The quest of the Sangreal in Le Morte D’Arthur depicts several of the characteristics of Medieval Romance. For instance, Sir Launcelot’s struggle to find the grail and come to terms with his sins reflects the quality. Sir Launcelot’s attempt at the grail begins on page 387, and the ensuing events show the knight as the tale’s protagonist. Another key element of this literature was the notion of a quest and the physical and mental struggles involved in it. In portraying the fundamental characteristic of the quest, Malory writes of Sir Galahad and his pursuit of the Holy Grail. Sir Galahad’s quest tested every facet of his character, but the spiritual rewards were received in the end. When Sir Galahad finally attained the Holy Grail he declared, “I thank you (Jesus) for giving me what I have desired; and now, if it please you, I pray, may I leave this world?” (430).
Since his quest was over, his wish was granted, and angels lifted his soul to heaven.
In one point in the story, Sir Bors, Sir Percivale, and Sir Galahad, board a ship after taking the advice of a young noblewoman, Sir Percivale’s sister. This ship is a magical relic from centuries before and contains a sword that provides its wielder with superhuman abilities. The supernatural elements involved in the episode are qualities of romance. It is evident that the sword has mystical powers because it is stated that due to a bone on the hill “no hand that ever held it should weary or receive an injury” (409).
The Essay on Quest For The Holy Grail
... however, not completing the quest. Sir Galahad later arrived with some of his men, and he drank from the Grail. After Sir Galahad was transformed before ... however, not completing the quest. Sir Galahad later arrived with some of his men, and he drank from the Grail. After Sir Galahad was transformed before ...
Along with the supernatural, Medieval Romance typically portrays the conflict between “good’ and “evil”.
Naturally, the forces of good are of pure heart, whereas the evil forces serve only to corrupt. Malory uses conflicts of good and evil to stress that virtue will triumph over sinful ways. One case of this is when Sir Galahad travels to the Maiden’s castle and vows to “change their evil customs” (373).
Sir Galahad, who is considered the most noble knight, proceeds to remove from power the seven knights who spent years killing and raping innocent people. The triumph of good over evil demonstrates that the Lord’s followers shall overcome violators of His law.
Despite the fact that men often sought to win a woman’s favor in romance stories, women also functioned in a negative way in these stories. Many times, women served as temptresses who did not inspire chivalry in knights but rather exploited their weakness to bring about their downfall. In a minor adventure involving Sir Percivale and a virtuous virgin, his body is tempted by the beautiful woman he serves. Sir Percivale “begged to become her lover” (386) and she eventually consented. However, Sir Percivale ultimately resists, for he knows the sexual encounter would defy God’s law. Sir Percivale resents his misdeed and later discovers that the temptress was indeed “Lucifer himself” (387).
Of course, the most important characteristic of Medieval Romance was chivalry and heroism.
Chivalry involved many factors of etiquette and courage. The chivalric code dictated that knights stand up for what is just. In Le Morte D’Arthur, many knights demonstrate chivalry, but Sir Bors is one knight in particular who lives by the heroic code. At one point in his search for the grail, Sir Bors helps a young noblewoman in keeping her rightful inheritance. When she tells him her story, Sir Bors says, “on behalf of God and of yourself, I will defend your just cause.” His behavior and lack of hesitation, when pursuing justice show the importance of chivalry in medieval literature.
