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• W99373886 abstract "The work of such new historicists as Stephen Greenblatt and Lee Patterson has focused attention of literary critics on meaning of history and historical importance of symbolic, notion that man above all makes meaning.(1) To emphasize this view of history, Lee Patterson borrows phrase used in different context by anthropologist Clifford Geertz: the real is as imagined as imaginary.(2) Any student of late medieval social history can see appropriateness of this borrowing, particularly with regard to chivalry. This institution has long been recognized as beautiful fiction, producing lovely, apotheosized version of self with capability of camouflaging one's failings and uncertainties of life. The elaborate efforts to maintain this beautiful vision of one's class and one's self--what Patterson calls aestheticization of life(3)--underlies record of lavish tournaments, feasts, vow-makings, royal entries, and other aristocratic entertainments of this period. The interesting thing about most of these entertainments is that rather than simply tableaux or pageants, they came increasingly during middle ages to involve aristocratic patrons directly in activities in dramatic way. The grand apotheosis effected by these beautiful forms of play became inextricably tied to defining self And this grand participatory quality of medieval entertainments at court and consequences of this participation offer us fascinating perspective on an aristocratic knight like Sir Gawain, concerned as he is with who he is throughout Sir Gawain and Green Knight. Because of their class-affirming, self-affirming status, games had an importance and significance for aristocrats like king's nephew that was far beyond what their playful grandeur would suggest to modern observer. In Sir Gawain, hero finds himself in danger of losing his life as consequence of his participation in what his challenger insists on calling a Cristmasse game.(4) Everyone at court seems to regard Green Knight's challenge and obligation it places upon Gawain with utmost seriousness. At same time in paradoxical fashion, medievals show every sign of having been able to distinguish play from real life. At conclusion of Green Knight's visit, for example, Arthur succeeds in undercutting danger and significance of Green Knight's by referring to what court has just witnessed as mere entertainment. The success of his suggestion is made clear by its ability to restore spirit of mirth among courtiers at New Year festivities. Arthur's gambit works because noble men and women understood games or play in both ways: as serious declaration of their status and worth, and paradoxically, as kind of diversionary, inconsequential activity that working classes understood play to be. Since both ideas of play are presented in first fitt of Sir Gawain and Green Knight, romance raises right from outset following question: How seriously must Gawain take this game? The Green Knight's sudden appearance at court and his extraordinary challenge seem to be exactly what king has ordered. He has refused to eat until presented with some uncouthe tale ... sum mayn mervayl (93-94) or some joust where jopardy (97) is involved, where men pit lif for lif, leve uchone other, / As fortune wolde fulsun hem / fayrer to have (98-99). Arthur's vow makes clear, as Ann Astell has noted, that either story or real-life happening will satisfy Arthur equally. The two are analogous.(5) The equation seems odd in that king's second option would seem to be much more dangerous than first. Dangerous games were certainly not unknown among late medieval aristocrats (although jousts, for example, were becoming less dangerous than they had been in an earlier day), but game Green Knight proposes does not even afford its observers excitement of seeing two warriors evenly equipped and matched contend with each other. …" @default.
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• W99373886 date "1993-09-22" @default.
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• W99373886 title "The Play World and the Real World: Chivalry in 'Sir Gawain and the Green Knight.'" @default.
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