Ripping yarn, religious myth

Edward Reginald Frampton The Passage of the Holy Grail to Sarras

Nigel Bryant compiler and translator
The Legend of the Grail
D S Brewer 2004 Arthurian Studies LVIII

While many readers assume that Thomas Malory’s famous epic is the epitome of Arthurian romance, fewer realise that what this author did was to extract the meat from several earlier French stories and serve them up not only in English but in a strong narrative arc that we know under the title Caxton gave it, Le Morte d’Arthur. In The Legend of the Grail Nigel Bryant imagines what a monkish redactor or scribe in, say, the 1240s would have done when confronted with the many different French versions of the Perceval romance. Would he not have done something similar to what Malory achieved more than two centuries later and prune, conflate and effect consistency?

This, then, is what Bryant himself undertakes to do. He takes “eight great French romances” composed during a period spanning half a century — Robert de Boron’s prose Joseph of Arimathea, Chrétien’s unfinished poem Perceval, the four mostly independent continuations of Perceval (two anonymous and one each by Gerbert and Manessier), the Glastonbury-linked Perlesvaus and the prose tale Quest of the Holy Grail (the last two also anonymous). He then re-forges them into a continuous narrative, as if they were the pieces of a broken sword, and presents them as the medieval legend of this mysterious object. The Whole Book of the Holy Grail, as it might be if Malory had attempted the project.

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