There is a form of pure love and authentic chivalry that permeates throughout the Arthurian legends. Elements of loyalty and valor accompany these concepts, and all are equally represented in Chretien de Troyes' The Knight of the Cart, or more commonly known as Lancelot, the original text that portrayed the adulterous affair between Lancelot, a knight in Arthur’s court, and Arthur’s queen, Guinevere. In a similar style to the aithed (Kibler 112)—or Celtic tale of abduction —Chretien crafts a time enduring legend in which in our knight of the cart, Lancelot embarks on a romantic and chivalric quest in search of the queen, for Meleagant has taken her as prisoner to his otherworldly realm of Gorre. Along this journey, Lancelot encounters a myriad of perhaps unbearable tests and tribulations, yet he never fails to rise above these trials and continue on in his pursuit for his great love. However, all the adventures Lancelot endures all stem from one fleeting moment comprised of great sin, the instance where Lancelot hesitates for two steps before climbing into the cart that permanently shames all who ride within it.
The force that compels Lancelot to undertake the cart is simply the great love he feels for his queen pushing him closer towards his goal, but the reasoned reluctance that stalls Lancelot is a competing goal to obey to the expectations of knighthood. Throughout the rest of the text, Lancelot repents for his great sin by “serv[ing] women unhesitatingly, for having shown the slightest preference for knightly honor over amorous duty” (Kibler 113). Chretien’s concise language and fictional portrayal of romantic ideologies of fin’ amors—or courtly love— illuminates unto the reader that the miniscule yet vastly significant mo...
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...ence to Love would certainly condemn our lovers to death. And such an unfavorable end to the affair of Lancelot and Guinevere would not result in the wondrous and magnificent, acclaimed and cherished legend that has prevailed over the ages.
Works Cited
de Troyes, Chretien. "Lancelot, or The Knight of the Cart." The Romance of Arthur: An Anthology of Medieval Texts in Translation. By Norris J. Lacy and James J. Wilhelm. 3rd ed. London: Routledge, 2013. 114-80. Print.
Kay, Sarah. "Courts, Clerks, and Courtly Love." The Cambridge Companion to Medieval Romance. By Roberta L. Krueger. Cambridge, UK: Cambridge UP, 2000. 81-96. Print
Kibler, William W. "Chretien De Troyes, Lancelot, or The Knight of the Cart." The Romance of Arthur: An Anthology of Medieval Texts in Translation. By Norris J. Lacy and James J. Wilhelm. 3rd ed. London: Routledge, 2013. 112-114. Print.
Lancelot is portrayed mostly as a love-struck man and not a very logical knight. From the first moment he is introduced, he is seen as someone sick from love. He will do anything to save his love, Gweneviere; even if that meant dishonor. When Lancelot rode on the cart, he was immediately labeled as someone bad. He pushed aside reason for love. “Because love ordered it, and wished it, he jumped in; since Love ruled his action, the disgrace did not matter.” (212) There seemed to have been nothing that could stand in the path of Lancelot.
The poem, Sir Gawain and the Green Knight, tells of one knights struggle to uphold the code of chivalry. What makes a knight a noble knight? Why does this social standard force us to hold this individual to higher expectations? What should we think about Sir Gawain when he breaks his vows in Sir Gawain and The Green Knight? How does Sir Gawain and Arthur’s court pass the test of The Green Knight? This paper will argue that Sir Gawain, despite his mistakes, is the greatest knight because of his repentance and the lesson he learns when he encounters The Green Knight.
Thomas Malory’s Le Morte D’arthur, T.H. White’s Once and Future King, and George Romero’s Knightriders encompass the evolution of the Arthurian tale from Malory’s time to the 1980s. Through this time many things have changed and these changes can be seen within the differences between each work. While there are many prominent differences chivalry or the knightly code is one of the main forces that tie these tales together. Malory reworks many of his sources to bring attention to the grand fellowship of Arthur’s Round Table and the chivalry that holds the knights together. Malory idealizes the power of chivalry and gives a great importance to it throughout his text. Unlike Malory, White does not idealize chivalry, but he does see the good and honorable aspects of chivalry. From Sprague Kurth’s article, “Conclusion,” it is clear to see that White gives his text an anti-war stance and shows chivalry and the controlling moral compass of Arthur’s knights. Chivalry is once again idealized in George Romero’s Knightriders the situations within the film are modernized but the emotions and illusions remain the same. T.H. White is directly referenced within the film and Malory’s idealization of the glory of chivalry can once again be seen. In my essay, I will show how chivalry is used in all the texts above as a bonding agent between all Arthurian knights. As Arthur’s knights honor and respect chivalry they remain as one cohesive group, but once they begin to abandon chivalry the Round Table begins to crumble and chaos ensues.
Marie De France’s Lanval is a remarkable short narrative that engages the reader into a world filled with unrealistic elements, but enhances on the true meaning of romance, chivalry and nature during the years that King Arthur reigned. “Sir Gawain and The Green Knight” unfortunately does not have an author that can be recognized but this epic poem demonstrates the ghastly adventure of a knight who decides to defend the honor of young King Arthur against a supernatural being in this malicious game of cat and mouse. Both of these pieces of literature have enchanting characteristics that define them as a masterpiece of their era and that’s why they both are easily compared and contrasted. In addition, both Lanval and “Sir Gawain and The Green Knight” can be classified as similar through their themes, style and plots, although they are different through their language and diction. Even though both of these literatures can be viewed as similar as well as contrasting, in the end, each of these tales have illuminated the realm of fantasy throughout the court of King Arthur.
When Maurice Keen set out to write a book on the components and development of chivalry, he did not know it would be “the last word on a seductive subject,” as stated by one Washington Post reviewer. Instead, Keen was merely satisfying a curiosity that derived from a childhood fascination of stories filled with “knights in shining armour.” This juvenile captivation was then transformed into a serious scholarly interest by Keen’s teachers, the product of which is a work based upon literary, artifactual, and academic evidence. Keen’s Chivalry strives to prove that chivalry existed not as a fantastical distraction, as erroneously portrayed by romances, but instead as an integral and functional feature of medieval politics, religion, and society. The thirteen chapters use an exposition format to quietly champion Keen’s opinion of chivalry as being an element of an essentially secular code of “honour” derived from military practices.
Throughout the story The Knight of the Cart by Chretien de Troyes, the knight of the cart, or better known as Lancelot, shows off his prowess as a knight time and time again. There can be no doubt as a reader that Lancelot is a knight of incredible skill and ambition, and that he would do whatever it took to appease those around him, especially Queen Guinevere herself. While his skill may be unmatched, there is one flaw of Lancelot that seems to be overlooked by Chretien de Troyes, and possibly other readers, and that is his commitment of adultery with Queen Guinevere. Writing as a romance author, of course the text includes Lancelot finally achieving what he seemed to desire most, the Queen. For Chretien de Troyes, his way of portraying Lancelot achieving his goal, was to have him sleep with Queen Guinevere. As a reader, this is the point where it seems that Lancelot has reached his goal for his journey, as he immediately departs from the castle to seek Lord Gawain the next day (Chretien de Troyes, 269). Lancelot is of course a
De Troyes, Chrétien, William W. Kibler, and Carleton W. Carroll. "The Story of the Grail (Perceval)." Arthurian Romances. London, England: Penguin, 1991. 381-499. Print.
In the Medieval Period, knights dedicated their lives to following the code of chivalry. In Sir Thomas Malory’s Le Morte d’Arthur, a number of characters performed chivalrous acts to achieve the status of an ideal knight. Their characteristics of respect for women and courtesy for all, helpfulness to the weak, honor, and skill in battle made the characters King Arthur, King Pellinore, and Sir Gryfflette examples of a what knights strove to be like in Medieval society. Because of the examples ofchivalry, Le Morte d’Arthur showed what a knight desired to be, so he could improve theworld in which he lived.
Lancelot, Bors, and Perceval all strive to become more like Galahad, and the author effectively uses these characters to teach his readers lessons about spiritual chivalry and personal salvation. The author provides each of these knights with a series of monks and hermits who counsel and guide him in the ways of spiritual chivalry, for only the most pure Christian knights have any hope of finding the Grail. The adventures of Perceval are very straightforward and easy to interpret, so he provides readers with a suitable introduction to spiritual chivalry and the importance of virginity, asceticism, and complete faith in God. The author faces Bors with more complicated challenges and visions than anything Perceval must handle; since the author tells Bors' adventures after Perceval's, readers should be more prepared to interpret their meaning and significance with regard to spiritual chivalry and personal salvation. The advice Lancelot receives from his series of monks and hermits shows readers the importance of confession and penance, but the author makes it clear that readers should not emulate Lancelot's life of sin ...
In the Middle Ages, when The Canterbury Tales was written, society became captivated by love and the thought of courtly and debonair love was the governing part of all relationships and commanded how love should be conducted. These principles changed literature completely and created a new genre dedicated to brave, valorous knights embarking on noble quests with the intention of some reward, whether that be their life, lover, or any other want. The Canterbury Tales, written in the 14th century by Geoffrey Chaucer, accurately portrays and depicts this type of genre. Containing a collection of stories within the main novel, only one of those stories, entitled “The Wife of Bath’s Tale”, truly outlines the 14th century community beliefs on courtly love.
Romance can be defined as a medieval form of narrative which relates tales of chivalry and courtly love. Its heroes, usually knights, are idealized and the plot often contains miraculous or superatural elements. According to Tony Davenport the central medieval sense of romance is ' of narratives of chivalry, in which knights fight for honour and love.' The term amour coutois ( courtly love) was coined by the French critic Gaston Paris in 1883 to categorise what medieval French lyricists or troubadours referred to as ' fin armors'. Romances and lyrics began to develop in the late fourteenth century England, author like Chaucer or Hoccleve produced some of the first english medieval narratives. But how does medieval literature present the expericence of romantic love. In order to answer this question this essay will focus on two tales from Chaucer's Canterbury Tales: the Knight's Tales and the Franklin's Tales. It will show that medieval romance can be used as a vehicle to promote chivalric behaviour as well as exploring a range of philosophical, political, and literary question.
T.H. White's novel The Once and Future King presents a code of chivalry that outlines the expected knightly behavior of the time. This particular code stresses loyalty to one's liege, love and respect toward women, and absolute devotion to justice. At the height of Arthur's kingdom, this code was widely accepted by all. However, as Arthur's kingdom begins to decline, the code of chivalry begins to hold less importance among the people. The fall of Arthur's kingdom is directly related to the absence of the code of chivalry in the behavior of the Knights of the Round Table. Sir Lancelot betrays Arthur when he has an adulteress affair with Guenever. Sir Lancelot also disrespects women when he leaves Elaine to be with Guenever in Camelot. King Arthur himself is disloyal to justice when he allows Guenever to be rescued by Lancelot.
The tales of King Arthur and many of their numerous characters are well known in literature. The Arthurian world is one of the great myths of modern times. Those great pieces of literature have many common themes, one of them being courtly love “L’amour Courtois”. This paper talks of courtly love as seen in King Arthur’s world especially examining “Yvain or the Knight with the Lion” and “Lancelot: or the Knight of the Cart”. Furthermore, one of the goals is to show how that courtly love could be seen in today in our world.
Many tales of courtly love are also tales of chivalry. Chivalry began to develop in the eleventh and twelfth centuries, and since then, chivalric literature has existed as one of the main sites of human rights and social criticism (Wollock 266). In chivalric theory, an honorable knight gives respect to others in all matters of action and of speech (267). Chaucer describes the knight in The Canterbury Tales by saying, “He nevere yet no vileynye ne sayde / in al his lyf unto no maner wight. / He was verray, parfit gentil knyght” (Chaucer 70-72). While Chaucer’s knight is not a true example of courtly love, for Chaucer assigns the Squire that trait, he does possess the qualities of chivalry, which allow him to present a story of courtly love in his tale.
How would you describe Sir Lancelot? Most people would say he is the strongest, bravest, and kindest knight of the round table. Some might say he is the biggest Benedict Arnold of all time because of the adultery he committed with Queen Guinevere. However, his chivalry and code of honor make him the epitome of a true gentleman. These contrasting qualities set Sir Lancelot apart from all the other knights and characters in the “Morte D’Arthur.” Lancelot’s gallant, courageous, and conflicting personality make him a complex character in this dramatic tale of love and betrayal.