Fr om“ t ef o r m e "t o“ te: f Y n i s m e n t " 25 From“ t ef o r m e "t o“ t e砂n i s m e n t " : S e a s o n a lPassagei n SirG αwαz nαndt h eG r e e nK n i g h t Ak i k oN i i I S i rG αwαmαndt h eGreenKnight( h e r e a f t e rc i t e da sSGG K)h asbeen unanimouslyp r a i s e da soneo ft h eg r e a tachievementso fMiddleE n g l i s h ti snoe x a g g e r a t i o nt osayt h a tthen a t u r a lo rlandscape l i t e r a t u r e .I d e s c r i p t i o n si nt h epoemc o n t r i b u t et oi t shighe v a l u a t i o ne s p e c i a l l yi n t h eg e n r eo fromance.However, i tmustben o t i c e dt h a tt h ed e s c r i p t i o n s o fn a t u r eo rl a n d s c a p ea r en o tmerelyp e c u l i a rt ot h eG αw a i n p o e t ,but a r ei naw e l l .e s t a b l i s h e dt r a d i t i o n .Naturei s, a s1s h a l lp r e s e n tf u l l e r 司 e l i n e a t e da sas o r to fr h e t o r i c a lt o p o si nMedieval d i s c u s s i o nl a t e r,d ti sap o s s i b l et y p eo ff o r m a lwordp i c t u r e sc o n v e n t i o n a l l y l i t e r a t u r e .1 I acknowledgeda sal i t e r a r yt e c h n i q u e .Thep o e t so ft h eMiddleAges, g e n e r a l l yspeaking ,tendnottoreflecttheirindividualopinionsor p h i l o s o p h yi nt h en a t u r e d e s c r i p t i o n sbutt oe l a b o r a t et h e i rr h e t o r i c a l s k i l li nthem. I nSGG , K however, t h e r ei st h epassagewhichi shardt or e g a r dj u s ta s ti st h ed e s c r i p t i o no fs e a s o n a lp a s s a g e ameret y p i c a lt o p o si nr h e t o r i c .I i nt h eopeningl i n e so ft h es e c o n df i t .I no r d e rt oshowust h et r a n s i t i o no f t h ep l o twhichb r i d g e st h ef i r s ttwof i t s, t h eG αwαi n p o e tr e p r e s e n t sa 2 6 、 旬fYn From“ ' t e f o r m e " e i s m e n t " changeo ff o u rs e a s o n swithl y r i c a la l l i t e r a t i o n ;w i n t e r ,spring,summer, autumn,andagainw i n t e r .Eventhoughhes t a t e s“An dwynterwyndez a)a 戸 "C 5 3 0 i , b e f o r et h es t a n z a sont h es e a s o n swehearh i smurmuring: "A) e r e) e r n e sf u l ) e r n e, and) e l d e zneuerl y k e, /Teformet ot ef y n i s m e n t 9 ) .Toputi tp l a i n l y ,heconsidersthatwhen f o l d e zf u ls e l d e n "C4989 幽 a n o t h e rneww i n t e rcomesaround ,i ti sn o tt h esamew i n t e ray e a ra g o . 'sa p h o r i s t i cu t t e r a n c ewhichi sf a r Thetwol i n e si l l u m i n a t ethepoet beyondt h er h e t o r i c a lp r e c e p t .官 l e nwhatd o e st h eG αwαi n p o e ti n t e n dt o s u g g e s tbyt h ep a s s a g e ? Gawain, whichi soneo ft h emain Heret h ehumangrowtho ft h eh e r o, themeso fSGGKseemst ol i ehiddeni nt h etwol i n e sandt h ef o l l o w i n g h e r e f o r e,i st oexaminethe passageonthes e a s o n s .Ourconcern,t r e l a t i o n s h i pbetweent h eGαωαi n p o et 'sv iewo fmanr e f 1 e c t e di nGawain andh i sviewo ft r a n s i t i o n a ls e a s o n sd e p i c t e da tt h eopeningo ft h es e c o n d K .Asabeginning,thus,1w i l lconcretelysurveythe f i ti nSGG p r o b l e m a t i cpassageo fr e v o l v i n gs e a s o n s .Next1attemptt oi l l u s t r a t e thenf i n a l l ye x p l o r ewhat howGawaind e v e l o p shimselfthroughh i sf a u l t, n p o e t ' sviewo fs e a s o n s .3 e x i s t sa tt h ebottomo ft h eG αwαi I I B e f o r emovingont oac l o s e rexaminationo ft h ep r o b l e m a t i cs e a s o n a l p a s s a g ea tt h eb e g i n n i n go ft h es e c o n d五t , i ti sh e l p f u l加 o b s e r v eb r i e f 1 y t h eg e n e r a li d e ao fn a t u r e d e s c r i p t i o n si nt h eMiddleAgesa sap o e t i c t o p o s .Natureo rlandscapei sd e l i n e a t e dfromt h ep o e t s 'viewpointo f t h a ti s, a sap o e t i c a lr e q u i s i t en e c e s s a r yt omakea c o n v e n t i o n a lr h e t o r i c, paradeo ft h e i rl i t e r a r ytechnique.E .R .Curtius,i nh i sEuropeαn α ,t u r eαndt h eLαt i nMiddleAg e s ,g i v e st h enameo f“ t o p o s "加 such L i t e r From“ t e f o ロn e " t o“ tef y n i s m e n t " 2 7 d e s c r i p t i o n s .4Asexampleo ft h e旬 p o s, hementionstwot y p e so fnature 同 d e s c r i p t i o n s“ ,theinvocationo fnature"and“ i d e a llandscape"c a l l e d “ l o c u sa m o e n u s . ' ,theformerhadar e l i g i o u ss i g n i f i c a n c e .C l a s s i c a la u t h o r s O r i g i n a l l y i n v o k en o to n l yg o d sandg o d d e s s e sbuta l s on a t u r a lpowersandn a t u r a l o b j e c t ssucha searth,heaven,streams, winds,sea, o rs u n .Medieval t s poets,ontheotherhand,donotinvokenaturebutenumeratei components.5 Suchmedievals t y l eo fenumerationi sa l s ofoundi nt h e t o p o so ft h el a t t e r “ ,i d e a ll a n d s c a p e . "Ther h e t o r i co fl a t eAn t i q u i t yand ft h e t h eMiddleAgesdeterminest h ei d e a llandscapeo fp o e t r y,oneo p r i n c i p a lm o t i f so fn a t u r e d e s c r i p t i o n s .Thep o e t sdonotrepresent n a t u r a lr e a l i t ybuti d e a l i z eandagainenumeratei t scomponents.The d e s c r i p t i o n so fani d e a llandscape( g e n e r a l l yc a l l e d“ l o c u samoenus ゲ" n 即e e 吋dr o u t i n ec o n s t i t u e n t s, f o rexample, b l u esky ,greentrees,blooming f l o w e r s,s i n g i n gb i r d s .6 Al thought h el e v e lo ft h e i rq u a l i t ydependson wef r e q u e n t l ycomea c r o s sexampleso fsuch“ l o c i samoenis" p o e t ' ss k i l l, i nmanypoemsi nt h o s ed a y s .Thebest-knownexamplei sperhapst h e i d e a lgardeni nRom αnd el aRoseo rt h efamouss p r i n gp a s s a g ei nt h e p r o l o ♂1 et oC h a u c e r ' sLegendo fGoodWomen. Nowl e tusturnourd i s c u s s i o n , withwhathasbeeno b s e r v e dabovei n mind ,i n t ot h epassageo ft h ef o u rs e a s o n swhichi st h ep o i n twemainly ,theGawαi n' p o e twarns e x p l o r ei nt h i sp a p e r .Att h eendo ft h ef i r s tf i t 岨 whohasa c c e p t e dt h ec h a l l e n g ebyt h eGreenKn i g h t, nott o Gawain, f l i n c hfromanyh a r d s h i p sa sak n i g h t( 4 8 7 9 0 ) .Thent h es e c o n df i topens a sf o l l o w s : and) e l d e zneuerl y k e, A) e r e) e r n e sf u l) e r τ 1 e, Fr om“ ' t ef o r m e "t o“ tef Y n i s m e n t " 2 8 Teformet ot eちmismentf o 1 d e zf u 1s e l d e n . andt e) e r ea f t e r , F o r t it i s) 0 1o u e r ) e d e, An dvchesesouns e r 1 e p e ssueda f t e ro t e r : Schyres c h e d e zt erayni nschowrezf u 1warme, F a l l e zvponf a y r ef l a t , f l o w r e zt e r eschewen , Botegroundezandt eg r e u e zg r e n ea rherwedez, Bryddezbuskent ob y 1 d e, andbrem1ychs 戸1 g e n Fors o l a c eo ft es o f t esomert a ts u e st e r a f t e r b ib o n k ; andhardeneshyms o n e, Bottenh y ) e sh e r u e s t, Warnezhymf o rt ew戸 t e rt owaxf u 1r y p e ; Hed r y u e swythd r o ) tt ed u s tf o rtoηse, Frot ef a c eo ft ef o l d et of l y ) ef u lh y ) e ; An dt u s) i r n e zt e) e r ei n) i s t e r d a y e zmony , An dwynterw 戸l d e za)ayn, a st eworldea s k e z, nofage, T i 1Me)e1masmone Watzcumenwythwynterwage; ( 4 9 8 ・ 5 0 1, 5 0 61 1, 5 2 1 2 4 , 5 2 9 ・ 3 3 ) 開 Thepassageo fchangings e a s o n saboves e r v e st h epurposeo ft r e a t i n g t h e“ 1 0 c u samoenus"a sal i t e r a r yt o p O S . 7I ti sc o n v e n t i o n a l l yusedf o ra p r o 1 0 g u eo rd i v i s i o ni np o e t r y . 8Tobemored e t a i l e d , i no r d e rt oi n t r o d u c e af r e s hs e c t i o no ft h es t o r yo rt oi n d i c a t et h ed i v i s i o no fs u c c e s s i v es c e n e s, a“ l o c u samoenus"passagei si n s e r t e di np o e t r y,f o rexample,a tthe p r o 1 0 g u et oC h a u c e r ' sLegendo fGoodWomeno ri nM a l o r y ' sLeM orte nSGGKthepassageseeming1yservesthesame D'Arthur.9 A1soi f u n c t i o n .Asap r o 1 0 g u e, i ti ss i t u a t e da tt h eb e g i n n i n go ft h es e c o n df i t , From“ t ef o r m e "t o“ t eちm i s m e n t " 2 9 wherei ts e r v e sa sad i v i s i o no ft h ep l o tfromthec h a l l e n g escenea t Camelott oGawain'sa d v e n t u r e .lO Furthermore, extendingthef u n c t i o no fthe“ l o c u samoenus"a sa r i t i c sd i r e c tt h e i ra t t e n t i o nt ot h er e l a t i o n s h i pbetween p r o l o g u e,somec Gawain'ss t a t eo fmindandthen a t u r e d e s c r i p t i o n si nthepoem.ll D e s c r i b i n ga l lf o u rs e a s o n sandt h e i rr e v o l u t i o n,a sD .E v e r e t tn o t e s, i m p l i e st h er a p i dandi n e v i t a b l ep a s s i n go ftheyearwhicha p p e a l st o Gawain'sa n x i e t yaboutt h ec o n f r o n t a t i o nwitht h eGreenKn i g h tl y i n g Timef l i e s "t o or a p i d l yl i k eanarrow, andnowi ti stime a h e a d .Forhim“ f o r h i s" u n i o u suyage"( 5 3 5 ) .Hence,i tseemse x p l i c i tt h a tt h es e a s o n a l passagenotonlyc o r r e l a t e st othes t r u c t u r eo fthepoem'sp l o t,but s y m b o l i c a l l ye x p r e s s e sGawain'ss t a t eofmindi nsomewayo ro t h e r . Yett h i ss t i l ll e a v e saq u e s t i o nunanswered.Althought h ei n e v i t a b l e t r a n s i t i o no ftimes y m b o l i z e sGawain'sworriedmood,t h esymbolism d o e sn o tc o m p l e t e l ye x p r e s st h ef u l lrangeo ft h ea p h o r i s t i cpassageo ft h e Gaw αi n p o e tinthef i r s ttwol i n e squotedabove( 4 9 8・9 9 ) .Thenhow a ra s1know, manyc r i t i c sseemt o s h o u l dwec o n s i d e rt h etwol i n e s ?Asf r e g a r dthemmerelya sap a r to ff o l l o w i n gs e a s o n d e s c r i p t i o n switht h e i r l y r i c a lt o n e .Somefewl i k eJ .A.Burrowsuggestthatc y c l i cand r e p e t i t i o u ss e a s o n so ft h ey e a ra r ea s s o c i a t e dwithhumane x p e r i e n c e .12 Yet ,fromtheviewoftheG αwαi n p o e ttheseasonsa r e, a l t h o u g hc y c l i c , n o tr e p e t i t i o u s .Hed e c l a r e st h a tt h e“ f o r m e "andt h e“ f y n i s m e n t "o fyear “ 3 e l d e zneuerl y k e, "thati s,thepoetc o n s i d e r st h a tthet r a n s i t i o n a l s e a s o n sdonotd e s c r i b ether e p e t i t i o u sl o c u so fac i r c l ebutt h a to fa s p i r a lwhoseb e g i n n i n gandendingnevermesh. Noteworthyh e r ei sTheodoreS i l v e r s t e i n ' sargumentwhichseemst obe themostpopulara t t i t u d etowardthepassagei nl i n e s498・9 9 .He 30 Fr om"tef o r m e "t o“ te今n i s m e n t " r o v e r b sandt h eL a t i no fC a t o ' s s u g g e s t st h a ti ti sana d a p t a t i o n企omP Laughters h a l lbemingledwithsorrow ,andtheendof morald i s t i c h s :“ m戸 t hi sheuynes"and“Wh enyoua r ehappy ,bewareofmisfortunesプ13 Thepointi sthatheregardsthe“ forme"ashappinessandthe “ ちmisment"a sm i s f o r t u n e .1 no t h e rwords, b e c a u s et h e r ee x i s tunknown p e r i l sl y i n gi no n e ' sf u t u r e, o n e ' ss i t u a t i o ni sn o tt h esamea sayearago, f o rGawainh a p p i l ye n j o y e dt h ef e a s ti nCamelotbuta f t e rt h es w i f t l y changingye 町 h ei snowi nt r o u b l e . l e tus Toi n v e s t i g a t ewhetherS i l v e r s t e i n ' sa n a l y s i si sv a l i do rnot, attemptt ov e r i f yt h ec o n t e x twhichl e a d st ot h ep r o b l e m a t i ctwol i n e s . t h ep o e tcomments“ Gawanwatzg l a dt obegynnet o s e B e f o r et h el i n e s, gomnezi nh a l l e, /Bott a )t eendebeheuyhaft enowonder;.. プ( 4 9 5 9 6 ) . " t o s egomnez"s i g n i f i e自 t h eGreenKn i g h t ' sc h a l l e n g et oArt h u r ' sc o u r t, whoo f f e r st ol e tanymand e c a p i t a t ehimbyablowonc o n d i t i o nt h a the mayg i v eonei nr e t u r nayearh e n c e .Gawaina c c e p t st h i sc h a l l e n g eo ft h e i n c eheb e l i e v e st h a tt od e c a p i t a t et h eGreenKn i g h t BeheadingGame,s ands oneverdreamst h a thew i l lbei na i se q u i v a l e n tt ok i l l i n ghim, g l a dt obegynne s i t u a t i o nt or e c e i v ear e t u r nb l o w .T h i si swhyhewas“ t o s egomnez."Contraryt oh i se x p e c t a t i o n ,however,theGreenKnight p i c k sh i sheadupc u to f fbyGawain ,and,b e f o r et h eKn i g h td e p a r t s,t h e headb i d sGawaint os e a r c hf o rt h eGreenChapelf o rh i sr e t u r nb l o w . “ ,teendbeheuyプ1 fGawainr e c e i v e dablow , i twouldbei m p o s s i b l e Thus f o rhim, whoi sam o r t a l, t okeepl i v i n g . C o n s i d e r i n gt h ec o n c e p to b s e r v e dabove, wemaysayt h a tS i l v e r s t e i n ' s ・・. 9 9seemst obep o i n t l e s s .A c c o r d i n gt o argumentaboutt h etwol i n e s498 him, t h er e a s o nf o rt h eGaw αi n p o e t ' sviewofyearswhichneverpasst h e samet w i c eandwhosebeginningandendingneverc o i n c i d ei sbecause From" t ef o r m e "t o“ t ef y n i s m e n t " 3 1 Gawain,whowashappyl a s twinter,i snowi na“ heuy"p l i g h t .Yet Gawain'sgladnessalreadyturnedt oheavinessl a s twinterwhenhe determinedt or e c e i v et h ea n t i c i p a t e dr e t u r nb l o w .Thenwhata c t u a l l ydo t h e s etwol i n e si m p l y ? Thec l u et oanswert h eq u e s t i o nc o n s i s t si nt h esymbolismo ft h ef o u r s e a s o n sandt h ea g e so fman.G e n e r a l l y , t h ec y c l eo fs e a s o n si sa s s o c i a t e d witht h ea g e so fman'sm u t a b i l i t yd i v i d e di n t of o u ra sf o u rs e a s o n s .To borrowt h ep h r a s e s企omt h eD i c t i o n αr yo fSymbolsαndlm α g e T , ツ s p r i n g c o r r e s p o n d swithman's“‘加 f ぬ anc 払 y" summerwith“ c h i l d h o o d, "autumn 6 m a t u r i t y "o r“ d e c l i n e, "andwinterwhicho c c u p i e salmosta l lt h e with“ s e a s o n a lbackgroundo fSGGK( e x c e p tf o rt h es e a s o n d e s c r i p t i o n sa tt h e beginningo fthesecondf i t ),with“ death"and“ r e b i r t h . " 1 4Bywayo f ,thewinterseasonhasthedoublecharacterofman'sdeath e x p l a n a t i o n i no t h e rwords, t h eendingandt h eb e g i n n i n gofman'sl i f e . andr e b i r t h, Mani nSGGKi sr e p r e s e n t e dbyourhero,Gawain.C o n s i d e r i n gt h e t h eendingandt h eb e g i n n i n go fman's symbolismo fw i n t e r ' sd u a lv a l u e, l i f e, i ti sp o s s i b l ef o rust or e g a r d“ f o r m e "and“ f y n i s m e n t "i nl i n e s49899 司 n o to n l ya st h o s eo fs e a s o n swhicha r enevert h esame, buta l s oa st h e phaseso fman's,Gawain'sl i f e,whochangesanddevelopshimself 1w i l ls h i f tmyemphasisawayfromthe throughthepoem.T h e r e f o r e, d e b a t a b l epassageo fc y c l i cs e a s o n st ohowGawaingrowsupfromt h e b e g i n n i n gt ot h eendingo ft h epoem. I I I Al thoughSGGKa d o p t st h eb a s i cp a t t e r no ft h er e t u r n “m o t i f , whichi s e s p e c i a l l yi nArt hurianromance, t h eway oneo ft h ef a m i l i a rc o n v e n t i o n s, 5Asar o fi t streatmenti nt h epoemi ssomewhatd i f f e r e n t .1 u l e, aromance 3 2 From" t ef o r m e " ω“ t ef y n i s m e n t " opensandendsa tA rt h u r ' sc o u r t , C a m e l o t .1 na d d i t i o n, ak n i g h ts e t so u t fromt h ec o u r tf o rh i sa d v e n t u r e s, f i n a l l yr e t u r n stot h ec o u r ti ng l o r i o u s h es t o r ya l s oopensandc l o s e sa tC a m e l o t .However , s u c c e s s .1 nSGGKt unlikeotherArthurianheroes,Gawainreturnst oCamelotnoti n ns e l f c o n f e s s e dshame.Throughh i sblunderi n c o n v e n t i o n a lg l o ηT buti c h i v a l r y , her e a l i z e sh i sf r a i l t yandi m p e r f e c t i o n, thenretumst oArt h u r ' s o rt h emoment ,d i s c u s sGawain's c o u r ta sashamefulp e n i t e n t .Letus,f enlightenmentthrought h epoem, t h a ti s, howGawaini sd e s c r i b e da tt h e , “ おrme, "whyhecommitsthef a i l u r e, and, a saconsequenceo f b e g i n n i n g , whatGawainleamsa tt h eending , “ ちmismentプ i t 1 nMiddleE n g l i s hRomances, Gawainseemst obecomee s t a b l i s h e da s an o b l e s tr e p r e s e n t a t i v eo fknighthood, a si ssuggestedbyChaucer's “ S q u i r e ' sTale, " “ThatGawayn,withh i so l d ec u r t e i s y e . ' 品 1 nSGGK Gawain'sp e r f e c t i o ni na l lv i r t u e si s, f o rexample,suggestedbythe , t h ep e n t a n g l ec a l l e d“ t ee n d e l e sk n o t "( 6 3 0 ) .Ont h e d e p i c t i o no fh i sc r e s t s u r f a c eo fh i ss h i e l d( a n da l s oonh i ss u r c o a t )t h ep e n t a n g l ei sp r i n t e d, andont h er e v e r s es i d et h eimageo fMary.Theformert y p i f i e sGawain's chivalrousv i r t u e s,thel a t t e rh i sr e l i g i o u sf a i t h .Accordingt othe n p o e t, t h ep e n t a n g l ei s“ bytoknyngo f t r a w t e "( 6 2 6 ), andhespends G αwαi 4 7l i n e st oe x p l a i ni t ssymbolism( 6 1 9 ・6 5 ) .Thef o l l o w i n gi sap a r to ft h e d e s c r i p t i o n s : tf Y u et a t1f i n d et a tt ef r e kvsed Te今f 加 n chyseandf e l a J s c h y pf o r b ea ltyng , Watzf r Hisc l a n n e sandh i sc o r t a y s y ec r o k e dwereneuer, Andp i t e , t a tp a s s e za l l ep o y n t e z, t y s epuref y u e 5 ) Wereharderhappedont a th a t e ltenonanyo t e r . ( 6 5 1・5 Gawaini st h eo n l yk n i g h twhohase v e r yoneo ft h ev i r t u e ss y m b o l i z e dby Fr om“ ' t e f o r m e " ω予 ‘eちm i 自m e n t " 3 3 t h ep e n t a n g l e, andhencet h eo n l yknightwho“ a c o r d e z "( 6 3 1 )withi t . i sconducti nthef i r s th a l fo fthepoem Assuchas p l e n d i dhero,h deservesthehonoro fthep e n t a n g l e .Forinstance,whentheGreen Kn i g h tc h a l l e n g e sA r t h u r ' sc o u r tt ot h eBeheadingGame, eventhough “ nonwoldekepehymwithc a r p "(307),Gawainalonebravelyo f f e r s h i m s e l f t oa c c e p tt h et e r r i b l er e q u e s t .Moreover, Gawain'sw i n t e rjoumey fromCamelott oB e r t i l a k ' sc a s t l ea l s ot e s t i f i e sh i sc o u r a g e .Hei ss t r o n g r o l l s, andb o l d enought od e f e a tv a r i o u senemiessucha sw o l v e so rwoodt 明 enought op e r s i s ti nh i ss e v e r ej o u r n e y . Noto n l yi np h y s i c a lc o u r a g ea ss t a t e dabove, Gawaina l s oe x c e l si nt h e ,asi sproperf o rtheheroI nc o u r t l yromance.His v i r t u eo fc o u r t e s y supremec o u r t e s yi se s p e c i a l l yemphasizeda tB e r t i l a k ' sc a s t l e .Fort h r e e a l t h o u g hhecomesbacka tn i g h t, B e r t i l a kg o e so u th u n t i n g .An d days, eachday , w h i l et h eh o s ti sa b s e n t, h i sw i f ev i s i t sGawainanda t t e m p t st o persuadehimt oa c c e p therl o v e .I ns p i t eofheramorousapproachg e t t i n g moreopendaybyday , her e f u s e sherl u r ei no r d e rt oo b s e r v eh i sl o y a l t y ,whileheevadesthel a d y 'so f f e r ,a tt h esametime,he t oB e r t i l a k .Yet maintainsh i smannerwithc o m p l e t ec o u r t e s yt oh e r .Thus,hed o e sn o t f a i li ne i t h e rl o y a l t yt ot h eh o s to rc o u r t e s yt ot h el a d y . D e s p i t eh i sfamea st h ef l o w e ro fc h i v a l r y , however , Gawaincommitsa s e r i o u sf a u l ti nt h ek n i g h t l yc o d eont h et h i r dd a y .Hisb l u n d e ri st h a the breaksacompactwithB e r t i l a k .GawainandB e r t i l a ka g r e et oexchange t h e i rd a y ' swinningsa tt h eendo fa l lt h r e ed a y s .Att h en i g h to ft h ef i r s t day ,Bertilakpresentsvenisont oGawain ,andGawainreturnsakisst o the himwhichi sg i v e nbythel a d y .Exceptf o rt h enumbero fk i s s e s, o u t l i n ei salmostr e p e a t e dont h es e c o n dd a y ;exchangeo fb o a randtwo k i s s e s . 3 4 o r m e "t 刀“t ef Y n i s m e n t " From加 f Thec r u c i a lmomentcomesonthet h i r ddaywhichgenuinelyt e s t s Gawain'sl o y a l t yt oB e r t i l a k ,asi shinteda tbyB e r t i l a k ' sp r o v e r b i a l 16 8 0 ) .B e f o r eherl e a v e t a k i n gfrom s t a t e m e n t :" t r i dtymetroweb e s t "( Gawain'sroom, t h el a d ywhoa tl e n g t habandonshers e x u a lt e m p t a t i o n o f f e r shimherb e a u t i f u lgreeng i r d l ea sak e e p s a k e .Accordingt oher e x p l a n a t i o n ,whoeverwearstheg i r d l e,he“ myjtn o tbes l a y nf o rs l y j t 18 5 4 ) .WhenGawainr e c o g n i z e sthemagicalpowero fthe vpone r t e "( g i r d l eo fp r o t e c t i n gi t swearer企omdeath ,althoughhehaspreviously a l l si n t othetrapo f s a i dthathew i l lr e c e i v enog i f tfromher,hef a c c e p t i n gt h eg i r d l e .ForGawain , whoi sa n x i o u saboutt h eapproaching theg i r d l eseemst obe“ aj u e l "( 18 5 6 ) . dateo ftheBeheadingGame, Gawaini sunderano b l i g a t i o nt og i v ei to v e rtoBerl i 1 ak ,y e theh i d e si t, andt e l l sal i ea tt h es c e n eo ft h eexchangeo fwinnings, “[ a l si sp e r t l y payedt echepezt a t1a j t e "( 19 4 1 ),andconsequentlyhebreaksh i s k . compactwithB e r l i l a NowGawain ,whoi sf e a r f u laboutt h ec o n f r o n t a t i o nwitht h eGreen Kn i g h tand, thus, breaksh i swordt oB e r t i l a k, impartsacompletely d i f f e r e n timage企'Om t h ep r e v i o u sonep o r t r a y e da sani d e a l i z e dp e r f e c t k n i g h t .AttheGreenChapelwhenher e a l i z e sh i sf a u l t(and1s h a l l hec o n f e s s e st h a thei sg u i l t Yo f“ unleq 話" returnt ot h i sp o i n tl a t e r ), ( 2 4 9 9 )t oB e r t i l a kcausedbyh i s“ cowardyse"( 2 3 7 9 ) .Toputi tp l a i n l y, Gawain'scowardicemakeshima f r a i do ft h emeetingwiththeGreen Knight,andmakeshimhideandkeepthemagicg i r d l ei nordert o thenmakeshimt ol o s eh i sl o y a l t yt oB e r t i l a kby p r o t e c th i sownl i f e, breakingh i sf a i t hontheexchangeo fwinnings.GervaseMathew remarkst h a tt h emosts i g n i f i c a n tv i r t u e si nc h i v a l r ya r e“ prowessand ,,17 Gawainf a i l si nt h e s ev i r t u e sbecauseo fh i s“ unlewte"and l o y a l t y . From“ t ef o r m e "t o“ t ef Y n i s m e n t " 3 5 c o w a r d y s e . " “ Changing企omab r i l l i a n th e r ot oacowardwhohast h ehumanf e a ro f death , Gawainb e g i n st oshowu n c h i v a l r o u sb e h a v i o ri n a p p r o p r i a t et oh i s u f f e r sfrominsomnia p r e v i o u simagei ns e v e r a lways.Forexample,hes ont h el a s tn i g h ta tB e r t i l a k ' sc a s t l e( 2 0 0 6 0 8 ), becauseh i sgrowingf e a r aboutt h eBeheadingGamed i s t u r b sh i ss l e e p .B e s i d e s , whenhep r e p a r e s hei n v o l u n t a r i l yf 1 i n c h e sa h i m s e l ft obed e c a p i t a t e da tt h eGreenChapel, l i t t l efromt h eGreenKn i g h t ' sa n t i c i p a t e dblow( 2 2 6 5 6 7 ) .官 l e r e f o r e, a f t e r hechangesi n t oacoward,o rrathert oan heg e t sthegreeng i r d l e, o r d i n a r ymanwhoi sweakandhassomef a u l t s . Att h eGreenChapelt h eGreenKn i g h theavesh i senormousaxa l o f t t h r e et i m e s,ando n l ywithh i st h i r dblowhes l i g h t l ywoundsGawain's i g h t 'se x p l a n a t i o n ,thethrees t r o k e sa r e b a r en e c k .A c c o r d i n gt ot h eKn groundedonthepreviouscompacto ftheexchangeo fwinningsa t B e r t i l a k ' sc a s t l e .Thati st osay, thetwothreateneds t r o k e sa r ethe r e s u l t so fGawain'sl o y a l t yt oB e r t i l a kont h ef i r s ttwodaysandt h es l i g h t woundonh i sneckfromthet h i r ds t r o k ei sthepunishmentf o rh i s d i s l o y a l t yont h et h i r de v e n i n g .TheGreenKn i g h ta 1 s or e v e a 1 st h a thei s ,andhepurposely1 e f tt h egreeng i r d 1 et oh i sw i f ei n B e r t i l a kh i m s e 1 f o r d e rt ot e s tGawain'sl o y a l t y . G r e a t l yshockedbyt h et r u t h,Gawainc o n t r i t e 1 yb e g i n st oc o n f 切 sh i s b l u n d e ri nt h ef o l l o w i n gw o r d s : Forc a r eoftyknokkecowardysemet a ) t mykyndet of o r s a k e, Toa c o r d emewithc o u e t y s e, t a ti sl a r g e sand1 e w t et a t1 0 n g e zt ok n y ) t e z . Nowam1fawtyandf a l c e, andf e r d ehafbene u e r 2 3 7 9 8 3 ) Oft r e c h e r y eandv n t r a w t e :b o t eb i t y d es o r ) e .. . ( 3 6 Fr om“ t ef o r m e "t o“ tef : 戸 l I s m e n t " i g h twarmlyr e p l i e st oGawaint h a th i sf a u l ti sc o m p l e t e l y TheGreenKn “ pureda sc l e n e/Astou[ G a w a i n ]hadezneuerf o r f e t e ds y t e ntouwatz 今r s tb o r n "( 2 3 9 3 ・ 9 4 ), andp r a i s e shima s“ t ef a u t l e s t仕 eket a te u e ronf o t e e g a r d sh i sf a u l ta sq u i t eas e r i o u s J e d e "( 2 3 6 3 ) .N e v e r t h e l e s s,Gawainr one, andt a k e sano a t ht oweart h eg i r d l ea l lt h er e s to fh i sl i f ea satoken o fh i sm i s d e e d .18 Atl a s t, wearingt h eg i r d l e, Gawainr e t u r n st oC a m e l o t .Herea g a i nwe canhearh i sshamefulc o n f e s s i o na l m o s ts i m i l a rt ot h eonea tt h eGreen Chapel, exceptf o rthef a c tthatt h i stimeGawain'sc o n f e s s i o ni sa voluntaryo n e .Althoughi ti saparto fther e t u r n m o t i ft ot e l lo n e ' s a d v e n t u r e st ot h ec o u r ta f t e ro n e ' sr e t u r n ,Gawain'sadventurestoryi s n o tc o v e r e dwithg e n e r a lglorγbutwith" g r e fandgrame"( 2 5 0 2 ) .F i n a l l y heshowsthemt h egreeng i r d l ea sane v i d e n c eo fh i su n f a i t h f u l n e s s, a l t h o u g ht h ec o u r t ,comfortinghim,agreest oc o n s i d e rt h eg i r d l ea s" t e renouno f t eRoundT a b l e "( 2 5 1 9 ) . a l l a n t l ydepartedfromCamelota sapentanglehero Gawain,whog 田 nowreturnsa sadishonorableand b e l i e v i n gi nh i sp e r f e c tv i r t u e s, i st h i sc o n c l u s i o nr e a l l yc o 町 e c t ?I no t h e rwords, i s d i s g r a c e dk n i g h t .Yet, Gawains t i l lashamefulk n i g h ta f t e rh i sr e t u r nt oCamelot?I ti sc e r t a i n t h a twhenGawainbrokef a i t hwithB e r t i l a ka th i sc a s t l ehewasan unchivalrouscowardwhol o s tthemosts i g n i f i c a n tknigh t 1 yv i r t u e s, prowessandl o y a l t y .However ,s i n c ewehearGawain'sc o n f e s s i o nt w i c e, i nwhichher e a l i z e sandr e p e n t sh i sf a u l t, andhumblyd e c l a r e st h a the 1 lwearthegreeng i r d l ea sas i g nt h e r e o f ,i ti sd i f f i c u l tf o rust o wi c o n s i d e rhimt obeshamefu l .Rather ,heseemst ogrowupi n t oamore b e c a u s enowhea t t a i n smodest p r a i s e w o r l h yp e n i t e n tthanheusedt obe, enlightenmentt h a thei sn o tana b s t r a c t l yi d e a lknights y m b o l i z e dby Fr om" t ef o r m e "t o“ t e今n i s m e n t " 37 thepentanglebutahumanlyimperfectmanwhohasf r a i l t yand weaknesss i m i l a rt ou s .官1Isi swhyt h eGreen拍 l i g h tp r a i s e sGawaina s ・ d l ea s“ t erenouno ft e " t ef a u t l e s tf r e k e "andt h ec o u r tr e g a r d st h eg i r RoundT a b l e . " I ti sworthn o t i n gt h a tGawainwearst h egreeng i r d l eont o po fh i s s u r c o a t( 2 4 8 6 8 7 ),onwhicht h epentanglei si n s c r i b e d .Nowthegreen g i r d l ei semblematico fGawain'st r a n s g r e s s i o nfromt h ek n i g h t l yv i r t u e s, andt h ep e n t a n g l ei semblematico fh i sp r i d ei nthem.Thus, t h eimageo f Gawain, whor e a l i z e sh i sownf r a i l t y , p u t t i n gt h eg i r d l eont h ep e n t a n g l e s i g n i f i e st h a th i shumblenessovercomesh i ss e l f c o n c e i tabouth i sp e r f e c t v i r t u e s .Att h i ss t a g et h eg i r d l eandt h epentanglet o g e t h e re x p l i c i t l y 吐 か Gawain'shumangrowth. s i g r 80f a r ,wehaveseenthat,althoughthebasicpatternofthereturn 幽 motifi sobservedi nthepoem,t h eimageo fthehero,Gawain,a tthe “ fynisment"i scompletelyd i f f e r e n tfromtheimagea tthe“ forme, " becauseo f h i schangeandg r o w t h . IV Letusnowr e t u r nt ot h ep r o b l e m a t i ctwol i n e saboutt h et r a n s i t i o n a l s e a s o n s :"A) e r e) e r n e sf u l) e r n e ,and) e l d e zneuerlyke , /teformet ot e 戸lIs mentf o l d e zf u ls e l d e n "( 4 9 8 ・ 9 9 ) .Wh enwec o n s i d e rt h e“ f o r m e "and f t h e“ f y n i s m e n t "i nl i n e499a g a i n ,withGawain'smentaldevelopmenti n twouldbep o s s i b l et oassumet h a tt h etwowordsnoto n l y ourmind,i s i g n i f yt h ebeginningandendingo fayearwhichseldomc o i n c i d e, but , a l s oimplyGawain'sb e g i n n i n gandendingi nt h epoema sn o ta c c o r d i n g b e c a u s eo f h i smentalg r o w t h . w i n t e r ' sd u a lsymbolism “ ,death"and I no r d e rt op r o v et h eassumption, From“ t ef o r m e " t o“ t eかn i s m e n t " 3 8 “ r e b i r t h, "mustberecal 1edh e r e .I ti semphaticallys i g n i f i c a n tt h a t Gawain'sadventurewhicha l t e r sh i sc h a r a c t e ri sd e l i n e a t e di nthe w i n t e rs e a s o n, p a r t i c u l a r l yb e f o r eanda f t e rNewY e a r ' sDay.Thet h i r d daya tB e r t i l a k ' sc a s t l eonwhichGawainp e r p e t r a t e sh i sf a u l ti sNew Y e a r ' sEve, namelyt h edayo fayea r ' sd e a t h .Th edaywhenhed i s c e r n s h i sf a u l tandc o n t r i t e l yc o n f e s s e si ta tt h eGreenChapeli sNewY e a r ' s Day,thedayo ft h ey e a r ' sr e b i r t h .A l l e g o r i c a l l y,Gawaind i e so fh i s i sr e p e n t a n c ef o ri thei s misconductonNewY e a r ' sEve,andowingtoh rebornonNewY e a r ' sDay.Orr a t h e r, theformerGawain,whowas d i e dandtheni sr e b o r ni n t ot h e p u f f e dupwithh i su n s p o t t e dv i r t u e s, s u p e r i o rmanwhof i n d sh i m s e l fo u t . Furthermore, t h eshapeo ft h ep e n t a n g l ea l s oc o r r e l a t e swithGawain's g r o w t h .Th er e a s o nt h ep e n t a n g l et y p i f i e sp e r f e c tv i r t u e si st h a ti thas “ t ee n d e l e sk n o t "( 6 3 0 ), f o ri ti saf i g u r ewhichhasf i v ep o i n t s, andeach l i n eo v e r l a p sandi sl o c k e dwitha n o t h e r ,s oi se n d l e s severywhere( 6 2 7 s 2 9 ) .Thep e n t a n g l e ' se n d l e s sknot,withnobeginningandending,i untiedbyGawaina tthec r u c i a lmomentonthet h i r deveninga t B e r t i l a k ' sc a s t l e .Ino t h e rwords, d e s p i t et h ef a c tt h a tt h ep e n t a n g l ewas r e g a r d e da st h esymbolismo fGawain'si d e a lq u a l i t y , hei sn o tac o m p l e t e knightwithnobeginningandendingbutamanwhocantransform h i m s e l fg r a d u a l l yandp r o g r e s s i v e l yl i k eas e a s o n a lt r a n s i t i o n .19 I tseemsr e a s o n a b l et o∞n c l u d e,合omwhathasbeens a i dabove,t h a t t h eG αwαLnp o e ti n t e n t i o n a l l yr e l a t e st r a n s i t i o n a ls e a s o n st oGawain's 帽 s p i r i t u a lenlightenmentwhichi st h ehearto ft h epoem.Thes e a s o n i l lt h er o l en o to n l y d e s c r i p t i o n sa tt h eopeningo ft h es e c o n df i ti nSGGKf o ft h ep r o l o g u et ot h ef i ta sar h e t o r i c a lt o p o so f“ l o c u samoenus"buto f t h ep r o l o g u et oGawain'swholea d v e n t u r ewhichl e a d st oh i sg r o w t h .The 、 旬 From“ tef o r m e " eち I l l i s m e n t " 39 two1 泊e s, t h e r e f o r e ,areac l u et ot h eh e r o ' schange , c 町 e f u l l yforeshadowed bythep o e t . Becauseo fhumanf r a i l t y , noc h i l do fAdamcanbep e r f e c to ri n f a l l i b l e , a si se x p r e s s e di nt h eb i b l i c a lp h r a s e :“ t h es p i r i tindeedi swi l I i n g , butt h e 6 .4 1 ) . 2 0Yeti ti sp o s s i b l ef o rhimt oimprove f l e s hi sweak"(Matthew2 himselfprogressivelybymeanso fr e a l i z i n gandrepentingofh i s Qαwα i n p o e t 'sv iewo ft h es e a s o n s, t h a tt h eyearr e v o l v e s weakness.The, n o tl i k et h er e p e t i t i o u sl o c u so fac i r c l ebutl i k et h a to fas p i r a l, a l s oh o l d s , t h el i f eo fe a r t h l yman t r u ei nt h ec a s eo fh i sviewo fman.Fort h ep o e t i s,eventhoughhecanneverbecomeap e r f e c tbeingl i k eh i ssupreme ,as o r to fp i l g r i m a g etowardh i smoralg r o w t h .Gawain'sp i l g r i m a g e God i nSGGKi sp r e s e n t e dt ot h er e a d e ro ra u d i e n c ei nsomemeasurea s如 exampleo ft h el i f eo fman. Generally,poetsi ntheMiddleAges,c h i ef 1 yi nromances,r a r e l y ,buttendrathert omodi ちr attemptt oachievei n d i v i d u a lo r i g i n a l i t y d e t a i I so fp l o t swhicha l r e a d ye x i s t ,ort op o l i s hupr h e t o r i c a ls k i l l sa s t h e yr e t e l laf a m i l i a rs t o r y .T h i si swhyt h e r ea r eo f t e nv a r y i n gv e r s i o n s 2 1 i n p o e thasane x c e p t i o n a l o fthesames t o r ys i d ebys i d e . TheG αwα or e v i v i 今c o n v e n t i o n a l a b i l i t yt oi n j e c tnewmeaningsi n t oo l dforms,t l a n d s c a p ed e s c r i p t i o n sbymeanso fh i si m a g i n a t i v eg e n i u s .Wecans t i 1 l hearh i sv o i c e, a l t h o u g hf a i n tandf e e b l e, i n泣1 es e a s o n a lp a s s a g e1have d i s c u s s e dh e r e, a shei n v i t e sust or e a l i z et h a tt h ec y c 1eo ft h eyeari sn o t o n l yar h e t o r i c a lt o p o sbuta l s oas i g n i f i c a n ti l l u s t r a t i o no fthemoral developmento ft h eh e r o . t ef o r m e "t o“ t e今nisment" From“ 4 0 Notes 1 . ErnstR obertC u r t i u s,Europe αnL i t e r α ,t u r eαndt h eLαt i nMiddleAges , t r a n s .W i l l a r dR .Tr a s , kB o l l i n g e nS e r .3 6( P r i n c e t o n :P r i n c e t o nUP,1 9 5 3 )9 2 9 7, 1 8 32 0 2 . 困 2 .S i rGαωαi nandt h eG r e e nKnight ,e d .J .R .R .T o l k i e nandE .V .Gordon, 2nd e v .NormanDavis( O x f o r d :ClarendonP,1 9 6 7 ) .A l lsubsequent e d .,r r e f e r e n c e sa r et ot h i se d i t i o nandv e r s enumbersa r ep a r e n t h e s i z e di nt h e t e x t . sg e n e r a l l yknown, Medievalviewso fn a t u r e, whicha r el i n k e dwitht h e 3 . Asi e s, varyc o n s i d e r a b l y .For p h i l o s o p h i c a lt h i n k i n go f t h eworldi nt h eMiddleAg 句l a t u r e "o r“ kind , "i nM e d i e v a l l i t e r a t u r e, s e eC . t h es i g n i f i c a n c eo ft h eword, S t u d i e si nWords ,2nde d .( L o n d o n :CambridgeUP,1 9 6 7 )2 4 7 4 .To S .Lewis, t h e r e f o r e, 1 d i s c u s sn a t u r ea sawholei sbeyondt h es c o p eo ft h i sb r i e fpaper, havel i m i t e dourd i s c u s s i o nonnaturet ot h emoderns e n s eo ft h eworda s n a t u r a lo rl a n d s c a p ed e s c r i p t i o n . 1 8 3 2 0 2 .Hea l s oenumeratesmanyo t h e rt o p o i, s u c ha s“ t o p i c s 4 .C u r t i u s9 2 9 7, r a t o ηr , "“ h i s t o r i c a lt o p i c s, " “a f f e c t e dmodesty, "ands oon( 7 9 o fc o n s o l a t o ηTo 1 0 5 ) . 5 .C u r t i u s9 3 . 6 . W.T .H.Jackson, TheL i t e r a t u r eo ft h eMiddleAg e s(NewYor k :Columbia 9 6 0 )2 2 5 .B e s i d e s, hei n d i c a t e st h er e l a t i o nbetweenl o v ep o e t r yandt h e UP,1 p r a i s eo fs p r 訂1 9( 8 ) . e a r s a l l “ ,Rhetorical‘ D e s c r i p t i o 'i n‘ S i rGawainandtheGreen 7 . D.A.P E むl i g h t, ' "MLA5 0( 19 5 5 ) :1 3 2 . “ ,TheNatureinSirG αwαi nαndt h eGreenKnight , " 8 . TadahiroIkegami S t u d i e si nE n g l i s hL i t e r α ,t u r e6 0( 19 6 4 ) :3 . i v e r s i d eCh αu c e r ,e d .LarryD .Benson,basedon 9 .G e o f f r e yChaucer,TheR TheWorkso fG e o f f r e yCh αu c e r ,3rde d .( B o s t o n :Houghton,1 9 8 7 )5 9 1( T e x tF TheWorksofThom αsM alory ,e d .E .Vinaver, 2nde d ., 1 2 8 f D ;ThomasMalory, v o l1 1 1( O x f o r d :Clarendon, 1 9 6 7 )1 1 1 9 . 三 七hewinterjourneyt o 1 0 . Concerningt h eo t h e rn a t u r e d e s c r i p t i o n si nSGGl t h ec a s t l eo fB e r t i l a ki sap r o l o g u et oGawain'st r i a li nt h ec a s t l e( 6 9 1 7 3 5 ), t h ew i n t e rd e s c r i p t i o n sa tt h eb e g i n n i n go ft h ef o u r t hf i tt oh i sj o u r n e yt ot h e i sj o u r n e yt ot h eChapelt oani n c i d e n ta tt h e GreenChapel( 2 0 0 0 0 5 ),andh From“ tef o r m e "t o“ teち misment" 4 1 ・8 6 ) . Chapel( 2 0 7 7 , E s s a y sonMiddleE n g l i s hL i t e r a t u r e( O x f o r d :Clarendon, 1 1 . DorothyE v e r e t t 1 9 5 5 )8 1 8 2 ;RalphE l l i o t “ ,LandscapeandGeography, "A Compαniont ot h e Gawain-Poet ,e d .DerekBrewerandJonathanGibson(Cambridge:D.S . Brewer,1 9 9 7 ) :1 0 7 1 3 .Theyarguethatthewinterd e s c r i p t i o n sa tthe beginningo ff o u r t hf i tnoto n l ysuggestthep r o l o g u eo fthes t e r n n e s so f Gawain'st r i a l,buta l s oimplyh i ss t a t eo fmind,a sbeinga f r a i do fthe BeheadingGameont h a tm o r n i n g .Hisj o u r n e yt ot h eGreenChapeli nt h e a c c o r d i n gt othem, h i sbewilderment, s c e n eo fn a t u r a lw i l d e r n e s ss y m b o l i z e s, b e i n ga n x i o u sf o rt h ec o n f r o n t a t i o nwitht h eGreenKn i g h t . 1 2 .J .A .Burrow , R i c a r d i αnPoet り ' :C haucer ,Gower ,Langlandαndt h eGawain P o e t( L o n d o n :Rou t 1 edgeandKeganPaul, 1 9 7 1 )1 01 . 1 3 . Theo r i g i n a lo ft h e s eq u o t a t i o n si nLatini s“ Risusd o l o r em i s c e b i t u r, e t extremagaudiiluctusoccupat"(Proverbsx i v .1 3 )“ ,noneodemcursu i .1 8 ) .See, TheodoreS i l v e r s t e i n “ ,TheArto f r e s p o n d e n tu l t i m ap r i m i s "( C a t o, S i rG αwainαndt h eG r e e nKnight , "UofTorontoQuαr t e r l y3 3( 19 6 4 ) ;r p t .i n C r i t i c a lS t u d i e so fS i rGawainandt h eGreenKn i g h t, e d .DonaldR .Howard 1 9 6 8 )1 8 3 ・ 8 8 . andC h r i s t i a nZacher( N o t r eDame:U ofNotreDameP, i c t i o n a r ツo fSymbolsαnd1m α gery(Amsterdam:North1 4 . AddeV r i e s,D Holland, 1 9 7 6 )4 0 8 . 1 5 . DieterMehl,TheMiddleEnglishRomαn c e soft h eThirteenthαnd L o n d o n :R o u t l e d g eandKeganPaul, 1 9 6 7 )1 9 5 . F o u r t e e n t hC e n t u r i e s( t h u r i a nromances,ont h eo t h e rhand,Gawain 1 6 . Chaucer1 7 0 .InFrenchAr whoi sane x p e r ti nl o v e t a l k i n g .See, A . hase v i lr e p u t a t i o na sap h i l a n d e r e r, C .S p e a r i n g, TheG a w a i n P o e t :A C r i t i c a lStudy(Cambridge:CambridgeUP, 1 9 7 0 )1 9 8 9 9 ;M.M i l l s “ ,ChristianS i g n i f i c a n c eandRomanceT r a d i t i o ni nS i r Gαωαi nandt h eGreenKnight , "MLA60( 1 9 6 5 ) ;r p t .i nHowardandZacher 1 0 1 0 2 . 1 7 . GervaseMathew“ ,ldealsofKnighthoodi nLaterFourteenth-Century England, "Studiesi nMedievα1H i s t o r yPresentedt oF r e d e r i cMαu r i c e c k e,e d .R .W.Hunt,W.A.PantinandR .W.Southern(Oxford: POωi Clarendon, 1 9 4 8 )3 5 8 . 1 8 . Manyc r i t i c sp o i n to u tt h a tt h ed i a l o g u ebetweenGawainandt h eGreen Kn i g h th e r et a k e st h eformo fas o r to fp e n a n c e ;Gawainp l a y st h ep a r to fa p e n i t e n tandt h eGreenl むl i g h t, o fac o n f e s s o r .See, f o rexample, Burrow1 0 6 ; From“ t ef o r m e "t o“ t e今n i s m e n t " 42 MaryFlowersBraswell, TheMedievalS i n n e r : ・Ch α r αc t e r i zαt i o nαnd e s( L o n d o n :As s o c i a t e d C o n f e s s i o ni nt h eL i t e r a t u r eo ft h eE n g l i s hMiddleAg UP, 1 9 8 3 )9 8 9 9 . J .J .Moganp o i n t so u tt h a ti nt h eMi d d l eAgest h eimage 1 9 .I no t h e rr e s p e c t s, 。 fm u t a b i l i t yo fp l a n t sl i k eg r a s so rf 1 0wersc o r r e l a t e st ot h a to fhumanl i f e . JosephJ .Mogan, J r ., Ch αu c e randt h eThemeo fMut αb i l i t y(TheHague: See, , 1 9 6 9 )3 2 ・ 3 3 . Mouton, eA u t h o r i z e dV e r s i o n . 2 0 . Theb i b l i c a lq u o t a t i o ni sfrom仕l .F orexample, t h etwomaine p i s o d e si nSGG , K' ' t heBeheadingGa me"and 21 “ Temptation, "a l s ohavet h e i rs o u r c e sanda n a l o g u e s .See, E l i s a b e t hBrewer , S i rGawainandt h eGreenKn i g h t :S o u r c e sαndAn αl o g u e s ,2nde d .( S u f f o l k : 1 9 9 2 ) . Brewer,
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