Essay on Christianity And Chivalry

By the twentieth century, the legendary figure of King Arthur circulated through pages of French romances, eventually reaching audiences in a Christian-dominated Europe. However, King Arthur was rarely the main character in these romances. He often came second to another renowned character: Sir Gawain. With a wide range of traits — from valor to an abundance of flaws — Sir Gawain remains a malleable character in romantic literature. In “Sir Gawain and The Green Knight” by Gawain Poet, Sir Gawain’s chivalry and Christianity are challenged. When he arrives at Bertilak’s castle, Lady Bertilak attempts to seduce him. Gawain is forced to choose between his chivalry and Christianity. Critics suggest that chivalry often conflict with Christianity. Dhouda states Christian men are obligated to acknowledge sins and persevere through temptation; acts failed by Sir Gawain due to his chivalric code. Illustrations in The Bayeux Tapestry display the unique relationship between chivalry and the Church. However, “Sir Gawain and The Green Knight” reinforces the idea that chivalry and Christian values cannot coexist. Critics even identify the poem as a true example of how Christian chivalry is problematic. Sir Gawain’s time with Lady Bertilak serves to emphasize the conflicts of adhering to both chivalry and Christianity. It is a reminder of the absurdities that can occur in moral codes. 

Chivalry refers to the set of values — “honor, loyalty, courage, military prowess, generosity, good birth, and virtue” (The Chivalric Values in Arthurian Tales) — which govern medieval knights. The term also defines the body of knights as a whole, especially when performing war-like duties. There is a binding tie between knights and war: “it is not possible to talk about knights without thinking about their capacity for violence” (The Complexity of Arthurian Chivalry). However, a more complex relationship between knights and the Church simultaneously exists. 

As chivalry grew across medieval society, large entities such as the Church were unable to tame the social phenomenon. The two clashed in ideals. In fact, “[c]hivalry idealized splendor, glory, and carnal love (even adulterous love)” (Chivalry), directly contrasting the Church. The Church condemned chivalric values, but knights were essential. They were used to combat opposing lords who coveted the power of the Church. The Church “excommunicated such warriors, but praised those who fought on the [their] side... such as advocates of monasteries or defenders or soldiers of the Church” (Chivalry). Without the demand for knights, the values of chivalry would have been extinguished by the Church. The essential need resulted in the Church adopting values of chivalry into Christianity. It was apparent to authors such as Gawain Poet, that Christian chivalry had clear contradictions.  

Christian chivalry allowed God to offer “knights a fitting means of salvation that did not require them to abandon their way of life or to don the monk's habit” (Chivalry). This salvation was ironically through war. The Pope emphasized the mission of God, turning wars into spiritual crusades. Instead of war requiring penance, it “became a means of penance itself” (Chivalry). Knights were encouraged to participate in crusades to repent for their past exhibitions of chivalry. Those who were previously condemned for their chivalry became martyrs. Christain chivalry pushed the narrative that war “was a force not in the service of the world but in the service of Christ” (Chivalry). However, as “Sir Gawain and the Green Knight” suggests, Christian chivalry was a failure. Crusades were a military success but failed in combining Christianity and chivalry. Knights still did not view crusades as a “moral obligation of chivalry” (Chivalry), proving for a final time Christianity and chivalry were not compatible. 

In “Handbook for William”, Dhouda illustrates the exemplary Christain. Dhouda was the mother of two boys and wife of a distant nobleman, Bernard of Septimania. Dhouda’s relationship with Bernard was poor. She spent the majority of her marriage alone as a result of Bernard taking away their two boys. Regardless, Dhouda was determined to set an example for her firstborn son, William. In 841, Dhouda started writing a guide that would teach William to behave in the likeness of God. In 843, she sent the guide to her son. 

The guide contains quotes from the bible, however, the more notable quotes came from Dhouda herself. In regards to making amends Dhouda states: “hasten as best you can to improve your own self. Turn back to him who sees all things. Both in public and in your own mind, acknowledge yourself guilty and unworthy until you have made satisfaction” (30). A Christian man is obligated to acknowledge his sins through both actions and thoughts, and turn to God for repentance. On the same page, Dhouda addresses temptation: “In difficulty, in persecution, in temptation, in hard and trying situations, in danger and in illness, and in all the weakness by which the frail body is overwhelmed, show courage and wise preparedness” (30).  A Christian man must prepare and preserve through hardships. It is clear that aspects of Christianity and chivalry are shared. A chivalric knight must display the same “courage” as a Christian man. 

Christianity and chivalry overlap in The Bayeux Tapestry. A tapestry was a form of medieval art. Illustrations were woven into the fabrics of large cloths. This form of art was exclusively acquired by the elite, due to the expensive price and scarce rarity. The Church became a prominent buyer of tapestries. On feast days, tapestries were displayed on the walls of the church. These artworks were displayed similarly as a banner. 

The Bayeux Tapestry created in the 11th Century is the most renowned tapestry. Although not a true tapestry — since illustrations were not weaved into the fabric — it mimicked the similar wall-hanging display. The tapestry was intended to serve as propaganda for illiterate audiences. The depictions on it are accepted as general facts but are exaggerated to favor the Normans. The Tapestry depicts an illustration of  Duke William’s invasion of England in the Battle of Hastings. In 1066, Duke William invaded England. Duke William fought a decisive battle against King Harold the Second. The onslaught resulted in a victory for Duke William. William was then named the new king of England on Christmas Day. The exaggerated illustrations on the tapestry construct the narrative that Duke William was a chivalric hero supported by the church. It is said that Harold the Second was killed by an arrow piercing his eye, adding to the legendary military prowess of Duke William and his forces. This artwork was first known to be owned by the Bayeux Cathedral in 1476 where it was hung. The illustrations and history of The Bayeux Tapestry show chivalry being depicted and adopted into the church by the form of art.