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Dusk brought a rattling hail. His knees
Shook, and his bleeding face, ice-bit,
Fled screaming through the raw mad wind that split
His whole beer-coloured world to clod-like lumps.73
Brooks’s ‘Camelot’ opens with a description of war among the ‘[d]ank fogs and foul
mists’, where the lances of ‘a thousand knights and spearmen bold’, pierce ‘the grey
torment of the storm-swept skies’.74 And violence is prominent throughout the poem -
bursting into scenes unexpected. Mark, for instance, slays Iseult as they sit ‘at cards’
with Arthur and Guinevere, and when the latter queen tells Gawain of Arthur’s dire
need and confesses her love for Lancelot, the traditional scene of repentance is rudely
interrupted:
Hot Gawaine rose upon her blabbering.
‘Thou gilded sow, wouldst thou the Throne befoul
With this vile ordure?’ Towered his mace on high
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And smashed her skull like a poisoned fly.
And Arthur - a ‘doltish king’, who dreams ‘on his splendid sombre throne’ while his
kingdom is destroyed - meets his death, not on some funeral barge, for this poem is
far from a Victorian elegy, but in the midst of a regicidal mob, led by Mordred:
he towered aloft
Shouting his challenge though the great hall, until
Blow after fierce blow beat him to the ground ...
When the red flames were dimmed, rank mist swirled all around.76
Violence does not so much drive the narrative of ‘Camelot’ but, rather,
interrupts it at so points that it disfigures the traditional Malorian or Tennysonian
story. The poem is full of extravagant imagery - ‘crimson mauve flecked stream’, a
‘naked girl, alight / With lemon, limed with pink’ and ‘dim arcades and palaces built
sheer / Against the stars’ - much of which is oriental in flavour and clusters around
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Guinevere who is here a Middle-Eastern queen, an offering brought by ‘turban-
crowned’ horsemen to ‘spare the wasting of their land’ from Arthur’s hordes.77 Such
exotic additions, like the poem’s violence, greatly alter the usual story. Not since
Bulwer-Lytton’s King Arthur (1848) had the Arthurian story been subject to such a
chaos of allusion - oriental, English, mystical, Arabian. Yet these alterations were not
made in ignorance of the story. Rather these violent intrusions and disregard of the
traditions of a conservative epic were the result of the disquiet felt by many by 1917.
When Brooks wrote ‘Camelot’ in April 1917 British resistance to the war was
growing. Conscription was unpopular, vital supplies were becoming scarcer and the
war of attrition seemed endless. Trade Union membership had doubled from four
million to eight million during the war and work stoppages and strikes became
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frequent in 1917-18. Brooks depicted his Arthurian world in the process o f violent
implosion. The warring, imperial nature of Arthur’s kingship, evident in the first
twenty-three lines o f the poem, sowed the seed of the later collapse o f the kingdom.
Mordred and Mark’s revolt is clearly perceived as a revolt against the immorality of
the Arthurian reign. They ‘purge the realm’, speak out against ‘the Kingdom’s
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wrongs’ and rail at the ‘lust’ that has become the ‘Sole law’.
Written two months after the decisive uprisings in Russia and a month after
the forced abdication of Tsar Nicholas II, and with increased union militancy at home,
Arthur’s death at the hands of a mob (‘Blow after fierce blow beat him to the ground’)
was an act laden with revolutionary symbolism - or acute anxiety. The poem does not
condemn the regicides: the chanting of Arthur’s knights at Mass is termed ‘the myriad
moan of gnats’, and the simile of the aristocratic class as bloodthirsty parasites echoes
throughout the poem. Arthur himself, as Mark and Mordred lead their revolt to his
hall, is steeped in the decadence of his class, surrounded by ‘[wjhite slaves and tawny
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silken cats stretched prone / O’er gorgeous Persian stuffs [...] Along the ebon stairs,
gold traceries / Wrought delicately’.80 He is oblivious of the coming revolt and
remains impotent to prevent it when confronted. Hardly, then, is this Arthur the
‘Blameless King’ of Tennyson’s Idylls; and from this point on the Tennysonian image
would be increasingly under threat from the writers who emerged from the war.
Memorials and memory: the influence of the Great War on later Arthurian
literature
The First World War had a great influence on the Arthurian literary production that
succeeded it. Most immediately, there was the final flourish of the Victorian cult of
Galahad. Several memorials were erected in Britain which utilised the figure of
Galahad, in the same way he had been used throughout the war. Many were designed
by the firm of Morris and Company - though the pacifist William Morris and his chief
designer, Edward Burne-Jones, were both now dead. The influence of Watts’s ‘Sir
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Galahad’ can be seen in many of them. Five Galahad memorials are found in
churches throughout the United Kingdom, usually dedicated to a particular soldier,
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whose bereaved parents often commissioned the work. Six more are found in public
schools - bastions of the upper-middle class which had cultivated the cult of Galahad
and Muscular Chivalry before the war and had patronised it throughout the war
years. Yet in relation to the hundreds of memorials that were erected by schools,
town and civic councils and other establishments and individuals, the sum total of
eleven Galahad memorials is minute. Galahad, despite the barrage of propaganda
which was produced around him during the war, did not become a popular or populist
figure. Indeed, Galahad disappeared after the war and is almost entirely absent from
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