Sir Gawain and the Green Knight, page 21
this speech the king to him then made:
‘Minstrel, thy music pleaseth me.
450Come, ask of me whate’er it be,
and rich reward I will thee pay.
Come, speak, and prove now what I say!’
‘Good sir,’ he said, ‘I beg of thee
that this thing thou wouldst give to me,
that very lady fair to see
who sleeps beneath the grafted tree.’
‘Nay,’ said the king, ‘that would not do!
A sorry pair ye’d make, ye two;
for thou art black, and rough, and lean,
460and she is faultless, fair and clean.
A monstrous thing then would it be
to see her in thy company.’
‘O sir,’ he said, ‘O gracious king,
but it would be a fouler thing
from mouth of thine to hear a lie.
Thy vow, sir, thou canst not deny,
Whate’er I asked, that should I gain,
and thou must needs thy word maintain.’
The king then said: ‘Since that is so,
470now take her hand in thine, and go;
I wish thee joy of her, my friend!’
He thanked him well, on knees did bend;
his wife he took then by the hand,
and departed swiftly from that land,
and from that country went in haste;
the way he came he now retraced.
Long was the road. The journey passed;
to Winchester he came at last,
his own beloved city free;
480but no man knew that it was he.
Beyond the town’s end yet to fare,
lest men them knew, he did not dare;
but in a beggar’s narrow cot
a lowly lodging there he got
both for himself and for his wife,
as a minstrel poor of wandering life.
He asked for tidings in the land,
and who that kingdom held in hand;
the beggar poor him answered well
490and told all things that there befell:
how fairies stole their queen away
ten years before, in time of May;
and how in exile went their king
in unknown countries wandering,
while still the steward rule did hold;
and many things beside he told.
Next day, when hour of noon was near,
he bade his wife await him here;
the beggar’s rags he on him flung,
500his harp upon his back he hung,
and went into the city’s ways
for men to look and on him gaze.
Him earl and lord and baron bold,
lady and burgess, did behold.
‘O look! O what a man!’ they said,
‘How long the hair hangs from his head!
His beard is dangling to his knee!
He is gnarled and knotted like a tree!’
Then as he walked along the street
510He chanced his steward there to meet,
and after him aloud cried he:
‘Mercy, sir steward, have on me!
A harper I am from Heathenesse;
to thee I turn in my distress.’
The steward said: ‘Come with me, come!
Of what I have thou shalt have some.
All harpers good I welcome make
For my dear lord Sir Orfeo’s sake.’
The steward in castle sat at meat,
520and many a lord there had his seat;
trumpeters, tabourers there played
harpers and fiddlers music made.
Many a melody made they all,
but Orfeo silent sat in hall
and listened. And when they all were still
he took his harp and tuned it shrill.
Then notes he harped more glad and clear
than ever a man hath heard with ear;
his music delighted all those men.
530 The steward looked and looked again;
the harp in hand at once he knew.
‘Minstrel,’ he said, ‘come, tell me true,
whence came this harp to thee, and how?
I pray thee, tell me plainly now.’
‘My lord,’ said he, ‘in lands unknown
I walked a wilderness alone,
and there I found in dale forlorn
a man by lions to pieces torn,
by wolves devoured with teeth so sharp;
540by him I found this very harp,
and that is full ten years ago.’
‘Ah!’ said the steward, ‘news of woe!
’Twas Orfeo, my master true.
Alas! poor wretch, what shall I do,
who must so dear a master mourn?
A! woe is me that I was born,
for him so hard a fate designed,
a death so vile that he should find!’
Then on the ground he fell in swoon;
550his barons stooping raised him soon
and bade him think how all must end –
for death of man no man can mend.
King Orfeo now had proved and knew
his steward was both loyal and true,
and loved him as he duly should.
‘Lo!’ then he cried, and up he stood,
‘Steward, now to my words give ear!
If thy king, Orfeo, were here,
and had in wilderness full long
560suffered great hardship sore and strong,
had won his queen by his own hand
out of the deeps of fairy land,
and led at last his lady dear
right hither to the town’s end near,
and lodged her in a beggar’s cot;
if I were he, whom ye knew not,
thus come among you, poor and ill,
in secret to prove thy faith and will,
if then I thee had found so true,
570thy loyalty never shouldst thou rue:
nay, certainly, tide what betide,
thou shouldst be king when Orfeo died.
Hadst thou rejoiced to hear my fate,
I would have thrust thee from the gate.’
Then clearly knew they in the hall
that Orfeo stood before them all.
The steward understood at last;
in his haste the table down he cast
and flung himself before his feet,
580and each lord likewise left his seat,
and this one cry they all let ring:
‘Ye are our lord, sir, and our king!’
To know he lived so glad they were.
To his chamber soon they brought him there;
they bathed him and they shaved his beard,
and robed him, till royal he appeared;
and brought them in procession long
the queen to town with merry song,
with many a sound of minstrelsy.
590A Lord! how great the melody!
For joy the tears were falling fast
of those who saw them safe at last.
Now was King Orfeo crowned anew,
and Heurodis his lady too;
and long they lived, till they were dead,
and king was the steward in their stead.
Harpers in Britain in aftertime
these marvels heard, and in their rhyme
a lay they made of fair delight,
600and after the king it named aright,
‘Orfeo’ called it, as was meet:
good is the lay, the music sweet.
Thus came Sir Orfeo out of care.
God grant that well we all may fare!
GLOSSARY
This glossary provides no more than the meanings of some archaic and technical words used in the translations, and only the meanings that the translator intended in those contexts (which in a very few cases may be doubtful). In the stanzas describing the breaking-up of the deer he employed some of the technical terms of the original which are debatable in meaning, and in such cases (e.g. Arber, Knot, Numbles) I have given what I believe was his final interpretation. References to Sir Gawain (G) and Pearl (P) are by stanza, and to Sir Orfeo (O) by line.
Arber Paunch, first stomach of ruminants, G 53.
Assay The testing of the fat of a deer, and the proper point at which to make the test, G 53.
Assoiled Absolved, G 75.
Baldric A belt passing over one shoulder and under the other, supporting a sword or a horn, G 100, 101; a strap to suspend the shield, G 27.
Barbican A strong outer defence of a castle, over a bridge or gate, connected with the main work, G 34.
Barrow Mound, G 87.
Beaver Moveable front part of a helmet, protecting the face, G 26.
Blazon Shield, G 27, 35.
Blear Dim, P 7.
Brawn Flesh, G 64, 65.
Buffet Blow, G 94.
Caitiff Boor, one of base mind and conduct, G 71.
Capadoce This word is taken from the original; it apparently meant a short cape, that could be buttoned or clasped round the throat, G 9, 25.
Caparison Ornamented cloth covering of a horse, G 26.
Carl Man, G 84.
Carols Dances accompanied by song, G 3; cf. carol dances, G 66, 75, and they carolled, G 42.
Childermas The feast of the Holy Innocents, on the 28th of December, G 42.
Chine Backbone, G 54.
Churl Common man, G 84.
Cincture Girdle, G 98.
Cithern Stringed instrument, P 8.
Coat-armour Surcoat worn over the armour, embroidered with distinctive heraldic devices, G 25, 81.
Cognisance literally ‘recognition’, i.e. a personal badge by which the wearer could be known (referring to the Pentangle), G 81.
Coif Head-dress, G 69.
Corses Bodies, P 72.
Crenelles Battlements, G 34 (strictly, the indentations in the battlements, alternating with the raised parts, the ‘merlons’).
Crupper Leather strap passing round a horse’s hind-quarters and fastened to the saddle to prevent it from slipping forward, G 8, 26.
Cuisses Armour for the thighs, G 25.
Demeaned her Behaved, G 51.
Dolour Sorrow, P 28.
Doted Gone out of their wits, G 78.
Ellwand Measuring-rod an ell (45 inches) long, G 10.
Empery Absolute dominion, P 38.
Eslot Hollow above the breastbone at the base of the throat, G 53; = neck-slot, G 63.
Fain Glad, G 35.
Featly Neatly, G 34; deftly, skilfully, G 51.
Feigned Formed, fashioned, P 63.
Fells Skins, G 37, 69; fox-fell, G 77.
Finials Ornamental pinnacles on rooves or towers, G 34.
Flower-de-luce iris (in the translation specifically a white iris), P 17, 63.
Fore-numbles The original has ‘avanters’, part of the numbles of a deer, see Numbles; G 53.
Frore Very cold, frosty, P 90.
Gittern Stringed instrument, P 8.
Glair White of egg, P 86.
Glamoury Enchantment (enchanted being), G 99.
Gledes Live coals, G 64.
Gramercy Thank you, G 35, 42, 85.
Greaves Armour for the legs, G 25.
Greet Weep, O 104.
Grue Shuddering horror, G 95.
Guerdon Reward, recompense, G 72, 82; P 51, 52.
Guisarm Battle-axe, G 13, 15, 17, 91.
Gules Heraldic name for red, G 27, 28.
Halidom In the oath ‘So help me God and the Halidom’, ‘the Halidom’ referred to something of reverence or sanctity on which the oath was taken; G 85.
Handsels Gifts at New Year, G 4.
Hap Fortune, P 11.
Hastlets Edible entrails of a pig, G 64.
Heathenesse The heathen lands, O 513.
Hie Hasten, G 53.
Holt Wood, G 68,
Ingle Fire burning on the hearth, G 66.
Keep (probably) guard, protect, O 233.
Kerchiefs Head-coverings, G 39.
Kirtle A short coat or tunic reaching to the knees, G 73, P 17.
Knot Technical term applied to two pieces of fat in the neck and two in the flanks, G 53.
Latchet Loop, lace, fastening, G 26.
Lemman Lover, mistress, G 71.
Liever Rather, G 50, O 177.
Link-men Torch-carriers, G 79.
List Wished, G 61.
Loopholes Narrow slits in a castle-wall, G 34.
Ma fay! By my faith! G 59.
Marge Edge, G 87.
Margery-pearls pearls, P 17.
Margery-stones pearls, P 18.
Maugre In spite of; maugre his teeth, in spite of all he could do to resist, G 62.
Meed Reward, P 47.
Mellay Close hand-to-hand combat, G 63.
Molains Ornamented bosses on a horse’s bit, G 8.
Numbles Pieces of loin-meat, probably the tenderloin or fillet, G 53.
Oratory Chapel, G 88.
Palfrey Small saddle-horse (especially for the use of women), O 156.
Pauncer Armour protecting the abdomen, G 80.
Pease Pea, G 95.
Pisane Armour for upper breast and neck, G 10.
Pleasances Pleasure gardens, P 12.
Point-device To perfection, G 26.
Poitrel Breast-armour of a horse, G 8, 26.
Polains Pieces of armour for the knees, G 25.
Popinjays Parrots, G 26.
Port Bearing, G 39.
Prise literally capture, taking, G 64; notes blown on the horn at the taking or felling of the hunted beast, G 54.
Purfling Embroidered border, P 18.
Quadrate Square, P 87.
Quarry Heap of slain animals, G 53.
Quest Searching of hounds after game; cried for a quest, called for a search (by baying), G 57.
Rewel Some kind of ivory, P 18.
Rood Cross, P 54, 59, 68.
Ruth Remorse, G 100.
Sabatons Steel shoes, G 25.
Sendal A fine silken material, G 4.
Sheen Bright, P 4.
Slade Valley, P 12.
Surnape Napkin, or overcloth to protect tablecloth, G 37.
Tables Horizontal courses, the stepped tiers of the foundation, P 83.
Tabour Small drum, O 301.
Tabourers Players on the tabour, O 521.
Tenoned Closely joined, P 83.
Tines Pointed branches of a deer’s horn, G 34.
Tors High hills, P 73.
Tressure Jewelled net confining the hair, G 69.
Vair Variegated (grey and white) squirrel’s fur, O 241.
Weasand Oesophagus, gullet, G 53.
Weed Garment, G 95; weeds, P 64, O 146.
Welkin Heavens, sky, G 23, P 10.
Wight Being, G 84.
Wist Knew, G 61.
Worms Dragons, serpents, G 31.
Wrack Drifting cloud, G 68.
APPENDIX
The Verse-forms of
Sir Gawain and the Green Knight
and Pearl
I SIR GAWAIN
The word ‘alliterative’, as applied to the ancestral measure of England, is misleading; for it was not concerned with letters, with spelling, but with sounds, judged by the ear. The sounds that are important are those that begin words – more precisely, those that begin the stressed syllables of words. Alliteration, or ‘head-rhyme’, is the agreement of stressed syllables within the line in beginning with the same consonantal sound (sound, not letter), or in beginning not with a consonant but with a vowel. Any vowel alliterates with any other vowel: the alliterative pattern is satisfied if the words in question do not begin with a consonant.
‘Apt alliteration’s artful aid,’ said an eighteenth-century writer. But to a fourteenth-century poet in this mode three only of those four words alliterated. Not alliteration itself; for its first strong syllable is lit, and so it alliterates on the consonant l. Apt, artful, and aid alliterate; not because they begin with the same letter, a, but because they agree in beginning with no consonant; and that was alliteration enough. ‘Old English art’, where the words begin with three different letters, would be just as good.
But a line of this verse was not verse simply because it contained such alliterations; rum ram ruf, as Chaucer’s parson mocked it, is not a line. It also had some structure.
The poet begins his poem with a very regular line, of one of his favourite varieties:
Siþen þe sege and þe assaut watz sesed at
Troye When the siege and the assault had ceased at Troy
This kind of line falls into two parts: ‘When the siege and the assault’ and ‘had ceased at Troy.’ There is nearly always a breath-pause between them, corresponding to some degree of pause in the sense. But the line was welded into a metrical unit by alliteration; one or more (usually two) of the chief words in the first part were linked by alliteration with the first important word in the second part. Thus, in the line above, siege, assault; ceased. (As it is the stressed syllable that counts, assault runs on s, not on a vowel).
Each of these parts had to contain two syllables (often whole words, like siege) that were in their place sufficiently stressed to bear a ‘beat’. The other syllables should be lighter and quieter. But their number was not counted, nor in this medieval form was their placing strictly ordered. This freedom has one marked effect on rhythm: there might be no intervening light syllable between the stresses. It is of course an effect far easier to produce in English than to avoid, being normal in natural speech. Verse that uses it can accommodate easily many natural phrasings. The medieval poets used it especially in the second part of their lines; examples from the translation are
Tirius went to Tuscany and tówns fóunded (stanza 1)
Indeed of the Table Round all those tríed bréthren (stanza 3)
The alliteration may be at a minimum, affecting only one word in each part of the line. This is not frequent in the original (and in some places of its occurrence mistakes in the manuscript may be suspected); it is somewhat more so in the translation. Far more often, the alliteration is increased. Mere excess, when both of the stresses in the second part alliterate, is seldom found; two examples occur in consecutive lines in stanza 83:
þay boen bi bonkkez þer boes are bare,
þay clomben bi clyffez þer clengez þe colde
and are preserved in the translation. This is an excess, a rum-ram-ruf-ram, that soon cloys the ear.
Increased alliteration is usually connected with increase in weight and content of the line. In very many verses the first part of the line has three heavy syllables or beats (not necessarily, nor indeed usually, of equal force). It is convenient to look at this sort of rhythm in this way. Natural language does not always arrange itself into the simple patterns:
