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Updated: August 23, 2024
When,therefore, she had given him Malory's "LeMorte D'Arthur," it was the first time that the ideals of chivalry had ever flashed their glorious light upon him; for the first time the models of Christian manhood, on which western Europe nourished itself for centuries, displayed themselves to his imagination with the charm of story; he heard of Camelot, of the king, of that company of men who strove with each other in arms, but strove also with each other in grace of life and for the immortal mysteries of the spirit.
Sir Thomas Malory's words are not inaptly applied to Lee: "Ah, Sir Lancelot, thou wert head of all Christian knights; thou wert never matched of earthly knight's hand; and thou wert the courtliest knight that ever bare shield; and thou wert the kindest man that ever strake with sword; and thou wert the goodliest person that ever came among press of knights; and thou wert the meekest man and the gentliest that ever ate in hall among ladies; and thou wert the sternest knight to thy mortal foe that ever put spear in rest."
The sacred lance which shines red with blood after it has by its touch healed the wound of Amfortas is the bleeding spear which was a symbol of righteous vengeance unperformed in the old Bardic day of Britain; it became the lance of Longinus which pierced the side of Christ when Christian symbolism was applied to the ancient Arthurian legends; and you may read in Malory's "Morte d'Arthur" how a dolorous stroke dealt with it by Balin opened a wound in the side of King Pellam from which he suffered many years, till Galahad healed him in the quest of the Sangreal by touching the wound with the blood which flowed from the spear.
The third and most influential group of predecessors of the novel is made up of the romances of chivalry, such as are found in Malory's Morte d'Arthur. It is noticeable, in reading these beautiful old romances in different languages, that each nation changes them somewhat, so as to make them more expressive of national traits and ideals.
Shakespeare's King Lear, Malory's Morte d'Arthur, and Tennyson's Idylls of the King were founded on the work of this monk, who had the genius to put unwritten Celtic tradition in the enduring form of Latin prose. Until Geoffrey's preposterous chronicle appeared, these legends had not been used to any extent as literary material.
If the Cid, the Vita Nuova, the Canterbury Tales, Shakespeare's Sonnets, and Lycidas pall on a man; if he care not for Malory's Morte d'Arthur and the Red Cross Knight; if he thinks Crusoe and the Vicar books for the young; if he thrill not with The Ode to the West Wind, and The Ode to a Grecian Urn; if he have no stomach for Christabel or the lines written on The Wye above Tintern Abbey, he should fall on his knees and pray for a cleanlier and quieter spirit.
Among fully a hundred different volumes that he printed were Chaucer's Canterbury Tales, Malory's Morte d'Arthur, and an English translation of Vergil's AEneid. Malory's Morte d'Arthur. The greatest prose work of the fifteenth century was completed in 1470 by a man who styles himself Sir Thomas Malory, Knight.
"Let no man dream but that I love thee still." Had he said that one line and no more, we might have loved him better. In the Idylls we have not Malory's last meeting of Lancelot and Guinevere, one of the scenes in which the wandering composite romance ends as nobly as the Iliad.
Because conscience forbade, and Guinevere sends her lover far from her, and both die in religion. Thus Malory's "fierce lusty epic" is neither so lusty nor so fierce but that it gives Tennyson his keynote: the sin that breaks the fair companionship, and is bitterly repented. "The knights are almost too polite to kill each other," the critic urges.
"And now, I dare say," said Malory's Sir Ector, "thou, Sir Lancelot, wast the curtiest knight that ever bare shield, . . . and thou wast the meekest man and the gentlest that ever ate in hall among ladies."
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