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of writing epic treatments o f the legend and no great work on the Arthurian story was
produced until the nineteenth century. Many seemed to share Milton’s opinion, given
in his History o f Britain (1677), that the story o f Arthur was a ‘simple fraud of a
fable’.64
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Yet the legend Tennyson inherited was not that of Milton’s despondency. The
nineteenth-century Arthurian revival began a long time before he took up the legend -
the story o f Arthur occupying the minds o f many earlier writers and scholars,
including Thomas Warton, Robert Southey, Thomas Love Peacock and Walter Scott.
The first chapter examines the ways in which these writers influenced Tennyson’s
approach to the legend, before moving on to discuss how the Idylls restored the
Arthurian story to its Galfridian and Malorian eminence - as well as its paradigmatic
structure. It concludes with a survey o f the Idylls’ monumental influence on
subsequent literary production, which lasted until the outbreak o f the Great War.
The second chapter concentrates on the historical moment when the
Tennysonian paradigm ceased to dominate the Arthurian story: the 1914-1918
conflict. The Matter o f Britain was largely abandoned in these years - a tale of
Britons being overwhelmed by Saxon hordes was hardly the basis for morale-boosting
literature. Yet while the war was a quiet time for Arthur, these were the great years for
the ‘maiden knight’, Sir Galahad. Evident in poetry, art and particularly journalism,
Galahad, along with St George, embodied the chivalric ethos which defined so much
of Britain’s wartime propaganda. The cultural significance o f the knight in these years
was the result of the Victorian cult of Galahad, which had developed throughout the
nineteenth century as an ancillary to the larger Arthurian paradigm, and was sustained
until the war’s end by a succession of sermonising bishops, moralising artists and
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homilising public-school masters. Yet at the end of the conflict Galahad was almost
wholly discarded - becoming a rare figure in post-war Arthuriana. In contrast, the
story of Arthur, now divorced from its Tennysonian paradigm, began to be rewritten
by a host of writers who had emerged from the war with a sense o f disassociation with
the Victorian past, including T.E. Lawrence, David Jones, John Masefield and T.S.
Eliot.
Galahad’s absence is particularly noticeable in the first body o f literature
which matured in the absence o f the Tennysonian paradigm: the story o f the Grail.
The third chapter considers how scholars such as Jessie L. Weston and Alfred Nutt
recreated the ‘noble tale off the Sankegreall’ in the early years of the twentieth
century, before it was taken up and embellished by creative writers, such as Eliot,
Mary Butts, Arthur Machen and John Cowper Powys.65 The resulting literature was
very different from the tales o f Galahad and the Grail produced in the nineteenth
century. Usually set in the modem day, with little or no reference to its traditional
Arthurian frame, this new Grail was concerned with mysterious rituals, themes of
sexual fertility and spiritual rejuvenation, while scholars and writers alike paid close
attention to the early Celtic literature which had largely been excluded under the
auspices of the Anglocentric Idylls. Yet this newly-awakened interest in the Grail did
not produce a unified body o f literature. Indeed, the field was diverse and often
combative as writers struggled to appropriate the significance o f the mystical object
for their own scholarly and ideological ends. This heterogeneous Grail proved to be
the prototype for the post-war Arthurian legend as a whole.
Chapter four breaks from the study of what has predominantly been English
literature in order to discuss the Arthurian legend as produced by the Celtic nations.
Many writers, including James Joyce, James Bridie, T. Gwynn Jones and Henry
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Jenner, contributed to a series of Irish, Scottish, Welsh and Cornish traditions that lay
outside of the better-known English (or Anglo-American, as it is often understood)
conception o f the modem Arthurian story. Many of the Celtic writers, often working
in regional languages, were amongst the first to reclaim the Matter o f Britain from its
Tennysonian mould. This chapter also pays attention to the role Arthur has played in
the construction o f Comish and Welsh national identities, though it also considers the
failure of each o f the Celtic nations to continue to develop their Arthurian traditions
into the second half o f the twentieth century.
Chapter five continues the study of the role o f ‘Celtic’ literature in four major
reworkings o f the Arthurian story: those o f Ernest Rhys, John Masefield, David Jones
and Charles Williams. In their approach to the Matter of Britain these poets - the only
writers saving T.H. White to attempt to rewrite the entire legend in the interwar period
- can all be termed Anglo-Celtic. Unlike the earlier English Arthurian writers and the
Celtic nationalist poets o f chapter four, Rhys, Masefield, Jones and Williams were all
concerned with remaking the legend into an inclusive British myth, which utilised
both the early Welsh literature o f the Mabinogion and the English Morte Darthur of
Thomas Malory. And though their politics varied from socialism to radical
conservatism, they each sought to realise the Arthurian legend as somehow ‘essential’
to Britain, not just spiritually, but culturally, socially and politically.
The final chapter is an examination of T.H. White’s The Once and Future
King, a work that proved to be perhaps the most popular retelling o f the legend in the
second half of the twentieth century. Yet the work is also an anachronism, a text
which largely ignores the considerable scholarly and creative advances in the legend
that had emerged in the first half o f the twentieth century and which, in its revised
1958 form (that known as The Once and Future King), reinscribed the Anglocentricity
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