Siegfried Sassoon, as already discussed, subverted the Galahad-ideal which
was central to so much wartime propaganda in his Memoirs o f George Sherston
(1928-37). John Masefield, already the author of one Arthurian poem, ‘The Ballad of
Sir Bors’ (1910), would turn to the Matter of Britain in a more martial mood in the
mid 1920s. His Midsummer Night and Other Tales in Verse (1927) is a startlingly
violent series of ballads which retell the story of Arthur from his birth to death, and
which are clearly influenced by Masefield’s experience of war as an ambulanceman at
the Front. Far from the simple ballad-form of Masefield’s poems lies the work of
David Jones. Yet his modernist masterpiece, In Parenthesis (1937), was another
attempt to articulate the author’s experience of war through the medium of the
Arthurian story. Like Masefield, Jones drew on a wide range of Celtic and English
versions of the Matter of Britain, but unlike Masefield, Jones did not so much retell
the narrative of Arthur as relay the experiences of a London-Welsh battalion via a
complex series of allusions and quotations from various Arthurian and other medieval
tales. Moreover, whereas the Great War propagandists, as well Binyon, Lawrence,
Sassoon and Owen, were all writing either within, or in reaction to, the Tennysonian
paradigm or the cult o f Galahad, Masefield and Jones attempted to reconfigure the
entire Arthurian story - to rewrite the Arthurian story anew and without any
Tennysonian influence. Such an effort took time: in Jones’s case it took nearly
nineteen years, while Masefield struggled throughout his career to rework the Matter
of Britain into a truly British epic. Masefield’s and Jones’s Arthuriads, however, are
discussed in chapter five, as they are infused with many elements which are not solely
concerned with the Great War - chief among these being the desire to create a new
British (that is Anglo-Celtic) identity, the collapse of economic liberalism in the late
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1920s as a result of the Great Slump (1929-33), and Britain’s diminution as a world
power.
As for the Tennysonian paradigm, it was already embattled at the conclusion
to the war. During the 1920s it was subject to a series of erosive forces, which largely
saw the Idylls as an antiquated expression of a bygone world of religious and social
values. Of course, Tennyson’s influence did not suddenly disappear - the Idylls
continued to have effect on Arthurian literature until the Second World War - but its
domination was steadily worn away, as new writers gained ascendancy over their
Victorian predecessor.
Yet the flourish of new versions of the Arthurian story that appeared in the
post-war years did not only challenge Tennyson’s dominance - they altered the very
make up of Arthurian literary production in England. No longer operating in a
paradigmatic state, since the 1920s the reproduction of the Arthurian legend has been
a far less dogmatic enterprise that it was in medieval or Victorian England. Instead,
what emerged in these years was a new form of Arthurian literary production - one
typified by trends, rather than paradigms, and with certain writers influencing, rather
than dominating, subsequent authors. These literary movements have usually been
diverse and contradictory and have failed to possess the synthetic qualities of
Tennyson’s Idylls, or Geoffrey’s or Malory’s Arthuriads. Indeed, as the Arthurian
story became subject to a greater number of extreme political and social forces than it
had known in the nineteenth century, no single post-war text was able to encompass
an entire world view, as Tennyson’s Idylls had done. In the twentieth century an
Arthurian paradigm would seem to be impossible.
The first major trend to emerge after the Great War was a rejuvenated interest
in the Holy Grail. It was an interest dynamised by the scholarship of Jessie L. Weston
and a literary movement epitomised by T.S. Eliot’s
The Waste Land, a text which
represented a bridge between the dogmatic, Tennysonian paradigm and the new,
emancipated Arthurian legend. Like the nineteenth-century cult of Galahad, the Grail
was largely separate from the Arthurian corpus and it could be dealt with briefly,
without writers having to refashion the entire narrative cycle. This made the Grail
story more responsive to contemporary changes in society. Moreover, both the
scholarship and literature concerned with the Grail steadily became less Anglocentric
- with Celtic myths, Buddhist texts and pre-Christian religions all occupying
important positions within the newly-reconfigured Grail story. Its authors, meanwhile,
while all working in England during the 1920s and 30s, were American, Irish and
Welsh, as well as English. This eclectic body of literature demonstrated the new ways
in which the Arthurian story (or at least a certain part of it) could respond to a very
different world from that of the nineteenth century. This modem Grail legend is the
subject of the next chapter.