'Syngne,' 'Conysaunce,' 'Deuys': Three Pentangles in "Sir Gawain and the Green Knight"

Author(s): LAURA F. HODGES

Source: Arthuriana, Vol. 5, No. 4, ARTHURIAN ARMS AND ARMING (WINTER 1995), pp. 22-31
Published by: Scriptorium Press
Stable URL: http://www.jstor.org/stable/27869145
Accessed: 20-01-2016 22:19 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.

Scriptorium Press is collaborating with JSTOR to digitize, preserve and extend access to Arthuriana.

http://www.jstor.org

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
 22

'Syngne,' 'Conysaunce/ 'Deuys':

Three Pentangles in
Sir Gawain and the Green Knight

LAURA F. HODGES

Linguistic evidence and knowledge of heraldic diction reveals that Gawain

displays three pentangles in his arms and dress, a fact previously obscured

by editorial glosses and either forgotten or overlooked by scholars. (LFH)

as it may be to many familiar with Sir Gawain and

surprising
As the Green Knight,1 there are not one, not two, but three pentangles
described in this poem.
InAbout Arthurian Armings, for War and for Love/

(pp.10?14), Helmut Nickel mentions the celebrated on Gawain s

pentangle
shield (619-65) and two additional pentangles2 that have either been forgotten
or overlooked
by critics of SGGK. That the Gawain-potz describes Gawain
arms and costume is
displaying three pentangles in his supported bymedieval
English, French, and Anglo-Norman linguistic evidence. Further, the analysis
of this evidence suggests that editorial glosses have previously diverted attention
both from the second pentangle on Gawain's cote-armure (636-37) and from
the third on the circlet worn on his helmet (615-17).
a second
Although it isoften overlooked, theGawain-poet plainly describes
pentangle. He mentions the 'ryche cote-armure (586) in the first arming scene,
then further delineates this garment:

For|)y \>epentangel nwe

He ber in scheide and cote (636-37)

[Therefore (because Gawain was the epitome of spiritual and chivalric perfection),
he displayedthenewpentangle(thesignofperfection)on (his) shieldand surcoat
(coat-armor)3]

and in the second arming scene:

His cote wyth \>econysaunce of \>eclerewerkez

Ennurned veluet, vertuus stonez
vpon

ARTHURIANA 5.4 (1995)

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
 THREE PENTANGLES IN SGGK 23

Aboute beten and bounden... (2026-28)

[His surcoat with the identifying device (design, i.e. the pen tangle) of perfectly
worked embroidery(signifyingperfectioninboth designandworkmanship)on
velvet,(having)powerfulprotective(againstbodilyand spiritualills)gemstones
set in, (around the device.)^]
surrounding

Lines 636-37 make it clear that the conysaunce of line 2026 is the pentangle
device. 5

Perhaps readersmiss this information because of the distraction of editorial

comment. Editors
generally gloss line 586with the information that the cote
armure is a cloth tunic worn over the armour and embroidered with his
[Gawain's] heraldic device' (Waldron; cf.Cawley and Anderson).6 In addition,
some translators, no new as to
offering insights specific design here, provide
for line 586 readings such as 'surcoat blazoned bold* (Borroff), 'Coat-armor
of the best' (Gardner), and costly coat-armour' (Winny). The usual heraldic
device, as suggested by editorsWaldron, Cawley, and Anderson, would be, in
this case, theOrkney family coat of arms (see also Tolkien and Gordon n62o;
Vantuono n620-65). The Orkney arms display the two-headed eagle.? Nickel
agrees with the usual editorial glossing of line 586 that the cote-armure normally
a heraldic device as an expert on armor,
displays (p.11). Nevertheless, reading
he depicts in his fig. 3 the information provided by the Gawain-poet in lines
636-37 and 2026-28?that the design on the cote-armure, the conysaunce, is
the pentangle rather than the Orkney eagle. Similarly, translators mention
the presence of the pentangle on both shield and surcote in lines 636-37.
Nevertheless, they do not make this knowledge clear in their translations of
line 2026. The pertinent phrase is translated as 'the cognizance of the clear
symbol' (Tolkien), coat with blazonry (Williams), 'sign of pure spotlessness'
(Finch), 'its [the coats] crest a bright blazon (Harrison), crested coat-armor'
(Boroff), 'crest' (Gardner), and 'badge' (Winny).8 Tolkien's and Finch's
descriptions obviously describe the pentangle symbolically, but, plainly, readers
fail to interpret these metaphors as the pentangle.
on the
While concentrating image of the shield and its pentangle, then,
readers frequently overlook the second pentangle on the cote-armure, although
the poet makes it plain enough, as do translators.While some editions lack
two distractions, admittedly, have been the
glosses for this second pentangle,
an heraldic device decorates
editorial suggestion that the cote-armure,
mentioned earlier, and the glosses that suggest and focus on the newness of
the design or its recent painting on the shield. R. A. Shoaf s comment that
Gawain's shield, and thus the pentangle as a sign, 'disappear[s] from the poem
after its lengthy introduction' and his subsequent remarks about the absence

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
24 ARTHURIANA

of this sign in the remainder of the poem (6-7) indicate the extent to which
readersmiss the pentangle on Gawain's cote-armure. Similarly, Geraldine Heng
states,'[A. Kent] Hieatt astutely notices that the pentangle, mentioned once
and never again, is something of a decoy, a tactical diversion (504), and adds
the explanation: 'The "conysaunce of J)eclerewerkez /Ennurned vpon veluet"
(2026-27) [ the cognizance of the clear symbol upon velvet'9] might or might
not refer to the no earlier mention that the
pentangle, since there is pentangle
is displayed anywhere except on Gawains shield' (5iini4). Further, Clare R.
Kinney10 obviously misses the description of this second pentangle, noting
'that the account of his rearming before his departure for the Green Chapel
makes no mention of the pentangle' (53). In addition, Donald K. Fry's line

drawing of the armed Gawain demonstrates that he, too, has missed the textual
references to the pentangle on Gawains surcoat (204). Although medievalists
often have read right over the cote-armure pentangle,11 theVantuono glosses
for lines 620-65, 2011-42, 2025-36 may redress this oversight, for they

acknowledge the pentangle on Gawains cote-armure, and cite earlier critics

who mention this pentangle.
The on Gawain's surcoat is
pentangle indisputable and has been noticed
a
previously. Nickel, however, suggests third pentangle located in the following
passage:
watz more o
f)e cercle prys

J?atvmbeclypped hys croun,

Of diamauntez a ....
deuys (615-17)

[The circlet that ringed his head was more valuable (because it bore) a device

(identifying design) made of diamonds.12]

This pentangle, unnoticed until now, brings the count to three. The

significance of three pentangles complements and reinforces the poem's triadic

organization of Gawain's stay at Castle Hautdesert inwhich Bertilak hunts
three different animals, and Gawain is tempted three times and offered three
over a
gifts by Bertilak's lady, all three-day period. Further, the presence of
three pentangles worn in three different places on his costume stands in

opposition to the green girdle imagery.The girdle appears in three scenes?

the bedroom temptation scene, the second arming scene, and the green chapel
scene. Moreover, the green worn
girdle is respectively in three differentways:
from to Gawain's
passed Bertilak's Lady hand, wrapped horizontally around
Gawain's body, and finally, draped diagonally as a baldric across his body.
as an armor expert, Nickel
Reading straightforwardly posits the presence
of a device on Gawain's circlet. His phrase 'more likely' refersonly to the two
choices of device to be considered. The mean
possibility that 'deuys' might

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
 three pentangles in SGGK 25

motto' is negligible since Gawain's war cry would be out of place in this
poem. Nickel interprets the text depiction of the diamond circlet: 'These
diamonds are set to form "a devys." This could be his war cry or motto (Fr.
devise): organie organie ... ,or more
likely his badge, the pen tangle he also
bears on his shield' (13). Clearly, Nickel reads a devys' as the English article 'a
noun: 'devys.'
plus
Editors have read these rwo words variously. They had a choice between
a deuys' as either French or as
reading prepositional phrase English article
noun, and made an arbitrary choice. Their direct attention
plus they glosses
some even a a a
(and to extent determine it) toward reading of deuys' as
French prepositional phrase meaning perfection,' understood to mean that
the diamonds are perfect. Tolkien and Gordon define 'deuys n.' in a deuys' as
'OFr. a devis, at ones desire, perfect,' while Waldron glosses the phrase 'Of
a as
diamauntez deuys' (617) meaning 'perfect {a devys) diamonds.' And in
this case Vantuono provides
no
gloss except
to discuss the color of the diamonds
in line 618.
as translator, on the other hand,
Gardner, provides for lines 615-18:
But greater yet the price
Of the circlet round his crown:
A rich and raredevice
Of diamonds dripping down_

Gardner depicts the diamonds in a design, but does not specify the nature of
the design; he makes no concrete attempt to support the idea of'perfecrion'
except in the sense of 'rich and rare.' Similarly vague as to type of design,
Williams translates, A circlet of great price' and 'ofdiamonds itsdevice,' and
Finch gives 'a kind of crown... With Diamonds up and down.' In contrast,
Borroff s translation of these linesmentions no design:

The diadem costlier yet

That crowned that comely sire,
With diamonds richlyset,
That flashed as ifon fire.

And Winny's translation provides the image of a 'circlet' made of 'perfect

diamonds,' as does Tolkien's,1^ while Vantuono's translation emphasizes the
value of the circlet. LikeWilliams and Gardner, Harrison's translarion, although
less specific, agrees wirh Nickel's idea that 'devys' should not be read as the
French idiom a devis, but rather as an English article 'a' plus 'deuys,' a
a blazon:
'conysaunce,'

The circlet round his crown

Is even more precious, though;

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
26 ARTHURIANA

Its device of diamond-stone,

Burns with a dusky glow.

Nickels statement that it is 'more likely that Gawains circlet bears a

pentangle device of diamonds is supported by contemporary social custom,

as illustrated in medieval visual arts. Numerous illuminations in medieval

manuscripts support the idea that Gawains chosen device, the pentangle
on shield and surcoat, should be
displayed repeated elsewhere in his array,
such as on the circlet. In the Luttrell Psalter,^ the illumination of Sir Geoffrey
Luttrell reveals his identifying device on every possible surface: pennant, helm
crest, surcoat, ailettes, shield, horse trapper, saddle, as well as his wife's and
daughter-in-law's gowns. Such designs
were as a matter of course
incorporated
on the crest of helmets worn for peace. a number of
Lightbown describes
circlets featuring such signifying devices included in inventories of jewels (112
13).
Dictionaries, too, sustain and offer additional proof forNickel's reading:
The MED defines 'devis' [OF devis & devise] as 'An artistic design' (4a) and as
'a heraldic design, device' (4b).15 Similarly, the Anglo-Norman Dictionary
17
provides 'device [design] (on Roman shield);16 (her.) blazon [heraldic device].
Moreover, Greimas gives 'blason' as the third definition18 of the masculine
noun 'devis,' in use as early as the end of the twelfth century in Cour. Louis.
For the feminine noun 'devise,' the second definition provided is 'Ce qui

distingue, difference, signe distinctif.'1^ In this definition of 'devise,' the

important idea is the distinctive sign which distinguishes one knight from
another, that sign bywhich he isknown. And this idea is repeated inGodefroy's
first defininition for 'devis, dyvis, s. m.' in the sense of 'Diff?rence'
[difference].20 Godefroy also lists 'devise, -ize, divise, s. f.' in the sense of
'Livr?e, couleurs' (def. 2) [livery (distinctive uniform), colors (heraldic
colors)].21 The OED repeats Godefroy's definition no. 2, and adds, An
emblematic figure or design, esp. one borne or adapted by a particular person,
a a
family, etc., as heraldic bearing, cognizance, etc.: usually accompanied by
a motto' (9).22
'Device' is defined variously above, in the sense of heraldic device (family
coat of arms), as emblematic or as or as cognizance. It is
figure design, badge,
evident that readers may see Gawains pentangle as:
'|>e conysaunce' (2026),
'deuys' (617), 'syngne' of Soloman's 'traw{)e' (625-26), 'figure' (627), 'J>eendelez
knot' (630), or as all of the foregoing. They are the same?the pentangle is
Gawain's badge of identification in this poem. However, acceptance of the
evidence of these dictionary definitions and examples given above does not
argue for totally abandoning the editors' traditional glosses for 'adeuys.' Instead,

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
 THREE PENTANGLES IN SGGK 27

serve not a as an
they should only as valuable and equal supplement, but also
aid to deeper insight into the poets artistry.We cannot now know if early
editors of SGGKwere thoroughly cognizant of the technical terminology of
armor and heraldry, but we may be certain that fourteenth-century poets
such as the Gawain-poct knew this language as common currency.And in the
medieval was often used to mean the artistic
period, clearly, 'deuys' design
that identified the bearer. Such a poet using this termwould recognise rhat
heraldic associations would be among those evoked by this choice of diction.
The ungrammatical construction of lines 515-18 leaves the reader/listener
free to as a noun, or as an
interpret 'deuys' heraldically descriptively adjectival
in thatwas derived fromOld French, or as both at once. Thus,
phrase English
scholars should keep both definitions inmind: the pictorial, identifying sign
of the pentangle, and the idea of perfection manifest in the circle and in rhe
diamonds. A mixing of rhe two ideas achieves a more complex metaphor in
which the pentangle is seen as the symbol of perfection, and a sign set in
diamonds of many hues, perfect gemstones, in a circlet on Gawains helm,23
the literal and figurarive protection2^ for his head and his life,as well as of his
moral srance and behavior. to
Significantly, according Lightbown, diamonds
bestowed upon the wearer strength and power (enhanced if the stones were
mounted in gold, silver, or steel) against enemies, savage men, in disputes,
and in quarrels.2* Gawains head, thrice protected by sign, diamonds, and
helme, is, after all, that part of his anatomy that is particularly imperiled in
his forthcoming encounter with the Green Knight. This multiple image of

pictorial device symbolizing perfecrion and made of apotropaic gems, far richer
than the received inrerpretation which limits a deuys' to the definition of the

prepositional phrase specifying the perfect quality of the diamonds, gives

sets up the central question of this
expanded meaning to prys' (615), for it
poem: What price will Gawain pay to live up to this ideal of perfection that,
in and of itself, is valuable beyond all monetary consideration? The Gawain

poet underscores the importance of this question in his rhyme of 'prys' and
stresses the importance of
'devys' in lines 615-17. This end rhyme links and
both nouns and produces an image of the circlet with its device that has
intrinsic value, natural and supernatural.
This essay offers further proof from grammatical analysis, social custom as

depicted in the visual arts, and linguistic evidence supplied by dictionaries of

medieval French and English to add toNickels statement a 'likely'
regarding
third pentangle. And, what is significant about the /?rrcpentangles inSGGK?
First, acknowledging the presence of this triad of pentangles highlights the
problem of editorial choices which set, and sometimes limit interpretation.

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
28 ARTHURIANA

Further, such recognition underscores the importance invested in this sign by

the poet initially in his long description of Gawains arming before starting
his quest where the device ismentioned three times and secondarily through
scene at Hautdesert. Most
repetition of the sign in the second arming
to assume their rightful
important, such recognition allows these pentangles
and significant place in our understanding of the poems imagery.

HOUSTON

Laura F. Hodges (rsch2909@cl.uh.edu)received her Ph.D. from Rice University in

1985. She has published articles on John Steinbeck's rewriting ofMalory in The Acts

ofKing ArthurandHis Noble Knights^on spinningimageryin the

WakefieldMaster's
cum Filiis, on costume rhetoric in Chaucer's
Processus Noe portraits of theMonk,
theWife of Bath, and the Knight, and is currently writing a book on costume
rhetoric in Chaucer's to the
General Prologue Canterbury Tales.

NOTES

I wish to thankGretchen Mieszkowski, Lorraine Stock,Michelle Wright, and

Michael Twomey who read earlydraftsof thisnote for theirhelpful questions and
insights.

1 Quotations fromSGGK&re from theTolkien and Gordon edition unless

otherwise specified.
2 Nickel's technical and explanatory approach describes the process of donning
armor, the function of each piece, as well as its traditional decoration, and his
linedrawings serve the same purpose. He does not say thatGawain, when armed,
surcoat
displays threepentangles. Nevertheless, his mention of the shield and
pentangles and the likelihood of the circlet pentangle makes it clear that in the
Nickel sees three
Gawain-poets descriptions, pentangles.
3 Translations (withglosses inparentheses), aremy own unless otherwise indicated.
4 It is unclear whether 'aboute' means that the jewels are arranged in a circle,
scattered throughout this design, or are scattered in the surrounding area. A
circle, as a symbol of perfection,would be themost symbolically appropriate .
5 The MED defines 'conissaunce' as Any device, emblem, or badge by which a
a etc., are made known; ... a
knight's allegiance, sovereign's identity pennon
with such a device' (def. 2a-b), and gives as an example, 'His cote wyth \>e
conysaunce of J)eclerewerkez' (SGGK 2026); also '"What is hus conysaunce,"
qua{) ich, "in hus cote-armure?'" {PPl.C [Hnt] 19.188).
6 Vantuono does not gloss this line.
7 See Pastoureau's description of arms no. 83, pp. 69-70, and line drawing p. 66;
also no. 118, p. 84.

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
 THREE PENTANGLES IN SGGK 29

8 This is a representative listof translatorsand translations surveyed, rather than

an exhaustive list.

9 Tolkien's translation.No translationwas supplied byHeng.

10 My thanks toNina Rulon-Miller for this reference.
it This is not the case with translatorswho necessarily have read these lineswith
attention to each word.
given
12 Lines 615-18 do not make a complete
grammatical sentence as written by the
or
Gawain-poet. Those who translate gloss have found itnecessary to treat these
lines variously: 1) as an ungrammatical sentence
fragment,
or 2) as a sentence
which theycomplete by adding extrawords to achieve grammatical correctness.
The choices in such emendations, however objective the intentions,necessarily
reflectan editor s reading of thepassage.
13 He uses the phrase 'The diamonds point-device/ The MED defines the
prepositional phrase at point devis' as perfectly,neatly, clearly' (6a). However,
a devis' isdefined as of the best' (6e), and the example
given for this isSGGK
617.
14 BL Additional MS 42130, fol. 202V,dated 1320-1340.
15 An example provided for def. 4b is '(ai42o) Lydg. TB 2.8236:WorJ)i kny^tes
freschelyarmyd new,With diuises ofmany sondri hewe.' It isunclearwhy editors
of SGGKhzve arbitrarilychosen not to define or gloss deuys according toMED
definitions 4a or b. Instead, theyhave provided theMED definition for 'devis'
used in the prepositional phrases at devis' (6a), 'at point devis'(6c), meaning
'perfectly,neatly, clearly'; and 'a devis' (6e), meaning 'of the best.' The example
for def. 6e is line 617 SGGK. If theMED derived the denotation of'a devis' in
line 617 fromTolkien's note, later editorsmay have simply been caught up in
circular reasoning.
16 Giving the example, 'le devis de lor escuz [citing]VEG 3or' [device of their
shield].Translations of examples fromdictionaries aremy own unless otherwise
indicated.

17 Providing the example, 'Et puys des armes ledevis [citing]Her 7' [And then the
device of the arms].
18 With 'Division, partage, difference' [division, separation intoparts] being number
1. 'Blason is defined as: 1. 'Bouclier' [buckler, shield] and 2. 'Armoiries sur le
bouclier' [armorial bearings on the shield].
19 The example given is:WV a celui qui nait devise, conoissancede mainte guise
{Eneas).1 [Therewas none thatdid not have a heraldic device?blazons ofmany
kinds.]
20 Godefroy gives the example, 'Et des armes que vous portes, /Sire, dites moi le
devis (Sarrazin,Rom. deHam, ap.Michel, Hist, des ducs deNorm., p. 252). [And
of the arms thatyou wear, sir, tellme the device].
21 Godefroy provides the example, 'Nous voulons s?avoir et veoir quelle devise c'est
que vous portez eu voz chausses. (Roman du petitJ. de Saintr?, ch. xi, ?d. 1517.)'
[Wewish to know and to seewhat device (designation, emblem) thatyou bear
on your hose.].

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
 30 ARTHURIANA

22 For thisOED definition the following examples are given: 'c. 1350Will. Pa lerne
3222 "\>at i haue a god schelfd]., & wel & faire wi{>-inne a werwolf
...
depeynted \>equen [>andede comaunde to craftemen i-nowe, [>atdeuis him
were di^t er j^at day eue/" [that I (should) have a good shield, and on it a
werewolf and attractive ... because I have craftsmen
(that is) well-painted ample
under my command to do this, thatdevice will be done by that same evening].
A second example is fromChaucer: c. 1385 ... L.G.W. 1272Dido, "And beryn
in hise devyssis forhire sake_[And bear among his armorial devices forher
sake ...].
23 Such a circletwould look similar to the circletwith standingfleurs-de-lis, shown
as no. 9 in pi. 17,opposite p. 110, in Smith.This circlet,presently in theMus?e
du Cinquantenaire, Brussels, ismade of hinged plaques of silvergilt, is setwith
pearls and pastes imitating gem stones, and hasfleurs-de-lis standing erect at
intervals (106). I am grateful to Lorraine Stock for recommending this source.
See, also, the circletwith standing cross at the front,worn by the angel Gabtiel,
in 'The Annunciation by Roger van derWeyden (b. 1399-1400, d. 1464),
reproduced inMaus, 176.Additional circlets are described inNickel ni3.
24 Gemstones were thought to possess apotropaic powers thatptotected thewearer
physically and spiritually.On this subject, see Burtow (4ini2, citing English
Mediaeval Lapidaries, ed. J.Evans andM. S. Serjeantson, EETS, OS 190 (1933),
30).
25 This is a short listof the benefits described by Lightbown, 97, citingAlbertus
Magnus, His Book of Minerals (ca. 1260), and Marbodus.

WORKS CITED

Anglo-NormanDictionary. Ed.William Rothwell, LouiseW. Stone,T. B. Reid. London:

The Modern Humanities Research Assoc., 1992.
Borroff,Marie, trans.Sir Gawain and theGreenKnight. New York:W. W. Norton &
Co., 1967.

Burrow, J.A. A Reading ofSir Gawain and theGreenKnight. London: Routledge &
Kegan Paul, 1965.
Cawley, A. C, and J. J.Anderson, ed. Pearl, Cleanness, Patience, Sir Gawain and the
GreenKnight. London: J.M. Dent & Sons Ltd, 1976.
Finch, Casey, trans.The CompleteWorks of thePearl Poet. Facing PageMiddle English
Texts, ed.Malcolm Andrew, Ronald Waldron, and Clifford Peterson. Berkeley:U
ofCalifornia P, 1993.
Fry,Donald K. 'Visual Approaches toSir Gawain and theGreenKnight! Approaches
toTeaching Sir Gawain and theGreen
Knight. Ed. Miriam Youngerman Miller,
and JaneChance. New York: MLA, 1986. 199-204.
Gardner, John, trans.The CompleteWorks of theGawain-Poet. Chicago: U ofChicago
P, 1965.

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions
 THREE PENTANGLES IN SGGK 31

Godefroy, Fr?d?ric.Dictionnaire de l'ancienne langueFran?aise etde tous sesdialectes

du IXe au XVe Si?cle. Paris 1888; rpt.Kraus Reprint Corp., 1961.
Greimas, A. J.Dictionnaire de l'ancienfran?ais jusqu'au milieu du XIVe si?cle. Paris:
Librairie Larousse, 1980.
Harrison, Keith, trans.Sir Gawain and theGreen Knight. Northfield: BlackWillow
P, 1992.
Heng, Geraldine. 'FeminineKnots and theOther: Sir Gawain and theGreenKnight.'
PMLA 106 (1991): 500-14.
Hieatt, A. Kent. 'Sir Gawain: Luf-Lace, Numerical Structure.' PLL 4
Pentangle,
(1968): 339-59.
Kinney, Clare R. 'The (Dis) Embodied Hero and the Signs ofManhood inSir Gawain
and theGreenKnight.'Medieval Masculinities: RegardingMen in theMiddle Ages.
Ed. Claire A. Lees. Minneapolis: U ofMinnesota P, 1994. 47-57.
a
Lightbown, Ronald W. Mediaeval European Jewelry:with catalogue of the collection
in the Victoria & AlbertMuseum. [London]: The Victoria & Albert Museum,
1992.
Maus, Cynthia Pearl. The World's GreatMadonnas. New York: Harper and Brothers
Publishers, 1947.
Nickel, Helmut. About Arthurian Armings, for War and forLove.' Arthuriana 5.4
(Winter 1995): 3-21.
Pastoureau, Michel. Armorial des chevaliersde la Table Ronde. Paris: L?opard d'Or,
1983.
Shoaf, R. A. The Poem as Green Girdle: Commercium in Sir Gawain and theGreen
Knight. Gainesville: U of Florida P, 1984.
Smith,H. Clifford. Jewelry.London: Methuen, 1908; rpt. 1973.
Tolkien, J.R. R., trans.Sir Gawain and theGreenKnight, Pearl, and Sir Orfeo. Boston:
Houghton Mifflin, 1978.
Tolkien, J.R. R., and E. V. Gordon, ed. Sir Gawain and theGreen Knight. 2nd ed.
rev.byNorman Davis. Oxford: Clarendon P, 1967.
Vantuono, William, ed. and trans.Sir Gawain and theGreenKnight: A Dual-Language
Version.New York: Garland Publishing, Inc., 1991.
Waldron, R. A., ed. Sir Gawain and theGreen Knight. Evanston: Northwestern UP,
1970.
Williams, Margaret, R.S.C.J., trans.The Pearl Poet: His CompleteWorks. New York:
Vintage Books, 1970.
Winny, James, trans.Sir Gawain and theGreenKnight. Lewiston, NY: Broadview P,
1992.

This content downloaded from 134.74.20.15 on Wed, 20 Jan 2016 22:19:57 UTC
All use subject to JSTOR Terms and Conditions