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He did this more than any other writer in that he wrote in English such as all English-speaking people must love to read. *J. Furnivell Stories of King Arthur's Knights, by Mary Macgregor. Stories from Morte d'Arthur, by C. L. Thomson. Morte d'Arthur, Globe Edition. FOUR hundred years after Malory wrote his book, another English writer told the tales of Arthur anew.
Among the stories of world-wide renown, not the least stirring are those that have gathered about the names of national heroes. The Æneid, the Nibelungenlied, the Chanson de Roland, the Morte D'Arthur, they are not history, but they have been as National Anthems to the races, and their magic is not yet dead.
If the Cid, the Vita Nuova, the Canterbury Tales, Shakespeare's Sonnets, and Lycidas pall on a man; if he care not for Malory's Morte d'Arthur and the Red Cross Knight; if he thinks Crusoe and the Vicar books for the young; if he thrill not with The Ode to the West Wind, and The Ode to a Grecian Urn; if he have no stomach for Christabel or the lines written on The Wye above Tintern Abbey, he should fall on his knees and pray for a cleanlier and quieter spirit.
There are yet persons, at least at the time this was written not quite Methusalahs, who read the Morte d'Arthur before the Idylls appeared and who have never allowed even the Idylls to overlay their original idea of the most perfect and most gentle of knights.
In Gottfried's poem, the drinking of the potion signifies merely that all the rambling, mediæval prelude, not to be distinguished from the stories of "Morte d'Arthur," and of half the romances of the Middle Ages, has come to a close and may be forgotten; and that the real work of the great poet, the real, matchless tragedy of the four actors Tristram, Yseult, Mark, and Brangwaine has begun.
I have tried to show how easily his mind might be steeped in the all- pervading classicism and foreign romance of the period, with the wide, sketchy, general information, the commonly known fragments from the great banquet of the classics, with such history, wholly uncritical, as Holinshed and Stow, and other such English chroniclers, could copiously provide; with the courtly manners mirrored in scores of romances and Court plays; and in the current popular Morte d'Arthur and Destruction of Troy.
In our study we have noted: the Revival of Learning, what it was, and the significance of the terms Humanism and Renaissance; three influential literary works, Erasmus's Praise of Folly, More's Utopia, and Tyndale's translation of the New Testament; Wyatt and Surrey, and the so-called courtly makers or poets; Malory's Morte d'Arthur, a collection of the Arthurian legends in English prose.
It would be just as easy and just as reasonable to take the Morte d'Arthur and try to prove that it contained a veiled revelation of God's relations to man. And let me ask one or two questions as to this matter of the revelation of the Holy Bible. Is God all-powerful or is he not? If he is all-powerful, why did He make man so imperfect?
Tennyson's Idylls of the King, Matthew Arnold's Death of Tristram, Swinburne's Tristram of Lyonesse, and William Morris's Defense of Guinevere were inspired by the Morte d'Arthur. Few English prose works have had more influence on the poetry of the Victorian age. Scottish Poetry.
There must be no idler about the house; and any young man . . ." "Wouldn't an old one do?" suggested Killigrew. "Whose set ideas would clash constantly with ours. And any young man we know would idle and look on the whole affair as a fine joke. I've had a talk with Webb. He's not a university man, but he's educated. I found him reading Morte d'Arthur." "Ah!" from Crawford.
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