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    SB Champion daevainhell's Avatar
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    Default Guinevere and others

    Guinevere
    Guinevere was the legendary queen consort of King Arthur. The name Guinevere may be an epithet – the Welsh form Gwenhwyfar can be translated as The White Fay or White Ghost (Proto-Celtic *Uindā Seibrā, "white phantom" or "white fairy"; Brythonic *vino-hibirā; see also Ishara). Additionally, the name may derive from "Gwenhwy-mawr" or Gwenhwy the Great, contrasting the character to "Gwenhwy-fach" or Gwenhwy the less; Gwenhwyfach appears in Welsh literature as a sister of Gwenhwyfar, but in her scholarly edition of the Welsh Triads, Rachel Bromwich suggests this is a less like etymology. Geoffrey of Monmouth renders her name Guanhumara in Latin.

    Guinevere is most famous for her love affair with Arthur's chief knight Lancelot, which first appears in Chrétien de Troyes' Lancelot, the Knight of the Cart. This motif was picked up in all the cyclical Arthurian literature, starting with the Lancelot-Grail Cycle of the early 13th century and carrying through the Post-Vulgate Cycle and Thomas Malory's Le Morte d'Arthur. Their betrayal of Arthur leads to the downfall of the kingdom.
    Last edited by daevainhell; 03-07-2007 at 03:01 PM.

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    SB Champion daevainhell's Avatar
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    In the later adaptations, she is the daughter of King Leodegrance and is betrothed to Arthur early in his career, while he is garnering support. When Lancelot arrives later, she is instantly smitten, and they soon consummate the adultery that will bring about Arthur's fall. However, Arthur is not aware of their romance for quite a while, until at a feast when he realizes that neither Lancelot or Guinevere is there. Their affair is exposed by two of King Lot's sons, Agravain and Mordred, and Lancelot flees for his life while Arthur reluctantly sentences his queen to burn at the stake. Knowing Lancelot and his family will try to stop the execution, Arthur sends many of his knights to defend the pyre, though Gawain refuses to participate. Lancelot arrives and rescues the queen, and in the course of the battle Gawain's brothers Gaheris and Gareth are killed, sending Gawain into a rage so great that he pressures Arthur into war with Lancelot. When Arthur goes to France to fight Lancelot, he leaves Guinevere in the care of Mordred, who plots to marry the queen himself and take Arthur's throne. In some versions Guinevere assents to Mordred's proposal, but in others, she hides in the Tower of London and then takes refuge in a convent. Hearing of the treachery, Arthur returns to Britain and slays Mordred at Camlann, but his wounds are so severe that he is taken to the isle of Avalon. Guinevere meets Lancelot one last time, then returns to the convent where she spends the remainder of her life.

    Guinevere is childless in most stories, two exceptions being the Perlesvaus and the Alliterative Morte Arthure. In the former, the character Loholt is apparently her son; he appears as Arthur's illegitimate son in other works. In the latter, Guinevere willingly becomes Mordred's consort and bears him two sons, though all of this is implied rather than stated in the text. There are mentions of Arthur's sons in the Welsh Triads, though their exact parentage isn't clear. Other family relations are equally obscure; a half-sister and a brother play the antagonists in the Lancelot-Grail and the German romance Diu Crône respectively, but neither character is mentioned elsewhere. Welsh tradition remembers the queen's sister Gwenhyvach and records the enmity between them. While later literature almost always names Leodegrance as Guinevere's father, her mother is usually unmentioned, though she is sometimes said to be dead. Such is the case in the Middle English romance The Awntyrs off Arthure (The Adventures of Arthur), in which the ghost of Guinevere's mother appears to her daughter and Gawain in Inglewood Forest. Other works name cousins of note, though these do not usually appear in more than one place.

    Guinevere has been portrayed as everything from a weak and opportunistic traitor to a fatally flawed but noble and virtuous gentlewoman. In Chrétien's Yvain, the Knight of the Lion, she is praised for her intelligence, friendliness, and gentility, while in Marie de France's Lanval (and Thomas Chestre's Middle English version, Sir Launfal), she is a vindictive ****, disliked by the protagonist and all well-bred knights. The early chronicles tend to portray her more inauspiciously, while later authors used her good and bad qualities to construct a deeper character.

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    SB Champion daevainhell's Avatar
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    Default The Lady of Shalott

    The Lady of Shalott" is a Victorian poem by the English poet Alfred, Lord Tennyson (1809–1892). Like other early poems— "Sir Lancelot and Queen Guinevere," and "Galahad"— the poem recasts Arthurian subject matter loosely based on medieval sources.
    one of ma favs and a masterpiece!

    The Lady of Shalott
    On either side the river lie
    Long fields of barley and of rye,
    That clothe the wold and meet the sky;
    And through the field the road run by
    To many-tower'd Camelot;
    And up and down the people go,
    Gazing where the lilies blow
    Round an island there below,
    The island of Shalott.

    Willows whiten, aspens quiver,
    Little breezes dusk and shiver
    Through the wave that runs for ever
    By the island in the river
    Flowing down to Camelot.
    Four grey walls, and four grey towers,
    Overlook a space of flowers,
    And the silent isle imbowers
    The Lady of Shalott.

    By the margin, willow veil'd,
    Slide the heavy barges trail'd
    By slow horses; and unhail'd
    The shallop flitteth silken-sail'd
    Skimming down to Camelot:
    But who hath seen her wave her hand?
    Or at the casement seen her stand?
    Or is she known in all the land,
    The Lady of Shalott?

    Only reapers, reaping early,
    In among the bearded barley
    Hear a song that echoes cheerly
    From the river winding clearly;
    Down to tower'd Camelot;
    And by the moon the reaper weary,
    Piling sheaves in uplands airy,
    Listening, whispers, " 'Tis the fairy
    The Lady of Shalott."

    There she weaves by night and day
    A magic web with colours gay.
    She has heard a whisper say,
    A curse is on her if she stay
    To look down to Camelot.
    She knows not what the curse may be,
    And so she weaveth steadily,
    And little other care hath she,
    The Lady of Shalott.

    And moving through a mirror clear
    That hangs before her all the year,
    Shadows of the world appear.
    There she sees the highway near
    Winding down to Camelot;
    There the river eddy whirls,
    And there the surly village churls,
    And the red cloaks of market girls
    Pass onward from Shalott.

    Sometimes a troop of damsels glad,
    An abbot on an ambling pad,
    Sometimes a curly shepherd lad,
    Or long-hair'd page in crimson clad
    Goes by to tower'd Camelot;
    And sometimes through the mirror blue
    The knights come riding two and two.
    She hath no loyal Knight and true,
    The Lady of Shalott.

    But in her web she still delights
    To weave the mirror's magic sights,
    For often through the silent nights
    A funeral, with plumes and lights
    And music, went to Camelot;
    Or when the Moon was overhead,
    Came two young lovers lately wed.
    "I am half sick of shadows," said
    The Lady of Shalott.

    A bow-shot from her bower-eaves,
    He rode between the barley sheaves,
    The sun came dazzling thro' the leaves,
    And flamed upon the brazen greaves
    Of bold Sir Lancelot.
    A red-cross knight for ever kneel'd
    To a lady in his shield,
    That sparkled on the yellow field,
    Beside remote Shalott.

    The gemmy bridle glitter'd free,
    Like to some branch of stars we see
    Hung in the golden Galaxy.
    The bridle bells rang merrily
    As he rode down to Camelot:
    And from his blazon'd baldric slung
    A mighty silver bugle hung,
    And as he rode his armor rung
    Beside remote Shalott.

    All in the blue unclouded weather
    Thick-jewell'd shone the saddle-leather,
    The helmet and the helmet-feather
    Burn'd like one burning flame together,
    As he rode down to Camelot.
    As often thro' the purple night,
    Below the starry clusters bright,
    Some bearded meteor, burning bright,
    Moves over still Shalott.

    His broad clear brow in sunlight glow'd;
    On burnish'd hooves his war-horse trode;
    From underneath his helmet flow'd
    His coal-black curls as on he rode,
    As he rode down to Camelot.
    From the bank and from the river
    He flashed into the crystal mirror,
    "Tirra lirra," by the river
    Sang Sir Lancelot.

    She left the web, she left the loom,
    She made three paces through the room,
    She saw the water-lily bloom,
    She saw the helmet and the plume,
    She look'd down to Camelot.
    Out flew the web and floated wide;
    The mirror crack'd from side to side;
    "The curse is come upon me," cried
    The Lady of Shalott.

    In the stormy east-wind straining,
    The pale yellow woods were waning,
    The broad stream in his banks complaining.
    Heavily the low sky raining
    Over tower'd Camelot;
    Down she came and found a boat
    Beneath a willow left afloat,
    And around about the prow she wrote
    The Lady of Shalott.

    And down the river's dim expanse
    Like some bold seer in a trance,
    Seeing all his own mischance --
    With a glassy countenance
    Did she look to Camelot.
    And at the closing of the day
    She loosed the chain, and down she lay;
    The broad stream bore her far away,
    The Lady of Shalott.

    Lying, robed in snowy white
    That loosely flew to left and right --
    The leaves upon her falling light --
    Thro' the noises of the night,
    She floated down to Camelot:
    And as the boat-head wound along
    The willowy hills and fields among,
    They heard her singing her last song,
    The Lady of Shalott.

    Heard a carol, mournful, holy,
    Chanted loudly, chanted lowly,
    Till her blood was frozen slowly,
    And her eyes were darkened wholly,
    Turn'd to tower'd Camelot.
    For ere she reach'd upon the tide
    The first house by the water-side,
    Singing in her song she died,
    The Lady of Shalott.

    Under tower and balcony,
    By garden-wall and gallery,
    A gleaming shape she floated by,
    Dead-pale between the houses high,
    Silent into Camelot.
    Out upon the wharfs they came,
    Knight and Burgher, Lord and Dame,
    And around the prow they read her name,
    The Lady of Shalott.

    Who is this? And what is here?
    And in the lighted palace near
    Died the sound of royal cheer;
    And they crossed themselves for fear,
    All the Knights at Camelot;
    But Lancelot mused a little space
    He said, "She has a lovely face;
    God in his mercy lend her grace,
    The Lady of Shalott."
    Last edited by daevainhell; 03-07-2007 at 03:22 PM.

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    SB Champion real_adonis's Avatar
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    The LAdy of Shallot is indeed a masterpiece n one of my fav too.

    Nice INFORMATIVE thread Daeva!! WELL DONE!

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    SB Champion daevainhell's Avatar
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    Quote Originally Posted by real_adonis View Post
    The LAdy of Shallot is indeed a masterpiece n one of my fav too.

    Nice INFORMATIVE thread Daeva!! WELL DONE!
    Thank you!!!!!!!
    will update soon!

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    Smookin kool Lieutenant-Colonel dragonbooster's Avatar
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    i love history........

    very nice post
    Those Who Know Thy Self Knows The World

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    I prefer her name in French Guenièvre

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    *!*..ALI..*!* Colonel Mr.Wanted's Avatar
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    Nice...............

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    SB Champion daevainhell's Avatar
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    Default Delilah

    Delilah or (דְּלִילָה, Standard Hebrew meaning "[One who] weakened or uprooted or impoverished" from the root dal meaning "weak or poor". Also: Dəlila, Tiberian Hebrew Dəlîlāh; Arabic Dalilah), was the "woman in the valley of Sorek" whom Samson loved, and who was his downfall, in the Hebrew Bible Book of Judges (Chapter 16). "Samson loved Delilah, she betrayed him, and, what is worse, she did it for money", Madlyn Kahr began her study of the Delilah motif in European painting.


    Delilah was approached by the Philistines, the enemies of Israel, to discover the secret of Samson's strength. Three times she asked Samson for the secret of his strength, and three times he gave her a false answer. On the fourth occasion he gave her the true reason: that he did not cut his hair in fulfillment of a vow to God; and Delilah betrayed him to his enemies. However, contrary to popular belief Delilah did not actually cut Samson's hair, the deed was done by one of her servants.

    Some consider that one of the false secrets given by Samson, that his strength would leave him if his hair was woven into a cloth, is reminiscent of arcane woman's magic of the art of weaving that is also inherent in the myths of Penelope, Circe, Arachne.[2] "Sorek" or "soreq" is only specifically identified as being a place in the Samson story. Jerome mentions a "Capharsorec" that was near Saraa. Modern Israel has a Soreq Valley and even a Sorek Vineyard (since 1994/5) producing Merlot. Soreq, however, is the grapevine itself in Genesis 49:11, Isaiah 5:2, and Jeremiah 2:21. Samson had been dedicated as a Nazarite, "from the womb to the day of his death"; thus he was forbidden to touch wine or cut his hair.[3] Delilah may be a "vine-woman" (compare the mythic Greek name Oenone), personifying the womanly temptations of the vine that would betray his Nazarite dedication.

    For Christians the story of Samson and Delilah is an example of Paul's dictum, "It is good for a man not to touch a woman." (I Corinthians 7:1) and the Christian portrayal of woman as a snare for man: this warning is usually the uppermost theme in Western representations, where Delila is the natural embodiment of the Deadly Sin of Luxuria.[4]. Petrarch instanced Samson and Delilah in his Trionfi, as a victim in his allegorical depiction of the Triumph of Love. Somewhat inappropriately it would seem to a modern eye, the theme was depicted on more than one fifteenth-century Tuscan painted marriage tray. In the North, the Late Gothic theme of Weibermacht, of the dangerous strength of women, included in the series a conventional scene of a seated Delilah, with Samson asleep in her lap, shearing the "seven locks" from his head: the woodcut by Master E.S. might be a scene of courtly love, Madlyn Kahr has remarked, save for the ominous scissors in Delilah's hand.

    A small grisaille panel by Andrea Mantegna[5] in the National Gallery, London places the duo beneath a dead tree wound about with a luxurious vine (the debilitating power of the fruitful woman) and a fountain that overflows and seeps away into the ground, with undertones of unbridled sexual appetite. In Northern Europe the Delilah theme was more prominent among painters like Lucas van Leiden and Maerten van Heemskerck, who made a large woodcut of the subject after Titian. Tintoretto followed Titian in introducing a female accomplice of Delilah's; Rubens added further females, with a suggestion of a brothel, and came back to the subject several times. No major seventeenth-century artist approached the subject more often than Rembrandt.[6]

    John Milton personified her as the misguided and foolish but sympathetic temptress, much like his view of Eve, in his 1671 work Samson Agonistes[citation needed]. By the time of Camille Saint-Saens' Samson et Dalila (1877) Delilah has become the eponym of a "Delilah", a treacherous and cunning femme fatale.

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    SB Champion daevainhell's Avatar
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    Default Samson and delilah


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    SB Champion daevainhell's Avatar
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    Default Jezebel

    Jezebel (Hebrew: אִיזֶבֶל / אִיזָבֶל, Standard Izével / Izável Tiberian ʾÎzéḇel / ʾÎzāḇel ; "not exalted") is the name of two women in the Bible.

    In the Hebrew Scriptures
    In the Tanakh, Jezebel is a queen of ancient Israel, whose story is told in 1 Kings. She is introduced by the author as a Phoenician princess, the daughter of King Ithobaal I of Tyre, who marries King Ahab. She turns Ahab away from the God of the Israelites and (Judahites) of the Jews, and towards the worship of her god, Baal. The two then allow temples of Baal to open in Israel. Jezebel uses her control over Ahab to subject Israel to tyranny. After she slaughters the prophets of the Lord, the prophet Elijah confronts her to charge her with abominations. She responds by threatening to kill him as well. After Ahab's death, Jezebel continues to rule through her son Ahaziah. When Ahaziah is killed in battle, she exercises control through her other son, Jehoram. Jehoram is killed by Jehu, who confronts Jezebel in Jezreel and urges her servants to kill her by defenestration. They comply, throwing her out of a window, and her corpse is left in the nearby street to be eaten by dogs leaving only her skull, feet, and hands in fulfillment of Elijah's prophecy.


    In the New Testament

    In the New Testament, Jezebel calls herself prophetess in the city of Thyatira. She is accused in Revelation 2:20 of inducing members of the church there to commit acts of sexual immorality and to eat things sacrificed to idols. Some authorities suggest that the author here uses the name Jezebel as a nickname, knowing that readers in Thyatira would know to whom it was being referred, and they would also know of the deeds of the previous Jezebel recorded in 1 Kings.

  12. #12
    Moderator Lieutenant General Preeto Maam's Avatar
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    I'm reading the Lady of shallot after ages........... great!!!

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