A Companion to the Gawain-Poet ed. by Derek Brewer and Jonathon Gibson (review)

Abstract

REVIEWS113 Benedictine Priory, which in turn was undet Norwich Cathedral's Benedictine Priory. Again and again reading the texts ofJulian ofNorwich and ofthe C/oMi/Authot one comes across the same wotds, such as 'oneing,' 'noughting,' 'sovereign,' and the same concepts. Especially these swirl about the feminizing of the Trinity. Likewise the Prologue to the Cloud is echoed in the Envoi to the Sloane Manuscripts' Showings. These are texts written for God's Servants, Friends, and Lovers. JULIA BOLTON HOLLOWAY Fiesole derek brewer and JONATHON Gibson, eds. A Companion to the Gawain-Poet. N.Y. and Cambridge: D. S. Brewer, 1997. Arthurian Studies, 38. Bibliography, Index. Pp. 442. isbn: 0-85991-433-X. $89. In Sir Gawain and The Green Knight, the poem's protagonist may have been forced into the wilds of Wirral alone, but with this new companion to the Gawain-Voet, readers will find themselves in very good company, indeed. What is remarkable here is the host of well known 'Gawain' critics who have signed on for this avowedly pedagogical excursion. To crown two contributots—without, of course, discourtesously displacing others—the discussion of the poet's identity and the desctiption of the manuscript might, in other hands, have been rather pedestrian, standard-issue affairs, yet Malcolm Andrew's and A. S. G. Edwards' respective contributions demonstrate not only their knowledge of their subjects but their considerable instructional abilities as well. I imagine that these and most ofthe other essays will be standard assignments for my own students. Acting as the virtual Harry Bailly of this group of distinguished contributors, Derek Brewer provides a far ranging introduction as well as essays on such varied topics as 'Feasts,' 'The AtmingTopos,' 'The Colour Green,' 'Courtesy and Chivalry,' and the vaguely nominated, 'Some Names.' Interwoven among the contributions, Brewer's voice brings unity to the collection, establishing a tone which at times includes both charm (as in the Tolkien reference on page 9) and more often wit, as in his discussion of Bakhtinian disorder (138). Volumes designed to prepare readers for texts share certain affinities to the arming scenes that are the subject of two essays. Suffice it to say that readers will emerge from this volume well armed and nobly outfitted. Armor of course serves a number offunctions, from basic foundation ofthe cote-armure to decoration ofthe pentangle. What might be termed the foundational essays on poetty, the manuscript and its provenance include the contributions by Andrew and Edwards as well as 'The Landscape and Geography of Gawain's Journey' (Ralph Eliot) and 'Historical Background' of Cheshire as a context for the poems (Michael J. Bennett). Hoyt Duggan's discussion of'Meter, Stanza, Vocabulary, Dialect' is probably too technical for beginning students but is exactly kind ofexercise that makes his wotk on the Piers Plowman project so promising. 114ARTHURIANA Also included are several general background essays—such as Armor' (Michael Lacy) and 'Castles' (Michael Thompson)—that are primarily informational rather than intetpretive, although each sheds light on the poems. Richard Newhauser's presentation of 'Scriptural and Devotional Sources' provides an extremely useful and revealing appendix list ofbiblical passages used by the poet. Future critics, especially those ofthe three 'religious' poems, will be extremely grateful to him for this addition. Elisabeth Brewer provides a thorough discussion of the romance sources, mostly French, of SGGK Another group of essays provide backgrounds that are primarily launching pads for interpretations. Among these are Derek Brewer's treatments of feasts, arming, names, and chivalric shame as well as two thoughtful, complementary considerations of the poet's theological leanings: Nicholas Watson's treatment of the poet as 'Vernacular Theologian' and David Aers' 'Christianity for Courtly Subjects.' Also included in this group is Helen Cooper's discussion of'The Supernatural,' which has a substantial semiotic theme not perhaps entirely expected from its title. As both Gawain and Jonah learn, such surprises can be informative. More surprisingly, two essays—one on 'The Colour Green' and another on 'Hunts'—which one would expect to be the anchors of such background-as-foundation-fot-interpretation essays are what one might term 'debunking pieces,' challenging these two traditional platforms for explication. Brewer shows green to be 'an attractive but not...