Alliteration and its role in 'Sir Gawain and The Green Knight' of balance, weight and emotional feeling. content. They are more like masonry than music” (59). The original manuscript of Sir Gawain and the Green Knight is written in alliterative verse and follows the use of strict and near-constant alliteration throughout the poem. After examining the Middle English text, it is certain that the poet places as much importance on the alliterative structure of the poem as on the development of the characters or the plot. However, in examining the form of alliterative verse in various translations of Sir Gawain and the Green Knight, it becomes evident that the more modern the translation, the more lenient the translator is in adhering to the strict usage of alliteration established in the original way. English text. Why did the unknown author of Sir Gawain and the Green Knight focus so heavily on the use of alliteration? Why do modern translations detract from the need for alliteration in the poem if it is vital to the good of the work as a whole? Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essayIntroductionThe drastic difference between medieval and modern audiences likely facilitates the decline of the alliterative stronghold within the texts. The Middle English text relies on the act of oral presentation in order to bridge the gap between an illiterate medieval audience and the written text. The medieval audience must be read rather than possess the ability to read the work directly, and the poet focuses on the phonetic function of a word in order to indirectly reach his audience through alliteration. Modern English translations are much less distinct in their focus on alliteration. While more modern translators still use alliteration in the poem, the translations often lack the same dedication that the Middle English poet approved in the use of alliteration. Unlike medieval audiences, modern audiences are educated and no longer place as much value on the cadence of language in the name of creating understanding within the audience. Despite the decline in the use of strict alliteration in modern translations, it is essential to note how sound creation through alliteration still has an influence on the audience's perception of the poem. Some sounds are universally understood. A sudden clap of thunder is an unsettling or shocking sound, regardless of what language a person speaks; The music often swells to create suspense. In this way, the powerful creation of intense sound within alliteration cannot be overlooked. To fully recognize the development of sound and examine its effect on the audience, the study of lines 2199-2207 of the poem Sir Gawain and the Green Knight helps to confirm the way in which the Middle English poet exercises alliteration to parallel the The intertwined action and emotion of language. The extant Middle English manuscript of the poem, as transcribed by Ross G. Arthur of York University, reads: Þene herde he of þat hy?e hil ia harde roche bi?onde þe break ia bonk a wonder breme noy?e quat hit clated je þe cliff as hit cleue ?chulde as one vpon a gyrndel?ton hade grouden a ?yþe what hit wharred & whette as wat at a mulne what hit ru?ched & ronge rawþe to here Þene bi godde [ quote] gawayn þat gere at I trowe Bi rote est ryché à þe reuence me renk to mete (2199-2206) The repetition of hard consonants imitates the sound that the linesdescribe through an elongated “R” sound. The rough sound of the tongue mimics the gritty sound of a blade being sharpened, but that same sound simultaneously sounds as clear as flowing water; a terrifying balance of a feeling of both control and unpredictability. This moment in the poem expresses the fear that Sir Gawain feels when he hears a sudden, surprising noise, and, through the use of alliteration, the poem is able to convey to its audience both an imitation of the high-pitched noise that Gawain hears and the same sudden terror Gawain feels as his heart sinks into his stomach. Creating a dark, resonant tone in the language used by the medieval poet conveys the frightening emotion of this moment in Gawain's journey and develops an ingrained sense of Gawain's disturbance. The difference between the Gordon and Tolkien translations Sticking closely to the Middle English manuscript of the poem, the translation written by EV Gordon and JRR Tolkien recognizes the importance of maintaining the alliterative structure in the poem. One of the real separating qualities between Gordon and Tolkien's translation and the original manuscript is the removal of some archaic Middle English characters. Even with this small change, the poem becomes much more understandable to the modern eye. Gordon and Tolkien's translation reads: Þene herde he of þat hy?e hil, in a harde roche Bi?onde þe broken, in a bonk, a marvel breme noyse, Quat! hit slammed into the cliff, as hit cleue schulde, As one vpon a gryndelston had grounded a syþe. What! strike wharred and whette, like water on a mulne; What! hit frowned and gnaw, rawþe so far. Þenne 'Bi Godde', quoþ Gawayn, 'þat gere, as I say, est ryché à þe reuerence me, renk, to mete bi rote.' (2199-2207) Another useful addition is the inclusion of punctuation. The original poem carries a heavy rhythm and both poets attempt to impose the rhythm of the poem on their audience by adding punctuation. The exclamation and forced pauses help modern audiences understand that the language of the poem imitates the emotion they are meant to feel while reading or listening. The use of punctuation also allows modern audiences to immediately feel a little more familiar with a text that uses language that may seem a little foreign compared to translations that use more of the modern, everyday English language. Yet Gordon and Tolkien's translation uses mostly the same words as the original manuscript, and both translators maintain the same strict use of alliteration as the original. The goal of this translation is to retain the rough edges of the Middle English poem while refining its form. Tolkien, perhaps believing that changes in language had necessitated a new translation that could be both more easily understood by modern audiences and appreciated by those familiar with the original text, wrote another translation of Sir Gawain and the Knight Green which emphasizes the alliteration and the quality of it while transforming the original language of the poem into words with more modern foundations. Published posthumously by his son, Christopher Tolkien, modern audiences may find themselves drawn to Tolkien's later translation because it is intentionally translated for the eyes and ears of modern audiences. . Christopher Tolkien notes that the translation his father published with Gordon was primarily Gordon's work, and that it was his father's wish to publish a translation that served as a springboard for those who wanted to learn more about medieval literature . JRR Tolkien wrote that the poetry "is worth hearing by lovers of English poetry who have neither the opportunity nor the desire to master its difficult idiom"(viii). He also notes that “a translation can be a useful form of commentary; and this version may possibly be acceptable even to those who already know the original and own editions with all their apparatus” (viii). Tolkien's ability to translate the poem into more understandable modern language while remaining focused on the importance of alliteration in the text makes this translation a beautiful representation of the mesh between medieval history and modern worlds. Tolkien translates lines 2199-2207 from Sir Gawain and the Green Knight: Then he heard from the high hill, in a hard rock wall beyond the stream, a sudden and surprising noise. How it slammed into the cliff, as if to split it in two, as if someone on a grindstone was sharpening a scythe! How it roared and cracked like water in a bay! How it rushed and rang, sad to listen! Then: “By God,” said Gawain, “I suppose this youth is destined for my honor, to salute me as a knight!” (2199-2207) Tolkien changes the original words "quat" and "what" to "how" in his translation, imploring a sense of desire in the lines that goes unnoticed in other translations. Tolkien creates a greater sense of suspense in the lines which enriches the description of a great moment in the poem. Tolkien's translation is probably more suspenseful because he wants to engage his audience both scientific and non-scientific. This translation is effective in retaining the original meaning of the poem while lending itself to a modern audience through Tolkien's revision of the language. Tolkien removed all Middle English characters and replaced them with letters from the Modern English alphabet. He replaced obsolete and foreign words with more modern and usual ones. Tolkien preserves the core of alliteration within the lines while retaining the same emphatic "R" sound that was created by the original Middle English text. In addition to this, Tolkien places additional emphasis on creating the "S" sound in his translation and places more emphasis on how alliteration parallels and represents the emotion and action presented in the text. Comparing Tolkien's modern English translation to other modern translations, it becomes evident that Tolkien wishes to maintain the same emotional balance in the text that was created by the original poet through the use of alliteration. Keith Harrison's translation, however, does not follow the same principle. His translation only expands on the superficial story; it does not address the emotional connectivity between the sound creation and the audience that underlies the alliteration. Harrison translates: At this height, behind a rock, he heard in the distance, beyond the stream, a strange noise. Listen to this! It slammed against the cliffs, as if to break them: a noise like that of a scythe being crushed against a stone. Listen! It sang and whirred, like wild water from a mill in a race. It tinkled and clanged, rushing towards him. “By God, this instrument is intended to honor me alone; It is for me that he sharpens his blade! (2199-2207) Harrison's translation communicates the same underlying message as that of the original manuscript and other translations; however, it does not convey the same recognition of the balance between sound and meaning. The use of alliteration is minimal in Harrison's translation, diminishing the emotional connection between the audience and the lines. Keep in mind: this is just a sample. Get a personalized article from our expert writers now. Get a Custom Essay Conclusion In conclusion, the use of alliteration in Sir Gawain and the Green Knight is of equal importance to medieval and modern audiences. The medieval public..

Essay / Alliteration and its role in 'Sir Gawain and The Green Knight' of balance, weight and emotional feeling. content. They are more like masonry than music” (59). The original manuscript of Sir Gawain and the Green Knight is written in alliterative verse and follows the use of strict and near-constant alliteration throughout the poem. After examining the Middle English text, it is certain that the poet places as much importance on the alliterative structure of the poem as on the development of the characters or the plot. However, in examining the form of alliterative verse in various translations of Sir Gawain and the Green Knight, it becomes evident that the more modern the translation, the more lenient the translator is in adhering to the strict usage of alliteration established in the original way. English text. Why did the unknown author of Sir Gawain and the Green Knight focus so heavily on the use of alliteration? Why do modern translations detract from the need for alliteration in the poem if it is vital to the good of the work as a whole? Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essayIntroductionThe drastic difference between medieval and modern audiences likely facilitates the decline of the alliterative stronghold within the texts. The Middle English text relies on the act of oral presentation in order to bridge the gap between an illiterate medieval audience and the written text. The medieval audience must be read rather than possess the ability to read the work directly, and the poet focuses on the phonetic function of a word in order to indirectly reach his audience through alliteration. Modern English translations are much less distinct in their focus on alliteration. While more modern translators still use alliteration in the poem, the translations often lack the same dedication that the Middle English poet approved in the use of alliteration. Unlike medieval audiences, modern audiences are educated and no longer place as much value on the cadence of language in the name of creating understanding within the audience. Despite the decline in the use of strict alliteration in modern translations, it is essential to note how sound creation through alliteration still has an influence on the audience's perception of the poem. Some sounds are universally understood. A sudden clap of thunder is an unsettling or shocking sound, regardless of what language a person speaks; The music often swells to create suspense. In this way, the powerful creation of intense sound within alliteration cannot be overlooked. To fully recognize the development of sound and examine its effect on the audience, the study of lines 2199-2207 of the poem Sir Gawain and the Green Knight helps to confirm the way in which the Middle English poet exercises alliteration to parallel the The intertwined action and emotion of language. The extant Middle English manuscript of the poem, as transcribed by Ross G. Arthur of York University, reads: Þene herde he of þat hy?e hil ia harde roche bi?onde þe break ia bonk a wonder breme noy?e quat hit clated je þe cliff as hit cleue ?chulde as one vpon a gyrndel?ton hade grouden a ?yþe what hit wharred & whette as wat at a mulne what hit ru?ched & ronge rawþe to here Þene bi godde [ quote] gawayn þat gere at I trowe Bi rote est ryché à þe reuence me renk to mete (2199-2206) The repetition of hard consonants imitates the sound that the linesdescribe through an elongated “R” sound. The rough sound of the tongue mimics the gritty sound of a blade being sharpened, but that same sound simultaneously sounds as clear as flowing water; a terrifying balance of a feeling of both control and unpredictability. This moment in the poem expresses the fear that Sir Gawain feels when he hears a sudden, surprising noise, and, through the use of alliteration, the poem is able to convey to its audience both an imitation of the high-pitched noise that Gawain hears and the same sudden terror Gawain feels as his heart sinks into his stomach. Creating a dark, resonant tone in the language used by the medieval poet conveys the frightening emotion of this moment in Gawain's journey and develops an ingrained sense of Gawain's disturbance. The difference between the Gordon and Tolkien translations Sticking closely to the Middle English manuscript of the poem, the translation written by EV Gordon and JRR Tolkien recognizes the importance of maintaining the alliterative structure in the poem. One of the real separating qualities between Gordon and Tolkien's translation and the original manuscript is the removal of some archaic Middle English characters. Even with this small change, the poem becomes much more understandable to the modern eye. Gordon and Tolkien's translation reads: Þene herde he of þat hy?e hil, in a harde roche Bi?onde þe broken, in a bonk, a marvel breme noyse, Quat! hit slammed into the cliff, as hit cleue schulde, As one vpon a gryndelston had grounded a syþe. What! strike wharred and whette, like water on a mulne; What! hit frowned and gnaw, rawþe so far. Þenne 'Bi Godde', quoþ Gawayn, 'þat gere, as I say, est ryché à þe reuerence me, renk, to mete bi rote.' (2199-2207) Another useful addition is the inclusion of punctuation. The original poem carries a heavy rhythm and both poets attempt to impose the rhythm of the poem on their audience by adding punctuation. The exclamation and forced pauses help modern audiences understand that the language of the poem imitates the emotion they are meant to feel while reading or listening. The use of punctuation also allows modern audiences to immediately feel a little more familiar with a text that uses language that may seem a little foreign compared to translations that use more of the modern, everyday English language. Yet Gordon and Tolkien's translation uses mostly the same words as the original manuscript, and both translators maintain the same strict use of alliteration as the original. The goal of this translation is to retain the rough edges of the Middle English poem while refining its form. Tolkien, perhaps believing that changes in language had necessitated a new translation that could be both more easily understood by modern audiences and appreciated by those familiar with the original text, wrote another translation of Sir Gawain and the Knight Green which emphasizes the alliteration and the quality of it while transforming the original language of the poem into words with more modern foundations. Published posthumously by his son, Christopher Tolkien, modern audiences may find themselves drawn to Tolkien's later translation because it is intentionally translated for the eyes and ears of modern audiences. . Christopher Tolkien notes that the translation his father published with Gordon was primarily Gordon's work, and that it was his father's wish to publish a translation that served as a springboard for those who wanted to learn more about medieval literature . JRR Tolkien wrote that the poetry "is worth hearing by lovers of English poetry who have neither the opportunity nor the desire to master its difficult idiom"(viii). He also notes that “a translation can be a useful form of commentary; and this version may possibly be acceptable even to those who already know the original and own editions with all their apparatus” (viii). Tolkien's ability to translate the poem into more understandable modern language while remaining focused on the importance of alliteration in the text makes this translation a beautiful representation of the mesh between medieval history and modern worlds. Tolkien translates lines 2199-2207 from Sir Gawain and the Green Knight: Then he heard from the high hill, in a hard rock wall beyond the stream, a sudden and surprising noise. How it slammed into the cliff, as if to split it in two, as if someone on a grindstone was sharpening a scythe! How it roared and cracked like water in a bay! How it rushed and rang, sad to listen! Then: “By God,” said Gawain, “I suppose this youth is destined for my honor, to salute me as a knight!” (2199-2207) Tolkien changes the original words "quat" and "what" to "how" in his translation, imploring a sense of desire in the lines that goes unnoticed in other translations. Tolkien creates a greater sense of suspense in the lines which enriches the description of a great moment in the poem. Tolkien's translation is probably more suspenseful because he wants to engage his audience both scientific and non-scientific. This translation is effective in retaining the original meaning of the poem while lending itself to a modern audience through Tolkien's revision of the language. Tolkien removed all Middle English characters and replaced them with letters from the Modern English alphabet. He replaced obsolete and foreign words with more modern and usual ones. Tolkien preserves the core of alliteration within the lines while retaining the same emphatic "R" sound that was created by the original Middle English text. In addition to this, Tolkien places additional emphasis on creating the "S" sound in his translation and places more emphasis on how alliteration parallels and represents the emotion and action presented in the text. Comparing Tolkien's modern English translation to other modern translations, it becomes evident that Tolkien wishes to maintain the same emotional balance in the text that was created by the original poet through the use of alliteration. Keith Harrison's translation, however, does not follow the same principle. His translation only expands on the superficial story; it does not address the emotional connectivity between the sound creation and the audience that underlies the alliteration. Harrison translates: At this height, behind a rock, he heard in the distance, beyond the stream, a strange noise. Listen to this! It slammed against the cliffs, as if to break them: a noise like that of a scythe being crushed against a stone. Listen! It sang and whirred, like wild water from a mill in a race. It tinkled and clanged, rushing towards him. “By God, this instrument is intended to honor me alone; It is for me that he sharpens his blade! (2199-2207) Harrison's translation communicates the same underlying message as that of the original manuscript and other translations; however, it does not convey the same recognition of the balance between sound and meaning. The use of alliteration is minimal in Harrison's translation, diminishing the emotional connection between the audience and the lines. Keep in mind: this is just a sample. Get a personalized article from our expert writers now. Get a Custom Essay Conclusion In conclusion, the use of alliteration in Sir Gawain and the Green Knight is of equal importance to medieval and modern audiences. The medieval public..

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