Monte Python Compare/Contrast Paragraph #2 Scene: The Holy Grail This scene starts out with King Arthur and his nobel knights walking through a path. Then the skies open up and God speaks to them. “Arthur, Aaa arthur!” (Monte), say’s God. Arthur answer’s and asks what God wants. God requests that Arthur go search for the Holy Grail. The Holy Grail is generally considered to be the cup from which Christ drank at the Last Supper, and the one used by Joseph of Arima thea to catch his blood as he hung on the cross (Waite, 4).
This scene does not portray the real-life happenings of the situation. It is correct that Arthur went on a quest for the Holy Grail. But how he found out he had to take the journey was unlike the movie. In real life, God did not literally part the skies and start speaking to King Arthur. King Arthur and his knights thought it was their duty to quest for this Holy Grail.
“In the time of Arthur, the quest for the Grail was the highest spiritual pursuit” (Weston, 19).
That is why Arthur decided to seek the Holy Grail. You can notice that all movies need to stretch the truth, and this scene is a perfect example. In conclusion, this scene had the right concept, but how it was lain out in the beginning, apparently misled viewers from the accurate facts. Works Cited Page Monte Python and the Holy Grail. Drs.
Terry Gilman and Terry Jones. With Graham Chapman and John Cleese. Columbia Tristar, 1974 Waite, Arthur Edward. The Holy Grail: The Galahad Quest in the Arthurian Literature. New Hyde Park, NY: University Books, 1961. Weston, Jessie L.
The Essay on Arthur Miller John God Life
It was with ardent horror that the prehistoric man first witnessed a solar eclipse -- -the sun swallowed by the predator moon until all light ceased and darkness fell on to the land. We, the more enlightened descendants, have also suffered eclipses. One such eclipse was the darkness of evil that fell upon Salem in 1692, when many men and women were accused of compacting with the Devil. These ...
The Quest of the Holy Grail. 1913; rpt. New York: Haskell House, 1965.
