Themes
Key
LitCharts assigns a color and icon to each theme in Ivanhoe, which you can use to track the themes throughout the work.
The Merits of Chivalry
Disguise and Discovery
Inheritance and Displacement
The Vulnerability and Power of Women
History vs. Romance
Summary
Analysis
The story returns to the Black Knight, whom readers last saw fading into the crowd after helping Ivanhoe achieve his victory in the tournament. He had left the area early the next morning, but the winding paths of the country have frustrated his progress. When he drops the reigns in frustration and fatigue, his horse carries him straightaway to an isolated hermitage and ruined chapel deep in the woods. Thanking St. Julian, the patron saint of travelers, the Black Knight dismounts and pounds on the hermitage door. The hermit within (who soon identifies himself as the Cleric of Copmanhurst) rebuffs the Black Knight’s request for shelter. They argue back and forth with each becoming angrier until the Black Knight threatens to break down the door, and the hermit—and his dogs—promise to fend him off if he does.
The book turns immediately from bad examples of chivalry and its values (as the behavior of Sir Brian, Fitzurse, de Bracy demonstrates) to one of its best depictions of a good knight: the Black Knight. Like the Disinherited Knight, his identity remains a secret at this point, but readers know that he protects the vulnerable (saving Ivanhoe from likely death at the tournament), fights for honor rather than reward, and craves adventure—that’s why he’s riding deep into the woods. What’s more, he doesn’t seem to fear encountering any of the local bandits, suggesting his bravery and strength. The description and setting of the forest chapel pulls the book out of a more historical mode and into one drawn straight from medieval romance, a world where wandering knights rely on the kindness of hermits for shelter. But the Cleric’s initially rude rebuff keeps the book from wandering too far from its realistic style.
Themes
Finally, the Cleric of Copmanhurst opens the door. He is a large, strongly-built man; he brandishes a club in one hand and a torch in the other. When he sees the Black Knight’s armor, he checks his anger somewhat, calls off his dogs, and begs the knight’s forgiveness for his churlish attitude, which he attributes to his fear of bandits. Inside the simple hut, the two men regard each other cautiously, each thinking that he’s rarely seen a larger or stronger man than the other. Finally, the hermit shows the knight where he can put himself and his horse for the night, then hands him some beans for his supper.
Although he’s not exactly in disguise (at no point does the book say that he isn’t actually a monk), the Cleric’s physical composition certainly suggests that there’s more to his life than fasting and prayer. Thus, this initial meeting in the forest pits two disguised (or quasi-disguised) men against each other, and each sizes the other up carefully, looking for the truth that the disguise might reveal. At this moment, though, each can only see the other’s strength, leading to a cautious stalemate.
Themes
In order to eat, the Black Knight must doff his helmet and reveal his face, which features bright blue eyes, a handsome moustache, and a look of intelligence and determination. In response, the Cleric pushes back his own hood, revealing a ruddy face and thick black hair. The Black Knight expresses his surprise that the hermit could have grown so hale and hearty on such plain fare, and the Cleric remarks that he might have some richer food in the house. From a hidden hole in the wall, the hermit retrieves a fine venison pastry, although he claims his “keeper”—the local nobleman—left it there two months earlier. With a twinkle in his eye, the Black Knight remarks that the venison seems fresh enough to have been killed within the week.
The physical description of the Black Knight might provide readers familiar with British history and folklore with a hint about his identity, as this description recalls the features of Richard I—the currently dispossessed but rightful king. As if in answer to his necessary act of unveiling, the Cleric also reveals something about himself—not yet his identity, but his face, which proves definitively that he doesn’t live the ascetic life of a monk. Thus, it’s not fully surprising when he pulls good food and fine wine (and seems to have a store of weapons) in the house. Readers should begin to suspect that he may be connected with the local Saxon woodsmen-bandits.
Themes
On the Black Knight’s invitation, the Cleric falls to eating the pastry with relish, and when they’ve had their fill, he retrieves wine from the hidden cupboard. He pours two cups and offers the knight a hearty, Saxon “waes hael!” Then the Black Knight suggests that a man as large and strong as the Cleric might make a good living for himself by poaching the deer in the forest. Affronted, the Cleric swears he would never engage in that illegal activity, which carries a death sentence for those found guilty. He warns the knight that he will defend himself if necessary and retrieves two swords from a second hiding place, where they lie with an assortment of swords and bows and one harp. Stooping to retrieve the instrument, the Black Knight apologizes for asking the Cleric impertinent questions and states his preference to compete in singing rather than fighting.
The book has thus far avoided identifying the Black Knight as Saxon or Norman, but it becomes clear here that he understands Saxon, which implies a sympathy to their plight, if not membership in the group himself. The Cleric clearly poaches, or illegally hunts, deer in forests designated for royal or noble use. His willingness to defend himself sounds proud rather than abashed, as if he takes pleasure in stealing from the Normans because they are Norman. This points to the lawlessness and anarchy of England under Norman rule—especially Prince John’s.
Themes
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