The Necessity of Chivalry

Another look at Launcelot

Jun 24, 2026

C.S. Lewis’s narrative poem Launcelot is not the only time he engaged with the eponymous character in his writings. He was fascinated with Sir Thomas Malory’s Launcelot in Le Morte d’Arthur and used the character as a lens through which to examine modern ideals in his essay titled "The Necessity of Chivalry."

The essay was published in 1940, nearly ten years after Lewis wrote Launcelot. You can read an excerpt of it below, and once you have, we want to hear how you think Lewis’s fictional re-imagining of Launcelot and his non-fictional analysis of the character engage with one another!

The word chivalry has meant at different times a good many different things—from heavy cavalry to giving a woman a seat in a train. But if we want to understand chivalry as an ideal distinct from other ideals—if we want to isolate that particular conception of the man comme il faut which was the special contribution of the Middle Ages to our culture—we cannot do better than turn to the words addressed to the greatest of all the imaginary knights in Malory’s Morte d’Arthur. ‘Thou wert the meekest man’, says Sir Ector to the dead Launcelot. ‘Thou wert the meekest man that ever ate in hall among ladies; and thou wert the sternest knight to thy mortal foe that ever put spear in the rest.’ 1

The important thing about this ideal is, of course, is the double demand it makes on human nature. The knight is a man of blood and iron, a man familiar with the sight of smashed faces and the ragged stumps of lopped-off limbs; he is also a demure, almost a maidenlike, guest in hall, a gentle, modest, unobtrusive man. He is not a compromise or happy mean between ferocity and meekness; he is fierce to the nth and meek to the nth. When Launcelot heard himself pronounced the best knight in the world, ‘he wept as he had been a child that had been beaten’. 2

What, you may ask, is the relevance of this ideal to the modern world? It is terribly relevant. It may or may not be practicable—the Middle Ages notoriously failed to obey it—but it is certainly practical; practical as the fact that men in a desert must find water or die.

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The medieval ideal brought together two things which have no natural tendency to gravitate towards one another. It brought them together for that very reason. It taught humility and forbearance to the great warrior because everyone knew by experience how much he usually needed that lesson. It demanded valour of the urbane and modest man because everyone knew that he was as likely as not to be a milksop.

In so doing, the Middle Ages fixed on the one hope of the world. It may or may not be possible to produce by the thousand men who combine the two sides of Launcelot’s character. But if it is not possible, then all talk of any lasting happiness or dignity in human society is pure moonshine.

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In the world today there is a ‘liberal’ or ‘enlightened’ tradition which regards the combative side of man’s nature as a pure, atavistic evil, and scouts the chivalrous sentiment as part of the ‘false glamour’ of war. And there is also a neo-heroic tradition which scouts the chivalrous sentiment as a weak sentimentality, which would raise from its grave (its shallow and unquiet grave!) the pre-Christian ferocity of Achilles by a ‘modern invocation’. Already in our own Kipling the heroic qualities of his favourite subalterns are dangerously removed from meekness and urbanity. One cannot quite imagine the adult Stalkey in the same room with the best of Nelson’s captains, still less with Sidney! These two tendencies between them weave the world’s shroud.

Happily we live better than we write, better than we deserve. Launcelot is not yet irrecoverable. To some of us this war brought a glorious surprise in the discovery that after twenty years of cynicism and cocktails the heroic virtues were still unimpaired in the younger generation and ready for exercise the moment they were called upon. Yet with this ‘sternness’ there is much ‘meekness’; from all I hear, the young pilots in the R.A.F. (to whom we owe our life from hour to hour) are not less, but more, urbane and modest than the 1915 model.

In short, there is still life in the tradition which the Middle Ages inaugurated. But the maintenance of that life depends, in part, on knowing that the knightly character is art, not nature—something that needs to be achieved, not something that can be relied upon to happen. And this knowledge is specially necessary as we grow more democratic. In previous centuries the vestiges of chivalry were kept alive by a specialised class, from whom they spread to other classes partly by imitation and partly by coercion. Now, it seems, the people must either be chivalrous on its own resources, or else choose between the two remaining alternatives of brutality and softness. This is, indeed, part of the general problem of a classless society, which is too seldom mentioned. Will its ethos be a synthesis of what was best in all the classes, or a mere ‘pool’ with the sediment of all and the virtues of none? But that is too large a subject for the fag-end of an article. My theme is chivalry. I have tried to show that this old tradition is practical and vital. The ideal embodied in Launcelot is ‘escapism’ in a sense never dreamed of by those who use that word; it offers the only possible escape from a world divided between wolves who do not understand, and sheep who cannot defend, the things which make life desirable. There was, to be sure, a rumour in the last century that wolves would gradually become extinct by some natural process; but this seems to have been an exaggeration. 3

This excerpt comes from Present Concerns, a collection of essays on moral, practical, and spiritual concerns.