FHS Paper 2 Quotes

Chaucer, ‘Pardoner’s Prologue’ - mismatch narrator and tale

‘For though myself be a ful vicious man, / A moral tale yet I yow telle kan’

Chaucer, ‘The Nun’s Priest’s Tale’ - original focal character

‘povre wydwe’

Chaucer, ‘The Nun’s Priest’s Tale’ - Chauntecleer resolves to beware

‘flaterye’

Chaucer, ‘The Nun’s Priest’s Tale’ - fox resolves to

‘holde his pees’

Chaucer, ‘The Nun’s Priest’s Tale’ - Nun’s Priest instructs audience

‘taketh the fruyt, and lat the chaf be stille’

Chaucer, The Book of the Duchess - insomniac protagonist reads to

‘drive the night away’

Chaucer, The Book of the Duchess - protagonist takes on the sorrow of his reading

‘To rede hir sorwe that, by my trowth, / I ferde the worse al the morwe’

Chaucer, The Book of the Duchess - narratorial voice recognises act of writing

‘That trewly I, that made this book’

Chaucer, The Parliament of Fowls - new knowledge drawn from old

‘And out of olde bokes, in good feyth, / Cometh al this newe science that men lere’

Chaucer, The Parliament of Fowls - protagonist resolves to keep reading

‘I hope, ywis, to rede so som day / That I shal mete som thyng for to fare / The bet’

Chaucer, Prologue to ‘Sir Thopas’ - Chaucer-character promises to do his best

‘the beste rym I kan’

Chaucer, Prologue to ‘Sir Thopas’ - host describes Chaucer

‘elvysh’, ‘abstracted’

Gawain-Poet, Sir Gawain and the Green Knight - description of the Green Knight’s clothing (Both the bars of his belt and other joyful stones / That were richly and rightly arranged on his clothes’)

‘Bothe the barres of his belt and other blythe stones / that were richely rayled in his aray clene’

Gawain-Poet, Sir Gawain and the Green Knight - narrator skips over details of courtly life (it would be too tedious to tell even half of the trivial details)

‘that were to tor for to telle of tryfles the halue’

Gawain-Poet, Sir Gawain and the Green Knight - Camelot’s reaction to the arrival of the Green Knight, the power of the visual (All who stood there watched intently and edged closer toward him)

‘Al studied that ther stod and stalked hym nerre’

Gawain-Poet, Sir Gawain and the Green Knight - Gawain puts on fine clothing on new years’ day to go and meet the green knight (And embroidered with beauteous, bountiful gems / that shimmered and sparkled and shone in the light / The fines of fur lined the fair coat he wore)

‘Ennurned vpon veluet, vertuus stonez / Aboute bet en and bounden, enbrauded semez, / And fayre furred withinne wyth fayre pelures’

Gawain-Poet, Pearl - dream begins, description of flying over paradise (When rays of light glided against them, / they shone out brightly with a sharp, shimmering radiance)

‘Quen glem of glodez agaynz hem glydez, / Wyth schymeryng schene ful schrylle pay schynde’

Gawain-Poet, Pearl - (More marvelous than my mind can express)

‘More meruayle con my dom adaunt’

Gawain-Poet, Pearl - crucifixion visual description (Rich blood ran down that rood so rough / And water pure)

‘Ryche blod ran on rode so roghe, / And wynne water’

Gawain-Poet, Pearl - Jerusalem descends, glittering description like in Revelations (The city was all of burned gold bright,/ like gleaming glass burnished brown; / With noble gems adorned underneath)

‘the bor3 watz al of brende golde bry3t, / As glemande glas burnist broun; / With gentyl gemmez anunder py3t’

Revelation 21:18 - Jerusalem descends

‘The wall was made of jasper, and the city of pure gold, as pure as glass’

Gawain-Poet, Pearl - John the apostle (1 of 3) (As John the Apostle saw it with his sight)

‘As John the apostel hit sy3 wyth sy3t’

Sian Hughes, Pearl - cover of her mother’s copy

‘My mother’s copy of the poem had a plain green cover decorated with a pentangle’

Sian Hughes, Pearl - paratext in her mother’s copy

‘she had written words in the margins and even drawn little sketches of the herb garden and the grave’

Sian Hughes, Pearl - material (visual) details as evidence of love

‘everything she left us was a note’

Sian Hughes, Pearl - listing of material loving details

‘The pile of colourful pencil shavings in the kitchen bin. The half-knitted striped jumper for when Joe went up a size. The seed catalogues tucked into the corner of the kitchen window.’

Sian Hughes, Pearl - Marianne’s failure at artistic adaptation

‘all I saw was confusion, uneven surfaces, rough edges, the story lost, the meaning, whatever it was, not revealed to me, but hidden further and further from my sight ’

Julian of Norwich, Revelations of Divine Love - Julian asks for physical pain

‘I desired to have all manier peynes bodily and ghostly’

Julian of Norwich, Revelations of Divine Love - Jesus’ bleeding side as his motherly breast

‘our tender moder Jesus […]his blissid brest be his swete open syde’

Julian of Norwich, Revelations of Divine Love - layers of beclosing

Father/Son/Holy Ghost is ‘beclosid in us’

Julian of Norwich, Revelations of Divine Love - positive view of sensuality

‘the sensualite is groundid in kind, in mercy, and in grace’

Julian of Norwich, Revelations of Divine Love - both substance and sensuality as godly

‘our substance is in God’ ‘that in our sensualite God is’

Julian of Norwich, Revelations of Divine Love - oxymoronic encapsulation of uniquely positive body/soul onying

‘our sensual soule’

Prickynge of Love - Jesus baking and feeding us his flesh, drinking his blood

‘he 3af his owne fleshe baken […] for to fede vs that were storuen for hunger. And he 3af vs drynke of his owne precious blood.’