A knight-errant [1] (or knight errant [2] ) is a figure of medieval chivalric romance literature. The adjective errant (meaning "wandering, roving") indicates how the knight-errant would wander the land in search of adventures to prove his chivalric virtues, either in knightly duels ( pas d'armes ) or in some other pursuit of courtly love.
The knight-errant is a character who has broken away from the world of his origin, in order to go off on his own to right wrongs or to test and assert his own chivalric ideals. He is motivated by idealism and goals that are often illusory. [3] In medieval Europe, knight-errantry existed in literature, though fictional works from this time often were presented as non-fiction. [4] [5]
The template of the knight-errant were the heroes of the Round Table of the Arthurian cycle such as Gawain, Lancelot, and Percival. The quest par excellence in pursuit of which these knights wandered the lands is that of the Holy Grail, such as in Perceval, the Story of the Grail written by Chrétien de Troyes in the 1180s.
The character of the wandering knight existed in romantic literature as it developed during the late 12th century. However, the term "knight-errant" was to come later; its first extant usage occurs in the 14th-century poem Sir Gawain and the Green Knight . [6] Knight-errantry tales remained popular with courtly audiences throughout the Late Middle Ages. They were written in Middle French, Middle English, and Middle German.
In the 16th century, the genre became highly popular in the Iberian Peninsula; Amadis de Gaula was one of the most successful knight-errantry tales of this period. In Don Quixote (1605), Miguel de Cervantes burlesqued the romances and their popularity. Tales of knight-errantry then fell out of fashion for two centuries, until they re-emerged in the form of the historical novel in Romanticism.
A knight-errant typically performed all his deeds in the name of a lady, and invoked her name before performing an exploit.[ citation needed ] In more sublimated forms of knight-errantry, pure moralist idealism rather than romantic inspiration motivated the knight-errant (as in the case of Sir Galahad). Such a knight might well be outside the structure of feudalism, wandering solely to perform noble exploits (and perhaps to find a lord to give his service to), but might also be in service to a king or lord, traveling either in pursuit of a specific duty that his overlord charged him with, or to put down evildoers in general. This quest sends a knight on adventures much like the ones of a knight in search of them, as he happens on the same marvels. In The Faerie Queene , St. George is sent to rescue Una's parents' kingdom from a dragon, and Guyon has no such quest, but both knights encounter perils and adventures.
In the romances, his adventures frequently included greater foes than other knights, including giants, enchantresses, or dragons. They may also gain help that is out of ordinary. Sir Ywain assisted a lion against a serpent, and was thereafter accompanied by it, becoming the Knight of the Lion. Other knights-errant have been assisted by wild men of the woods, as in Valentine and Orson , or, like Guillaume de Palerme, by wolves that were, in fact, enchanted princes.
The protagonist of Cormac McCarthy's novel All the Pretty Horses , John Grady Cole, is said to be based specifically on Sir Gawain, of Sir Gawain and the Green Knight. Both characters share a number of aspects and traits; both are rooted in the myths of a past that no longer exists, and both live by codes of conduct from a previous era. [7]
Don Quixote is an early 17th-century parody of the genre, in reaction to the extreme popularity which late medieval romances such as Amadis de Gaula came to enjoy in the Iberian Peninsula in the 16th century.
In Jean Giraudoux's play Ondine , which starred Audrey Hepburn on Broadway in 1954, a knight-errant appears, during a storm, at the humble home of a fisherman and his wife. [8]
A depiction of knight-errantry in the modern historical novel is found in Sir Nigel by Arthur Conan Doyle (1906).
The knight-errant stock character became the trope of the "knight in shining armour" in depiction of the Middle Ages in popular culture, and the term came to be used also outside of medieval drama, as in The Dark Knight as a title of Batman.
In the epic fantasy series A Song of Ice and Fire , there is a class of knights referred to as Hedge Knights. A Hedge Knight is a wandering knight without a master, and many are quite poor. Hedge knights travel the length and breadth of Westeros looking for gainful employment, and their name comes from the propensity to sleep out in the open air or in forests when they cannot afford lodging. The life of a hedge knight is depicted in the Tales of Dunk and Egg .
East Slavic bylina (epic poetry) feature bogatyrs, knights-errant who served as protectors of their homeland, and occasionally as adventurers. Some of them are presumed to be historical figures, while others are fictional and possibly descend from Slavic mythology. Most tales about bogatyrs revolve around the court of Vladimir I of Kiev. Three popular bogatyrs— Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich (famously painted by Victor Vasnetsov)—are said to have served him.
Youxia, Chinese knights-errant, traveled solo protecting common folk from oppressive regimes. Unlike their European counterpart, they did not come from any particular social caste and were anything from soldiers to poets. There is even a popular literary tradition that arose during the Tang dynasty which centered on slaves who used supernatural physical abilities to save kidnapped damsels in distress and to swim to the bottom of raging rivers to retrieve treasures for their feudal lords (see Kunlun Nu). [9] [10] A youxia who excels or is renowned for martial prowess or skills is usually called wuxia.
In Japan, the expression musha shugyō described a samurai who, wanting to test his abilities in real life conditions, would travel the land and engage in duels along the way.
Sir Gawain and the Green Knight is a late 14th-century chivalric romance in Middle English. The author is unknown; the title was given centuries later. It is one of the best-known Arthurian stories, with its plot combining two types of folk motifs: the beheading game, and the exchange of winnings. Written in stanzas of alliterative verse, each of which ends in a rhyming bob and wheel; it draws on Welsh, Irish, and English stories, as well as the French chivalric tradition. It is an important example of a chivalric romance, which typically involves a hero who goes on a quest which tests his prowess. It remains popular in modern English renderings from J. R. R. Tolkien, Simon Armitage, and others, as well as through film and stage adaptations.
Chivalry, or the chivalric code, is an informal and varying code of conduct developed in Europe between 1170 and 1220. It is associated with the medieval Christian institution of knighthood, with knights being members of various chivalric orders; knights' and gentlemen's behaviours were governed by chivalrous social codes. The ideals of chivalry were popularized in medieval literature, particularly the literary cycles known as the Matter of France, relating to the legendary companions of Charlemagne and his men-at-arms, the paladins, and the Matter of Britain, informed by Geoffrey of Monmouth's Historia Regum Britanniae, written in the 1130s, which popularized the legend of King Arthur and his knights of the Round Table.
Gawain, also known in many other forms and spellings, is a character in Arthurian legend, in which he is King Arthur's nephew and a Knight of the Round Table. The prototype of Gawain is mentioned under the name Gwalchmei in the earliest Welsh sources. He has subsequently appeared in many Arthurian tales in Welsh, Latin, French, English, Scottish, Dutch, German, Spanish, and Italian, notably as the protagonist of the Middle English poem Sir Gawain and the Green Knight. Other works featuring Gawain as their central character include De Ortu Waluuanii, Diu Crône, Ywain and Gawain, Golagros and Gawane, Sir Gawain and the Carle of Carlisle, L'âtre périlleux, La Mule sans frein, La Vengeance Raguidel, Le Chevalier à l'épée, Le Livre d'Artus, The Awntyrs off Arthure, The Greene Knight, and The Weddynge of Syr Gawen and Dame Ragnell.
Amadís de Gaula is an Iberian landmark work among the Spanish and Portuguese chivalric romances which were in vogue in the 16th century, although its first version, much revised before printing, was written at the onset of the 14th century in an uncertain place of the Iberian Peninsula.
According to the medieval poet Jean Bodel, the Matter of Rome is the literary cycle of Greek and Roman mythology, together with episodes from the history of classical antiquity, focusing on military heroes like Alexander the Great and Julius Caesar. Bodel’s division of literary cycles also included the Matter of France and the Matter of Britain. The Matter of Rome includes the Matter of Troy, consisting of romances and other texts based on the Trojan War and its legacy, including the adventures of Aeneas.
The Knights of the Round Table are the legendary knights of the fellowship of King Arthur that first appeared in the Matter of Britain literature in the mid-12th century. The Knights are an order dedicated to ensuring the peace of Arthur's kingdom following an early warring period, entrusted in later years to undergo a mystical quest for the Holy Grail. The Round Table at which they meet is a symbol of the equality of its members, who range from sovereign royals to minor nobles.
The Green Knight is a heroic character of Arthurian legend, originating in the 14th-century poem Sir Gawain and the Green Knight and the related medieval work The Greene Knight. His true name is revealed to be Bertilak de Hautdesert in Sir Gawain, while The Greene Knight names him "Bredbeddle". The Green Knight later features as one of Arthur's greatest champions in the fragmentary ballad "King Arthur and King Cornwall", again with the name "Bredbeddle".
As a literary genre, the chivalric romance is a type of prose and verse narrative that was popular in the noble courts of high medieval and early modern Europe. They were fantastic stories about marvel-filled adventures, often of a chivalric knight-errant portrayed as having heroic qualities, who goes on a quest. It developed further from the epics as time went on; in particular, "the emphasis on love and courtly manners distinguishes it from the chanson de geste and other kinds of epic, in which masculine military heroism predominates."
Yvain, the Knight of the Lion is an Arthurian romance by French poet Chrétien de Troyes. It was written c. 1180 simultaneously with Lancelot, the Knight of the Cart, and includes several references to the narrative of that poem. It is a story of knight-errantry, in which the protagonist Yvain is first rejected by his lady for breaking a very important promise, and subsequently performs a number of heroic deeds in order to regain her favour. The poem has been adapted into several other medieval works, including Iwein and Owain, or the Lady of the Fountain.
Amadis of Greece is a tale of knight-errantry written by Feliciano de Silva, a “sequel-specialist” who continued the adventures of Amadís de Gaula in this ninth installment. Its full title is Noveno libro de Amadís de Gaula, crónica del muy valiente y esforzado príncipe y caballero de la Ardiente Espada Amadís de Grecia, hijo de Lisuarte de Grecia, emperador de Constantinopla y de Trapisonda, y rey de Rodas.
Feliciano de Silva was a Spanish writer. Born in Ciudad Rodrigo to a powerful family, Silva wrote “sequels” to La Celestina and Amadis de Gaula. A prolific writer, his first chivalresque work, Lisurate de Grecia, was published in 1514. It is a relatively short work. His Amadis of Greece (1530) continued the success enjoyed by this first work. Amadis of Greece is divided into two parts which deal with the adventures of Amadis of Greece, Knight of the Burning Sword, son of Lisuarte of Greece and Onoloria of Trabizond (Trapisonda), as well as his love for both Princess Lucela of France and Princess Niquea of Thebes, whom he subsequently marries.
Sir Isumbras is a medieval metrical romance written in Middle English and found in no fewer than nine manuscripts dating to the fifteenth century. This popular romance must have been circulating in England before 1320, because William of Nassyngton, in his work Speculum Vitae, which dates from this time, mentions feats of arms and other 'vanities', such as those found in stories of Sir Guy of Warwick, Bevis of Hampton, Octavian and Sir Isumbras. Unlike the other three stories, the Middle English Sir Isumbras is not a translation of an Old French original.
Libeaus Desconus is a 14th-century Middle English version of the popular "Fair Unknown" story. Its author is thought to be Thomas Chestre. The story matter displays strong parallels to that of Renaut de Beaujeu's Le Bel Inconnu; both versions describe the adventures of Gingalain, the son of King Arthur's knight Gawain and a fay who raises him ignorant of his parentage and his name. As a young man, he visits Arthur's court to be knighted, and receives his nickname; in this case Sir Libeaus Desconus, before setting forth on a series of adventures which consolidate his new position in society. He eventually discovers who is his father, and marries a powerful lady.
The Wedding of Sir Gawain and Dame Ragnelle is a 15th-century English poem, one of several versions of the "loathly lady" story popular during the Middle Ages. An earlier version of the story appears as "The Wyfe of Bayths Tale" in Geoffrey Chaucer's The Canterbury Tales, and the later ballad "The Marriage of Sir Gawain" is essentially a retelling, though its relationship to the medieval poem is uncertain. The author's name is not known, but similarities to Le Morte d'Arthur have led to the suggestion that the poem may have been written by Sir Thomas Malory.
Youxia was a type of ancient Chinese warrior folk hero celebrated in classical Chinese poetry and fictional literature. It literally means "wandering vigilante", but is commonly translated as "knight-errant" or less commonly as "cavalier", "adventurer", "soldier of fortune" or "underworld stalwart".
The Green Knight is a figure in Arthurian romance.
"King Arthur and King Cornwall" is an English ballad surviving in fragmentary form in the 17th-century Percy Folio manuscript. An Arthurian story, it was collected by Francis James Child as Child Ballad 30. Unlike other Child Ballads, but like the Arthurian "The Boy and the Mantle" and "The Marriage of Sir Gawain", it is not a folk ballad but a professional minstrel's song. It is notable for containing the Green Knight, a character known from the medieval poems The Greene Knight and the more famous Sir Gawain and the Green Knight; he appears as "Bredbeddle", the character's name in The Greene Knight.
Sir Gawain and the Carle of Carlisle is a Middle English tail-rhyme romance of 660 lines, composed in about 1400. A similar story is told in a 17th-century minstrel piece found in the Percy Folio and known as The Carle of Carlisle. These are two of a number of early English poems that feature the Arthurian hero Sir Gawain, the nephew of King Arthur, in his English role as a knight of the Round Table renowned for his valour and, particularly, for his courtesy.
The Knightly Tale of Gologras and Gawain is a Middle Scots Arthurian romance written in alliterative verse of 1362 lines, known solely from a printed edition of 1508 in the possession of the National Library of Scotland. No manuscript copy of this lively and exciting tale has survived.
The beheading game is a literary trope found in Irish mythology and medieval chivalric romance. The trope consists of a stranger who arrives at a royal court and challenges a hero to an exchange of blows: the hero may decapitate the stranger, but the stranger may then inflict the same wound upon the hero. The supernatural nature of the stranger, which makes this possible, is only revealed when he retrieves his severed head. When the hero submits himself to the return blow, he is rewarded for his valor and is left with only a minor wound. The hero is seen as coming of age by undergoing the exchange of blows, and his symbolic death and rebirth is represented by the feigned return blow. Originating in the Irish legend of the Fled Bricrenn, the beheading game appears in several Arthurian romances, most notably Sir Gawain and the Green Knight.