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This was a compilation from French Arthur romances, and was by far the best English prose that had yet been written. It may be doubted, indeed, whether, for purposes of simple story telling, the picturesque charm of Malory's style has been improved upon.
Bennet, in a tone and with an expression as if he were looking at something very far away, "as if King Arthur must have lived in the tropics. There is that sort of weird, warm atmosphere in the romance. Where is Ellen? Shall we read some more in this little edition of the old story?" He laid his hand, as he spoke, upon a small copy of old Malory's Romance of Arthur.
Here are "amiable words and courtesy." I cannot agree with Mr Harrison that Malory's book is merely "a fierce lusty epic." That was not the opinion of its printer and publisher, Caxton. He produced it as an example of "the gentle and virtuous deeds that some knights used in these days, . . . noble and renowned acts of humanity, gentleness, and chivalry.
One of the first books he printed was Malory's Morte d'Arthur.
I must confess myself ignorant of any early and popular, or "primitive" literature, in which human virtues, and the human conscience, do not play their part. Those who object to Tennyson's handling of the great Arthurian cycle, on the ground that he is too refined and too moral, must either never have read or must long have forgotten even Malory's romance.
Comparing the Idylls of the King with Malory's book, we are irresistibly reminded of certain Catholic books of devotion "expurgated" or "adapted" for members of the Church of England. All that savours too much of popery is left out. There is, no doubt, a strong Protestant prejudice in Tennyson, struggling with his sense of artistic beauty, and repeatedly Protestantism wins the day.
Then there was weeping and dolor out of measure. Malory's Morte d'Arthur. Ethelfrith, who succeeded Ethelric, gave the fort to his second wife, Bebba, after whom it was named Bebbanburgh, which soon became Bamburgh.
As Richard Wagner received from the Scandinavian folk-lore the inspiration for his great music, as Tennyson found the incentive for The Idylls of the Kings in Malory's Morte d'Arthur, so the modern Celtic poets turned back to the primitive legends of their country for tales of Cuchulain who fought the sea, Caolte who besieged the castle of the gods, Oisin, who wandered three hundred years in the land of the immortals, and Deirdre who stands in the same relation to Celtic literature as Helen to Greek and Brunnhilde to German literature.
The Globe Edition is an inexpensive single volume containing the complete text. What special dualities do you notice in the manner of Malory's telling a story? Is his work original? Why has it remained so popular? What age specially shows its influence? More. There are good selections in Craik, I., 162-167. What is the etymological meaning of Utopia? What is its modern significance?
There seems to be a notion that "bold bawdry and open manslaughter," as Roger Ascham said, are the staple of Tennyson's sources, whether in the mediaeval French, the Welsh, or in Malory's compilation, chiefly from French sources. Tennyson is accused of "Bowdlerising" these, and of introducing gentleness, courtesy, and conscience into a literature where such qualities were unknown.
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