Vividly portraying legendary and semi-legendary figures such as Lear, Cymbeline, Merlin the magician and the most famous of all British heroes, King Arthur, it is as much myth as it is history and its veracity was questioned by other medieval writers. But Geoffrey of Monmouth's powerful evocation of illustrious men and deeds captured the imagination of subsequent generations, and his influence can be traced through the works of Malory, Shakespeare, Dryden and Tennyson.

    The world's most important Arthurian expert presents a riveting portrait of the darkly complex woman known only through legend.

    But what evidence is there for a real figure beneath the myth and romance?Arthur's Britain assembles a wealth of information about the history of Arthur by delving into the shadowy period in which he lived. Drawing on evidence from written and archaeological sources, Leslie Alcock, who directed the famous excavation at Cadbury Castle in Somerset, England, sifts history from fiction to take us back to life between the fourth and seventh centuries. He also provides fascinating detail on how the Britons actually lived, worshipped, dressed, and fought to uncover the real world and people behind the Arthurian legends.

    There is only one man who can lead Britain from the chaos of darkness into a new age of glory. Protected since birth, he is revealed as the new Pendragon.

    A study of Arthurian romance and legend which draws together the different strands of Arthurian myth, from sources as diverse as Geoffrey of Monmouth, Malory, Chretien de Troyes, the Mabinogion, and the English Gawain cycles.

    Already weakened in spirit by Guinevere’s infidelity with the now-exiled Lancelot, Arthur must rouse his knights to battle one last time against Mordred’s rebels and foreign mercenaries. Powerful, passionate, and filled with vivid imagery, this unfinished poem reveals Tolkien’s gift for storytelling at its brilliant best. Christopher Tolkien, editor, contributes three illuminating essays that explore the literary world of King Arthur, reveal the deeper meaning of the verses and the painstaking work his father applied to bring the poem to a finished form, and investigate the intriguing links between The Fall of Arthur and Tolkien’s Middle-earth.

    Seven essays offer a comprehensive survey of the legends in all of their manifestations, from theirorigins in medieval literature to their adaptation in modern literature, arts, film, and popular culture. It also demonstrates the tremendous continuity of the legends by examining the ways that they have been reinterpreted over the years. The indispensable reference on the subject, it also containsencyclopedic entries, bibliographies, and a comprehensive index. The extensive chapter-by-chapter bibliographies, which are subdivided by topic, augment the general bibliography of Arthurian resources. Comprehensive in its analysis and hypertextual in its approach, the Oxford Guide to Arthurian Literature and Legend is an essential reference book for Arthurian scholars, medievalists, and for those interested in cultural studies of myth and legend.

    The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain). However, some Welsh and Breton tales and poems relating the story of Arthur date from earlier than this work; in these works, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. In fact, many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the wizard Merlin, the sword Excalibur, Arthur's birth at Tintagel, his final battle against Mordred at Camlann and final rest in Avalon. The 12th-century French writer Chretien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media. The Sir James Knowles version of King Arthur is considered as the most accurate and well known original story of King Arthur and the Knights of the Round Table.

    The tales draw on pre-Christian Celtic mythology, international folktale motifs and early medieval historical traditions. While some details may hark back to older Iron Age traditions, each of the tales is the product of a developed medieval Welsh narrative tradition, both oral and written.Lady Charlotte Guest in the mid 19th century was the first to publish English translations of the collection, popularising the name "Mabinogion". The stories appear in either or both of two medieval Welsh manuscripts, the White Book of Rhydderch or Llyfr Gwyn Rhydderch, written c.1350, and the Red Book of Hergest or Llyfr Coch Hergest, written c.1382 – 1410, tho texts or fragments of some of the tales have been preserved in earlier 13th century and later mss.Scholars agree that the tales are older than the existing mss, but disagree over just how much older. The different texts originated at different times. Debate has focused on the dating of the Four Branches of the Mabinogi. Sir Ifor Williams offered a date prior to 1100, based on linguistic and historical arguments, while later Saunders Lewis set forth a number of arguments for a date between 1170 and 1190; Th Charles-Edwards, in a paper published in 1970, discussed both viewpoints, and while critical of the arguments of both scholars, noted that the language of the stories fits the 11th century. More recently, Patrick Sims-Williams argued for a plausible range of about 1060 to 1200, the current scholarly consensus.

    The Knight of the Cart is the first telling of the adulterous relationship between Lancelot and Arthur's Queen Guinevere, and in The Knight with the Lion Yvain neglects his bride in his quest for greater glory. Erec and Enide explores a knight's conflict between love and honour, Cligés exalts the possibility of pure love outside marriage, while the haunting The Story of the Grail chronicles the legendary quest. Rich in symbolism, these evocative tales combine closely observed detail with fantastic adventure to create a compelling world that profoundly influenced Malory, and are the basis of the Arthurian legends we know today.Alternate cover for this edition.

    The tales of King Arthur are rooted in history, but over the years the facts have become shrouded in myth and mystery. In this beautifully illustrated book Arthurian expert John Matthews explores the legends that have grown around the king and uncovers the mysteries of Arthur's Britain. The numerous characters surrounding King Arthur are introduced and the facts behind the epic saga are revealed. •Contains 120 color and black-and-white images•Covers Merlin, Guenevere, Lancelot, the Holy Grail, and all the mythic search for characters

    Reflecting his lifelong interest in Arthurian themes, his primary sources were Malory's Morte d'Arthur and the Welsh Mabinogion. For him, the Idylls embodied the universal and unending war between sense and soul, and Arthur the highest ideals of manhood and kingship; an attitude totally compatible with the moral outlook of his age. Poetically, Tennyson was heir to the Romantics, and Keats's influence in particular can be seen clearly in much of his work. Yet Tennyson's style is undoubtedly his own and he achieved a delicacy of phrase and subtlety of metrical effect that are unmatched. This edition, based on the text authorized by Tennyson himself, contains full critical apparatus.

    Now, from the internationally acclaimed translator of Sir Gawain and the Green Knight, comes this magisterial new presentation of the Arthurian tale, rendered in unflinching and gory detail. Following Arthur's bloody conquests across the cities and fields of Europe, all the way to his spectacular and even bloodier fall, this masterpiece features some of the most spellbinding and poignant passages in English poetry. Never before have the deaths of Arthur's loyal knights, his own final hours, and the subsequent burial been so poignantly evoked.Echoing the lyrical passion that so distinguished Seamus Heaney's Beowulf, Simon Armitage has produced a virtuosic new translation that promises to become both the literary event of the year and the definitive edition for generations to come.

    In a book which argues that previous scholars have been looking in the wrong place, Moffat identifies Arthur as a cavalry general of a Welsh-speaking southern Scottish tribe. Through archaeology, documentary and place-name evidence, Moffat weaves a history of this truly British hero' and asks whether the real Camelot is to be found in the borders of Scotland.

    In this highly successful attempt to render Malory into Modern English, Steinbeck recreated the rhythm and tone of the original Middle English.