VERSE FORM: the "Gawain stanza"--a varying number of alliterative long lines terminated by a "bob & wheel," five short rhyming lines (ababa). The bob and wheel sums up, offers gnomic commentary, etc. The danger of such a stanza form is that the narrative may have a tendency to proceed to proceed by jerks. The poet avoids that danger by tying the bob and wheel in with the long lines in various ways.
par"Bob-and-Wheel" Stanzaic Structure: the ba stanza contains a varying number of unrhymed, four-stress alliterative lines linked by a one- or two-stress "bob" to a rhyming three-stress four-line "wheel." The bob-and-wheel rhyme scheme is ababa. Often, the bob-and-wheel turns to comment upon the action of the ba stanza, and at times the bob contains key thematic value words.
BOB-AND-WHEEL: A metrical devi in some alliterative-ver poetry, especially that of the Pearl Poet and that of fourteenth-century poems like Sir Tristrem. The first short line of a group of rhyming lines is known as the "bob" and the subquent four are a quatraine called the "wheel." The bob contains one stress preceded by either one or occasionally two
unstresd syllables (i.e., the bob is only two or three syllables long). Each line of the wheel contains three stress. Together, the bob-and-wheel constitutes five lines rhyming in an ABABA pattern. Since it matches the alliterative pattern of the first part of the stanza, but also fits the rhyme scheme of the last five lines, the "bob" rves as a structural bridge between the alliterative ctions and the rhyming ctions of the poem. It is easier to understand by looking at an example. Click here for a sample to view. See also alliteration and rhyme.
Sir Gawain and the Green Knight’s adapted Old English meter tends to connect the two halves of each poetic line through alliteration, or repetition of consonants. The poem also us rhyme to structure its stanzas, and each group of long alliterative lines concludes with a word or phra containing two syllables and a quatrain—known together as the “bob and wheel.” The phra “bob and wheel” derives from a technique ud when spinning cloth—the bobs and wheels in Sir Gawain and the Green Knight help to spin the plot and narrative together in intricate ways. They provide commentaries on what has just happened, create or fulfill moments of suspen, and rve as transitions to the next sce
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ne or idea.
Important Elements in Sir Gawain and the Green Knight
poker face mp3The "bob-and-wheel" is a metrical device in some alliterative-ver poetry, for example, that of the Sir Gawain and the Green Knight. It is a stanza of typically five rhymed lines following a ction of unrhymed lines, often at the end of a strophe (in this ca, an irregular and unrhymed ction of a poem.) The first short line of a group of rhyming lines is known as the "bob" and the subquent four are a quatrain called the "wheel." The bob contains one stress preceded by either one or occasionally two unstresd syllables (i.e., the bob is only two or three syllables long). Each line of the wheel contains three stress. Together, the bob-and-wheel compri five lines rhyming in an ababa pattern. Since it matches the alliterative pattern of the first part of the stanza, but also fits the rhyme scheme of the last five lines, the "bob" rves as a structural bridge between the alliterative ctions and the rhyming ctions of the poem.
Sir Gawain and the Green Knight is actually made up of two stories, one t inside the ot
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her. We have Gawain's relation to Arthur's court and what happens there before and after his quest, and we have the quest itlf and what happens at Bertilak's castle. In the first episode at King Arthur's castle, none of Arthur's court knows what is going on. Like Grendel, the Green Knight is a sort of creature never en before. Sir Gawain is, throughout the poem, marked by adherence to the rules governing courtliness; he always strives to be courageous, honorable (to keep his word), devout, loyal, and gracious toward all people, especially women. He thinks it is his courage that is being tested at Bertilak's castle. Important to understanding the poem is figuring out what is really being tested.
Pay attention to the ries of contrasts reprented by the different ttings Gawain moves through. There is Court life, which is refined, ordered, cultured, and safe; it is an existence apparently devoted to pleasure and entertainment. There is the harsh world outside the court, subject to untamed nature, chaos, and violent encounters. Finally, there is Bertilak's domain. What does it reprent?
Ask yourlf the following questions when you finish the poem: What is really being tested when Gawain is with the lady and when he goes to meet the green Knight? How well does Sir Gawain do in the tests? How does he feel about himlf when his ordeal is over and he has returned to the court? Is his lf evaluation justified? What are we suppod to think of the Green Knight? Is he really a creature of evil? What are we suppod to think about Bertilak's behavior at the end--and of the credibility of his explanation? What are we suppod to think about Bertilak's wife? King Arthur? His court? Sir Gawain himlf?
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A note about the opening thirty-five lines:polyester是什么意思
The opening lines foreshadow many of the work's themes. They refer to the legend that Britain was founded by descendants of refugees from the city of Troy. In Greek mythology, Prince Paris kidnapped Helen, the wife of a Greek king, and took her home to Troy. The Greeks spent ten years trying to defeat the walled city, and finally conquered it through trickery (the Trojan Hor). The siege of the city by the Greek army is the subject
of many ancient epics, such as the Illiad. In the great Latin epic the Aeneid, Aeneas, a prince of Troy, escapes from the city and endures many trials before founding the Roman Empire. Some medieval authors believed that Aeneas’s great-grandson, Brutus, traveled to England with other Trojans and founded Britain. The poet’s appeal to the epics of the Classical world is an example of translatio imperii, or the transmission of the empires of old into the medieval world. It is also a reminder that all great empires both ri and fall. The cycles of history are not so different from the cycles of the year, which figure prominently in the poem, or the cycles of failure and recovery that Gawain will experience. The poem opens with a characteristic ambiguity, one that translations do not always prerve. The wording of the opening lines leaves unclear the identity of the "traitor" and who or what is "true." In the Aeneid, Aeneas is a model of duty and piety, but in other tales of the Trojan War, he and a companion betray their city to the Greeks. If Aeneas is being called both "true" and a "traitor," that description looks forward to Gawain’s own situation: Like Aeneas, he is a true and worthy knight, but he will also be guilty of a breach of faith. In this same vein, the poet calls Brutus "Felix," Latin for "fortunahumps
te." Though he was fortunate in having founded a legendary kingdom, the label is somewhat ironic considering that Brutus inadvertently caud the death of both his parents and was exiled from Italy by his own countrymen. But even the kingdom of Britain itlf has a contradictory nature: It is a place where both “wrack and wonder . . .bliss and blunder” have swiftly followed one another throughout history.
adheretoThe name Felix may also refer to the medieval idea of the felix culpa, the "fortunate fault" of Adam’s sin and fall from grace, which led to the redemption of all humankind by Christ. Critic Victor Haines applied the notion of the fortunate fault to Gawain’s failure of faith, eing in it a metaphor for the fall and redemption of humanity.
advocatedThe poet’s claim that he is simply telling the tale as he heard it told is a standard device of medieval poetry. Medieval artists were expected to rely on traditional, well-worn material; their artistic worth was judged by how well they reud and reinterpreted their sources. 朝阳大悦城地址
