THemes in The Day of Destiny

Identity
A person's’s identity is so important within the world of Le Morte d’Arthur. Each character is defined
not only by his familial relations, but also by his abilities, whether on the battlefield, as a lover, or as
a leader. A person is also defined by his loyalties to his country or liege. Knights are usually defined
with epithets about their abilities or loyalties, sometimes given through fate, sometimes through their
own accomplishments. Many people struggle with identities given to them by fate or circumstance.
For instance, when Arthur was young, he thought of himself as the adopted son of a landowner and
knight, not as the heir to all of England. After Arthur learns he is the son of Uther
Pendragon and Igraine, he has a hard time accepting his identity, even though that identity compels
him to take power meant for him by fate. Similarly, his son Mordred also has difficulty accepting his
identity - though he is predestined to kill his father, he is bothered by the Archbishop of Canterbury's
statements on his sinful conception.
Interestingly, though, many characters often don disguises. For instance, Sir Launcelot frequently
hides his identity so that he can solicit jousts with knights who might otherwise be too frightened to
fight him. Mistaken identity in Le Morte d’Arthuroften results in tragedy, as was the case for the
brothers Balin and Balan. Merlin is perhaps the most persistent in his attempt to conceal his identity,
mostly from Arthur, as he transforms into old men or young children, usually to teach the King a
lesson. The regularity of disguise suggests that characters often wish freedom from an identity that
otherwise too fully limits them in the eyes of others.
Destiny
Several characters within Le Morte d’Arthur are predestined to certain ends. Some examples
include: Arthur was meant to bring peace to a fractured country; Mordred was meant to destroy
his father’s kingdom; and Galahad was destined to find the Sangreal. The whole epic has a sense
of inevitable fate because of its title, which foreshadows Arthur's death long before it happens.
This makes sense, considering that Merlin prophesies it so early. Many of Merlin's prophecies
are quite complicated; for instance, he sets Galahad up to be the world's greatest knights in
several different ways. Whether a character's identity is determined by fate, or whether his
character enables his fate, is a question only implicitly posed in the epic, but the supernatural
forces that control the world are very explicit throughout.
The Journey/The Quest
The most repetitive theme in the text is that of the journey, or quest. Knights within Le Morte
d’Arthur have a strong desire to seek adventure, to do noble deeds, and to find glory within the
most difficult of circumstances. They undertake journeys for the sake of the journey alone, and
not always for a specified goal (as is the case with the Sangreal). The desire to find adventures is
sometimes all-consuming; for instance, King Pellinore is so intent on his quest that he ignores a
young woman's pleas for help. The existence of the Questing Beast suggests the importance of a
quest - even if it seems impossible, a knight will continue to pursue it. The most prestigious
quest is certainly that for the Sangreal, which has both a physical and spiritual component,
suggesting that after the age of Arthur, people will need to journey inwards into themselves to
find purity, and not simply outwards to find fame. Even the task of reading Le Morte d’Arthur is a
journey in itself, as we travel with the characters from one adventure to the next.
Love
Variations of love exist within Le Morte d’Arthur. The most immediate is that which the Knights of
the Round Table have for Arthur, a love that helps the fellowship stay strong. There is also the
love of God, which inspired the Knights to attempt the difficult task of finding the Sangreal.
Love of family is prevalent, whether characters were defending or avenging family members.
Perhaps the most dominant form of love within the text is courtly love, which by its definition
encourages knights to perform acts of valor in honor of their lady, who is usually a married
woman of noble birth. Launcelot often engaged in combat in the Queen’s defense, or for her
honor. Malory’s courtly love varies from the traditional usage by refusing to delve into a
character's inner feelings and instead allowing the love affairs to be clearly based in lust.
The main exception to this involves Launcelot's feelings. While the narrator does compare their
love to the flourishing of spring, the story reveals the dire consequences of illicit, sexual love.
Launcelot and Guenever’s affair contributes to the downfall of the kingdom. Overall, there is
rarely easy love within Le Morte d’Arthur, and even the basic code of courtly love is complicated
throughout the narrative.
Family
Prevalent throughout the text of Le Morte d’Arthur is the theme of family. No character is
introduced without some familial tie given as important aspect of his or her identity. The younger
Orkney brothers are usually introduced as the siblings of Gawaine, until they distinguish
themselves. All of the descendants of King Ban are constantly referred to by their connection to
Launcelot. For instance, Lionel is defined as his nephew, and Ector as his brother. Launcelot
himself is blessed in part because of his familial ties to Joseph of Aramathie. Galahad, his son, is
one rare example; he is defined as much by his purity as by the identity of his father. A lack of
connection between a character and his family often results in confusing circumstances. For
instance, Arthur’s seeming lack of a proper family connection incites a war when the six Kings
of the North challenge his early reign.
It is when the family unit is off balance that the most damage is done. For example, Gawaine’s
revenge on Launcelot for the deaths of Gareth, Gaheris, and Agravaine causes severe harm to the
kingdom. The most tragic example of familial difficulties is that of Arthur and Mordred’s
relationship, which begins when Arthur tries to kill his infant son, and ends when Mordred
destroys his father’s kingdom.
Role of Women
Although the focus of Le Morte d’Arthur is almost exclusively on the male characters, the female
characters play an important yet often subservient role. They often serve as little more than
motivation for acts of valor like jousting, tournaments, battles, and war. Many of the women
throughout the text do not have names, whereas similarly insignificant male characters have not
only names but lineages.
However, despite their lack of agency, women are frequently depicted as dangerous through their
sexual power. The most powerful women are temptresses, sorceresses, seducers, or malcontents
like Maledistant. However, the most powerful woman in the narrative is undoubtedly Guenever,
who through her sexuality and inability to deal with Launcelot causes the kingdom to fall apart.
Redemption
The Christian ideal of redemption provides strong motivations throughout the epic. Characters
often attempt to rectify their sins by devoting themselves to God - Launcelot does penance while
on the quest for the Sangreal; Percivale wounds himself over temptation; and later, Guenever
enters an abbey in atonement for her affair with Launcelot. Even Gawaine, perhaps the most
sinful knight who is not doomed early for his sins, redeems himself before dying by begging
Launcelot's forgiveness. Especially once the epic reaches the quest for the Sangreal, its Christian
purpose becomes clear - we all live lives of aggression and sin, but it is within our power to ask
forgiveness and be redeemed by God.
Chivalry
A major theme throughout the text, chivalry defines the code of ethics that the Knights of the
Round Table must uphold. King Arthur cements the importance of chivalry within the fellowship
of the Round Table by asking his knights to renew their vows of knighthood at Pentecost each
year, promising to protect women and to flee from treason and murder. Most of the main
characters, including King Arthur, Launcelot, and Gawaine, uphold their promises of chivalry;
however, they, like many of the other characters, break their vows on various occasions. For
instance Arthur kills the sorceress Annowre; Launcelot fights and kills other Knights of the
Round Table; and Gawaine encourages Arthur to go to war with Launcelot. Chivalry is as much
an ideal for knights to strive for than an easily realized virtue.

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