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I'm on the trail of a 600-year-old poem. | 0:00:07 | 0:00:10 | |
As a piece of writing, it's got just about everything. | 0:00:10 | 0:00:14 | |
It's a ghost story. It's a whodunnit. | 0:00:14 | 0:00:16 | |
It's a love poem. It's a religious poem. | 0:00:16 | 0:00:19 | |
It's a 2,500 line tongue-twister and you could even say | 0:00:19 | 0:00:23 | |
it's one of the first ever eco poems. | 0:00:23 | 0:00:26 | |
"After Britain was built by this founding father, | 0:00:29 | 0:00:33 | |
"a bold race bred there. | 0:00:33 | 0:00:35 | |
"men causing trouble and torment in turbulent times." | 0:00:35 | 0:00:40 | |
And through history, more strangeness has happened here than anywhere else I know of on earth. | 0:00:40 | 0:00:46 | |
It's generally recognised as one of the jewels in the crown of | 0:00:48 | 0:00:52 | |
British poetry and we don't know who wrote it. | 0:00:52 | 0:00:55 | |
A few years ago, I made a translation of the poem and I completely fell | 0:00:58 | 0:01:02 | |
under its spell, but to a certain degree, it's still a mystery to me. | 0:01:02 | 0:01:06 | |
And it's crossed my mind that the only way of entering the mindset of the writer | 0:01:06 | 0:01:11 | |
and getting to grips with the meaning of the poem, | 0:01:11 | 0:01:15 | |
is to experience some of the landscape of the poem | 0:01:15 | 0:01:18 | |
and to feel the descriptions of nature and the wet winter weather. | 0:01:18 | 0:01:23 | |
The poem doesn't even have a title, but over the centuries, | 0:01:23 | 0:01:27 | |
it's come to be known as Sir Gawain And The Green Knight. | 0:01:27 | 0:01:31 | |
It was Christmas at Camelot, King Arthur's court, | 0:01:43 | 0:01:46 | |
where the great and the good of the land had gathered. | 0:01:46 | 0:01:50 | |
All the righteous lords of the ranks of the round table | 0:01:50 | 0:01:53 | |
quite properly carousing and revelling in pleasure. | 0:01:53 | 0:01:57 | |
It's Christmas at Camelot. It's not quite how it would have been in Arthur's day. | 0:01:59 | 0:02:03 | |
Santa's just arrived in a transit van. | 0:02:03 | 0:02:05 | |
But it's still a time of great excitement and it's not a coincidence | 0:02:05 | 0:02:10 | |
that the poem starts at Christmas, a time of great ritual and great passion. | 0:02:10 | 0:02:15 | |
The ideal moment for something dramatic to happen. | 0:02:15 | 0:02:17 | |
Sir Gawain And The Green Knight's the story of one of King Arthur's knights, Gawain, | 0:02:28 | 0:02:32 | |
who takes up a bizarre challenge to behead a giant Green Knight | 0:02:32 | 0:02:36 | |
and face the grizzly consequences. | 0:02:36 | 0:02:38 | |
It's a wonderful piece of storytelling which is split | 0:02:38 | 0:02:42 | |
into four distinct parts, or acts, as Gawain faces a series of death-defying adventures. | 0:02:42 | 0:02:47 | |
Nobody can say with any certainty whether there was a Camelot or even an Arthur | 0:02:50 | 0:02:55 | |
and there are many places across Britain that lay claim to Camelot. | 0:02:55 | 0:03:00 | |
Several castles in Wales, Winchester, Carlisle, but of all the contenders, this is my favourite. | 0:03:00 | 0:03:07 | |
This is Tintagel. It just seems to have everything. | 0:03:07 | 0:03:10 | |
Ancient castle, fortified island, | 0:03:10 | 0:03:13 | |
caves, epic landscape and coastline and the town's very much embraced it, as well. | 0:03:13 | 0:03:19 | |
Every little gift shop and bed and breakfast is Arthur this or Camelot that. | 0:03:19 | 0:03:24 | |
So here we are in King Arthur's court, Camelot. | 0:03:32 | 0:03:37 | |
Well, it's actually an imagined recreation of it. | 0:03:37 | 0:03:41 | |
So the knights are all assembled when suddenly the door bursts open and on horseback, | 0:03:41 | 0:03:48 | |
in comes a knight, a very strange creature. | 0:03:48 | 0:03:52 | |
He carries with him a piece of holly and the author, the poet, | 0:03:52 | 0:03:58 | |
keeps back one very special detail about this knight right to the end. | 0:03:58 | 0:04:01 | |
He says, "In fact, in all features, he was finely formed, it seemed. | 0:04:01 | 0:04:07 | |
"Amazement seized their minds. | 0:04:07 | 0:04:10 | |
"No soul had ever seen a knight of such a kind, entirely emerald green." | 0:04:10 | 0:04:17 | |
Those little rhymes at the end of each section are known as the bob and wheel. | 0:04:17 | 0:04:23 | |
They just draw each verse to a neat little bow. | 0:04:23 | 0:04:27 | |
And this extraordinary knight, this supernatural man, | 0:04:27 | 0:04:31 | |
lays down what must sound like an absurd challenge. | 0:04:31 | 0:04:35 | |
He says any man here can chop off my head if they like, | 0:04:35 | 0:04:39 | |
so long as in a year's time, I can chop off their head. | 0:04:39 | 0:04:42 | |
"So who has the gall, the gumption, the guts? | 0:04:42 | 0:04:48 | |
"Who'll spring from his seat and snatch this weapon? I offer the axe. | 0:04:48 | 0:04:53 | |
"Who'll have it as his own?" | 0:04:53 | 0:04:56 | |
So Gawain, the youngest knight of the round table and Arthur's nephew, | 0:04:56 | 0:05:01 | |
rises and says "Let this challenge be mine." | 0:05:01 | 0:05:04 | |
I think he basically sees an opportunity to prove himself. | 0:05:04 | 0:05:08 | |
And he takes up the axe and he chops off the head of the Green Knight | 0:05:08 | 0:05:13 | |
which rolls across the floor and the knights kick it as it goes past. | 0:05:13 | 0:05:17 | |
But the Green Knight goes after it, picks it up, | 0:05:17 | 0:05:20 | |
puts it back on his neck, gets back on his horse | 0:05:20 | 0:05:24 | |
and says, "I will see you in a year's time. Keep your promise." | 0:05:24 | 0:05:29 | |
"And then, well, with the green man gone, they laughed and grinned, again. | 0:05:35 | 0:05:43 | |
"And yet, such goings-on were magic to those men. | 0:05:43 | 0:05:48 | |
"And although King Arthur was awestruck at heart, no sign of it showed." | 0:05:48 | 0:05:53 | |
When it was written in about 1400, the King Arthur legend was already centuries old. | 0:05:57 | 0:06:02 | |
Whoever wrote the poem would have been a contemporary of Chaucer | 0:06:02 | 0:06:06 | |
and it's become one of the most celebrated poems in the whole of English literature. | 0:06:06 | 0:06:11 | |
I wouldn't really claim to be an expert at all in Middle English | 0:06:13 | 0:06:18 | |
but I do find it really fascinating. | 0:06:18 | 0:06:20 | |
It exists at that point in history | 0:06:20 | 0:06:22 | |
where the English language as we know it is just coming into view. | 0:06:22 | 0:06:26 | |
And it's a little bit like the poem is under a layer of frosted glass. | 0:06:26 | 0:06:31 | |
It's as if you just want to breathe a little warm air onto it | 0:06:31 | 0:06:36 | |
to try and get the language to come through. | 0:06:36 | 0:06:39 | |
So if you take the very first line of the poem, | 0:06:39 | 0:06:42 | |
"Sithen the segge and the assault was cessed at Troy" - | 0:06:42 | 0:06:47 | |
that's "After the siege and the assault was ceased at Troy." | 0:06:47 | 0:06:53 | |
You can hear the sibilance there, the S sound alliterating | 0:06:53 | 0:06:57 | |
through that line and that's how it is all the way through the poem. | 0:06:57 | 0:07:01 | |
It's the device which keeps the whole poem together. | 0:07:01 | 0:07:08 | |
And it must have made it great fun to read out as well, even to remember. | 0:07:08 | 0:07:12 | |
There are a lot of contemporary translations that don't follow the alliteration. | 0:07:12 | 0:07:16 | |
They're more interested in the meaning of the original words or medieval history, | 0:07:16 | 0:07:22 | |
but I'm a poet and what I've made is a poetic translation and for me | 0:07:22 | 0:07:27 | |
the alliteration is the warp and weft of this poem. | 0:07:27 | 0:07:32 | |
And without it, it's just so many fine threads. | 0:07:32 | 0:07:35 | |
A year goes by and Gawain must keep to the terms of the challenge | 0:07:40 | 0:07:43 | |
and go in search of the Green Knight. | 0:07:43 | 0:07:45 | |
"Now, lord of my life, I must ask for your leave. | 0:07:47 | 0:07:52 | |
"You were witness to my wager. | 0:07:52 | 0:07:54 | |
"I have no wish to retell you the terms. They're nothing but a trifle. | 0:07:54 | 0:07:59 | |
"I must set out tomorrow to receive that stroke | 0:07:59 | 0:08:03 | |
"From the knight in green And let God be my guide." | 0:08:03 | 0:08:07 | |
Gary Burbeck and Gandalph Strut are two latter day knights who've come | 0:08:10 | 0:08:15 | |
along to teach me a thing or two about fighting and chivalry. | 0:08:15 | 0:08:19 | |
What is chivalry? Because to a lot of people reading the Gawain poem, | 0:08:19 | 0:08:24 | |
it seems absurd that somebody would willingly just go along and have their head cut off. | 0:08:24 | 0:08:30 | |
In those days, chivalry meant everything. | 0:08:30 | 0:08:32 | |
The top knights were extremely loyal. | 0:08:32 | 0:08:36 | |
They had been risen to their knighthood by their lord, their liege. They owe everything to him. | 0:08:36 | 0:08:42 | |
What would happen to somebody who didn't keep their honour and their pledges as a knight? | 0:08:42 | 0:08:47 | |
I mean, for example, in the poem, if Gawain decided not to go and meet the Green Knight after a year. | 0:08:47 | 0:08:52 | |
What would that make him? | 0:08:52 | 0:08:54 | |
It would make him almost an outcast, really. | 0:08:54 | 0:08:58 | |
Almost outlawed, outside the law. | 0:08:58 | 0:09:00 | |
"First, a rig of rare cloth was unrolled on the floor, | 0:09:03 | 0:09:07 | |
"Heaped with gear which glimmered and gleamed. | 0:09:07 | 0:09:11 | |
"And on to it, he stepped, to receive his armoured suit." | 0:09:11 | 0:09:14 | |
The Gawain poet devotes long sections of the poem to Gawain's armour and apparel | 0:09:17 | 0:09:23 | |
and on the one hand, he stands there as heroic and a shining example of knighthood. | 0:09:23 | 0:09:28 | |
On the other hand, there's something quite funny about that passage. | 0:09:30 | 0:09:34 | |
It's overelaborated, almost to the point | 0:09:34 | 0:09:37 | |
where I think you can afford a little chuckle at Gawain stood there in his metal suit. | 0:09:37 | 0:09:44 | |
-It looked like hard work. -Very hard work. | 0:09:50 | 0:09:53 | |
And how much of this is authentic in terms of what a knight would have worn at that time? | 0:09:53 | 0:09:59 | |
This is a replica of a 15th-century armour | 0:09:59 | 0:10:03 | |
-and it weighs a lot. -Can I have a go? Can I put a bit on? | 0:10:03 | 0:10:06 | |
You certainly can. Absolutely. | 0:10:06 | 0:10:07 | |
"Then comes the suit of shimmering steel rings encasing his body and his costly clothes. | 0:10:07 | 0:10:16 | |
"Well-burnished braces to both of his arms. | 0:10:16 | 0:10:19 | |
"Good elbow guards and glinting metal gloves. | 0:10:19 | 0:10:23 | |
"All the trimmings and trappings of a knight tricked out to ride." | 0:10:23 | 0:10:27 | |
-I'm just going to give you a slight punch. -OK. | 0:10:27 | 0:10:29 | |
-OK, that's just a little one. -OK. | 0:10:29 | 0:10:33 | |
Yeah. How much did you feel? | 0:10:33 | 0:10:34 | |
I felt it. Yeah. | 0:10:34 | 0:10:37 | |
Well, thanks very much. | 0:10:38 | 0:10:40 | |
I really enjoyed that. | 0:10:40 | 0:10:42 | |
I'm not sure it goes well with my elasticated overtrousers. It's not really a good look, is it? | 0:10:42 | 0:10:48 | |
Before setting off on Gawain's epic journey, I head home to | 0:10:58 | 0:11:02 | |
West Yorkshire just to get my bearings and my walking boots. | 0:11:02 | 0:11:05 | |
This is the village of Marsden where I was born and brought up | 0:11:06 | 0:11:11 | |
and over there, just beyond that horizon, | 0:11:11 | 0:11:13 | |
that's the Peak District and that's the place where Gawain is set. | 0:11:13 | 0:11:18 | |
And I think as a project for me, | 0:11:18 | 0:11:21 | |
there was always something about bringing Gawain back into the north. | 0:11:21 | 0:11:25 | |
When I came to translate the poem, there was something Pennine or at least non-metropolitan | 0:11:31 | 0:11:36 | |
about its medieval language which I found intriguing and irresistible. | 0:11:36 | 0:11:40 | |
ALL: # So I lie in in the morning | 0:11:42 | 0:11:45 | |
# God save John. # | 0:11:45 | 0:11:49 | |
I can read and understand Middle English now or Middle English of this poem by looking at the page, | 0:11:50 | 0:11:56 | |
but I don't know how it's all pronounced, that's a very separate skill. | 0:11:56 | 0:12:00 | |
But on the occasions when I have tried to read it out loud, in private, | 0:12:00 | 0:12:05 | |
it's always sounded to me like the noise of a pub or a club. | 0:12:05 | 0:12:10 | |
A club like this where I used to come drinking | 0:12:10 | 0:12:12 | |
before I was old enough to come drinking and my dad and all his mates come here. | 0:12:12 | 0:12:16 | |
There's something about the noise that this poem makes in the original | 0:12:16 | 0:12:21 | |
that reminds me of the sort of chat that goes on in here. | 0:12:21 | 0:12:26 | |
Just have a look at that. | 0:12:26 | 0:12:27 | |
HE READS POEM IN MIDDLE ENGLISH | 0:12:27 | 0:12:31 | |
Sounds like he's local! | 0:12:38 | 0:12:39 | |
Tell you this, mate, it'll never sell. | 0:12:39 | 0:12:43 | |
I have to tell you, you're wrong. | 0:12:44 | 0:12:46 | |
"'Won't you slide from that saddle and stay awhile? | 0:12:48 | 0:12:53 | |
"And the business which brings you, | 0:12:53 | 0:12:55 | |
"we shall learn of later.' | 0:12:55 | 0:12:58 | |
"'No,' said the knight. | 0:12:58 | 0:13:00 | |
"'It's not in my nature to idle or alec about this evening." | 0:13:00 | 0:13:05 | |
In this translation I use the word "alec". You aleced about. | 0:13:05 | 0:13:09 | |
-Aleced about. Aye. -Alecing about. | 0:13:09 | 0:13:11 | |
Alecing about. | 0:13:11 | 0:13:13 | |
-Laking. -Laking? | 0:13:13 | 0:13:15 | |
Laking - cos laking's in the original. | 0:13:15 | 0:13:19 | |
The word "lake" is in there. | 0:13:19 | 0:13:22 | |
-Meaning "plain". -Isn't it? | 0:13:22 | 0:13:25 | |
Yeah. There's another word in there, as well. Sam. | 0:13:25 | 0:13:28 | |
-Pick it up. -Pick it up. Yeah. | 0:13:28 | 0:13:30 | |
You must have heard it. "Sam, Sam, pick up thy musket." | 0:13:30 | 0:13:34 | |
And that were all based on that "sam it up". Nay. | 0:13:34 | 0:13:37 | |
He knocked it down, he'll pick it up. | 0:13:37 | 0:13:40 | |
Part two of the poem takes place a year after the beheading of the Green Knight, | 0:13:47 | 0:13:51 | |
as Gawain heads off into the wilderness to meet his comeuppance. | 0:13:51 | 0:13:54 | |
"Now, through England's realm he rides and rides, Sir Gawain, God's servant on his grim quest, | 0:14:04 | 0:14:11 | |
"Passing long dark nights, unloved and alone, foraging to feed, finding little to call food, | 0:14:11 | 0:14:18 | |
"With no friend but his horse through forests and hills and only our Lord in heaven to hear him." | 0:14:18 | 0:14:24 | |
It's a journey through the wild borders between England and Wales | 0:14:24 | 0:14:29 | |
that few at the time would have been brave or foolhardy enough to take. | 0:14:29 | 0:14:34 | |
When the Green Knight bursts into Camelot, he isn't just | 0:14:37 | 0:14:40 | |
challenging Gawain to a beheading game, he's challenging him to get | 0:14:40 | 0:14:45 | |
outside the comfort and the warmth of the castle and to go out into the wide world. | 0:14:45 | 0:14:51 | |
And I think it's at that point that Sir Gawain And The Green Knight | 0:14:51 | 0:14:55 | |
becomes one of the great nature poems, perhaps the first ever great nature poem, | 0:14:55 | 0:15:01 | |
and nature at that time was as much an enemy as a friend. | 0:15:01 | 0:15:04 | |
And Gawain's got to go out there and strike a bargain with it. | 0:15:04 | 0:15:09 | |
"Hazel and hawthorn are interwoven, decked and draped in damp shaggy moss. | 0:15:11 | 0:15:17 | |
"And bedraggled birds on bare black branches pipe pitifully into the piercing cold. | 0:15:17 | 0:15:25 | |
"Under cover of the canopy, he guided Gringolet through mud and marshland, a most mournful man." | 0:15:25 | 0:15:33 | |
Nature's never far away in British poetry. | 0:15:45 | 0:15:49 | |
Sir Gawain is a very early and fine example of a nature poem. | 0:15:49 | 0:15:54 | |
It might be to do with the fact that nature in this country is very fickle, poets over time | 0:15:54 | 0:16:00 | |
have responded both to its generosity and to its cruelty. | 0:16:00 | 0:16:06 | |
As a poet, I recognise that situation. | 0:16:06 | 0:16:10 | |
I've always felt that it's when I get up into the heights | 0:16:10 | 0:16:15 | |
that the poetry starts, or the inspiration starts. | 0:16:15 | 0:16:18 | |
Places where you're on your own, generally. | 0:16:18 | 0:16:21 | |
There's a section in the poem which goes something along the lines of: | 0:16:25 | 0:16:30 | |
"Hard on his heels over the high ground come giants." | 0:16:30 | 0:16:34 | |
And it makes me wonder if this wasn't just some elaborate metaphor for weather fronts and black clouds | 0:16:34 | 0:16:40 | |
which I've never seen very far away in this part of the world, at this time of the year. | 0:16:40 | 0:16:45 | |
"So momentous are his travels among the mountains to tell just a tenth would be a tall order. | 0:16:53 | 0:17:00 | |
"He scraps with serpents and snarling wolves. | 0:17:00 | 0:17:03 | |
"He tangles with woodwose causing trouble on the crags, or with bulls and bears and the odd wild boar. | 0:17:03 | 0:17:12 | |
"Hard on his heels through the highlands come giants." | 0:17:12 | 0:17:15 | |
The poem makes wonderful use of British mythology | 0:17:15 | 0:17:20 | |
to bring to life the dangers posed by nature. | 0:17:20 | 0:17:24 | |
There are woodwose, those mysterious wild men of the woods. | 0:17:24 | 0:17:28 | |
And the ghostly Green Knight, himself, owes a great deal | 0:17:28 | 0:17:32 | |
to the pagan fertility spirit, the Green Man. | 0:17:32 | 0:17:34 | |
Every now and again, you get a view around here that probably won't have changed much for about 600 years. | 0:17:39 | 0:17:45 | |
As you are travelling through this landscape, it was uncertain, | 0:17:45 | 0:17:49 | |
you didn't really know who's territory you were walking into | 0:17:49 | 0:17:52 | |
or what was waiting for you down in the valley bottom, either, | 0:17:52 | 0:17:56 | |
and that's what Gawain was walking into the unknown. | 0:17:56 | 0:17:59 | |
"In a strange region, he scales steep slopes. | 0:17:59 | 0:18:05 | |
"Far from his friends he cuts a lonely figure. | 0:18:05 | 0:18:09 | |
"Where he bridges a brook or wades through a waterway, | 0:18:09 | 0:18:13 | |
"Ill-fortune brings him face-to-face with a foe so foul or fierce, he's bound to use force." | 0:18:13 | 0:18:20 | |
This is the River Dee near Llangollen and if Gawain had made a journey north through Wales, | 0:18:28 | 0:18:33 | |
at some point he would have had to have crossed this river and here would not have been the place. | 0:18:33 | 0:18:39 | |
This is nature in full flow and this is the kind of thing that | 0:18:39 | 0:18:44 | |
Gawain would have had to have contended with on his journey. | 0:18:44 | 0:18:48 | |
Looking for a place to cross the river, Gawain travels northwards to the village of Holywell. | 0:18:57 | 0:19:03 | |
It's an important place in Christian mythology. | 0:19:03 | 0:19:06 | |
The sacred well's said to have healing powers. | 0:19:06 | 0:19:10 | |
Lolita Laguy tells me she was cured of osteoporosis | 0:19:10 | 0:19:14 | |
after dipping in the well and came to live here soon after. | 0:19:14 | 0:19:18 | |
-So this is the actual wellspring, inside. -Yes. It is. Yes. | 0:19:18 | 0:19:23 | |
Could you tell me about the legend at St Winifred? | 0:19:23 | 0:19:26 | |
The story of St Winifred goes back to the 7th century. | 0:19:26 | 0:19:31 | |
She was a young girl of 14 and born in Holywell. | 0:19:31 | 0:19:34 | |
A young prince from Hawarden called Caradoc wanted to marry her | 0:19:34 | 0:19:39 | |
and she refused him and he tried to rape her, but did not rape her. | 0:19:39 | 0:19:44 | |
And he beheads her to keep her quiet. | 0:19:44 | 0:19:47 | |
So her head rolled down from the hill, the same hill now, and ended up here, in this spot. | 0:19:47 | 0:19:53 | |
And St Beuno put her head back on. Christ gave her the power to live again. | 0:19:53 | 0:19:57 | |
She lived for another 15 years. | 0:19:57 | 0:20:00 | |
So, her head was replaced on her shoulders and she came alive again? | 0:20:00 | 0:20:04 | |
-Yes. -You see, that's very interesting to me, because in Sir Gawain And The Green Knight, the Green Knight is | 0:20:04 | 0:20:10 | |
beheaded at Camelot, and he picks his own head up, | 0:20:10 | 0:20:14 | |
puts it back on his neck and lives again. | 0:20:14 | 0:20:16 | |
And I think it's very possible that whoever wrote that poem | 0:20:16 | 0:20:21 | |
knew about this story and used it as a motif. | 0:20:21 | 0:20:24 | |
Well, I'm too much of a coward to strip off and get in, | 0:20:26 | 0:20:29 | |
but my feet are quite weary from following Gawain. | 0:20:29 | 0:20:33 | |
If it's all right, I might take my shoes and socks off and dip my feet in. | 0:20:33 | 0:20:38 | |
By all means. | 0:20:38 | 0:20:40 | |
The Gawain poet toys with us all the way through the poem. | 0:20:40 | 0:20:43 | |
Gawain's a devout Christian, he's full of faith, but his world is full of superstitions, as well. | 0:20:43 | 0:20:50 | |
Witchcraft, magic and folklore. | 0:20:50 | 0:20:52 | |
Coming here and talking to Lolita makes me realise that Christian and Pagan beliefs existed side by side. | 0:20:52 | 0:20:59 | |
-That's pretty cold. -Isn't it lovely, though? | 0:21:00 | 0:21:03 | |
It's lovely, in a sort of cold way. | 0:21:03 | 0:21:05 | |
Yeah. It's nice. | 0:21:07 | 0:21:09 | |
-To me, it's your faith. It's your faith that heals, actually. -Not just the water? | 0:21:09 | 0:21:14 | |
Normally, I would ask someone to say Jesus, do a little prayer, | 0:21:14 | 0:21:18 | |
make the sign of the cross, or Hail Marys. | 0:21:18 | 0:21:20 | |
"He prayed with heavy heart. | 0:21:20 | 0:21:24 | |
"Father, hear me, and Lady Mary, our mother most mild, | 0:21:24 | 0:21:29 | |
"let me happen on some house where mass might be heard, and matins in the morning. | 0:21:29 | 0:21:35 | |
"Meekly, I ask, and here I utter my Pater, Ave and Creed." | 0:21:35 | 0:21:41 | |
See if that's done the trick, then. | 0:21:41 | 0:21:45 | |
Thank you. | 0:21:45 | 0:21:46 | |
So, Gawain makes his way through to the north of Wales and then leaves the Isles of Anglesey on his left, | 0:21:54 | 0:21:59 | |
and finally arrives at the banks of the River Dee. | 0:21:59 | 0:22:03 | |
And the poem implies that he crossed somewhere here and got to the other side into the Wirral. | 0:22:03 | 0:22:08 | |
It was probably a little bit more beautiful than this in its day. | 0:22:08 | 0:22:13 | |
Anyway, here we go. | 0:22:13 | 0:22:15 | |
-All right? -Yeah. -Yeah. Good. | 0:22:23 | 0:22:26 | |
I'm not much of a one for boats, myself. I'm a bit of a landlubber. | 0:22:28 | 0:22:32 | |
All right? | 0:22:32 | 0:22:34 | |
It's a wonderful moment when Gawain crosses the Dee. The poets | 0:22:47 | 0:22:52 | |
say something about the wayward people of the Wirral, who both God and good men have quite given up on. | 0:22:52 | 0:23:00 | |
It's funny as well, though, because it's a highly industrialised area. | 0:23:01 | 0:23:07 | |
The forests that Gawain might have been walking into | 0:23:07 | 0:23:12 | |
are now, basically, scrap yards, pylons, power stations. | 0:23:12 | 0:23:17 | |
A new kind of forest, a new kind of obstacle. | 0:23:17 | 0:23:21 | |
Can you just put us down over there and I'll hop off? | 0:23:27 | 0:23:30 | |
Cheers. | 0:23:39 | 0:23:40 | |
Gawain must have had some kind of internal compass, because even | 0:23:40 | 0:23:44 | |
though he's wandering through unmapped territories, very slowly he's homing in on his destiny. | 0:23:44 | 0:23:50 | |
Back in the 14th century, the world was an unexplained place, | 0:23:57 | 0:24:01 | |
and nobody really understood or knew what forces were driving things, you know, whether it was religion, | 0:24:01 | 0:24:07 | |
whether it was some other power or force, and you can imagine a man like Gawain out there, alone, | 0:24:07 | 0:24:15 | |
especially at night, when it starts dropping dark, which it does very quickly in the winter. | 0:24:15 | 0:24:20 | |
Long nights alone, unloved. | 0:24:20 | 0:24:24 | |
"With nerves frozen numb, he napped in his armour, | 0:24:26 | 0:24:30 | |
"bivouacked in the blackness amongst bare rocks." | 0:24:30 | 0:24:34 | |
When I started translating Sir Gawain And The Green Knight, I suppose I thought of it as | 0:24:36 | 0:24:43 | |
a big adventure story that would be about his tussles with giants, and green knights, | 0:24:43 | 0:24:50 | |
and woodwose, and fighting people in the crags. | 0:24:50 | 0:24:53 | |
But the more I went on, I came to think that a lot of it was about | 0:24:53 | 0:24:59 | |
his tussle with his conscience, a sort of fight with himself, really. | 0:24:59 | 0:25:03 | |
And sometimes fighting temptation and sometimes fighting fear. | 0:25:03 | 0:25:07 | |
I mean, there is something quite exciting about being out here. | 0:25:07 | 0:25:11 | |
It's quite romantic in some ways. On the other hand, | 0:25:11 | 0:25:14 | |
it's bloody terrifying. | 0:25:14 | 0:25:16 | |
"Next morning, he moves on. Skirts the mountainside, descends a deep forest, | 0:25:30 | 0:25:35 | |
"densely overgrown with ancient oaks in huddles of hundreds, and vaulting hills | 0:25:35 | 0:25:40 | |
"above each half of the valley." | 0:25:40 | 0:25:43 | |
The Gawain poet wasn't a prophet anticipating global warming, but he | 0:25:46 | 0:25:50 | |
knew full well that medieval society lived hand-in-hand with nature. | 0:25:50 | 0:25:54 | |
He recognised its brutality and ferocity as well as its captivating beauty. | 0:25:54 | 0:26:00 | |
The original poet might be anonymous to us, | 0:26:06 | 0:26:08 | |
but I'm sure he had particular places in mind when he was writing. | 0:26:08 | 0:26:13 | |
In my translation, the poem says, "Melt water streamed from the snowcapped summits, | 0:26:13 | 0:26:19 | |
"which froze as it fell to the frost-glazed earth, and high overhead hung chandeliers of ice." | 0:26:19 | 0:26:26 | |
You can imagine this completely covered over with ice, all sort of crystalline up there. | 0:26:38 | 0:26:44 | |
Absolutely fantastic. | 0:26:44 | 0:26:46 | |
The poem really brings this out. | 0:26:46 | 0:26:49 | |
"No sooner had he signed himself three times, than he became aware, in those woods, of high walls | 0:27:05 | 0:27:12 | |
"and a moat on a mound, boarded by the boughs of thick-trunked timber which trimmed the water. | 0:27:12 | 0:27:19 | |
"The most commanding castle a knight ever kept." | 0:27:19 | 0:27:24 | |
No-one knows for sure the castle where Gawain found refuge from the ravages of winter. | 0:27:25 | 0:27:30 | |
It could have been somewhere like Beeston Castle, | 0:27:30 | 0:27:33 | |
with its commanding views over the Cheshire Plain and beyond. | 0:27:33 | 0:27:36 | |
Today, only its ruins remain. | 0:27:36 | 0:27:40 | |
So, to get a taste of life inside the castle walls, I head to Haddon Hall in the Peak District. | 0:27:50 | 0:27:55 | |
This would have been a very welcome sight | 0:28:05 | 0:28:08 | |
to Gawain, after all those nights out on the tops, in the woods, in caves being chased by giants. | 0:28:08 | 0:28:15 | |
Finally gets himself invited into somewhere safe and secure, | 0:28:15 | 0:28:20 | |
bit of civilisation, promise of warmth, heat, something to eat. | 0:28:20 | 0:28:25 | |
It was too good to be true, really. | 0:28:25 | 0:28:28 | |
After all his trials and tribulations in the great outdoors, | 0:28:35 | 0:28:40 | |
I think Gawain probably must have thought that all his birthdays and Christmases had come at once. | 0:28:40 | 0:28:45 | |
He's taken to a room, they strip him of his armour, lighten his load and then clothe him in robes. | 0:28:45 | 0:28:52 | |
He's brought to a banquet, where he meets Bertilak for the first time, his host. | 0:28:56 | 0:29:00 | |
This man with a big, red, bushy beard. | 0:29:00 | 0:29:04 | |
And a fantastic spread, a banquet, is laid on. | 0:29:04 | 0:29:08 | |
"Staff came quickly and served him in style, with several soups all seasoned to taste. | 0:29:08 | 0:29:15 | |
"Double helpings, as was fitting, and a feast of fish." | 0:29:15 | 0:29:20 | |
It's a feature of the poem that, when people eat well, they really eat well. | 0:29:20 | 0:29:25 | |
In this particular meal, it's breads and soups... | 0:29:25 | 0:29:31 | |
..fish, cooked lots of different ways. | 0:29:33 | 0:29:36 | |
I've been looking forward to this bit. | 0:29:38 | 0:29:40 | |
The contrast couldn't be starker for Gawain. | 0:29:40 | 0:29:43 | |
One minute he's starving hungry, the next, he's tucking into a banquet fit for a king. | 0:29:43 | 0:29:48 | |
The poet isn't about to let Gawain or the reader relax in the warm glow of the hearth for long. | 0:29:48 | 0:29:53 | |
As with all masterful storytelling, nothing is as it seems. | 0:29:53 | 0:29:58 | |
"Once dinner was done, Gawain drew to his feet, and darkness neared as day became dusk. | 0:30:02 | 0:30:09 | |
"Chaplains went off to the castle's chapels to sound the bells hard, | 0:30:09 | 0:30:14 | |
"to signal the hour of Evensong, summoning each and every soul." | 0:30:14 | 0:30:19 | |
Up to this point, Gawain's been facing a test of his courage, | 0:30:22 | 0:30:26 | |
but now there's a new theme and a new character introduced. | 0:30:26 | 0:30:31 | |
And this time, the theme is temptation. | 0:30:31 | 0:30:35 | |
"The Lord goes alone, then his Lady arrives, concealing herself in a private pew. | 0:30:36 | 0:30:44 | |
"She was fairest amongst them, her face, | 0:30:44 | 0:30:47 | |
"her flesh, her complexion, her quality, | 0:30:47 | 0:30:50 | |
"her bearing, her body, more glorious than Guinevere, | 0:30:50 | 0:30:55 | |
"or so Gawain thought." | 0:30:55 | 0:30:57 | |
I suppose we can think of Gawain as somebody not | 0:30:59 | 0:31:03 | |
even out of adolescence. | 0:31:03 | 0:31:06 | |
He would be, at that stage in his life, sort of pumping with hormones, | 0:31:06 | 0:31:09 | |
and this time it's a challenge not to his head, but to his heart, and to some other body parts, as well. | 0:31:09 | 0:31:17 | |
He's a virile young man, is our Gawain. | 0:31:17 | 0:31:22 | |
Bertilak insists that Gawain must stay and rest in bed while he goes hunting with his men. | 0:31:23 | 0:31:29 | |
Before they retire to bed, Bertilak, | 0:31:32 | 0:31:35 | |
the host, makes a wager with Gawain. It's rather an odd wager. | 0:31:35 | 0:31:40 | |
He says, "Whatever I win out in the field while I'm hunting, I will give to you, so long as you give to me | 0:31:40 | 0:31:47 | |
"whatever you win in the house during my absence." | 0:31:47 | 0:31:50 | |
And Gawain agrees, it seems easy enough. | 0:31:50 | 0:31:52 | |
He's fought with woodwose and trolls and giants and bears, but a greater danger lies ahead. | 0:31:52 | 0:32:00 | |
We're now entering the third act of the poem, where the storytelling becomes infused with innuendo, | 0:32:02 | 0:32:08 | |
as it moves deftly between the bedroom and the hunt. | 0:32:08 | 0:32:11 | |
"So through a lime leaf border, the lord led the hunt, | 0:32:11 | 0:32:16 | |
"while snug in his sheets lay slumbering Gawain, dozing as | 0:32:16 | 0:32:19 | |
"the daylight dappled the walls, under a splendid cover enclosed by curtains. | 0:32:19 | 0:32:25 | |
"And while snoozing, he heard a slyly made sound, the sigh of a door swinging slowly aside. | 0:32:25 | 0:32:33 | |
"It was she, the Lady, looking her loveliest, | 0:32:33 | 0:32:38 | |
"most quietly and craftily closing the door, nearing the bed. | 0:32:38 | 0:32:43 | |
"The Lady comes close, cradles him in her arms, | 0:32:45 | 0:32:49 | |
"leans nearer and nearer, then kisses the knight." | 0:32:49 | 0:32:54 | |
It's very interesting, as well, in a poem like this, which seems on the surface to be a Christian poem | 0:32:55 | 0:33:01 | |
and have a moral message, and yet, what goes on in the bedroom here | 0:33:01 | 0:33:05 | |
is pretty saucy, really. It's pretty raunchy. | 0:33:05 | 0:33:09 | |
The seduction is heightened by the bloodlust in the fields. | 0:33:13 | 0:33:17 | |
"As the cry went up, the wild creatures quaked. | 0:33:20 | 0:33:24 | |
"The deer in the dale, quivering with dread, hurtled to high ground, | 0:33:24 | 0:33:29 | |
"but were headed off by the ring of beaters who bawled and roared." | 0:33:29 | 0:33:33 | |
The lord and all his men return from the hunt, and then, of course, | 0:33:38 | 0:33:42 | |
the terms of the contract must be kept to, | 0:33:42 | 0:33:46 | |
so Bertilak will give to Gawain all the venison that | 0:33:46 | 0:33:49 | |
have been shot and butchered out there in the woods, | 0:33:49 | 0:33:52 | |
and Gawain must give to Bertilak what he won in the house | 0:33:52 | 0:33:57 | |
during the day, which is, of course, more than he bargained for, really. | 0:33:57 | 0:34:01 | |
I think it must have been playing on his mind how he's going to deliver | 0:34:01 | 0:34:04 | |
this kiss to a man with a big, bushy, red beard. | 0:34:04 | 0:34:09 | |
# I've been trying to show you over and over | 0:34:14 | 0:34:19 | |
# Look at these, my child-bearing hips | 0:34:19 | 0:34:22 | |
# Look at these, my ruby-red ruby lips | 0:34:22 | 0:34:26 | |
# Look at these, my work-strong arms | 0:34:26 | 0:34:30 | |
# And you've got to see my bottle full of charms... # | 0:34:30 | 0:34:34 | |
The intercutting between the bedroom scenes and the hunting scenes is very cleverly done. | 0:34:34 | 0:34:41 | |
So instead of any description of any sort of sexual activity, what we get | 0:34:41 | 0:34:46 | |
is the hunt, all very sexually charged, | 0:34:46 | 0:34:50 | |
while in the bedroom, his wife is hunting down Gawain. | 0:34:50 | 0:34:56 | |
# I lay it all at your feet | 0:34:57 | 0:35:00 | |
# You turn around and say back to me | 0:35:00 | 0:35:04 | |
# He said | 0:35:04 | 0:35:05 | |
# Sheela-na-Gig, Sheela-na-Gig | 0:35:05 | 0:35:08 | |
# You exhibitionist | 0:35:08 | 0:35:12 | |
# Sheela-na-Gig, Sheela-na-Gig | 0:35:12 | 0:35:16 | |
# You exhibitionist! # | 0:35:16 | 0:35:19 | |
"She wore nothing on her face. | 0:35:34 | 0:35:37 | |
"Her neck was naked, and her shoulders were bare to both back and breast. | 0:35:37 | 0:35:41 | |
"And seeing her so lovely and alluringly dressed, a passionate heat takes hold in his heart." | 0:35:41 | 0:35:47 | |
These bedroom scenes are highly dramatic, even theatrical in their own way. | 0:35:51 | 0:35:57 | |
Over three days, the seduction gets more and more erotic, as the hunt gets more and more visceral. | 0:35:57 | 0:36:04 | |
It's the contrast that works so powerfully. This is where the Gawain poet's such a skilled writer. | 0:36:08 | 0:36:14 | |
He knows exactly what these counterpointed scenes can signify. | 0:36:14 | 0:36:18 | |
I guess that this sort of technique won't have changed for hundreds of years, will it? | 0:36:20 | 0:36:25 | |
I wouldn't have thought so. | 0:36:25 | 0:36:26 | |
'Farmer Peter Body helped me research some of the more bloodthirsty aspects of the poem.' | 0:36:27 | 0:36:33 | |
I don't think I'm going to like this bit! | 0:36:33 | 0:36:35 | |
'The poem goes into full, uncensored details as it devotes over 30 lines to the carving up of the deer. | 0:36:36 | 0:36:42 | |
'You can't but fear for poor Gawain as the knife slices through the flesh.' | 0:36:42 | 0:36:47 | |
There's another term in the poem, grollicking. | 0:36:47 | 0:36:50 | |
-We've just done it. We took the stomach out, all the organs. -So, pulling out the innards? | 0:36:50 | 0:36:55 | |
Pulling out the innards. You pull out the innards, | 0:36:55 | 0:36:58 | |
you check all the glands, make sure it's a really healthy animal. | 0:36:58 | 0:37:01 | |
Then you can dispose of that, then. | 0:37:01 | 0:37:03 | |
"Then the beasts were prised apart at the breast, | 0:37:03 | 0:37:07 | |
"and they went to work on the grollicking again, | 0:37:07 | 0:37:10 | |
"writhing up on the front as far as the hindfork, | 0:37:10 | 0:37:13 | |
"fetching out the offal. | 0:37:13 | 0:37:14 | |
"Then, with further purpose, | 0:37:14 | 0:37:17 | |
"filleting the ribs in the recognised fashion." | 0:37:17 | 0:37:20 | |
See, that's fit for anyone. | 0:37:20 | 0:37:22 | |
Fit for a queen, it is! | 0:37:22 | 0:37:25 | |
"Its hind legs prised apart, they slit the fleshy flaps, | 0:37:25 | 0:37:30 | |
"then cleave and quickly start to break it down its back." | 0:37:30 | 0:37:34 | |
Just...snap. | 0:37:34 | 0:37:37 | |
Happy with that? | 0:37:37 | 0:37:39 | |
-Yeah. Thank you. -You're welcome. | 0:37:39 | 0:37:41 | |
-Have you washed your hands? -THEY CHUCKLE | 0:37:41 | 0:37:44 | |
On the third occasion, as well as giving him three kisses, | 0:37:49 | 0:37:53 | |
she offers him a ring, which he declines, but she then offers him a sash or a girdle. | 0:37:53 | 0:37:58 | |
A green girdle, which she takes off, and says to Gawain, "This is a magical girdle, | 0:37:58 | 0:38:04 | |
"and if you wear it, it will protect you against any evil." | 0:38:04 | 0:38:07 | |
And this is a young man who's about to have his head cut off. | 0:38:07 | 0:38:11 | |
And he looks at the sash and he thinks, "That might come in handy." | 0:38:11 | 0:38:15 | |
And he keeps it. | 0:38:15 | 0:38:17 | |
Sex, violence and death sit cheek by jowl in the poem. | 0:38:22 | 0:38:25 | |
You wonder what fate belies Gawain when Bertilak returns for one final time from the hunt. | 0:38:25 | 0:38:30 | |
He meets the master in the middle of the room, greets him graciously, | 0:38:33 | 0:38:38 | |
with Gawain saying, "I shall first fulfil our formal agreement, | 0:38:38 | 0:38:42 | |
"which we fixed in words when the drink flowed freely." | 0:38:42 | 0:38:46 | |
He clasps him tight and kisses him three times, with as much emotion as a man could muster. | 0:38:46 | 0:38:53 | |
Christmas is over. It's New Year's Eve. | 0:38:59 | 0:39:01 | |
It's time for Gawain to leave the comfort and safety of the castle, | 0:39:01 | 0:39:06 | |
to fulfil his promise with the Green Knight. | 0:39:06 | 0:39:09 | |
But he's broken his wager. | 0:39:09 | 0:39:11 | |
He's kept the green sash, and that sets up the fourth and final part of the poem. | 0:39:11 | 0:39:17 | |
Gawain now sets off in search of the mysterious green chapel | 0:39:24 | 0:39:28 | |
to confront his nemesis. | 0:39:28 | 0:39:30 | |
It's now that the poem's location can be identified | 0:39:30 | 0:39:33 | |
to an area of the Peak District | 0:39:33 | 0:39:35 | |
near the Staffordshire market town of Leek. | 0:39:35 | 0:39:38 | |
We know from dialect words in the poem that the author came from this part of the world. | 0:39:40 | 0:39:44 | |
And being here, in this locality, really brings the poem alive. | 0:39:44 | 0:39:49 | |
You get a keener sense of the poem from being among its place names | 0:39:49 | 0:39:53 | |
and its horizons and its landmarks, and also its people. | 0:39:53 | 0:39:56 | |
I want to find out how close I am to the language of the original poem, | 0:40:00 | 0:40:04 | |
and how much the language here differs from my own Pennine dialect. | 0:40:04 | 0:40:08 | |
So I've come to meet local farmers, Geoff Tunnicliffe and Ben Kid. | 0:40:08 | 0:40:12 | |
-Hi. Hiya. Is it Geoff? -Yeah. | 0:40:12 | 0:40:15 | |
Hiya, Geoff. Simon. Nice to meet you. | 0:40:15 | 0:40:17 | |
-Ben, is it? -Yeah. That's it. | 0:40:17 | 0:40:19 | |
Hiya. Nice to meet you. | 0:40:19 | 0:40:20 | |
One of the things about the poem is that it was written at the end of 14th century, | 0:40:20 | 0:40:24 | |
but they don't know who wrote it, but they think whoever it was came from this area. | 0:40:24 | 0:40:29 | |
-Aye. -Because some of these old dialect words which might be from round here. | 0:40:29 | 0:40:33 | |
-Can I just read them to you? -Yeah. | 0:40:33 | 0:40:35 | |
See if they mean anything to you? OK. What about the word "misey"? | 0:40:35 | 0:40:39 | |
That means "tight", in't it? | 0:40:39 | 0:40:42 | |
-Tight, like miserly? -Yeah. That's it. Yeah. Yeah. | 0:40:42 | 0:40:45 | |
-What about "mire"? -Mire? A mire is a brook, in't it? | 0:40:45 | 0:40:50 | |
Yeah, like a mire. | 0:40:53 | 0:40:55 | |
You know, like a pool, really. | 0:40:55 | 0:40:57 | |
Yeah. Like a swamp? | 0:40:57 | 0:40:59 | |
Like a swamp. That's what a mire is. | 0:40:59 | 0:41:02 | |
-That's what it is in the poem. -That's right. | 0:41:02 | 0:41:04 | |
What do you think, say in a couple of hundred years, what do you think will have happened to this dialect? | 0:41:04 | 0:41:10 | |
It'll be gone altogether, cos there's nobody, you know, there's no local left. | 0:41:10 | 0:41:15 | |
Your money men have come and bought these places, | 0:41:15 | 0:41:17 | |
and they just lose it, don't they? Cos there aren't many farms left now to what there used to be. | 0:41:17 | 0:41:22 | |
Last question. Aren't you cold?! | 0:41:22 | 0:41:26 | |
-No. -I am! -I am an' all! -THEY CHUCKLE | 0:41:26 | 0:41:29 | |
-I'm all right. -Where there's no sense, there's no feeling. | 0:41:29 | 0:41:32 | |
Yeah. He's dead right! Yeah. | 0:41:32 | 0:41:35 | |
I suppose it was too much to hope that they'd still be speaking fluent Middle English, | 0:41:39 | 0:41:44 | |
but there is another clue to the poem having its roots in North Staffordshire. | 0:41:44 | 0:41:48 | |
The area's very special landscape, dominated by rocky outcrops, known as the roaches. | 0:41:48 | 0:41:54 | |
"It looks a wild place, no sign of a settlement anywhere to be seen, | 0:41:56 | 0:42:01 | |
"but heady heights to both halves of the valley, | 0:42:01 | 0:42:04 | |
"and set with sabretooth stones of such sharpness, | 0:42:04 | 0:42:08 | |
"no cloud in the sky could escape unscratched." | 0:42:08 | 0:42:11 | |
Just across the valley from the roaches stand the ruins of the medieval Dieulacres Abbey. | 0:42:13 | 0:42:18 | |
As a centre of Christian learning, it could well be connected to the Gawain poem. | 0:42:20 | 0:42:25 | |
The author might even have been a monk here. Who knows? | 0:42:25 | 0:42:28 | |
A possible clue has been uncovered by local historians Doug Pickford and Father Michael Fisher. | 0:42:28 | 0:42:34 | |
The abbot was a considerable landowner in the community, and they | 0:42:34 | 0:42:38 | |
had bands of servants, retainers, some of whom got up to no good, | 0:42:38 | 0:42:42 | |
and they picked a quarrel, or they had a quarrel with a local man named John Walton, and he was killed. | 0:42:42 | 0:42:49 | |
Several of these abbots' retainers struck blows | 0:42:49 | 0:42:53 | |
and stuck swords in him, | 0:42:53 | 0:42:54 | |
but the coup de grace was when they beheaded him. | 0:42:54 | 0:42:58 | |
And this beheading, around about 1379, may or may not | 0:42:58 | 0:43:01 | |
have influenced the Gawain story, which has the beheading game as a centrepiece. | 0:43:01 | 0:43:05 | |
Absolutely. The poem is famously anonymous, and it's unlikely that an author will ever be named, | 0:43:05 | 0:43:12 | |
but if you were to try and build up a portrait or a profile of somebody from that | 0:43:12 | 0:43:18 | |
period of history who could have written such a poem, | 0:43:18 | 0:43:21 | |
what kind of man, what kind of person would that be? | 0:43:21 | 0:43:25 | |
I feel, first of all, that he was a local man to be able to | 0:43:25 | 0:43:29 | |
write it in the local dialect, so he was aware of the local dialect. | 0:43:29 | 0:43:33 | |
-Scholarly? -Scholarly, undoubtedly. | 0:43:33 | 0:43:36 | |
-And as I said before, probably a bit of an impish man, I'd like to feel that he was, you know. -In what sense? | 0:43:36 | 0:43:42 | |
Because I do think he's having a go, number one, at the abbot, somewhere in the beheading, | 0:43:42 | 0:43:47 | |
and there's so many little things, satirical things, that he brings into it. | 0:43:47 | 0:43:52 | |
And it would take a very clever person. | 0:43:52 | 0:43:55 | |
And of course, I think I'm correct, the monks were probably the only | 0:43:55 | 0:43:58 | |
educated people, weren't they, at that time? | 0:43:58 | 0:44:01 | |
Yes. I think that's right. Yes. | 0:44:01 | 0:44:02 | |
-Smart. Mischievous. -Yes. | 0:44:02 | 0:44:05 | |
-And local. -I would say so. | 0:44:05 | 0:44:07 | |
-Good qualities for a poet, I would say! -Indeed! | 0:44:07 | 0:44:09 | |
I'm spending the last night of my Gawain odyssey | 0:44:20 | 0:44:23 | |
in a small climber's cottage hewn out of the roaches themselves. | 0:44:23 | 0:44:27 | |
A suitably odd and creepy place to stay the night before | 0:44:33 | 0:44:37 | |
going off to find the green chapel in the morning. | 0:44:37 | 0:44:40 | |
Being in this part of the world, retracing these steps, | 0:44:47 | 0:44:50 | |
leads you closer to the atmosphere of the original poet somehow. | 0:44:50 | 0:44:54 | |
It makes you feel a sort of kinship, I think. | 0:44:54 | 0:44:58 | |
And, I guess, when you translate something, that's what you're after. | 0:44:58 | 0:45:02 | |
You're trying to harmonise with this old text. | 0:45:02 | 0:45:06 | |
I also recognise, I think, in the author of the poem, | 0:45:09 | 0:45:12 | |
somebody who doesn't really have a moral message to give us. | 0:45:12 | 0:45:18 | |
He's not somebody with a dogmatic message, | 0:45:18 | 0:45:21 | |
a sort of fixed view of the world. | 0:45:21 | 0:45:23 | |
The poem is much better than that. | 0:45:23 | 0:45:25 | |
It's far more playful. | 0:45:25 | 0:45:27 | |
"Alert and listening, Gawain lies in his bed. | 0:45:29 | 0:45:33 | |
"His lids are lowered but he sleeps very little, as each crow of the cock brings his destiny closer." | 0:45:33 | 0:45:41 | |
-Good morning. -You all right? -I'm well. How are you? -Good, thanks. | 0:45:41 | 0:45:45 | |
The next morning, Doug picks me up to guide me towards the green chapel, | 0:45:45 | 0:45:50 | |
sometimes thought to be the strange geological formation Lud's Church. | 0:45:50 | 0:45:54 | |
"Then he went on his way with the one whose task was to point out | 0:45:56 | 0:46:00 | |
"the road to that perilous place where the knight would receive the slaughterman's strike. | 0:46:00 | 0:46:06 | |
"They scrambled up bankings where branches were bare, clambered up cliff faces crazed by the cold. | 0:46:06 | 0:46:13 | |
"The clouds which had climbed now cooled and dropped, so the moors and the mountains were muzzy with mist. | 0:46:13 | 0:46:21 | |
"And every hill wore a hat of mizzle on its head." | 0:46:21 | 0:46:25 | |
A great many of the nature beauty spots in this country do have magic and religion, | 0:46:30 | 0:46:36 | |
sometimes primitive religion, associated with them, and these peaks are no exception. | 0:46:36 | 0:46:43 | |
So they're beautiful, and they're a bit spooky as well. | 0:46:43 | 0:46:47 | |
You can see the boardstone just up there. | 0:46:50 | 0:46:52 | |
-The boardstone is an ancient structure, said to have magical powers. -Good to see you. | 0:46:53 | 0:46:58 | |
-We've arranged to meet local pagan Chris Brown at the stone. -Simon. | 0:46:58 | 0:47:04 | |
-Simon. Hi. -Nice to meet you. | 0:47:04 | 0:47:06 | |
Brought you a little gift, there. | 0:47:06 | 0:47:09 | |
Oh, thank you very much. I'll pop this on the stone. | 0:47:09 | 0:47:12 | |
Is this a pagan site? | 0:47:12 | 0:47:15 | |
It's a site that's significant to members of the pagan community round here. | 0:47:15 | 0:47:20 | |
It's obviously an erection that goes back to ancient times, | 0:47:20 | 0:47:24 | |
and one of the tenants of the pagan faith is keeping the old ways alive. | 0:47:24 | 0:47:28 | |
But, of course, the Christian church use it as well as a healing stone. | 0:47:28 | 0:47:32 | |
Sick people were brought up until the 1940s, the Second World War, | 0:47:32 | 0:47:37 | |
and they had to crawl underneath it to knock the devil off the back. | 0:47:37 | 0:47:40 | |
I don't think I'll bother today! | 0:47:40 | 0:47:43 | |
Is there a pagan element to The Green Knight? | 0:47:43 | 0:47:46 | |
With it taking place in Lud's Church, which is an absolutely | 0:47:46 | 0:47:49 | |
awesome place, to a pagan, you're actually going into the ground, | 0:47:49 | 0:47:52 | |
you're going into the great earth mother, you're offering yourself, | 0:47:52 | 0:47:56 | |
if you like, to the great earth mother. | 0:47:56 | 0:47:58 | |
So it is a thing that would have great pagan significance, yes. | 0:47:58 | 0:48:01 | |
-We're on our way. -All right. Yeah. | 0:48:01 | 0:48:03 | |
-Cheers, Chris. -See you. -Bye. | 0:48:03 | 0:48:05 | |
'So it seems as if primitive religion is alive and well on the wet and windy roaches. | 0:48:05 | 0:48:11 | |
'It's as if the Gawain poet's reeling us in to the heart | 0:48:11 | 0:48:14 | |
'of a pagan landscape, where the climax of the poem will be played out.' | 0:48:14 | 0:48:19 | |
Here we are at a windswept Doxey Pool, the site of many a legend. | 0:48:19 | 0:48:25 | |
-It's a pretty miserable place! -Yeah. | 0:48:25 | 0:48:29 | |
Which direction for Lud's Church? | 0:48:31 | 0:48:33 | |
Right. Well, we're turning over there. Just keep following the path | 0:48:33 | 0:48:36 | |
down to the valley and turn left through the woods, and good luck. | 0:48:36 | 0:48:39 | |
Thanks, Doug. Cheers. All right. | 0:48:39 | 0:48:40 | |
-Ta-ra. -OK. -See you. Bye. | 0:48:40 | 0:48:43 | |
"And his servant lifts his shield, which he slings on his shoulder | 0:48:43 | 0:48:48 | |
"The place you head for holds a hidden peril | 0:48:48 | 0:48:53 | |
"In that wilderness lives a wild man, the worst in the world | 0:48:53 | 0:48:58 | |
"He is brooding and brutal and loves bludgeoning humans." | 0:48:58 | 0:49:02 | |
It's almost a comic moment in the poem, | 0:49:05 | 0:49:08 | |
when the guide finally brings Gawain towards the Green Chapel. | 0:49:08 | 0:49:14 | |
He seems to be saying to him, "If you want to chicken out now, | 0:49:14 | 0:49:17 | |
"that's fine, I won't tell, it'll be OK." | 0:49:17 | 0:49:21 | |
But Gawain, um, because he's determined and he has faith, | 0:49:21 | 0:49:26 | |
he's going to carry on, and so am I. | 0:49:26 | 0:49:29 | |
I'm within striking distance now, and I'm looking forward | 0:49:29 | 0:49:32 | |
to getting into Lud's Church, er, if only for a bit of shelter. | 0:49:32 | 0:49:36 | |
At least it's not as wet here. | 0:49:58 | 0:50:02 | |
I've dried out a bit down inside this valley. | 0:50:02 | 0:50:05 | |
I've been trying to use the poem as a map. | 0:50:05 | 0:50:08 | |
There are references to various landmarks and places here. | 0:50:08 | 0:50:12 | |
He says, "He presses ahead, picks up a path, | 0:50:12 | 0:50:15 | |
"enters a steep-sided groove on his steed, then goes by and by to the bottom of a gorge." | 0:50:15 | 0:50:20 | |
And then there's reference as well to a river. | 0:50:20 | 0:50:23 | |
"A sort of bald knoll on the bank of a brook | 0:50:23 | 0:50:27 | |
"where fellwater surged with frenzied force." | 0:50:27 | 0:50:31 | |
I don't know. It could be here. | 0:50:31 | 0:50:34 | |
It's not exactly the Ordnance Survey. | 0:50:34 | 0:50:38 | |
Of course, Gawain would have been pretty terrified at this point. | 0:50:46 | 0:50:50 | |
He's about to meet his destiny. I'm looking forward to it. | 0:50:50 | 0:50:53 | |
I think, for me, there's a sense of achievement and excitement | 0:50:53 | 0:50:57 | |
in getting here, but then again, I'm not gonna have my head cut off. | 0:50:57 | 0:51:00 | |
As far as I know. | 0:51:00 | 0:51:02 | |
There's a marker here on the wall, "Lud", so that's pretty unambiguous. | 0:51:14 | 0:51:19 | |
And, er... | 0:51:19 | 0:51:21 | |
I guess this is where you go in. | 0:51:21 | 0:51:25 | |
Bit of a scramble up these steps. | 0:51:26 | 0:51:29 | |
Very wet and damp. | 0:51:29 | 0:51:33 | |
Even at this point, it feels cold. | 0:51:35 | 0:51:39 | |
It's a couple of degrees colder already. | 0:51:39 | 0:51:42 | |
'This truly feels like a suitably pagan site. | 0:51:44 | 0:51:48 | |
'Lud is actually the Celtic sun god, and if this were the inspiration | 0:51:48 | 0:51:52 | |
'for the Green Chapel, it would certainly make sense.' | 0:51:52 | 0:51:55 | |
"For certain," he says, "this is a soulless spot, | 0:52:10 | 0:52:14 | |
"A ghostly cathedral overgrown with grass, the kind of kirk where | 0:52:14 | 0:52:20 | |
"that camouflaged man might deal in devilment and all things dark." | 0:52:20 | 0:52:24 | |
Gawain has now walked hundreds of miles across open land, | 0:52:28 | 0:52:32 | |
and suddenly, the walls are narrowing. | 0:52:32 | 0:52:35 | |
He's walked into a trap. It's a dead end up there, | 0:52:35 | 0:52:38 | |
and he stands here and he listens, and he calls it ghostly and he calls it soulless. | 0:52:38 | 0:52:43 | |
And then suddenly, he hears an axe being sharpened on a rock. | 0:52:43 | 0:52:49 | |
"Abide, came a voice from above the bank | 0:52:52 | 0:52:56 | |
"You'll cop what's coming to you quickly enough" | 0:52:56 | 0:53:00 | |
"Yet he went at his work, wetting the blade, | 0:53:00 | 0:53:04 | |
"not showing until it was sharpened and stropped." | 0:53:04 | 0:53:08 | |
So the Green Knight appears at the top | 0:53:12 | 0:53:15 | |
and makes his way down here with his axe, | 0:53:15 | 0:53:19 | |
and Gawain must keep his promise, and he offers his neck. | 0:53:19 | 0:53:24 | |
And we might think that this is probably the end for our hero, but... | 0:53:24 | 0:53:30 | |
he's concealed about his person | 0:53:30 | 0:53:33 | |
the green sash given to him by the lady in the castle. | 0:53:33 | 0:53:39 | |
And if her word is true, this is going to keep him from harm. | 0:53:39 | 0:53:46 | |
As with so many things in the poem, the next scene comes in threes. | 0:53:53 | 0:53:58 | |
The Green Knight tries to behead Gawain on three occasions. | 0:53:58 | 0:54:01 | |
The first time, Gawain ducks out of the way. | 0:54:01 | 0:54:04 | |
The second time, the Green Knight misses. | 0:54:04 | 0:54:06 | |
And the third time, he just nicks him on his neck. | 0:54:06 | 0:54:09 | |
He just sheds a little bit of blood. | 0:54:09 | 0:54:12 | |
And then Gawain escapes with his life. | 0:54:12 | 0:54:14 | |
"Gawain leapt forward a spear's length, at least, | 0:54:17 | 0:54:20 | |
"grabbed hold of his helmet and rammed it on his head, | 0:54:20 | 0:54:23 | |
"brought his shield to his side with a shimmy of his shoulder, | 0:54:23 | 0:54:26 | |
"then brandished his sword before blurting out brave words, because never, since birth, | 0:54:26 | 0:54:32 | |
"as his mother's babe, was he half as happy as here and now." | 0:54:32 | 0:54:37 | |
All the threads of the poem are pulled together at this point. | 0:54:47 | 0:54:52 | |
The Green Knight reveals to Gawain that he was Bertilak. | 0:54:52 | 0:54:56 | |
He was the lord and master of the house with the big, bushy, red beard, | 0:54:56 | 0:55:01 | |
and that it was his wife who was sent to tempt and to trick Gawain. | 0:55:01 | 0:55:06 | |
And Gawain's full of shame and embarrassment for not revealing that | 0:55:06 | 0:55:12 | |
he'd received this sash, this girdle, from the lady. | 0:55:12 | 0:55:17 | |
But the Green Knight tells Gawain that he is a good man, and that's why he's being allowed to live. | 0:55:17 | 0:55:23 | |
So, fully humiliated, and with his tail between his legs, | 0:55:23 | 0:55:28 | |
Gawain now makes his way back to Camelot to explain his quest to the round table. | 0:55:28 | 0:55:35 | |
'So the Green Knight might be a terrifying, monstrous creation, | 0:56:02 | 0:56:06 | |
'but in testing Gawain, it teaches the young knight | 0:56:06 | 0:56:09 | |
'a lesson in humility, one that he'll never forget.' | 0:56:09 | 0:56:13 | |
'When we're young, like Gawain, we make big statements | 0:56:15 | 0:56:18 | |
'about what we're gonna do in our life, what we hope to achieve, | 0:56:18 | 0:56:21 | |
'and then we've to set about trying to put those things into practice. | 0:56:21 | 0:56:25 | |
'And, in that sense, I think this is a poem, I suppose, | 0:56:25 | 0:56:29 | |
'to use the cliche, about the journey of life, | 0:56:29 | 0:56:32 | |
'and whether we can arrive at the destination that we declare.' | 0:56:32 | 0:56:36 | |
I'm back at Camelot. I suppose I've come full circle, | 0:56:47 | 0:56:50 | |
just as the poem turns full circle as well. | 0:56:50 | 0:56:54 | |
One thing I've been thinking about across this journey is | 0:56:54 | 0:56:58 | |
the idea of something lasting for 600 years. | 0:56:58 | 0:57:01 | |
I mean, it's a pretty remarkable thing. | 0:57:01 | 0:57:04 | |
It's not just that it's a fantastic story or a wonderful piece of writing, which it is. | 0:57:10 | 0:57:15 | |
It's because we can all see a bit of ourselves in Gawain. | 0:57:15 | 0:57:19 | |
And so in that sense, it's a poem about the individual, | 0:57:20 | 0:57:23 | |
and if you can write a poem about the individual | 0:57:23 | 0:57:26 | |
that appeals to the individual, | 0:57:26 | 0:57:28 | |
then you're going to appeal to absolutely everybody. | 0:57:28 | 0:57:31 | |
It's been an eye-opening and mind-expanding journey, | 0:57:35 | 0:57:38 | |
quite literally full of ups and downs, | 0:57:38 | 0:57:41 | |
and I've been doing a little bit of writing of my own along the way, because that's what poets do. | 0:57:41 | 0:57:46 | |
"Time now to rise, | 0:57:48 | 0:57:50 | |
"to strike out with clenched heart and no map, bar the view from the peak, | 0:57:50 | 0:57:56 | |
"where the west wind pummels your cheeks, | 0:57:56 | 0:57:59 | |
"leads with its granite fists | 0:57:59 | 0:58:01 | |
"Days of rain, rain that permeates the bone | 0:58:01 | 0:58:06 | |
"Personal rain, persecuting the soul | 0:58:06 | 0:58:09 | |
"Days when the promised lake is a dishwater pond | 0:58:09 | 0:58:13 | |
"run from a grey cloud onto a dead hill | 0:58:13 | 0:58:16 | |
"Eat what the rook or crow leaves on its plate | 0:58:16 | 0:58:20 | |
"Bed down where even the fox won't sleep | 0:58:20 | 0:58:24 | |
"Till the way narrows and holts, | 0:58:24 | 0:58:27 | |
"and you wait in armour or anorak under the ridge | 0:58:27 | 0:58:30 | |
"With a campfire tan and hedgerow hair, | 0:58:30 | 0:58:34 | |
"and a God looks down, silent, stony-faced, | 0:58:34 | 0:58:38 | |
"bearded with living moss | 0:58:38 | 0:58:40 | |
"This is the place | 0:58:40 | 0:58:42 | |
"The journey over, and the story told | 0:58:42 | 0:58:45 | |
"The yarn at the end of its long, green thread | 0:58:45 | 0:58:49 | |
"Speak now for all that you're worth, as the blade | 0:58:49 | 0:58:53 | |
"swoons in judgement over your pretty head." | 0:58:53 | 0:58:56 | |
Subtitles by Red Bee Media Limited | 0:58:58 | 0:58:59 | |
E-mail [email protected] | 0:58:59 | 0:59:01 |