Sir Gawain and the Green Knight; Pearl; [and] Sir Orfeo

Texts are fragile and all too easily lost to oblivion. Horrific acts that forever erase cultural memory can often result from unforeseen and uncontrollable natural acts, such as fires. Fires eat ideas. A catastrophic fire in a historical library has culture for lunch. Such random conflagrations could even out-censor Big Brother. Luckily, humanity still possesses "Sir Gawain and the Green Night" because a 1731 fire did not engulf a manuscript known as "Cotton Nero A.x." Dating to the time of Chaucer, this lump of illuminated parchment contains 4 anonymous Middle English poems, "Sir Gawain" among them. Just who wrote them, why, and even where remain bubbling controversies amongst historians and literary theorists. Scholars do know that transforming these alliterative verses into comprehensible modern English presents a Knightly challenge. No formaldehyde exists to preserve 600 year old literary techniques. The lexicon, syntax, and form of English has simply changed too much. One look at the original "Gawain" manuscript will make this all too evident. Though no modern rendering can adequately convey the rhythmic feel of the original, "Sir Gawain's" story, symbolism, and emotional impact do come out of the wash sparkling clean. This 2006 translation by Bernard O'Donoghue admirably preserves these aspects of this classic tale.

This edition breaks the story down into four sections. As the first section unfolds, a party attitude overtakes Camelot. It's the Yuletide and eating, drinking, and some bed play, abound. But the general merriment gets disrupted by a giant green knight bearing an enormous ax and a Holly sprig. He challenges the group of brave knights to an exchange of blows. King Arthur accepts the challenge, but Gawain intervenes. Here's the deal: the green knight would like Gawain to take a swing at him with the ax. In exchange, following a year and a day, Gawain will seek the "Green Chapel" and receive a similar weaponry blow. Gawain lops off the giant knight's head, but the monstrosity picks it up and rides off on his horse while reminding Gawain of his promise. End of section one. The second section involves Gawain's travels almost a year later (and also describes his accoutrement in a lavish "medieval lifestyles of the rich and famous" fashion; this includes the famous "pentangle shield"). While searching for the "Green Chapel," he stumbles along, with the Virgin Mary's help, a far off castle. Here he's summarily treated like a celebrity. No holds barred. Gawain is the man. Then the games begin. End of section two. In section three the seduction begins. As the lord of the unnamed castle goes hunting, his wife tries to get all jiggy with Gawain (who has implicitly taken a vow of chastity). All he accepts are kisses, even when she exposes herself. As part of the game, he gives these back to her husband (one wonders how he would have "given back" a full tryst). This lusty temptation leads to weakness, however, as Gawain accepts her garter as a love-token and as protection from harm (so she claims). No other nookie happens. In the final section Gawain confronts the green knight as promised. It doesn't go well, but, not to give anything away, it doesn't go as bad as it could have. Many surprises await, including a Biblically inspired misogynist diatribe. In the end, Gawain is not perfect. But he's probably as close to perfect as a semi-realist literary character can get.

The story itself, here presented in its original poetic verse form, belongs squarely in the medieval romance genre. The tale resonates an ethos from a time when the world "made sense." Christian ethics, metaphysics, and theology undergird the quest, making it a true product of its more "certain" times. One of the poem's possible themes or messages, bajillions have been suggested, is that we humans rarely rise to the level of sainthood, but who can blame us? Sure we can try, but human nature will likely bar our righteous path. The green knight himself tells Sir Gawain: "...you fell short a bit and failed... because you like being alive. I don't blame you for that!" Even glorified, elevated, chivalric Gawain has faults. The occasional second person asides (in certain "bobs and wheels") emphasize the didactic and introspective dimensions of a tale that likely has an oral history. Here the reader/listener receives personal attention. But most readers will revel in the historicity of the tale itself. The mysteries surrounding its composition also makes for an intriguing read. One can scour the text for symbolism and write a dissertation on its complex literary forms, or simply read it as an adventure tale. Either way it delivers. Since this piece of cultural history wasn't eaten in an inferno, we're free to digest it for our own purposes. Get green.

The Penguin Classics edition of SIR GAWAIN AND THE GREEN KNIGHT, edited by J.A. Burrow, is fantastic for motivated readers who wish to approach the text as it really is, and delve deep into its symbolism and historical references. Burrow's edition is not a translation into modern English, but a presentation of the original Middle English with enough notes and and a glossary so copious that the reasonably well-educated reader will be able to tackle and even really enjoy this important work.
While it was written at the same time as Chaucer's CANTERBURY TALES, which is difficult but of which the modern reader can usually get the gist, SIR GAWAIN is written in a dialect of rural England which seems more impenetrable nowadays. Under this archaic facade, however, lies a magical tale ostensibly of Arthurian myth, but which is really an adaptation of an older, indigenous legend. The framing of the tale attempts to claim a noble heritage for England from Troy like the Roman poet Vergil had done for Rome with his AENEID.
I was a bit disappointed by the lack of a decent introduction. Barrow provides only a brief explanation of how the text was typeset and minor alterations in spelling, but I would have preferred coverage of the history of the story, the role of Arthurian myth in the popular literature of the writer's region, and a brief mention of the other contents of the manuscript on which the work was found.
If you are a student of English literature, or simply a lover of archaic English texts, the Penguin edition of SIR GAWAIN AND THE GREEN KNIGHT is a great choice.

Between Tolkien's legendarium and scholarship fall his translations, which are by far the most regularly metrical translations in English. "Sir Gawain" includes 101 laisses or verse paragraphs of varying length, head-rhymed on the head-stave, each with an end-rhymed bob-and-wheel refrain; "Pearl" includes 101 12-line stanzas with regular (alternating) end-rhymes in addition to the head-rhymes, plus stanza-linking rhymes. Not even Professor Lehmann's Beowulf includes 101 bob-&-wheel refrains.
Tolkien's international reputation as a scholar began with his revival of "Sir Gawain" in the early `20s, and he developed these translations over the course of some 50 years. Scholarly consensus has held that "Sir Gawain" and "Pearl," the masterworks of the 14th-century Middle English alliterative-stave revival (standing in relation to Chaucer as Marlowe to Shakespeare), were composed by a West Midlands author whose name has not survived, the authentically bereaved father of the "Pearl" herself. Tolkien's "Gawain" lecture (published in The Monsters and the Critics) enlarges very helpfully on the early-`50s radio preface included in this volume.
"Sir Orfeo" is a mere frippery by comparison, in stichic ballad couplets, but probably originated as a single-author work as well. Admittedly there are more authoritative sources on the Classical myth of Orpheus and Eurydice than "Sir Orfeo," but that's part of the point: the Classical elements in these translations are real-life analogues of elvish/dwarvish influence in hobbit poetry.
Another translation of "Sir Gawain" had been added to the Oxford Anthology of English Literature by the time Tolkien's became the first posthumous edition released by his youngest son, and Tolkien's will probably replace the current translation at some point during the 21st century. Tolkien has been taken to task for failing to complete a proof that "Sir Gawain" is a single-author work (which he might conceivably have done, considering his 1934 achievement with Chaucer's "Reeve"), but his translation answers eminence with eloquence even so.
These works reflect a vibrant tradition of storytelling and minstrelsy, and the best way to read them would be to read each canto/stanza/couplet twice, once silently and once aloud; to which approach the prose paragraphs would recommend themselves as well. Tolkien's translations are associable with his other scholarly hobbies, including calligraphy, drawings and theatrical performances as well as prose fiction. Admirers of the verses in The Lord of the Rings will most likely find these translations well worth the substantially larger effort.

Since I suspect they will have similar audiences, I feel I should state right off the bat that W. S. Merwin's translation of "Sir Gawain and the Green Knight" is not quite at the level of Seamus Heaney's "Beowulf". Heaney created an absolute masterpiece; the type of translation that comes along only once every few generations, and which completely redefines the view of the subject matter. The difference between the two translations lies in Heaney's ability to capture the meter and rhyme of "Beowulf" without being slavish to the original structure. Merwin has followed a similar approach in his translation, and while the language is beautiful, I didn't sense the same ancient vibrancy I got from Heaney's work.
That said, this book is more than worthy of the five-star rating that I gave it. Merwin's use of language is absolutely superb, and the resulting translation is a remarkable tapestry of images. In particular, he deftly captures the underlying tension and eroticism that forms such a key element of the story. Gawain's struggle to remain true to his code is rendered perfectly, and sets a mood of self-doubt that perfectly offsets his outward frivolity.
Since I have already mentioned "Beowulf" I might add for those unfamiliar with "Sir Gawain and the Green Knight" that it is much more subtle than the former. While "Beowulf" is undeniably open to interpretation (indeed there is a wealth of fascinating scholarship surrounding it), its basic elements are much more straightforward. At its heart, as Tolkien espoused so brilliantly, "Beowulf" is a story about monsters, and what they mean in our world. On the other hand, "Sir Gawain and the Green Knight" is more interested in exploring the ideals of chivalry and courtly love. While there is a fair bit of gore, it strikes me as being more of the hook to keep the reader engaged, rather than the core element of the story. Finally, in it's conclusion, "Sir Gawain and the Green Knight" is far more vague than Beowulf.
Merwin has produced as a translation of the highest quality. While perhaps less "poetic" than some of its predecessors, it is written in a language that captures the full beauty and vibrancy of this remarkable poem. While a mere 84 pages in length (not including the opposing pages in Old English) this is a tale rich in metaphor that is a delight to read, and that will leave you pondering its meaning.

J.R.R. Tolkien is best known as a fantasy writer. But his lesser-known profession was that of an professor and linguist, working at Oxford for over three decade. These three translated poems are excellent examples of his non-Middle-Earth work.
"Sir Gawain and the Green Knight" is a relatively little-known Arthurian legend, in which the knight Sir Gawain must forfeit his life to a knight who allowed Gawain to behead him -- then picked up his head and rode out. "Pearl" is a beautifully written, though somewhat more difficult to read, poem that chronicles the death of a child (possibly allegorical). "Sir Orfeo" is a version of the classic myth of Orpheus and Eurydice.
Tolkien's method for these works is unusually readable -- most translators sacrifice either readability or meaning; as far as I can tell, Tolkien sacrificed neither. "Sir Gawain" is probably the easiest translation I have come across; "Pearl" is haunting, laced with religious references, and very beautifully written; "Orfeo" is not so substantial as the first two, but still entertaining. It's a bit like a medieval ballad.
This book is not so much for fans of Middle-Earth, as for fans of all Tolkien's works. Beautifully written, highly recommended.

This book gets five stars because it contains "Sir Gawain and the Green Knight" - not because Tolkien translated it (although that probably helps)
"Sir Gawain and the Green Knight" is one of the masterpieces of the English language, one of those books we are asked to read in school over and over again (I personally read in in 12th grade AP English, my freshman year Arthurian legends class and Introduction to British Lit. my sophomore year). At first it is hard to read and you wonder why it is a legend.
Then I read it out loud, the words sounded better than they read. I also began looking into the mythology behind the story (why Troy is important in the first lines for instance). In the end, I have come to love this poem. To be honest, although I like this edition quite a bit, I haven't gotten around to reading the other two poems. I mean to though, any time now.

I know that the Marie Borroff translation is much praised, but this one is far better for the undergraduate classroom. While both translations share some characteristics (both are in poetry, both try to maintain the alliteration), you need only compare/contrast the "bob and wheel" (last 5 lines of each stanza) to see that Stone has managed to maintain "the sting in the tail" so typical of the original Middle English version--wherein a significant or surprising part of the stanza often appears in the bob and wheel--start with Fitt I, stanzas 4 and 7. Stone also maintains the "alliterative signaling" oral tradition: when possible he tries to alliterate only key words (Boroff seems happy when she can alliterate anything in the line, regardless of its significance to theme or motif!). As a medievalist, I am truly sorry to see so many of my colleagues jumping on the Borroff bandwagon when this superior, alternative translation is so readily available.

I read this book for the second time in college and love it. Sir Gawain is representative of all of us if we will but admit it. He takes the green girdle or belt in hopes it will save his life. It is true that he is dishonest in doing so but feels noone will be harmed by his actions. He justifies his wrong but it is all for a good purpose - for the saving of his life. Honesty and truth are addressed. In the end, he chooses the wear the green belt as a reminder of his failures and to keep him humble for the rest of his life. Little book with a lot of truth.

Tolkien is a Legend, that thousands of authors have striven to be compared with--yet, none have accomplished the task of out-doing his work. Tolkien is the master and creator of the genre...and the way interest in education is dropping, his position appears to be permanent and unchallengeable. However, many people do not know about this book of translations, by Prof. Tolkien. You can refer to my reviews of the Hobbit and The Trilogy, for more info about his teaching positions and language skills. My copy of this book is yellow, with age, but the book is still as beautiful inside, as it is on the outside. If you love Poetry, or stories of Knights, Romance and Chivalry...or Holy Quests...you'll love this book. If your Tolkien fan does not have this one on the shelf, their collection is incomplete.

The world of Arthurian Knights is long lost to us. They are lost to us as commonly read literature, and more importantly, lost to us as inspirational reads. While I was a child in the recent, but last generation, Arthurian legends still had gravitas. Whether in the form of the Once and Future King, or the more arcane Parsifal, these stories were read or read to me as moral allegories. Perhaps in this politically correct universe, they seem an anachronism.

First of all, these stories are simply fun to read. They can be read as adventure stories.

Second of all, Western morals have not changed very much since 800 AD, The same romantic intrigues and aspirations to higher standards pervade us as much now as then,

Third, the themes described in these books manifest themselves in most modern fiction.

This current edition of Sir Gawain and The Green Knight is superbly translated. It IS a fun read. The author has a feel for modern English. You do not need to have a degree in Medieval Lit to follow the story (although some background in such would not hurt anyone).

And, finally, this is a great mystery/thriller. There are twists and turns that would make Josephine Tey proud.

I am a newbie to the Knights of the Round Table. I picked this book on a whim. When I learned that this tale is a parody of the Arthurian legends, I wasn't sure if I would be able to enjoy it. Burton Raffel's introduction proved me wrong. He explained the poem with historical and literary insights. He is very vocal about the other literary critics' interpretations. At the end of the introduction, Raffel gives a short list of Sir Gawain study guides, complete with Raffel's opinion of each. (His opinions will save a lot of time and money to Sir Gawain researchers.)

And, thanks to Raffel, I was able to enjoy this story. Keeping in mind that the Knights were parodied, I appreciated their idiosyncracies even more. Raffel cautions the reader not to overanalyze, and so I did not. (I enjoyed the book for what it is- a parody, rather than some such commentary on medieval life!) I was giggling over the interactions between Gawain and the lady- a medieval Sex and the City dialogue! There are two surprise twists at the end. The first, Gawain and the Green Knight. Second, Arthur and his court's response to Gawain's confession.

This is a poem about Christian human nature. Yes, Gawain is a Christian (of the Catholic tradition, but this poem is pre-Reformation, so...). Gawain attends mass, makes ejaculations, asks saints for intercession, and constantly blesses everyone. He has a fear of hell. He makes penance. Yet, Gawain is human- he is not perfect. He makes mistakes- we all do. He confesses, hopes to start again without committing the same sins. This represents so many of us living in 2009. Timeless poetry.

What was also beautiful, especially for this post-Vatican II Catholic, was the references to Christian holidays, saints, and God's power. Michaelmas is mentioned, as is Saint Julian (patron of travelers). The poet's Marianism is expressed through Gawain and others' dialogues. I also liked the use of the four seasons and liturgical calendar.

"But a year runs fast, and always runs different;
Start and finish are never the same.
So Christmas goes by, and all the swift year,
Each season racing after the other:
Christmas pursued by uncomfortable Lent,
Trying men's felsh flesh with simple food
And with fish; then fair weather fights with foul,
Clouds fill the sky, the cold shrinks away,
Rain falls clear in warm showers,
And flat earth opens into flower
And fields and plains grow thick and green,
Birds start their nests and sing like angels
For love of soft summer, creeping across
The slopes;
And hedgegrows swell tall,
And blossoms blow open,
And glorious woods are all
Echoing joy and hope.

And after symmer's soft winds, Zephyrus
Whistles quietly with seeds and herbs,
Sprouting delightful plants, painted
Wet with dew falling from leaves,
Wating to be warm in the bright sun.
Then autumn comes rushing, calling the plants
To watch for winter, to grow while they can;
And he dries the earth and drives dust
Swirling to the sky, and wild winds
Run to wrestle with the sun; leaves
Are thrown from trees and lie dead on the ground,
And green grass withers. And everything
Slender and new ripens and rots,
And a year runs away in passing days,
And winter winds back, as winter must,
Just so.
Till Michaelmas moon
Promises snow-
And Gawain soon
Recalls what he has to do.

This 14th Century poem is one of the earliest known works in English. Its provenance is a mystery because literally nothing is known of the poet. It is written in a unique dialect of Middle English and is pretty much unread in the original. This verse translation by Burton Raffel is terrific and does much to elevate the work to the level of Beowulf & Chaucer.
At Christmas time, a Green Knight enters Camelot and challenges any Knight of the Roundtable to smite him with one blow of a battle axe. The only catch is that one year hence the smiter must receive a similar blow from the Green Knight. Sir Gawain volunteers for this strange duty. He beheads the Green Knight who thereupon picks up his laughing head and reminds Gawain of his obligation & tells him to find him in exactly one year to receive the blow.
The enchanting adventure leading up to and inculding their subsequent confrontation is beautifully rendered by Raffel. The poem is exciting, humorous & deals with great themes: courage, honor, etc.
GRADE: A+

James Winny's book provides the Middle English text on one side and its modern equivalent on the other side,
with each line matching up so it is easy to go back and forth. The notes at the end are minimal, so I'd suggest
getting the Norman Davis's second edition which has extensive and even exhaustive notes, however only
with the Middle English text. The Davis notes are marked by line numbers, so it is easy to use with Winny's book,.

The copy of this book here presented is an under-priced gem of Verse-Poetry;
Tolkien's Translation of 'Sir Gawain' is nigh flawless, as can easily be seen by reading one page.
'Pearl' is also flawless, the rhyme scheme and alliterative embellishments together.
'Sir Orfeo' is a treasure of a fairy-tale poem; in rhyming octosyllabic couplets, I could read this poem 100 times over and not tire of it.

Besides reading the originals in their Middle English form, I could not imagine reading another's translation of this set of Poems, unless it be mine own.

True poetical genious!!!

. . .of the Master's academic abilities.
JRR Tolkien is best known (and rightfully so) for "The Hobbit", "The Lord of the Rings" and "The Silmarillion". Nevertheless, it must be remembered that he was a career academic, holding professorships in the English Language at Oxford for more than 30 years.
This book, a modern translation of three ancient stories, represents the most accessible of Tolkien's academic works. It also represents the best 20th century critical translation of these important medieval manuscripts.
I highly recommend this book for fans of Tolkien's writings as an introduction to the exciting world of medieval English literature.

Before he was known as the writer of the Hobbit and the Lord of the Rings, JRR Tolkien was an acclaimed translator, a deeply scholarly philologist, and a professor of the same at Oxford University. His love for language and his proficiency with Old English dialects is nowhere more evident than in these translations. The beautiful prose and poetry that flows easily from the lips will intrigue and delight even the lay reader. The accuracy and brilliance with which Tolkien sets down these words will make a fan out of any scholar. All told, these aren't of the same stock as Tolkien's fantasy novels, but they are a great find for scholars, Tolkien fans, and anyone else for that matter.

Important to note: I purchased the Audiobook format of this (via Audible), and while the lecture at the beginning is great, I didn't have time for it -- at least not right then. I needed to listen to the audio version of this tale because my schedule had heightened and I didn't have time to sit down and read the written version of it for my class. My complaint is like others I've seen, which is that the Audible version does not mark the sections (FITT) correctly. I also wish there had been a marker or chapter for when the beginning introduction ended, rather than having to go in and hunt it down for myself, because I didn't have time to let 22 minutes of that thing run before I could finally get to the story. Like I said, the intro is great and incredibly interesting, but there should have been an easier way to get to the story. (FYI, the beginning of the story is at 22:23).

I've always been fascinated with the old Arthurian legends, so this tale appealed to me greatly. Sir Gawain was everything a knight should be considering the fact that he's not perfect due to the fact that he's human. The animals depicted in the hunting scenes directly tie in with the storyline with Sir Gawain and the lady of the castle. The deer represented that Sir Gawain tried to flee away from having to deal with the lady of the castle. The wild boar represented difficulty since it was stated that the boar in the hunt had killed a man. Finally, the fox represented the fact that Sir Gawain was planning to be sly and conceal the fact that the lady of the castle had given him her girdle. The fact that he would lie to the lord of the castle, shows that he is truly human and that he would like to keep his own head when he has to go meet back up with the Green Knight the following day. The hunt over three days represents a series of three tests which later comes to aid or hinder Sir Gawain in his quest to keep his oath as a knight and follow through with the guidelines of "the beheading game". The girdle at the end that all the knights in King Arthur's court take to wearing symbolizes that they are human and that they are not perfect and that humility should be observed.

The story of Sir Gawain and the Green Knight is perhaps the most authentically English of all the King Arthur tales. Most of the Arthurian mythos was largely a largely French creation, when the Norman conquerors discovered a few old Celtic legends about Arthur and wove them into a dynamic myth of chivalric idealism. The story of Sir Gawain is regarded by most scholars as a much purer version of those Celtic stories, as well as a much more nuanced synthesis of Celtic cultural heritage with Christian ideals. J.R.R. Tolkien was fond of citing it as one of his very favorite stories and deepest influences.

Raffel's translation is sure to endear itself to any fan of fantasy, medieval literature, or the King Arthur stories. It flows with the simple beauty of a dream, and the purity of heart of Gawain himself. Do yourself a favor and spend an hour or two reading this.

"Sir Gawaine and the Green Knight" is a great and holy work of literature and I return to it on an annual basis to breathe the air of its strong magic and to observe with awe its rutheless moral rigor. What a profound joy it is to foresake the barren land of contemporary hack literature and enter once more into a world where the colors are brighter, the language is grander, and the characters stride across the mysterious landscape like gods or faery-figures lit from within by a mystic sun. The great J.R.R. Tolkien did us all a supreme kindness when he advocated for the deep spiritual and aesthetic significance of "Beowulf" (for whom his own writings bear covert relations) and he doubled it when he translated this masterpiece of the enchanted but decidedly anonymous soul who wrote it.

Five stars are a poor return for such pleasure and wisdom offered.

"Sir Gawain" is one of a number of stories that have come down to us from the Medieval period that one cannot help feeling has a wealth of hidden meaning behind it. The figure of the "Green Man" is a common although wispy character in western mythology, and his face often stares out at us from cathedral walls in Europe. The figure of Khidr in Islamic folklore, supposedly the prophet Enoch and whose very name means "green" in Arabic, makes one wish to find a Middle Eastern connection with this story, as there are in so much Medieval literature, such as Dante and Chaucer.
The story is obviously related to the ancient myths of death and regeneration in Celtic thought as well, and fits in well with the rest of the Arthurian legends. All in all, a bit of an enigma as regards its source, and worth being aware of if you're in to that kind of thing.

Pretty cool, I must say not as awesome the other poetry, but that's not due to Tolkien's translating skills. My favourite had to be Sir Orfeo and Pearl. If you love Middle Ages style and Tolkien then this is a book for you

While I'm not able to comment on other translations with any expertise, I found this translation to be excellent. The story still carries all the power with some moving verse (not too mention, of course, the plot line). This will be a translation I return to again and again as the beauty of the language makes this worth lingering over.

I ordered this book as a gift for my father, so I have only skimmed through it. I purchased it based on reviews others had given it. I chose it because on the right side of the book reads the original text and the left side contains the translation. I wanted him to be able to have both versions in one book and this book has both. I received it two days after ordering it and the price was unbeatable. I'm very satisfied and would order from this person again.

I was required to read this book in college ... and I loved it. A tale of courage, the knights code of moral and adventure, this book is not only an adventure story but a depiction of the human condition. Selfishness and fear can ruin our moral constitutions. The knight was a tower strength and courage yet the book brought to focus his fears and his selfishness.
I'm sure there are deeper levels of analysis for this book - good books often do.
- johnny -

I had to read Sir Gawain and the Green Knight for a 10th grade British Literature Class and I actually enjoyed reading it. This story brought you through the trials Sir Gawain had to endure in his quest. Without knowing it, he was being tested of his chivalry by the Green Knight. He proved to be human and to have weaknesses. He was dishonest and put his own well-being before following the rules of a deal he made with a Lord. He also proved to be cowardly in front of the Green Knight. After i read this book i had to write an open response essay on the weaknesses and then compare them to my own weaknesses and it was intersesting to see the final results. I recommend this story to anyone and everyone!

For anyone who cares about the subject and yet is too lazy to read the original it is always a joy to read Tolkien, a master of English. The story is not fantasy, which many mistakenly look for in Tolkien, but a classic of middle English literature. If you get hooked on this genre there are many other stories, both long and short, available, and the original language is not so different from our own.

I love this book! I just read it and it has so much symmetry and meaning related to the star which is Gawain's symbol on his shield. Came in fast, great and good book. I recommend it.

When you read the book, the left hand side is Middle English and the right hand side is the translation which makes it much more interesting!

An excellent edition of the text with facing-page Middle English and modern English translation that replicates the sound and cadences of the original--ideal for use in undergraduate courses on medieval English literature. Broadview is one of the best publishers of medieval and early modern literature textbooks.

Gawain is the Tolekin translation of one of many versions of the story. The story is exciting but ultimately disappointing because of the incongruence of the ending with the opening. The opening indicates that King Arthur is all too aware of the false beheading trick being played in his court as he primes the action for the hapless Gawain. The ending indicates the Green Man alone instigated the trick with Morgan le Fay. The point missed by Tolkein (jnr) in the Introduction is that the brocade is the sole tangible due to the green man in the exchange of acquisitions, so a real dishonour. Anyway Camelot' s self advertised mythology is well and truly pricked.
Pearl, on the other hand is a true medaeval pagan gem, arguing that religion is the exploitation of bereavement. Religion claims the deceased for heaven; it offers reunion to the survivor conditional on temporal faith. If the departed is beloved of a survivor then that cat runs headlong into the priest' s bag with little prompting. The poet becomes so seduced by the vision of the New Jerusalem he comes to see his former reason as madness and so went the world.
The strength of Christian theology surely developed from these kinds of rational resistence. Ultimetely reason conquered and theology relapsed to a dogmatic statement of faith in the shape of pearl (Aquinas). A great and thoroughly authentic work of transitional pagan genius saved by Tolkein.

Had to read this for school. It is s***ty but if you are really into the whole knight in shinning glory thing then maybe this is for you. Characters have no dimension and plot is painfully predictable.

For my full review, check out my blog at [...]

Overall, I like the story of Sir Gawain and the Green Knight. It's set against the misty backdrop of Arthurian legend, contains all the key elements of a medieval adventure: a quest, an invincible and ambiguous foe, an admirable hero. Then there is the concept of a "beheading game." There is a castle in the middle of the forest. There's a temptress married to the lord of the castle.

Yet, despite these elements, the story seemed to drag on much longer than it needed to. While the author of the peome elected not to bog the reader down with unnecessary side quests, the main quest took too long to complete. It took me much longer to finish than it should have because it just didn't keep my attention for very long.

That being said, it wasn't a bad story, it just wasn't great. If you enjoy medieval literature, then give it a go. It's worth it. But if you have just begun to venture into the fringes of medieval literature, start out with something else such as Beowulf or Njal's Saga.

In this Middle English tale, Sir Gawain is a noble who is approached one day by a green knight. He is offered a challenge: The green knight would take a blow to the neck from Gawain, and exactly one year later, the green knight would give Gawain a blow to the neck. Gawain accepts. He chops the Green knight's head off. The green knight picks up his head, and tells gawain to kepp his promise. The story goes on to tell of the epic journey Gawain faces while on his journey to keep the pact. It is well written, but over descriptive. I would recommend this book to anyone with too much time. otherwise, a good story.

Slightly more interesting piece of output, due to the theme being the
old Green Knight story. That tale is usually quite entertaining, and is
in this version, as well. The other piece is eminently forgettable,
however. I suppose you would say that it is for Tolkien completists
only.