The Lancelot-Grail
Project:
The Story: Outline of
the Lancelot-Grail Romance
©
Alison Stones 2007
The Lancelot-Grail romance in its five-branch form
is
structured around two poles: the search for spiritual purity symbolized
by the
Quest for the Holy Grail and the chivalric, military, and amorous
adventures of the
knights of King Arthur's Round Table.
The first branch, the Estoire del saint Graal relates the
early history of the Grail, narrated
by a hermit-author who receives the story, in the form of a book, from
Christ
himself. It tells how Joseph of Arimathea
retrieved
from the Upper Room the vessel ('escuele') in which Christ had
celebrated the
Last Supper, and used it to collect the blood of Christ at the
Entombment,
converting many people together with his son Josephé, the first
Christian
bishop, then transporting the Grail to England, accompanied by their
followers. The next branch is Merlin,
beginning with the devils' plot
to foil Christ's triumph in the resurrection through an antichrist,
Merlin,
conceived by the devil in a pure virgin; but Merlin's devout mother
saves her
child from evil through her confessor Blaise. Endowed with prophetic and supernatural
powers, Merlin is instrumental in the conception of Arthur, son of King
Uther and the virtuous Ygerne,
wife of Uther's vassal the Duke of
Tintagel. Arthur's rightful claim to the
throne
is confirmed by his feat of drawing the sword embedded in the anvil, and he rules the kingdom for many years
in
peace. There follow battles
against the Romans and Saxons, described in the lengthy Suite Vulgate du
Merlin, and Arthur marries Guinevere, daughter of King Leodegan,
who also fathered another daughter, the False Guinevere.
The story of Lancelot follows, from the
loss of his father's home and his upbringing by the Lady of the Lake,
to his
arrival at King Arthur's court where he falls in love with Queen
Guinevere. Their adulterous
relationship is presented as an ennobling thing, through which Lancelot
is
given the strength of three knights, becoming the best knight in the
world and
saving Arthur's kingdom more than once. He
eventually has to choose between his deep friendship for Galehot and his love for Guinevere.
Many adventures follow, involving
numerous other knights of Arthur's court. Lancelot unwittingly begets a
son, Galaad, with the daughter of King Pelles,
and this son will become the Grail winner and achieve the Quest of the Holy Grail
(La Queste del saint Graal)
which his sinful father is unable to accomplish. The
final branch, La Mort Artu,
recounts Arthur's the discovery of the adultery, Guinevere's trial for
having unwittingly given a knight a poisoned apple, Arthur's
betrayal by his own illegitimate son Mordred,
and
many battles against the Romans and Saxons. In
the end, Guinevere retires to a nunnery, Lancelot to a
hermitage, and Arthur and Mordred mortally
wound each
other, and the glorious age has come to an end. As we explain
elsewhere (What is the Lancelot-Grail ?),
the various parts of the story were composed separately and put
together in a sequence that most likely does not reflect the five-part
arrangement that was arrived at by the second quarter of the thirteenth
century. For a more detailed summary of the story see the Summary page.
The story encompasses the whole range of human emotions, from purity to lust and sin, from friendship and love to treachery and betrayal, from aspiration to achievement but also to failure, from salvation to death. It was immensely popular from the earliest copies at the beginning of the thirteenth century to the beginning of the sixteenth century, surviving in whole or in part in some 200 manuscripts, and several versions, most of which are illustrated. This project aims to examine the illustrations in these manuscripts for their selection, placing, and iconographic contents. We have found that the illustrations offer many different readings of the text and emphasize the aspects of it the patrons and readers must have found most compelling. Some subjects and events were particularly popular and were illustrated in large numbers of manuscripts, but direct copies of one sequence of illustrations to another are rare, even among manuscripts made by the same scribes, decorators and illuminators. Most of the patrons remain anonymous but we can tell a great deal about the kinds of people they must have been from whether it was the spiritual aspects of the text that interested them particularly, or the military aspects, or other elements, depending on which parts of the text were selected for illustration. Comparisons among manuscripts are what make this kind of study feasible and we aim to present as many as possible here so that we and others can continue to discover what it was about these stories that so fascinated the medieval imagination, and what was the context in which they were produced and acquired.
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