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In the nineteenth century, fears over Malory, while less hysterical, were no less
apparent. In his rewriting o f the Morte Darthur, Reginald Heber had deemed it
prudent to omit many o f the Malory’s ‘immoral’ passages. One of the 1816 editors of
Malory thought it necessary to make perform some ‘highly needed pruning’ to the
original text so that the it might take its place among the family’s bookshelves, rather
than remain ‘secreted from the fair sex’.50 Although the deluxe 1817 edition made
many fewer cuts in the original text, in its introduction, Robert Southey was aghast at
the barbarity o f many French romances, as well as being morally shocked by the
theme of ‘aggravated’ adultery contained in the Morte itself.51 Southey also thought
the French writers had committed a ‘foul offence’ in engrafting vices and dishonour
upon Tristram, ‘whom another writer has described as a Knight of prowess and of
worth’.52 This oddly personal defence of the moral character of Arthurian figures is
also found in Edward Bulwer-Lytton’s King Arthur (1848). This text went to extreme
lengths to rehabilitate the virtuousness of the myth, including Lytton’s decision to
recast the adulterous Guinevere as two persons: one became Arthur’s wife, the other
Lancelot’s bride. Lytton did this, he claimed in his preface, ‘to vindicate the fidelity of
the Cymrian queen Guenever from the scandal which the levity o f the French writers
had [added] most improperly’.53
Tennyson did not resort to these drastic alterations. Instead he included and
even expanded on the lascivious elements of the myth, but contained them within a
tightly-controlled system o f antitheses. Thus the evil of Vivien is contrasted to the
goodness of Arthur; Arthur’s ideal of truth juxtaposed with her vision o f ‘[t]he old
true filth’.54 In such close juxtaposition, the extremes of both virtue and evil become
more pronounced. Such a construct allowed Tennyson to draw on the most ‘immoral’
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of all Arthurian sources: the French romances, which had been so worrisome to his
predecessors.
Although Vivien is mentioned in a brief passage in Malory,55 it was the
Vulgate Merlin, summarised with extensive quotation in Southey’s introduction,
which provided the genesis for Tennyson’s ‘wily woman’. Southey’s introduction
described Vivien as ‘sorrowful and vexed’, attempting to ‘fawn to flatter’ in order to
‘delude and deceive’.56 Tennyson followed Southey so closely in creating this femme
fatale that one early reader o f the idyll claimed ‘that such a poem would corrupt the
young, that no ladies could buy it or read it’.57 Tennyson quickly recalled the trial
edition. But within the larger structure of the Idylls Vivien’s licentiousness was
transformed into ‘the evil genius of the Round Table’.58 She became the primogenitor
of all the wickedness that befalls Arthur and his kingdom - including the discovery of
Lancelot and Guinevere’s adultery.59 Indeed, her much-vaunted immorality was
refashioned into criminality: Swinburne’s facetious comment that she was a ‘simply a
subject for a police court’ was entirely consonant with Tennyson’s depiction of her.60
Thus Tennyson rarely had to perform the ‘highly needed pruning’ his predecessors
thought necessary in order to make the Arthurian story permissible for contemporary
readers. It was through emphasising, rather than removing, the wicked elements of the
Arthurian story, that Tennyson achieved the Idylls’ proper moral tone.*
It is notable that Tennyson did not begin his Idylls with tales drawn from
Malory, but like many o f his Romantic predecessors, drew from non-English sources.
Yet unlike Peacock, Hemans and numerous scholars, Tennyson was not content to
* Although Tennyson rarely altered the narrative o f his sources, he did produce occasional cuts,
especially with regard to the moral character o f Arthur. The most notable example is Arthur’s non
paternity of Mordred. In the original text o f ‘Guinevere’, for instance, Mordred is described by the king
as his ‘sister’s son’ (1. 569). In the later 1870 edition of the poem Mordred is further removed from
Arthur, becoming ‘the man they call / My sister’s son - no kin of mine, who leagues / With Lords of
the White Horse’ (11. 569-71).
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reproduce foreign models - he appropriated them into an Anglocentric structure. Such
a process is evident in his treatment of the Merlin and Vivien story in its unification of
French ‘immorality’ with English ‘respectability’. But the appropriation of foreign
literature into an English structure is even more pronounced in the contemporary
‘Enid’, Tennyson’s adaptation o f the thirteenth-century Welsh romance, ‘Geraint
fil[ius] Erbin’. ‘Geraint’ was one of the five Arthurian tales contained in Charlotte
Guest’s translation o f The Mabinogion, a text which reasserted the cultural
importance o f an older Welsh corpus which was autonomous to the English Arthurian
tradition.
As with his later treatment of the Morte Darthur, it is a rather bloodless
retelling. In the original, Geraint abandons the knightly world of tourneys and battle in
order to reside in peace with Enid until her shame at his perceived cowardice spurs
him into further martial conflict. It articulated the conflicts between the familial
obligations and the duties o f a feudal, predominantly homosocial, community.
Tennyson domesticated the tale. In ‘Enid’ the dramatic action is germinated in a
marital misunderstanding, as Enid, at night, weeps at the slurs that men say of him:
True tears upon his broad and naked breast
.. .awoke him, and by great mischance
He heard but fragments o f her later words,
And that she feared she was not a good wife.61
Later, as Geraint learns o f his mistake in doubting his wife’s fidelity, he is reconciled
to her, apologising profusely for having doubted her and declaring that ‘henceforward
[he would] rather die than doubt.’62 Whereas in the Welsh original (as translated by
Guest), Geraint is merely ‘grieved for two causes; one was, to see that Enid had lost
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her colour and her wonted aspect; and the other, to know that she was in the right’.
Essentially Tennyson was transforming the feudal tensions of the original Welsh
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