Abstract
This paper discusses how, in exploring the theme of chivalry in the epic of "Beowulf", "Gawain and the Green Knight" and "Don Quixote", there are three different ways of looking at the code. Chivalry can also be described as gallantry, bravery and honor. A chivalrous man is heroic and well-bred. A knight or a "courtly" man is "courteous". The paper looks at how the code of chivalry is introduced in a straightforward way in "Beowulf". He defeats the monster and becomes the hero. In comparison, the paper examines how in Gawain, the story is a quest epic, but the hero fails the test, and we are led to question the chivalric code. "Gawain and the Green Knight" lends itself to satire, whereby the chivalric code is critically portrayed. Finally, the paper looks at how in "Don Quixote" the chivalric code is presented in the guise of a fool, who sees windmills as monsters, and learns the chivalric way from books.

From the Paper
"Gawain and the Green Knight takes place in the court of King Arthur. King Arthur was known as the most courteous of kings. "More marvels have happened in this merry land than in any other I know, since that olden time, but of those that here built, of British kings, King Arthur was counted most courteous of all" (pg. 1993 23-26) . All of the knight's of King Arthur's court were considered gallant, brave, and chivalrous. But, Gawain's identity is to be determined by his ability to fulfill his quest. He will leave his old identity behind and build a new one. Therefore, Gawain is to be considered most honorable by proving himself, rather than of his noble blood or kinship. He has to show himself honorable in submitting his head to the blow of an axe, and he has to trade with his host what he has won while out hunting. The test is made harder when the host's wife is trying to seduce him. He tries to be courteous the whole time he tells her no, because that is the knightly way. "

Tags:monster, hero, King, Arthur, Sancho, Panza

Abstract
This paper compares and contrasts two Arthurian legends with respect to the role of the hero cycle. It looks at T.H. White's novel that traces the life of King Arthur, "The Once and Future King," and the chivalric adventure, "Sir Gawain and the Green Knight." It also looks at the hero quest and the journey to obtain it in both stories.

From the Paper
"Among the many themes that dominate all Arthurian literature is that of the hero on a cyclic quest in pursuit of some greater good or cause that speaks to the obligation of the knight to protect others. In this brief.."

Tags:King Arthur, Holy Grail, hero quest, hero cycle

Abstract
In a feudal age when lords and ladies lived in accordance with chivalric codes, society viewed the heroic ideal not as an elusive paradigm, but as an essential component of a good man. The paper shows that the ideal, stereotypical hero in a romance is a strong, crafty, brave, courteous, charmingly handsome ladies' man of noble birth. As opposed to the epic hero who retains some degree of individuality as he strives for high achievement, the romantic hero is a type of man who encounters unrelated adventure after adventure while on his quest to accomplish a goal such as rescuing a lady in distress, obeying a king's command, or seeking the Holy Grail. The paper discusses the image of a hero in "King Horn" and "Sir Orfeo", by anonymous authors, where he is a man of high standing who is exiled and then forced to rebuild his reputation in a foreign land.

From the Paper
"Unlike Horn who consistently relies on his attractiveness, Orfeo forsakes his appearance to assume the appearance of a poor pilgrim; "al his bodi was oway duine" and "his here of his berd, blac and rowel' (356). Such renunciation of the luxurious life he previously led is his effort to associate himself with the natural world so that he can
retrieve his wife Heurodis from the fairies. At the same time, the medieval audience recognized this alienation motif as essential to a hero's development. Only when his beard is shaved off, his self-imposed isolation ending with the acquisition of his queen, can Orfeo once again dress as a handsome king, charming his audience in addition to his subjects."

Tags:Filkenhild, Rymenhild, Purston

Abstract
In the three great ancient epics, "The Iliad" and "The Odyssey", by Homer, and "The Aeneid", by Virgil, all three heroes are compared to trees, showing two attributes that the heroes share. Firstly, the paper shows that Achilles, Odysseus, and Aeneas manifest their heroic qualities through tree imagery. Heroic attributes allow heroes to rise to the occasion and tend to display qualities that exceed average human capabilities. While each has a different concept of heroism, the tree imagery shows that the three characters are similar because they possess chivalrous attributes. The paper shows that, secondly, the tree imagery manifests the relationships that each of the characters has with a particular goddess. Like strong trees that are helped by nature, Achilles, Odysseus, and Aeneas, all have powerful attributes, but use the force of a higher power, or a goddess, for assistance.

From the Paper
"The idea of relating Aeneas to an oak tree is interesting. Oak is used for building homes, and although Aeneas does not specifically build Rome, the idea of city development reminds the reader about Aeneas's heroic duty to discover Rome and also reflects on Aeneas's stay in Carthage, where he helps build the future rival city of Rome. Also like an oak tree, Aeneas is steadfast and unmoving when listening to Dido's pleas, managing to remain dedicated to his heroic duty and the gods' wishes. Every heroic action that Aeneas takes is defined by his duty to the gods (for example, leaving Carthage and finding Rome), displaying the heroic nature of duty; duty inspires Aeneas to "do the right thing." "

Tags:thetis, penelope, dido

Abstract
This paper focuses on the character of Wily Loman and finds out how the man fits the description of a tragic hero as given by Aristotle in his book, 'Poetics.' Willy Loman is the leading character of Arthur Miller's play titled "Death of a Salesman" which appeared in 1949. The author of this paper feels that Willy Loman is unable to distinguish between reality and illusion. Using examples from the play, the author shows how Loman feels that he and his son are successful businessmen but in reality he is a weak fellow who is incapable of turning his dreams into reality.

From the Paper
"Aristotle also clearly said that a tragic hero was not someone who brought misfortune upon himself through some accident. For example while Brutus was a tragic hero, Julius Caeser himself cannot be categorized as one because the latter as killed by those whom he had trusted while the former ruins himself because of a series of errors. Therefore it is clear that a tragic hero is the one who commits series of mistakes and therefore ultimately ruins himself and meets a tragic end. Willy Loman too did not become suicidal all of a sudden, he committed grave errors form time to time because he failed to acknowledge the importance of hard work and thus finally met a tragic death which was more a result of living in an imagery world than anything else."

Tags:play, hero, tragic, grace, personality, flaws, disturbed, mentally, fear, pity, flaw, definition

Abstract
This paper explains that the medieval masculine and feminine ideals are very well represented in three major texts of English literature: "Beowulf", "Sir Gawain and the Green Knight" and Geoffrey Chaucer's "Canterbury Tales". The main heroes and their female companions in these three texts share very important features, both physically and psychically, which indicates that there is a pattern in medieval literature regarding the essential characteristics of a virtuous individual. The author contends that the main necessary features for the male hero are honor, prowess, valor and purity of heart; however, the female characters, who are also very virtuous, pure and extremely beautiful, are passive characters that serve only as instruments to men's actions.

From the Paper
"The male ideal briefly sketched above is complemented by the female ideal of such characters as Wealhtheow, King Hrothgar's wife in "Beowulf", or Guinevere, King Arthur's wife. Both are perfect beauties and virtuous, gentle persons. However, they are no more than icons, without a real importance. Although Wealhtheow seems to play a role in the poem as she makes two speeches in important moments of the action and performs ritualistic acts, she is actually just an instrument in the very masculine world of the epic. Women do no play a role as such in the medieval society, although they can have some value as emblems for purity and beauty."

Tags:grendel guinevere arthur, chivalric hero, unpretentious attire

Abstract
This paper compares and contrasts the modern notion of what it means to be a hero with the Homeric notion of what it means to be a hero. The paper points out how Homer always portrayed Odysseus and Achilles in a positive light, while modern audiences have come to view them as anti-heroes. Also discussed is the greater willingness of modern readers to see Achilles, because of his physical beauty and battle skills, in a more heroic light than Odysseus, The transformation that has taken place over time in how the two characters are perceived is also examined.

From the Paper
"For some reason, the modern mind does not seem to have so much difficulty embracing the heroic nature of Achilles. Unlike Odysseus, who is most praised for his strategy and his slyness, Achilles is praised for his physical beauty and skill in battle. He is much younger and stronger than Odysseus, in no small part because he is all but immortal. ?Achilles, the swift-running hero, is... the most heroic man in the entire poem. His physical strength and dexterity give him this status, as does the honor and glory that he earns through combat. A true hero, Achilles is also of noble blood, and is beautiful and youthful. Achilles is the human manifestation of the ideal hero.? (Pop) Achilles never seems to be condemned by the medieval mind (Dante, for example, seems to speak well of him), and he is more often pitied than condemned by the modern spirit. There are several differences between Achilles and Odysseus that may be responsible for this."

Tags:trojan, war, honor, minerva, poem, battle, chivalric, agamemnon, avenge, achaeans, goddess

Abstract
Examines how the character of Don Quixote is the anti-thesis of the usual image of chivalrous knights. It shows how instead of princesses, Don Quixote manages to save women that are far from the image of a princess, and he even sometimes helps people who are actually outlaws and thieves, which is actually a contradiction of his own concept of chivalry.

From the Paper
"One good example of such criticism can be found in Chapters 69-71 of the Second Volume of "Don Quixote." In the said chapters, Don Quixote and his sidekick Sancho Panza arrive at the court of the Duke and Duchess and bear witness to the funeral of Altisidora. Altisidora is said to be a female servant of the royal couple who loved Don Quixote so much, but this love was never reciprocated by Don Quixote, who loves Dulcinea (his imagined lover) so much. The Duke and Duchess declare that Altisidora will be spared from death, that is, she will live again, if and only if Don Quixote will allow Sancho Panza to be slapped and pricked by the Duchess' female servants. Because of the great responsibility that was given to him, and amazed of the fact that Sancho Panza has the power to return the dead from the living again, he consented to the Duchess and Duke's appeal after conferring and pleading with Sancho."

Tags:hero, rescue, society, sancho, panza, status

Abstract
This essay looks at the character of Don Quixote from the fictional perspective in the world he creates for himself and from the perspective of reality which he hopes to escape. The paper looks at his character from many perspectives and attempts to draw a line between his worlds of fiction and reality. While the paper includes an overall review of the book, the main focus is the character traits of Quixote himself.

From the Paper
"Don Quixote is not really searching for wild, chivalric adventure. He is actually seeking the magic that lies within the invisible boundaries of his own heart-the only existing enchantment that can make the burdens of the modern world seem trivial, and the treacherous life of a humble soul seem quite worthwhile. Don Quixote grows tired of living in and out of what he wishes his life would be, and he is sick of striving for his aspirations with little result-always hoping, always dreaming, always intending to do the unimaginable, but never quite making it past the threshold of his own front door."

Tags:adventures, arthur, cervantes, character, chivalric, critical, errant, hero, heroic, knight, mancha, miguel, mill, princess

Abstract
This essay begins with a quote defining the medieval romance and then discusses the cycle of tales of King Arthur as medieval romances, in light of the definition provided by the quote.

From the Paper
"Passionate love has a crucial role in the Arthurian cycle, but is often an agent of ill fortune. It embodies, however, the profoundly human nature of romance, in which even heroic figures can fall victim to the overwhelming power of love. Lancelot's illicit love for Guinevere is perhaps the most potent example, in which the love felt by the two endures, bringing great unhappiness and ultimately bringing about the dissolution of Camelot itself. Tristan and Isolde provide another instance of the power of love to bring the greatest delights and the darkest grief and desolation. In the story of Lancelot and Guinevere, the final ending of the Round Table fellowship is foreshadowed; there is no such burden of doom for Tristan and Isolde, despite the unhappiness of their situation, but their story also carries the romance theme of the ennoblement of the lovers through loyalty and sacrifice."

Tags:imaginative, narrative, noble, heroes, chivalric, codes, honor, daring, deeds, supernatural, events