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Can you find true love on a dating site? Can You Find True Love on a Dating Site ? Online dating sites have risen from the stereotypical way "losers" wiggle their. Arthur and his knights riding back to Camelot (from Lancelot du Lac, French, . Merlin's advice and magic are on his side. . William asked several Pre- Raphaelite brothers to design the panels, amongst them Date Gabriel Rossetti. style of glossy, chrome-like platemail with the same type of helmet. In the interest of having the best web experience possible, we suggest ensuring that your browser is up to date. We recommend using Firefox, Chrome, Safari.
As a young man he receives knighthood at king Arthur's court and falls in love with Guinevere the moment he sees her. He rides out, has adventures and meets his best friend Galehout, who initiates the first rendezvous between Lancelot an Guinevere. Several knights of the Round Table undertake quests to find him, but to no avail.
Galehout is convinced his friend is dead and dies from sorrow. Morgan's magic can not extinguish Lancelot's love for Guinevere. When she understands it is no use, she lets him go. Meanwhile Guinevere has been captured by Meleagant and Lancelot sets out to find her.
Lancelot is naturally no longer the "Fair Unknown", the nameless knight; and the lovers passion is no longer a celebration of courtly love, but burdened with guilt. The knights of the Round Table are regularly on the road, often just to find each other. Lancelot roams the country. Once again he becomes Morgan's prisoner and this time he is locked up for more than two years. To kill the time he paints murals, in which he depicts his love story with Guinevere.
One day he sees a rose in the garden which is more beautiful than all the other roses and therefore reminds him of his lady and gives him the strength to break the bars of his prison and escape.
He is just in time to join the expedition to Europe that king Arthur undertakes to beat the Romans. That night the Holy Grail appears before the court, to disappear as quickly as it came.
Gawain swears to reveal the secret of the Grail and the all the knights of the Round Table follow his example. Soon it becomes clear that the Grail is not their destiny. The knights wander through the country, but the only adventures they have, are duels with each other, because they do not recognise each other before it is too late.
Lancelot comes close to the Grail, but he is not the one because of his adulterous sins. In the end Galahad is the only one who is initiated in the secrets of the Holy Grail.
He dies in ecstasy. Bors is the only one to return and tell the tale, because Perceval dies as well. Arthur ignores the accusations until Morgan shows him the murals Lancelot made during his imprisonment. Guinevere is convicted to burn at the stake, but is saved just in time by Lancelot.
In the process he kills Gawain's three brothers. Arthur's army besieges Lancelot at his castle, but when they are facing each other directly Lancelot refuses to defend himself.
After months of war the pope acts as a mediator and both sides agree to a compromise. Guinevere is restored to favour and Lancelot withdraws himself to France. Gawain however is still after revenge for the death of his brothers and Arthur leads his troops to France. Lancelot defeats Gawain in a duel, and the latter will eventually die from his wounds. Meanwhile in Britain Mordred at the end of Lancelot Propre it turned out that he was not Gawain's youngest brother but the child of Arthur and his halfsister Morgan has pronounced himself king and besieges Guinevere, who has fled to London.
The armies of Arthur and Mordred slaughter each other at Salisbury. Arthur kills Mordred but is mortally wounded himself. He orders Excalibur to be thrown into the lake.
A hand rises up from the water to receive the sword. Morgan arrives by ship to take Arthur to Avalon. Lancelot avenges Arthur on Mordred's sons. As a recluse Lancelot finally finds himself at peace with God. Thomas Malory The popularity of the Arthurian stories faded slowly in the fourteenth century, but it was not until the end of the fifteenth century that the English knight Thomas Malory wrote his magnum opus: His work is one big recapitulation of the medieval stories concerning king Arthur.
Malory paid no heed to pictorial details and tedious descriptions, he was in it for the action. At times his work reads like a long and hyperactive enumeration of battles, tournaments and duels. The Morte D' Artur can be divided in three parts: The first part deals with Arthur who draws the sword from the stone, becomes king, establishes the Round Table and fights the Romans in France, and with the deeds of the knights of the Round Table, especially Lancelot and Gareth.
Merlins part in the events is minimised. Part two deals mainly with the adventures of Tristan, also a character from the Celtic tradition. In the verse romances of the twelfth century he makes name as the perfect lover of Isolde Ysolt, Yseut, Isoude.
In the Tristan en Prose ca. Malory concentrates on Tristan's deeds as a knight, rather than the sad and passionate story of the lovers. In part three the Grail quest with Galahad as the hero is quickly told. And then it is time for Malory's best work: Especially touching is the ending which can not be found in the Lancelot en Prosewhen Lancelot and Guinevere meet for one last time after Arthur's death.
He wants to ask her to marry him, but she has devoted her life to God, and inspires him to do the same. Pre-Raphaelite images of the middle ages The poet Tennyson and the artists of the Pre-Raphaelite brotherhood in the 19th century were depending heavily on Malory for their Arthurian inspiration.
The death of Arthur and his passing to Avalon, the flawless grail-knight Galahad, mysterious ladies and the attainment of the Holy Grail were amongst the favourite su bjects of the Pre-Raphaelites.
Tennyson idealised king Arthur as the perfect king and husband and put Guinevere on trial for her fling with Lancelot. Where Tennyson judged with reason on Arthur's side, the Pre-Raphaelites on the other hand seemed to admire Guinevere for her enigmatic qualities.
One of the moving spirits behind the brotherhood, William Morris, wrote a poem The Defence of Guenevere and painted her as the typical Pre-Raphaelite woman: The model for this Guinevere was his wife Jane Morris. Juicy detail is that William had to endure his wife's adultery with his friend and Pre-Raphaelite brother, the painter and poet Dante Gabriel Rossetti, for years to come. An Arthurian love triangle in real life.
He choose to depict the Tristan story based on Malorybut with the emphasis on the love story rather than Tristans many achievements as a knight. In this case the sympathy goes entirely to the lovers Tristan and Isolde. The deceived husband, king Mark, is the bad guy. William asked several Pre-Raphaelite brothers to design the panels, amongst them Date Gabriel Rossetti. Images of the Tristan stained glass windows.
The influence of 19th century Pre-Raphaelite art on popular movies was not that big until two decades ago. Hollywood adventure movies, especially in the first half of this century, were mostly inspired by late 19th century pulp narratives and simplified adaptations of the historical novels of Sir Walter Scott and his successors. The rise of Fantasy as a filmgenre in the late seventies and eighties brought the need for coherent secondary worlds, and that is exactly how the Pre-Raphaelites depicted the Middle Ages, as an idealised romantic time, a coherent world of fantasy.
It is hard for me to say how far this influ ence goes in general, but the Pre-Raphaelite connection is certainly visible in John Boorman's Excalibur And the ideal Pre-Raphaelite woman seems to have a lot of features in common with the standard type of medieval queens, princesses and maidens in popular films. The legends surrounding king Arthur fit perfectly into the scheme of popular adventure narratives because most of the Arthurian heroes are excellent embodiments of the light in the darkness, the hero on a quest, who gains a name and a girl and brings prosperity to the society he lives in.
This scheme was used for hundreds of adventure movies that were produced in Hollywood since the s, in the so-called Swashbuckler-genre, featuring heroes like Ivanhoe and Dick Turpin. And every generation has its own Robin Hood: Apart from some technical reasons widescreen, bigger budgetsthis can be ascribed to some unwelcome themes that travelled with the legend since medieval times. The inevitable downfall of the kingdom, the incest between Arthur and his half sister Morgan le Fay, the adulterous relationship between Lancelot and Guinevere and the central role of supernatural phenomena all go against the conventions of the Swashbuckler-genre.
In the s two Hollywood studios dealt with these problems in a way that had been used since medieval times, by simply introducing a new hero to king Arthur's court. This resulted in two quite successful movies: Prince ValiantHathawaywho was already famous in the United States throu gh the cartoons, and the lesser Black KnightGarnett which is usually described as an Arthurian Western. In both films Camelot is merely the background for the adventure. But in this film the incest is not mentioned, Lancelot and Guinevere suffer without relief and the supernatural Holy Grail is only used to give the film an upbeat ending.
Those omissions did not pay off; the story was still far too gloomy and tragic for a Swashbuckler. After the s the Swashbuckler-genre evolved dramatically. In the 60s Lancelot and Guinevere actually get their moment of joy in a movie that is not surprisingly titled Lancelot and GuinevereWilde.
The Adventure-heroes had to learn to ironise their own status in order to survive in the s and 80s. This irony made it for instance possible that Indiana Jones and his father share the same woman in Indiana Jones and the last CrusadeSpielberg.
And the rise of Fantasy as a filmgenre made the supernatural acceptable, mildly used in the Hollywood and Swashbuckler blockbuster Robin Hood: Prince of ThievesReynolds.
Knights of the Round Table, summary Director: It was the first MGM production in Cinemascope and the cinema is the only place to enjoy the wide panoramic view on the scenes that were shot partly in Ireland and Cornwall. Both Arthur and Mordred here Mordred is the lover of Arthur's sister Morgan want to be his successor. Mordred has tyranny in mind, Arthur intends to be a king for the people and has Merlin on his side, who is his counsellor rather than a magician.
Arthur draws Excalibur from the stone, but Mordred refuses to give in. Lancelot, the son of the French king Ban of Benwick, is looking for king Arthur, the only lord he wants to serve. In a forest he meets the young lady Elaine. When he is ambushed by Mordred's men who are waiting for Arthur a knight comes to his aid.
Lancelot does not like to be helped and challenges the knight. After a long and undecided duel the knight turns out to be Arthur. Lancelot offers him his service, and so does young Perceval, who comes to pick up his sister Elaine. Lancelot joins Arthur on his way to the council at the ring of stones Stonehenge. There Mordred tries to kill Arthur, but Lancelot saves him.
The war is on. After his victory Arthur establishes the Round Table. But soon after he gets into conflict with Lancelot, who does not want him to pardon Mordred and Morgan. Guinevere is to marry Arthur, but on the way to Camelot she is captured by an evil knight. It is Lancelot as a nameless knight who saves her and orders the evil knight who will be one of his companions later on to bring her to Camelot in safety.
After the wedding the knights are to pay homage to their king and queen. Lancelot reappears and is the first to kneel before them. Arthur makes him the champion of the queen. Lancelot and Guinevere feel deeply for each other, but do not consume their passion.
Instead Lancelot marries Elaine to silence the gossip about him and the queen, and he takes his bride away from the court. Gawain and Gareth are Lancelot's loyal companions: Gawain watches over Elaine, while Lancelot and Gareth are out fighting the Picts.
Perceval visits them and talks about his quest for the Holy Grail. Elaine dies after giving birth to a son: Mordred and Morgan are responsible for the death of Merlin and a plot to get Lancelot back to Camelot and Guinevere. Lancelot pretends to have lost his feelings for her and flirts openly with lady Vivien. The queen is hurt by this and visits his chambers late at night. When Mordred's men amongst them Agravaine are banging on the door and all is lost, she sees proof of Lancelot's love for her.
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They kiss for the first and last time, right before Lancelot kills Agravaine and his men and brings the queen to safety. King Arthur has to judge his best friend and wife, but does not give in to Mordred's demand to have them killed. Instead Lancelot is banished to France and Guinevere has to retreat in a convent. The union of the Round Table falls apart and Mordred finds support to challenge Arthur again. Once again the civil war rages over the country and Arthur is mortally wounded.
It is Lancelot who throws Excalibur into the lake and then kills Mordred. Afterwards Lancelot and Perceval enter the ruins of Camelot.
Perceval has a vision of the Holy Grail and hears a heavenly voice that tells him Lancelot will be forgiven for his sins and Lancelot's son, Galahad, will be the most accomplished knight ever. However, First Knight is in the light of the cinematographic developments mentioned earlier a huge disappointment.
The producers avoided all risks and the result is a visually and technically overwhelming, but in every other respect half-hearted, picture. The way Lancelot is introduced, seems to indicate that they wanted to bring a new hero to the court, but it is also the old Lancelot of the chronicles whose feelings for the queen are condemned.
And there is the Swashbuckler Lancelot who has to get his girl in the end to secure a happy ending. To solve the problems that this mixture of the traditional legend and the conventions of the Swashbuckler-genre bring about, Arthur has to be killed without hope on his return. The bier that floats on the water reminds the audience of the traditional voyage to Avalon, but then a burning arrow discards all hope. And the kingdom does not fall: Lancelot will be the new king, with lady Guinevere on his side.
This is also necessary because Camelot is, once again, depicted as the ideal American society. At one point Arthur delivers a speech that could easily be interpreted as a plea for the American in tervention policy.
Malagant is, in contrast, a very plain villain: Adultery is also "not done" and therefore Guinevere is still a virgin at the end of the movie. And because these romantic developments are taken very seriously, there is not much room for a light sense of humour or irony, which is essential to a modern Swashbuckler movie.
The emphasis on the triangle Arthur, Guinevere and Lancelot leaves little space for side-kicks. Apart John Gielgud in a supporting role as Guinevere's counselor, there is only room for minor characters like Ralph, Peter and Marc.
The knights of the round table are as colourless as their uniform outfit suggests. The use of colour is on the other hand very effective in the depiction of the different cities and the development of Guinevere, from innocence, to Queen, to confusion about her feelings for Arthur and Lancelot.
In Robin Hood already suffered from a father complex, and here Lancelots desire for freedom is explained negatively by a childhood trauma. The introduction of this bit of "obvious" psychology is very abrupt, almost clumsy. Right after Lancelot starts talking about "the walls burning down" the scriptwriters or editors made a significant mistake: Guinevere talks about the fire in the church although she has no way of knowing about it.
Lancelot throws off the suffocating helmet and fights much better on foot than on a horse like a true knight is supposed to. That is probably what the film should have done: The question what First Knight is like can only be answered in terms of what it is not. The movie is far too heavy-laden to be a true Swashbuckler. It is not really an episodic adventure because of Arthur's part in the story. It is clearly not an adaptation of the Arthurian chronicles to the screen.
Well, it is a slick movie, and it can be entertaining if you are in the mood for mindless action and romance. First Knight, summary Starring: The same village is burnt down by Malagant and his men. The villagers arrive in Leonesse en are welcomed by Guinevere and her counsellor Oswald, who reminds her of king Arthur's marriage proposal. She decides to give Arthur a yes because she admires him.
On the way to Camelot the party from Leonesse is attacked by Malagant's men. Guinevere has to beat an attacker off her carriage, before she can jump off herself. Three men pursue her through the forest, but Lancelot appears and saves her. He makes advances, but she does not give in. He predicts she will ask him to kiss her before her wedding day.
Guinevere is welcomed to Camelot in great style. Lancelot runs the gauntlet during the festivities in Camelot. His prize is a kiss from the queen-to-be. She does not want to and he solves the awkward situation by saying he does not want the kiss out of fear to loose his heart to such a lovely lady. Arthur explains the ideal of the Round Table to Lancelot: Lancelot says he does not need anyone. Arthur tells Guinevere he would protect Leonesse even if she does not want to marry him.
But she wants to, say she loves him and knows just one way of loving: That is how he likes it: A gathering of the knights of the Round Table, one seat is empty. It used to seat for Malagant, who enters and claims Leonesse.
Arthur and Guinevere refuse to give in to his demands. That buys them war. Malagants men seize Guinevere from Camelot, with the help of a clever construction of a boat, some pulley's, a lot of rope and a couple of horses. Malagant holds Guinevere captive in a ruin. Lancelot pretends to be Arthur's messenger and saves her for the second time. In the forest they come closer to each other. He has a flash-back of his childhood trauma: With all this sensitivity in the air he comes closer to seducing her, but when they are about to kiss, Arthur's men arrive.
Arthur is grateful for the rescue and wants to make Lancelot a knight of the Round Table, and so happens even though the knights are protesting. Guinevere can not change Lancelot's mind about this. He stays because of her. The marriage ceremony is performed. A messenger arrives to bring the news of Malagant taking Leonesse. Arthur leads his army to Leonesse and to victory. Lancelot cries out when he sees the church-gate barricaded and is reminded again of his trauma, but the people of Leonnesse are all right.
A little boy asks Lancelot: Back in Camelot Lancelot tells Guinevere he truly believes in the ideals of the Round Table and that he can serve the cause best by leaving.
Now she tries to convince him otherwise. He stays with his decision, but takes her in his arms when she says he owes her a kiss. Arthur enters and witnesses the passionate embrace. Guinevere tries to convince Arthur of her love for him, but has to admit she loves Lancelot in a different way. Arthur says his dream is broken. Lancelot and Guinevere will be judged in public.
Lancelot kneels in front of the king and states the queen is innocence. Suddenly Malagant's men pop up to take over Camelot. Arthur pretends to give in to Malagant's demands, but calls upon the people to defend themselves against the tyranny. The knights of the Round Table, the people of Camelot and Lancelot defeat the villains. Malagant dies on the throne he desired, killed by Lancelot with Arthur's sword. Guinevere cries at Arthur's death-bed.
Lancelot arrives and Arthur calls him his first knight. Lancelot will inherit Camelot and Arthur asks him to take care of Guinevere. Arthur tells Guinevere he now feels the sunlight, because it shines in her eyes. And then he dies. Arthur's bier is set afloat in the water and a burning arrow initiates the cremation.
His biggest problem was how to compress the story into the length of a normal movie. But he did not reduce his sources. He actually used many bits and pieces of different versions of the legend and fused them together. White and even the old Tristan romances are recognisable in Excalibur, as well as Pre-Raphaelite and Wagnerian images.
The speed of the action and the density of visual symbols make it almost impossible for an audience to comprehend the movie on an intellectual level, and that is not what Boorman aims at. He forces his viewers to surrender, to let go and travel with the flow of the legend, to comprehend with the innate capability to understand myth.
That is also connected with one of the themes in Excalibur: King Uther is unable to master his instincts, rapes Ygraine and thus fathers Arthur, who reigns twenty years later with reason on his side. Camelot is the achievement of rational judgement in contrast to Uther's unbound passion. But Camelot is built on the foundations of Merlin's power and his magic is part of the unconsciousness. These two, ratio and unconsciousness, must be in balance. But Arthur puts reason over love. According to his own laws he must be king before husband and therefore he can not defend Guinevere's honour when she is accused of adultery.
Guinevere turns to Lancelot and their love flowers, even if it is just for a brief moment. When Arthur sees his wife in the arms of his best friend, he freaks and loses the sword Excalibur, his connection to the powers of the unconsciousness: Merlin and the lady of the lake. The lovers in the forest But the downfall of the kingdom is also indirectly caused by Uther's male lust.
Morgana sees how he rapes her mother Ygraine and knows that Uther and Merlin are responsible for the death of her father. She dedicates her life to revenge, steals the "charm of making" from Merlin and cheats her halfbrother Arthur into a one-night stand to become pregnant of Mordred, who will eventually kill his father.
Arthur becomes numb and his kingdom a waste land. It is Perceval on the quest for the Holy Grail who finds the answer, a concept that derives from the old Celtic tradition: And it is Guinevere who has kept the sword for her husband, which re-establishes his contact with Merlin, even though it is just in a dream.
At this stage both Merlin and Arthur become aware of the role they will have for future generations. Arthur knows that he: And Merlin has ceased to exist in reality, but is present in our unconsciousness: So here we have the whole story, in a very compressed form that is.
Some critics have stated that Excalibur rattles through the legend, but by doing so they underestimate Boorman's ability to tell stories with images and symbols and the way he lets the story run on different levels simultaneously. Excalibur is a highly entertaining story, but also an advanced interpretation of the legend, a particular vision on myth in general. The overwhelming speed and density of the action will lead the audience, like Arthur and Merlin, to understand the longing for a lost golden age and the "dream of what could be".
Excalibur, summary and further analysis Orion - Warner Brothers, Rospo Pallenberg, John Boorman. Music and musical director: Trevor Jones -extracts from: In the beginning there is a lot of fire, battle and chaos. The human race is still in a sort of unconscious state. The sword comes to bring order, but paradoxically it comes from a deeper unconscious force, hidden beneath the lake.
Merlin brings Uther to the lake, where he receives the sword Excalibur, which is given to him by the Lady of the Lake, a hand rising from the water.
The power of the sword will make him king. Merlin pressures Uther to make a deal with his main opponent, the duke of Cornwall. But when Uther sees Cornwall's wife Ygraine dancing, his lust takes over once again. Merlin is disappointed, but uses his magic "charm of making" so that Uther takes on the outer shape of Cornwall, which enables him to make love to Ygraine, while the real Cornwall dies in battle. Actually Cornwall dies because a couple of black birds fly in his way, not a coincidence I presume.
The daughter of the duke of Cornwall and Ygraine, Morgana, knows what has really happened. Of course, like most apps, if you want ad-free browsing or deeper disclosures, there will often be a fee.
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Some offer tools to help the decision making process. These can be a daily thought-provoking question where you can view responses and give a thumbs up to show interest, video introductions, or personality quizzes. Dating on the Go: Dating mobile apps have enabled people to juggle their daily tasks and still have the potential to find fun and meaning in spite of the usual hustle and bustle.
If you are looking for a long term commitment, there are dating sites for love.