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Updated: May 16, 2025
I asked Sir Morte d'Arthur himself, and he told me there was no doubt about it, and that he had consulted Garter before he came down." "Well, all I know is that the Count of Ferroll told me so," said Adriana; "I sate next to him at dinner." "He shall not wear her colours," said Endymion quite angrily. "I will speak to the King of the Tournament about it directly."
Until a few years ago Malory himself was little more than a name, our information about him being limited to the statement in Caxton's edition of the "Morte d'Arthur" that he was the author. It now appears probable, however, that Sir Thomas Malory was an English knight born about 1400, of an old Warwickshire family.
A specimen of the style of the prose romances may be found in the following extract from one of the most celebrated and latest of them, the "Morte d'Arthur" of Sir Thomas Mallory, of the date of 1485.
The success of this work was almost instantaneous, and we can appreciate the favor with which it was received when we read the noble blank verse of "Ulysses" and "Morte d'Arthur," the perfect little song of grief for Hallam which we have already mentioned, and the exquisite idyls like "Dora" and "The Gardener's Daughter," which aroused even Wordsworth's enthusiasm and brought from him a letter saying that he had been trying all his life to write such an English pastoral as "Dora" and had failed.
The Morte d'Arthur is seen, the Idylls are laboriously imagined. The Idylls, again, are full of an everyday morality the praise of civic virtues, the evolution of types and how tiresome they thus become! but in the Morte d'Arthur there is only a prophetic mysticism, which is all the more noble because it is so remote from common things.
Try to study, in a concise way, the development of the novel from the time of Richardson and his immediate followers, and find its most perfect expression in the works of George Eliot, Dickens, Thackeray, Hawthorne. Look a little at the history of the romance previous to this century, beginning, if you like, away back with Thomas Malory's "Morte d'Arthur."
In so marvellous a treasure of precious things as the volumes of 1842, perhaps none is more splendid, perfect, and perdurable than the Morte d'Arthur. It had been written seven years earlier, and pronounced by the poet "not bad." Tennyson was never, perhaps, a very deep Arthurian student. A little cheap copy of Malory was his companion.
Yet Wynd had sentiment in his way, though he took good care never to show it Elsley; could repeat Tennyson from end to end; spouted the Mort d'Arthur up hill and down dale, and chaunted rapturously, "Come into the garden, Maud!" while he expressed his opinion of Maud's lover in terms more forcible than delicate.
His theories may be false, but these will always be true. Nothing can take their place in fiction. It is they which give enduring value to such tales as Morte d'Arthur, despite all the crudity of the intellectual background. Reflections upon life may become matter for literature in the essay, quite apart from any story.
Now, since this work was done not in an office but at home, the burden of that fretfulness fell altogether upon Clarice. She took to reading the Morte d'Arthur. Fielding found her with the book in her hand when he called, and commented on her choice. 'There's no romance in the world nowadays, she replied. 'But there has been, he replied cheerfully; 'lots.
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