Source: “The Holy Grail: The History Of A Legend”, By Richard Barber, Published in Penguin Books, 2005.
This podcast explores the evolving concept of the Grail in Arthurian romances between 1190 and 1240, noting the difficulty in establishing a definitive chronology or relationship between the various works. Initially, in Chrétien de Troyes' The Story of the Grail, it is a mysterious, "holy thing"—a large, radiant, jewel-encrusted dish containing a single Host, presented without hidden religious symbolism. However, later romances, influenced by figures like Hélinand and Robert de Boron, transform the Grail into a sacred relic associated with Joseph of Arimathea and the Last Supper, often becoming explicitly identified with the chalice and central to Christian liturgy. Beyond its shifting form, the Grail consistently serves as a source of healing and miraculous nourishment, both physical and spiritual, and is a focal point for adventures that evolve from physical challenges to spiritual quests, especially for pure knights like Galahad, culminating in profound, often veiled, visions of divine mysteries.
Topic 1: The Context and Chronology of Grail Romances The Grail romances were produced within a relatively short span of time, specifically between 1190 and 1240. These works can be broadly categorized into three main groups and two single romances. The groups include Chrétien de Troyes’s The Story of the Grail and its continuations, the works of Robert de Boron, and the anonymous Lancelot-Grail cycle. The individual romances are the anonymous Perlesvaus and Wolfram von Eschenbach's Parzival. Information about the authors of these works is scarce, usually limited to what they disclose about themselves. Furthermore, establishing a definitive chronology or determining the precise relationships between these different works is nearly impossible. This means that any conclusions drawn about the Grail will inherently be accompanied by reservations and qualifications, highlighting the mysterious nature of the subject itself.
Topic 2: Chrétien de Troyes's Original Conception of the Grail In Chrétien de Troyes's version, the Grail is initially shrouded in mystery before being described as "such a holy thing." This initial enigmatic quality has fueled extensive speculation and a vast body of literature attempting to unravel its supposed "secret." However, it is argued that in Chrétien's work, the Grail is exactly as he describes it, without hidden meanings, rituals, symbols, or allegories. The overall tone of The Story of the Grail is consistent with Chrétien's other romances, such as Erec, Yvain, or Lancelot, which lack a spiritual or religious dimension. While The Story of the Grail does differ in its focus on the psychology of growing up rather than love, it is not a radical departure and should be interpreted without searching for concealed agendas. When first seen through Perceval's eyes, the Grail procession remains a mystery to the reader, mirroring Perceval's own lack of understanding. Chrétien deliberately uses this technique to dazzle the audience, much as Perceval is dazzled by the light. The scene is not intended to convey anything arcane, symbolic, or religious but rather to show an event that is seen but not understood. The explanations later provided by the hermit are straightforward and are not intended to obscure any deeper meanings, despite some scholarly arguments to the contrary. Chrétien's Grail is described as a large, radiant dish made of gold and adorned with precious stones, capable of being carried with both hands. It contains a single Host, which sustains the Fisher King's father, leading Chrétien to call it "such a holy thing." The Grail procession in Chrétien's narrative serves a specific function: to highlight Perceval's misunderstanding of social conventions and his failure to ask a crucial question, thus advancing his education.
Topic 3: The Evolution of the Grail's Nature and Meaning After Chrétien's initial portrayal, the context of the Grail undergoes a dramatic change. It transitions from an object of mystery within a secular romance to an integral part of the central narrative of Christian faith, specifically the Crucifixion of Jesus. Subsequent accounts, including those by Hélinand, Robert de Boron, Perlesvaus, and the Continuations of The Story of the Grail, introduce Joseph of Arimathea as the Grail's guardian and identify it as the dish from which Christ ate at the Last Supper. While Chrétien never explicitly defined the Grail, these later works consistently describe it as a dish or vaissel. Although Perlesvaus and the First Continuation do not explicitly state it held the Holy Blood, others like Robert de Boron describe it as the vessel in which Joseph of Arimathea collected Christ's blood. The concept of the Grail further evolves, with Perlesvaus portraying it as a chalice, and the Lancelot-Grail describing it as "in the form of a chalice," even while also stating it is "the dish from which Jesus Christ ate the lamb." Ultimately, the Grail becomes intimately related in form to the sacred vessels of the Mass, sometimes appearing as a chalice, patena, or ciborium, and consistently containing the Host.
Topic 4: Etymology and Early Secular Usage of the Word 'Grail' The word "grail" was relatively uncommon in twelfth-century French but was not invented by Chrétien. It appears in secular contexts, such as a description of "a hundred boars' heads on grails of silver" at a feast, indicating it was simply a type of large platter used for meals. The word was in current use, found in other romances and historical records of the period, and Chrétien's initial use of it carried no magical or religious connotations. The exact origin of "graal" is debated. One theory traces it to the Latin gradale, a dish or cup, possibly derived from the Greek word krater (a two-handled shallow cup) or garalis (a receptacle for fish sauce). Another theory suggests it comes from cratis, meaning a woven basket that evolved to signify a dish. Regardless of its ultimate etymology, the earliest examples in vernacular languages come from Catalonia, referring to gradals as dishes or cups in wills and accounts. It also existed as a French version of gradale, meaning a service book or gradual. The word still survives in modern French dialects, possibly originating in the area around Troyes, Chrétien's home. Its use for ordinary domestic items confirms it predates Chrétien's "rich Grail" and had an independent origin. Thus, "grail" was an existing word, albeit unusual, and not a unique creation of the author of The Story of the Grail. The general evidence suggests that early usage of the word referred to a valuable, often luxurious, large dish made of precious metal.
Topic 5: The Grail's Role in Liturgy and Ritual The Grail, initially a temporary container for the Host in Chrétien's story, gradually transforms into a central element of Mass and its own distinct religious service. In Perlesvaus, the "service of the Holy Grail" is encountered, and the Grail is consistently associated with a chapel within the Fisher King's castle. It is not a static relic but appears and disappears, sometimes carried by a girl, often with liturgical overtones, including attendant angels. Similar liturgical hints are present in the Lancelot-Grail, where the Grail appears to Bors accompanied by figures dressed like priests or bishops. These scenes foreshadow the climax of the Quest, particularly the final, full liturgy at Corbenic and Sarras. In these ultimate celebrations, Josephus (son of Joseph of Arimathea) often conducts Mass using the Grail and the Holy Lance, with Christ himself appearing from the Grail to offer communion. A striking feature of these Grail ceremonies in the Quest and History of the Holy Grail is the consistent presence of attendant angels, with only the celebrant being human. This angelic assistance is unusual in Western Christianity's liturgy but finds parallels in the Eastern Church's Cherubikon hymn and even an account of a Cistercian abbot's vision in 1205. This highlights the unique and profound religious significance attributed to the Grail's rituals.
Topic 6: The Grail as a Source of Healing and Sustenance The Grail possesses miraculous powers, notably its ability to heal and provide nourishment. In the Lancelot-Grail, before the main Grail adventures, it appears three times as an instrument of healing. For instance, Gawain is healed of wounds and pain after the Grail's arrival, heralded by a storm, sweet odors, and angelic voices. Similarly, Perceval and Ector, on the verge of death from battle wounds, are instantly restored to health by the sight of the Grail, described as a chalice-like vessel. Lancelot, after a period of madness, is also cured by the Grail's power upon its customary appearance in the Palace of Adventures. This healing power is also briefly mentioned in the Quest. Beyond healing, the Grail is a miraculous source of sustenance. In Chrétien's version, it feeds the ailing Fisher King with a single Mass wafer. The First Continuation depicts the Grail magically providing bread and wine for an assembled company. This sustenance also evolves from purely magical to having spiritual implications. While initially providing earthly food, the Grail increasingly functions as a spiritual presence, rejecting sinners and bestowing grace. For instance, in the Lancelot-Grail, the Grail provides abundant nourishment but excludes Gawain due to his sinfulness, distinguishing him from the pious Lancelot and Bors. The contemplation of the Grail's presence can even eliminate the need for physical food, offering spiritual comfort and fulfillment. The Grail, therefore, serves as both a material and spiritual provider, primarily benefiting those who are pure in spirit and lacking divine grace.
Topic 7: The Setting and Appearance of the Grail The Grail is predominantly associated with the ordered world of the castle, typically appearing in the hall, often during a feast. From there, it is usually taken into an adjoining room that resembles a chapel, though its consecrated status remains uncertain. Occasionally, it appears outside these conventional settings, such as at a remote chapel in a deserted land or in the forest, where its presence is often revealed by mysterious and brilliant lights. The Grail manifests in one of two distinct ways within the castle: either carried in a procession or moving on its own accord, with "no mortal hand" visible. In Chrétien's poem and the Continuations, the Grail consistently appears in a procession. It is invariably carried by a girl of exceptional beauty, accompanied by a bleeding lance carried by a boy or squire, a girl bearing a silver carving-dish, and boys carrying candlesticks. These details are largely consistent, with minor variations like the lance being carried by a girl or the presence of two silver dishes. Later versions, like Wolfram von Eschenbach's, expand upon this, featuring a more lavish description with twelve girls accompanying the Grail-bearer and keen-edged knives instead of carving dishes. In contrast, in the Lancelot section of the Lancelot-Grail, the procession is simplified to a single beautiful girl who appears alone. At the beginning of the Quest, however, the Grail is self-moving, appearing with dramatic effects like a clap of thunder, brilliant light, and filling the room with fragrance, creating an atmosphere akin to a religious visitation.
Topic 8: The Bleeding Lance and Other Associated Objects The bleeding lance is almost invariably associated with the Grail, appearing with it in nearly every procession and ceremony. The two objects are presented as inextricably linked, so much so that even in Wolfram von Eschenbach's radically different version of the Grail story, the lance remains present despite the Grail's complete transformation. There are only a few instances, such as in Robert de Boron's Joseph of Arimathea and sometimes in the Lancelot-Grail, where the Grail appears alone. In the later scenes at Corbenic, the lance becomes an integral part of the Grail's liturgy, often identified as the "avenging lance." Beyond the lance, Chrétien's original procession also includes a silver tailleoir or carving-dish and candlesticks carried by boys. In the Continuations, additional elements are introduced, such as a dead knight on a bier and a broken sword, which later become significant adventures associated with the Grail. The broken sword, initially a symbol of Perceval's imperfections, evolves into a narrative device, and its mending becomes a test for the knights to learn the Grail's secrets. The sword of John the Baptist also becomes associated with the Grail in Perlesvaus, linking Gawain's quest to a collection of holy relics. These accompanying objects often possess their own sacred history or symbolic meaning, enriching the mystical atmosphere of the Grail ceremonies.
Topic 9: The Significance of the Grail Question The most crucial of all Grail adventures is not a physical challenge but a test of character: Perceval's pivotal failure to ask about the mysterious procession he witnesses at the Grail castle. He later learns from his cousin that he should have inquired why the lance bled and where the Grail procession was going, or, as a hideous messenger rephrased it, "what worthy man was served from the Grail." While the specific phrasing changes across the Continuations, the core meaning remains the same: the questions pertain to the Grail's purpose and destination, rather than its inherent nature, which Chrétien already explains through the hermit. Gawain's parallel story also involves asking about the ceremonies, particularly concerning the lance, and his inability to fully mend a sword signifies his unreadiness to comprehend the truths. In the Continuations, the question frequently encompasses all elements of the procession, including the Grail, lance, and broken sword. Wolfram von Eschenbach's Parzival presents a unique take, emphasizing Parzival's general failure to ask anything, culminating in a simple question of human sympathy for his ailing host: "Uncle, what troubles you?" This highlights a shift from seeking understanding of mysterious objects to demonstrating compassion. This concept of the failure to ask the right question is a rare and daring invention in literature, as stories typically revolve around finding answers, not the failure to pose the initial inquiry itself.
Topic 10: The Grail Quest as a Spiritual Journey The Grail quest dramatically transforms from an initial search for a previously found place or experience (as in Chrétien and Parzival) into a profound spiritual pilgrimage. In the Lancelot-Grail, the quest is divinely ordained, serving as a grand scheme that, paradoxically, disrupts earthly harmony by introducing the spiritual world into Arthur's kingdom. Knights initially treat it as a typical chivalric adventure but soon realize its deep spiritual dimensions that transcend earthly chivalry. This marks a significant departure from orthodox chivalric romance, where marvels primarily serve to highlight a hero's prowess. Once the Grail enters the story, a new spiritual register emerges, with episodes centered on the Grail carrying both literal and profound allegorical meanings. These meanings, often deliberately veiled, are typically explained by hermits who populate the narrative. The Grail evolves from a symbol of a knight's journey to maturity (Chrétien) and worldly perfection (Wolfram) to ultimately represent spiritual perfection. Galahad is introduced as the predestined, pure hero for this new spiritual narrative, superseding Perceval, who, due to his past failures and sins, is deemed unsuitable. While Galahad faces physical tests, Perceval and Bors confront the brunt of the spiritual temptations, with Lancelot’s sinfulness ultimately preventing him from reaching the final stages. The Grail itself transitions from a mere relic to a powerful symbol of spiritual grace, akin to "the grace of the Holy Spirit" or even "the symbol of God." The ultimate aim of the quest becomes the direct, unveiled vision of the Grail, a sight forbidden to sinners. This culminates in a final, transcendent revelation, as when Galahad gazes into the Grail and experiences mysteries beyond human comprehension, leading to his spiritual apotheosis and the Grail's withdrawal from the mortal world.