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Early British Survey

  • Early British Literature
  • Gender and Sexuality
    • Key Terms on Queer Themes in the Middle Ages
      • Queer Torture in the Middle Ages and Beowulf
      • Queer Acceptance in the Middle Ages and Sir Gawain and The Green Knight
    • Eve: More Than Just the First Woman
      • Eve: A Rebel in Paradise
      • Eve: The First Queer Woman
    • Gendered Betrayal in Medieval Arthurian Myths
      • Forbidden Love’s Betrayal
      • Punishments of Treason
    • Magic and Femininity
      • Magic and Femininity in Sir Gawain and the Green Knight
      • Magic and Femininity in The Faerie Queene
    • Magic and Gender in Arthurian Romance Poetry
      • Magic and Gender in “Lanval”
      • Magic and Gender in “Sir Gawain and the Green Knight”
    • 50 Shades of Courtly Love
      • Dominator in Love and Life
      • The Hue of Female Power
    • Adultery in the Middle Ages
      • Adultery in “Lanval”
      • Adultery in “Sir Gawain and the Green Knight”
    • Representations Of Femininity In Morality Plays
      • Femininity In Everyman
      • Femininity In Doctor Faustus
    • Monsters and Women
      • BEOWULF AND GRENDELS’ MOTHER
      • Satan and Sin
  • Politics, Power, and Economics
    • Shifting of Political and Economic Structures
      • Feudalism in Gawain and the Green Knight
      • Paradise Lost and Tracing the Fall of Feudalism
    • Knighthood in the Middle Ages
      • knighthood in “Lanval”
      • Knighthood in “Sir Gawain and the Green Knight”
    • The Divine Right to Rule: Past Perceptions of Monarchy
      • Sir Gawain and the Green Knight: A Condescending Commentary on the Monarchy?
      • The Faerie Queene: Spenser’s Ode To Queen Elizabeth I
    • Chivalry & Identity in Early Brit Lit
      • Chivalry in Sir Gawain and the Green Knight: the Establishing of a Literary British Identity
      • Chivalry in the Faerie Queen: Continuing to Establish British Identity
  • Religion
    • GOD: Humanity’s Most Influential Literary Figure
      • My Pain, Your Pain, His Gain: What God Means to Margery Kempe and Julian of Norwich
      • Respect My Authority: How God Rules Over Creation in Everyman & Paradise Lost
    • Imitatio Christi: How Doctor Faustus and Everyman Mimic Jesus through Suffering
      • Imitatio Christi: How Antagonists Mimic Christ
      • Imitatio Christi: Satan as a Jesus Figure
    • Depictions of the Devil in British Literature
      • Faustus: To Laugh Is To Be Against Evil
      • The Devil As Sympathetic: Human Qualities in Paradise Lost
    • Representations of Hell
      • Hell in Beowulf
      • Paradise Lost’s Liquid Hell
    • Medieval Mysticism: A Space For Women’s Authority
      • Julian of Norwich
      • Margery Kempe
    • God, Literature, and Religious Denomination in a Changing Christendom
      • Mysticism and Miracle in Catholic Europe
      • The Reformation and the “Intellectualization” of God
  • Nature and Culture
    • The Environment from the Middle Ages to Early Modern Period
      • Environment in Paradise Lost
      • Environment in Sir Gawain and Utopia
    • Kissing in Medieval Literature- Brooke Zimmerle
      • Kissing in Sir Gawain and the Green Knight
      • Kissing in Margery Kempe
    • Medieval and Early Modern Feasts
      • Feasts in Sir Gawain
      • “Meals in common”: Utopian Dining
    • Ars Moriendi and the Early Modern Period
      • Authors’ Views on Ars Moriendi
      • Ars Moriendi in Everyman
    • Games Medievalists Play
      • Beowulf’s Game: Battle
      • Sir Gawain’s Game: A Courtly Dare
  • Literary Concerns
    • A Brief History of Allegorical Literature
      • Allegory in the Middle Ages
      • 16th vs. 21st Century Allegory
    • Allegory in the Middle Ages and the 18th Century
      • Allegory in Everyman- pg3
      • Allegory Defined
    • Female Readership in the Middle Ages
      • Parenting Through Books
      • Julian of Norwich
    • Heroes of Epic British Literature
      • Beowulf as a Hero
      • Satan as a Hero – Paradise Lost
    • The Role of the Translator
      • Fixers and Their Roles in Translations of Medieval Texts
      • Translations and How They Change the Meaning of Medieval Texts
    • The Self in 15th and 16th Century Dramatic Literature
      • The Self in Everyman
      • The Self in Faustus

Magic and Gender in “Sir Gawain and the Green Knight”

When the Green Knight Challenges King Arthur’s Court

Written in the late 14th century, Sir Gawain and the Green Knight is a Middle English Chivalric Romance based on the characters from the King Arthur legend. The epic poem follows the titular Sir Gawain, a knight of King Arthurs court, through a year-long beheading game with a mysterious Green Knight. By the end of the poem, we discover that Morgan Le Fay was the mastermind behind the spectacle. Although only passively mentioned in the poem, Morgan le Fay was able to trick the court through her wit and powers of illusion.

Excerpt: 
“and in my manor lives the mighty Morgan le Fay,
So adept and adroit in the dark arts,
Who learned magic from Merlin—the mastery of mystery—
For in earlier times she was intimately entwined
With that knowledgeable man, as all you knights know
   Back home
       Yes ‘Morgan the Goddess’—
    I will announce her name
  There is no nobleness
      She cannot take and tame”

(lines 2446-2455)

The Green Knight explains Morgan Le Fay’s reason for beginning this year-long beheading game; she wished to scare Guinevere “to her grave” and test “what distinction and trust the Round Table deserves” (2457-2458). After explaining the background of the beheading game, the Green Knight conceded that “[Morgan le Fay] guided me in this guise,” highlighting that is was this magical woman who executed this plan. This subverts our expectations of a man as the antagonist in this story. Instead, we learn that a woman was the mastermind behind this year-long adventure of battles and heroism.

Morgan Le Fay

We eventually learn that Morgan had also disguised herself in the Green Knights castle. She takes the appearance of an ugly old woman who is compared to the beautiful lady with whom Sir Gawain shares a few kisses: “those ladies were not in the least bit alike:/one woman was young, one withered by years.” The physical descriptions continue to negatively judge the woman for her appearance:“her trunk was square and squat/ Her buttocks bulged and swelled” (965-966). Although Sir Gawain recognizes that this old woman must hold a position of respect because of the servants surrounding her, he gives her no real notice because of her looks. It is not until she is exposed at the powerful and magical Morgan Le Fay that he considers her at all, highlighting the effects of magic on a man’s perception.

The author still shows that Morgan le Fay, though powerful and skilled in magics, received her skills with her sexuality. This is shown when the Green Knight suggests that Morgan learned her skills at magic after being “intimately entwined” with Merlin. In this way, Morgan ultimately owes her powers to a man in her life.

Although the character of Morgan le Fay is often written as evil or malicious, in this poem her role instead is used to strengthen Sir Gawain’s chivalric values, so that he may go back to his court and teach them to the others. By calling he a “goddess,” the Green Knight is emphasizing that Morgan le Fay’s actions were not intended to harm. Therefore, even though he concedes that she gained her powers from Merlin, her title as “goddess” is far superior to Merlin, who is only called “knowledgeable.”


Work Cited

“Sir Gawain and the Green Knight.” The Norton Anthology of English Literature. Ed. M.H.Abrams. New York: W.W.Norton & Company, Inc., 2000. 204-256.


For more reading see: Magic and Gender in Lanval

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