Abstract
This paper assesses the historical accuracy of Terry Jones and Terry Gilliam's film Monty Python the Holy Grail, which demonstrates how the film's satirical elements are tied to morality and the Gothic tradition. It examines John Ruskin's Victorian criticism and the marginal decorations within Gothic manuscripts and sculpture. By identifying and displaying their symbolic power as symbols of morality, as adapted in the film, this analysis offers a fresh take on why killer rabbits are found within Gothic manuscripts.
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