Sir Gawain and the Green Knight

Although chivalry is often thought of as a unified code of conduct, the idea and practice of chivalry evolved throughout the Middle Ages, incorporating elements from different (and sometimes competing) value systems. The word itself comes from the French term for “horse” (“cheval”), and as an ethos, chivalry initially revolved around the virtues and duties of medieval Europe’s mounted warrior class: knights. In this sense, the notion of chivalry entailed bravery, honor, skill in combat, and loyalty to the lord to whom the knight had pledged service (typically in exchange for an allotment of land). As time went on, however, the definition expanded to include Christian virtues like piety, humility, and purity, as well as the concept of courtly love: a knight’s undying and ennobling devotion to an unattainable and often married woman.

All of these strands of chivalry are present in Sir Gawain and the Green Knight, but they are not equally weighted. For one, Lady Bertilak’s attempted seduction of Sir Gawain brings to the foreground the obvious contradictions between courtly love, allegiance to one’s lord (or host), and Christian chastity. Lady Bertilak frames Sir Gawain’s failure to woo her and his resistance to her advances as a breach of his obligations as a knight, but as he himself realizes, he can’t fulfill her demands without violating his code of conduct in other respects: “His courtesy concerned him, lest crass he appear [in refusing Lady Bertilak], / But more his soul’s mischief, should he commit sin / And belie his loyal oath to the lord of that house” (1773-1775). In this way, the poet subtly satirizes the courtly love tradition so characteristic of chivalry.

Sir Gawain critiques King Arthur’s court in a similar fashion, drawing attention to the emptiness of the chivalric code in this particular setting. According to the poet’s depiction, the court verges on decadent; it practices a highly stylized form of gallantry and civility that grows out of both the courtly love tradition and the feudal hierarchy, but which the poet implies is somewhat hollow at its core. The poet introduces the court at the height of Christmas revelry, details the opulence of the feast and decorations at length, and describes Arthur himself as “[t]alking before the high table of trifles fair” (108)—that is, conversing in a way that is aesthetically pleasing but lacking in substance. The fact that none of Arthur’s knights are initially willing to take up the Green Knight’s challenge further underscores the idea that there is something empty about the kind of chivalry the court practices; the knights joust with one another in tournaments, and King Arthur enjoys hearing stories about feats of arms, but the company largely lacks the courage to face the reality of mortal danger, as the Knight himself points out: “Where is now your arrogance and your awesome deeds, / Your valor and your victories and your vaunting words?” (311-312).

Ultimately, Gawain accepts the Green Knight’s challenge, thereby demonstrating both his bravery and his fealty to his lord in the process. Nevertheless, the work is not a straightforward endorsement of chivalry even in this more traditional and martial sense. In accepting Lady Bertilak’s girdle, concealing it from his host in defiance of their agreement, and flinching when he presents his neck to the Green Knight’s ax, Sir Gawain displays both disloyalty to his host and cowardice. Notably, however, the Green Knight himself not only forgives Gawain, but suggests that his failings aren’t as terrible as Gawain might fear; Gawain, the Green Knight suggests, comes as close to embodying true chivalric ideals as anyone can in a fallen and imperfect world. Gawain’s newfound awareness of his own weakness makes him a better knight going forward, as he has become aware of his need to safeguard against the temptation to approach chivalry simply as a matter of reputation and outward shows of courtesy.