The Holy Grail (Breton: Graal Santel, Welsh: Greal Sanctaidd, Cornish: Gral) is a treasure that serves as an important motif in Arthurian literature. Different traditions describe it as a cup, dish or stone with miraculous powers that provide happiness, eternal youth or sustenance in infinite abundance, often in the custody of the Fisher King. The term "holy grail" is often used to denote an elusive object or goal that is sought after for its great significance.
A "grail", wondrous but not explicitly holy, first appears in Perceval, le Conte du Graal, an unfinished romance written by Chrétien de Troyes around 1190. Chrétien's story attracted many continuators, translators and interpreters in the later 12th and early 13th centuries, including Wolfram von Eschenbach, who perceived the Grail as a stone. In the late 12th century, Robert de Boron wrote in Joseph d'Arimathie that the Grail was Jesus's vessel from the Last Supper, which Joseph of Arimathea used to catch Christ's blood at the crucifixion. Thereafter, the Holy Grail became interwoven with the legend of the Holy Chalice, the Last Supper cup, a theme continued in works such as the Vulgate Cycle, the Post-Vulgate Cycle, as well as Le Morte d'Arthur.
The word graal, as it is earliest spelled, comes from Old French graal or greal, cognate with Old Provençal grazal and Old Catalan gresal, meaning "a cup or bowl of earth, wood, or metal" (or other various types of vessels in different Occitan dialects). The most commonly accepted etymology derives it from Latin gradalis or gradale via an earlier form, cratalis, a derivative of crater or cratus, which was, in turn, borrowed from Greek krater (κρᾱτήρ, a large wine-mixing vessel). Alternative suggestions include a derivative of cratis, a name for a type of woven basket that came to refer to a dish, or a derivative of Latin gradus meaning "'by degree', 'by stages', applied to a dish brought to the table in different stages or services during a meal".
In the 15th century, English writer John Hardyng invented a fanciful new etymology for Old French san-graal (or san-gréal), meaning "Holy Grail", by parsing it as sang real, meaning "royal blood". This etymology was used by some later medieval British writers such as Thomas Malory, and became prominent in the conspiracy theory developed in the book The Holy Blood and the Holy Grail, in which sang real refers to the Jesus bloodline.
The literature surrounding the Grail can be divided into two groups. The first concerns King Arthur's knights visiting the Grail castle or questing after the object. The second concerns the Grail's history in the time of Joseph of Arimathea.
The nine works from the first group are:
Of the second group there are:
The Grail was considered a bowl or dish when first described by Chrétien de Troyes. There, it is a processional salver, a tray, used to serve at a feast. Hélinand of Froidmont described a grail as a "wide and deep saucer" (scutella lata et aliquantulum profunda); other authors had their own ideas. Robert de Boron portrayed it as the vessel of the Last Supper. Peredur son of Efrawg had no Grail as such, presenting the hero instead with a platter containing his kinsman's bloody, severed head.
The Grail is first featured in Perceval, le Conte du Graal (The Story of the Grail) by Chrétien de Troyes, who claims he was working from a source book given to him by his patron, Count Philip of Flanders. In this incomplete poem, dated sometime between 1180 and 1191, the object has not yet acquired the implications of holiness it would have in later works. While dining in the magical abode of the Fisher King, Perceval witnesses a wondrous procession in which youths carry magnificent objects from one chamber to another, passing before him at each course of the meal. First comes a young man carrying a bleeding lance, then two boys carrying candelabras. Finally, a beautiful young girl emerges bearing an elaborately decorated graal, or "grail".
Chrétien refers to this object not as "The Grail" but as "a grail" (un graal), showing the word was used, in its earliest literary context, as a common noun. For Chrétien a grail was a wide, somewhat deep dish or bowl, interesting because it contained not a pike, salmon, or lamprey, as the audience may have expected for such a container, but a single Communion wafer which provided sustenance for the Fisher King's crippled father. Perceval, who had been warned against talking too much, remains silent through all of this and wakes up the next morning alone. He later learns that if he had asked the appropriate questions about what he saw, he would have healed his maimed host, much to his honour. The story of the Wounded King's mystical fasting is not unique; several saints were said to have lived without food besides communion, for instance Saint Catherine of Genoa. This may imply that Chrétien intended the Communion wafer to be the significant part of the ritual, and the Grail to be a mere prop.
Though Chrétien's account is the earliest and most influential of all Grail texts, it was in the work of Robert de Boron that the Grail truly became the "Holy Grail" and assumed the form most familiar to modern readers in its Christian context. In his verse romance Joseph d'Arimathie, composed between 1191 and 1202, Robert tells the story of Joseph of Arimathea acquiring the chalice of the Last Supper to collect Christ's blood upon his removal from the cross. Joseph is thrown in prison, where Christ visits him and explains the mysteries of the blessed cup. Upon his release, Joseph gathers his in-laws and other followers and travels to the west. He founds a dynasty of Grail keepers that eventually includes Perceval.
The authors of the Vulgate Cycle used the Grail as a symbol of divine grace; Galahad, illegitimate son of Lancelot and Elaine, the world's greatest knight and the Grail Bearer at the castle of Corbenic, is destined to achieve the Grail, his spiritual purity making him a greater warrior than even his illustrious father. The Queste del Saint Graal (The Quest of The Holy Grail) tells also of the adventures of various Knights of the Round Table in their eponymous quest, some of them including Percival as Galahad's on-and-off companions. Galahad and the interpretation of the Grail involving him were picked up in the 15th century by Thomas Malory in Le Morte d'Arthur and remain popular today.
In Parzival, Wolfram von Eschenbach, citing the authority of a certain (probably fictional) Kyot the Provençal, claimed the Grail was a Stone, the sanctuary of the neutral angels who took neither side during Lucifer's rebellion. It is called Lapsit exillis, which in alchemy is the name of the Philosopher's stone.
Scholars have long speculated on the origins of the Holy Grail before Chrétien, suggesting that it may contain elements of the trope of magical cauldrons from Celtic mythology and later Welsh mythology combined with Christian legend surrounding the Eucharist, the latter found in Eastern Christian sources, conceivably in that of the Byzantine Mass, or even Persian sources. The view that the "origin" of the Grail legend should be seen as deriving from Celtic mythology was championed by Roger Sherman Loomis, Alfred Nutt and Jessie Weston. Loomis traced a number of parallels between Medieval Welsh literature and Irish material and the Grail romances, including similarities between the Mabinogion's Bran the Blessed and the Arthurian Fisher King, and between Bran's life-restoring cauldron and the Grail.
The opposing view dismissed the "Celtic" connections as spurious and interpreted the legend as essentially Christian in origin. Joseph Goering has identified sources for Grail imagery in 12th-century wall paintings from churches in the Catalan Pyrenees (now mostly removed to the Museu Nacional d'Art de Catalunya), which present unique iconic images of the Virgin Mary holding a bowl that radiates tongues of fire, images that predate the first literary account by Chrétien de Troyes. Goering argues that they were the original inspiration for the Grail legend.
Psychologists Emma Jung and Marie-Louise von Franz used analytical psychology to interpret the Grail as a series of symbols in their book The Grail Legend. This expanded on interpretations by Carl Jung, which were later invoked by Joseph Campbell.
Richard Barber (2004) argued that the Grail legend is connected to the introduction of "more ceremony and mysticism" surrounding the sacrament of the Eucharist in the high medieval period, proposing that the first Grail stories may have been connected to the "renewal in this traditional sacrament". Daniel Scavone (1999, 2003) has argued that the "Grail" in origin referred to the Shroud of Turin. Goulven Peron (2016) suggested that the Holy Grail may reflect the horn of the river-god Achelous as described by Ovid in the Metamorphoses.
In the wake of the Arthurian romances, several artifacts came to be identified as the Holy Grail in medieval relic veneration. These artifacts are said to have been the vessel used at the Last Supper, but other details vary. Despite the prominence of the Grail literature, traditions about a Last Supper relic remained rare in contrast to other items associated with Jesus' last days, such as the True Cross and Holy Lance.
One tradition predates the Grail romances: in the 7th century, the pilgrim Arculf reported that the Last Supper chalice was displayed near Jerusalem. In the wake of Robert de Boron's Grail works, several other items came to be claimed as the true Last Supper vessel. In the late 12th century, one was said to be in Byzantium; Albrecht von Scharfenberg's Grail romance Der Jüngere Titurel associated it explicitly with the Arthurian Grail, but claimed it was only a copy. This item was said to have been looted in the Fourth Crusade and brought to Troyes in France, but it was lost during the French Revolution.
Two relics associated with the Grail survive today. The Sacro Catino (Sacred Basin, also known as the Genoa Chalice) is a green glass dish held at the Genoa Cathedral said to have been used at the Last Supper. Its provenance is unknown, and there are two divergent accounts of how it was brought to Genoa by Crusaders in the 12th century. It was not associated with the Last Supper until later, in the wake of the Grail romances; the first known association is in Jacobus da Varagine's chronicle of Genoa in the late 13th century, which draws on the Grail literary tradition. The Catino was moved and broken during Napoleon's conquest in the early 19th century, revealing that it is glass rather than emerald.
The Holy Chalice of Valencia is an agate dish with a mounting for use as a chalice. The bowl may date to Greco-Roman times, but its dating is unclear, and its provenance is unknown before 1399, when it was gifted to Martin I of Aragon. By the 14th century an elaborate tradition had developed that this object was the Last Supper chalice. This tradition mirrors aspects of the Grail material, with several major differences, suggesting a separate tradition entirely. It is not associated with Joseph of Arimathea or Jesus' blood; it is said to have been taken to Rome by Saint Peter and later entrusted to Saint Lawrence. Early references do not call the object the "Grail"; the first evidence connecting it to the Grail tradition is from the 15th century. The monarchy sold the cup in the 15th century to Valencia Cathedral, where it remains a significant local icon.
Several objects were identified with the Holy Grail in the 17th century. In the 20th century, a series of new items became associated with it. These include the Nanteos Cup, a medieval wooden bowl found near Rhydyfelin, Wales; a glass dish found near Glastonbury, England; and the Antioch chalice, a 6th-century silver-gilt object that became attached to the Grail legend in the 1930s.
In the modern era, a number of places have become associated with the Holy Grail. One of the most prominent is Glastonbury in Somerset, England. Glastonbury was associated with King Arthur and his resting place of Avalon by the 12th century. In the 13th century, a legend arose that Joseph of Arimathea was the founder of Glastonbury Abbey. Early accounts of Joseph at Glastonbury focus on his role as the evangelist of Britain rather than as the custodian of the Holy Grail, but from the 15th century, the Grail became a more prominent part of the legends surrounding Glastonbury. Interest in Glastonbury resurged in the late 19th century, inspired by renewed interest in the Arthurian legend and contemporary spiritual movements centered on ancient sacred sites. In the late 19th century, John Goodchild hid a glass bowl near Glastonbury; a group of his friends, including Wellesley Tudor Pole, retrieved the cup in 1906 and promoted it as the original Holy Grail. Glastonbury and its Holy Grail legend have since become a point of focus for various New Age and Neopagan groups.
In the early 20th century, esoteric writers identified Montségur, a stronghold of the heretical Cathar sect in the 13th century, as the Grail castle. Similarly, the 14th-century Rosslyn Chapel in Midlothian, Scotland, became attached to the Grail legend in the mid-20th century when a succession of conspiracy books identified it as a secret hiding place of the Grail.
Since the 19th century, the Holy Grail has been linked to various conspiracy theories. In 1818, Austrian pseudohistorical writer Joseph von Hammer-Purgstall connected the Grail to contemporary myths surrounding the Knights Templar that cast the order as a secret society dedicated to mystical knowledge and relics. In Hammer-Purgstall's work, the Grail is not a physical relic but a symbol of the secret knowledge that the Templars sought. There is no historical evidence linking the Templars to a search for the Grail, but subsequent writers have elaborated on the Templar theories.
Starting in the early 20th century, writers, particularly in France, further connected the Templars and Grail to the Cathars. In 1906, French esoteric writer Joséphin Péladan identified the Cathar castle of Montségur with Munsalväsche or Montsalvat, the Grail castle in Wolfram's Parzival. This identification has inspired a wider legend asserting that the Cathars possessed the Holy Grail. According to these stories, the Cathars guarded the Grail at Montségur, and smuggled it out when the castle fell in 1244.
Beginning in 1933, German writer Otto Rahn published a series of books tying the Grail, Templars, and Cathars to modern German nationalist mythology. According to Rahn, the Grail was a symbol of a pure Germanic religion repressed by Christianity. Rahn's books inspired interest in the Grail in Nazi occultism and led to Heinrich Himmler's abortive sponsorship of Rahn's search for the Grail, as well as many subsequent conspiracy theories and fictional works about the Nazis searching for the Grail.
In the late 20th century, writers Michael Baigent, Richard Leigh and Henry Lincoln created one of the most widely known conspiracy theories about the Holy Grail. The theory first appeared in the BBC documentary series Chronicle in the 1970s, and was elaborated upon in the bestselling 1982 book Holy Blood, Holy Grail. The theory combines myths about the Templars and Cathars with various other legends and a prominent hoax about a secret order called the Priory of Sion. According to this theory, the Holy Grail is not a physical object, but a symbol of the bloodline of Jesus. The blood connection is based on the etymology reading san greal (holy grail) as sang real (royal blood), which dates to the 15th century. The narrative developed here is that Jesus was not divine, and had children with Mary Magdalene, who took the family to France where their descendants became the Merovingians dynasty. While the Catholic Church worked to destroy the dynasty, they were protected by the Priory of Sion and their associates, including the Templars, Cathars, and other secret societies. The book, its arguments, and its evidence have been widely criticized by scholars, but it has had a vast influence on conspiracy and alternate history books. It has also inspired fiction, most notably Dan Brown's 2003 novel The Da Vinci Code and its 2006 film adaptation.
The combination of hushed reverence, chromatic harmonies and sexualized imagery in Richard Wagner's final music drama Parsifal, premiered in 1882, developed this theme, associating the grail – now periodically producing blood – directly with female fertility. The high seriousness of the subject was also epitomized in Dante Gabriel Rossetti's painting in which a woman modeled by Alexa Wilding holds the Grail with one hand, while adopting a gesture of blessing with the other.
A major mural series depicting the Quest for the Holy Grail was done by the artist Edwin Austin Abbey during the first decade of the 20th century for the Boston Public Library. Other artists, including George Frederic Watts and William Dyce, also portrayed grail subjects.
The story of the Grail and of the quest to find it became increasingly popular in the 19th century, referred to in literature such as Alfred, Lord Tennyson's Arthurian cycle Idylls of the King. A sexualised interpretation of the grail, now identified with female genitalia, appeared in 1870 in Hargrave Jennings' book The Rosicrucians, Their Rites and Mysteries.
In the cinema, the Holy Grail debuted in the 1904 silent film Parsifal, an adaptation of Wagner's opera by Edwin S. Porter. More recent cinematic adaptations include Costain's The Silver Chalice made into a 1954 film by Victor Saville and Brown's The Da Vinci Code turned into a 2006 film by Ron Howard.
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