DOCSLIB.ORG

Arthurian Chronicles, Represented by Wace and Layamon

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Arthurian Chronicles, Represented by Wace and Layamon <^ ^^ Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/arthurianchronicOOwaceuoft EVERYMAN'S LIBRARY EDITED BY ERNEST RHYS ROMANCE ARTHURIAN CHRONICLES WITH AN INTRODUCTION BY LUCY ALLEN PATON ARTHURIAN CHRONICLES represented j§/ V^^CE/ AND LAlAMONc^ LONDON &,TOr6nTO PUBUSHED BYJ M DENT &SONS EP &.IN NEWYORK BY E P DUTTON &. CO First Issue of this Edition . 1912 Reprinted .... 1921 INTRODUCTION "... In the chronicle of wasted time I see descriptions of the fairest wights. And beauty making beautiful old rhyme. In praise of ladies dead and lovely knights." Shakespeare, Sonnet cvi. I.—Wage In the long line of Arthurian chroniclers Geoffrey of Mon- mouth deservedly occupies the first place. The most gifted and the most original of their number, by his skilful treatment of the Arthurian story in his Historia Regum Britanniae, he succeeded in uniting scattered legends attached to Arthur's name, and in definitely establishing their place in chronicle history in a form that persisted throughout the later British historical annals. His theme and his manner of presenting it were both peculiarly adapted to win the favour of his public, and his work attained a popularity that was almost unprece- dented in an age that knew no printed books. Not only was it accepted as an authority by British historians, but French chroniclers also used it for their own purposes. About the year 1 150, five years before the death of Geoffrey, an Anglo-Norman, Geoffrey Gaimar, wrote the first French metrical chronicle. It consisted of two parts, the Estorie des Bretons and the Estorie des Angles, of which only the latter is extant, but the former is known to have been a rhymed translation of the Historia of Geoffrey of Monmouth. Gaimar 's work might possibly have had a longer life if it had not been cast into the shade by another chronicle in verse, the Roman de Brut, by a Norgj^n poet, Wace, which fills an important and interesting place among our Arthurian sources, not merely because of the author's qualities as a poet and his treatment of the Arthurian story, but also because of the type of com- position that he produced. For the metri£al]_^rpnicle occupies an intermediate position between the prose chronicle, one of the favourite forms of mediaeval monastic production vii viii Arthurian Chronicles throughout Europe, and the metrical.rornance, which budded and blossomed most richly in France, where, during the last half of the twelfth century, it received its greatest impulse from Crestien de Troies, the most distinguished of the trouveres. The metrical romances were written for court circles, and were used as a vehicle for recounting adventures of love and chivalry, and for setting forth the code of behaviour which governed the courtly life of France at that period. Wace's poem, though based upon chronicle history, is addressed to a public whose taste was turning toward chivalric narrative, and it foreshadows those qualities that characterised the verse romances, for which no more fitting themes could be found than those supplied by the stories of Arthurian heroes, " whose prowess teaches us that we should be valiant and courteous." Wace saw the greater part of the twelfth century. We cannot be certain of the exact year of his birth or of his death, but we know that he lived approximately from iioo to 1175. Practically all our information about his life is what he himself tells us in his Roman de Rou :— " If anybody asks who said this, who put this history into the Romance language, I say and I will say to him that I am Wace of the isle of Jersey, which lies in the sea, toward the west, and is a part of the fief of Normandy. In the isle of Jersey I was bom, and to Caen I was taken as a little lad; there I was put at the study of letters; afterward I studied long in France.^ When I came back from France, I dwelt long at Caen. I busied myself with making books in Romance ; many of them I wTote and many of them I made." • Before 11 35 he was a clerc lisant (reading clerk), and at length, he says, his writings won for him from Henry II. preferment to the position of canon at Bayeux. He was more author, however, than prebendary, and he gave his first effort and interest to his writings. He composed a number of saints' lives, which are still extant, but his two most important works were his historical poems, the Roman de Brut and the Roman de Rou {i.e., Rollo), a chronicle history of the Dukes of Nor- mandy. This latter was Wace's last production, and beside having a literary and historic importance, it has a rather pathetic interest. He had begun it in 1160, in obedience to a command of Henry II., but for some unknown reason Henry later transferred the honour to another poet. Wace laid aside his pen, left his work incomplete, and probably soon after died. » i.e. Paris, in the He de France. » Vs. 10440 g. Introduction ix " Since the king has asked him to do this work, I must leave it and I must sav no more. Of old the king did me many a favour; much he gave me, more he promised me, and if he had given all that he promised me, . it had been better for me. Here ends the book of Master Wace ; let him * continue it who will." Some twenty years earlier, in 1155, Wace had completed the Roman de Brut. He himself called it the Geste des Bretons (" History of the Britons "), but it is best known under the title that appears in the manuscripts, the Roman de Brut, given to it by scribes because of its connection with BrutusJ the founder of the British race. The Brut is a reproduction! in verse of Geoffrey's Historia. To call it a translation ij almost to give it a misnomer, for although Wace follows exactly the order and substance of the Historia, he was more than a mere translator, and was too much of a poet not to impress his own individuality upon his work. He makes some few additions to Geoffrey's Arthurian history, but his real contribution to the legend is the newjjujit that he put into it. In the first place his vehicle is the swift-moving French octo- syllabic couplet, which alone gives an entirely different tone to the narrative from that of Geoffrey's high-sounding Latin prose. Wace, moreover, was Norman born and Norman bred, and he inherited the possessions of his race—a love of fact, the power of clear thought, the appreciation of simpUcity, the command of elegance in form. Such a spirit indeed was his as in a finer type had already expressed itself in Caen in the two noble abbeys, under whose shadow he passed the greater part of his life, the dignified and sternly simple Abbaye-aux- Hommes of William the Conqueror and the graceful, richly ornamented Abbaye-aux-Dames of Queen Matilda. Sincerity and truth Wace ever aims at, but he embellishes his narrative with countless imaginative details. As a narrator he has the tendency to garrulity, which few mediaeval poets altogether escaped, but he is by no means without conversational charm, in brief sentences in colloquial [ and abounding turns, he leads us easily on with seldom flagging interest even through those pages where he is most inclined to be prolix. He is a system- atic person with accurate mental habits, and is keenly alive to the limitations of his own knowledge. He doubtless often had to bid his common sense console him with the reflections with which he begins his Life of St. Nicholas :— " Nobody can know everything, or hear everything, or see everything . , , I X Arthurian Chronicles God distributes different gifts to different people. Each man should show his worth in that which God has given him." He is extremely careful to give his authorities for his state- ments, and has all the shyness of an antiquarian toward facts for which he has not full proof. Through Breton tales, for example, he heard of the fairy fountain of Barenton in the forest of Broceliande, where fays and many another marvel were to be seen, and he determined to visit it in order to find out how true these stories were. " I went there to look for marvels. I saw the forest and I saw the land; I sought marvels, but I found none. A fool I came back, a fool I went; a fool I went, a fool I came back ; foolishness I sought, a fool I hold myself." ^ The wonders related of Arthur, he tells us, have been recounted so often that they have become fables. "Not all lies, nor all true, all foolishness, nor all sense; so much have the storytellers told, and so much have the makers of fables fabled to embellish their stories that they have made all seem fable." ^ He omits the prophecies of Merlin from his narrative, because he does not understand them. " I am not willing to translate his book, because I do not know how to interpret it. I would say nothing that was not exactly as I said." 3 To this scrupulous regard for the truth, absolutely foreign to the ingenious Geoffrey, Wace adds an unusual power of visualising. He sees clearly everything that he describes, and decorates his narrative with almost such minute details of any scene as a seventeenth-century Dutch painter loved to put upon his canvas.
Load more

Recommended publications
  • Queen Guinevere
    Ingvarsdóttir 1 Hugvísindasvið Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir June 2011 Ingvarsdóttir 2 Háskóli Íslands Hugvísindasvið Enskudeild Queen Guinevere: A queen through time B.A. Thesis Marie Helga Ingvarsdóttir Kt.: 060389-3309 Supervisor: Ingibjörg Ágústsdóttir June 2011 Ingvarsdóttir 3 Abstract This essay is an attempt to recollect and analyze the character of Queen Guinevere in Arthurian literature and movies through time. The sources involved here are Welsh and other Celtic tradition, Latin texts, French romances and other works from the twelfth and thirteenth centuries, Malory’s and Tennyson’s representation of the Queen, and finally Guinevere in the twentieth century in Bradley’s and Miles’s novels as well as in movies. The main sources in the first three chapters are of European origins; however, there is a focus on French and British works. There is a lack of study of German sources, which could bring different insights into the character of Guinevere. The purpose of this essay is to analyze the evolution of Queen Guinevere and to point out that through the works of Malory and Tennyson, she has been misrepresented and there is more to her than her adulterous relation with Lancelot. This essay is exclusively focused on Queen Guinevere and her analysis involves other characters like Arthur, Lancelot, Merlin, Enide, and more. First the Queen is only represented as Arthur’s unfaithful wife, and her abduction is narrated. We have here the basis of her character. Chrétien de Troyes develops this basic character into a woman of important values about love and chivalry.
    [Show full text]
  • THE KINGS and QUEENS of BRITAIN, PART I (From Geoffrey of Monmouth’S Historia Regum Britanniae, Tr
    THE KINGS AND QUEENS OF BRITAIN, PART I (from Geoffrey of Monmouth’s Historia Regum Britanniae, tr. Lewis Thorpe) See also Bill Cooper’s extended version (incorporating details given by Nennius’s history and old Welsh texts, and adding hypothesised dates for each monarch, as explained here). See also the various parallel versions of the Arthurian section. Aeneas │ Ascanius │ Silvius = Lavinia’s niece │ Corineus (in Cornwall) Brutus = Ignoge, dtr of Pandrasus │ ┌─────────────┴─┬───────────────┐ Gwendolen = Locrinus Kamber (in Wales) Albanactus (in Scotland) │ └Habren, by Estrildis Maddan ┌──┴──┐ Mempricius Malin │ Ebraucus │ 30 dtrs and 20 sons incl. Brutus Greenshield └Leil └Rud Hud Hudibras └Bladud │ Leir ┌────────────────┴┬──────────────┐ Goneril Regan Cordelia = Maglaurus of Albany = Henwinus of Cornwall = Aganippus of the Franks │ │ Marganus Cunedagius │ Rivallo ┌──┴──┐ Gurgustius (anon) │ │ Sisillius Jago │ Kimarcus │ Gorboduc = Judon ┌──┴──┐ Ferrex Porrex Cloten of Cornwall┐ Dunvallo Molmutius = Tonuuenna ┌──┴──┐ Belinus Brennius = dtr of Elsingius of Norway Gurguit Barbtruc┘ = dtr of Segnius of the Allobroges └Guithelin = Marcia Sisillius┘ ┌┴────┐ Kinarius Danius = Tanguesteaia Morvidus┘ ┌──────┬────┴─┬──────┬──────┐ Gorbonianus Archgallo Elidurus Ingenius Peredurus │ ┌──┴──┐ │ │ │ (anon) Marganus Enniaunus │ Idvallo Runo Gerennus Catellus┘ Millus┘ Porrex┘ Cherin┘ ┌─────┴─┬───────┐ Fulgenius Edadus Andragius Eliud┘ Cledaucus┘ Clotenus┘ Gurgintius┘ Merianus┘ Bledudo┘ Cap┘ Oenus┘ Sisillius┘ ┌──┴──┐ Bledgabred Archmail └Redon └Redechius
    [Show full text]
  • A Welsh Classical Dictionary
    A WELSH CLASSICAL DICTIONARY DACHUN, saint of Bodmin. See s.n. Credan. He has been wrongly identified with an Irish saint Dagan in LBS II.281, 285. G.H.Doble seems to have been misled in the same way (The Saints of Cornwall, IV. 156). DAGAN or DANOG, abbot of Llancarfan. He appears as Danoc in one of the ‘Llancarfan Charters’ appended to the Life of St.Cadog (§62 in VSB p.130). Here he is a clerical witness with Sulien (presumably abbot) and king Morgan [ab Athrwys]. He appears as abbot of Llancarfan in five charters in the Book of Llandaf, where he is called Danoc abbas Carbani Uallis (BLD 179c), and Dagan(us) abbas Carbani Uallis (BLD 158, 175, 186b, 195). In these five charters he is contemporary with bishop Berthwyn and Ithel ap Morgan, king of Glywysing. He succeeded Sulien as abbot and was succeeded by Paul. See Trans.Cym., 1948 pp.291-2, (but ignore the dates), and compare Wendy Davies, LlCh p.55 where Danog and Dagan are distinguished. Wendy Davies dates the BLD charters c.A.D.722 to 740 (ibid., pp.102 - 114). DALLDAF ail CUNIN COF. (Legendary). He is included in the tale of ‘Culhwch and Olwen’ as one of the warriors of Arthur's Court: Dalldaf eil Kimin Cof (WM 460, RM 106). In a triad (TYP no.73) he is called Dalldaf eil Cunyn Cof, one of the ‘Three Peers’ of Arthur's Court. In another triad (TYP no.41) we are told that Fferlas (Grey Fetlock), the horse of Dalldaf eil Cunin Cof, was one of the ‘Three Lovers' Horses’ (or perhaps ‘Beloved Horses’).
    [Show full text]
  • 1 the Æğelen of Engle
    1 The Æðelen of Engle: Constructing Ethnic and Regional Identities in Laõamon’s Brut At the beginning of Laõamon’s Brut, the author makes a striking point of identifying himself by telling us his name and that of his father Leovenath. This strong statement of identity—an oddity for a vernacular writer of the late twelfth or early thirteenth century—sets up ethnic and national tensions that permeate the rest of the poem.1 To some readers, Laõamon’s Scandinavian name and his father’s Anglo-Saxon one may have suggested that the author was of mixed ancestry.2 Whether or not this was the case, the names serve as a reminder of the multiple origins of Laõamon’s countrymen, foreshadowing the ethnic ambiguities that problematise his attempt to 1 See Lesley Johnson and Jocelyn Wogan-Browne, “National, World and Women’s History: Writers and Readers in Post-Conquest England,” in The Cambridge History of Medieval English Literature, ed. David Wallace (Cambridge: Cambridge University Press, 1999), pp. 92-121 at p. 96. For the dating of the Brut, see Françoise Le Saux, Laõamon’s Brut: The Poem and its Sources (Cambridge: D.S. Brewer, 1989), p. 10. 2 The word lagamaðr or lögmaðr originally applied to a judicial office in Scandinavia or regions settled by Scandinavians but passed from a title to a personal name as early as the eleventh century; however, it may still have been a marker of Scandinavian heritage one or two hundred years later. See J.S.P. Tatlock, The Legendary History of Britain: Geoffrey of Monmouth’s Historia Regum Britanniæ and Its Early Vernacular Versions (Berkeley and Los Angeles: University of California Press, 1950), p.
    [Show full text]
  • Geoffrey of Monmouth's De Gestis Britonum and Twelfth-Century
    Chapter 8 Geoffrey of Monmouth’s De gestis Britonum and Twelfth-Century Romance Françoise Le Saux Geoffrey of Monmouth’s De gestis Britonum had a long and influential after- life. The work was exploited to endow Anglo-Norman Britain with a founda- tion myth on which to build a common (though not unproblematic) political identity, giving rise to a new historiographical tradition in Latin, French, and English. At the same time, the great deeds of past British kings form a treasure house of narratives, with the figure of King Arthur at the heart of a new literary phenomenon, the Arthurian romance. The entertainment potential of the DGB is flagged up by Geoffrey of Monmouth himself in his prologue, where he sketches a context of oral tradi- tion and popular story-telling “about Arthur and the many others who suc- ceeded after the Incarnation” related “by many people as if they had been entertainingly and memorably written down”.1 The exact nature of this pre-existing narrative tradition is not specified, though the archivolt of the Porta della Peschiera of Modena Cathedral, depicting a scene where Arthur and his knights appear to be attacking a castle to free the captive Winlogee (Guinevere?), is proof of the popularity of tales of Arthur in western Europe by 1120–40.2 The huge success of the DGB therefore reinforced and reshaped an already existing tradition, and as such was instrumental in the flowering of the courtly Arthurian romances of the latter 12th century. Geoffrey of Monmouth made King Arthur enter the Latinate cultural mainstream.
    [Show full text]
  • Reading Across Languages in Medieval Britain by Jamie Ann Deangelis a Dissertation Submitted in Partial Satisfaction of the Requ
    Reading Across Languages in Medieval Britain By Jamie Ann DeAngelis A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Jennifer Miller, Chair Professor Joseph Duggan Professor Maura Nolan Professor Annalee Rejhon Spring 2012 Reading Across Languages in Medieval Britain © 2012 by Jamie Ann DeAngelis Abstract Reading Across Languages in Medieval Britain by Jamie Ann DeAngelis Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Jennifer Miller, Chair Reading Across Languages in Medieval Britain presents historical, textual, and codicological evidence to situate thirteenth- and fourteenth-century vernacular-to- vernacular translations in a reading milieu characterized by code-switching and “reading across languages.” This study presents the need for—and develops and uses—a new methodological approach that reconsiders the function of translation in this multilingual, multi-directional reading context. A large corpus of late thirteenth- through early fourteenth-century vernacular literature in Britain, in both English and Welsh, was derived from French language originals from previous centuries. These texts include mainly romances and chansons de geste, and evidence suggests that they were produced at the same time, and for the same audience, as later redactions of the texts in the original language. This evidence gives rise to the main question that drives this dissertation: what was the function of translation in a reading milieu in which translations and originals shared the same audience? Because a large number of the earliest or sole surviving translations into English from French language originals appear in Edinburgh, National Library of Scotland, Advocates’ MS 19.2.1 (the Auchinleck Manuscript), my study focuses on the translations preserved in this manuscript.
    [Show full text]
  • The Royal Library As a Source for Sir Robert Cotton's Collection: a Preliminary List of Acquisitions
    THE ROYAL LIBRARY AS A SOURCE FOR SIR ROBERT COTTON'S COLLECTION: A PRELIMINARY LIST OF ACQUISITIONS JAMES P. CARLEY PUBLIC Record Office, Augmentation Office, Misc. Books i6o (E. 315/160), ff. iO7v-i2or, contains an alphabetical list of 910 books, printed and manuscript, found in the Upper Library at Westminster Palace in 1542.^ At approximately the same time the inventory was compiled, so it would appear, a number was entered into each book: this number corresponded to the place where the book occurred in the alphabetical sequences established by the list. Slightly afterwards, probably around 1550, more books came to Whitehall - presumably from Hampton Court and Greenwich - and these too were put into alphabetical order and an inventory number inserted.^ Somewhat later the printed and manuscript books were separated.^ The form of the inventory number inserted in each book is characteristic: it is always found on an upper recto corner of an early folio, and always takes the form 'No '. Most of the manuscripts found in the Upper Library at Westminster Palace, and it is manuscripts alone that I shall be discussing in this paper, were rescued from monastic houses at the time of the Dissolution^ and many have remained in the royal collection ever since. Not every title in the inventory, however, can be matched with a surviving royal book: indeed, approximately half disappeared at some point after 1542. The first major disruption, it would seem, must have occurred shortly after Henry VIII's death in 1547, in the period when Traheron, a radical evangehst, was librarian and when Edward VI's injunctions concerning the destruction of popish books were promulgated.'' Throughout Elizabeth's reign, too, books trickled out.
    [Show full text]
  • Why All the Fuss About Geoffrey of Monmouth?
    Why All The Fuss About Geoffrey? Geoffrey of Monmouth is the Welsh historian who wrote the “Historia Regum Britannie” (History of the Kings of Britain), completed in 1136. It was based on an ancient source which he did not name, at least not to the satisfaction of later historians. His work was popular in his time, but his failure to clearly name his source left him open to attack from historians who have unjustifiably thrown the entire history of the Britons, from Brutus to Cadwaller into the rubbish bin. However, the attack has not been based on any genuine pursuit of scholarship, but has been motivated by political and sectarian predjudice. Note: In this discussion, the term “British” means “Welsh”. The Britons were driven into Wales during the Saxon invasion. What Was Geoffrey’s Source? Geoffrey begins his book by expressing his concern about the lack of knowledge about the kings of Britain, before the Christian era, and he describes his acquisition of a “very ancient book” as follows: At a time when I was giving a good deal of attention to such matters, Walter, Archdeacon of Oxford, a man skilled in the art of public speaking and well informed about the history of foreign countries, presented me with a certain very ancient book written in the British language. This book, attractively composed to form a consecutive and orderly narrative, set out all the deeds of these men, from Brutus, the first King of the Britons, down to Cadwallader, the son of Cadwallo. At Walter’s request I have taken the trouble to translate the book into Latin, although, indeed, I have been content with my own expressions and my own homely style and I have gathered no gaudy flowers of speech in other men’s gardens.
    [Show full text]
  • The Project Gutenberg Ebook of Y Gododin, by Aneurin Copyright
    The Project Gutenberg EBook of Y Gododin, by Aneurin Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Y Gododin Author: Aneurin Release Date: February, 2006 [EBook #9842] [This file was first posted on October 23, 2003] Edition: 10 Language: English Character set encoding: US-ASCII *** START OF THE PROJECT GUTENBERG EBOOK, Y GODODIN *** Transcribed by David Price, email [email protected] Y GODODIN PREFACE Aneurin, the author of this poem, was the son of Caw, lord of Cwm Cawlwyd, or Cowllwg, a region in the North, which, as we learn from a Life of Gildas in the monastery of Fleury published by Johannes a Bosco, comprehended Arecluta or Strath Clyde. {0a} Several of his brothers seem to have emigrated from Prydyn in company with their father before the battle of Cattraeth, and, under the royal protection of Maelgwn Gwynedd, to have settled in Wales, where they professed religious lives, and became founders of churches.
    [Show full text]
  • Geoffrey of Monmouth's De Gestis Britonum and Twelfth-Century
    Chapter 8 Geoffrey of Monmouth’s De gestis Britonum and Twelfth-Century Romance Françoise Le Saux Geoffrey of Monmouth’s De gestis Britonum had a long and influential after- life. The work was exploited to endow Anglo-Norman Britain with a founda- tion myth on which to build a common (though not unproblematic) political identity, giving rise to a new historiographical tradition in Latin, French, and English. At the same time, the great deeds of past British kings form a treasure house of narratives, with the figure of King Arthur at the heart of a new literary phenomenon, the Arthurian romance. The entertainment potential of the DGB is flagged up by Geoffrey of Monmouth himself in his prologue, where he sketches a context of oral tradi- tion and popular story-telling “about Arthur and the many others who suc- ceeded after the Incarnation” related “by many people as if they had been entertainingly and memorably written down”.1 The exact nature of this pre-existing narrative tradition is not specified, though the archivolt of the Porta della Peschiera of Modena Cathedral, depicting a scene where Arthur and his knights appear to be attacking a castle to free the captive Winlogee (Guinevere?), is proof of the popularity of tales of Arthur in western Europe by 1120–40.2 The huge success of the DGB therefore reinforced and reshaped an already existing tradition, and as such was instrumental in the flowering of the courtly Arthurian romances of the latter 12th century. Geoffrey of Monmouth made King Arthur enter the Latinate cultural mainstream.
    [Show full text]
  • Perception of Women of the Arthurian Legend in the Middle Ages and In
    Masaryk University in Brno Faculty of Arts Department of English and American Studies English Language and Literature Marie Štefanidesová Perception of Women of the Arthurian Legend in the Middle Ages and in the Twentieth Century B.A.MajorThesis Supervisor: doc.Mgr.,MiladaFranková,CSc.M.A. 2007 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement Iwouldlike tothankmysupervisor,doc.Mgr.MiladaFranková,CSc.,M.A.,forherkind help,patienceandthe timeshededicatedtomywork. 3 Table Of Contents 1.INTRODUCTION......................................................................................................5 2.THEORIGINSAND HISTORY OFARTHURIANLITERATURE.........................7 2.1BeforeMalory-- FromCelticLegendstoFrenchRomances............................7 2.2Malory,HisTimeandtheConditionsof Women.............................................12 2.3Malory'sImpactonArturianLiterature............................................................16 3.ADIFFERENTSETTING -- THETWENTIETHCENTURY;DEVELOPMENTOF THEARTHURIAN LEGENDDEMONSTRATED ON WHITE ANDBRADLEY..19 3.1SocialBackground-GodversusGoddes.........................................................19 3.2White -- A NewApproachToTradition............................................................21 3.3Bradley -- NeoPaganismandFemaleSpirituality.............................................25 4.DEVELOPMENTOFFEMALE CHARACTERS.......................................................29
    [Show full text]
  • Introduction 1
    NOTES Introduction 1 . Siân Echard, Arthurian Narrative in the Latin Tradition , Cambridge Studies in Medieval Literature 36 (Cambridge: Cambridge University Press, 1998 ), p. 14; Helen Cooper, The English Romance in Time: Transforming Motifs from Geoffrey of Monmouth to the Death of Shakespeare (Oxford: Oxford University Press, 2004 ), pp. 26–27; Anne F. Sutton and Livia Visser-Fuchs, “The Dark Dragon of the Normans: A Creation of Geoffrey of Monmouth, Stephen of Rouen, and Merlin Silvester,” Quondam et Futurus: A Journal of Arthurian Interpretations 2.2 ( 1992 ): 2 [1–19]. 2 . Julia Briggs discusses the Vortiger and Uther Pendragon plays per- formed by Philip Henslowe’s company as well as William Rowley’s The Birth of Merlin and Thomas Middleton’s Hengist , “New Times and Old Stories: Middleton’s Hengist ,” Literary Appropriations of the Anglo-Saxons from the Thirteenth to the Twentieth Century , ed. Donald Scragg and Carole Weinberg, Cambridge Studies in Anglo-Saxon England 29 (Cambridge: Cambridge University Press, 2000 ), pp. 108–9 [107–21]. 3 . For evidence supporting a late 1138 date for Geoffrey’s HRB , see Wright, introduction to HRB Bern , p. xvi [ix-lix] and John Gillingham, “The Context and Purposes of Geoffrey of Monmouth’s History of the Kings of Britain ,” Anglo-Norman Studies 13 (1991 ): 100 n5 [99–118]. 4 . Clarke, introduction to VM , p. vii [vii-50]; Echard, Arthurian Narrative , p. 218. 5 . Lee Patterson, Negotiating the Past: The Historical Understanding of Medieval Literature (Madison, WI: The University of Wisconsin Press, 1987 ), pp. 160, 201, 170, and 187; Virgil, Aeneid in Eclogues, Georgics, Aeneid I-VI , trans.
    [Show full text]