During the early modern period in England, and sometimes elsewhere, the figure of a man dressed in a foliage costume, and usually carrying a club, was a variant of the broader European motif of the Wild Man (also known as wild man of the woods, or woodwose). By at least the 16th century the term "green man" was used in England for a man who was covered in leaves, foliage including moss as part of a pageant, parade or ritual, who often was the whiffler (a person who clears a path or space through the crowd for a parade or performance). From the 17th century such figures were used for the names of pubs, and painted on their signs.[1]
In 1939, Julia Somerset, Lady Raglan, wrote an article in the journal Folklore that connected the foliate head artistic motif of medieval church architecture (which she also called the "Green Man") with other "green"-related concepts, such as the "Green Man" pubs, the Jack in the Green folk custom and May Day celebrations.[2] She proposed that the "Green Man" represented a pagan fertility figure. The idea has been contested by other folklorists, who assert that Lady Raglan had no evidence that the foliate head motif or other concepts she associated with it were pagan in nature.[3][4]
Lady Raglan's idea of the "Green Man" was adopted from the 1960s onward by the New Age and Neopagan movements,[3][4] and some authors have considered it to represent a Jungian archetype.[5] The nature of the Green Man as a mythological figure has been described as "20th-century folklore".[4]
The Green Man has been asserted by some authors to be a recurring theme in literature. Leo Braudy, in his book, Haunted: On Ghosts, Witches, Vampires, Zombies, and Other Monsters of the Natural and Supernatural Worlds asserts that the figures of Robin Hood and Peter Pan are associated with a Green Man, as is that of the Green Knight in Sir Gawain and the Green Knight. The Green Knight in this poem serves as both a monster antagonist and as mentor to Sir Gawain, belonging to a pre-Christian world which seems antagonistic to, but is in the end harmonious with, the Christian one.[6] In Thomas Nashe's masqueSummer's Last Will and Testament (1592, printed 1600), the character commenting upon the action remarks, after the exit of "Satyrs and wood-Nymphs", "The rest of the green men have reasonable voices […]".
During the post-war era literary scholars interpreted the Green Knight as being a literary representation of Lady Raglan's Green Man as described in her article "The Green Man in Church Architecture", published in Folklore journal of March 1939. This association ultimately helped consolidate the belief that the Green Man was a genuine, Medieval folkloric, figure.[7] Raglan's idea that the Green Man is a mythological figure has been described as "bunk", with other folklorists arguing that it is simply an architectural motif.[3]
In the final years of the 20th century and earliest of the 21st, the appearance of the Green Man proliferated in children's literature.[8] Examples of such novels in which the Green Man is a central character are Bel Mooney's 1997 works The Green Man and Joining the Rainbow, Jane Gardam's 1998 The Green Man, and Geraldine McCaughrean's 1998 The Stones are Hatching.[8] Within many of these depictions, the Green Man figure absorbs and supplants a variety of other wild men and gods, in particular those which are associated with a seasonal death and rebirth.[8] The Rotherweird Trilogy by Andrew Caldecott draws heavily on the concept of the Green Man, embodied by the gardener Hayman Salt who is transformed into the Green Man at the climax of the first book.
The Green Man is an integral character in Max Porter's novel Lanny, which was longlisted for the 2019 Booker Prize. The Green Men (including a suffragist irritated by the name) and their powers figure significantly in K. J. Charles's novel The Spectred Isle (2017), which was nominated for a RITA Award.[9]
The character Uncle Mike in the Mercy Thompson series by Patricia Briggs is referred to as Green Man by the Welsh character Samuel Cornick in book 3.
Sculpture
The Green Man image made a resurgence in modern times, with artists from around the world interweaving the imagery into various modes of work.[10] English artist Paul Sivell created the Whitefield Green Man, a wood carving in a dead section of a living oak tree; David Eveleigh, an English garden designer created the Penpont Green Man Millennium Maze, in Powys, Wales ( as of 2006 the largest depiction of a Green Man image in the world); Zambian sculptor Toin Adams created the 12m-tall Green Man in Birmingham, UK as of 2006 the largest free-standing sculpture of the Green Man in the world; and sculptor M. J. Anderson created the marble sculpture titled Green Man as Original Coastal Aboriginal Man of All Time from Whence the Bush and All of Nature Sprouts from his Fingers. Others include Jane Brideson, Australian artist Marjorie Bussey, American artist Monica Richards, and English fantasy artist Peter Pracownik, whose artwork has appeared in several media, including full-body tattoos.[10]
American artist Rob Juszak took the theme of the Green Man as Earth's spiritual protector and turned it into a vision of the Green Man cradling the planet; Dorothy Bowen created a kimono silk painting, titled Greenwoman, as an expression of the feminine aspect of the legend.[10]
Banksia Man by Australian artist Graham Wilson; his reinterpretations incorporate native Australian flora.
The Green Man by sculptor Toin Adams at the Custard Factory, Birmingham, England[11]
Green Man sculpture (1999) by Lydia Karpinska. On public view in Bloomsbury, London.
The Whitefield Green Man, woodcarving by Paul Sivell
A modern garden ornament. Stonecarving by Pat Austin, David Austin Rose Garden, Albrighton (20th century)
A Green Man with the body of a faun: Green Mason by Australian artist Graham Wilson (21st century)
Film
An interpretation of the Green Man and related folklore such as the Sheela na gig inspired characters and motifs in Alex Garland's 2022 film Men.
Dramatised combat between the Green Man and Jack Frost at a community festival in Yorkshire Costumed performer at Scarborough Faire (2007)
Modern paganism
For many modern pagans, the Green Man is used as a symbol of seasonal renewal and ecological awareness.[12] In Wicca, the Green Man has often been used as a representation of the Horned God, a syncretic deity that incorporates aspects of, among others, the CelticCernunnos and the Greek Pan.[13]
Gallery
Fountain found in Campo San Giacomo, Venice, Italy
↑ Araneo, Phyllis. 2008. The Archetypal, Twenty First Century Resurrection of the Ancient Image of the Green Man. Journal of Futures Studies 13 (1): 43–64.
Basford, Kathleen (1998) [1978]. The Green Man. Cambridge: D. S. Brewer. ISBN978-0859914970.
Bramwell, Peter (2009). Pagan Themes in Modern Children's Fiction: Green Man, Shamanism, Earth Mysteries. New York: Palgrave Macmillan. ISBN978-0-230-21839-0.
Sir Gawain and the Green Knight is a late 14th-century chivalric romance in Middle English alliterative verse. The author is unknown; the title was given centuries later. It is one of the best-known Arthurian stories, with its plot combining two types of folk motifs: the beheading game, and the exchange of winnings. Written in stanzas of alliterative verse, each of which ends in a rhyming bob and wheel, it draws on Welsh, Irish, and English stories, as well as the French chivalric tradition. It is an important example of a chivalric romance, which typically involves a hero who goes on a quest which tests his prowess. It remains popular in modern English renderings from J. R. R. Tolkien, Simon Armitage, and others, as well as through film and stage adaptations.
A fairy is a type of mythical being or legendary creature, generally described as anthropomorphic, found in the folklore of multiple European cultures, a form of spirit, often with metaphysical, supernatural, or preternatural qualities.
The Wild Hunt is a folklore motif occurring across various northern European cultures. Wild Hunts typically involve a chase led by a mythological figure escorted by a ghostly or supernatural group of hunters engaged in pursuit. The leader of the hunt is often a named figure associated with Odin in Germanic legends, but may variously be a historical or legendary figure like Theodoric the Great, the Danish king Valdemar Atterdag, the dragon slayer Sigurd, the Welsh psychopomp Gwyn ap Nudd, biblical figures such as Herod, Cain, Gabriel, or the Devil, or an unidentified lost soul either male or female. The hunters are generally the souls of the dead or ghostly dogs, sometimes fairies, valkyries, or elves.
Gawain, also known in many other forms and spellings, is a character in Arthurian legend, in which he is King Arthur's nephew and one of the premier Knights of the Round Table. The prototype of Gawain is mentioned under the name Gwalchmei in the earliest Welsh sources. He has subsequently appeared in many Arthurian tales in Welsh, Latin, French, English, Scottish, Dutch, German, Spanish, and Italian, notably as the protagonist of the Middle English poem Sir Gawain and the Green Knight. Other works featuring Gawain as their central character include De Ortu Waluuanii, Diu Crône, Ywain and Gawain, Golagros and Gawane, Sir Gawain and the Carle of Carlisle, L'âtre périlleux, La Mule sans frein, La Vengeance Raguidel, Le Chevalier à l'épée, Le Livre d'Artus, The Awntyrs off Arthure, The Greene Knight, and The Weddynge of Syr Gawen and Dame Ragnell.
The Green Man, also known as a foliate head, is a motif in architecture and art, of a face made of, or completely surrounded by, foliage, which normally spreads out from the centre of the face. Apart from a purely decorative function, the Green Man is primarily interpreted as a symbol of rebirth, representing the cycle of new growth that occurs every spring.
The Knights of the Round Table are the legendary knights of the fellowship of King Arthur that first appeared in the Matter of Britain literature in the mid-12th century. The Knights are an order dedicated to ensuring the peace of Arthur's kingdom following an early warring period, entrusted in later years to undergo a mystical quest for the Holy Grail. The Round Table at which they meet is a symbol of the equality of its members, who range from sovereign royals to minor nobles.
Morgan le Fay, alternatively known as Morgan[n]a, Morgain[a/e], Morg[a]ne, Morgant[e], Morge[i]n, and Morgue[in] among other names and spellings, is a powerful and ambiguous enchantress from the legend of King Arthur, in which most often she and he are siblings. Early appearances of Morgan in Arthurian literature do not elaborate her character beyond her role as a goddess, a fay, a witch, or a sorceress, generally benevolent and connected to Arthur as his magical saviour and protector. Her prominence increased as the legend of Arthur developed over time, as did her moral ambivalence, and in some texts there is an evolutionary transformation of her to an antagonist, particularly as portrayed in cyclical prose such as the Lancelot-Grail and the Post-Vulgate Cycle. A significant aspect in many of Morgan's medieval and later iterations is the unpredictable duality of her nature, with potential for both good and evil.
The wild man, wild man of the woods, or woodwose/wodewose is a mythical figure and motif that appears in the art and literature of medieval Europe, comparable to the satyr or faun type in classical mythology and to Silvanus, the Roman god of the woodlands.
A sheela na gig is a figurative carving of a naked woman displaying an exaggerated vulva. These carvings, from the Middle Ages, are architectural grotesques found throughout most of Europe on cathedrals, castles, and other buildings.
A knight-errant is a figure of medieval chivalric romance literature. The adjective errant indicates how the knight-errant would wander the land in search of adventures to prove his chivalric virtues, either in knightly duels or in some other pursuit of courtly love.
Red Knight is a title borne by several characters in Arthurian legend.
The Green Knight is a heroic character of the Matter of Britain, originating in the 14th-century poem Sir Gawain and the Green Knight and the related medieval work The Greene Knight. His true name is revealed to be Bertilak de Hautdesert in Sir Gawain, while The Greene Knight names him "Bredbeddle". The Green Knight later features as one of Arthur's greatest champions in the fragmentary ballad "King Arthur and King Cornwall", again with the name "Bredbeddle".
Jack in the Green, also known as Jack o' the Green, is an English folk custom associated with the celebration of May Day. It involves a pyramidal or conical wicker or wooden framework that is decorated with foliage being worn by a person as part of a procession, often accompanied by musicians.
The Green Man is an architectural image of a foliate head.
Laudine is a character in Chrétien de Troyes's 12th-century romance Yvain, or, The Knight with the Lion and all of its adaptations, which include the Welsh tale of Owain, or the Lady of the Fountain and the German epic Iwein by Hartmann von Aue. Usually known as the Lady of the Fountain, she becomes the wife of the poem's protagonist, Yvain, one of the knights of King Arthur's Round Table, after he kills her husband, but later spurns the knight-errant when he neglects her for heroic adventure, only to take him back in the end.
Celtic literature is the body of literature written in one of the Celtic languages, or else it may popularly refer to literature written in other languages which is based on the traditional narratives found in early Celtic literature.
Sir Gawain and the Carle of Carlisle is a Middle English tail-rhyme romance of 660 lines, composed in about 1400. A similar story is told in a 17th-century minstrel piece found in the Percy Folio and known as The Carle of Carlisle. These are two of a number of early English poems that feature the Arthurian hero Sir Gawain, the nephew of King Arthur, in his English role as a knight of the Round Table renowned for his valour and, particularly, for his courtesy.
The Green Knight is a 2021 epic medieval fantasy adventure art film written, produced, directed and edited by David Lowery that is an adaptation from the 14th-century poem Sir Gawain and the Green Knight. The film stars Dev Patel as Gawain, who sets out on a journey to test his courage and face the Green Knight. It also stars Alicia Vikander, Joel Edgerton, Sarita Choudhury, Sean Harris, and Ralph Ineson.
The Land of Maidens is a motif in Irish mythology and medieval literature, especially in the chivalric romance genre. The latter often also features a castle instead of an island, sometimes known as the Castle of Maidens.
The beheading game is a literary trope found in Irish mythology and medieval chivalric romance. The trope consists of a stranger who arrives at a royal court and challenges a hero to an exchange of blows: the hero may decapitate the stranger, but the stranger may then inflict the same wound upon the hero. The supernatural nature of the stranger, which makes this possible, is only revealed when he retrieves his severed head. When the hero submits himself to the return blow, he is rewarded for his valor and is left with only a minor wound. The hero is seen as coming of age by undergoing the exchange of blows, and his symbolic death and rebirth is represented by the feigned return blow.
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