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Updated: May 22, 2025
Sir Thomas Malory, himself most unknown perhaps of all great writers, did know how; and a cynical person might echo the I nunc of the Roman satirist, and dwell on the futility of doing great things, in reference to the fact that it used to be fashionable, and is still not uncommon, to call Malory a "mere compiler."
The chief importance of details in this case would have been the excessive probability that Malory would have described an entertainment consonant with the usage of his own day, although at no period of early history was there ever so large an assemblage of guests at one time as met, according to the fable, to do honour to Arthur.
On these principles she had trained her family. The result was that her sons had not yet brought the family library, and the family Romneys and Hoppners, to Christie's. Not one of them was a director of any company, and the name of Malory had not yet been distinguished by decorating the annals of the Courts of Bankruptcy or of Divorce.
There is nothing in Malory, nor in any other source, so far as I am aware, which suggested to Tennyson the clou of the situation the use of Guinevere's crown as a cognisance by Balin. This device enables the poet to weave the rather confused and unintelligible adventures of Balin and Balan into the scheme, and to make it a stage in the progress of his fable.
"Thomas of Erceldoune," passim; Child, vol. i. p. 318; "Border Minstrelsy," vol. iii. p. 170. Malory, vol. iii. p. 339; Braga, vol. ii. p. 238; Liebrecht in a note to Gerv. Tilb., p. 95, quoting Aznar, "Expulsion de los Moriscos."
"O Balin! two bodies hast thou slain and one heart, and two hearts in one body, and two souls thou hast lost. And therewith she took the sword from her love that lay dead, and as she took it, she fell to the ground in a swoon." Malory's work, rather than Layamon's Brut, has been the storehouse to which later poets have turned. Many nineteenth-century poets are indebted to Malory.
Upon the whole the productions of Caxton's press were mostly of a kind that may be described as mediæval, and the most important of them, if we except his edition of Chaucer, was that "noble and joyous book," as Caxton called it, Le Morte Dartur, written by Sir Thomas Malory in 1469, and printed by Caxton in 1485.
In reaction against the bold-faced heroines and sensual amours of some of the old French romances, an ideal of exaggerated asceticism, of stainless chastity, notoriously pervades the portion of Malory's work which deals with the Holy Grail. He was human, the Lancelot of Malory, and "fell to his old love again," with a heavy heart, and with long penance at the end.
Malory allowed Matilda to write. The mother never showed to the girl the note which he had left with her maid. The absence and the silence of the lover were enough. Matilda never knew that among the four packed in the brougham on that night of rain, one had been eloping with a married lady who returned to supper.
We have been talking about Sir Thomas Malory and chivalry and ideals: there is one thing you need to know all of us need to know it and to know it well."Ideals are of two kinds. There are those that correspond to our highest sense of perfection. They express what we might be were life, the world, ourselves, all different, all better. Let these be high as they may!
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