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The essays in this collection present a range of new ideas and approaches in Malory studies, looking again as the title suggests] at several of the most debated critical points. A number of articles focus closely on the implications of the production of the text, ranging from the repercussions of the working habits of the Winchester scribes, as well as of Malory's printers and editors, to a reassessment of Caxton's Preface. There are also nuanced readings of geography and politics in the Morte Darthur and its fifteenth-century contexts, and analyses of text and context in relation to the role of women, character and theme in the Morte, including the important questions of worshyp and mesure, as well as the issues of coherence and genre.
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Dorsey Armstrong provides a new, Modern English translation of the MORTE DARTHUR that portrays the holistic and comprehensive unity of the text as a whole, as suggested by the structure of Caxton’s print, but that is based primarily on the Winchester Manuscript, which offers the most complete and accurate version of Malory’s narrative. This translation makes one of the most compelling and important texts in the Arthurian tradition easily accessible to everyone—from high school students to Arthurian scholars. In addition to the complete text, Armstrong includes an introduction that discusses Malory’s sources and the long-running debate surrounding the manuscript and print versions of the narrative. For ease of use, the text is keyed to both William Caxton’s print version and the manuscript version edited by Eugène Vinaver. A detailed index is also included.
First published in 1485 by William Caxton, Le Morte d'Arthur is today perhaps the best-known work of Arthurian literature in English. Many modern Arthurian writers have used Malory as their principal source, including T. H. White in his popular The Once and Future King and Tennyson in The Idylls of the King.
This third edition of Vinaver's superbly annotated text of the Works provides a factually corrected version of the second edition, including reverified text and apparatus consisting of some 2,850 changes, and a completely revised index and glossary. In addition to the new changes, the volume offers the standard format of the previous two editions, including a definitive biography and literary interpretation of Malory, an essay describing the texts on which the edition was established, the Caxton printing, a lucid and highly readable introduction, full critical apparatus, and numerous relevant quotes from unpublished sources.
Offering a new reading of Malory’s famed text, Le Morte Darthur, this book provides the first full-length survey of the alterations Malory made to female characters in his source texts. Through detailed comparisons with both Old French and Middle English material, Siobhán M. Wyatt discusses how Malory radically altered his French and English source texts to create a gendered pattern in the reliability of speech, depicting female discourse as valuable and truthful. Malory’s authorial crafting indicates his preference for a certain “type” of female character: self-governing, opinionated, and strong. Simultaneously, the portrayal of this very readable “type” yields characterization. While late medieval court records indicate an increasingly negative attitude towards female speech and a tendency to punish vociferous women as “scolds,” Malory makes the words of chiding damsels constructive. While his contemporary writers suppress the powers of magical women, Malory empowers his enchantress characters; while the authors of his French source texts accentuate Guinevere’s flaws, Malory portrays her with sympathy.
Fresh study of the intricate roles played by gender, visibility, and the idea of romance in Malory's Morte.
King Arthur is one of the greatest legends of all time. From the magical moment when Arthur releases the sword in the stone to the quest for the Holy Grail and the final tragedy of the Last Battle, Roger Lancelyn Green brings the enchanting world of King Arthur stunningly to life. One of the greatest legends of all time, with an inspiring introduction by David Almond, award-winning author of Clay, Skellig, Kit's Wilderness and The Fire-Eaters.
How Sir Tristram jousted, and smote down King Arthur, because he told him not the cause why he bare that shield.And if so be ye can descrive what ye bear, ye are worthy to bear the arms. As for that, said Sir Tristram, I will answer you; this shield was given me, not desired, of Queen Morgan le Fay; and as for me, I can not descrive these arms, for it is no point of my charge, and yet I trust to God to bear them with worship. Truly, said King Arthur, ye ought not to bear none arms but if ye wist what ye bear: but I pray you tell me your name. To what intent? said Sir Tristram. For I would wit, said Arthur. Sir, ye shall not wit as at this time. Then shall ye and I do battle together, said King Arthur. Why, said Sir Tristram, will ye do battle with me but if I tell you my name? and that little needeth you an ye were a man of worship, for ye have seen me this day have had great travail, and therefore ye are a villainous knight to ask battle of me, considering my great travail; howbeit I will not fail you, and have ye no doubt that I fear not you; though you think you have me at a great advantage yet shall I right well endure you. And there withal King Arthur dressed his shield and his spear, and Sir Tristram against him, and they came so eagerly together. And there King Arthur brake his spear all to pieces upon Sir Tristram's shield. But Sir Tristram hit Arthur again, that horse and man fell to the earth. And there was King Arthur wounded on the left side, a great wound and a perilous.