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THE REINVENTION of the ROUND TABLE Literary Adaptations Throughout the Arthurian Legends

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THE REINVENTION of the ROUND TABLE Literary Adaptations Throughout the Arthurian Legends Quoc-Trong Huynh THE REINVENTION OF THE ROUND TABLE Literary Adaptations Throughout the Arthurian Legends Faculty of Information Technology and Communication Sciences Master’s Thesis ctober "#"# ABSTRACT Quoc-Trong Huynh$ The %ein&ention of the %ound Ta!le Master’s Thesis Tampere 'niversity Master’s (rogramme in )nglish Language and Literature cto!er "#"# The aim of this thesis is to find out ho* literary adaptations have shaped and developed the Arthurian narra- tive from its earliest forms into *hat it is today+ The Arthurian narrative as *e kno* it today is actually a patch*ork of multiple- individual literary *orks and is a nota!le example of medie&al literature+ In a prototypi- cal Arthurian narrative- Arthur manages to pull out the S*ord in the Stone and is cro*ned king- esta!lishes his kingdom and the /nights of the %ound Ta!le and encounters ad&ersity *ith them at his side and finally falls in !attle in Camlann+ Ho*e&er- these familiar plot elements are originally separate narratives, !ut *ere !ased on the same narrative conventions. The current elements of /ing Arthur and the Arthurian narrative *as formed through these individual adaptations !y a myriad of authors. The Arthurian genre *as e&entually de&eloped through the efforts of these individual authors. There *as no authorati&e !ody that could have o*ned in the earliest stages of the Arthurian literary scene that could ha&e claimed o*nership of it- nor regulate *hat the contents of an Arthurian text should !e+ Instead- the authors e&entually esta!lished the Arthurian genre con&entions through adaptations that reprised the same popular narrative elements of earlier *orks and omitted elements that *ere not appealing enough+ This entire phenomenon is an example of intertextuality, or the communication !et*een literary *orks. Certain narratives are adapted further !y different authors, *ho extends the original narrati&e further *ith their o*n versions+ ver time these narrati&es may achie&e great popularity and eventually the reoccurring plot ele- ments of these adaptations !egin to !ecome esta!lished as central elements of an Arthurian narrative+ There are three main methods of adaptation0 expansion- reprisal and reinvention+ Expansion introduces ne* narra- tive elements that *ere a!sent from earlier narratives, such as through the creation of ne* characters and storylines+ Reprisal is mainly the repetition of an earlier narrative *ithout any su!stantial changes or addi- tions, !ut performs the important functions of reinforcing certain narrati&es and their contents+ Reinterpreta- tion approaches earlier narrati&es from a different vie*point- *hich generally alters the content of the texts in a su!stantial manner- for e.ample T.H+ 1hite’s 2345 adaptation has a more pacifistic approach than earlier *orks. Ho*e&er- I *ish to highlight the fact that there more than one form of adaptation present in a literary adaptation+ A literary adaptation’s main form of adaptation is then determined !y a given te.t’s ultimate goal and purpose+ The conclusions of this thesis sho* that the modern Arthurian legends are indeed the result of multiple authors’ handi*or,+ 6eoffrey of Monmouth 722##82249: had esta!lished the Anglophonic Arthurian literary tradition c+ 22;< !y attri!uting the name =Arthur> to the unnamed %omano-?riton victor of the ?attle of ?adon in his Historia Regum Britanniae+ 6eoffrey had expanded upon an earlier author’s *or,- @ennius’ Histora Brittonum- *here the victorious *ar leader *as originally unnamed+ 6eoffrey’s *or, inspired numerous con- temporary authors to produce additional chivalric narratives, such as ChrAtien de Troyes 722;#82232:- fur- ther expanded Arthur’s court and introduced key characters such as Lancelot- *ho is a!sent from 6eoffrey’s *or,+ The Arthurian legends of today is largely !ased on Sir Thomas Malory’s 729#4829B2: adaptation from the Late Middle Ages. Malory had collected many of the popular !ut scattered Arthurian narratives into a more coherent compilation- the Le Morte d’Arthur 72954:+ Ho*ever- Malory did not invent anything su!stan- tially ne* into the narrative and mainly reprised the contents of the earlier narratives. Modern adaptations of Malory’s *or, are for e.ample- Mar, Twain’s A Connecticut Yankee in ing Arthur’s Court 72553:- T+H+ 1hite’s !he "nce and Future ing 72345: and Marion Zimmer ?radley’s !he Mists o$ Avalon 7235;:+ Twain’s adaptation is a more satirical adaptation of Malory’s *or,- *hereas 1hite’s adaptation is more pacifistic in comparison to the original *or,+ Zimmer ?radley’s adaptation approaches the Arthurian legends from a more feminist point of vie*- *hich aimed to provide a voice for the female characters of the Arthurian legends, *ho *ere thus far more shallo* and largely su!ordinated compared to the male characters. Adaptation and the innovations that it provides to earlier *orks continues till this day+ In addition to literature- the Arthurian leg- ends have e&en !een adapted into movies and videogames. /eywords: Arthurian literature- genre- adaptation- intertextuality The originality of this thesis has !een checked using the Turnitin riginalityCheck service+ TIIVISTELMÄ Quoc-Trong Huynh$ The %ein&ention of the %ound Ta!le (ro gradu -tutkielma Tampereen yliopisto )nglannin kielen Da kirDallisuuden maisteriohDelma Lokakuu "#"# Tässä tutkielmassa pyritEEn selvittEmEEn miten erinEiset sovitukset o&at muokanneet Da kehittEneet arturiaanista tarua &arhaisemmista &ersioista nykyiseen muotoonsa+ @ykyaikainen arturiaaninen kertomus on itse asiassa useamman eri kirDailiDoiden teoksien kooste+ /uningas Arthurin Da hEnen (yFreEn pFydEn ritareidensa taru on huomionarvoinen esimerkki keskiai,aisesta tarukirDallisuudesta+ Tyypillisessä arturiaanisessa ,ertomuksessa Arthur &etEE kuuluisan miekan ki&estE Da kruunataan ,unin,aaksi- myöhemmin hEn Doutuu ritareidensa kanssa erinEisiin seikkailuihin Da lopulta saa surmansa Camlannin taistelussa+ @EmE tutut kertomukset o&at kuitenkin alun perin erillisiE taruDa- mutta perustui&at samaan tarumaailmaan+ /uningas Arthurin Da arturiaanisen kirDallisuuden nykyiset piirteet syntyi&Et lukuisien eri kirDailiDoiden adaptaatioden eli sovituksien työn tuloksena+ Arturiaaninen genre eli kirDallisuuden laDi kehittyi itsenEisten kirDailiDoiden sovituksien myötE+ Garhaisessa arturiaanisessa kirDallisuudessa ei ollut min,EEnlaista virallista auktoriteettiE- Doka olisi &oinut omistaa Da sEEdellE mi,E on oikein tai &EErin teoksien sisällFissE- tai mEErittEE mitE laDityyppiin kuuluu+ Sen siDaan kirDailiDat perusti&at &Ehitellen arturiaanisen laDityypin Dat,osovittamalla Da levittEmEllE suosittuDa kertomuksia Da DuonenpiirteitE+ Myös epEsuositut piirteet karsiutuvat &Ehitellen tEmEn kautta+ TEmE ko,o ilmiF on esimerkki intertekstuaalisuudesta- eli tekstien 7Da kirDailiDoiden: &Elisiin vuorovaikutuksiin+ Suositut kertomuksen saa&at Datkoa erinEisten tekiDFiden toimesta- Dotka sovitta&at lEhdekertomuksista omia Datko- osiaan+ ADan myötE nEmE saattavat levitE suureen suosioon Da tiettyjen Duonenpiirteiden Dat,uva toistaminen &Ehitellen vakiinnuttaa ne keskeiseksi osaksi arturiaanista ,ertomusta+ Sovituksen muotoDa on ilmennyt kolme$ laa%ennus- toisto Da uudelleentulkinta+ Laa%ennuksessa kehitetEEn uutta sisältFE- Dota ei ollut aikaisemmissa teoksissa- kuten uusia hahmoDa tai Duonia+ !oistossa taas aikaisempaa teosta toistetaan uudelleen miltei ,okonaisuudessaan- ei,E sovituksessa kehitetE mitEEn merkittE&En uutta- mutta toteuttaa tErkeEn tehtE&En aikaisemman teoksen sisällFn &akiinnuttamisen laDityypin kannalta+ &udelleentulkinnassa taas lEhestytEEn ai,aisempia teoksia uudesta nE,Fkulmasta- Do,a usein muuttaa teoksen sisEltFE suuresti kuten esimerkiksi T.H+ 1hiten 2345 sovitus on pasifistisempi sisällFltEEn ,uin al,uperEiset teokset+ Muistuttanen kuitenkin- ettE sovituksissa ilmenee enemmEn ,uin yksi nEistE ,olmesta menetelmistE- mutta teoksien lopulliset pEEmEErEt mEErittE&Et niiden pEEasiallisen sovituksen muodon+ Tutkielman loppupEEtelmissä ,Ey ilmi- ettE nykyaikainen arturiaaninen taru todellakin on useamman eri kirDailiDan työn tulosta+ 6eoffrey MonmouthilEinen 722##82249: perusti englanninkielisen arturiaanisen perinteen noin &uonna 22;< nimeEmEllE ?adonicuksen taistelun &oittaneen DohtaDan Arthuriksi Historia Regum Britanniae -teoksessaan+ 6eoffreyn teos laa%ensi aikaisemman kirDoittaDan- @enniuksen- Histora Brittonum -teosta- Dossa kyseinen roomalais-!rittilEinen DohtaDa oli alun perin DEEnyt nimeEmEttE+ 6eoffreyn teoksen ritarilliset teemat innostivat useita muita sen aDan kirDailiDoita luomaan lisäE ritarillisia kertomuksia- kuten Chretien de Troyes 722;#82232: muun muussa loi Lancelotin- Dota ei alun perin ollut 6eoffreyn teoksessa mu,ana+ Troyesin teoksen suosion myötE Lancelotista on muodostunut keskeinen hahmo arturiaanisessa tarinan,erronnassa aDan saatossa+ @ykypEi&En arturiaaninen taru on pit,Elti Sir Thomas Maloryn 729#4829B2: myöhEiskeskiaikaisen sovituksen mukainen+ Malory oli ,oonnut haDanaisista arturiaanisista kertomuksista yhtenEisemmEn ko,onaisuuden Le Morte d’Arthurin 72954:+ HEn ei ,uitenkaan kehittEnyt mitEEn merkittE&En uutta sisältFE- tEllFin hEnen teoksensa &ain toisti ai,aisempien teoksien sisältFE+ @ykyaikaisemmat sovitukset Maloryn teoksesta ovat esimerkiksi Mar, Twainin A Connecticut Yankee in ing Arthur’s Court 72553:- T.H+ 1hiten The "nce and Future ing 72345: Da Marion Zimmer ?radleyn The Mists o$ Avalon 7235;:+ Twainin teos on satiirisempi &ersio Maloryn teoksesta- ,un taas 1hite on pasifistisempi versio alkuperEisen sotaisuuteen nEhden+ Zimmer ?radleyn
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