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Updated: May 16, 2025
At last Sir Thomas Malory, a London knight, well read in chivalric literature, combined these tales in the volume he called the "Morte d'Arthur," an excellent specimen of a chivalric romance, which was printed by Caxton in 1485, and has since appeared in many editions down to the present day.
In Malory's Morte d'Arthur there is the legend of the Sword of Assay. In the church against the high altar was a great stone, four-square, like unto a marble stone. In the midst of it was an anvil of steel, a foot high, and therein stood a naked sword by the point.
Malory's "Morte d'Arthur," notwithstanding its quaint language and quainter pictures, had so enkindled her mind that she herself at times had seemed the heroine in many a stirring scene. It was largely due to these impressions that she relished the life in the wilderness, and looked upon the King's courier as a hero of more than ordinary mettle.
The great need is that there should be some work going on in which the boys should not be conscious of dragging an ever-increasing burden of memory. Let me take a concrete case. A poem like the Morte d'Arthur, or The Lay of the Last Minstrel, is well within the comprehension of quite small boys.
Or else they were a portion of that prose romance of chivalry which was vastly cultivated in the middle ages, especially in France and Spain, and of which we have a doughty exemplar in the Morte D'Arthur, which dates nearly a century before Shakspere's day.
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.
They were modified to meet new tastes, and in the process became superior in literary merit, but inferior in force and interest. This is especially true of the romances translated from the Spanish. Amadis of Gaul and Palmerin of England show merits of narrative sequence and elegance of expression which did not belong to the earlier romances, of which the "Morte d'Arthur" formed a compendium.
The "Idylls," with all their beauties, are full of a Victorian respectability, and love of talking with Vivien about what is not so respectable. One wishes, at times, that the "Morte d'Arthur" had remained a lonely and flawless fragment, as noble as Homer, as polished as Sophocles. But then we must have missed, with many other admirable things, the "Last Battle in the West."
I did not come to the "Princess," either, until I had saturated my fancy and my memory with some of the shorter poems, with the "Dream of Fair Women," with the "Lotus-Eaters," with the "Miller's Daughter," with the "Morte d'Arthur," with "Edwin Morris, or The Lake," with "Love and Duty," and a score of other minor and briefer poems.
The third and most influential group of predecessors of the novel is made up of the romances of chivalry, such as are found in Malory's Morte d'Arthur. It is noticeable, in reading these beautiful old romances in different languages, that each nation changes them somewhat, so as to make them more expressive of national traits and ideals.
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