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NATIONAL ENDOWMENT for the HUMANITIES • VOLUME 7 NUMBER 3 • JUNE 1986 Editor's Contents Notes

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HumanitiesNATIONAL ENDOWMENT FOR THE HUMANITIES • VOLUME 7 NUMBER 3 • JUNE 1986 Editor's Contents Notes Images of Arthur by Stephen G. Nichols One of the most often quoted lines Twelfth-century romances that broke the medieval mold. from the 800-year-old written tradi­ tion of Arthurian literature comes 6 Quest for le Mot Juste not surprisingly from Tennyson in Translating the oldest extant Arthurian romance from Chretien's verse. "The Passing of Arthur," the twelfth and last chapter of The Idylls of the 9 The Age and the Art of Chivalry King. After King Arthur has been A different kind of metal work on display in Detroit. mortally wounded, he whispers comfort to Bedevere, "The old order 10 Medieval Women changeth, yielding place to new." For some women, the Middle Ages weren't so Dark. His words carry the paradox of the Arthurian tradition: an old order 12 The Sorceress, the Friar, and the Greyhound Saint rooted in ancient mythology, loved, Healer or heretic? A film drama based on a twelfth-century inquisition. and preserved, yet reconsidered and adapted from age to age. In a de­ 14 Literary Origins of Arthur scriptive guide to the modern Arthu­ High school teachers follow the Celtic king to France and back to England. rian novel, John Conlee of the College of William and Mary dem­ 15 The Age of the Arthurian Novel by John Conlee onstrates in this issue both the per­ How the "once and future king" appears in the literature of the present. sistence of Arthurian lore and its adaptability to current artistic and 18 Lancelot and the Lone Ranger moral concerns. Stephen G. Nichols High school teachers found the two have a lot in common. of the University of Pennsylvania ex­ plains in an essay describing the dif­ 20 Historicism and Its Discontents ference between the Arthur of ro­ A new book by an NEH fellow reassesses medieval historiography. mance and the Arthur of medieval historia how the artistic achievement 22 The Real Arthur by David Whitehouse of Chretien de Troyes has contrib­ How much of the legend does archaeology prove is history? uted to the legend's power to last. Is King Arthur more than legend? 25 "Let's Talk about It": Book lovers talking about books. David Whitehouse reviews the docu­ mentary and scant archaeological ev­ 27 A Nation of Readers: Libraries in Vermont and Utah are booked solid. idence for what Geoffrey Ashe as­ serts as "the Arthurian Fact." 29 Meeting the Brownings: Victorian scholarship for folks in Kansas. Whether fact or fiction, Arthur still claims the attention of historians, 31 The Humanities GUIDE: Support for libraries. novelists, archaeologists, artists, lit­ erary scholars, and readers who know him, if not through Chretien or Geoffrey of Monmouth then Humanities through Tennyson or T. H. White. A bimonthly review published by the The opinions and conclusions expressed in National Endowment for the Humanities are those of the authors and do Humanities not necessarily reflect Endowment policy. Material appearing in this publication may be While this issue of Humanities was Chairman: Lynne V. Cheney freely reproduced with appropriate credit to in production, Lynne V. Cheney Director of Public Affairs: Humanities. The editor would appreciate cop­ was sworn in as NEH chairman. A Susan H. Metts ies for the Endowment's reference. The chair­ Assistant Director for Publications: man of the Endowment has determined that biography appears on page 36. Caroline Taylor the publication of this periodical is necessary —Linda Blanken in the transaction of the public business re­ Editor: Linda Blanken quired by law of this agency. Use of funds for Managing Editor: Mary T. Chunko printing this periodical has been approved by Cover: The Round Table in the hall of Editorial Board: Marjorie Berlincourt, the director of the Office of Management and Winchester Castle. The Tudor rose in the James Blessing, Harold Cannon, Budget through September 1988. Send re­ center and the twenty-four alternating spokes quests for subscriptions and other communi­ Richard Ekman, Donald Gibson, cations to the editor, Humanities, N ational in white and green (Tudor Colors) demon­ Guinevere Griest, Pamela Glenn Endowment for the Humanities, 1100 strate the Tudor claim to descent from Ar­ Menke Pennsylvania Avenue, N.W., Washington, thur. Eighteen feet in diameter, the oaken ta­ D.C. 20506. Telephone 202/ 786-0435. (USPS ble is first mentioned by the chronicler Designed by Maria josephy Schoolman 521-090) ISSN 00:8-7526. Hardyng in 1450. 2 Images of Arthur Not long ago, standing in front of a holds a lance with a banner showing focus our attention on the Arthurian richly colored fifteenth-century tap­ the German imperial eagle and the world of romance, we may have se­ estry, I unexpectedly found myself fleurs de lys of France. Together, riously lost touch with the way in pondering the complex link between they symbolize the ideals of political which Arthurian romance existed and literature, history, and art in the leg­ hegemony of a Christian Europe, as made its meanings. We have intro­ end of King Arthur. Godfrey of Bouillon symbolizes the duced a disjunction between historia The deep hues of dark green, scar­ extension of that order back into the and romance, rather than taking let, blue, and gold of the tapestry in Holy Land from which it traced its them together as part of the same the Historisches Museum in Basel, divine authority. continuum of literary expression. Switzerland, depict the nine wor­ The Basel tapestry of the nine The Arthur and his world of historia thies credited in the Middle Ages worthies, or its counterparts else­ provided a spatial and temporal with having shaped the destiny of where (such as the one at the Clois­ framework in which the stories of Western civilization. Resplendent in ters in New York), I realized, is not individual heroes could assume a medieval court dress, in groups of simply a beautiful work of art from larger significance. From the stand­ three, the nine included first the another era. The five-hundred-year- point of twelfth-century authors, ro­ "good" pagans: Hector of Troy, old images of still familiar heroes mance was a way of focusing on one Alexander the Great of Macedon, also testify to the gulf that lies be­ episode in a larger canvas whose ex­ and Julius Caesar, emperor of Rome; tween our view of medieval culture istence was assumed to be familiar then a trio of great warriors of the and that of the period itself. More to the audience. The larger canvas Old Testament: Joshua, David, and than any other, the figure of King was the historia; the episodic narra­ Judas Maccabaeus; and, finally, Arthur summarizes this lesson of tive, the romance. three leaders of recent history: King historical discontinuity. For the per­ King Arthur is rarely the central Arthur, Charlemagne, and Godfrey fectly commonplace claim that Ar­ figure of romance. Instead, the of Bouillon (one of the founders of thur was one of the "founding fa­ genre seeks to explore the human the Latin kingdom of Jerusalem). thers" of European civilization, on a dimension of life within the Arthu­ A portion of the left side of the par with Julius Caesar and rian world that Arthur's heroism Basel tapestry—the part that con­ Charlemagne, clashes with our most made possible in the first place. It is Detail from Le Livre des tained the three virtuous pagans, commonly held view of him as the this connection between Arthur's vertueux faix de Joshua, and half of King David—is somewhat ineffectual, but benign historia and individual romance that plusieurs nobles missing, but in the large, intact sec­ husband of Guinevere, the mistress we have tended to ignore, thereby chevaliers, Wal­ tion, the remaining worthies stand of Lancelot du Lac. giving us a fragmented and partial ter Map, Rouen, out boldly against a green back­ In the Middle Ages, both views literary history. As the illustrations 1488. ground of flowering vines. Framing existed, but not in the same degree of the nine worthies show us, how­ each hero, a banderole in Middle of importance and not in the same ever, it is the presence of Arthur's High German sets forth his principal literary forms. The strong Arthur of historia, stretching like a horizon virtue. Arthur's stresses his might history derives from a genre called around the individual romances, and military prowess. historia, which we may, somewhat that authorizes so much of the alle­ In keeping with the belief of the inaccurately, translate as "history," gorical and symbolic meaning we as­ period that Arthur had died in 542 while the other Arthur, who serves sociate with romance. For it was A.D., he serves as the transitional principally as a figurehead for the through the person of Arthur that figure between the Old Testament stories of the knights of the Round the world of romance linked directly heroes and their "modern" Christian Table, belongs to the realm of ro­ to the classical and biblical literary counterparts. He is shown facing mance. Because romance feels com­ tradition. And it was the role of Charlemagne and Godfrey with his fortable to us today, thanks to its historia to make those links clear. back to Joshua, David, and Judas kinship with the modern psycholog­ The illustrations of Arthur as one Maccabaeus. Attached to the lance ical novel, we have come to empha­ of the nine worthies show how in Arthur's left hand, a heraldic ban­ size Arthurian romance at the ex­ these links were meant to work, and ner displays three gold crowns rep­ pense of Arthurian historia.
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