ii
Contents
Declarations
Summary o f Thesis
Acknowledgements
i
Contents
ii
List o f Illustrations
iv
Note
vi
Introduction
1
The structure o f Arthurian literary production in Medieval Britain
11
Chapter One From ‘chaff and d raff to National Epic: Tennyson’s Idylls o f
26
the King and nineteenth-century Arthuriana
Modem Arthurian literature before Tennyson
29
Tennyson’s early Arthurian poems: domesticating the legend
33
The Idylls o f the King as bourgeois epic
39
The Idylls o f the King as Arthurian paradigm
50
Arthurian literary production after Tennyson (1892-1914)
59
Chapter Two T h a t‘dim, weird battle in the west’: Arthurian literary
73
production and the Great War
The cult o f Galahad in the nineteenth century
74 v
‘The necessary supply o f heroes must be maintained at all cost’:
83
Galahad and the Great War
‘But now I’ve said goodbye to Galahad’: the end of
90
Victorian chivalry and the rebirth of Arthur
Memorials and memory: the influence o f the Great War on later
101
Arthurian literature
Chapter Three ‘Here in the heart o f waste and wilderness’: Jessie L. Weston,
111
T.S. Eliot and the Holy Grail
iii
Jessie Weston and early Grail scholarship
113
T.S. Eliot’s The Waste Land and the influence o f From Ritual to Romance
122
‘Doth all that haunts the waste and wild mourn?’ the influence o f the
129
Idylls on The Waste Land
‘The very spring o f our culture’: the Grail in later interwar fiction
139
Conclusion
157
Chapter Four That ‘cleaves to cairn and cromlech still... ’: the Arthurian
160
story in Ireland, Scotland, Cornwall and Wales
An ambivalent hero: the Arthurian legend in Ireland and Scotland
164
The chough rises: the Cornish Arthurian renaissance
169
Revival and rebirth: the early twentieth-century Arthurian Legend in
180
Wales
An unstable hero: the later twentieth-century Arthur in Wales
190
Chapter Five ‘The dread Pendragon: Britain’s King of Kings’: towards an
201
Anglo-Celtic conception of the Arthurian story
‘The spell of pure romance’: scholarship and the Anglo-Celtic Arthur
204
Early Anglo-Celtic writing: Ernest Rhys and John Masefield
214
‘That landscape spoke “with a grimly voice’” : David Jones’s In
228
Parenthesis
Charles Williams’s Taliessin-cycle: restoring the Grail
236
Conclusion
250
Chaper Six
‘The faith that made us rulers’: T.H. White’s The Once and
254
Future King and the post-imperial Arthur
‘This is an anachronism [...] a beastly anachronism’: T.H. White’s The
255
Once and Future King and the Arthurian tradition
‘I never could stand these nationalists’: the politics o f White’s
268
Arthuriad
‘Merlin’s long gone under and there’s no magic any more’: the post-
283
war Arthur
Conclusion
‘ The old order changeth’: towards a new Arthurian legend
303
Notes
313
Bibliography
368
List of Illustrations
Figures 1-14 can be found between chapters 2 and 3; figures 15-28 can be found
between chapters 4 and 5.
Fig. 1 Dante Gabriel Rossetti, Arthur's Tomb - the last meeting o f Lancelot and Guinevere
(1854)
Fig. 2 Edward Burne-Jones, The Last Sleep o f Arthur in Avalon (1881 -98)
Fig. 3 Dante Gabriel Rossetti, Sir Galahad at the Ruined Chapel (1857)
Fig. 4 Elizabeth Siddall, The Quest o f the Holy Grail (1855-7)
Fig. 5 Edward Burne-Jones, Sir Galahad (1858)
Fig. 6 George Frederick Watts, Sir Galahad (1862)
Fig. 7 Arthur Hughes, Sir Galahad (1870)
Fig. 8 Joseph NOel Patton, Sir Galahad (1879)
Fig. 9 Joseph Nbel Patton, Sir Galahad and the Angel (1885)
Fig. 10 Edward Burne-Jones, Tennyson Memorial Window, St. Bartholomew’s Church,
Haslemere (1899)
Fig. 11 An example o f German Iron Warrior propaganda (1915)
Fig. 12 Arthur Rackham, How Mordred was Slain by Arthur, and How by Him Arthur was
Hurt to the Death (1917)
Fig. 13 Arthur Rackham, Sir Beaumains Espied upon Great Trees how there Hung Full
Goodly Armed Knights by the Neck (1917)
Fig. 14 Arthur Rackham, Sir Mordred Went and Laid a Mighty Siege About the Tower o f
London (1917)
Fig. 15 Photograph o f the exterior o f ‘The Hall of Chivalry’, Tintagel, Cornwall (2006)
Fig. 16 Photograph o f the ruins o f Tintagel Castle, Cornwall (2006)
V
Fig. 17 Photograph o f King Arthur’s Throne, ‘The Hall o f Chivalry’, Tintagel, Cornwall
(2006)
Fig. 18 Anonymous graving o f ‘King Arthur’s Round Table’, Caerleon (1861)
Fig. 19 ‘The Tennyson Window’, The Hanbury Arms, Caerleon (2007)
Fig. 20 Photograph o f the Hanbury Arms and the River Usk (c.1900)
Fig. 21 David Jones, Illustration to the Arthurian Legend: the Four Queens fin d Lancelot
Sleeping (1941)
Fig. 22 Frontispiece to Charles Williams’s Taliessin through Logres (1938)
Fig. 23 T.H. White, four illustrations to The Witch in the W ood( 1939)
Fig. 24 Advertisement for Camelot, dir. Joshua Logan (1967)
Fig. 25 Advertisement for The Knights o f the Round Table, dir. Richard Thorpe (1953)
Fig. 26 Vanessa Redgrave as Guinevere in Camelot, dir. Joshua Logan (1967)
Fig. 27 Julie Andrews as Guinevere and Richard Burton as Arthur in the stage production of
Lemer and Loewe’s Camelot (1962)
Fig. 28 Advertisement for Disney’s The Sword in the Stone, dir. Wolfgang Reitherman (1963)
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