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The Oxford Guide to Arthurian Literature and Legend offers a comprehensive survey of the Arthurian legends in all their manifestations, from the earliest medieval texts to their appearances in contemporary culture. Essential reading for Arthurian scholars, medievalists, and for those interested in myth and legend.
The Oxford Guide to Arthurian Literature and Legend is both a critical history of the Arthurian tradition and a reference guide to Arthurian works, names, and symbols. It offers a comprehensive survey of the legends in all of their manifestations, from their origins in medieval literature to their adaptation in modern literature, arts, film, and popular culture. Not only does it analyse familiar Arthurian characters and themes, it also demonstrates the tremendous continuity of the legendsby examining the ways that they have been reinterpreted over the years. For instance, the motif of the abduction of Guinevere can be traced from Chretien de Troyes's Lancelot or the Knight of the Cart and the vulgate cycle of French romances in the 13th century, to Malory's retelling of the story in the Morte d'Arthur, through various modern adaptations like those in T. H. White's The Once and Future King and the contemporary film First Knight. This indispensable reference guide contains seven essays that trace the development of the Arthurian legend, encyclopedic entries, bibliographies, and a comprehensive index. The essays explore the chronicle and romance traditions, the influence of Malory, the Grail legend, the figures of Gawain and Merlin, and the story of Tristan and Isolt. The entries, which highlight key Arthurian characters, symbols, and places, offer quick and easy references. The extensive chapter-by-chapter bibliographies, which are subdivided by topic, augment thegeneral bibliography of Arthurian resources. Comprehensive in its analysis and hypertextual in its approach, The Oxford Guide to Arthurian Literature and Legend is an essential reference book for Arthurian scholars, medievalists, and for those interested in cultural studies of myth and legend.
King Arthur is perhaps the central figure of the medieval world, and the lore of Camelot has captivated literary imaginations from the Middle Ages to the present. Included in this volume are extended entries on more than 30 writers who incorporate Arthurian legend in their works. Arranged chronologically, the entries trace the pervasive influence of Arthurian lore on world literature across time. Entries are written by expert contributors and discuss such writers as Geoffrey of Monmouth, Boccaccio, Chaucer, Mark Twain, John Steinbeck, and Margaret Atwood. Each entry provides biographical information, a discussion of the author's use of Arthurian legend and contribution to the Arthurian literary tradition, and a bibliography of primary and secondary material. The volume begins with an introductory overview and concludes with suggestions for further reading. The central figure of the medieval world, King Arthur has captivated literary imaginations from the Middle Ages to the present. This book includes extended entries on more than 30 writers in the Arthurian tradition. Arranged chronologically and written by expert contributors, the entries trace the pervasive influence of Arthurian legend from the Middle Ages to the present. Each entry provides biographical information, a discussion of the writer's use of Arthurian legend and contribution to the Arthurian literary tradition, and a bibliography of primary and secondary material. The volume begins with an introductory overview and closes with a discussion of Arthurian lore in art, along with suggestions for further reading. Students will gain a better understanding of the Middle Ages and the lasting significance of the medieval world on contemporary culture.
This is the first comprehensive book on the Arthurian legend in medieval and Renaissance Italy since Edmund Gardner’s 1930 The Arthurian Legend in Italian Literature. Arthurian material reached all levels of Italian society, from princely courts with their luxury books and frescoed palaces, to the merchant classes and even popular audiences in the piazza, which enjoyed shorter retellings in verse and prose. Unique assemblages emerge on Italian soil, such as the Compilation of Rustichello da Pisa or the innovative Tavola Ritonda, in versions made for both Tuscany and the Po Valley. Chapters examine the transmission of the French romances across Italy; reworkings in various Italian regional dialects; the textual relations of the prose Tristan; narrative structures employed by Italian writers; later ottava rima poetic versions in the new medium of printed books; the Arthurian-themed art of the Middle Ages and Renaissance; and more. The Arthur of the Italians offers a rich corpus of new criticism by scholars who have brought the Italian Arthurian material back into critical conversation.
The image of Arthur has haunted the poets and writers of western Europe for nearly nine centuries, and there is no sign of an end to the reign of the "once and future king" in the world of literature. The Arthurian epic is as popular a subject now as it was when it was first fashioned, and the stories about Arthur and the heroes associated with him come in a bewildering number of guises. The sheer variety of the legends, both in style and content, is extraordinary; and this collection attempts to present, in a small space, something of this diversity. Sir Thomas Malory, half a millennium ago, plundered a whole range of sources to create his masterpiece, Le Morte Darthur; but he did so to weld them together within the framework of Arthur's own career. Legends of Arthur draws on different sources, but emphasizes the way in which writers have created new stories around the great heroes, or have told the stories in different ways. So there are two versions of each hero's exploits. Arthur is shown as emperor and warlord, and as the triumphant and tragic king of the romances, betrayed by Lancelot and Guinevere. Gawain is the central figure of the wonderful adventures of a Dutch romance, and the courtly and subtle hero of the English masterpiece Sir Gawain and the Green Knight. Tristan appears as the single-minded lover of Iseult in the original version of his story, and then as a knight of the Round Table whose devotion to chivalry is almost as great as his passion for his beloved. In these differing versions, we can see how the Arthurian romances held the medieval world spellbound for so long, in all their color and variety.
This Companion offers a chronological sweep of the canon of Arthurian literature - from its earliest beginnings to the contemporary manifestations of Arthur found in film and electronic media. Part of the popular series, Blackwell Companions to Literature and Culture, this expansive volume enables a fundamental understanding of Arthurian literature and explores why it is still integral to contemporary culture. Offers a comprehensive survey from the earliest to the most recent works Features an impressive range of well-known international contributors Examines contemporary additions to the Arthurian canon, including film and computer games Underscores an understanding of Arthurian literature as fundamental to western literary tradition
In American fiction, two forms of the Arthurian myth are commonly found: the use of the myth for political reasons, and the use of the myth for the continuation of an aesthetic tradition that can be traced back to the earliest use of the Arthurian cycle by writers in the British Isles. This work traces the use of the legend from Mark Twain's A Connecticut Yankee in King Arthur's Court to Donald Barthelme's novel The King. It discusses how Twain used the myth to take a stand against England, how it served cultural and aesthetic purposes in John Steinbeck's writing, how Raymond Chandler used it in complex texts with less obvious Arthurian allusions that carried strong cultural and even political associations, how John Gardner used aspects of the myth to embellish already existing narrative structures and to underscore philosophic debates, and how Donald Barthelme suggests the continuing interest of American writers in the Arthurian legend today in his novels. Also discussed is the effect of World War II on American literature and the Arthurian myth and the Camelot image surrounding the Kennedys.
The revival of interest in Arthurian legend in the 19th century was a remarkable phenomenon, apparently at odds with the spirit of the age. Tennyson was widely criticised for his choice of a medieval topic; yet The Idylls of the Kingwere accepted as the national epic, and a flood of lesser works was inspired by them, on both sides of the Atlantic. Elisabeth Brewer and Beverly Taylor survey the course of Arthurian literature from 1800 to the present day, and give an account of all the major English and American contributions. Some of the works are well-known, but there are also a host of names which will be new to most readers, and some surprises, such as J. Comyns Carr's King Arthur, rightly ignored as a text, but a piece oftheatrical history, for Sir Henry Irving played King Arthur, Ellen Terry was Guinevere, Arthur Sullivan wrote the music, and Burne-Jones designed the sets. The Arthurian works of the Pre-Raphaelites are discussed at length, as are the poemsof Edward Arlington Robinson, John Masefield and Charles Williams. Other writers have used the legends as part of a wider cultural consciousness: The Waste Land, David Jones's In Parenthesis and The Anathemata, and the echoes ofTristan and Iseult in Finnigan's Wake are discussed in this context. Novels on Arthurian themes are given their due place, from the satirical scenes of Thomas Love Peacock's The Misfortunes of Elphin and Mark Twain's A Connecticut Yankee at King Arthur's Court to T.H. White's serio-comic The Once and Future King and the many recent novelists who have turned away from the chivalric Arthur to depict him as a Dark Age ruler. The Return of King Arthurincludes a bibliography of British and American creative writing relating to the Arthurian legends from 1800 to the present day.