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The Idylls o f the King as Arthurian paradigm
There were great public and critical expectations of the Idylls: Tennyson had been
made Poet Laureate in 1850 and reviewers eagerly anticipated his epic Arthuriad.82 Its
impact on Victorian culture was immense. The 1859 edition sold forty thousand
copies in its first few weeks and the poems were repeatedly published throughout the
o - i
century. Its authority over subsequent Arthurian literature was at least as great as
that of either Geoffrey’s Historia or Malory’s Morte Darthur.
This success with both readers and writers was prepared for by two earlier
important pieces o f medievalism: William Dyce’s Arthurian frescoes for the Robing
Room at the Palace o f Westminster (1851-64) and Matthew Arnold’s ‘Tristram and
Iseult’ (1852). Like many before him, Dyce, when given his commission to decorate
the royal chambers, expressed initial concern over the choice o f Malory’s Morte
Darthur as a suitably ethical subject.84 Yet his misgivings were evidently assuaged, as
in 1851 he began his series o f paintings: Religion (1851), Generosity (1852), Courtesy
(1852), Mercy (1854) and Hospitality (1864).* Notably, Dyce did not produce a series
of historical frescoes but a range of pageants which utilised the Arthurian legend as a
sequence o f moral exemplars. In painting the figures of the Arthurian legend in this
way, Dyce lent a striking political meaning to the myth. The figure of Arthur not only
represented a myth o f political continuity with the past but, by situating this
fountainhead o f virtue at the centre o f the Houses of Parliament, Dyce also implied
that within the institutions of Victorian politics resided the moral health of the country
* The full titles o f these works are: Religion: the vision o f Sir Galahad and his company, Generosity:
King Arthur unhorsed and spared by Sir Lancelot; Courtesy: Sir Tristram harping to la Belle Isolde’,
Mercy: Sir Gawaine swearing to be merciful and never be against ladies’, and Hospitality: the
admission o f Sir Tristram to the fellowship o f the Round Table. Dyce’s first fresco, Piety: the knights o f
the Round Table departing on the quest fo r the Holy Grail (1849) was rejected by the Fine Arts
Commission and resides in the National Gallery of Scotland, Edinburgh.
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- a compelling ideological strategy.* Although Tennyson’s treatment of the Arthurian
story was not as overtly political as Dyce’s, the latter’s highly moralised retelling of
the legend clearly prefigured Tennyson’s moralisation of the medieval story.
Matthew Arnold’s version of the Tristram story was the first to be produced
for centuries. The poem is divided into three parts. In the first, the dying Tristram is
nursed by his wife, Iseult o f Brittany, and recalls the events of his past with Iseult of
Ireland in a series of flashbacks (a narrative technique similar to Tennyson’s). The
second concerns Tristram’s final reunion with Iseult of Ireland and their death in each
other’s arms. The third part is entirely different from the traditional story with Iseult
of Brittany, now widowed, recounting the story of the disastrous love o f Merlin for
Vivian to her fatherless children, warning them of the terrible dangers of love. With its
anxieties over passionate love uncontrolled by the institution of marriage, this section
diverts the narrative emphasis away from the tragic affair o f Tristram and Iseult of
Ireland and places it upon the survivors of this tragedy - Tristram’s wife and the
destroyed family:
Yes it is lonely for her in her hall.
The children, and the grey-hair’d seneschal,
Her women, and Sir Tristram’s aged hound,
Are there the sole companions to be found.
But these she loves; and noisier life than this
o r
She would find ill to bear, weak as she is.
This is medievalism o f the most domesticated order, taking place amid embroidery,
petted dogs and nightly prayers; its chief dramatic dynamic being bourgeois
moralism, rather than the workings out of fate. The effect of the poem is not wholly
unlike Landon’s earlier ‘A Legend o f Tintagel Castle’. Arnold himself remained
* The Robing Room itself is symbolic of this political continuity of the past and present, owing to the
fact that the monarch’s chamber lies between the House o f Lords and the House o f Commons and,
therefore, at the very heart o f British politics.
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unsure as to its merits, claiming Tennyson possessed a greater ‘poetical sentiment’
than he.86 Indeed, while both poets bourgeoisified the Arthurian story, their respective
success lies in the differences in the scale of their poetic conceptions. While Arnold
reduced the medieval tale o f grand passions into domiciliary verses, Tennyson raised
the domestic into a national epic.
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Tennyson’s influence on later writers extended through narrative, style and genre. The
dominant form o f Arthurian literature throughout the remainder of the nineteenth
century was poetic - often in a style consciously or unconsciously imitative of
Tennyson - though there was some development towards Arthurian drama around the
turn of the century (see pp. 57-64 below). What prose literature there was chiefly
consisted o f retellings o f Malory, though these were almost always under the
influence of Tennyson’s moralistic and domesticated adaptation o f the legend. Many
writers showed their debt to Tennyson in their titles, among them: Edward Hamley,
‘Sir Tray: an Arthurian idyl’ [sic] (1873), Elinor Sweetman’s ‘Pastoral o f Galahad’
and ‘Pastoral o f Lancelot’ (1899) and G. Constant Lounsbery’s ‘An Iseult Idyll’
(1901).87 Even the parodies left the reader with no doubt as to their satiric intent -
lampoons of this time including William Edmondstoune Aytoun’s ‘La Mort d’Arthur:
not by Alfred Tennyson’ (1849), as well as The Coming K —: a set o f idyll lays (1873)
by Beeton, Dowty and Emerson, and Arthur, or, the hididdle-diddles o f the King, by
‘Our own Poet Laureate’ (1859).88
Tennyson’s influence was almost as strong on the pictorial arts. The Pre-
Raphaelite Brotherhood was partly founded on the basis of the Round Table and much
of their art was directly inspired by the 1842 lyrics.89 William Morris and Edward
Bume-Jones jointly proposed to establish an order of chivalry - the ritual for joining
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