42 Lily Crews – The Shame-Culture of Le Morte d’Arthur
Hailing from Plainfield, Indiana, Lily Crews (she/her) is a senior at IU East, majoring in Technical and Professional Writing. This essay is an analysis of shame culture in Le Morte d’Arthur, focusing on Guinevere and Lancelot. It was written for her Middle English Literature course. Professor Alisa Clapp-Itnyre notes, “Another excellent paper from Lily, this one on Malory’s Morte d’Arthur, 7 full pages, well written, and full of good, specific examples on Lancelot and Guinevere’s shame and guilt.”
The Shame-Culture of Le Morte d’Arthur
Le Morte d’Arthur is a story of knightly honor, unethical affairs, and the rise and fall of a powerful kingdom. One of the most analyzed plot points within Thomas Malory’s tale is the love affair between Queen Guinevere and Sir Lancelot, and how it ultimately leads to the downfall of Camelot. In “Shame and Guilt,” Mark Lambert argues the distinction between shame and guilt surrounding the affair of Guinevere and Lancelot, and how these emotions (or lack of) dictate the characters’ actions, along with the consequences of said actions. In this essay, I will argue that Guinevere and Lancelot feel shame surrounding their affair, rather than guilt, showcasing an example of the less sophisticated Homeric instinct of man in a more developed post-Homeric world.
It is vital to understand the shame/guilt distinction to fully comprehend Guinevere and Lancelot’s actions throughout the book. Mark Lambert outlines the difference between shame-culture and guilt-culture by implementing the importance of Homeric and post-Homeric values. Lambert states that Homer is seen “as the poet of shame-culture,” while Aeschylus and his contemporaries are seen as “the poets (perhaps even the creators) of a guilt culture” (Lambert 851). Lambert then argues, “guilt culture is one in which internal sanctions matter more than external sanctions,” later simplifying this argument by saying, “shame cultures are “primitive,” guilt cultures ‘more sophisticated’” (Lambert 851). He accounts the correlation of guilt culture and sophistication to “the discovery of guilt, responsiveness to internal sanctions,” and because of this, it represents an “advance in civilization” (Lambert 851). Lambert explains that guilt represents the internal struggle of a character’s ethics, while shame represents the opposite. In terms of Lancelot and Guinevere, Lambert argues, “the important thing is not one’s own knowledge of what one has done (the inner life is not very significant in Malory), but public recognition of one’s actions” (Lambert 850). Lambert also reminds us to recognize that Malory’s focus on shame rather than guilt does not mean that the world of Camelot was unadvanced. Lambert argues that Malory’s focus on shame “does not mean we see Le Morte d’Arthur as an inexplicable throwback to the Homeric age” (Lambert 852). Here Lambert is stating that the Homeric tendencies of our characters do not force Camelot to a time before sophistication. Instead, the shame-culture stages the characters’ instincts to originally emerge from a Homeric age and translate into a post-Homeric one.
I would agree with Lambert in this analysis. The pride of Camelot stems from the knightly honor of the Round Table and the rules it outlines. This knightly code is held in such high regard that the social consequences of breaking it could lead to severe penalties. Lancelot and Guinevere’s responsibility for the ruin of Camelot stems from this shame-orientation. If we look at Lancelot and Guinevere’s affair through the lens of guilt rather than shame, then we see the couple as victims rather than perpetrators of the kingdom’s downfall. However, this is not the truth surrounding the matter. There is no evidence of regret from either character surrounding their actions, only regret of getting caught. As Lambert argues, “For Malory, I believe, Lancelot’s tragedy is not so much the tragedy of having caused as of having failed to prevent disaster” (Lambert 854).
Looking at Lancelot and Guinevere, there is little evidence of internalized moral discourse regarding the ethicality of their affair. Instead, they focus on publicly upholding the honor that comes with their status and titles. While Queen Guinevere is not a knight herself, she also upholds the importance of the chivalric code the round table knights follow. In Forging Chivalric Communities in Malory’s le Morte d’Arthur, K. Hodges discusses the role of women, and specifically Guinevere, regarding the chivalric code. Hodges refers to Queen Guinevere’s role in upholding the code, stating “Guinevere often presides over sessions in which knights recount their deeds and she provides appropriate judgment” (Hodges 37). Hodges argues, “The sense that women were participants in chivalry, affected by and affecting its developments, is pervasive” (Hodges 47). This is a vital point of interest because it solidifies the importance of Guinevere’s role in representing and upholding the code that the Arthurian knights needed to follow. She must show the public her honorable traits as Queen to continuously maintain a level of respect.
A prime example of Guinevere’s attempt to maintain these standards is exhibited when Lancelot returns from his quest for the Holy Grail. He approaches Queen Guinevere, apologizing for his tardiness. In turn, Guinevere banishes him from the court, saying “ryght here I dyscharge the thys courte, that thou never com within hit, and I forfende the my felyship, and upon payne of thy hede that thou se me nevermore” (Malory 589). After Lancelot’s banishment, she hosts a grand feast, seemingly to honor the knights and their quest. However, in reality, she is hiding her grief for the banishment of her lover. While the act of banishment is out of emotional distress, the following feast is an effort to uphold a public image. She attempts to hide her love for Lancelot, or rather her shame of her love, through a public celebration.
During the feast following Lancelot’s dismissal, the Queen is framed with attempted murder after a knight dies eating poisoned food. The Queen is now in a bind, accused of treason with no knight to fight in her honor. When Arthur asks Guinevere where Lancelot is and why he cannot fight for her, she explains his banishment. Arthur instructs her to seek out Sir Bors to send for Lancelot to fight in her honor (Malory 592). Malory shows the scene with the Queen “ sente for Sir Bores into the chambir; and whan he cam she besought hym of succour” (Malory 592). Lancelot arrives at the battle in disguise and ultimately wins the battle for the Queen’s honor, saving her from death (Malory 596-598). Here, Guinevere regrets the decision she made in her emotional outburst. However, she has to hide the true reasoning for her banishment of Lancelot from her husband and send for Lancelot’s aid in secret. Had Guinevere publicly recalled her initial decision, rumors and gossip of their affair would have spread, creating yet another call of treason from the Queen. She recognizes her status and role of royalty and does what she can to uphold that image.
Lancelot is a knight of the Round Table, a title that requires those who hold it to follow a code. A code that states, “always to fle treason,” as well as “uppon payne of forfeiture of their worship and lordship of Kynge Arthure for evermore” (Malory 77). However, the affair between Lancelot and Guinevere overrides this code. Lambert looks at Lancelot’s focus on public shame in the scene where Meliagaunt confronts Lancelot and Guinevere in Guinevere’s chambers. Meligaunt finds blood in Guinevere’s bed. He accuses her of treason by way of adultery, stating that a wounded knight must have been in her chambers (Malory 636, 637). Lambert argues that technically Guinevere is not guilty of Meligaunt’s accusation. Only on a technicality, Lancelot is guilty of the charge (Lambert 853). Lancelot condemns Meligaunt’s intrusion for entering the Queen’s room and proceeds to fight Meligaunt to the death (Malory 636, 637). It is important to note that Lancelot only confronted Meligaunt’s intrusion into Guinevere’s room. None of the characters in the scene addresses where the blood on the bed came from, or the accusations of adultery and treason. If Guinevere or Lancelot addressed Meligaunt’s accusations of the affair, they would either admit their guilt or have to lie. Knowing that doing either would create public outcry if/when the truth is revealed, the accusation is overlooked. As Lambert puts it, “The problem is the bloodied bed. Don’t the characters wonder whose blood it is and how it got there?” (Lambert 853). Lambert continues the argument, stating that Lancelot was more concerned with “the queen’s shame rather than her guilt: we focus not on whether adultery was committed, but on whether the charge of treason can be made good” (Lambert 854).
The ending of Le Morte d’Arthur solidifies the consequences of Guinevere and Lancelot’s affair. Lancelot learns of King Arthur’s death and is stricken with the loss. Lancelot “lay two nygthes uppon hys tumbe in prayers a dolefull wepynge” (Malory 691). He then learns that Guinevere has joined a nunnery and decides to ride west to see her. Sir Bors asks why Lancelot wants to travel alone, to which Lancelot replies, “no man nor chylde shall go with me” (Malory 691). Even now, after the downfall of Camelot and the death of King Arthur, Lancelot attempts to hide his romantic affection for Guinevere in an attempt to uphold what little honor she has left. He arrives at the nunnery, where Guinevere tells him that she never wants to see him again. She says, “Sir Lancelot, I require the and beseche the hartily, for all the love that ever ways betwixt us, that though never se me no more in the visayge” (Malory 692). Guinevere realizes that their affair played such a huge part in the downfall of Camelot. Her shame is so powerful, that it overrides her love for Lancelot, even though they can now be together as husband and wife. Lancelot recognizes this and tells Guinevere that should he return home he would not marry another woman because he promised himself to her. He tries to make true to his promise, asking her to be with him forever more (Malory 692, 693). She turns him down, saying “[Nay] that I shal never do, but abstyene you from suche werkes” (Malory 693). With that, their affair is officially over. Lancelot tries to piece together what is left of Guinevere’s honor, and the pureness of their illicit love, to no avail. Guinevere is so struck with the shame of their actions, the downfall of Camelot, and the death of her husband. Instead of going with Lancelot, she devotes herself to God. It is almost as though in doing so, she is attempting to devote herself once again to her late husband as a way to honor their vows which she broke before he died. This act of emotional flagellation also seems to be the way that Guinevere punishes herself for the affair. She feels such shame over her actions that she must attempt to rectify it now, even though it is too late. Lancelot does the same in vowing to never lie with another woman besides Guinevere, even though he is a man of many suitors. The couple are faced with the consequences of their actions and are trying to handle their shame by punishing themselves after the fact. These self-inflicted punishments are also a way for them to try and mend their reputations in the eyes of God. While they may not be able to rebuild their reputations in Camelot, maybe they can atone for their sins spiritually to try and alleviate their shame. Once again, while they regret the outcome of their relationship, never once did they state that they regretted having the affair in the first place. In their conversation in the nunnery, they never once reveal guilt of falling for each other or state regret of their relationship. They merely lament the consequences and leave each other alone with their shame.
Lancelot and Guinevere only showed the shame and fear of public controversy surrounding their affair. Lancelot did not address that he broke the knightly code he swore to follow, and Guinevere did the same regarding her vows to Arthur. Instead, their actions were driven by the fear of shame, and the consequences that would follow should their affair become public knowledge. These are two members of high status, a member of royalty and an honorable knight, who disregarded the social expectations of their class to follow their personal desires. The consequences forced the couple to revert to the Homeric state of shame. They fell into the humanistic desire to remain a part of their community, attempting to avoid becoming outcasts or killed. However, they also followed that animalistic desire for one another, regardless of the consequences. The two understood what would happen if they got caught. When the truth was finally revealed, they did not feel guilt over what happened, but rather shame for being caught in the first place. Even though the plot of Le Morte d’Arthur takes place in a developed and sophisticated society with a high code of social honor, the couple is overshadowed by the shame of their personal decisions.
Works Cited
Hodges, K. Forging Chivalric Communities in Malory’s Le Morte d’Arthur. Palgrave Macmillan, 2005. <https://ebookcentral-proquest-com.proxyeast.uits.iu.edu/lib/iueast-ebooks/detail.action?docID=307796>.
Lambert, Mark. “Shame and Guilt.” Malory: Style and Vision in “Le Morte d’Arthur”. New Haven and London: Yale University Press, 1975. 856-864.
Malory, Thomas. Le Morte d’Arthur: A Norton Critical Edition. Norton Critical Edition. New York, NY: W. W. Norton & Company, Inc., 2004.