“There would be a day – there must be a day – when he would come back to Gramarye with a new Round Table which had no corners, just as the world had none – a table without boundaries between the nations who would sit to feast there. The hope of making it would lie in culture. (…)
The cannons of his adversary were thundering in the tattered morning when the Majesty of England drew himself up to meet the future with a peaceful heart.
RE[X] QUONDAM RE[X]QUE FUTUR[US]
THE BEGINNING” (Terence Hanbury White, "The Once and Future King")
This quote from T. H. White’s "The Once and Future King" is not the only reference to King Arthur’s return we can find when looking through the different Arthurian stories or that which is scattered among folk tales. Arthur is often carried away in a boat to Avalon, to be healed of his wounds and to return afterwards. In Italy, an “Arturo Magno” is believed to live within Mount Etna, occasionally seen, and also waiting for the day of his return. The Irish say he “rides round a rath” with raised sword, to the tune of Londonderry Air. The Scottish swear to him in Edinburgh, believing he presides from Arthur’s Seat. The Britons still can hear his horn and see his armour. There seems to be a strong yearning within all kinds of people that refuses to let King Arthur die.
T.H. White first published his book in 1958, about one millennium and a century after the early medieval historian Nennius wrote about Arthur, and eight centuries after Geoffrey of Monmouth’s influential book "The History of the Kings of Britain". And even today, in the early days of the third millennium, the mystery and fascination about Arthur, his knights, his queen Guinevere and Merlin the Wizard is still unbroken.
Table of Contents
1. Preface
2. Myths And Legends
2.1. The Sword Excalibur
2.2. The Quest For The Holy Grail
2.3. Avalon, The Lost Isle
2.4. Tintagel And Glastonbury
3. The Role Of Women
3.1. Love And Adultery
3.2. Subtle Power
3.3. Guinevere
4. Magical Friends And Foes
4.1. Enchanting Ladies
4.3. Merlin, The Wizard
5. Movie Adaptations and Their Role-Models
5.1. King Arthur (2004)
5.2. First Knight (1995)
5.3. Merlin (1998)
5. Conclusion
6. Bibliography
Objectives and Topics
This thesis examines the enduring fascination with the Arthurian legends, specifically focusing on the evolution of key symbols like Excalibur and the Holy Grail, the complex social and romantic roles of female characters, and the development of the wizard Merlin's figure across literature and cinema.
- The historical and mythical development of Arthurian symbols (Excalibur, Holy Grail, Avalon).
- The societal role of women, focusing on themes of adultery and power.
- The evolution of the character of Merlin from early sources to modern adaptations.
- A comparative analysis of modern movie adaptations regarding their adherence to traditional legends.
Excerpt from the Book
2.1. The Sword Excalibur
Arthur’s sword Excalibur has undergone a certain development throughout the different stories, not unlike the Holy Grail, as we will see in the next chapter.
The name Geoffrey of Monmouth uses for King Arthur’s sword is Caliburn, which was then later modified to Excalibur by Robert Wace in his Roman de Brut and it has kept the name ever since. As to where Monmouth got the idea for the name from is probably either from the Latin word for steel, chalibs, or from earlier Celtic stories. There, in Culhwch and Olwen, Arthur’s sword is called Caledvwlch, which derived from the old Irish word Caladbolg, meaning ‘flashing sword’. If Monmouth created ‘Caliburn’ from ‘Caledvwlch’, the pedigree of Excalibur may indeed reach back as far as the early Welsh stories from the Mabinogion (Phillips/Keatman, 67), which is a collection of old Welsh stories, taken from the Red Book of Hergest and the White Book of Rhydderch. Malory later states that the name Excalibur “is as much to say as Cut-steel” (Malory 1972, 49).
When Monmouth mentions Arthur’s sword, he describes it as a “wonderful” (Monmouth, 255) and “peerless sword, (…) which was forged in the Isle of Avalon” (Monmouth, 217), and no armour of his enemies “offered (…) protection capable of preventing Caliburn” (Monmouth, 255). Although Excalibur is commonly associated as the weapon of King Arthur, in Chréthien de Troyes’ Perceval: The Story of the Grail, it is Gawain who “is girt with Escalibor, the best sword ever, that cuts through iron like wood” (Chréthien, 452). The weapon surely was magnificent, but just like in The Dream of Rhonabwy, in which the sword is described as having “a design of two serpents on the golden hilt [and] when the sword was unsheathed what was seen from the mouths of the serpents was like two flames of fire” (www.britannia.com,
Summary of Chapters
1. Preface: This section introduces the perennial nature of King Arthur’s legacy and the persistence of his myths across different cultures and centuries.
2. Myths And Legends: This chapter investigates the development of iconic symbols including the sword Excalibur, the quest for the Holy Grail, the mystery of Avalon, and the historical connections to Tintagel and Glastonbury.
3. The Role Of Women: This chapter analyzes the interplay of romance, adultery, and subtle female power, focusing on the characterization of Guinevere and other prominent figures.
4. Magical Friends And Foes: This chapter explores the depiction of magical beings, specifically the contrasting roles of ladies like Morgan le Fay and the Lady of the Lake, and the evolving persona of the wizard Merlin.
5. Movie Adaptations and Their Role-Models: This final analytical chapter examines how recent films like "King Arthur", "First Knight", and "Merlin" reinterpret the classical source material.
5. Conclusion: This section synthesizes the findings, reflecting on why the Arthurian narrative continues to hold such significant cultural relevance today.
6. Bibliography: This section provides a comprehensive list of primary and secondary sources used throughout the research.
Keywords
King Arthur, Arthurian Legends, Excalibur, Holy Grail, Avalon, Tintagel, Glastonbury, Guinevere, Lancelot, Morgan le Fay, Merlin, Chivalry, Literature, Movie Adaptations, Mythology
Frequently Asked Questions
What is the central focus of this research paper?
The paper explores the Arthurian legends by tracing the development of symbols, the roles of female characters, the evolution of Merlin, and how these traditions are adapted in modern cinema.
What are the primary thematic fields covered in the work?
The themes include mythical development, literary character studies of women and magical beings, historical searching for Arthurian locations, and modern cinematic adaptations.
What is the core research goal?
The goal is to analyze the "never-ending flow" of Arthurian stories to understand why they remain fascinating for over a millennium, from their medieval origins to current interpretations.
Which scientific methodology is used?
The study employs a literary and comparative analysis, evaluating various texts—from medieval chronicles like Geoffrey of Monmouth to modern novels and film screenplay interpretations.
What topics are discussed in the main part?
The main part covers the symbolic evolution of items like Excalibur and the Grail, the dynamics of gender and power within Arthurian society, and the transformation of the figure of Merlin.
Which keywords best characterize the work?
Key terms include King Arthur, Arthurian Legends, Excalibur, Holy Grail, Guinevere, Merlin, and literary adaptation.
How does the paper differentiate between the two stories of Arthur acquiring his sword?
It contrasts the "Sword in the Stone" motif, which Robert de Boron introduced, with the "Lady of the Lake" tradition, highlighting how different authors attributed magical importance to the sword or its scabbard.
What conclusion does the author draw regarding the historical figure of King Arthur?
The author concludes that while no single historical figure can definitively be named as King Arthur, the legends are likely inspired by various historical contenders, and the persistent belief in his potential return illustrates the timeless power of the myth.
- Quote paper
- Nadine Wolf (Author), 2006, The Arthurian Legends and Their Legacy, Munich, GRIN Verlag, https://www.grin.com/document/58039
