As fast she fled thro' sun and shade,
The happy winds upon her play'd,
Blowing the ringlet from the braid:
She look’d so lovely, as she sway’d
The rein with dainty finger-tips,
A man had given all other bliss,
And all his worldly worth for this,
To waste his whole heart in one kiss
Upon her perfect lips.
-- Alfred, Lord Tennyson.
Excerpt: “Sir Launcelot and Queen Guinevere”
I remember
when I was younger being enamored by visions of chivalric mice, glorious banquets,
and fierce fighting in the late Brian Jacques’ Redwall series. I would be lost for hours in that world—curled up in
a chair or under the covers (flashlight, of course, required). I would have
daydreams of charging into battle. I imagined myself as a badger, the toughest
and fiercest of animals, laying waste to the vermin, crying out, “Eulaliaaa!”
Those who are familiar with the series will no doubt recognize the famous
warcry. I was all for knighthood.
What does
it mean to be a knight? We immediately drum up images of a man dressed in
shiny, metallic armor, while riding a tall steed. The jousting lance is a
necessary part of that picture. Flags blowing in the breeze, and stands crowded
with peasants and other folk cheering on the tournament. Well, that’s certainly
one image of the knight. But that image is the trivial one; it is both
unnecessary and unessential to the idea of knighthood.
There is a deeper, more profound idea behind knighthood. I wish to explore that
meaning.
I had the
pleasure of being introduced to Roger Lancelyn Green’s King Arthur and the Knights of the Round Table while I taught it to
a group of 5th graders. We
are all familiar with the sword in the stone, the Round Table, Avalon, Merlin
and his wisdom/sorcery, and so on. Green’s account is highly episodic, with
each chapter treating sometimes the main plot, and sometimes an individual
knight. It can be, at times, hard to follow. You are brought in this direction,
and then that one, with the intent of trying to give you an encompassing view
of the whole. I am normally not one for that style of writing or storytelling.
I enjoy a main stream of thought and the satisfaction of staying on course. But
there is something both tangibly and subtly different in this case.
Many might
say that the apex of the plot is found in King Arthur’s betrayal by Sir
Mordred. I disagree. I think the apex of the story—the whole point of the
story—is found in the Quest for the Holy Grail (cue pithy and witty lines from
“Monty Python”). But no, no humor in this one. This one is serious, wonderful,
and profound. As Green’s narrative progresses, you learn that in order to
accomplish the quest, one must have a strong faith in God and a pure heart.
This is necessary and essential to the quest. Many knights
pursued this quest, and many failed.
One such
knight not only failed, but was actually denied
success. There is no doubt that the name of Sir Launcelot is ubiquitous, and
carries a certain understanding of betrayal and weakness. Sir Launcelot is the
greatest of all knights, save one. He cannot be beaten by any feat of strength,
and overcomes all odds—almost. With Sir Launcelot, you cannot escape the idea
of great strength being paired with a fatal flaw. He is the medieval Achilles,
and his heel? Queen Guinevere.
We know
that Queen Guinevere is the wife of King Arthur. Upon selecting her as his
bride, Merlin had this to say, “…I would that you loved another; for by her
very beauty shall come the end of Logres—when the best knight of your court
shall love her, bringing shame upon her and upon himself.”[1]
Because of his illicit love for another man’s wife, Launcelot brings shame upon
himself. He retains his strength, but his soul is stained. His knighthood,
thence his purity, is marred. It’s ironic that the blow to lay low Launcelot comes
not from a physical weapon, but from the abuse of the original Gift. He is now
barred from accomplishing the quest.
I find
myself wonderfully intrigued by one scene that occurs during Launcelot’s pursuit
of the Holy Grail. At this point in the story, he stumbles across a ‘stone
cross…and a slab of marble’[2] next
to a locked and darkened chapel. Without a clue as to what it might be,
Launcelot passes into sleep. I want to emphasize sleep here. In Green’s own words, “And so he fell asleep; [during
that time]…half waking and half sleeping.”[3] This
is no comfortable, deep sleep for Launcelot. He is tossing, turning, waking up,
falling back asleep, and beginning again. I’m reminded of many a night in a
cold tent. During his sleep, Launcelot sees activity happen around the marble
slab—the appearance of an old monk and wounded knight. You participate in his
cold, waking, sleepiness—creating an ethereal and haunting feeling. It reads,
[He] saw the the door of the chapel
open and the ancient hermit, Naciens, who had brought Galahad to Camelot, came
out carrying the silver candlestick, which he set upon the marble block which
now seemed like an altar in front of the cross. Then, as Naciens stood bside
the altar in prayer, suddenly the Holy Grail, covered in a fair white cloth,
came gliding on a pure moonbeam and rested awhile near the candles—and their
light seemed as dim as if the sun shone, and dim also was the light of the full
moon in the glorious brightness of the Light within the covered Grail. The sick
knight, crawling painfully on his hands and knees, drew near to the altar, and
then, reaching out his hands, he touched the Holy Grail, and straightaway he
was cured of his sickness. Then, as he knelt in prayer, the Holy Grail rose
from the altar and passed on its way like the brightest star of Heaven, and was
lost to view.[4]
The knight is overjoyed at being healed of his pain and
suffering. In his ecstasy, he is bewildered how a knight, Launcelot, could remain
so close to the Grail and be asleep. Naciens answers, “He is held to the earth
by his sins.”[5]
When Launcelot awakes, he expresses deep regret and sorrow as the reality of
his wickedness dawns upon him.
I was
interested by the ‘anchoring’ effect that sin has on Launcelot—he is weighed
down to the earth. Sin is not a ‘light’ burden—it actually weighs down the
soul. It prevents the airiness and lightness that is required to join in the
Angelic chorus. Though physically capable, or rather earthly sufficient, he is
woefully insufficient with regard to his spiritual aspect. I can’t help but be
reminded of Adam. Adam is made ‘earthly’, or lowly, when he betrayed his duty
and obligation in protecting Eve. He is cast from the heights, and lowered to
the ground. He is anchored by his sin. Yet, there is One who enters time who is
not weighed down by sin, and is able to be raised up. As one reads the Old
Testament, you begin to become aware of many prefigurations of Christ. Christ
is the new Adam. Christ condescended to take on the form of man, and become
through this condescension, a son of Adam. But unlike Adam, Christ is not
weighed down. He is able to be raised up. We see a repeated reference to this “raising”
in the Gospel of John. Christ will be raised up on the cross, and we will be
raised up into heaven. In like manner, the more perfect knight is Galahad. And
who else could Galahad be but the son of Sir Launcelot.
I mentioned
before that Sir Launcelot could be bested but none, save one. That one is Sir
Galahad. The last chair of the Round Table, called The Siege Perilous, has been reserved for Galahad alone. On the
back of the chair has formed the words, “THIS IS THE SIEGE OF SIR GALAHAD THE
HIGH PRINCE.”[6]
Sir Galahad is the most pure of all the knights of the Round Table, and
consistently demonstrates an absolute trust and faith in God throughout his
tales. It is for him to complete the Quest of the Holy Grail. It is for him
alone to accomplish that task.
I am
blessed to work in a school that is connected to an architecturally beautiful
church. We have regular mass, and weekly Adoration. I could not help but to
bring my 5th graders back into the church to read the final chapter
of the Quest for the Holy Grail. You will understand why as you read,
Galahad knelt on the first step,
and the Grail Maiden went up and placed the Holy Grail in the centre of the
altar. Then Naciens the Divine Hermit came and took the Grail in his hands and
after he had prayed, he brought it to Galahad and said, ‘Holy Knight of God, I
who have been the Priest of the Grail these many years give the Holy Grail into
your hands that all things may be fulfilled…’
Then Galahad took the Holy Grail in
his hands, drew away the cloth, and drank of the Holy Wine. After this he rose
to his feet and set the Grail upon the altar: and it seemed to all who saw him
that his face shone with a great light…
Then Galahad held the Spear so that
the drops of blood fell into the wounds of the Maimed King: and at once Pelles
was cured of his sufferings, and his flesh was…whole…
Then, [Percival] took
[Blanchefleur] in his arms and kissed her; and there in the Chapel of the Holy
Grail Sir Galahad, who now was the Priest of the Grail, blessed them and made
them man and wife.
Then Galahad set the Grail upon the
altar and knelt once more in prayer. And as he knelt, his life was
accomplished, and his soul was taken up to Heaven so that his body lay dead
before the altar. Then the sunbeam descended from above, striking clean through
the roof of the chapel, and the Bleeding Spear and the Holy Grail passed up and
vanished from sight, nor were they ever again seen upon this earth.[7]
Forgive me the long and extended quote, but sometimes it is
far better to let the beauty of the original shine forth unmitigated by extra
commentary. The Quest is accomplished. Within a short spell of reading, we
receive the Institution of the Eucharist, the sacrament of Holy Orders, the
sacrament of Marriage, and the Annointing of the Sick. Sir Galahad, having
accomplished this most important of quests, offers up his spirit at the foot of
the altar. What Adam was intended for, Christ accomplishes. What Launcelot
prevented himself from enjoying, Galahad dutifully performed. Whenever I
approach the sanctuary, I now think of the quest. I think of kneeling before
the High Prince and being healed. I think, and I am reminded that I am also
Launcelot.
What
happens with Launcelot? Does he wander off and is lost to all hope? Mercifully,
no he is not. Launcelot is lead to the castle where the Holy Grail is found. He
is led up the steps to the sanctuary, to the Chapel of the Holy Grail. But he
is not permitted inside. He is barred from tasting, of being satisfied by the contents
of the Holy Grail. Yet, he is permitted one thing. He is permitted to receive a
glimpse, a small yet resounding glimmer, of the holy light proceeding from the
Holy Grail. As Naciens speaks, “Sir Launcelot!...Come not here, for you are not
worthy to draw near. Behold now the Holy Grail! But from it you may not drink!”[8] He is
effectively denied this pleasure because he fell from grace. This is hard to
suffer, but he is allowed the hope received through the view. We, too, are
permitted this hope.
Again, I
ask what is knighthood? Is it really just prancing around on a groomed horse,
of white or brown, with the edge of a lance piercing the breastplate of one
similarly dressed? I cannot but think not. I think there is more than just mere
coincidence that it is on the feast of Pentecost that the knights renew their
chivalric vows. I’m inclined to believe that the true knighthood is the
virtuous, faithful life. The quests are our daily crosses. We are daily weighed
down, but we are daily invited to rise up. The prayers will be answered, grace
will be found, and our quests accomplished because One has destroyed the weight
of sin. I would not have fathomed this as I roved the world of Redwall in my mind. It was a
prefiguration of what I would eventually conceive of as true ‘knighthood’.
This image and understanding
continues to grow in my understanding. Many fit the label of knights. But I am
beginning to see a specific group as especial heirs to Sir Galahad. The
Archdiocese of New York used to display posters depicting black and white
photos of World War II. The only thing shown with color is the stole around the
neck of a priest administering last rites or communion to a fallen soldier. The
caption reads, “The World Needs Heroes.” Indeed, the world needs knights.


