Chapel perilous

The term chapel perilous first appeared in Sir Thomas Malory's Le Morte d'Arthur (1485) as the setting for an adventure in which sorceress Hellawes unsuccessfully attempts to seduce Sir Lancelot. T. S. Eliot used it symbolically in The Waste Land (1922). Dorothy Hewett took The Chapel Perilous as the title for her autobiographical play, in which she uses "the framework of the Arthurian legend, Sir Lancelot, to create a theatrical quest of romantic and epic proportions."