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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

Feudalism in Gawain and the Green Knight

     When analyzing poetry from the Middle Ages, one of the best examples of Feudalism is found in Sir Gawain and the Green Knight. This is a poem that is full of elements of exchange and communal living, which come across directly in the way the story is told, and also in the story itself. The first thing to be realized is that Gawain has no stated author, and that

Sir Gawain in Arthur’s Court

nothing is known about the author except for what can be inferred from the works” (Sir Gawain, 201).

There was a lack of individual identity in the Middle Ages, with much less emphasis being placed on singular people. Therefore, the fact that the author is not stated here is emblematic of Feudalism in that the community is much more important than the individual.

     This is a theme that is explored throughout the story as well, with the community always being the main emphasis rather than the individual. An example of this plays out in the first few pages, when the Green Knight makes his way to Arthur’s court. The Green Knight challenges Arthur to a contest, to which Arthur submits to, only to be saved at the last second by the knight Gawain offering up himself in place of his king. Two important things are at play here. The first, is that Gawain is communally bound and actually wholeheartedly accepts the idea of laying his life on the line to defend Arthur. He makes this clear in the line

May this melee be mine” (211).

Additionally, in this scene Arthur is stripped of some of his agency, in that his community is expected to stand up for him so that he doesn’t have to assume any real danger in this situation.

     Not only are communal themes present here and throughout, but also the economic side of Feudalism is seen. The entire premise of the story is based on the exchange of a blow for a blow, with both its exposition and climax being the confrontations with the Green Knight. On top of this, some smaller scale moments of exchange are seen in Bertilak’s castle, between himself and Gawain. This exchange is highlighted by Bertilak when he says

Gawain Returns Upon Fulfilling His Exchange

Here’s a wager: what I win in the woods will be yours, and what you gain while I’m gone you will give to me” (227).

This is a great example of a Feudal exchange as both parties have agreed to give goods to each other without the intermediary of money.

     Essentially, there are many great examples of Feudalism in Gawain and the Green Knight, and the poem offers a colorful look at the system in action. That being said, there are a few elements in the story that point to the idea of political and economic systems constantly evolving and changing. While most transactions in the poem tend to be the exchange of goods, there is actually a reference to money within the first few pages, in the line

beyond what pennies could buy” (79-80).

Because of this inclusion, it would seem that some money was used at the time that this poem was written, so the story isn’t purely feudal. This again, points to the fact that change occurs gradually, and it is near impossible to isolate one prevailing system at any given point, because they all contain elements of past and future systems.

Go to Shifting of Political and Economic Structures

Go to Paradise Lost Analysis

Works Cited

“File:Gawain and the Green Knight.jpg.” Wikimedia Commons, the free media repository. 7 Jun 2018, 18:43 UTC. 25 Nov 2019, 10:20 <https://commons.wikimedia.org/w/index.php?title=File:Gawain_and_the_Green_Knight.jpg&oldid=305107331>.

“File:Gawains return.jpg.” Wikimedia Commons, the free media repository. 4 Nov 2016, 17:48 UTC. 25 Nov 2019, 10:30 <https://commons.wikimedia.org/w/index.php?title=File:Gawains_return.jpg&oldid=211952584>.

“Sir Gawain and the Green Knight.” The Norton Anthology of English Literature, by Stephen Greenblatt et al., W.W. Norton, 2018, pp. 201–256.

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