In the texts Sir Gawain and the Green Knight, Dr Faustus and Gulliver’s Travels, juxtapositions of supernatural, or fantastical, and realism frequently occur. The placing of both realistic and fantastic subjects contributes to the readings of the texts by adding significantly to the meanings or morals, and in some cases to provide a cover for political criticism. Also, the forms of text used are those popular at the time, and the texts themselves deal with relevant issues of the period. In doing this, the authors have produced socially relevant texts, with some level of ambiguity, that will inevitably be read by much of that society.

Within the anonymous work Sir Gawain and the Green Knight, juxtapositions of realism and the supernatural are carried. Written in the time of the courtly society, the reader is presented with a realistic image of that society and the beliefs held by it, particularly to do with heroism. It is particularly important that the text begins with a realistic scene, for if it had begun with a fantastical one it would not have been received in the same way. The meaning would not have been as clear as it may have been read as a pure fantasy. By juxtaposing these elements of realism with supernatural ones, the meaning behind the text, social criticism, becomes clearer.

The Green Knight, an adaptation of the Green Man in Celtic mythology, is a supernatural being that interrupts the courtly and realistic behaviour and chivalry of Arthur’s court. Representing nature, but in a fantastic form, the Green Knight challenges the court. Sir Gawain, the perfect chivalrous hero and general symbol of society, takes up the challenge, and on his journey is continually terrorised by nature. His shield bearing a five-pointed star has both Christian and pagan connotations, but generally symbolises his supposed perfection. Gawain, the only true element of realism while on the journey, must face temptations and threats provided by the supernatural. Sir Bertilak/Green Knight and the girdle are primary examples of this. Despite his best efforts Gawain is eventually shown as less than perfect by accepting the girdle from Bertilak’s wife, thereby proving weakness. Gawain’s fall warns of that decay of the courtly society is likely. His inability to accept his weakness, blaming it on others, and the carefree attitude of the court upon his return emphasise this. The use of supernatural and, as stated by W. A. Davenport, "the levelling use of realism… help(s) mark Gawain as more sympathetic and human than strictly heroic" (Stainsby 115). Thus, the juxtaposition of realism and the supernatural assist in conveying the social criticism, that courtly behaviour and heroism is not as important as society believes, and thereby adds to the meaning.

In Dr Faustus, Marlowe has created a play that deals intensely with magic, religion and the supernatural, but not entirely. The setting is realistic, as are the characters within the play. To the audience Faustus appears a real man, which is important in understanding the meaning of the text. Also important to the meaning, is that as in Sir Gawain and the Green Knight, the beginning of the text is realistic; if it hadn’t been, the meaning of the play may have been lost. The realism grounds the play somewhat, letting the audience or reader know that there is something deeper. This deeper meaning, one of social critique, is conveyed to a great extent by inter-weaving the supernatural with the realism.

Using Faustus as a general, and realistic, symbol for the tumultuous Elizabethan society, Marlowe criticises and raises questions about that society and it’s beliefs. Cleanth Brooks brings up the point that "Faustus rejects philosophy and divinity for magic", but that he uses magic only to gain knowledge which he may then use for material gain and folly (Jump 210). The evil supernatural elements, the seven deadly sins and Mephastopheles for instance, offer Faustus material things or indulgences such as a bowl of grapes or the apparition of Helen of Troy to do with as he pleased. Knowledge of some significance, but which Faustus usually disregards, or of little practical use is also given. However, the good supernatural elements have only rewards that Faustus cannot physically touch, literally know or really comprehend, namely after-life in heaven, hence he is more inclined to follow the devil. This can be brought back to the search for knowledge, increase in popularity of science and the questioning of religion, and idea of free will associated with the renaissance period. Faustus represents a society perhaps more inclined to follow what it can literally sense, or explain by way of science, that is also capable of making it’s own decisions. In the ending, however, it can be seen that the old ideas aren’t completely abandoned, and that knowledge and free will must be used with care. By juxtaposing realism and the supernatural, Marlowe has produced a piece of very relevant social criticism.

The juxtaposition has also produced other important effects. By using elements of the supernatural, Marlowe has made the meaning a little more subtle. This subtlety was required as a form of censorship. Marlowe was already considered a controversial figure, and if he had written a play that was a direct attack on society of the time he would have over stepped the line. However, he has used supernatural elements to make the meaning a little more ambiguous and cover the criticism somewhat. It can be viewed just as a morality play; if you associate with the devil, you’re damned. It is important to note that at the time this form of play was quite popular, and by doing that Marlowe produced a play that would be viewed extensively. Thus Marlowe has juxtaposed realism and the supernatural in Dr Faustus, and subtly criticised society in a popular form for a widespread reading of the text.

Swift has used the juxtaposition of realism and the supernatural or, in this case, the fantastic, in a similar way to Marlowe in Dr Faustus. The story takes place in a very real setting with a realistic beginning, again to ground the reader somewhat and hint at the deeper meaning when the fantastic elements come into play. Also, by using the form of a Travel Narrative, popular at a time when colonisation brought tales of the weird and wonderful, Swift has made it a little more real, even to the extent that the story was believed by some. Gulliver, the main character and supposed author, is also a realistic element that contributes to the meaning; again one of social criticism.

In book four, by juxtaposing realism and the fantastic, a social criticism is made. Gulliver, after being thrown off his boat by a mutinous crew (a very realistic and possible happening), comes upon an island inhabited by two races of fantastic beings. The Yahoos are irrational, humanoid brutes and the Houyhnhnms, completely rational, but somewhat cold, horse-like animals. One of main points Swift was trying to convey was that people are not a rational as they would like to think. Hazlitt says that "he has taken a new view of human nature, such as a being of a higher sphere might take of it" (Berwick 72). Swift used the fantastic Houyhnhnms to represent a completely rational society that did not see a rational race when it looked at the Yahoos, representing elements of the human race. Gulliver on the other hand, being the general symbol for society, is a realistic being capable of reason. He is shown through the perfection of the Houyhnhnms that he is not perfect. Logic and rationality were popular concepts at the time of this publication, and Swift has criticised the belief of many that humans are rational. Again, by the using the fantastic Yahoos and Houyhnhnms, and the realistic Gulliver, criticism of colonisation, namely that by Britain, the treatment of other cultures, religion and many other socially relevant affairs are made also. Once again the juxtaposition of realism and the fantastic have helped convey the meaning behind the text.

Like Marlowe, Swift was a very controversial figure due to political beliefs and actions, and he as used the realism laced with fantastic to make the meaning more ambiguous and to censor himself. T. O. Wedel makes the comment that rarely would Swift "reveal his opinions or feelings without a clock of irony" (Brady 25). It is because of this ‘cloaking’ that the book has survived not only as critique, but also as a children’s story. Like Dr Faustus it’s meaning is multi-layered. Despite the book becoming a popular children’s story, the real meaning was still seen clearly. The extensive negative criticism received in response to the text, particularly the use of the fantastic Yahoos in book four, proves that society understood what he was saying and were in most cases offended by it. Swift’s desire to vex society was surely fulfilled. Once again, the juxtapositions of realism and the fantastical have produced somewhat disguised meaning in a text criticising society that was read by many in that society.

It can be seen then, the juxtaposition of realism and the supernatural or fantastic in Sir Gawain and the Green Knight, Dr Faustus and Gulliver’s Travels contributes crucially to the meaning of the texts. Also it can, to some extent, make that meaning less direct and thus protect the author. This allows the authors to criticise society, as they have in each text, even if, as in the case of Dr Faustus and Gulliver’s Travels, this criticism may not be well received.

WORKS CITED

Abrams, M.H., et al. ed. The Norton Anthology of English Literature. 6^th ed. 2 Vols. New York: Norton, 1993.

Berwick, Donald M. The Reputation of Jonathan Swift. New York: Haskell House, 1941.

Brady, Frank, ed. Twentieth Century Interpretations of Gulliver’s Travels. Englewood Cliffs: Prentice-Hall, 1968.

Farnham, Willard, ed. Twentieth Century interpretations of Doctor Faustus: A Collection of Critical Essays. Englewood Cliffs: Prentice-Hall, 1969.

Jump, John Davies, ed. Marlowe, Doctor Faustus: A Casebook. London: Macmillan,

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Marlowe, Christopher. Doctor Faustus: Text and Major Criticism. ed. Irving Ribner. New York: Odyssey, 1966.

Stainsby, Meg. Sir Gawain and the Green Knight: An Annotated Bibliography, 1978-1989. New York: Garland, 1992.

Stevens, John E. Medieval Romance: Themes and Approaches. London: Hutchinson, 1973.