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 Holy Grail across various medieval romances, emphasizing how authors used the idea of "secrets" or "lost sources" as literary devices to lend authority to their narratives rather than implying a hidden esoteric tradition. Chrétien de Troyes, for instance, frequently referenced an estoire (a "true narrative") to validate his fantastical elements, while later continuations of his work began to introduce the notion of Grail secrets that were often tied to a character's worthiness. Robert de Boron, however, uniquely linked the Grail's "secrets" to the central mystery of the Mass, specifically the Eucharist, validating his tale by asserting it came from a "great book" containing these sacred truths. The text further delves into the historical relics claimed to be the Last Supper chalice, noting the Church's general reluctance to directly associate them with the fictional Grail, with the exception of isolated instances. Finally, it contrasts Wolfram von Eschenbach's distinct vision of the Grail as a miraculous stone, "lapsit exillis," which provides sustenance and guidance, highlighting his inventive use of a unique authority figure, Kyot, and his emphasis on Parzival's spiritual struggle over mere knightly achievements to achieve his destiny as the Grail King.
Topic 1: The Nature of Grail "Secrets" in Romances The concept of "secrets of the Grail" varies significantly among different medieval romances. Robert de Boron explicitly refers to "secrets of the Grail," suggesting a hidden tradition or source, which has led to much speculation. However, in Chrétien de Troyes's "The Story of the Grail," the idea of a "secret" is more of a literary device. For Chrétien, any "secret" is primarily linked to Perceval's narrative failure to ask a question, and the romance implies that the "secrets" – the question itself and its answer – are eventually revealed to Perceval within the story. The only true mystery Chrétien presents is a prayer that should only be uttered in dire peril, not the Grail's core nature. In contrast, Robert de Boron's "secrets" are profoundly theological, centered on the central mystery of the Church: the Mass. He claims his account comes from a "great book" that contains these "great secrets," which are essentially the profound, hidden meanings within the ritual of the Eucharist as taught by Christ to Joseph of Arimathea. This view is supported by Joseph's later "demonstration" of these secrets, implying a ritual, and the eventual interchangeability of "secrets" with "sacred words" in other versions, linking them directly to the consecration of the Mass.
Topic 2: Chrétien de Troyes's Use of Fictional Sources Chrétien de Troyes frequently appeals to various "books" and "stories" as his sources to lend authority and credibility to his romances. In "The Story of the Grail," he mentions a book given to him by a count and uses phrases like "as the story (estoire) says" to support descriptions of superlative or unbelievable events, such as the Grail castle or a hideous messenger. The term "estoire" itself, often used by historians, carried the meaning of a "true narrative," further enhancing the sense of authenticity. However, it is widely believed that these appeals to sources were a literary device rather than references to actual, comprehensive texts. Scholars have not been able to identify any single source book for Chrétien's Grail romance. This technique was common among twelfth-century writers to counter accusations of inventing stories without historical "authority." Thus, Chrétien's "earlier Grail book" is understood as an imaginative construct, designed to suspend the audience's disbelief and frame his fictional narrative within a veneer of truth.
Topic 3: Robert de Boron's Theological Interpretation of the Grail Robert de Boron offers a distinct and deeply theological perspective on the Grail, firmly rooting its "secrets" in the doctrines of the Christian Church. He claims his narrative is based on a "great book" containing the "great secrets which are named and called the Graal," and crucially, he links these secrets to Jesus's instruction to Joseph of Arimathea regarding the celebration and symbolism of the Mass while Joseph is imprisoned. For Robert, the "secrets" are not esoteric knowledge but the central mystery of the Eucharist itself. The prayer at the consecration of the Eucharist, known as "secreta" in the early Middle Ages, embodies these secrets, particularly the symbolic interpretation of the vessels used in the Mass, echoing contemporary theological texts. The narrative reinforces this by showing Joseph "demonstrating" these secrets as a ritual to Bron, his successor. Later prose versions further support this by equating "secrets" with "consecration" or "sacred words." Robert de Boron’s work positions the Grail as a profoundly orthodox Christian artifact, representing the sacred truths of the Eucharist, directly revealed by Christ.
Topic 4: The Evolution of Secrecy in Grail Continuations While Chrétien's original Grail romance largely leaves the Grail's nature open-ended rather than "secret," the concept of secrecy surrounding the Grail intensifies significantly in the later "Continuations" of his work. The "First Continuation" introduces the idea that certain marvels witnessed by Gawain at the Grail castle "should not be told to anyone," explicitly labeling them "secrets of the Grail" with warnings of punishment for improper revelation. Access to this knowledge is linked to worthiness, as Gawain is deemed "not yet worthy." The "Second Continuation" extends this, with Perceval being refused further information about the Grail because it is a "most secret thing" that only priests or men of holy life should discuss. The "Elucidation Prologue" further emphasizes this, stating that the Grail's secret "no one should tell or relate," implying potential harm from full disclosure. This evolving emphasis shifts the secrecy from a narrative device to an inherent quality of the Grail itself, deepening its mystique and controlling access to its mysteries within the story's framework.
Topic 5: Historical Claims and Relics of Last Supper Vessels Beyond fictional narratives, several historical artifacts have been claimed to be the chalice or dish used by Christ at the Last Supper, often leading to associations with the Grail. One of the earliest accounts is from the 7th-century pilgrim Arculf, who described seeing a silver chalice in Jerusalem, venerated as the Lord's chalice. However, this specific artifact disappears from historical record after the 7th century. More enduring claims surround two present-day vessels: "il sacro catino" at Genoa Cathedral and the "santo caliz" at Valencia Cathedral. The Genoa vessel, initially believed to be an emerald, is a green hexagonal glass dish. Its origins are debated, with accounts linking it to the First Crusade booty from Caesarea (1101) or Alfonso VII's capture of Almería (1147). Jacopo da Voragine explicitly identified it with the Grail in the late 13th century, connecting it to Nicodemus collecting Christ's blood. The Valencia chalice, an agate cup, has a more traceable history from 1399, although its provenance was later invented to include St. Peter and St. Laurence. Notably, this tradition does not connect it to Joseph of Arimathea or the Holy Blood. While kings of Aragon expressed interest in possessing the Last Supper chalice, definitive evidence directly linking the Valencia chalice to the literary Grail is tenuous until the 15th century. Generally, the Church maintained a reserved stance, rarely identifying these relics with the Grail of the romances.
Topic 6: The Church's General Stance and Ecclesiastical Knowledge of Romances The Church, as an institution, generally approached the Grail romances with skepticism, often viewing them as "idle fables" rather than sacred literature. This general dismissiveness meant that relics identified as Last Supper vessels were rarely officially linked to the literary Grail. However, there were a few notable exceptions where churchmen demonstrated awareness of or engagement with these stories. Pere Pasqual, a bishop martyred in 1300, uniquely used the word "gresal" (Grail) in his "Libre de Gamaliel," describing Joseph of Arimathea collecting Christ's blood in a "gresal," thereby bridging the gap between romance and sacred literature. Another significant figure, Robert Grosseteste, a theologian, described Joseph preserving Christ's blood in a "most noble vessel" when glorifying a Holy Blood relic in 1247, echoing Robert de Boron's themes without naming the Grail. Despite these instances, prominent figures like Jacob van Maerlant, a Dutch historian, openly criticized the Grail romances as "silly fiction" and "lies," advocating for historical truth over fantastical tales. His strong condemnation underscores the prevailing ecclesiastical attitude of disinterest or hostility towards the Grail narratives, leaving them primarily cherished by poets and their enthusiastic lay readers.
Topic 7: Wolfram von Eschenbach's Unique Vision of the Grail Wolfram von Eschenbach's "Parzival" presents a radically different and highly intricate concept of the Grail compared to other romances. Uniquely, Wolfram defines the Grail not as a cup or dish, but as a "stone whose essence is most pure," which he calls "lapsit exillis." This Grail possesses extraordinary, divinely conferred powers: it sustains the entire Grail company by providing food and drink, acting as "the perfection of Paradise." Its mystical powers are renewed each Good Friday when a dove brings a white wafer from heaven, symbolizing the Mass wafer. The stone also has the ability to prolong youth, delay death, and is associated with the phoenix's rebirth, emphasizing its unique and potent nature. The Grail is housed in a "temple" and guarded by a special order called "templeise," a term specific to Wolfram and often, though problematically, linked to the Knights Templar. In Wolfram's vision, the Grail serves as a direct conduit for divine will, selecting its members through inscriptions on its surface and guiding them to fulfill specific missions, such as restoring order in troubled lands by marrying heiresses. This makes the Grail a central element in a divinely guided, chivalric society, deeply integrated with Parzival's destiny.
Topic 8: The Enigma of "Lapsit Exillis" and Wolfram's Obfuscation Wolfram von Eschenbach introduces the enigmatic term "lapsit exillis" as the name for the Grail, further deepening its mystery and reflecting his deliberate use of obfuscation. He attributes this information to a complex backstory involving a heathen scholar, Flegetanis, who supposedly saw "occult mysteries in the constellation" and identified the Grail as a stone abandoned by angels, and then to a Christian interpreter, Meister Kyot. The term "lapsit exillis" itself has become a major point of contention and extensive scholarly debate due to its linguistic ambiguity; "lapsit" is not proper Latin, leading to numerous proposed interpretations such as "lapis exilis" (a humble stone), "lapis ex celis" (stone from heaven), or even connections to alchemical "elixir stones." Early scribes were also confused by the term, suggesting its unusual nature. Rather than being a clear definition, "lapsit exillis" appears to be an example of Wolfram's intellectual playfulness, his tendency to twist words, and his desire to enhance the Grail's mysterious aura. He uses arcane knowledge not to define the object clearly but to add to its mystique, confirming that "the magic is in the mystery" rather than in a straightforward explanation.
Topic 9: The Grail Company and Its Societal Function in Wolfram's Parzival In Wolfram von Eschenbach's "Parzival," the Grail is not merely a sacred object but the cornerstone of a unique, divinely ordained society known as the Grail company or "templeise." This brotherhood, though not monastic, operates under rules directly dictated by the Grail itself. Membership is a high honor, chosen by inscriptions appearing on the Grail, and guarantees protection and heavenly reward. The primary function of this chivalric order extends beyond simple guardianship. Knights from the Grail company are dispatched into the world to intervene in secular affairs, particularly in regions suffering from instability or lack of male heirs. Their role is to marry heiresses and restore peace and legitimate succession, thus acting as a stabilizing force in an often chaotic world. Similarly, women chosen to serve the Grail, such as Parzival's mother, are openly given in marriage. This demonstrates Wolfram's ambitious vision of a chivalric society where divine will directly influences human governance, linking the spiritual realm with practical worldly concerns and setting a new standard for the integration of spiritual purpose within the knightly ethos.
Topic 10: Parzival's Spiritual Journey and Destiny in Wolfram's Poem Wolfram von Eschenbach's "Parzival" primarily focuses on the hero's profound spiritual development and his ultimate destiny as the Grail king, rather than solely on the Grail itself. Parzival's initial failure at the Grail castle stems from his inability to ask the crucial question, a reflection of his spiritual immaturity and adherence to an incomplete chivalric code. His subsequent despair and quarrel with God form the core of his personal struggle. A pivotal moment in his journey is his encounter with his uncle Trevrizent, the hermit, who guides him toward reconciliation with God through confession and penance, revealing the "error of his ways." Wolfram emphasizes that the Grail cannot be won through physical prowess but through a spiritual struggle. Parzival's eventual act of compassion—asking "Uncle, what troubles you?"—not only heals the Fisher King, Anfortas, but also restores order to the Grail kingdom, signifying his worthiness. His journey is portrayed as a resolution of his rebellion against his inherent destiny, leading him to self-recognition and spiritual harmony, thus fulfilling the sacred task laid upon him from birth and achieving the highest form of chivalry.