139:
Marhaute defeats 40 knights. A giant is terrorizing Fergus. He fights with the giant and so the giant flees into a lake and drowns.
139:
Marhaute defeats 40 knights. A giant is terrorizing Fergus. He fights with the giant and so the giant flees into a lake and drowns.
138:
Marhaute fights the Duke, knocks him down, the sons yield and pledge loyalty to Arthur. This is, after all, part of the point of the adventures, to bring the kingdom under control and Arthur’s knights are enforcing Arthur’s rule.
137:
Marhaute finds himself at a castle with no love for King Arthur and his knights because Gawayne had killed the duke (Duke of Southe Marchis) of the castle’s 7th son.
136:
Lady of the Lake enchants Ettrade to now love Pelleas, but he now hates her and so she is punished for sleeping with Gawayne and for treating a knight (Pelleas) so poorly. Ettrade dies.
135:
Pelleas wants to die and leaves his sword between Ettarde and Gawayne. When they wake up she recognizes the sword and realizes she’s been tricked. The Lady of the Lake shows up (again, isn’t she convenient?)
134:
Gawayne winds up sleeping with the lady Pelleas loves. Pelleas catches them together in bed, but can’t bring himself to kill Gawayne (he won’t attack another knight of such a high order as Gawayne). Gawayne is a jerk, by the way, so the 15 year old girl was right about him.
133:
The lady is happy Pelleas is dead and is quite happy with Gawayne
132:
Gawayne’s idea to help is to tell the lady he has killed Pelleas. A deception tactic.
131:
Lady Ettarde scorns Pelleas forcing him to fight her knights every week even though he lover her, which means, as a knight, he will endure whatever at all (as we’ll see later with Gareth).
130:
This knight is Pelleas, a knight even greater than Gawayne.
The formal differences between Blake’s “The Lamb” and “The Tyger” highlight the poet’s conflicting ideas concerning the dual nature of a creator. In both poems Blake uses rhymed couplets which suggests an overall order being imposed upon nature by a creator/artist, however, the assonance of the end rhymes in “The Lamb”, such as “thee” and “mead” (long e), “lamb” (long a), and “child” (long i), contrast in tonality with the harsher consonant end rhymes of “night” (short i, sharp t), “beat” (short e, sharp t), and “grasp” (short a, sharp p), found in “The Tyger”. The softer, soothing vowels of the former poem evoke a sense of comfort and reassurance which is also representative in the structure of the individual stanzas. While “The Lamb” has only two stanzas with indentations highlighting the comforting repetitions of “Little Lamb …”, in contrast, “The Tyger” uses violent, warlike vocabulary and is fragmented consisting of 6 stanzas whose only repetition is found in the lines “What immortal hand or eye / Could [Dare] frame thy fearful symmetry,” which creates an overwhelming sense of discomfort. Blake has also structured both poems to act as a sort of dialectic, however unlike “The Lamb” which has an answer for the question of “who made thee”, “The Tyger” offers no such reassurance, the question is left unanswered and the poem concludes with a question mark. While both poems ask similar questions about the nature of a creator, Blake reveals a complicated relationship he may have had with this creator, one in which the creator can both be “mild” but who can also “twist the sinews of thy heart”.