="Order of the Garter">Order of the Garter</A>. The group's motto, 'honi soit qui mal y pense', or "Shamed be he who finds evil here," is written at the end of the poem. Some critics describe Gawain's peers wearing girdles of their own as evidence of the origin of the Order of the Garter. However, in the parallel poem <I><A href="/wiki/The_Greene_Knight" title="The Greene Knight">The Greene Knight</A></I>, the lace is white, not green, and is considered the origin of the collar worn by the knights of the Bath, not the Order of the Garter.<SUP id="cite_ref-71" class="reference"><A href="#cite_note-71">[71]</A></SUP> The motto on the poem was probably written by a copyist and not by the original author. Still, the connection made by the copyist to the Order is not extraordinary.<SUP id="cite_ref-72" class="reference"><A href="#cite_note-72">[72]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Christian_interpretations">Christian interpretations</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=21" title="Edit section: Christian interpretations">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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Scholars have pointed out parallels between the girdle Bertilak's wife offers Gawain, and the fruit <A href="/wiki/Eve" title="Eve">Eve</A> offered to <A href="/wiki/Adam" title="Adam">Adam</A> in the Biblical <A href="/wiki/Garden_of_Eden" title="Garden of Eden">Garden of Eden</A>. (<I>Adam and Eve</I> <A href="/wiki/Lucas_Cranach_the_Elder" title="Lucas Cranach the Elder">Lucas Cranach</A>, ca. 1513)</DIV>
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<P>The poem is in many ways deeply Christian, with frequent references to the fall of Adam and Eve and to Jesus Christ. Scholars have debated the depth of the Christian elements within the poem by looking at it in the context of the age in which it was written, coming up with varying views as to what represents a Christian element of the poem and what does not. For example, some critics compare <I>Sir Gawain</I> to the other three poems of the <I>Gawain</I> manuscript. Each has a heavily Christian theme, causing scholars to interpret <I>Gawain</I> similarly. Comparing it to the poem <I><A href="/wiki/Cleanness" title="Cleanness">Cleanness</A></I> (also known as <I>Purity</I>), for example, they see it as a story of the <A href="/wiki/Apocalyptic_literature" title="Apocalyptic literature">apocalyptic</A> fall of a civilisation, in <I>Gawain's</I> case, Camelot. In this interpretation, Sir Gawain is like <A href="/wiki/Noah" title="Noah">Noah</A>, separated from his society and warned by the Green Knight (who is seen as God's representative) of the coming doom of Camelot. Gawain, judged worthy through his test, is spared the doom of the rest of Camelot. King Arthur and his knights, however, misunderstand Gawain's experience and wear garters themselves. In <I>Cleanness</I> the men who are saved are similarly helpless in warning their society of impending destruction.<SUP id="cite_ref-christian_32-1" class="reference"><A href="#cite_note-christian-32">[32]</A></SUP></P>
<P>One of the key points stressed in this interpretation is that salvation is an individual experience difficult to communicate to outsiders. In his depiction of Camelot, the poet reveals a concern for his society, whose inevitable fall will bring about the ultimate destruction intended by God. <I>Gawain</I> was written around the time of the <A href="/wiki/Black_Death" title="Black Death">Black Death</A> and <A href="/wiki/English_peasants%27_revolt_of_1381" class="mw-redirect" title="English peasants' revolt of 1381">Peasants' Revolt</A>, events which convinced many people that their world was coming to an apocalyptic end and this belief was reflected in literature and culture.<SUP id="cite_ref-christian_32-2" class="reference"><A href="#cite_note-christian-32">[32]</A></SUP> However, other critics see weaknesses in this view, since the Green Knight is ultimately under the control of Morgan le Fay, often viewed as a figure of evil in Camelot tales. This makes the knight's presence as a representative of God problematic.<SUP id="cite_ref-game_29-1" class="reference"><A href="#cite_note-game-29">[29]</A></SUP></P>
<P>While the character of the Green Knight is usually not viewed as a representation of Christ in <I>Sir Gawain and the Green Knight</I>, critics do acknowledge a parallel. Lawrence Besserman, a specialist in medieval literature, explains that "the Green Knight is not a figurative representative of Christ. But the idea of Christ's divine/human nature provides a medieval conceptual framework that supports the poet's serious/comic account of the Green Knight's supernatural/human qualities and actions." This duality exemplifies the influence and importance of Christian teachings and views of Christ in the era of the Gawain Poet.<SUP id="cite_ref-knight_38-3" class="reference"><A href="#cite_note-knight-38">[38]</A></SUP></P>
<P>Furthermore, critics note the Christian reference to Christ's crown of thorns at the conclusion of <I>Sir Gawain and the Green Knight</I>. After Gawain returns to Camelot and tells his story regarding the newly acquired green sash, the poem concludes with a brief prayer and a reference to "the thorn-crowned God".<SUP id="cite_ref-73" class="reference"><A href="#cite_note-73">[73]</A></SUP> Besserman theorises that "with these final words the poet redirects our attention from the circular girdle-turned-sash (a double image of Gawain's "yntrawpe/renoun") to the circular Crown of Thorns (a double image of Christ's humiliation turned triumph)."<SUP id="cite_ref-knight_38-4" class="reference"><A href="#cite_note-knight-38">[38]</A></SUP></P>
<P>Throughout the poem, Gawain encounters numerous trials testing his devotion and faith in Christianity. When Gawain sets out on his journey to find the Green Chapel, he finds himself lost, and only after praying to the <A href="/wiki/Virgin_Mary" class="mw-redirect" title="Virgin Mary">Virgin Mary</A> does he find his way. As he continues his journey, Gawain once again faces anguish regarding his inevitable encounter with the Green Knight. Instead of praying to Mary, as before, Gawain places his faith in the girdle given to him by Bertilak's wife. From the Christian perspective, this leads to disastrous and embarrassing consequences for Gawain as he is forced to reevaluate his faith when the Green Knight points out his betrayal.<SUP id="cite_ref-cox_74-0" class="reference"><A href="#cite_note-cox-74">[74]</A></SUP> Another interpretation sees the work in terms of the perfection of virtue, with the pentangle representing the moral perfection of the connected virtues, the Green Knight as Christ exhibiting perfect fortitude, and Gawain as slightly imperfect in fortitude by virtue of flinching when under the threat of death.<SUP id="cite_ref-75" class="reference"><A href="#cite_note-75">[75]</A></SUP></P>
<P>An analogy is also made between Gawain's trial and the <A href="/wiki/Biblical" class="mw-redirect" title="Biblical">Biblical</A> test that <A href="/wiki/Adam" title="Adam">Adam</A> encounters in the <A href="/wiki/Garden_of_Eden" title="Garden of Eden">Garden of Eden</A>. Adam succumbs to <A href="/wiki/Eve" title="Eve">Eve</A> just as Gawain surrenders to Bertilak's wife by accepting the girdle.<SUP id="cite_ref-cox_74-1" class="reference"><A href="#cite_note-cox-74">[74]</A></SUP> Although Gawain sins by putting his faith in the girdle and not confessing when he is caught, the Green Knight pardons him, thereby allowing him to become a better Christian by learning from his mistakes.<SUP id="cite_ref-76" class="reference"><A href="#cite_note-76">[76]</A></SUP> Through the various games played and hardships endured, Gawain finds his place within the Christian world.</P>
<H3><SPAN class="mw-headline" id="Feminist_interpretations">Feminist interpretations</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=22" title="Edit section: Feminist interpretations">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
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Lady Bertilak at Gawain's bed (from original manuscript, artist unknown)</DIV>
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<P><A href="/wiki/Feminist_literary_criticism" title="Feminist literary criticism">Feminist literary critics</A> see the poem as portraying women's ultimate power over men. Morgan le Fay and Bertilak's wife, for example, are the most powerful characters in the poem—Morgan especially, as she begins the game by enchanting the Green Knight. The girdle and Gawain's scar can be seen as symbols of feminine power, each of them diminishing Gawain's masculinity. Gawain's <A href="/wiki/Misogynist" class="mw-redirect" title="Misogynist">misogynist</A> passage,<SUP id="cite_ref-77" class="reference"><A href="#cite_note-77">[77]</A></SUP> in which he blames all of his troubles on women and lists the many men who have fallen prey to women's wiles, further supports the feminist view of ultimate female power in the poem.<SUP id="cite_ref-fem_78-0" class="reference"><A href="#cite_note-fem-78">[78]</A></SUP></P>
<P>In contrast, others argue that the poem focuses mostly on the opinions, actions, and abilities of men. For example, on the surface, it appears that Bertilak's wife is a strong leading character.<SUP id="cite_ref-79" class="reference"><A href="#cite_note-79">[79]</A></SUP> By adopting the masculine role, she appears to be an empowered individual, particularly in the bedroom scene. This is not entirely the case, however. While the Lady is being forward and outgoing, Gawain's feelings and emotions are the focus of the story, and Gawain stands to gain or lose the most.<SUP id="cite_ref-Burns,_p. 24_80-0" class="reference"><A href="#cite_note-Burns,_p._24-80">[80]</A></SUP> The Lady "makes the first move", so to speak, but Gawain ultimately decides what is to become of those actions. He, therefore, is in charge of the situation and even the relationship.<SUP id="cite_ref-Burns,_p. 24_80-1" class="reference"><A href="#cite_note-Burns,_p._24-80">[80]</A></SUP></P>
<P>In the bedroom scene, both the negative and positive actions of the Lady are motivated by her desire.<SUP id="cite_ref-81" class="reference"><A href="#cite_note-81">[81]</A></SUP> Her feelings cause her to step out of the typical female role and into that of the male, thus becoming more empowered.<SUP id="cite_ref-82" class="reference"><A href="#cite_note-82">[82]</A></SUP> At the same time, those same actions make the Lady appear adulterous; some scholars compare her with Eve in the Bible.<SUP id="cite_ref-83" class="reference"><A href="#cite_note-83">[83]</A></SUP> By forcing Gawain to take her girdle, i.e. the apple, the pact made with Bertilak—and therefore the Green Knight—is broken.<SUP id="cite_ref-cox2_84-0" class="reference"><A href="#cite_note-cox2-84">[84]</A></SUP> In this sense, it is clear that at the hands of the Lady, Gawain is a "good man seduced".<SUP id="cite_ref-cox2_84-1" class="reference"><A href="#cite_note-cox2-84">[84]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Postcolonial_interpretations">Postcolonial interpretations</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=23" title="Edit section: Postcolonial interpretations">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>From 1350 to 1400—the period in which the poem is thought to have been written—<A href="/wiki/Wales" title="Wales">Wales</A> experienced several raids at the hands of the English, who were attempting to colonise the area. The Gawain poet uses a <A href="/wiki/English_Midlands" class="mw-redirect" title="English Midlands">North West Midlands</A> dialect common on the Welsh–English border, potentially placing him in the midst of this conflict. Patricia Clare Ingham is credited with first viewing the poem through the lens of <A href="/wiki/Postcolonialism" title="Postcolonialism">postcolonialism</A>, and since then a great deal of dispute has emerged over the extent to which colonial differences play a role in the poem. Most critics agree that gender plays a role, but differ about whether gender supports the colonial ideals or replaces them as English and Welsh cultures interact in the poem.<SUP id="cite_ref-arner_85-0" class="reference"><A href="#cite_note-arner-85">[85]</A></SUP></P>
<P>A large amount of critical debate also surrounds the poem as it relates to the bi-cultural political landscape of the time. Some argue that Bertilak is an example of the hybrid Anglo-Welsh culture found on the Welsh–English border. They therefore view the poem as a reflection of a hybrid culture that plays strong cultures off one another to create a new set of cultural rules and traditions. Other scholars, however, argue that historically much Welsh blood was shed well into the 14th century, creating a situation far removed from the more friendly hybridisation suggested by Ingham. To support this argument further, it is suggested that the poem creates an "us versus them" scenario contrasting the knowledgeable civilised English with the uncivilised borderlands that are home to Bertilak and the other monsters that Gawain encounters.<SUP id="cite_ref-arner_85-1" class="reference"><A href="#cite_note-arner-85">[85]</A></SUP></P>
<P>In contrast to this perception of the colonial lands, others argue that the land of Hautdesert, Bertilak’s territory, has been misrepresented or ignored in modern criticism. They suggest that it is a land with its own moral agency, one that plays a central role in the story. Bonnie Lander, for example, argues that the denizens of Hautdesert are "intelligently immoral", choosing to follow certain codes and rejecting others, a position which creates a "distinction … of moral insight versus moral faith". Lander thinks that the border dwellers are more sophisticated because they do not unthinkingly embrace the chivalric codes but challenge them in a philosophical, and—in the case of Bertilak's appearance at Arthur’s court—literal sense. Lander’s argument about the superiority of the denizens of Hautdesert hinges on the lack of self-awareness present in Camelot, which leads to an unthinking populace that frowns on individualism. In this view, it is not Bertilak and his people, but Arthur and his court, who are the monsters.<SUP id="cite_ref-lander_86-0" class="reference"><A href="#cite_note-lander-86">[86]</A></SUP></P>
<H3><SPAN id="Gawain.27s_journey"></SPAN><SPAN class="mw-headline" id="Gawain's_journey">Gawain's journey</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=24" title="Edit section: Gawain's journey">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Several scholars have attempted to find a real-world correspondence for Gawain's journey to the Green Chapel. The <A href="/wiki/Anglesey" title="Anglesey">Anglesey</A> islands, for example, are mentioned in the poem. They exist today as a single island off the coast of Wales.<SUP id="cite_ref-87" class="reference"><A href="#cite_note-87">[87]</A></SUP> In line 700, Gawain is said to pass the "Holy Head", believed by many scholars to be either <A href="/wiki/Holywell" title="Holywell">Holywell</A> or the <A href="/wiki/Cistercians" title="Cistercians">Cistercian</A> abbey of Poulton in <A href="/wiki/Pulford" title="Pulford">Pulford</A>. Holywell is associated with the beheading of <A href="/wiki/Winefride" class="mw-redirect" title="Winefride">Saint Winifred</A>. As the story goes, Winifred was a virgin who was beheaded by a local leader after she refused his sexual advances. Her uncle, another saint, put her head back in place and healed the wound, leaving only a white scar. The parallels between this story and Gawain's make this area a likely candidate for the journey.<SUP id="cite_ref-88" class="reference"><A href="#cite_note-88">[88]</A></SUP></P>
<P>Gawain's trek leads him directly into the centre of the Pearl Poet's dialect region, where the candidates for the locations of the Castle at Hautdesert and the Green Chapel stand. Hautdesert is thought to be in the area of Swythamley in northwest Midland, as it lies in the writer's dialect area and matches the topographical features described in the poem. The area is also known to have housed all of the animals hunted by Bertilak (deer, boar, fox) in the 14th century.<SUP id="cite_ref-89" class="reference"><A href="#cite_note-89">[89]</A></SUP> The Green Chapel is thought to be in either <A href="/wiki/Lud%27s_Church" title="Lud's Church">Lud's Church</A> or <A href="/wiki/Wetton_Mill" class="mw-redirect" title="Wetton Mill">Wetton Mill</A>, as these areas closely match the descriptions given by the author.<SUP id="cite_ref-90" class="reference"><A href="#cite_note-90">[90]</A></SUP> <A href="/wiki/Ralph_Elliott" title="Ralph Elliott">Ralph Elliott</A> located the chapel ("two myle henne" v1078) from the old manor house at Swythamley Park at the bottom of a valley ("bothm of the brem valay" v2145) on a hillside ("loke a littel on the launde, on thi lyfte honde" v2147) in an enormous fissure ("an olde caue,/or a creuisse of an olde cragge" v2182-83).<SUP id="cite_ref-91" class="reference"><A href="#cite_note-91">[91]</A></SUP> Several have tried to replicate this expedition and others such as Michael Twomey have created a virtual tour of Gawain's journey entitled 'Travels with Sir Gawain'<SUP id="cite_ref-92" class="reference"><A href="#cite_note-92">[92]</A></SUP> that include photographs of landscapes mentioned and particular views mentioned in the text.<SUP id="cite_ref-93" class="reference"><A href="#cite_note-93">[93]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Homoerotic_interpretations">Homoerotic interpretations</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=25" title="Edit section: Homoerotic interpretations">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>According to medieval scholar Richard Zeikowitz, the Green Knight represents a threat to <A href="/wiki/Homosocial" class="mw-redirect" title="Homosocial">homosocial</A> friendship in his medieval world. Zeikowitz argues that the narrator of the poem seems entranced by the Knight's beauty, homoeroticising him in poetic form. The Green Knight's attractiveness challenges the homosocial rules of King Arthur's court and poses a threat to their way of life. Zeikowitz also states that Gawain seems to find Bertilak as attractive as the narrator finds the Green Knight. Bertilak, however, follows the homosocial code and develops a friendship with Gawain. Gawain's embracing and kissing Bertilak in several scenes thus represents not a homosexual but a homosocial expression. Men of the time often embraced and kissed and this was acceptable under the chivalric code. Nonetheless, the Green Knight blurs the lines between homosociality and homosexuality, representing the difficulty medieval writers sometimes had in separating the two.<SUP id="cite_ref-94" class="reference"><A href="#cite_note-94">[94]</A></SUP></P>
<P><A href="/wiki/Carolyn_Dinshaw" title="Carolyn Dinshaw">Carolyn Dinshaw</A> argues that the poem may have been a response to accusations that <A href="/wiki/Richard_II_of_England" title="Richard II of England">Richard II</A> had a male lover—an attempt to reestablish the idea that heterosexuality was the Christian norm. Around the time the poem was written, the Catholic Church was beginning to express concerns about kissing between males. Many religious figures were trying to make the distinction between strong trust and friendship between males and homosexuality. Still, the Pearl Poet seems to have been simultaneously entranced and repulsed by homosexual desire. In his other poem <I>Cleanness</I>, he points out several grievous sins, but spends lengthy passages describing them in minute detail. His obsession seems to carry into <I>Gawain</I> in his descriptions of the Green Knight.<SUP id="cite_ref-dinshaw1994_95-0" class="reference"><A href="#cite_note-dinshaw1994-95">[95]</A></SUP></P>
<P>Beyond this, Dinshaw proposes that Gawain can be read as a woman-like figure. He is the passive one in the advances of Lady Bertilak, as well as in his encounters with Lord Bertilak, where he acts the part of a woman in kissing the man. However, while the poem does have homosexual elements, these elements are brought up by the poet in order to establish heterosexuality as the normal lifestyle of Gawain's world. The poem does this by making the kisses between Lady Bertilak and Gawain sexual in nature, but rendering the kisses between Gawain and Lord Bertilak "unintelligible" to the medieval reader. In other words, the poet portrays kisses between a man and a woman as having the possibility of leading to sex, while in a heterosexual world kisses between a man and a man are portrayed as having no such possibility.<SUP id="cite_ref-dinshaw1994_95-1" class="reference"><A href="#cite_note-dinshaw1994-95">[95]</A></SUP></P>
<H2><SPAN class="mw-headline" id="Modern_adaptations">Modern adaptations</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=26" title="Edit section: Modern adaptations">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
<H3><SPAN class="mw-headline" id="Books">Books</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=27" title="Edit section: Books">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>Though the surviving manuscript dates from the fourteenth century, the first published version of the poem did not appear until as late as 1839, when <A href="/wiki/Sir_Frederic_Madden" class="mw-redirect" title="Sir Frederic Madden">Sir Frederic Madden</A> of the British Museum recognized the poem as worth reading.<SUP id="cite_ref-manus_96-0" class="reference"><A href="#cite_note-manus-96">[96]</A></SUP> Madden's scholarly, Middle English edition of the poem was followed in 1898 by the first Modern English translation – a prose version by literary scholar <A href="/wiki/Jessie_L._Weston" class="mw-redirect" title="Jessie L. Weston">Jessie L. Weston</A>.<SUP id="cite_ref-manus_96-1" class="reference"><A href="#cite_note-manus-96">[96]</A></SUP> In 1925, <A href="/wiki/J._R._R._Tolkien" title="J. R. R. Tolkien">J.R.R. Tolkien</A> and <A href="/wiki/E._V._Gordon" title="E. V. Gordon">E.V. Gordon</A> published a scholarly edition of the Middle English text of <I>Sir Gawain and the Green Knight</I>; a revised edition of this text was prepared by <A href="/wiki/Norman_Davis_(academic)" title="Norman Davis (academic)">Norman Davis</A> and published in 1967. The book, featuring a text in Middle English with extensive scholarly notes, is frequently confused with the translation into Modern English that Tolkien prepared, along with translations of <I>Pearl</I> and <I>Sir Orfeo</I>, late in his life.<SUP id="cite_ref-97" class="reference"><A href="#cite_note-97">[97]</A></SUP> Many editions of the latter work, first published in 1975, shortly after his death, list Tolkien on the cover as author rather than translator.<SUP id="cite_ref-98" class="reference"><A href="#cite_note-98">[98]</A></SUP></P>
<P>For students, especially undergraduate students, the text is usually given in translation. Notable translators include <A href="/wiki/Jessie_Weston" title="Jessie Weston">Jessie Weston</A>, whose 1898 prose translation and 1907 poetic translation took many liberties with the original; <A href="/w/index.php?title=Theodore_Banks&action=edit&redlink=1" class="new" title="Theodore Banks (page does not exist)">Theodore Banks</A>, whose 1929 translation was praised for its adaptation of the language to modern usage;<SUP id="cite_ref-99" class="reference"><A href="#cite_note-99">[99]</A></SUP> and <A href="/wiki/Marie_Borroff" title="Marie Borroff">Marie Borroff</A>, whose imitative translation was first published in 1967 and "entered the academic canon" in 1968, in the second edition of the <I><A href="/wiki/Norton_Anthology_of_English_Literature" class="mw-redirect" title="Norton Anthology of English Literature">Norton Anthology of English Literature</A></I>. In 2010, her (slightly revised) translation was published as a Norton Critical Edition, with a foreword by <A href="/wiki/Laura_Howes" title="Laura Howes">Laura Howes</A>.<SUP id="cite_ref-100" class="reference"><A href="#cite_note-100">[100]</A></SUP> In 2007, <A href="/wiki/Simon_Armitage" title="Simon Armitage">Simon Armitage</A>, who grew up near the Gawain poet's purported residence, published a translation which attracted attention in the US and the United Kingdom,<SUP id="cite_ref-101" class="reference"><A href="#cite_note-101">[101]</A></SUP> and was published in the United States by <A href="/wiki/W._W._Norton_%26_Company" title="W. W. Norton & Company">Norton</A>,<SUP id="cite_ref-102" class="reference"><A href="#cite_note-102">[102]</A></SUP> which replaced Borroff's translation with Armitage's for the ninth edition of the <I>Norton Anthology of English Literature</I>. Other modern translations include those by <A href="/wiki/Larry_Benson" title="Larry Benson">Larry Benson</A>, Brian Stone, James Winny, <A href="/wiki/Helen_Cooper_(literary_scholar)" title="Helen Cooper (literary scholar)">Helen Cooper</A>, <A href="/wiki/W._S._Merwin" title="W. S. Merwin">W. S. Merwin</A>, Jacob Rosenberg, William Vantuono, Joseph Glaser, <A href="/wiki/Bernard_O%27Donoghue" title="Bernard O'Donoghue">Bernard O'Donoghue</A>, <A href="/wiki/John_Gardner_(American_writer)" title="John Gardner (American writer)">John Gardner</A>, and Francis Ingledew. A new and illustrated translation of the work by illustrator and historian Michael Smith is currently being crowdsourced by publisher <A rel="nofollow" class="external text" href="https://unbound.com/books/sir-gawain">Unbound</A> with a planned publication date of 2018.</P>
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<I><A href="/wiki/Sword_of_the_Valiant" title="Sword of the Valiant">Sword of the Valiant</A></I> (1984), one of two film adaptations, starring <A href="/wiki/Sean_Connery" title="Sean Connery">Sean Connery</A> as the Green Knight</DIV>
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<H3><SPAN class="mw-headline" id="Film_and_television">Film and television</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=28" title="Edit section: Film and television">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>The poem has been adapted to film twice, on both occasions by writer-director Stephen Weeks: first as <I><A href="/wiki/Gawain_and_the_Green_Knight_(1973_film)" class="mw-redirect" title="Gawain and the Green Knight (1973 film)">Gawain and the Green Knight</A></I> in 1973 and again in 1984 as <I><A href="/wiki/Sword_of_the_Valiant:_The_Legend_of_Sir_Gawain_and_the_Green_Knight" class="mw-redirect" title="Sword of the Valiant: The Legend of Sir Gawain and the Green Knight">Sword of the Valiant: The Legend of Sir Gawain and the Green Knight</A></I>, featuring <A href="/wiki/Miles_O%27Keeffe" title="Miles O'Keeffe">Miles O'Keeffe</A> as Gawain and <A href="/wiki/Sean_Connery" title="Sean Connery">Sean Connery</A> as the Green Knight. Both films have been criticised for deviating from the poem's plot. Also, Bertilak and the Green Knight are never connected.<SUP id="cite_ref-103" class="reference"><A href="#cite_note-103">[103]</A></SUP> French/Australian director Martin Beilby directed a short (30') film adaptation in 2014. There have been at least two television adaptations, <I>Gawain and the Green Knight</I> in 1991 and the animated <I>Sir Gawain and the Green Knight</I> in 2002. The BBC broadcast a documentary presented by Simon Armitage in which the journey depicted in the poem is traced, using what are believed to be the actual locations.<SUP id="cite_ref-104" class="reference"><A href="#cite_note-104">[104]</A></SUP></P>
<P>The poem was also adapted for the <A href="/wiki/Adventure_Time" title="Adventure Time">Adventure Time</A> episode 'Seventeen' where the Green Knight arrives on Finn's 17th birthday, issuing him the challenge, as well as a series of follow-up games.</P>
<H3><SPAN class="mw-headline" id="Theatre">Theatre</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=29" title="Edit section: Theatre">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P>The Tyneside Theatre company presented a stage version of <I>Sir Gawain and the Green Knight</I> at the <A href="/wiki/Northern_Stage,_Newcastle_upon_Tyne" title="Northern Stage, Newcastle upon Tyne">University Theatre</A>, <A href="/wiki/Newcastle_upon_Tyne" title="Newcastle upon Tyne">Newcastle</A> at Christmas 1971. It was directed by <A href="/wiki/Michael_Bogdanov" title="Michael Bogdanov">Michael Bogdanov</A> and adapted for the stage from the translation by Brian Stone.<SUP id="cite_ref-105" class="reference"><A href="#cite_note-105">[105]</A></SUP> The music and lyrics were composed by Iwan Williams using medieval carols, such as the <I><A href="/wiki/Boar%27s_Head_Carol" title="Boar's Head Carol">Boar's Head Carol</A></I>, as inspiration and folk instruments such as the <A href="/wiki/Northumbrian_pipes" class="mw-redirect" title="Northumbrian pipes">Northumbrian pipes</A>, whistles and <A href="/wiki/Bhodran" class="mw-redirect" title="Bhodran">bhodran</A> to create a "rough" feel. Stone had referred Bogdanov to <I>Cuchulain and the Beheading Game</I>, a sequence which is contained in The <A href="/wiki/Grenoside" title="Grenoside">Grenoside</A> Sword dance. Bogdanov found the pentangle theme to be contained in most sword dances, and so incorporated a long sword dance while Gawain lay tossing uneasily before getting up to go to the Green Chapel. The dancers made the knot of the pentangle around his drowsing head with their swords. The interlacing of the hunting and wooing scenes was achieved by frequent cutting of the action from hunt to bed-chamber and back again, while the locale of both remained on-stage.</P>
<P>In 1992 <A href="/wiki/Simon_Corble" title="Simon Corble">Simon Corble</A> created an adaptation with medieval songs and music for The Midsommer Actors' Company.<SUP id="cite_ref-106" class="reference"><A href="#cite_note-106">[106]</A></SUP> performed as <A href="/wiki/Site-specific_theatre" title="Site-specific theatre">walkabout productions</A> in the summer 1992<SUP id="cite_ref-107" class="reference"><A href="#cite_note-107">[107]</A></SUP> at <A href="/wiki/Thurstaston_Common" title="Thurstaston Common">Thurstaston Common</A> and <A href="/wiki/Beeston_Castle" title="Beeston Castle">Beeston Castle</A> and in August 1995 at <A href="/wiki/Brimham_Rocks" title="Brimham Rocks">Brimham Rocks</A>, North Yorkshire.<SUP id="cite_ref-108" class="reference"><A href="#cite_note-108">[108]</A></SUP> Corble later wrote a substantially revised version which was produced indoors at the <A href="/wiki/O%27Reilly_Theatre" title="O'Reilly Theatre">O'Reilly Theatre</A>, Oxford in February 2014.<SUP id="cite_ref-109" class="reference"><A href="#cite_note-109">[109]</A></SUP><SUP id="cite_ref-110" class="reference"><A href="#cite_note-110">[110]</A></SUP></P>
<H3><SPAN class="mw-headline" id="Opera">Opera</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=30" title="Edit section: Opera">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H3>
<P><I>Sir Gawain and the Green Knight</I> was first adapted as an opera in 1978 by the composer <A href="/wiki/Richard_Blackford" title="Richard Blackford">Richard Blackford</A> on commission from the village of <A href="/wiki/Blewbury" title="Blewbury">Blewbury</A>, Oxfordshire. The libretto was written for the adaptation by the children's novelist John Emlyn Edwards. The "Opera in Six Scenes" was subsequently recorded by <A href="/wiki/Decca_Records" title="Decca Records">Decca</A> between March and June 1979 and released on the <A href="/wiki/Argo_Records_(UK)" title="Argo Records (UK)">Argo</A> label<SUP id="cite_ref-111" class="reference"><A href="#cite_note-111">[111]</A></SUP> in November 1979.</P>
<P><I>Sir Gawain and the Green Knight</I> was adapted into an opera called <I><A href="/wiki/Gawain_(opera)" title="Gawain (opera)">Gawain</A></I> by <A href="/wiki/Harrison_Birtwistle" title="Harrison Birtwistle">Harrison Birtwistle</A>, first performed in 1991. Birtwistle's opera was praised for maintaining the complexity of the poem while translating it into lyric, musical form.<SUP id="cite_ref-112" class="reference"><A href="#cite_note-112">[112]</A></SUP> Another operatic adaptation is Lynne Plowman's <I>Gwyneth and the Green Knight</I>, first performed in 2002. This opera uses <I>Sir Gawain</I> as the backdrop but refocuses the story on Gawain's female <A href="/wiki/Squire" title="Squire">squire</A>, Gwyneth, who is trying to become a knight.<SUP id="cite_ref-113" class="reference"><A href="#cite_note-113">[113]</A></SUP> Plowman's version was praised for its approachability, as its target is the family audience and young children, but criticised for its use of modern language and occasional preachy nature.<SUP id="cite_ref-114" class="reference"><A href="#cite_note-114">[114]</A></SUP></P>
<H2><SPAN class="mw-headline" id="References">References</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=31" title="Edit section: References">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
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<OL class="references">
<LI id="cite_note-1"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-1"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Simpson, James. "A Note on Middle English Meter." In <I>Sir Gawain and the Green Knight (A New Verse Translation)</I> by Simon Armitage. Norton, 2008. p. 18.</SPAN></LI>
<LI id="cite_note-norton-2"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-norton_2-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-norton_2-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-norton_2-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text"><I>The Norton Anthology of English Literature</I>. Ed. Stephen Greenblatt. 8th ed. Vol. B. New York, London: W. W. Norton and Co., 2006. pp. 19–21 and 160–161. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-393-92833-0" title="Special:BookSources/0-393-92833-0">0-393-92833-0</A></SPAN></LI>
<LI id="cite_note-ucalgary-3"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-ucalgary_3-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-ucalgary_3-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><CITE class="citation web"><A rel="nofollow" class="external text" href="https://www.ucalgary.ca/~scriptor/cotton/blog.html">"Web Resources for Pearl-poet Study: A Vetted Selection"</A>. Univ. of Calgary<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-04-01</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Web+Resources+for+Pearl-poet+Study%3A+A+Vetted+Selection&rft.pub=Univ.+of+Calgary&rft_id=https%3A%2F%2Fwww.ucalgary.ca%2F~scriptor%2Fcotton%2Fblog.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-4"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-4"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">First found in English c.1400, a phrase 'specified in certain legal matters in order to ensure the completion of a full year': comparable terms date from slightly earlier in Middle Dutch, Middle Low German and Anglo-Norman. From :"year, n." OED Online. Oxford University Press, March 2017. Web. 15 March 2017.</SPAN></LI>
<LI id="cite_note-5"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-5"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation book"><I>Masters of British Literature Volume A</I>. Pearson Longman. 2008. pp. 200–201. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/9780321333995" title="Special:BookSources/9780321333995">9780321333995</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Masters+of+British+Literature+Volume+A&rft.pages=200-201&rft.pub=Pearson+Longman&rft.date=2008&rft.isbn=9780321333995&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-6"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-6"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web"><A rel="nofollow" class="external text" href="http://www.lib.rochester.edu/camelot/teams/pearlint.htm">"Pearl: Introduction"</A>. Medieval Institute Publications, Inc. 2001<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-04-02</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Pearl%3A+Introduction&rft.pub=Medieval+Institute+Publications%2C+Inc.&rft.date=2001&rft_id=http%3A%2F%2Fwww.lib.rochester.edu%2Fcamelot%2Fteams%2Fpearlint.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-7"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-7"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Turville-Petre, Thorlac. The Alliterative Revival. Woodbridge: Brewer <A href="/wiki/Etc." class="mw-redirect" title="Etc.">etc.</A>, 1977. pp. 126–129. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-85991-019-9" title="Special:BookSources/0-85991-019-9">0-85991-019-9</A></SPAN></LI>
<LI id="cite_note-8"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-8"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Burrow, J. <I>Ricardian Poetry.</I> London: Routledge and K. Paul, 1971. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-7100-7031-4" title="Special:BookSources/0-7100-7031-4">0-7100-7031-4</A> pp. 4–5</SPAN></LI>
<LI id="cite_note-9"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-9"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">"Sir Gawain and the Green Knight". <I>The Broadview Anthology of British Literature: The Medieval Period</I>, Vol. 1., ed. Joseph Black, <I>et al.</I> Toronto: Broadview Press, Introduction, p. 235. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-55111-609-X" title="Special:BookSources/1-55111-609-X">1-55111-609-X</A></SPAN></LI>
<LI id="cite_note-poet-10"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-poet_10-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-poet_10-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Nelles, William. "The Pearl-Poet". <I>Cyclopedia of World Authors</I>, Fourth Revised Edition Database: MagillOnLiterature Plus, 1958.</SPAN></LI>
<LI id="cite_note-Tolkien-11"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-Tolkien_11-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-Tolkien_11-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><I>Sir Gawain and the Green Knight</I>, Edited J.R.R. Tolkien and E.V. Gordon, revised Norman Davis, 1925. introduction, xv. ASIN B000IPU84U</SPAN></LI>
<LI id="cite_note-12"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-12"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Peterson, Clifford J (1974). "The Pearl-Poet and John Massey of Cotton, Cheshire". <I>The Review of English Studies, New Series</I>. <B>25</B> (99): 257–266. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1093%2Fres%2Fxxv.99.257">10.1093/res/xxv.99.257</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Review+of+English+Studies%2C+New+Series&rft.atitle=The+Pearl-Poet+and+John+Massey+of+Cotton%2C+Cheshire&rft.volume=25&rft.issue=99&rft.pages=257-266&rft.date=1974&rft_id=info%3Adoi%2F10.1093%2Fres%2Fxxv.99.257&rft.aulast=Peterson&rft.aufirst=Clifford+J&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-bob-13"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-bob_13-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-bob_13-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><CITE class="citation web"><A rel="nofollow" class="external text" href="https://web.archive.org/web/20070119030515/http://rpo.library.utoronto.ca/poem/62.html">"Sir Gawain and the Green Knight"</A>. <I>Representative Poetry Online</I>. University of Toronto Libraries. 1 August 2002. Archived from <A rel="nofollow" class="external text" href="http://rpo.library.utoronto.ca/poem/62.html">the original</A> on 19 January 2007<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-01-20</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Representative+Poetry+Online&rft.atitle=Sir+Gawain+and+the+Green+Knight&rft.date=2002-08-01&rft_id=http%3A%2F%2Frpo.library.utoronto.ca%2Fpoem%2F62.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-Brewer-14"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-Brewer_14-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-Brewer_14-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-Brewer_14-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text">Brewer, Elisabeth. <I>Sir Gawain and the Green Knight: Sources and Analogues</I>. Woodbridge: D.S. Brewer, 1992. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-85991-359-7" title="Special:BookSources/0-85991-359-7">0-85991-359-7</A></SPAN></LI>
<LI id="cite_note-friedman-15"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-friedman_15-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-friedman_15-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Friedman, Albert B. "Morgan le Fay in Sir Gawain and the Green Knight." <I>Speculum.</I> Vol. 35, No. 2 (Apr 1960) pp. 260–274</SPAN></LI>
<LI id="cite_note-16"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-16"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Hahn, Thomas. "The Greene Knight". In <I>Sir Gawain: Eleven Romances and Tales</I>. Western Michigan University Medieval Institute Publications, 2000. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-879288-59-1" title="Special:BookSources/1-879288-59-1">1-879288-59-1</A>. Full text: <A rel="nofollow" class="external text" href="http://lib.rochester.edu/Camelot/teams/greenfrm.htm"><I>The Greene Knight</I></A></SPAN></LI>
<LI id="cite_note-turke-17"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-turke_17-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Hahn, Thomas. "The Turke and Sir Gawain". In <I>Sir Gawain: Eleven Romances and Tales</I>. Western Michigan University Medieval Institute Publications, 2000. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-879288-59-1" title="Special:BookSources/1-879288-59-1">1-879288-59-1</A>. Online: <A rel="nofollow" class="external text" href="http://www.lib.rochester.edu/camelot/teams/turkfrm.htm"><I>The Turke and Sir Gawain</I></A>.</SPAN></LI>
<LI id="cite_note-18"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-18"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Hahn, Thomas. "The Carle of Carlisle", in <I>Sir Gawain: Eleven Romances and Tales</I>. Western Michigan University Medieval Institute Publications, 2000. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-879288-59-1" title="Special:BookSources/1-879288-59-1">1-879288-59-1</A>. Online: <A rel="nofollow" class="external text" href="http://www.lib.rochester.edu/camelot/teams/carintro.htm"><I>The Carle of Carlisle</I></A>.</SPAN></LI>
<LI id="cite_note-kittsix-19"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-kittsix_19-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Kittredge, George Lyman. <I>A Study of Sir Gawain and the Green Knight</I>. Harvard University Press, 1960. p. 76. ASIN B0006AWBXS</SPAN></LI>
<LI id="cite_note-kitteight-20"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-kitteight_20-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Kittredge, p. 83</SPAN></LI>
<LI id="cite_note-21"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-21"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">"Sir Gawain and the Green Knight". <I>Sir Gawain and the Green Knight, Pearl, Sir Orfeo</I>. Translated by J.R.R. Tolkien, New York: Ballantine Books, 1975. 92.</SPAN></LI>
<LI id="cite_note-22"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-22"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Burrow, J.A. <I>A Reading of Sir Gawain and the Green Knight</I>. London: Kegan Paul Ltd., 1965. p. 162. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-7100-8695-4" title="Special:BookSources/0-7100-8695-4">0-7100-8695-4</A></SPAN></LI>
<LI id="cite_note-Burnley-23"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-Burnley_23-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-Burnley_23-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-Burnley_23-2"><SUP><I><B>c</B></I></SUP></A> <A href="#cite_ref-Burnley_23-3"><SUP><I><B>d</B></I></SUP></A></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Burnley, J.D. (1973). "The Hunting Scenes in 'Sir Gawain and the Green Knight' <SPAN style="padding-right:0.2em;">"</SPAN>". <I>The Yearbook of English Studies</I>. <B>3</B>: 1–9. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F3506850">10.2307/3506850</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Yearbook+of+English+Studies&rft.atitle=The+Hunting+Scenes+in+%27Sir+Gawain+and+the+Green+Knight%27+%22.&rft.volume=3&rft.pages=1-9&rft.date=1973&rft_id=info%3Adoi%2F10.2307%2F3506850&rft.aulast=Burnley&rft.aufirst=J.D.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-24"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-24"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">The "hyndez" (hinds) first described in the poem are probably from <A href="/wiki/Red_deer" title="Red deer">red deer</A>, a species with large antlers like the <A href="/wiki/Elk" title="Elk">American elk</A>, while the subsequent "dos and of oþer dere" (does and other deer) likely refer to the smaller <A href="/wiki/Fallow_deer" title="Fallow deer">fallow deer</A>. (Ong, Walter J. "The Green Knight's Harts and Bucks". <I>Modern Language Notes</I>. (December 1950) 65.8 pp. 536–539.)</SPAN></LI>
<LI id="cite_note-25"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-25"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Cawley, A. C. 'Pearl, Sir Gawain and the Green Knight':"...the Green Knight, <I>alias</I> Sir Bertilak, is an immensely vital person who is closely associated with the life of nature: his greenness, the birds and flies of his decorative embroidery, his beard as great as a bush, the holly branch in his hand, the energy he displays as a huntsman-all give him kinship with the physical world outside the castle."</SPAN></LI>
<LI id="cite_note-woodsw-26"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-woodsw_26-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Woods, William F. "Nature and the Inner Man in Sir Gawain and the Green Knight". <I>The Chaucer Review</I>, Vol. 36, No. 3, 2002, pp. 209–227.</SPAN></LI>
<LI id="cite_note-rhg-27"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-rhg_27-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Green, Richard Hamilton. "Gawain's Shield and the Quest for Perfection". <I>ELH</I>. (June 1962) 29.2 pp. 121–139.</SPAN></LI>
<LI id="cite_note-28"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-28"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">This interpretation was first advanced by John Speirs in <I>Scrutiny</I>, vol.XVI, iv, 1949 (incorporated in his <I>Medieval English Poetry: The Non-Chaucerian Tradition</I>, rev.ed. 1962. Similar interpretations were later offered by Francis Berry in <I>The Pelican Guide to English Literature: The Age of Chaucer</I>, 1954; Goldhurst, "The Green and the Gold: The Major Theme of <I>Sit Gawain and the Green Knight</I>, <I>College English</I>, Nov. 1958; A.C, Spearing, <I>The Gawain-Poet: A Critical Study</I>, 1970; W. A. Davenport, <I>The Art of the Gawain-Poet</I>, 1978; J. Tambling, "A More Powerful Life: <I>Sir Gawain and the Green Knight</I>", <I>Haltwhistle Quarterly</I> 9, 1981; and K. Sagar, "Sir Gawain and the Green Girdle", in his <I>Literature and the Crime Against Nature</I>, 2005.</SPAN></LI>
<LI id="cite_note-game-29"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-game_29-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-game_29-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Goodlad, Lauren M. (1987) <A rel="nofollow" class="external text" href="http://repositories.cdlib.org/cmrs/comitatus/vol18/iss1/art4">"The Gamnes of Sir Gawain and the Green Knight"</A>, <I>Comitatus: A Journal of Medieval and Renaissance Studies</I>, Vol. 18, Article 4.</SPAN></LI>
<LI id="cite_note-30"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-30"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Harwood, Britton J (1991). "Gawain and the Gift". <I>PMLA</I>. <B>106</B> (3): 483–99. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F462781">10.2307/462781</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=PMLA&rft.atitle=Gawain+and+the+Gift&rft.volume=106&rft.issue=3&rft.pages=483-99&rft.date=1991&rft_id=info%3Adoi%2F10.2307%2F462781&rft.aulast=Harwood&rft.aufirst=Britton+J&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-year-31"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-year_31-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">For reasons not entirely understood, the Celts used the phrase "a year and a day", to refer to exactly one year. See for example W. J. McGee's "The Beginning of Mathematics." <I>American Anthropologist.</I> (Oct 1899) Vol. 1 Iss. 4 pp. 646–674.</SPAN></LI>
<LI id="cite_note-christian-32"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-christian_32-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-christian_32-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-christian_32-2"><SUP><I><B>c</B></I></SUP></A></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Clark, S. L.; Wasserman, Julian N. (1986). "The Passing of the Seasons and the Apocalyptic in <I>Sir Gawain and the Green Knight</I>". <I>South Central Review</I>. <B>3</B> (1): 5–22. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F3189122">10.2307/3189122</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=South+Central+Review&rft.atitle=The+Passing+of+the+Seasons+and+the+Apocalyptic+in+Sir+Gawain+and+the+Green+Knight&rft.volume=3&rft.issue=1&rft.pages=5-22&rft.date=1986&rft_id=info%3Adoi%2F10.2307%2F3189122&rft.aulast=Clark&rft.aufirst=S.+L.&rft.au=Wasserman%2C+Julian+N.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-33"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-33"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Robertson, D.W. Jr. "Why the Devil Wears Green". <I>Modern Language Notes</I>. (November 1954) 69.7 pp. 470–472.</SPAN></LI>
<LI id="cite_note-34"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-34"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Chamberlin, Vernon A. "Symbolic Green: A Time-Honored Characterizing Device in Spanish Literature". <I>Hispania</I>. (March 1968) 51.1 pp. 29–37</SPAN></LI>
<LI id="cite_note-35"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-35"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Goldhurst, William. "The Green and the Gold: The Major Theme of Gawain and the Green Knight". <I>College English</I>. (November 1958) 20.2 pp. 61–65. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="https://doi.org/10.2307%2F372161">10.2307/372161</A></SPAN></LI>
<LI id="cite_note-evil-36"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-evil_36-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Williams, Margaret. The Pearl Poet, His Complete Works. Random House, 1967. ASIN B0006BQEJY</SPAN></LI>
<LI id="cite_note-37"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-37"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Lewis, John S. "Gawain and the Green Knight". <I>College English</I>. (October 1959) 21.1 pp. 50–51</SPAN></LI>
<LI id="cite_note-knight-38"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-knight_38-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-knight_38-1"><SUP><I><B>b</B></I></SUP></A> <A href="#cite_ref-knight_38-2"><SUP><I><B>c</B></I></SUP></A> <A href="#cite_ref-knight_38-3"><SUP><I><B>d</B></I></SUP></A> <A href="#cite_ref-knight_38-4"><SUP><I><B>e</B></I></SUP></A></SPAN> <SPAN class="reference-text">Besserman, Lawrence. "The Idea of the Green Knight". <I>ELH</I>. (Summer 1986) 53.2 The Johns Hopkins University Press. pp. 219–239.</SPAN></LI>
<LI id="cite_note-39"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-39"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Hahn, Thomas. "The Greene Knight". In <I>Sir Gawain: Eleven Romances and Tales</I>. Western Michigan University Medieval Institute Publications, 2000 p. 314. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-879288-59-1" title="Special:BookSources/1-879288-59-1">1-879288-59-1</A></SPAN></LI>
<LI id="cite_note-40"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-40"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Hahn, Thomas. "King Arthur and King Cornwall". In <I>Sir Gawain: Eleven Romances and Tales</I>. Western Michigan University Medieval Institute Publications, 2000. p. 427. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/1-879288-59-1" title="Special:BookSources/1-879288-59-1">1-879288-59-1</A></SPAN></LI>
<LI id="cite_note-lasater-41"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-lasater_41-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-lasater_41-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Lasater, Alice E. <I>Spain to England: A Comparative Study of Arabic, European, and English Literature of the Middle Ages</I>. University Press of Mississippi, 1974. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-87805-056-6" title="Special:BookSources/0-87805-056-6">0-87805-056-6</A></SPAN></LI>
<LI id="cite_note-42"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-42"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Rix, Michael M. "A Re-Examination of the Castleton Garlanding". <I>Folklore</I>. (June 1953) 64.2 pp. 342–344</SPAN></LI>
<LI id="cite_note-43"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-43"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Buchanan, Alice (June 1932). "The Irish Framework of Sir Gawain and the Green Knight". <I>PLMA</I>. <B>47</B> (2): 315–338. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F457878">10.2307/457878</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=PLMA&rft.atitle=The+Irish+Framework+of+Sir+Gawain+and+the+Green+Knight&rft.volume=47&rft.issue=2&rft.pages=315-338&rft.date=1932-06&rft_id=info%3Adoi%2F10.2307%2F457878&rft.aulast=Buchanan&rft.aufirst=Alice&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-44"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-44"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">. Friedman, Albert B. Morgan le Fay in Sir Gawain and the Green Knight. Medieval Academy of America. Speculum, Vol. 35, No. 2, 1960</SPAN></LI>
<LI id="cite_note-45"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-45"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Berger, Sidney E. "Gawain's Departure from the Peregrinatio". Morgantown: West Virginia University Press, 1985.</SPAN></LI>
<LI id="cite_note-46"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-46"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Burrow, J.A. A Reading of Sir Gawain and the Green Knight. London: Kegan Paul Ltd., 1965</SPAN></LI>
<LI id="cite_note-47"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-47"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">The poem contains the first recorded use of the word <I>pentangle</I> in English (<I>Oxford English Dictionary Online</I>).</SPAN></LI>
<LI id="cite_note-48"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-48"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Arthur, Ross G. <I>Medieval Sign Theory and Sir Gawain and the Green Knight</I>. Toronto: University of Toronto Press, 1987. pp. 22, 26. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-8020-5717-9" title="Special:BookSources/0-8020-5717-9">0-8020-5717-9</A></SPAN></LI>
<LI id="cite_note-49"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-49"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">LaBossière, Camille R., and <A href="/wiki/Jerry_Gladson" class="mw-redirect" title="Jerry Gladson">Gladson, Jerry A.</A> "Solomon", in <I>A Dictionary of Biblical Tradition in English Literature</I>. Grand Rapids, Michigan: William B. Eerdmans Publishing Company, 1992 p. 722.</SPAN></LI>
<LI id="cite_note-Hulbert-50"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-Hulbert_50-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-Hulbert_50-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Hulbert, J. R. "Syr Gawayn and the Grene Knyzt (Concluded)". <I>Modern Philology</I>. (April 1916) 13.12 pp. 689–730.</SPAN></LI>
<LI id="cite_note-51"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-51"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Jackson, I. "Sir Gawain's Coat of Arms." <I>The Modern Language Review</I>. (January 1920) 15.1 pp. 77–79.</SPAN></LI>
<LI id="cite_note-52"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-52"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Arthur, pp. 33–34.</SPAN></LI>
<LI id="cite_note-rossfour-53"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-rossfour_53-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-rossfour_53-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Arthur, p. 34.</SPAN></LI>
<LI id="cite_note-54"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-54"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Arthur, p. 35.</SPAN></LI>
<LI id="cite_note-cooke-55"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-cooke_55-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Cooke, Jessica (1998). "The Lady's 'Blushing' Ring in <I>Sir Gawain and the Green Knight</I>". <I><A href="/wiki/The_Review_of_English_Studies" title="The Review of English Studies">The Review of English Studies</A></I>. <B>49</B> (193): 1–8. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1093%2Fres%2F49.193.1">10.1093/res/49.193.1</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Review+of+English+Studies&rft.atitle=The+Lady%27s+%27Blushing%27+Ring+in+Sir+Gawain+and+the+Green+Knight&rft.volume=49&rft.issue=193&rft.pages=1-8&rft.date=1998&rft_id=info%3Adoi%2F10.1093%2Fres%2F49.193.1&rft.aulast=Cooke&rft.aufirst=Jessica&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-56"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-56"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation book">Andrew, Malcolm; Ronald Waldron (1996). <I>The Poems of the Pearl Manuscript</I>. Exeter: University of Exeter Press. p. 273. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-85989-514-9" title="Special:BookSources/0-85989-514-9">0-85989-514-9</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Poems+of+the+Pearl+Manuscript&rft.place=Exeter&rft.pages=273&rft.pub=University+of+Exeter+Press&rft.date=1996&rft.isbn=0-85989-514-9&rft.aulast=Andrew&rft.aufirst=Malcolm&rft.au=Ronald+Waldron&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-57"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-57"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation book">Borroff, Marie (2001). <I>Sir Gawain and the Green Knight, Patience, Pearl: Verse Translations</I>. New York: Norton. p. 58. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-393-97658-8" title="Special:BookSources/978-0-393-97658-8">978-0-393-97658-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sir+Gawain+and+the+Green+Knight%2C+Patience%2C+Pearl%3A+Verse+Translations&rft.place=New+York&rft.pages=58&rft.pub=Norton&rft.date=2001&rft.isbn=978-0-393-97658-8&rft.aulast=Borroff&rft.aufirst=Marie&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-58"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-58"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Cooke, "The Lady's 'Blushing,'" 3.</SPAN></LI>
<LI id="cite_note-59"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-59"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Cooke, "The Lady's 'Blushing,'" 4.</SPAN></LI>
<LI id="cite_note-60"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-60"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Cooke, "The Lady's 'Blushing,'" 2,5,7.</SPAN></LI>
<LI id="cite_note-61"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-61"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Howard, Donald R. "Structure and Symmetry in Sir Gawain". <I>Speculum</I>. (July 1964) 39.3 pp. 425–433.</SPAN></LI>
<LI id="cite_note-62"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-62"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Sir Gawain and the Green Knight</I>, Book 2, Stanza 27.</SPAN></LI>
<LI id="cite_note-63"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-63"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Kittredge, p. 93.</SPAN></LI>
<LI id="cite_note-64"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-64"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Sir Gawain and the Green Knight</I>, Book 2, Stanza 28.</SPAN></LI>
<LI id="cite_note-65"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-65"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Mills, M. "Christian Significance and Roman Tradition in Sir Gawain and the Green Knight." Critical Studies of Sir Gawain and the Green Knight. Eds. Donald R. Howard & Christian Zacher. 2nd ed. Notre Dame, Indiana: University of Notre Dame Press, 1970. 85–105.</SPAN></LI>
<LI id="cite_note-stanza-66"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-stanza_66-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-stanza_66-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Robertson, Michael. "Stanzaic Symmetry in Sir Gawain and the Green Knight". <I>Speculum</I>. (October 1982) 57.4 pp. 779–785.</SPAN></LI>
<LI id="cite_note-67"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-67"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Reichardt, Paul F. (1984). "Gawain and the Image of the Wound". <I>PMLA</I>. <B>99</B> (2): 154–61. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F462158">10.2307/462158</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/462158">462158</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=PMLA&rft.atitle=Gawain+and+the+Image+of+the+Wound&rft.volume=99&rft.issue=2&rft.pages=154-61&rft.date=1984&rft_id=info%3Adoi%2F10.2307%2F462158&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F462158&rft.aulast=Reichardt&rft.aufirst=Paul+F.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-68"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-68"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Arthur, pp. 121–123.</SPAN></LI>
<LI id="cite_note-69"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-69"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Frye, Northrop. <I><A href="/wiki/Anatomy_of_Criticism" title="Anatomy of Criticism">Anatomy of Criticism</A></I>, p. 186. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-691-01298-9" title="Special:BookSources/0-691-01298-9">0-691-01298-9</A></SPAN></LI>
<LI id="cite_note-markman-70"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-markman_70-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-markman_70-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Markman, Alan M. "The Meaning of Sir Gawain and the Green Knight". <I>PMLA</I>. (September 1957) 72.4 pp. 574–586</SPAN></LI>
<LI id="cite_note-71"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-71"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Sir Gawain and the Green Knight</I>, second edition. Ed. J.R.R. Tolkien and E.V. Gordon, 1925, note to lines 2514ff. ASIN B000IPU84U</SPAN></LI>
<LI id="cite_note-72"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-72"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>The Norton Anthology of English Literature</I>, eighth edition, Vol. BEd Stephen Greenblatt. New York, London: W. W. Norton and Co., 2006, p. 213 (footnote). <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-393-92833-0" title="Special:BookSources/0-393-92833-0">0-393-92833-0</A></SPAN></LI>
<LI id="cite_note-73"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-73"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><I>Sir Gawain and the Green Knight</I>, line 2529.</SPAN></LI>
<LI id="cite_note-cox-74"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-cox_74-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-cox_74-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Cox, Catherine. <A rel="nofollow" class="external text" href="http://muse.jhu.edu/content/z3950/journals/chaucer_review/v035/35.4cox.html">"Genesis and Gender in Sir Gawain and the Green Knight"</A>, <I>The Chaucer Review</I>. (2001) 35.4 pp. 379–390. Retrieved on 22 September 2007.</SPAN></LI>
<LI id="cite_note-75"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-75"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Beauregard, David. “Moral Theology in Sir Gawain and the Green Knight: The Pentangle, the Green Knight, and the Perfection of Virtue,” Renascence XLV.3 (2013), 146-62.</SPAN></LI>
<LI id="cite_note-76"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-76"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Pugh, Tison. "Gawain and the Godgames". <I>Christianity and Literature</I>. (2002) 51.4 pp. 526–551. Retrieved on 30 September 2007, from <A rel="nofollow" class="external text" href="http://vnweb.hwwilsonweb.com.ezp.slu.edu/hww/results/external_link_maincontentframe.jhtml?_DARGS=/hww/results/results_common.jhtml.9">Saint Louis University</A></SPAN></LI>
<LI id="cite_note-77"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-77"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Mills, David (1970). "The Rhetorical Function of Gawain's Antifeminism?". <I>Neuphilologische Mitteilungen</I>. <B>71</B>: 635–4.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Neuphilologische+Mitteilungen&rft.atitle=The+Rhetorical+Function+of+Gawain%27s+Antifeminism%3F&rft.volume=71&rft.pages=635-4&rft.date=1970&rft.aulast=Mills&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-fem-78"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-fem_78-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Heng, Geraldine (1991). "Feminine Knots and the Other Sir Gawain and the Green Knight". <I>PMLA</I>. <B>106</B> (3): 500–514. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F462782">10.2307/462782</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=PMLA&rft.atitle=Feminine+Knots+and+the+Other+Sir+Gawain+and+the+Green+Knight&rft.volume=106&rft.issue=3&rft.pages=500-514&rft.date=1991&rft_id=info%3Adoi%2F10.2307%2F462782&rft.aulast=Heng&rft.aufirst=Geraldine&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-79"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-79"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Burns, E. Jane. "Courtly Love: Who Needs It? Recent Feminist Work in the Medieval Tradition". <I>Signs</I>. (Autumn 2001) 27.1 pp. 23–57. Retrieved on 7 September 2007 from <A rel="nofollow" class="external text" href="https://www.jstor.org/stable/3175865">JSTOR</A></SPAN></LI>
<LI id="cite_note-Burns,_p. 24-80"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-Burns,_p._24_80-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-Burns,_p._24_80-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Burns, p. 24</SPAN></LI>
<LI id="cite_note-81"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-81"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Rowley, Sharon M (2003). "Textual Studies, Feminism, and Performance in Sir Gawain and the Green Knight". <I>The Chaucer Review</I>. <B>38</B>: 158–177. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1353%2Fcr.2003.0022">10.1353/cr.2003.0022</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Chaucer+Review&rft.atitle=Textual+Studies%2C+Feminism%2C+and+Performance+in+Sir+Gawain+and+the+Green+Knight&rft.volume=38&rft.pages=158-177&rft.date=2003&rft_id=info%3Adoi%2F10.1353%2Fcr.2003.0022&rft.aulast=Rowley&rft.aufirst=Sharon+M&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-82"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-82"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Rowley, p. 161</SPAN></LI>
<LI id="cite_note-83"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-83"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Cox, p. 378</SPAN></LI>
<LI id="cite_note-cox2-84"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-cox2_84-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-cox2_84-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Cox, p. 379</SPAN></LI>
<LI id="cite_note-arner-85"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-arner_85-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-arner_85-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Arner, Lynn (Summer 2006). "The Ends of Enchantment: Colonialism and Sir Gawain and the Green Knight". <I>Texas Studies in Literature and Language</I>. <B>48</B> (2): 79–101. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1353%2Ftsl.2006.0006">10.1353/tsl.2006.0006</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Texas+Studies+in+Literature+and+Language&rft.atitle=The+Ends+of+Enchantment%3A+Colonialism+and+Sir+Gawain+and+the+Green+Knight&rft.ssn=summer&rft.volume=48&rft.issue=2&rft.pages=79-101&rft.date=2006&rft_id=info%3Adoi%2F10.1353%2Ftsl.2006.0006&rft.aulast=Arner&rft.aufirst=Lynn&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-lander-86"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-lander_86-0"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Lander, Bonnie (2007). "The Convention of Innocence and Sir Gawain and the Green Knight's Literary Sophisticates". <I>Parergon</I>. <B>24</B> (1): 41–66. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.1353%2Fpgn.2007.0046">10.1353/pgn.2007.0046</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Parergon&rft.atitle=The+Convention+of+Innocence+and+Sir+Gawain+and+the+Green+Knight%27s+Literary+Sophisticates&rft.volume=24&rft.issue=1&rft.pages=41-66&rft.date=2007&rft_id=info%3Adoi%2F10.1353%2Fpgn.2007.0046&rft.aulast=Lander&rft.aufirst=Bonnie&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-87"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-87"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web">Twomey, Michael. <A rel="nofollow" class="external text" href="http://www.ithaca.edu/faculty/twomey/travels/sggk_frameset.htm">"Anglesey and North Wales"</A>. <I>Travels With Sir Gawain</I>. Ithaca Univ<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-06-21</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Travels+With+Sir+Gawain&rft.atitle=Anglesey+and+North+Wales&rft.aulast=Twomey&rft.aufirst=Michael&rft_id=http%3A%2F%2Fwww.ithaca.edu%2Ffaculty%2Ftwomey%2Ftravels%2Fsggk_frameset.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-88"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-88"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web">Twomey, Michael. <A rel="nofollow" class="external text" href="http://www.ithaca.edu/faculty/twomey/travels/sggk_frameset.htm">"The Holy Head and the Wirral"</A>. <I>Travels With Sir Gawain</I>. Ithaca Univ<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-06-21</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Travels+With+Sir+Gawain&rft.atitle=The+Holy+Head+and+the+Wirral&rft.aulast=Twomey&rft.aufirst=Michael&rft_id=http%3A%2F%2Fwww.ithaca.edu%2Ffaculty%2Ftwomey%2Ftravels%2Fsggk_frameset.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-89"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-89"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web">Twomey, Michael. <A rel="nofollow" class="external text" href="http://www.ithaca.edu/faculty/twomey/travels/sggk_frameset.htm">"Hautdesert"</A>. <I>Travels With Sir Gawain</I>. Ithaca Univ<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-06-21</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Travels+With+Sir+Gawain&rft.atitle=Hautdesert&rft.aulast=Twomey&rft.aufirst=Michael&rft_id=http%3A%2F%2Fwww.ithaca.edu%2Ffaculty%2Ftwomey%2Ftravels%2Fsggk_frameset.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-90"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-90"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web">Twomey, Michael. <A rel="nofollow" class="external text" href="http://www.ithaca.edu/faculty/twomey/travels/sggk_frameset.htm">"The Green Chapel"</A>. <I>Travels With Sir Gawain</I>. Ithaca Univ<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-06-21</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Travels+With+Sir+Gawain&rft.atitle=The+Green+Chapel&rft.aulast=Twomey&rft.aufirst=Michael&rft_id=http%3A%2F%2Fwww.ithaca.edu%2Ffaculty%2Ftwomey%2Ftravels%2Fsggk_frameset.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-91"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-91"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">RWV Elliott. "Searching for the Green Chapel" in JK Lloyd Jones (ed). Chaucer's Landscapes and Other Essays. Aust. Scholarly Publishing. Melbourne (2010) pp 293–303 at p300.</SPAN></LI>
<LI id="cite_note-92"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-92"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A rel="nofollow" class="external free" href="https://sites.google.com/site/travelswithsirgawain/">https://sites.google.com/site/travelswithsirgawain/</A></SPAN></LI>
<LI id="cite_note-93"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-93"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Rudd, Gillian. "'Wilderness of Wirral' in 'Sir Gawain and the Green Knight,'" <I>Arthuriana</I>, vol 23 no. 1, 2013, 53</SPAN></LI>
<LI id="cite_note-94"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-94"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Zeikowitz, Richard E. "Befriending the Medieval Queer: A Pedagogy for Literature Classes." <I>College English: Special Issue: Lesbian and Gay Studies/Queer Pedagogies.</I> Vol. 65 No. 1 (Sep 2002) pp. 67–80</SPAN></LI>
<LI id="cite_note-dinshaw1994-95"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-dinshaw1994_95-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-dinshaw1994_95-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Dinshaw, Carolyn. "A Kiss Is Just a Kiss: Heterosexuality and Its Consolations in Sir Gawain and the Green Knight." <I>Diacritics</I>. Vol. 24 No. 2/3 (Summer 1994) pp. 204–226</SPAN></LI>
<LI id="cite_note-manus-96"><SPAN class="mw-cite-backlink">^ <A href="#cite_ref-manus_96-0"><SPAN class="cite-accessibility-label">Jump up to: </SPAN><SUP><I><B>a</B></I></SUP></A> <A href="#cite_ref-manus_96-1"><SUP><I><B>b</B></I></SUP></A></SPAN> <SPAN class="reference-text">Sir Gawain and the Green Knight, ed. Marie Borroff and Laura Howes, New York: Norton, 2010, pg. vii</SPAN></LI>
<LI id="cite_note-97"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-97"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation book">Tolkien, J.R.R. (1980). Christopher Tolkien, ed. <I>Sir Gawain and the Green Knight, Pearl, and Sir Orfeo</I>. Random House. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-345-27760-2" title="Special:BookSources/978-0-345-27760-2">978-0-345-27760-2</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sir+Gawain+and+the+Green+Knight%2C+Pearl%2C+and+Sir+Orfeo&rft.pub=Random+House&rft.date=1980&rft.isbn=978-0-345-27760-2&rft.aulast=Tolkien&rft.aufirst=J.R.R.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-98"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-98"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation book">White, Michael (2003). <I>Tolkien: A Biography</I>. New American Library. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/0-451-21242-8" title="Special:BookSources/0-451-21242-8">0-451-21242-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Tolkien%3A+A+Biography&rft.pub=New+American+Library&rft.date=2003&rft.isbn=0-451-21242-8&rft.aulast=White&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-99"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-99"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Farley, Frank E. (1930). <A rel="nofollow" class="external text" href="https://digital.library.adelaide.edu.au/dspace/bitstream/2440/39640/1/tsa%20uaac%201980.2.pdf">"Rev. of Banks, <I>Sir Gawain</I>, and Andrew, <I>Sir Gawain</I>"</A> <SPAN style="font-size:85%;">(PDF)</SPAN>. <I><A href="/wiki/Speculum_(journal)" title="Speculum (journal)">Speculum</A></I>. <B>5</B> (2): 222–24. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F2847870">10.2307/2847870</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/2847870">2847870</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Speculum&rft.atitle=Rev.+of+Banks%2C+Sir+Gawain%2C+and+Andrew%2C+Sir+Gawain&rft.volume=5&rft.issue=2&rft.pages=222-24&rft.date=1930&rft_id=info%3Adoi%2F10.2307%2F2847870&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F2847870&rft.aulast=Farley&rft.aufirst=Frank+E.&rft_id=https%3A%2F%2Fdigital.library.adelaide.edu.au%2Fdspace%2Fbitstream%2F2440%2F39640%2F1%2Ftsa%2520uaac%25201980.2.pdf&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-100"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-100"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Baragona, Alan (2012). "Rev. of Howes, Borroff, <I>Sir Gawain and the Green Knight</I>". <I><A href="/wiki/Journal_of_English_and_Germanic_Philology" title="Journal of English and Germanic Philology">Journal of English and Germanic Philology</A></I>. <B>111</B> (4): 535–38. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.5406%2Fjenglgermphil.111.4.0535">10.5406/jenglgermphil.111.4.0535</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Journal+of+English+and+Germanic+Philology&rft.atitle=Rev.+of+Howes%2C+Borroff%2C+Sir+Gawain+and+the+Green+Knight&rft.volume=111&rft.issue=4&rft.pages=535-38&rft.date=2012&rft_id=info%3Adoi%2F10.5406%2Fjenglgermphil.111.4.0535&rft.aulast=Baragona&rft.aufirst=Alan&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-101"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-101"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation news">Hirsch, Edward (16 December 2007). <A rel="nofollow" class="external text" href="https://www.nytimes.com/2007/12/16/books/review/Hirsch-t.html">"A Stranger in Camelot"</A>. The New York Times. p. 7.1<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">16 March</SPAN> 2010</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=A+Stranger+in+Camelot&rft.pages=7.1&rft.date=2007-12-16&rft.aulast=Hirsch&rft.aufirst=Edward&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2007%2F12%2F16%2Fbooks%2Freview%2FHirsch-t.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-102"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-102"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation book">Armitage, Simon (2007). <I>Sir Gawain and the Green Knight: A New Verse Translation</I>. New York: Norton. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-393-06048-5" title="Special:BookSources/978-0-393-06048-5">978-0-393-06048-5</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sir+Gawain+and+the+Green+Knight%3A+A+New+Verse+Translation&rft.place=New+York&rft.pub=Norton&rft.date=2007&rft.isbn=978-0-393-06048-5&rft.aulast=Armitage&rft.aufirst=Simon&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-103"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-103"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Mills, Maldwyn (1991). "Review". <I>The Yearbook of English Studies</I>. <B>21</B>: 336–337.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Yearbook+of+English+Studies&rft.atitle=Review&rft.volume=21&rft.pages=336-337&rft.date=1991&rft.aulast=Mills&rft.aufirst=Maldwyn&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-104"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-104"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web"><A rel="nofollow" class="external text" href="http://www.bbc.co.uk/programmes/b00kvbny">"Sir Gawain and the Green Knight"</A>. <I><A href="/wiki/BBC_Four" title="BBC Four">BBC Four</A></I>. 17 August 2010<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">5 August</SPAN> 2012</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=BBC+Four&rft.atitle=Sir+Gawain+and+the+Green+Knight&rft.date=2010-08-17&rft_id=http%3A%2F%2Fwww.bbc.co.uk%2Fprogrammes%2Fb00kvbny&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-105"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-105"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation book">Stone, Brian (1974). <I>Sir Gawain and the Green Knight</I>. Penguin. p. 138. <A href="/wiki/International_Standard_Book_Number" title="International Standard Book Number">ISBN</A> <A href="/wiki/Special:BookSources/978-0-140-44092-8" title="Special:BookSources/978-0-140-44092-8">978-0-140-44092-8</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Sir+Gawain+and+the+Green+Knight&rft.pages=138&rft.pub=Penguin&rft.date=1974&rft.isbn=978-0-140-44092-8&rft.aulast=Stone&rft.aufirst=Brian&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-106"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-106"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web"><A rel="nofollow" class="external text" href="http://www.corble.co.uk/page_1212407743203.html">"Sir Gawain and the Green Knight: A Seasonal Play in Verse with Medieval Christmas Songs and Music"</A>. <I>Simon Corble website</I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">6 May</SPAN> 2016</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Simon+Corble+website&rft.atitle=Sir+Gawain+and+the+Green+Knight%3A+A+Seasonal+Play+in+Verse+with+Medieval+Christmas+Songs+and+Music&rft_id=http%3A%2F%2Fwww.corble.co.uk%2Fpage_1212407743203.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-107"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-107"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation news">Turner, Francesca (7 July 1992). "Gawayne and the Green Knight". <I>The Guardian</I>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Gawayne+and+the+Green+Knight&rft.date=1992-07-07&rft.aulast=Turner&rft.aufirst=Francesca&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-108"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-108"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><A rel="nofollow" class="external text" href="https://www.flickr.com/search/?q=Gawain&w=9470542%40N07">photos from Midsommer Actors archive on flickr</A></SPAN></LI>
<LI id="cite_note-109"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-109"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation news">Nirula, Srishti (16 February 2014). <A rel="nofollow" class="external text" href="http://oxfordstudent.com/2014/02/16/sir-gawain-pulls-our-strings/">"Sir Gawain pulls our strings"</A>. <I>The Oxford Student</I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">17 February</SPAN> 2014</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Oxford+Student&rft.atitle=Sir+Gawain+pulls+our+strings&rft.date=2014-02-16&rft.aulast=Nirula&rft.aufirst=Srishti&rft_id=http%3A%2F%2Foxfordstudent.com%2F2014%2F02%2F16%2Fsir-gawain-pulls-our-strings%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-110"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-110"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation news">Hopkins, Andrea (15 February 2014). <A rel="nofollow" class="external text" href="http://www.dailyinfo.co.uk/reviews/feature/9002/Sir_Gawain_And_The_Green_Knight">"Sir Gawain and the Green Knight"</A>. <I>Daily Info, Oxford</I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">18 February</SPAN> 2014</SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Daily+Info%2C+Oxford&rft.atitle=Sir+Gawain+and+the+Green+Knight&rft.date=2014-02-15&rft.aulast=Hopkins&rft.aufirst=Andrea&rft_id=http%3A%2F%2Fwww.dailyinfo.co.uk%2Freviews%2Ffeature%2F9002%2FSir_Gawain_And_The_Green_Knight&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-111"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-111"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text">Argo ZK 85: Sir Gawain and the Green Knight; an opera in six scenes by Richard Blackford. The Decca Record Company Ltd. Argo Division, 115 Fulham Road, London, SW3 6RR: 1979.</SPAN></LI>
<LI id="cite_note-112"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-112"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation journal">Bye, Anthony (May 1991). "Birtwistle's Gawain". <I><A href="/wiki/The_Musical_Times" title="The Musical Times">The Musical Times</A></I>. <B>132</B> (1779): 231–33. <A href="/wiki/Digital_object_identifier" title="Digital object identifier">doi</A>:<A rel="nofollow" class="external text" href="//doi.org/10.2307%2F965691">10.2307/965691</A>. <A href="/wiki/JSTOR" title="JSTOR">JSTOR</A> <A rel="nofollow" class="external text" href="//www.jstor.org/stable/965691">965691</A>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Musical+Times&rft.atitle=Birtwistle%27s+Gawain&rft.volume=132&rft.issue=1779&rft.pages=231-33&rft.date=1991-05&rft_id=info%3Adoi%2F10.2307%2F965691&rft_id=%2F%2Fwww.jstor.org%2Fstable%2F965691&rft.aulast=Bye&rft.aufirst=Anthony&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-113"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-113"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web"><A rel="nofollow" class="external text" href="https://web.archive.org/web/20071014060625/http://www.lynneplowman.co.uk/gwyneth.htm">"Opera – Gwyneth and the Green Knight"</A>. lynneplowman.co.uk. Archived from <A rel="nofollow" class="external text" href="http://www.lynneplowman.co.uk/gwyneth.htm">the original</A> on 14 October 2007<SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2007-11-03</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Opera+%E2%80%93+Gwyneth+and+the+Green+Knight&rft.pub=lynneplowman.co.uk&rft_id=http%3A%2F%2Fwww.lynneplowman.co.uk%2Fgwyneth.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
<LI id="cite_note-114"><SPAN class="mw-cite-backlink"><B><A href="#cite_ref-114"><SPAN class="cite-accessibility-label">Jump up </SPAN>^</A></B></SPAN> <SPAN class="reference-text"><CITE class="citation web">Kimberley, Nick (11 May 2003). <A rel="nofollow" class="external text" href="https://www.independent.co.uk/arts-entertainment/music/reviews/birmingham-contemporary-music-group-cbso-centre-birmingham-gwyneth-and-the-green-knight-linbury-590455.html">"Classical: The footstomping way to repay a sound investment"</A>. <I>The Independent on Sunday</I><SPAN class="reference-accessdate">. Retrieved <SPAN class="nowrap">2016-03-01</SPAN></SPAN>.</CITE><SPAN title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Independent+on+Sunday&rft.atitle=Classical%3A+The+footstomping+way+to+repay+a+sound+investment&rft.date=2003-05-11&rft.aulast=Kimberley&rft.aufirst=Nick&rft_id=https%3A%2F%2Fwww.independent.co.uk%2Farts-entertainment%2Fmusic%2Freviews%2Fbirmingham-contemporary-music-group-cbso-centre-birmingham-gwyneth-and-the-green-knight-linbury-590455.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASir+Gawain+and+the+Green+Knight" class="Z3988"><SPAN style="display:none;"> </SPAN></SPAN></SPAN></LI>
</OL>
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<H2><SPAN class="mw-headline" id="External_links">External links</SPAN><SPAN class="mw-editsection"><SPAN class="mw-editsection-bracket">[</SPAN><A href="/w/index.php?title=Sir_Gawain_and_the_Green_Knight&action=edit&section=32" title="Edit section: External links">edit</A><SPAN class="mw-editsection-bracket">]</SPAN></SPAN></H2>
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<DIV style="padding-bottom: 0.75em; text-align: center;">Find more about<B style="display:block;">Sir Gawain and the Green Knight</B>at Wikipedia's <A href="/wiki/Wikipedia:Wikimedia_sister_projects" title="Wikipedia:Wikimedia sister projects"><SPAN id="sister-projects">sister projects</SPAN></A></DIV>
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<LI style="min-height: 31px;"><SPAN style="display: inline-block; width: 31px; line-height: 31px; vertical-align: middle; text-align: center;"><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Wikiversity-logo-en.svg/27px-Wikiversity-logo-en.svg.png" width="27" height="24" style="vertical-align: middle" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Wikiversity-logo-en.svg/41px-Wikiversity-logo-en.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1b/Wikiversity-logo-en.svg/54px-Wikiversity-logo-en.svg.png 2x" data-file-width="1000" data-file-height="900" /></SPAN><SPAN style="display: inline-block; margin-left: 4px; width: 182px; vertical-align: middle;"><A href="https://en.wikiversity.org/wiki/Special:Search/Sir_Gawain_and_the_Green_Knight" class="extiw" title="v:Special:Search/Sir Gawain and the Green Knight">Learning resources</A> from Wikiversity</SPAN></LI>
</UL>
</DIV>
<DL>
<DT>Online texts</DT>
</DL>
<UL>
<LI><A rel="nofollow" class="external text" href="http://gawain.ucalgary.ca/">High-resolution, full-sized scan of entire manuscript</A></LI>
<LI><A rel="nofollow" class="external text" href="https://archive.org/search.php?query=%28sir%20gawain%20and%20the%20green%20knight%29%20AND%20mediatype%3Atexts"><I>Sir Gawain and the Green Knight</I> at Archive.org</A></LI>
<LI><A rel="nofollow" class="external text" href="http://www.maldura.unipd.it/dllags/brunetti/ME/index_gaw.php?poe=gaw&lingua=eng">JRR Tolkien and EV Gordon's Edition</A></LI>
<LI><A rel="nofollow" class="external text" href="http://rpo.library.utoronto.ca/poems/sir-gawain-and-green-knight">The poem in Middle English</A></LI>
<LI><IMG alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/15px-Speaker_Icon.svg.png" width="15" height="15" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/23px-Speaker_Icon.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/21/Speaker_Icon.svg/30px-Speaker_Icon.svg.png 2x" data-file-width="500" data-file-height="500" /> <A rel="nofollow" class="external text" href="https://librivox.org/search?title=and+the+Green+Knight&author=&reader=&keywords=&genre_id=0&status=all&project_type=either&recorded_language=&sort_order=catalog_date&search_page=1&search_form=advanced">Sir Gawain and the Green Knight</A> public domain audiobook at <A href="/wiki/LibriVox" title="LibriVox">LibriVox</A> (various translations)</LI>
<LI><A rel="nofollow" class="external text" href="http://www.google.com/search?hl=en&tbs=bks:1,bkv:p&tbo=p&q=Sir+Gawain+and+the+Green+Knight&num=10">Google Books results</A></LI>
</UL>
<DL>
<DT>General information</DT>
</DL>
<UL>
<LI><A rel="nofollow" class="external text" href="https://www.ucalgary.ca/~scriptor/cotton/blog.html">The Gawain/Pearl Poet</A> from the University of Calgary</LI>
<LI><A rel="nofollow" class="external text" href="http://www.lib.rochester.edu/camelot/gawmenu.htm"><I>The Camelot Project</I> Info on Sir Gawain</A></LI>
<LI><A rel="nofollow" class="external text" href="http://www.luminarium.org/medlit/gawain.htm"><I>Luminarium</I> SGGK Website</A></LI>
<LI><A rel="nofollow" class="external text" href="http://www.oxfordbibliographies.com/view/document/obo-9780199846719/obo-9780199846719-0054.xml"><I>Oxford Bibliographies</I>: Bibliography on <I>Sir Gawain and the Green Knight</I></A></LI>
<LI><A rel="nofollow" class="external text" href="http://www.bbc.co.uk/programmes/b00kvbny">BBC documentary tour of locations thought to be found in the poem... Holywell, the River Mersey, the 'Wild Wirral', the Peak District, the Roaches, and Lud Chapel</A></LI>
<LI><A rel="nofollow" class="external text" href="http://www.exodusbooks.com/category.aspx?id=8214">Sir Gawain Introduction - Article introducing various translations and adaptations of Sir Gawain</A></LI>
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<LI><I><A class="mw-selflink selflink">Sir Gawain and the Green Knight</A></I></LI>
<LI><A href="/wiki/Pearl_(poem)" title="Pearl (poem)"><I>Pearl</I></A></LI>
<LI><A href="/wiki/Patience_(poem)" title="Patience (poem)"><I>Patience</I></A></LI>
<LI><I><A href="/wiki/Cleanness" title="Cleanness">Cleanness</A></I></LI>
<LI><A href="/wiki/St._Erkenwald_(poem)" title="St. Erkenwald (poem)"><I>St. Erkenwald</I></A><SUP>(disputed)</SUP></LI>
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<TH scope="row" class="navbox-group" style="width:1%">Characters</TH>
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<LI><A href="/wiki/Green_Knight" title="Green Knight">Green Knight</A></LI>
<LI><A href="/wiki/Lady_Bertilak" title="Lady Bertilak">Lady Bertilak</A></LI>
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<TH scope="row" class="navbox-group" style="width:1%">Poetic style</TH>
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<UL>
<LI><A href="/wiki/Bob_and_wheel" title="Bob and wheel">Bob and wheel</A></LI>
<LI><A href="/wiki/Alliterative_verse" title="Alliterative verse">Alliterative verse</A></LI>
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<LI><IMG alt="Wikisource page" src="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/15px-Wikisource-logo.svg.png" title="Wikisource page" width="15" height="16" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/23px-Wikisource-logo.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/4/4c/Wikisource-logo.svg/30px-Wikisource-logo.svg.png 2x" data-file-width="410" data-file-height="430" /> <A href="https://en.wikisource.org/wiki/Special:Search/Author:Pearl_Poet" class="extiw" title="wikisource:Special:Search/Author:Pearl Poet"><B>Wikisource texts</B></A></LI>
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<DIV id="Sir_Gawain_and_the_Green_Knight_by_Pearl_Poet" style="font-size:114%;margin:0 4em"><I><A class="mw-selflink selflink">Sir Gawain and the Green Knight</A></I> by <A href="/wiki/Pearl_Poet" title="Pearl Poet">Pearl Poet</A></DIV>
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<TH scope="row" class="navbox-group" style="width:1%">Characters</TH>
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<LI><A href="/wiki/Green_Knight" title="Green Knight">Green Knight</A></LI>
<LI><A href="/wiki/Gawain" title="Gawain">Gawain</A></LI>
<LI><A href="/wiki/Lady_Bertilak" title="Lady Bertilak">Lady Bertilak</A></LI>
<LI><A href="/wiki/Guinevere" title="Guinevere">Guinevere</A></LI>
<LI><A href="/wiki/Morgan_le_Fay" title="Morgan le Fay">Morgan le Fay</A></LI>
<LI><A href="/wiki/Caradoc" title="Caradoc">Caradoc</A></LI>
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<TH scope="row" class="navbox-group" style="width:1%">Film</TH>
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<UL>
<LI><I><A href="/wiki/Gawain_and_the_Green_Knight_(1973_film)" class="mw-redirect" title="Gawain and the Green Knight (1973 film)">Gawain and the Green Knight</A></I> (1973)</LI>
<LI><I><A href="/wiki/Sword_of_the_Valiant" title="Sword of the Valiant">Sword of the Valiant</A></I> (1984)</LI>
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<TH scope="row" class="navbox-group" style="width:1%">Literature</TH>
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<LI><I><A href="/wiki/The_Squire,_His_Knight,_and_His_Lady" title="The Squire, His Knight, and His Lady">The Squire, His Knight, and His Lady</A></I></LI>
<LI><I><A href="/wiki/The_Hollowing" title="The Hollowing">The Hollowing</A></I></LI>
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<TH scope="row" class="navbox-group" style="width:1%">Opera</TH>
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<LI><I><A href="/wiki/Gawain_(opera)" title="Gawain (opera)">Gawain</A></I></LI>
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<TH scope="row" class="navbox-group" style="width:1%">Related</TH>
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<LI><I><A href="/wiki/The_Greene_Knight" title="The Greene Knight">The Greene Knight</A></I></LI>
<LI><I><A href="/wiki/Honi_soit_qui_mal_y_pense" title="Honi soit qui mal y pense">Honi soit qui mal y pense</A></I></LI>
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<LI><SPAN class="nowrap"><A rel="nofollow" class="external text" href="https://www.worldcat.org/identities/containsVIAFID/174581151">WorldCat Identities</A></SPAN></LI>
<LI><SPAN class="nowrap"><A href="/wiki/Virtual_International_Authority_File" title="Virtual International Authority File">VIAF</A>: <SPAN class="uid"><A rel="nofollow" class="external text" href="https://viaf.org/viaf/174581151">174581151</A></SPAN></SPAN></LI>
<LI><SPAN class="nowrap"><A href="/wiki/Library_of_Congress_Control_Number" title="Library of Congress Control Number">LCCN</A>: <SPAN class="uid"><A rel="nofollow" class="external text" href="http://id.loc.gov/authorities/names/n79068347">n79068347</A></SPAN></SPAN></LI>
<LI><SPAN class="nowrap"><A href="/wiki/Integrated_Authority_File" title="Integrated Authority File">GND</A>: <SPAN class="uid"><A rel="nofollow" class="external text" href="https://d-nb.info/gnd/4125015-1">4125015-1</A></SPAN></SPAN></LI>
<LI><SPAN class="nowrap"><A href="/wiki/Syst%C3%A8me_universitaire_de_documentation" title="Système universitaire de documentation">SUDOC</A>: <SPAN class="uid"><A rel="nofollow" class="external text" href="https://www.idref.fr/028245075">028245075</A></SPAN></SPAN></LI>
<LI><SPAN class="nowrap"><A href="/wiki/Biblioth%C3%A8que_nationale_de_France" title="Bibliothèque nationale de France">BNF</A>: <SPAN class="uid"><A rel="nofollow" class="external text" href="http://catalogue.bnf.fr/ark:/12148/cb12012068r">cb12012068r</A> <A rel="nofollow" class="external text" href="http://data.bnf.fr/ark:/12148/cb12012068r">(data)</A></SPAN></SPAN></LI>
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document_title: Sir Gawain and the Green Knight

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token: Gawain

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token: Green

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token: Country

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token: </Table>

token: Gawayn

token: þe

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question_text: are there many copies of sir gawain and the green knight