Chivalric Code of Conduct

Chivalry—The word, "chivalry", comes from the French word, "chevalerie", which means "skills to handle a horse." The ability to handle a horse, especially in combat, was of utmost importance to a medieval knight. As the Middle Ages progressed, the term "chivalry" began to take on new meanings.

It was around the time of the preaching of the first crusade (1095 AD) that the Christianization of knights began in earnest. With the crusades as a "holy war" the pope needed the support of the nobles and knights of Europe to help him with his agenda of ridding Jerusalem of Islam, and returning the "land of Christ" to Christian sovereignty. By bestowing the title of Christian warriors to the knights, the pope had begun the evolution of a code of conduct that all knights were supposed to follow.

The protection of the poor, women and children, and defense of the church were just some of the chivalry codes that a knight was supposed to always obey. In combat when nobles and knights were taken prisoner, their lives were spared and were often held for ransom in somewhat comfortable surroundings. This same code of conduct did not apply to non-knights (archers, peasants, foot-soldiers, etc.), who were often slaughtered after capture.

However well-intended this "chivalric code" was, it rarely affected most knights, who plundered, slaughtered, and looted often when given the chance. Our modern notion of knights is very much based in the ideas of chivalry, and it is the survival of medieval romantic writings that tend to show knights as the chivalrous ideal, that sways our view of medieval knighthood.

Medieval Romances—In the late Medieval and Renaissance period, the important European literary trend was to write fantastic fictions in the mode of Romance. Exemplary work, such as the English Le Morte d'Arthur by Sir Thomas Malory (c.1408–1471), recount the marvelous adventures of a chivalrous, heroic knight, often of super-human ability, who, abiding chivalry's strict codes of honor and demeanor, goes on a quest, and fights and defeats monsters and giants, thereby winning favor with a lady.

Medieval romance stories focus not upon love and sentiment, but upon adventure and the hero’s struggle to achieve perfection—as defined by the Code of Chivalry.

Reading Selections--

“The Two Swords.”King Arthur and his Knights of the Round Table, by Roger Lancelyn Green

Sir Gawain and the Green Knight, by the Gawain Poet (page 209)

Le Morte d’Arthur, by Sir Thomas Malory (page 225)

Was there ever a real King Arthur?

Historians say yes, but not the one of the legends and stories. Back in the sixth century A. D., after the Romans vacated the British Isles because of their own troubles back home in Italy, Britain became anunstablemosaic of little kingdoms, each rules by its own despotic king or chieftain.

Then, somewhere in the land, a strong chieftain appeared who managed to weld some of the little kingdoms together, repel the advances of Saxon invaders to the south, and make a larger kingdom called England.

There are some scholars who suggest that this chieftain or king was not a Briton but a Roman, Cassius Arturus. But no one knows for sure.

Whoever he was exactly, he was obviously the sort of leader around whom legends cluster. Through the years, and then through the centuries, people told each other stories about Arthur, giving him credit for all sorts of brave deeds, making him the focal figure of any exciting story of war or magic or romance, and changing the background details to make them contemporary and familiar.

About the beginning of the Middle Ages, in the 12th century, a man named Geoffrey on Monmouth wrote down what he called the history of Arthur. It was a hodgepodge of all the tales and legends that had grown up over the years around the name of Arthur.

In 1470, Sir Thomas Malory wrote out the whole Arthurian story once again, changing it, rearranging it, and adding bits and pieces from all the versions he had heard. He set the story in the early Middle Ages and he was the one who made Arthur the father of chivalry.

From King Arthur, His Knights, and Their Ladies by Johanna Johnston

King Arthur: His Life and Legends

We will be viewing the A&E Biography of King Arthur. As you watch the film pay close attention to what is based on historic information and what is simply legend. Respond to the following questions to demonstrate your understanding of this Legendary Hero.

Above all, what is this tale of King Arthur?

Do historians know for certain whether or not there was really a King Arthur?

Who was Merlin? Explain what he did.

Explain how King Arthur was chosen as King of England. How does this differ from the way American leaders are selected?

What is the name of his Court?

What are five specific characteristic of the chivalric code? (Look back on previous notes)

Explain the idea of Courtly Love

What was Merlin’s prediction about Arthur marrying Guinevere?

What was considered the most important weapon of a knight? Explain.

Explain King Arthur’s two swords.

What was more important that Excalibur?

Who was Mordred? Who were his parents?

What was the round table? What does is symbolize?

Who was Lancelot? Whom did he love?

What vision did Lancelot have?

Explain the significance of the Holy Grail, what was it?

Who was Galahad?

What was the one thing that ONLY Galahad could do, and explain why.

Why did Galahad die so soon after seeing the Grail?

Who is known as the greatest Authurian writer?

What did Mordred do when Arthur left to pursue Lancelot?

How did Arthur die?

Code of Chivalry / During reading, list examples of when King Arthur or Sir Gawain follow the Code of Chivalry
“The Two Swords” / “Gawain and the Green Knight” / “Le Morte d’Arthur”

To fear God and maintain His Church

To serve the liege lord in valor and faith (bravery and confidence)

To protect the weak and defenseless

To give aid to widows and orphans

/ /

To avoid unnecessary cruelness

To live by honor and for glory

To refuse any monetary reward

/ /

To fight for the welfare of all

/
“The Two Swords” / “Gawain and the Green Knight” / “Le Morte d’Arthur”

To obey those placed in authority

To guard the honor of fellow knights

To avoid unfairness, meanness and deceit

To keep faith

At all times to speak the truth

To persevere to the end in any enterprise begun

To respect the honor of women

Never to refuse a challenge from an equal

Never to turn thy back upon a foe.

Monty Python and the Holy Grail

By Colin G. Hoch

Few other films have garnered the following and cult credibility of Monty Python and the Holy Grail.

The brainchild of Terry Gilliam and Terry Jones, two members of the Monty Python comedy troupe, the film is set in medieval England and draws upon many established legends and realities of the era. The Pythons, famous for their uniquely British sense of humor, often take cues from history in their works. Numerous figures of the past have had a Python representation, such as Napoleon, Hitler, and the infamous priests of the Spanish Inquisition.

In Holy Grail the group unleashes its comic satire upon their homeland of Britain and its greatest legend, King Arthur and his Knights of the Round Table. The narrative is centered around Arthur's divinely ordained quest for the Holy Grail, and the exploits of his most trusted knights in its pursuit. Contained amidst the off the wall comedy and timeless absurdity, are very real satirical insights into the medieval way of life for every social distinction and the two most powerful forces of the age, the Church and monarchy. From peasants wallowing in the mud to the mighty company of Arthur's knights, the people of England are represented wholly. Scattered about the film, however, are numerous anachronisms that detract from the film's satire for the student of history. While unnoticed by the casual viewer, these mistakes are blatant in an academic approach.

It seems very uncharacteristic of Terry Jones, a noted historian as well as comedian, to include so many out of place elements of the period said to be represented in the film. After his time with the Pythons he went on to produce several books and television documentaries, including in-depth looks at the lives of Ancient and Medieval peoples. Jones is often found challenging popularly held views of the ages which he covers, highlighting their sophistication rather than their simplicity. In his documentary, Terry Jones's Barbarians, he stresses the contributions of the Germanic tribes in direct competition with Roman Civilization. In the other historically based film, Monty Python's Life of Brian, he and the other Pythons do an excellent job blending comedy with the factual era of Roman controlled Judea. It is only in Holy Grail that we see rather large mistakes in such a popular and beloved film.

From the very beginning credits we are shown that the date of the film is set in stone at 932A.D., the late Anglo-Saxon age, but from then on are no other implications that would lead someone to believe it. Upon seeing Arthur, clad in all mail with a white surcoat, and kite shaped shield, we are transported nearly hundreds of years into the garb of the late 11 th and 12 th centuries. Arthur's knights, including famous names such as Lancelot and Galahad, fare no better in accuracy. All appear in full chain mail with a surcoat and kite shaped shield. Sir Galahad's equipment is even emblazoned with what appears to be St. George's Cross, a striking symbol of England's role in the Crusades and of the Knights Templar. Minor characters receive also the post-Norman conquest aesthetic, with guards wearing padded and studded jerkins and the traditional English war helmet of pounded steel. This style of helmet was a favorite of English armies throughout the post-Norman middle ages until its final incarnation as the "Tommy" helmet of the first and second World Wars. The guards are also armed with elaborate pikes, called Bills that did not see action in this period. None of the characters, save the rarely changing peasant class, appear Anglo-Saxon in their manner or speech. This may be attributed either to poor scholarship, or in reference to the medieval practice of portraying historical figures and scenes in contemporary trappings.

In reality, the equipment and dress of the Anglo-Saxon professional warrior would have been more akin in our modern perception to that of the Vikings than a Knight of the Crusades. Few but the wealthiest Anglo-Saxon lords and warriors could purchase the protection of chain mail, and even at that time it did not cover the entire body like that of Arthur and his knights. The shield was more than often round and wooden with a raised steel cap called a Boss in the center, like that of their Viking adversaries. Lower class members of the Anglo-Saxon army, the Fyrd, were required to own the very basic of military necessities like that of a helm and lance. The heavily armed and armored knights of Arthur seem as out of place as the next prominent anachronism, that of the castle.

Prior to the invasion of England by the Normans in 1066, there were no true castles in the sense of the imposing stone fortifications that come to the mind. That innovation was brought to England by William the Conqueror to better control the population of his new kingdom. William at first constructed hundreds of Mot and Bailey fortifications, which were essentially large earthen mounds with a wooden keep. Over time with the consolidation of his power, he granted the construction of traditional style castles to the 180 Companions of the Conqueror, his closest vassals. Famous castles such as Warwick and the Tower of London are attributed to this revolutionary period of British history and the will of the ruler who shaped it. Later great castle builders, such as Edward I, would capitalize on the strategic importance of these bastions of military might, and further spread their influence over the land and its people.

In the supposed period of the film, 982, the traditional stone castle was nowhere to be seen. This is not to say the Anglo-Saxons did not have fortifications, but rather they were of a much different structure and concept. Most fortifications of this period are constructed of wood, and harness the landscape around them for greater defensive capability, such as the Burgh fortifications of Alfred the Great in his war against the Danes. The film however, features several castles in the High Medieval style encountered along the route of the journey. The fictional locations of Arthur's Camelot, Swamp Castle, "French" Castle, and the mystic Castle Aaagh are shot mostly using the very real Castles Doune, Glen Coe, and Stalker in Scotland. The trouble is that none of these will come to be accurate for over a century.

Despite these glaring faults in chronology, a comedic but largely accurate use of sources can be found of the period the film truly represents. The late 11th to the 13th century is perhaps the best frame for the legendary tale, ironically enough about a man who most likely lived at the end of the Romano-Britain age. Contained within the works of Gildas, a 6th century historian of Britain is the story of Arturias. Arturias is described as a great war leader of the Britons who brought peace to the land for a generation with his victory over the Saxons at Mons Baddon. The romantic Arthur of the 12 th and 13 th centuries, the very same Arthur of the film, describes himself as "the defeater of the Saxons." Later in the film, the Battle of Baddon Hill is named in reference to the original sources. When the film's Arthur speaks, he refers to himself as King of the Britons and sovereign of all England. The use of the antiquated terms Briton and Saxon describe how the legend of Arthur was passed down through the generations. Also the existence of this dark age figure in Crusade era garb displays correctly how each generation adapted it to their age.

Another correct medieval theme employed in the film is that of the superstitions of the people. Early on in Arthur's travels, he comes across a group of peasants who have captured what they believe to be a witch. They then ask their lord and owner of the fief, Sir Bedevere, if they may burn her at the stake. Taking comedic license, Sir Bedevere is presented as a man of reason in line with the likes of Thomas Aquinas or Robert Grossteste. He reasons that should the accused weigh as much as a duck, then she is made of wood, and therefore is a witch and may be burned. This highlights the strange blending of faith and science in his character, unlike the ignorance of the masses. As more knights like Sir Bedevere join Arthur in his quest, the path to the Grail leads them into the darker regions of the realm. Coming into contact with the spirits of the forest, the dreaded Knights of Ni, we see the very real notion held by the medieval mind that evil lurked amongst them, especially in the forests. Other mythical beings, such as the three-headed knight, the sorcerer Tim, and the vicious Killer Rabbit, although comical in their intent, do reflect the very ancient English belief that the supernatural was all around.

The two greatest institutions of the Middle Ages, the Catholic Church and the monarchy, both come under heavy satire by the Pythons. In a scene depicting a peasant village devastated by an unnamed disease, we see a group of monks passing through while chanting in Latin. However, not only do they seem oblivious to the plight of the common villagers, they smack a board on their forehead in rhythm to the chant. This is perhaps in reference to the practice of harming oneself as a display of piety used by some orders of medieval monks, but rather in the film, it comes off as an insult in displaying the stubbornness of the Church. Later a contingent of priests traveling in Arthur's company assists the knights by supplying the Holy Hand Grenade of Antioch, which destroys the mighty Killer Rabbit. However in typical Python fashion Brother Maynard, the leader of the priests, spouts nonsense from his texts in relation to the use of the weapon. The Pythons often take jabs at the highly structured pomp of the Catholic Church, and Holy Grail is no exception.

The other foundation of the medieval system, the monarchy, also does not escape their intellectual blows. Near the opening of the film, King Arthur comes into contact with a peasant couple who have some ideas about government that are not to his taste. He first inquires about the identity of their lord, to which they respond that they have no lord and that they are an autonomous collective. Arthur, becoming annoyed, announces his position as their King to elicit their respect. "Well I didn't vote for you!" is the response of the peasant woman. The King then backs up his claim to their obedience with the story of his gaining of Excalibur from the Lady of the Lake, and his divine right to rule. The peasant man, oddly named Dennis, answers back that "supreme executive power derives from the mandate of masses." The responses of the peasants come straight from immensely influential figures such as Locke, Montesquieu, and Rousseau. The struggle between the ideal of an absolute monarch and the Social Contact come to a head when Arthur becomes cross and throttles the poor serf. The Pythons skillfully employ the ideas of the late 18 th century and its enlightened thinkers, in a medieval setting to great comedic effect.