Though often extensive detail may be condemned as mere flowery language, in understanding Sir Gawain and the Green Knight one must make special emphasis on it. In color and imagery itself, the unknown author paints the very fibers of this work, allowing Sir Gawain to discern the nuances of ritualistic chivalry and truth. His quest after the Green Knight is as simple as ones quest toward himself. Through acute awareness of the physical world he encounters Gawain comes to an understanding of the world beyond chivalry, a connection to G-d, the source of truth. He learns, chivalry, like a machine, will always function properly, but in order to derive meaning from its product he must allow nature to affect him.
At the onset of Sir Gawain and the Green Night the unknown author goes to great length physically describing the opulence of Christmastime in Arthur’s court. For Camelot even Christmastide, a deeply religious holiday, is given significance based on its futile aesthetic veneer rather than inherent religious value. The dais is “well -decked” (Sir Gawain and the Green Night, 75), and “costly silk curtains” (76) canopy over Queen Guinevere. The Knights are described as “brave by din by day, dancing by night” (47 ), this is to say they are the paradigm of bravery and gentility. Both bravery and gentility are not indicative of the knights’ humanity, his feelings and thoughts, rather how appears and acts.
Dissimilar to King Arthur’s opulent and boyish description, the Green Knight appears earthly, like an overgrown lumberjack in a debutante ball. His very entrance to the narrative aims to shatter Camelot’s superficial relationship with earthly trials. While Arthur seeks pleasure in hearing tales “of some fair feat” (92), the Green Knight undermines all formality known to be chivalrous challenging the king to a life risking game. With a “broad neck to buttocks” (137), (opposed to Arthur’s’ court depicted in the ever regal color red,) the Knight is clothed in green, the color of nature.
He appears with no armor other then his faith, merely a utilitarian woodsman’s ax. While Green Knight is described like an animal who is said to have “wagged his beard” (306) yet understands the cyclical nature of life and truth of mans futility, it is only after Sir Gawain proclaims his lack of strength (though he says it at that point as a matter of chivalry) that he is able to begin his journey (in place of King Arthur) to learn about living. The Green Knights essence of reality is not entrenched in physical archetypes as are the Knights of Arthur’s court. He appears with no armor to shield him from feeling the world, in fact his green appearance, though brawny in description, does contain undertones of green passivity. He is neither depicted as spiritual blue, nor warm emotional yellow, rather the fusion of the two, devilish green. To live in a state of uncertainty is the antithesis of mid-evil chivalry.
It is a knights’ duty to know his place in society and to whom he serves, not to think or feel therefore when Gawain asks the Green Knight for instructions to find his home, the Knight gives no formal address, rather an experiential response. He says “If I tell you true, when I have taken your knock you shall hear straightaway of my house and home and my own name” (398-399). This statement forces Gawain to live in the reality and emotion of the moment rather then set out on his quest upon social consequences. In search of the Green Knight, Gawain travels through the wilderness and comes to recognize his true subordination to nature and not merely social constructs.
It is amidst his battling of vicious beasts, cold rain, wild forests and more, where he begins to feel the mortality of mankind and the need to pray to a greater being that “Mary may be his guide” (738). This prayer and recognition of a larger force beyond him leads directly to the discovery of the Palace of Bertilak de Hautdesert.While the palace of Bertilak de Hautdesert’ is fit for a king and lavish by design its very inhabitants hold a lesser value to .