Gutenberg Articles

Appearance

Excerpt ​

Excerpt from Child Christopher and Goldilind the Fair, by William Morris

So wore the days till she went with child and was near her time, and
then it betid that three kings who marched on Oakenrealm banded them
together against him, and his lords and thanes cried out on him to lead
them to battle, and it behoved him to do as they would.

So he sent out the tokens and bade an hosting at his chief city, and
when all was ready he said farewell to his wife and her babe unborn, and
went his ways to battle once more: but fierce was his heart against the
foemen, that they had dragged him away from his love and his joy.

Even amidst of his land he joined battle with the host of the ravagers,
and the tale of them is short to tell, for they were as the wheat before
the hook. But as he followed up the chase, a mere thrall of the fleers
turned on him and cast his spear, and it reached him whereas his hawberk
was broken, and stood deep in, so that he fell to earth unmighty: and
when his lords and chieftains drew about him, and cunning men strove to
heal him, it was of no avail, and he knew that his soul was departing.
Then he sent for a priest, and for the Marshal of the host, who was a
great lord, and the son of his father's brother, and in few words bade
him look to the babe whom his wife bore about, and if it were a man, to
cherish him and do him to learn all that a king ought to know; and if it
were a maiden, that he should look to her wedding well and worthily: and
he let swear him on his sword, on the edges and the hilts, that he would
do even so, and be true unto his child if child there were: and he bade
him have rule, if so be the lords would, and all the people, till the
child were of age to be king: and the Marshal swore, and all the lords
who stood around bare witness to his swearing. Thereafter the priest
houselled the King, and he received his Creator, and a little while
after his soul departed.

Explanation ​

This excerpt from Child Christopher and Goldilind the Fair (1895) by William Morris—a late 19th-century British poet, novelist, and socialist—is a poignant moment in a medieval-style romance that blends chivalric tradition with Morris’s signature themes of loyalty, fate, and the fragility of human power. The passage depicts the death of a king in battle, his final commands regarding his unborn child, and the transfer of responsibility to his kinsman, the Marshal. Below is a detailed breakdown of the text, its literary techniques, and its broader significance, with an emphasis on close reading.

Context of the Excerpt ​

Child Christopher and Goldilind the Fair is one of Morris’s later prose romances, set in a fictional medieval world (Oakenrealm) and drawing on Norse, Arthurian, and Germanic legends. The story follows the titular characters—Christopher, a prince raised in obscurity, and Goldilind, a noblewoman—whose fates intertwine through war, exile, and love. The excerpt occurs early in the narrative, setting up the central conflict: the death of Goldilind’s husband (the king) leaves their unborn child vulnerable, and the Marshal’s oath becomes crucial to the child’s survival (and, by extension, the kingdom’s future).

Morris, a key figure in the Arts and Crafts Movement and a socialist, often explored themes of communal responsibility, the burden of leadership, and the cyclical nature of power. This passage reflects his fascination with medieval feudal structures and the personal sacrifices demanded by duty.

Themes in the Excerpt ​

  1. Duty vs. Desire

    • The king is torn between his personal happiness (his pregnant wife and unborn child) and his public role as a warrior-king. The phrase "it behoved him to do as they would" underscores his lack of agency—he is bound by the expectations of his lords and thanes, even as his "heart was fierce against the foemen" for separating him from his family. This tension highlights the tragic cost of kingship.

  2. Mortality and Legacy

    • The king’s death is abrupt and undignified: he is felled not by a noble adversary but by a "mere thrall" (a slave or lowly soldier), emphasizing the randomness of fate. His final acts—securing his child’s future and naming the Marshal as regent—are attempts to transcend death through lineage and loyalty. The oath-swearing on the sword (a symbol of authority and honor) reinforces the sacredness of succession.

  3. Oaths and Trust

    • The Marshal’s oath is central to the passage. The king demands threefold assurance:
      • To cherish the child (whether male or female).
      • To educate a son in kingship or marry a daughter worthily.
      • To rule as regent until the child comes of age.
    • The oath is sworn "on the edges and the hilts" of the sword, a ritualistic binding that invokes divine and martial authority. This reflects Morris’s interest in medieval legal and feudal customs, where words and symbols carry immense weight.

  4. Feminine Vulnerability and Agency

    • Though Goldilind is absent in this scene, her unborn child is the pivot of the king’s concerns. The passage subtly critiques a system where women (and their offspring) are political pawns—the king’s instructions for a daughter ("look to her wedding well and worthily") reveal how marriage is a tool of alliance, not personal choice. Morris often portrayed women as both victims of patriarchal structures and resilient figures who navigate them (as Goldilind does later in the story).

  5. The Fragility of Power

    • The king’s dominance in battle ("they were as the wheat before the hook") contrasts with his sudden fall, illustrating how power is precarious. His death disrupts the natural order, forcing a transfer of authority that may or may not hold (a common trope in Morris’s work, where oaths are frequently tested).

Literary Devices and Style ​

Morris’s prose is archaising, mimicking medieval sagas and romances. Key techniques include:

  1. Elevated Diction and Kenning-like Phrases

    • "it behoved him" (it was necessary for him)
    • "the tale of them is short to tell" (their defeat was swift)
    • "unmighty" (powerless)
    • These choices create a mythic, timeless quality, distancing the story from Victorian realism.

  2. Alliteration and Rhythmic Prose

    • "fierce was his heart against the foemen"
    • "edges and the hilts"
    • The musicality of the language evokes oral storytelling traditions, reinforcing the epic tone.

  3. Symbolism

    • The Sword: Represents authority, justice, and the binding of oaths. Swearing on it turns the Marshal’s promise into a sacred contract.
    • The Unborn Child: A symbol of hope and continuity, but also of vulnerability—the kingdom’s future hinges on this unseen figure.
    • The Priest and Houseling: The king’s last rites ("houselled" means receiving the Eucharist before death) frame his death as spiritually prepared, softening the tragedy with religious consolation.

  4. Foreshadowing

    • The Marshal’s oath is heavily emphasized, suggesting it will be tested later (a common plot device in Morris’s work, where promises are often broken or fulfilled in unexpected ways).
    • The mention of the child’s gender ("if it were a man... if it were a maiden") hints at future narrative branches (in the full story, the child is Christopher, whose identity is concealed for years).

  5. Contrast Between Battle and Intimacy

    • The passage shifts from violent action ("they were as the wheat before the hook") to quiet, personal moments (the king’s farewell, the oath, the last rites). This juxtaposition heightens the emotional weight of the king’s death.

Significance of the Passage ​

  1. Medieval Revival and Social Critique

    • Morris idealized the Middle Ages as a time of craftsmanship, communal bonds, and chivalry, but his work also critiqued feudal hierarchies. Here, the king’s death exposes the brutality of war and the precariousness of hereditary power.

  2. The Role of Oaths in Morris’s Work

    • Oaths are sacred and binding in Morris’s romances, but they are also frequently broken, reflecting his belief that human institutions are flawed. The Marshal’s oath will shape the rest of the story, for better or worse.

  3. Gender and Succession

    • The king’s instructions reveal patriarchal assumptions: a son is to be trained for kingship, while a daughter is to be married advantageously. Yet Morris often subverts these norms—Goldilind later defies passive roles, and the story explores alternative forms of power.

  4. Mortality and Memory

    • The king’s death is sudden and undramatic, yet his final acts ensure his legacy. This reflects Morris’s interest in how individuals live on through their deeds and the loyalty of others.

Close Reading of Key Lines ​

  1. "it behoved him to do as they would"

    • The passive construction ("it behoved") removes the king’s agency, emphasizing that duty overrides personal will. This is a recurring theme in chivalric literature (e.g., Arthurian knights bound by oaths).

  2. "they were as the wheat before the hook"

    • A simile comparing the enemy to wheat being cut down. The "hook" (a sickle) evokes both agricultural labor and the Grim Reaper, foreshadowing the king’s own death.

  3. "a mere thrall of the fleers turned on him"

    • The king is killed not by a noble warrior but by a lowly thrall (slave), undermining the glory of battle. This reflects Morris’s anti-heroic tendencies—he often shows how war is chaotic and unheroic.

  4. "he let swear him on his sword, on the edges and the hilts"

    • The sword as a sacred object ties the oath to martial honor and divine witness. The edges and hilts symbolize both destruction (the blade) and control (the hilt), reinforcing the dual nature of power.

  5. "the priest houselled the King, and he received his Creator"

    • "Houselled" (given the Eucharist) and "received his Creator" (died) frame the king’s death as a spiritual transition, softening the tragedy with religious consolation. This reflects Morris’s pre-Raphaelite influences, where medieval Catholicism is romanticized.

Connection to Broader Literary Traditions ​

  • Chivalric Romance: The passage follows conventions of kingly deathbed scenes (e.g., King Arthur’s final commands in Le Morte d’Arthur).
  • Norse Saga Influence: The abrupt, fatalistic tone and oath-swearing mirror Icelandic sagas (e.g., Njal’s Saga).
  • Victorian Medievalism: Morris’s idealized yet critical portrayal of the Middle Ages reflects 19th-century fascinations with feudalism, honor, and social structures.
  • Socialist Undertones: The collective responsibility of the lords and the vulnerability of the common people (represented by the thrall who kills the king) hint at Morris’s critique of class hierarchies.

Conclusion: Why This Passage Matters ​

This excerpt is a microcosm of Morris’s literary and philosophical concerns:

  • It explores the tension between personal desire and public duty.
  • It elevates the medieval past while exposing its harsh realities.
  • It sets up a central conflict (the fate of the unborn child) that drives the narrative.
  • It uses ritual, symbolism, and archaising language to create a mythic, timeless quality.

Most importantly, the passage humanizes the king—not as a distant, glorious figure, but as a man forced to confront his mortality, whose last thoughts are for his family and kingdom. This blend of epic grandeur and intimate tragedy is quintessential Morris, making the scene both universally relatable and deeply rooted in its medieval-inspired world.

Would you like further analysis on how this connects to the rest of the novel or Morris’s other works?