A Bibliography of Modern Arthuriana (1500-2000)

A BIBLIOGRAPHY OF MODERN ARTHURIANA 1500–2000 The legend of Arthur has been a source of fascination for writers and artists in English since the fifteenth century, when Thomas Malory drew together for the first time in English a variety of Arthurian stories from a number of sources to form the Morte Darthur. It increased in popularity during the Victorian era, when after Tennyson's treatment of the legend, not only authors and dramatists, but painters, musicians, and film-makers found a source of inspiration in the Arthurian material. This interdisciplinary, annotated bibliography lists the Arthurian legend in modern English-language fiction, from 1500 to 2000, including literary texts, film, television, music, visual art, and games. It will prove an invaluable source of reference for students of literary and visual arts, general readers, collectors, librarians, and cultural historians – indeed, by anyone interested in the history of the ways in which Camelot has figured in post-medieval English-speaking cultures. ANN F. HOWEY is Assistant Professor at Brock University, Canada STEPHEN R. REIMER is Associate Professor at the University of Alberta, Canada

A Bibliography of Modern Arthuriana 1500–2000

Compiled by

Ann F. Howey Stephen R. Reimer

D. S. BREWER

© Ann F. Howey, Stephen R. Reimer 2006 All rights reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner

First published 2006 D. S. Brewer, Cambridge

ISBN 1 84384 068 5

D. S. Brewer is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc, 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com

A CIP catalogue record for this book is available from the British Library

This publication is printed on acid-free paper Printed in Great Britain by Biddles Ltd, King’s Lynn

Contents Acknowledgements

vii

Abbreviations

viii

Introduction

ix

Sources Used in Compiling the Bibliography A. Literature

xiv 1

B. Comic Books and Graphic Novels

489

C. Film, Television, and Radio

497

D. Music

529

E. Games

595

F. Fine Art and Graphic Design

606

General Index

719

Arthurian Characters and Themes

757

Acknowledgements A project of this size is the work of many years, and one accumulates many debts, which we are pleased to acknowledge. We are very grateful for the support of family and friends, who enthusiastically brought new items to our attention, and valiantly endured as true companions during screenings of movies (good and bad). We are grateful for financial assistance from the University of Alberta’s Support for the Advancement of Scholarship fund. We also gratefully acknowledge the Bulletin of Bibliography, which published two precursors to this project (Reimer, “The Arthurian Legends in Contemporary English Literature, 1945–1981,” and Howey and Reimer, “The Arthurian Legends in Contemporary English Literature, 1981–1996”). We are also grateful to the librarians and staff of the libraries of the University of Alberta, the University of Toronto, British Library, Bodleian Library, Edmonton Public Library (Alberta, Canada), Elgin Public Library (Ontario, Canada), Mississauga Public Library, and Toronto Public Library (including the Merrill Collection), and especially the staff of the Inter-Library Loans Office at the University of Alberta. The Department of English at the University of Alberta supported the project by providing us with a series of graduate research assistants, and we are especially grateful to them, for they have helped in so many ways to produce whatever merits this bibliography has. We also are very grateful to the anonymous reader who reviewed the manuscript for the publisher, and who caught many errors and infelicities, as well as making a number of more substantial contributions. The faults that remain, of course, are solely our responsibility. Ann F. Howey and Stephen R. Reimer June 2006

Abbreviations B&W ABC BBC CBC CBS CIA EETS ESTC HBO HTV IMDB ITV JEGP NAL NBC OCLC PEN PBS RAF RCMP RFC Rptd. SAS Sig. STC (P&R) STC (Wing) TEAMS TLS UCLA UIP UPA WMAQ WQED YTV

Black-and-white American Broadcasting Companies (U.S. TV network) British Broadcasting Corporation (British Radio and TV network) Canadian Broadcasting Corporating (Canadian Radio and TV network) Columbia Broadcasting System (U.S. TV network) Central Intelligence Agency Early English Text Society English Short Title Catalogue (see list of secondary sources) Home Box Office (U.S. TV network) HTV is an affiliate of ITV (British TV network) Internet Movie Database (see list of secondary sources) Independent Television (British TV network) Journal of English and Germanic Philology National Art Library (London) National Broadcasting Company (U.S. TV network) Online Computer Library Center (see list of secondary sources) An international authors’ association Public Broadcasting System (U.S. TV network) Royal Air Force Royal Canadian Mounted Police Royal Flying Corps Reprinted Special Air Service Signature (leaf of an unpaginated book) Short-Title Catalogue by Pollard and Redgrave (see list of secondary sources under Pollard) Short-Title Catalogue by Wing (see list of secondary sources under Wing) The Consortium for the Teaching of the Middle Ages Times Literary Supplement University of California at Los Angeles United International Pictures UPA (United Film Productions) Studios Call letters of a radio and television station in Chicago (NBC affiliate) Call letters of a radio and television station in Pittsburgh (PBS) Youth Television (Canadian TV network)

Introduction

Introduction In the 1470s, Thomas Malory drew together a variety of Arthurian stories from numerous sources and languages. Since Caxton’s publication of Malory’s text in 1485, the Arthurian legend in the English-speaking world has experienced sometimes neglect and mockery, sometimes interest and re-imagination. In particular, the proliferation of Arthurian publications in the nineteenth and twentieth centuries has elicited much comment and debate among scholars of the field. Arthur and Guenevere have drawn increasing numbers of characters into their sphere of influence, and increasing numbers of authors, dramatists, painters, musicians, and film-makers have paid homage to the legendary king and queen. Our intention in this bibliography is to list as comprehensively as we can the uses of the Arthurian legend in modern English-language “fiction” (broadly understood, as explained below), from 1500 to 2000. We have chosen to focus on the fictional representations of Arthur and his court. Of course, the boundaries between fiction and non-fiction can be blurry. Generally, if authors have presented their work as non-fiction, we have taken them at their word and omitted them; Arthurian “self-help” books, for instance, are not included, nor are commentaries on Arthurian traditions. These may be contributions to a body of knowledge or to Arthurian scholarship, but imaginative reworkings of the legend are the focus of this bibliography. We have made occasional exceptions to this rule: for works – such as those that purport to be accounts of true past-life experiences, for example – that we believe will be taken as fiction by many readers and which could themselves become the basis for further fictional works by others; or for works that use a fictional framework – conversations between Merlin and Arthur, for example – to introduce non-fictional material. Though limiting ourselves to “fiction,” we have interpreted that term quite broadly: in addition to novels, short stories, poems, and drama, we include musical dramas, music (songs or instrumental works), film, television, games, art (including book illustrations), and some comics. Given the limitations of the library resources to which we have access, the Comics section is limited to series or graphic novels with sustained Arthurian content or reputation, and to comic book versions of Arthurian works in other media. For fuller listings of appearances of Arthurian characters in otherwise non-Arthurian comics, we recommend Michael Torregrossa’s “Camelot 3000 and Beyond: An Annotated Listing of Arthurian Comic Books Published in the United States, c.1980–1998” in Arthuriana 9.1 (Spring 1999): 67–109 and the “Camelot in Four Colors” website at . The focus on English-language items is also deliberately restrictive. Being ourselves students of English literature, our main competence and interests are in fiction in that language. Certainly writers in other languages have found the Arthurian legends evocative, but our primary focus is upon what, since Malory gathered the stories into English, English-language authors and artists have done with it. As a result, works originally published in other languages have not been included, nor have English translations of such works.

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In seeking to list “modern” Arthuriana, we have chosen 1500 as a convenient starting place, essentially using the various publications of Malory by Caxton and de Worde as the dividing line between the medieval and modern uses of the legend. Modern editions or translations of medieval works have not been included; for example, Ernest Rhys’ “The Tale of Balin and Balan” that appears in his The Garden of Romance (1897) reprints Malory’s tale, and so is omitted. On the other hand, retellings of medieval stories by modern authors have been included; the distinction between “translation” and “retelling” is based on the degree to which the modern author is contributing imaginatively to the story. Generally works that have changed the medium of the original (a film version of a medieval tale, or a play based on Malory) are considered retellings, since the new medium will demand certain choices and changes by its author, no matter how much he or she may wish to remain faithful to the original. Whether or not a work has been “published” has also been a major consideration in determining its appropriateness for inclusion; our bibliography in general is limited to “published” works. We therefore exclude plays that have been performed but not published, and self-published works such as books from vanity presses or Arthurian stories on personal websites. We cannot, given the resources at our disposal, hope to cover comprehensively unpublished material or vanity publishing, and so we have not attempted to do so. Further, some of this material could be classified as “ephemera,” not intended to have the sort of permanent existence that inclusion in a bibliography would require. Our general criterion to determine whether a work is “published” has been whether or not it is available in a library, museum, or archive; a work that has been “archived” and is accessible to the public we take as “published,” while a work which has never been made accessible through a library or museum we have excluded as “private” or “ephemeral.” Thus understood, English-language fictional representations of the Arthurian legend after Malory are the subject of our bibliography. But the last term to be defined is perhaps the most difficult. Just what counts as “Arthurian”? First, it is interesting to note the way in which the king’s name comes to represent a plethora of characters, places, items, and events. Some characters, such as Guenevere, Merlin, or Lancelot, or objects like Excalibur, are so closely associated with the legendary king that their presence alone more or less guarantees “Arthurian” status. Others, like Taliesin or the Grail, have a long and independent tradition (pre- or post-medieval) apart from Arthur. Not every Grail carries with it Arthurian associations: sometimes it is solely the cup of the Last Supper, as in Thomas Costain’s The Silver Chalice (1953) which we omit for that reason; sometimes it is simply a generic symbol for a personal desire. And any name can be used with no Arthurian meaning intended: sometimes a Round Table is just a circular piece of furniture (much to the frustration of the Arthurian bibliographer who has made the effort to track the item down). Prophecies of Merlin provide plentiful examples of this phenomenon. In the seventeenth century, William Lilly published an annual almanac, for which he adopted the name of “Merlinus Anglicus”; later, the series was continued by Henry Coley, as “Merlinus Anglicus Junior.” Other similar almanacs appeared, attributed to “England’s Merlin” or “The Royall Merlin”; in the 1770s, another series of almanacs appeared under the name “Merlinus Liberatus.” Despite the use of the name “Merlin,” these are works concerned with the prognostication of current events (the weather for the next four seasons, the phases of the moon, the movements of the planets, current political events); they have nothing essential to do with Arthur’s Merlin or with Arthurian literature. “Merlin” is used in these cases merely as a nom de plume for a modern “prophet,” without implying that these prophecies were uttered in ancient times by the “real”

Introduction

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Merlin. Since these make no contribution to Arthurian literature, we have not included them in the bibliography, but anyone interested can find them listed in Wing’s Short Title Catalogue (A1435C–A1451, A2305A, A1879–A1919A, L2214, L2221, and M1751) and in the English Short Title Catalogue. On the other hand, collections of modern prophecies whose source is declared or implied to be the Arthurian Merlin are included here. The Mabinogion provides a slightly different example. (Note that we use the title “Mabinogion” for the twelve medieval Welsh tales which were so designated by Lady Charlotte Guest; we are aware that “Mabinogion” is not a real Welsh word, and that only the first four of those twelve tales are legitimately “branches of the Mabinogi”; our use of the term will refer to the Guest collection and its derivatives, without implying that Guest used the term correctly.) We are interested only in modern retellings or rewritings of the explicitly “Arthurian” items within that collection, of which there are six: 1) “Kilhwch and Olwen”; 2) “The Dream of Rhonabwy”; 3) “The Lady of the Fountain”; 4) “Peredur the Son of Evrawc”; 5) “Geraint the Son of Erbin”; 6) “Taliesin,” which is set in King Arthur’s time (this tale is not included in many of the later versions of the “Mabinogion,” but it is in Guest, and it is there explicitly “Arthurian”). Secondly, there are great numbers of works in which Arthurian names are “dropped” rather casually; many otherwise non-Arthurian works might once describe a hero as a “Lancelot” or a “Galahad.” Such works are not included; our bibliography limits itself to works in which the use of the legend is substantial. Obviously, retellings and rewritings of the legend, in whole or in part, represent substantial uses of the legend and are included. In addition, we include works whose use of Arthurian allusions contributes significantly to meaning or effect, either through the placement of such allusions at key moments (titles, for example), or through an extended pattern of allusions. Such allusions speak to the continuing power and presence of the legend. Authors confidently use Arthurian material as a reference point, certain of their audience’s recognition and understanding, and a whole constellation of meanings might be suggested by the name of a single Arthurian character. Other works may be said to have substantial “Arthurian” content even where no Arthurian name appears: a story, for instance, of a modern “love triangle” which employs a plot structure parallel to the stories of Guenevere or of Iseult will be “Arthurian” by our criteria, though we exclude those works (like the Harry Potter series) where the parallels are to romance forms generally, rather than specific Arthurian stories. Sometimes such allusions to the tradition are clear and straightforward; sometimes the meaning would seem not to agree with the knowledge of the “informed” Arthurian reader (the romance title Dad Galahad comes to mind, where the expectations of romance novels would seem to contradict traditional characterizations of Galahad’s sexual purity). But even those examples of (potential) miscommunication are interesting, indicating as they do the evolving associations of various elements of the legend, or the contradictory associations created by different strands of the tradition. For each of our entries, then, the annotations explain the nature and extent of the Arthurian content in the work. The annotations vary in length, for we did not set word limits on descriptions of items; our intention in all cases is to describe as accurately as possible, not simply the work in itself, but its contribution to and use of the Arthurian tradition. We therefore constructed annotations in as much detail as their interest and Arthurian content warranted. One consequence of this method needs to be noted: some works required more explanation of that content and its significance (particularly if there has been a history of scholarly debate about that content) than the more straight-forward items where the Arthurian content is well-known or obvious. Our goal was to provide such

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descriptions from the item itself, not from library catalogue information or other sources; in some instances, however, it was impossible to view items ourselves, and in those situations we denote a work as “not seen” (or “heard” or “viewed,” in the case of music or films) by ending the bibliographical description of the work with an asterisk within parentheses. Each entry consists of three major sections: a bibliographical description; reprint information; and annotation. In general, the bibliographical description is based upon a) the first appearance in print or b) the first appearance in book form (as for lyrics which might have appeared first in a newspaper but were then reprinted in a collection of the author’s works). However, we also include smaller sections of larger works that are printed later (a chapter of a novel which is then republished as a short story in an anthology, for example). Major reprints are indicated in the relevant section. We are not attempting to give the complete publishing history of any work, though we occasionally offer notes towards such a history. With many of the more important canonical works (Tennyson’s Idylls, for example), a full bibliographic history of even a single text can be a major project in its own right. Our goal, then, is to provide a separate entry for each Arthurian work. In the case of poems and songs, we give separate entries for each one in a collection, even if there are several, unless they fill the collection and create a unified larger work or series. (For example, William Morris’ “The Defence of Guenevere” is treated as a work separate from the other Arthurian poems in the collection of the same name, whereas Frank Davey’s King of Swords is a series of poems that together form a work; the songs that fill one of the albums of Medwyn Goodall provide another example of short pieces together creating an Arthurian work.) Pre-published sections of a longer work have a separate entry, in case a searcher only knows of that pre-published form, as do the excerpts discussed above. Because of this choice to provide separate entries for individual poems, short stories, songs, or illustrations, there is some repetition of bibliographic information. Believing that many of our readers will be using this volume as a reference work, we preferred to keep this repetition; readers looking for details of that single poem they are seeking, for example, will find all bibliographic information immediately, instead of pursuing short forms or cross-references. We trust that those who read through multiple entries will forgive the duplication. We have divided the bibliography into the following sections: Literature; Comic Books and Graphic Novels; Film, Television, and Radio; Music; Games; and Fine Art and Graphic Design. “Literature” is used here to designate all forms of primarily “verbal” art, whether intended to be read, staged, or heard; this section, then, includes not only poetry, novels, short fiction, and plays, but also audiobooks. These works are listed alphabetically by author’s last name, and subsequently by title if the author has multiple works; if no author is named, we have alphabetized by the title of the work. (For the sake of consistency and for ease of pursuing information in library searches, we have standardized authors’ names according to the naming conventions of the Library of Congress; we also list anonymous works by title to avoid a long, cumbersome group at the beginning of the section.) The “Comics” section includes serials and graphic novels with original Arthurian stories, as well as comic-book adaptations of literary texts, films, or television shows; they are listed alphabetically by title. “Film, Television, and Radio” includes works where the visual and audio component, technologically mediated, is primary; they are listed alphabetically according to title, although we have provided cross-references for the names of directors and major stars. “Music” includes songs (with or without words), musical dramas (where the music is a major part of the

Introduction

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production), and orchestral and instrumental works; these are listed alphabetically by composer’s last name, or, in the case of many popular songs, by performer (or performing group); again, cross-references are provided to facilitate searches by songwriters’ names. The “Games” section includes computer games, board games, and puzzle books; they are listed alphabetically by title. Finally, “Fine Art and Graphic Design” includes artworks and book illustrations, and these are listed alphabetically by the artist’s name. This bibliography then is intended for the use of general readers, students of literary and visual arts, collectors, librarians, and cultural historians. Arthurian studies are, by their very nature, interdisciplinary, though in the past they have been perceived to be primarily within the domain of literary studies; our bibliography is intended, among other things, to show how far the traditional idea of a bibliography needs to be stretched in order to deal with something like the Arthurian legend as a modern cultural phenomenon.

Sources Used in Compiling the Bibliography

Sources Used in Compiling the Bibliography Adlington, Robert. “‘Good lodging’: Harrison Birtwistle’s Reception of Sir Gawain and the Green Knight.” In King Arthur in Music. Ed. Richard Barber. Arthurian Studies 52. Cambridge: D. S. Brewer, 2002. 127–43. Agenda: David Jones Special Issue 5 (Spring-Summer 1967). American Film Institute. The American Film Institute Catalog of Motion Pictures Produced in the United States. Gen. ed. Kenneth W. Munden. 14 vols. New York: R. R. Bowker; Berkeley: University of California Press, 1971–1999. Andrews, Aletha. An Annotated Bibliography and Study of the Contemporary Criticism of Tennyson’s “Idylls of the King,” 1859–1886. American University Studies, Series 4: English Language and Literature 163. New York: Peter Lang Publishing, 1993. App, August J. [later known as “Austin”]. Lancelot in English Literature: His Rôle and Character. Washington, DC: Catholic University of America, 1929. App, Austin J. “Edwin Arlington Robinson’s Arthurian Works.” Thought (Dec. 1935): 467–79. Aquarius 10: In Honour of John Heath-Stubbs. Ed. Sebastian Barker and Eddie S. Linden. London: Martin Brian and O’Keeffe, 1978. Arthurian Association of Australia. Once and Future: Medieval and Modern Arthurian Literature. Occasional Papers 1. Epping, NSW: Arthurian Association of Australia, 2000. Ash, Russell. Dante Gabriel Rossetti. London: Pavilion Books; New York: Henry N. Abrams, 1995. Ash, Russell. Sir Edward Burne-Jones. London: Pavilion Books, 1993. Atherton, James S. The Books at the Wake. 2nd edn. Mamaroneck, NY: P. P. Appel, 1974. [Bagford Ballads (now in the British Library, London).] The Bagford Ballads, Illustrating the Last Years of the Stuarts. Ed. Joseph Woodfall Ebsworth. 5 vols. Hertford: Ballad Society, 1876–1880. Rptd.: 5 vols. in 2. New York: AMS Press, 1968. Barber, Richard. Arthur of Albion: An Introduction to the Arthurian Literature and Legends of England. Fwd David Jones. London: Barrie and Rockliff, with Pall Mall Press, 1961. 2nd edn.: King Arthur in Legend and History. Ipswich: Boydell Press, 1973. 3rd edn.: King Arthur: Hero and Legend. Woodbridge: Boydell and Brewer, 1986. Barber, Richard, ed. King Arthur in Music. Arthurian Studies 52. Cambridge: D. S. Brewer, 2002. Barczewski, Stephanie L. Myth and National Identity in Nineteenth-Century Britain: The Legends of King Arthur and Robin Hood. Oxford: Oxford University Press, 2000. Baxter, Sylvester. The Legend of the Holy Grail, as Set Forth in the Frieze Painted by Edwin A. Abbey for the Boston Public Library, with Description and Interpretation. Boston: Curtis and Cameron, 1904. Beebe, Lucius Morris. Aspects of the Poetry of Edwin Arlington Robinson, With a Bibliography by Bradley Fiske. Cambridge, MA: Privately Printed, for sale at the Dunster House Bookshop, 1928.

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Beebe, Lucius Morris. Edwin Arlington Robinson and the Arthurian Legend. Cambridge, MA: Privately Printed, for sale at the Dunster House Bookshop, 1927. Bell, Malcolm. Sir Edward Burne-Jones: A Record and Review. London: George Bell, 1903. Bendiner, Kenneth. The Art of Ford Madox Brown. University Park, PA: Pennsylvania State University Press, 1998. Biddle, Martin, ed. King Arthur’s Round Table: An Archaeological Investigation. Woodbridge: Boydell Press, 2000. Biddle, Martin, and Beatrice Clayre. Winchester Castle and the Great Hall. Winchester: Hampshire County Council, 1983. The Big Cartoon Database: an online database of information about animated television shows. Initiated and maintained by Dave Koch and others. . Birmingham Museums and Art Gallery. Catalogue of the Collection of Drawings and Studies by Sir Edward Burne-Jones, Dante Gabriel Rossetti, Sir J. E. Millais, Ford Madox Brown, Frederick Sandys, John Ruskin, and Others, Exhibited in the Upper Galleries of the Museum. Birmingham: Birmingham Museums and Art Gallery, 1913. Blackburn, William. “Spenser’s Merlin.” Renaissance and Reformation 4.2 (1980): 179–98. Blakemore, Trevor. The Art of Herbert Schmalz, with Monographs on Certain Pictures, by Various Writers, and 64 Illustrations. London: George Allen and Co., 1911. Blamires, David. David Jones: Artist and Writer. Manchester: Manchester University Press, 1971. Blamires, David. “The Ordered World: The Anathemata and ‘King Arthur is nat dede.’ ” Agenda 5 (Spring-Summer 1967): 101–11, 159–71. Board, Marilynn Lincoln. “Modernizing the Grail Quest: Gender, Theology, and Allegory in the Iconography of G. F. Watts.” Studies in Medievalism 7 (1995): 143–54. Boardman, Phillip C. “Arthur Redivivus: A Reader’s Guide to Recent Arthurian Fiction.” Halcyon: Journal of the Humanities 2 (1980): 41–56. Boughton, Rutland. “The Glastonbury Festival Movement.” In Somerset and the Drama. Ed. S[amuel] R[obinson] Littlewood, et al. The Somerset Folk Series 7. London: Somerset Folk Press, 1922. 56–74. Bradshaw, Percy V[enner], ed. The Art of the Illustrator, No. 10: W. Russell Flint. London: Press Art School, [1922]. Bradshaw, Percy V[enner], ed. The Art of the Illustrator, No. 18: W. Hatherell. London: Press Art School, [1922]. Brandt, Frederick R. Late 19th and Early 20th Century Decorative Arts: The Sydney and Frances Lewis Collection in the Virginia Museum of Fine Arts. Richmond, VA: Virginia Museum of Fine Arts, 1985. Brinkley, Roberta Florence. Arthurian Legend in the Seventeenth Century. Baltimore: Johns Hopkins University Press, 1932. [British Museum]. Catalogue of Drawings by British Artists and Artists of Foreign Origin Working in Great Britain, Preserved in the Department of Prints and Drawings in the British Museum. By Laurence Binyon. 4 vols. London: Trustees of the British Museum, 1898–1907. [British Museum]. Pre-Raphaelite Drawings in the British Museum. By J. A. Gere. London: British Museum Press, for the Trustees of the British Museum, 1994. Brooke-Rose, Christine. An A.B.C. of Ezra Pound. London: Faber and Faber, 1971. Brown, Paul A. “The Arthurian Legends: Supplement to Northup and Parry’s Annotated Bibliography (with further Supplement by John J. Parry).” JEGP 49 (Apr. 1950): 208–16.

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Bryden, Inga. Reinventing King Arthur: The Arthurian Legends in Victorian Culture. The Nineteenth Century. Aldershot, Hants., and Burlington, VT: Ashgate, 2005. Bulletin Bibliographique de la Société Internationale Arthurienne / Bibliographical Bulletin of the International Arthurian Society. (Annual since 1949.) Burne-Jones, Sir Edward. Drawings of Sir Edward Burne-Jones. London: Newnes, 1906. Burns, Winifred. “Edwin Arlington Robinson in the Hands of the Reviewers.” Poet-Lore 48 (1942): 164–76. Busby, Keith, ed. The Arthurian Yearbook. 3 vols. New York and London: Garland Publishing, 1991–1993. Carpenter, Frederick Ives. “Tristram the Transcendent.” New England Quarterly 11 (Sept. 1938): 501–23. Castleden, Rodney. King Arthur: The Truth Behind the Legend. London: Routledge, 2000. Casteras, Susan P., et al. Pocket Cathedrals: Pre-Raphaelite Book Illustration. New Haven, CT: Yale Center for British Art, 1991. [A book of essays to accompany an exhibition: Yale Center for British Art, 6 Mar.-5 May 1991.] Cavaliero, Glen. J. C. Powys: Novelist. Oxford: Oxford University Press, 1973. Cestre, Charles. “Le Tristan d’Edwin Arlington Robinson.” Revue Anglo-Americaine 5 (1927–28): 97–110, 218–28. Cestre, Charles. An Introduction to Edwin Arlington Robinson. New York: Macmillan, 1930. Christian, John. The Oxford Union Murals. Chicago Visual Library Text-Fiche 33. Chicago and London: University of Chicago Press, 1981. Clancy, Joseph. Pendragon: Arthur and his Britain. London: Macmillan, 1971. Clark, Walter A. Isaac Albéniz: A Guide to Research. Garland Reference Library of the Humanities 1932; Garland Composer Resource Manuals 45. New York and London: Garland Publishing, 1998. Clark, Walter A. Isaac Albéniz: Portrait of a Romantic. Oxford: Oxford University Press, 1999. Clark, Walter A. “King Arthur and the Wagner Cult in Spain: Isaac Albéniz’s Opera Merlin.” In King Arthur in Music. Ed. Richard Barber. Arthurian Studies 52. Cambridge: D. S. Brewer, 2002. 51–60. Clwyd County Library [now Flintshire County Library]. Y Casgliad Arthuraidd: Catalog / The Arthurian Collection: A Catalogue. Mold: Clwyd County Council, Library and Information Service, 1994. Coghlan, Ronan. An Illustrated Encyclopedia of Arthurian Legends. London: Claremont Books, 1996. Cole, Rex Vicat. The Art and Life of Byam Shaw. London: Seeley, Service and Co.; Philadelphia: J. B. Lippincott Co., 1932. Cowen, Janet, and Joanna Udall. “The Critical Misfortunes of Arthur?” Notes and Queries ns 30.5 [228] (Oct. 1983): 402–405. Crane, Walter. An Artist’s Reminiscences, With One Hundred and Twenty-Three Illustrations by the Author, and Others from Photographs. 2nd edn. London: Methuen and Co., 1907. Crowder, Richard. “E. A. Robinson’s Camelot.” College English 9 (1947): 72–9. Cuik, Andrzej. King Arthur and the Knights of the Round Table in Victorian Poetry. Studia i monografie 143. Opole: Wyzsza Szkola Pedagogiczna im. Powstancow Slaskich w Opolu, 1989. Cumming, Elizabeth. Phoebe Anna Traquair, 1852–1936. Edinburgh: Scottish National Portrait Gallery, 1993.

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Russo, Dorothy Ritter, and Thelma L. Sullivan. A Bibliography of Booth Tarkington, 1869–1946. Indianapolis: Indiana Historial Society, 1949. Scott, David. “William Patten and the Authorship of ‘Robert Laneham’s Letter.’ ” English Literary Renaissance 7 (1977): 297–306. The Scottish Arts Council. Fact and Fancy: Drawings and Paintings by Sir Joseph Noël Paton, RSA, 1821–1901. Edinburgh: The Scottish Arts Council, 1967. Sewter, A. C. “D. G. Rossetti’s Designs for Stained Glass.” Journal of the British Society of Master Glass Painters 13.2 (1960–1961): 419–24. Shay, Robert. “Dryden and Purcell’s King Arthur: Legend and Politics on the Restoration Stage.” In King Arthur in Music. Ed. Richard Barber. Arthurian Studies 52. Cambridge: D. S. Brewer, 2002. 9–22. Shefrin, Jill, and Dana Tenny. Told to the Children: An Exhibition of Juvenile Abridgements, Including Editions of Aesop’s Fables, King Arthur, Robin Hood, Chaucer, Shakespeare, Spenser, Fielding and Dickens, at the Osborne Collection of Early Children’s Books, Nov. 20, 1992 to Feb. 12, 1993. Toronto: Toronto Public Library, 1992. Shepherd, Kristen Adelle. “Marie Spartali Stillman: A Study of the Life and Career of a Pre-Raphaelite Artist.” M.A. thesis. Washington: George Washington University, 1998. Simeone, Nigel. “An Exotic Tristan in Boston: the First Performance of Messiaen’s Turangalîla-Symphonie.” In King Arthur in Music. Ed. Richard Barber. Arthurian Studies 52. Cambridge: D. S. Brewer, 2002. 105–25. Sklar, Elizabeth S., and Donald L. Hoffman, ed. King Arthur in Popular Culture. Fwd Alan Lupack. Jefferson, NC: McFarland and Co., 2002. Slocum, Sally K., ed. Popular Arthurian Traditions. Bowling Green, OH: Bowling Green State University Popular Press, 1992. Smirke, Edward. “On the Hall and Round Table at Winchester.” In Proceedings of the [2nd] Annual Meeting of the Archaeological Institute of Great Britain and Ireland at Winchester, September, MDCCCXLV. London: Archaeological Institute, 1846. 44–67 (of a section of “Architectural Notes”). Smith, Jeanette C. “The Role of Women in Contemporary Arthurian Fantasy.” Extrapolation 35.2 (Summer 1994): 130–44. Snyder, Christopher. The World of King Arthur. London: Thames and Hudson, 2000. Spalding, Frances. Magnificent Dreams: Burne-Jones and the Late Victorians. Oxford: Phaidon, 1978. Spearing, A. C. “Classical Antiquity in Chaucer’s Chivalric Romances: Malory, Tennyson, and Elaine of Astolat.” In Chivalry, Knighthood, and War in the Middle Ages. Ed. Susan J. Ridyard. Sewanee Mediaeval Studies 9. Sewanee, TN: University of the South Press, 1999. 53–73. Spencer, Isobel. Walter Crane. London: Studio Vista, 1975. Spindler, Robert. “Die Arthursage in der viktorianischen Dichtung.” In Britannica: Max Förster zum sechzigsten Geburtstage, 1869 * 8 März * 1929. Leipzig: Berhard Tauchnitz, 1929. 249–66. Spivack, Charlotte. Merlin: A Thousand Heroes with One Face. Lewiston, NY; Queenston, ON; and Lampeter, Dyfed: Edwin Mellen Press, 1994. Spivack, Charlotte. “Merlin Redivivus: The Celtic Wizard in Modern Literature.” The Centennial Review 22 (1978): 164–79. Staines, David. “King Arthur in Victorian Fiction.” In The Worlds of Victorian Fiction. Ed. Jerome H. Buckley. Cambridge, MA: Harvard University Press, 1975. 267–93. Starr, Nathan C[omfort]. King Arthur Today: The Arthurian Legend in English and American Literature, 1901–1953. Gainesville: University of Florida Press, 1954.

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Steinbeck, John. A Life in Letters. Ed. Elaine Steinbeck and Robert Wallsten. London: Heinemann, 1975. Stewart, H. Alan. “Camelot in Four Colors: A Survey of the Arthurian Legend in Comics.” . Stewart, H. Alan. “King Arthur in the Comics.” Avalon to Camelot 2 (1986): 12–14. Suriano, Gregory R. The Pre-Raphaelite Illustrators: The Published Graphic Art of the English Pre-Raphaelites and their Associates, with Critical Biographical Essays and Illustrated Catalogues of the Artists’ Engraved Works. London: British Library; New Castle, DE: Oak Knoll Press, 2000. Tanner, William E., ed. The Arthurian Myth of Quest and Magic: A Festschrift in Honor of Lavon B. Fulwiler. Dallas: Caxton’s Modern Arts, 1993. Taylor, Beverly, and Elisabeth Brewer. “Arthurian Literature since 1800: A Chronological List.” In The Return of King Arthur: British and American Literature since 1800. Arthurian Studies 9. Cambridge: D. S. Brewer, 1983. 324–64. Taylor, G. L., intro. Centenary Exhibition of Works by Eleanor Fortescue-Brickdale. Oxford: Ashmolean Museum, 1972. Ten Bensel, E[lise] van der Ven. The Character of King Arthur in English Literature. Amsterdam: H. J. Paris, 1925. Tennyson, Alfred Tennyson, Baron. Some Poems by Alfred Lord Tennyson, with Illustrations by W. Holman Hunt, J. E. Millais and Dante Gabriel Rossetti, Printed from the Original Wood Blocks Cut for the MDCCCLXVI Edition, with Photogravures from Some of the Original Drawings Now First Reproduced, with a Preface . . . Treating of the Illustrators of the Sixties, and an Introduction. Illus. W. Holman Hunt, J. E. Millais, and Dante Gabriel Rossetti. Pref. Joseph Pennell. Intro. W. Holman Hunt. London: Freemantle and Co., 1901. Tennyson, Halam Tennyson, Baron. Alfred Lord Tennyson: A Memoir. London: Macmillan, 1897. Thomas, Jill L. Paintings, Drawings, and Prints, by William Russell Flint, R.A. (1880–1969): A Major Gift to the Smart Gallery by Julius and Harriet S. Hyman and Michael S. Hyman; An Exhibition Arranged by Jill L. Thomas, May–July, 1977. Miscellaneous Publications of the David and Alfred Smart Gallery 2. Chicago: David and Alfred Smart Gallery, University of Chicago, 1977. Thompson, Raymond H. The Return from Avalon: A Study of the Arthurian Legend in Modern Fiction. Contributions to the Study of Science Fiction and Fantasy 14. Westport, CT: Greenwood Press, 1985. Torregrossa, Michael. “Camelot 3000 and Beyond: An Annotated Listing of Arthurian Comic Books Published in the United States, c.1980–1998.” Arthuriana 9.1 (Spring 1999): 67–109. A revised and expanded version is available online as part of the Camelot Project website: . Tyzack, Charles R. P. “‘King Arthur’s Tomb’: The Versions of D. G. Rossetti and William Morris Compared.” Trivium (Lampeter) 8 (1973): 127–32. Van Doren, Mark. Edwin Arlington Robinson. New York: Literary Guild of America, 1927. [Wade, Christopher.] Exhibition of the Works of Sir William Russell Flint, R.A., P.P.R.W.S. London: The Associated Galleries of Christopher Wade and Frost and Reed, [1979]. Walker, R[ainforth] A[rmitage]. “Le Morte Darthur” with Beardsley Illustrations: A Bibliographical Essay. Bedford: Published by the author, 1945. Walsdorf, John J. William Morris in Private Press and Limited Editions: A Descriptive

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Bibliography of Books By and About William Morris, 1891–1981. Fwd Sir Basil Blackwell. Phoenix: Oryx Press, 1983. Ward, Barry J. “King Arthur in Traditional Music.” Keystone Folklore ns 2 (1983): 23–33. Waugh, Evelyn. A Little Learning: The First Volume of an Autobiography. London: Chapman and Hall, 1964. Warner, Sylvia Townsend. T. H. White: A Biography. London: Jonathan Cape, with Chatto and Windus, 1967. Watson, Derek. “Wagner: Tristan and Isolde and Parsifal.” In King Arthur in Music. Ed. Richard Barber. Arthurian Studies 52. Cambridge: D. S. Brewer, 2002. 23–34. Whitaker, Muriel A. I. “Flat Blasphemies: Beardsley’s Illustrations for Malory’s Morte Darthur.” Mosaic 8 (1975): 67–75. Whitaker, Muriel A. I. The Legends of King Arthur in Art. Arthurian Studies 22. Cambridge: D. S. Brewer, 1990. Whitaker, Muriel A. I. “The Woman’s Eye: Four Modern Arthurian Illustrators.” In Arthurian Women: A Casebook. Ed. Thelma S. Fenster. Arthurian Characters and Themes 3; Garland Reference Library of the Humanities 1499. New York and London: Garland Publishing, 1996. 263–86. White, Colin. The Enchanted World of Jessie M. King. Edinburgh: Canongate, 1989. Whiting, B. J. “Historical Novels 1948–1949.” Speculum 25 (1950): 104–22. Wildman, Mary. “Twentieth-Century Arthurian Literature: An Annotated Bibliography.” Arthurian Literature 2 ([1982]): 127–62. With a supplement by Ronan Coghlan and Toshiyuki Takamiya in Arthurian Literature 3 ([1983]): 126–36; another supplement: in Arthurian Literature 4 (1985 [for 1984]): 172; by A. H. W. Smith in Arthurian Literature 10 (1990): 135–60; by A. H. W. Smith in Arthurian Literature 13 (1995): 157–87. Wildman, S. G. The Black Horseman: Some English Inns and King Arthur. London: John Baker, 1971. Wildman, Stephen, and John Christian. Edward Burne-Jones: Victorian Artist-Dreamer. New York: Metropolitan Museum of Art / Harry N. Abrams, 1998. Williams, Gwyn A. Excalibur: The Search for Arthur. London: BBC Books, 1994. Williamson, Ian. Harold Hitchcock: A Romantic Symbol in Surrealism. Fwd. Christopher Wright. New York: Walker and Co., 1982. Wilmut, Roger. The Goon Show Companion: A History and Goonography. London: Robson Books, 1976. Windling, Terri. “Pathways through Enchanted Lands: The Art of Alan Lee.” Realms of Fantasy 4 (Jan. 1998): 66–71. Wing, Donald G. Short-title Catalogue of Books Printed in England, Scotland, Ireland, Wales, and British America and of English Books Printed in Other Countries, 1641–1700. 2nd edn. Ed. Timothy J. Crist, John J. Morrison and Carolyn W. Nelson, et al. 3 vols. New York: Modern Language Association of America, 1972–1988. Wolff, Lucien. “Tristan und Yseult dans la poésie anglaise au XIXe siècle.” Annales de Bretagne 40 (1932): 113–52. Wood, Christopher. The Pre-Raphaelites. London: Weidenfeld and Nicolson, 1981. [Wood Ballads (collection of Anthony Wood, now in the Bodleian Library, Oxford).] Accessible online at the Bodleian Library website: . Woodall, Natalie Joy. “‘Women are knights-errant to the last’: Nineteenth-Century Women Writers Reinvent the Medieval Literary Damsel.” In Reinventing the Middle Ages and the Renaissance: Constructions of the Medieval and Early Modern Periods. Ed. William F. Gentrup. Arizona Studies in the Middle Ages and the Renaissance 1.

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Turnhout, Belgium: Brepols Publishers, for the Arizona Center for Medieval and Renaissance Studies, Arizona State University, 1998. Wroot, Herbert E. “Pre-Raphaelite Windows at Bradford.” The Studio 72 [296] (15 Nov. 1917): 69–73. Wülcker, Richard Paul. Die Arthursage in der englischen Literatur. Leipzig: A. Edelmann, 1895.

A. Literature A-1 “a. µ.” [pseud.]. “Guinevere.” The World (London) no. 1074 (30 Jan. 1895): 26. A Petrarchan sonnet. Although Excalibur, Lancelot, Vivien, and Elaine are gone, Guinevere endures as long as women are desirable and treacherous: “We love to feel our necks beneath her feet / For only she has found the Grail of Love.”

A-2 Ab Hugh, Dafydd. Arthur War Lord. Arthur War Lord 1. New York: Avon Books, 1994. An SAS major follows a terrorist back in time to stop her from changing history. The major becomes Lancelot, but he does not know which of the members of Arthur’s court harbours the terrorist. He must find her while surviving the intricacies of Arthurian politics and Masonic plots. Malory is mentioned often, though the major finds the Arthurian world quite different from that of Malory’s depiction.

A-3 Ab Hugh, Dafydd. Far Beyond the Wave. Arthur War Lord 2. New York: Avon Books, 1994. The continuation of Arthur War Lord in which Peter / Lancelot leads an attack on Jutish invaders and finally discovers, among various major and minor plots and betrayals, who the terrorist is. Ab Hugh uses the idea of a royal line descended from Jesus and Mary Magdalene as a major plot thread.

A-4 Abbey, Lynn. Conquest. Illus. Robert Gould. Unicorn and Dragon 2. New York: Avon Books, 1988. Rptd: The Green Man. London: Headline, 1989. The continuing story of Alison Hafwynder, the last High Priestess in Avalon, and her “half-sister,” Wildecent. After the death of Lady Ygurna, the two “sisters” share the duties of the lady of the manor. Soon, however, the two are forced to leave the manor and accompany Stephen to his Norman uncle’s castle, where they find themselves hostages in the Norman-English struggle, and where the Norman uncle declares his intention to marry Alison.

A-5 Abbey, Lynn. Unicorn and Dragon. Illus. Robert Gould. Unicorn and Dragon 1. New York: Avon Books, 1987. Alison Hafwynder is the last High Priestess in Avalon. This is a fantasy novel set in eleventhcentury England, at the time of the death of King Edward and just before the Norman invasion, concerning three women (old Lady Ygurna and her two young “daughters” – one of whom is really her sister’s daughter and the other a foster child), whose house (Hafwynder Manor) is the last bastion of ancient Celtic paganism and magic (the “Old Ways”) in Anglo-Saxon England. The adventure revolves around a young Norman nobleman, Stephen, who is found wounded and is brought to the manor to be nursed back to health, and with whom Alison becomes close. Just before the end of the first novel (there is one sequel published so far), as Lady Ygurna is dying, Alison, the young niece, is told that she is to be the last Priestess of Avalon, representative of the old gods on earth. The Arthurian connections are slight: there is the name of “Ygurna,” the broad parallel between Alison and Wildecent, on the one hand, and Morgan and Morgawse, on the other (the one “magical” and the other not); and the name “Avalon” (though it seems not to be a physical place but some sort of spiritual reality: there are no references to Glastonbury and its legends, for instance); there is also the character of Ambrose the Greek Sorcerer, who is something of a Merlin figure (companion and protector to the principal male lead, Stephen). The author has indicated on her website that the project began as an Arthurian story in imitation of Marion

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Zimmer Bradley; further, the series was planned to be six volumes but was abandoned after two (cf. ).

A-6 “The Accolade of the Soul.” Excalibur: The Chronicle of the Fellowship of the Round Table 2.4 (July 1933): 148–49. An anonymous poem, in eleven quatrains, in which a young man keeps vigil and prays for strength; in the morning he is answered with a voice from heaven, which declares that “The blessed vision of the Holy Grail / Is for the pure in heart,” but other “knights of God” may also attain grace through long and faithful service. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-7 Acker, Kathy. Don Quixote Which Was a Dream. New York: Grove Press, 1986. This postmodern novel tells of the quest of a woman who takes the name Don Quixote. The quest, which is to understand love and relationships, is compared to the quest for the Grail, and, near the end, Guenevere appears in one of the protagonist’s visions.

A-8 Ackerman, Felicia. “Flourish Your Heart in This World.” In Clones and Clones: Facts and Fantasies about Human Cloning. Ed. Martha Nussbaum and Cass Sunstein. New York: W. W. Norton, 1998. 310–31. This short story is set in the near future and is about a hospice nurse and her favourite patient who is dying of hepatitis. The title is a quotation from Malory, and the two characters talk about Malory’s text a few times during the story; it is used as the characters reflect upon decisions to accept fate or strive to change their lives, and it also provides a model for feelings of love and betrayal.

A-9 Adams, Oscar Fay. “Post-Laureate Idyls.” Post-Laureate Idyls and Other Poems. Boston, MA: D. Lothrop and Co., 1886. 9–87. Adams’ “Idyls” are parodies of Tennyson’s, combining Arthurian characters and incidents with nursery rhymes like Miss Muffett, Old King Cole, and Jack and Jill; some follow Tennyson’s poems very closely while others have little to do with the Arthurian world. “The Rape of the Tarts” has Iseult as the Queen baking pastry; “At the Palace of King Lot” casts Lot as the king counting his money while the queen eats bread and honey; “Sir Evergreen” is a story told to Arthur’s ambassador about a huge knight on a quest for strawberries; “Thomas and Vivien” has the wily Vivien spying on Tom the piper’s son; “The Vision of Sir Lamoracke” occurs at the end of the Grail Quest and ends with a familiar riddle about travelling to St Ives; Dagonet sings songs to Arthur in “The Return from the Quest”; “The Maid’s Alarm,” one of the poems most faithful to Tennyson, rewrites Tennyson’s “Guinevere” and Miss Muffett; “The Water Carriers” tells the story of Elaine of Astolat’s brother’s life after Camlann, and that of his children Jack and Gill; “The Passing of the Sages” has Sir Sagramour retelling the story of the wise men of Gotham; the last “idyl,” “Constantius and Helena,” is pre-Arthurian and rewrites the Old King Cole nursery rhyme.

A-10 Adams, Oscar Fay. “Post-Laureate Idylls, Second Series.” Sicut Patribus and Other Verse. Boston, MA: Printed for the author, 1906. 83–121. The second series of Tennysonian parodies includes “The Pleading of Dagonet,” “The Vision of Sir Lionel,” “The Pleasaunce of Maid Marian” (based on the story of Tristan and Iseult), and “Gawain and Marjorie.”

A-11 The Adventures of Sir Lancelot, Adapted from the Television Film Series Starring William Russell. Adapt. by John Paton. London: L. T. A. Robinson, 1957. A novelization of episodes from the television series starring William Russell, and produced by Hannah Weinstein and Sapphire Film Productions for the Incorporated Television Programme Co. Lancelot and his squire Brian have a variety of adventures. One or two are based on traditional Arthurian characters and episodes, such as Guenevere’s abduction and Lancelot’s rescue of

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her, but most are original to this series. (See also the entry for “The Adventures of Sir Lancelot” in the “Film, Television, and Radio” section.)

A-12 The Adventures of Sir Lancelot, Adapted from the Television Film Series Starring William Russell, Book 2. Adapt. by Arthur Groom. Illus. R. S. Embleton. London: Adprint, 1958. A second novelization of episodes from the television series. (See also the entry for “The Adventures of Sir Lancelot” in the “Film, Television, and Radio” section.)

A-13 [The Adventures of Sir Lancelot.] Sir Lancelot, based on the Television Series. Adapt. by Dorothy Haas. Illus. Helmuth Wegner. The Big Little Book (TV Series) 1649. Racine, WI: Whitman, 1958. (*) A novelization of episodes of the television series “The Adventures of Sir Lancelot”; each opening has a still photograph from the television programme on the right side (Gaines, Item C74). (See also the entry for “The Adventures of Sir Lancelot” in the “Film, Television, and Radio” section.) (Information from Gaines.)

A-14 Ahern, Jerry, and Sharon Ahern. “Siege Perilous.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 191–212. A priest is sent to contend with neo-Nazi sympathizers who are trying to steal the Grail from a Jesuit priest. The Arthurian allusions cluster towards the beginning of the story, when the protagonist is first asked what he knows about the Grail. The protagonist gives the codename “Siege Perilous” to the mission to which he has been assigned.

A-15 Aiken, Conrad. “Said Isolde to Tristan: ‘How curious. . . .’ ” A Seizure of Limericks. London: W. H. Allen, 1965. 8. Rptd: The Penguin Book of Limericks. Ed. E. O. Parrott. Illus. Robin Jacques. London: Allen Lane, 1983. 153. In this limerick, Isolde comments on Wagner’s portrayal of the lovers.

A-16 Aiken, Joan. “Jehane of the Forest.” In Girls’ Adventure Stories of Long Ago. Illus. Will Nickless. London: Paul Hamlyn, 1968. (*) Jehane is aided by, and eventually married to, Sir Huon of Arthur’s court.

A-17 Aiken, Joan. The Stolen Lake. Illus. Pat Marriott. London: Jonathan Cape, 1981. This alternative history fantasy novel for young adults takes place in “Roman America”; its protagonist is a young girl named Dido Twite. After Arthur’s last battle, survivors of his reign emigrated to South America; when Dido arrives she meets a thirteen-hundred-year-old Queen Guenevere who is waiting for Arthur to return. Besides Arthur and Guenevere, many other characters have Arthurian names.

A-18 Aitken, Amy. Ruby the Red Knight. Scarsdale, NY: Bradbury Press, 1983. Ruby is a young girl with a great imagination. After visiting an exhibition about knights at a museum, she pretends to be a knight who saves the kingdom from an evil wizard by making him laugh. The kingdom is not named in the story, but in the pictures (also by Aitken) the knights sit at a round table, and the dust jacket names the kingdom “Camelot” (further, the Library of Congress description of the story calls Ruby “a knight of the Round Table [who] accepts King Arthur’s challenge”).

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A-19 Akhurst, William Mower. King Arthur; or, Launcelot the Loose, Gin-ever the Square, and the Knights of the Round Table and Other Furniture. Melbourne: R. Bell, 1868. This play is described on the title-page as a “burlesque extravaganza,” and it was first produced at the Theatre Royal in Melbourne on 31 Oct. 1868. It is divided into six scenes and focuses on the sword in the stone episode, Lancelot’s love for Guenevere and Elaine of Astolat’s love for him, and the final battle. Most of it is in rhyming couplets, incorporating a number of puns and allusions to works of other writers (Tennyson and Shakespeare primarily). A number of folk songs are also interspersed. (See also the entry for Akhurst in the Music section.)

A-20 Alama, Pauline J. “Muirgan, the ‘Sea-Born.’” In A Round Table of Contemporary Arthurian Poetry: Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 29. In this sixteen-line poem, Morgan finds renewal as she walks beside the sea.

A-21 Alden, Ken. “The Figure in Darkness.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 195–207. Sir Bors is the hero of this short story, which tells of one of the tests from which he must learn in order to find the Grail. The figure mentioned in the title is both the person in the monk’s prophecy and Bors himself.

A-22 Alexander, Victoria. Believe. Heartspell. New York: Love Spell / Dorchester Publishing, 1998. A time travel romance novel. A twentieth-century professor who does not believe in a historical Arthur is transported by Merlin back to Arthurian times where she is supposed to aid Galahad in his quest for the Grail. While very little of the story takes place in Camelot, the protagonist Tessa does meet Arthur, Guenevere, and Lancelot; Vivian, Mordred, and Merlin have major roles; and Galahad is the romantic interest (Tessa herself notes that the idea of Galahad as a virgin knight is merely part of the myth). Only when she believes in magic and love can Tessa help Galahad thwart Mordred’s evil intentions to prevent them from achieving their quest.

A-23 Alford, Henry. “The Ballad of Glastonbury.” The Poetical Works of Henry Alford. Boston, MA: Ticknor, Reed, and Fields, 1853. 32–43. This poem of thirty-three eight-line stanzas begins with the speaker viewing Glastonbury Tor near Nether Stowey. He asks for a vision of the history of the place, and the majority of the poem presents vignettes of different moments in Glastonbury’s history. Eleven stanzas describe Joseph of Arimathea’s arrival in Britain. Three stanzas recount the death of Arthur and his being brought to Avalon, here identified with Glastonbury.

A-24 Allison, John Drummond. “After Lyonesse.” The Yellow Night: Poems 1940–41– 42–43. Illus. David Haughton. London: Fortune Press, 1944. 11. Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 7. A poem of thirty-two lines of blank verse, in which The Serf surveys the carnage of Camlann and then despoils the bodies of the dead; Arthur and Merlin are mentioned. This poem is a grim commentary on the ideals of chivalry and the reality of war.

A-25 Allison, John Drummond. “Arthur and Pellinore.” In Poetry from Oxford in Wartime. Ed. William Bell. London: Fortune Press, 1945. 10. Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 61. This poem (in five seven-line stanzas) begins with a description of the battle between Arthur and

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Pellinore, but it then reflects upon a number of the characters of Arthurian legend and the weaknesses that lead to the fall of the kingdom.

A-26 Allison, John Drummond. “Ewaine.” In Poetry from Oxford in Wartime. Ed. William Bell. London: Fortune Press, 1945. 12. Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 64. A poem of eighteen lines, reminiscent of the story of Yvain, but with a focus upon the lion’s history and fate.

A-27 Allison, John Drummond. “Ireland in Arthur’s Time.” In Poetry from Oxford in Wartime. Ed. William Bell. London: Fortune Press, 1945. 11. Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 62–63. This poem (of five seven-line stanzas) reflects on the fate of a number of Irish warriors who are defeated by Arthurian knights, and compares them to the speaker’s own generation of warriors.

A-28 Allison, John Drummond. “King Brandegoris.” The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 77–78. This poem is a dramatic monologue spoken by Brandegoris (a minor king in Malory) as he views his desolate kingdom; the editor’s notes to the poem compare him to the Fisher King.

A-29 Allison, John Drummond. “King Lot’s Envoys.” In Poetry from Oxford in Wartime. Ed. William Bell. London: Fortune Press, 1945. 12. Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 65. In this short poem (two stanzas of four lines), the speaker imagines himself as one of those who attack King Lot’s envoys.

A-30 Allison, John Drummond. “Not Their Cruelty or Economic Motive.” In Eight Oxford Poets. Ed. Michael Meyer and Sidney Keyes. London: George Routledge and Sons, 1941. 57. Rptd: The Yellow Night: Poems 1940–41–42–43. Illus. David Haughton. London: Fortune Press, 1944. 9. – The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 4. This four-stanza poem comments on the rise and fall of ambitious men; Arthur’s end is mentioned, along with those of several other legendary figures.

A-31 Allison, John Drummond. “The Queen’s Maying.” The Yellow Night: Poems 1940–41–42–43. Illus. David Haughton. London: Fortune Press, 1944. 16. Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 13. The Queen sings, in three six-line stanzas, of love and Maying, but the speaker doubts that the season stops hate or dying. Meliagraunce is mentioned as now “out of fashion.”

A-32 Allison, John Drummond. “The Remnant.” In Eight Oxford Poets. Ed. Michael Meyer and Sidney Keyes. London: George Routledge and Sons, 1941. 58–60. Rptd: The Yellow Night: Poems 1940–41–42–43. Illus. David Haughton. London: Fortune Press, 1944. 7–8.

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– The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 2–3. This poem, in sixty-four lines of free verse, captures the bitterness of the court after the Grail quest by using imagery of World War II. The version that appears in Eight Oxford Poets has an epigraph from Malory Book 18, Chap. 1.

A-33 Allison, John Drummond. “Whose Spirit Swords.” The Yellow Night: Poems 1940–41–42–43. Illus. David Haughton. London: Fortune Press, 1944. 28. Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 30. In a poem of twelve lines, the speaker offers good wishes to the auditor of living in a country in which “farmers urge your dogs to chase / Their sheep,” and in which “Tom Mann and King Arthur / And your imaginary brothers” are alive.

A-34 Anderson, Colleen. “Parsival’s Remorse.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 35. A poem expressing Parsival’s remorse after completing the Quest.

A-35 Anderson, Colleen. “A Question of the Grail.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 31. This poem plays on the need to ask the correct question in order to achieve the Grail. The speaker is a “Lady” who asks questions of the searchers and then reveals the questions that they fail to ask.

A-36 Anderson, Colleen. “The Turning.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 60. Arthur, the speaker of this poem, has returned to the modern, technological world in order to save it; seeing the state of the world, however, causes him to despair: the dangers of technology are something too strange even for Morgause.

A-37 Anderson, Dennis Lee. Arthur, King. New York: HarperPrism, 1995. A novel, describing the final battle between Arthur and Mordred, in which the latter uses magic to escape to the twentieth century. Merlin sends Arthur after Mordred, to reclaim Excalibur as well as a book of magic that Mordred has stolen from Merlin. The confrontation between father and son occurs during the Battle of Britain in World War II, as Mordred flies as part of Hitler’s Luftwaffe, and Arthur is a member of the RAF.

A-38 Anderson, Jim. “Elaine, Maid of Astolat.” Flamingo (Rollins College) (Fall 1948): 20–24. This short story retells the Elaine and Lancelot story, with many humorous asides.

A-39 Anderson, Poul. A Midsummer Tempest. Garden City, NY: Doubleday and Co., 1974. Rptd: New York: Tor Books / Tom Doherty Associates, 1984. An alternate-history novel, in which everything that Shakespeare wrote is true. The story is set in the time of Charles I and Cromwell’s rebellion; the fairy folk of A Midsummer Night’s Dream battle the Puritans who threaten their existence. King Arthur and the Knights of Avalon join the Royalist forces in their last stand on Glastonbury Tor.

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A-40 Anderson, Poul. Three Hearts and Three Lions. Garden City, NY: Doubleday and Co., 1961. Rptd: Riverdale, NY: Baen, 1993. Holger Carlsen, fighting in World War II, is suddenly thrown into a parallel universe. With the help of a dwarf, a swan-maiden, and a Saracen, who may or may not be his friend, Holger has to find the sword Cortana; only then will he realize his true identity: Ogier the Dane. Morgan appears several times, trying to prevent his involvement in the conflict between humans and Faerie, but it is evident that she also cares for him, and there are several references to their time together in Avalon. Arthur and Excalibur are also mentioned. (An early version of the novel was published in two parts in The Magazine of Fantasy and Science Fiction, Sept. and Oct. 1953.)

A-41 Andrews, Charlton. “Ballade of the King to Come.” Journal of Education (Boston) 67 (16 Jan. 1908): 66. A ballade in three eight-line stanzas plus a four-line envoi. The speaker imagines a perfect world when Arthur returns; various Arthurian characters are mentioned, with an indication of the way in which their stories will ultimately end happily.

A-42 Ankenbrand, Frank, Jr. Lancelot Speaks to Guinevere (While Flames of Dawn Mist Glow in the Moss Rocks). Broadside no. 1. Philadelphia: Alpress, 1935. (*) A poem, printed as a broadside sheet; first line: “When songs are done.” (Information from OCLC WorldCat entry.)

A-43 Ankenbrand, Frank, Jr. “Tristram and Iseult: A Play in Five Acts.” Collected Poems. London and New York: John Lane / The Bodley Head, 1911. 89–176. (*) A play, drawing on Bédier’s “Tristram.”

A-44 Anspacher, Louis K[aufman]. Tristan and Isolde: A Tragedy. New York: Brentano, 1904. In this five-act play, Tristan returns to Tintagel, unable to stay away from Iseult any longer. They are betrayed by one of the king’s retainers, who later fatally stabs the defenceless Tristan. In this version, Mark, although hurt by the lovers’ actions, does not wish them harm.

A-45 Aquino, John T. “A Figure in Faerie Time.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 427–39. This story of Sir Pelleas, original to this anthology, reveals that the episode with Gawain and Etarre was part of a larger pattern; from Troy to Camelot to nineteenth-century London, Nimuë and Pelleas re-enact the same drama repeatedly. Aquino includes references to Gilbert and Sullivan and their opera Iolanthe in discovering this pattern.

A-46 Aquino, John T. “The Sad Wizard.” Illus. James A. Mitchell. Fantasy Book 4.4 [18] (Dec. 1985): 34–39. Rptd: The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 393–408. This tale is set in Elizabethan England. Merlin, though imprisoned in a cave, attempts to influence the course of human events through gullible young men. The final scene takes place in Avalon and plays on the idea of Arthur’s return.

A-47 Ardagh, Philip. Celtic Myths and Legends. Illus. G. Barton Chapple. London: Belitha, 1998. Rptd: New York: Dillon Press, 1999.

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A collection of brief retellings of various Celtic hero tales, including “Arthur and the Sword in the Stone” (24–29) and “The Death of King Arthur” (30–35). Each story is preceded by a full-page colour illustration, with a partial-page colour illustration at its end.

A-48 Arden, John, and Margaretta D’Arcy. The Island of the Mighty: A Play on a Traditional British Theme in Three Parts. London: Eyre Methuen, 1974. This trilogy of plays offers a historical reconstruction of the Arthurian stories. Arden says in his introduction that he was influenced by Malory, and wrote with a naturalistic vision of landscape on which the drama is to be enacted (the plays were originally intended for television rather than the stage). The action of all three plays is set in the early sixth century, during a period of Saxon invasions late in Arthur’s life. The first play presents the Balin and Balan story, combined with Pellam’s revolt against Arthur (here an elderly General). The second play presents Arthur’s marriage to Guenevere as a means of alliance. She discovers, through Morgan, her heritage as a daughter of Branwen, and marks Mordred as her lover. Arthur has played the role of Branwen’s lover in earlier times; it led to his lameness and to the begetting of Mordred, and to digging up the buried head of Bran. This section of the drama ends with the battle of Camlann. The last part concerns Merlin’s madness; he was a major character and advisor to Arthur in the first two plays but, after the battle, he becomes the madman of the woods.

A-49 Armstrong, Anthony [pseud.], [i.e., Anthony Armstrong Willis.] “Sir Borlays and the Dark Knight.” Illus. W. Heath Robinson. The Strand Magazine 86 (July-Dec. 1933): 634–43. Rptd: The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 273–86. This comic story tells the adventures of a stout knight as he tries to save a damsel supposedly in distress. While Arthur is mentioned several times as the king, and the damsel is named Iseult, the other characters are not traditional.

A-50 Armstrong, Hamilton Fish. “Tintagel.” The Bellman 1913. Rptd: Literary Digest 46 (21 June 1913): 1398. This poem is divided into five four-line stanzas. It begins by describing Tintagel, and then exhorts the reader to ignore fear and distraction and to follow Arthur’s vision.

A-51 Arnason, Eleanor. “The Dog’s Story.” Illus. Darryl Elliott. Isaac Asimov’s Science Fiction Magazine (May 1996): 60ff. Rptd: Isaac Asimov’s Camelot. Ed. Gardner Dozois and Sheila Williams. New York: Ace Books, 1998. 201–41. The adventures of a dog – a human rapist turned into a dog by Merlin – are recounted, with focus upon his sexual escapades; he spends many years in Merlin’s company, sometimes in human form. The climax of the story is the episode of Merlin’s entrapment under a rock by Nimuë, confirming the dog’s suspicions of her, but leaving the dog bereft.

A-52 Arnold, Matthew. “Stanzas from Carnac.” New Poems. London: Macmillan, 1867. 119–22. Rptd: Poetical Works of Matthew Arnold. Ed. C. B. Tinker and H. F. Lowry. 3rd edn. London, New York, and Toronto: Oxford University Press, 1950. 273–75. The speaker describes Carnac, on the coast of Brittany, including references to “Saint Michael’s Chapel” (2) and Merlin’s continued presence in his “forest-grave” (8).

A-53 Arnold, Matthew. Tristram and Iseult. Empedocles on Etna and Other Poems. London: B. Fellowes, 1852.

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Rptd: Frequently reprinted, including in “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 91–114. – Arthurian Poets: Matthew Arnold and William Morris. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 23–50. This poem is divided into three parts, each one titled after the name of one of the major characters: Tristan, Iseult of Ireland, and Iseult of Brittany. Tristan lies dying and waiting for the arrival of Iseult of Ireland; he remembers the drinking of the love potion and fighting with Arthur in the Roman War. He dies when Iseult arrives, and she dies shortly after. The last section, devoted to Iseult of Brittany, shows her quietly caring for her two children and telling them the old tales, concluding with the story of Vivian’s imprisoning of Merlin. The poem as a whole thus reflects on various aspects of the nature of love. (See also the entry for “Foerster, Adolph Martin” in the Music section.)

A-54 Arthur of the Britons. Adapt. by Terence Feely. Bristol: HTV [Harlech Television], 1974. A novelization of episodes from the television series Arthur of the Britons (see the entry under that title in the “Film, Television, and Radio” section; also see the entry for the film based on the television programme, King Arthur, the Young Warlord). It includes five stories, set in Celtic Britain as the Britons resist the invasions of Cerdig and the Saxons. Although there are some traditional characters, most of the episodes are original, befitting a story of Celtic tribes rather than the kings and knights of Camelot. The book is in a large, picture-book format, illustrated with a number of colour stills from the series.

A-55 Arthur of the Britons, based on the Harlech Television series. Adapt. by Rex Edwards. London: Target Books, 1975. A second novelization of episodes from the television series Arthur of the Britons (see the entry under that title in the “Film, Television, and Radio” section; also see the entry for the film based on the television programme, King Arthur, the Young Warlord).

A-56 Ashe, Geoffrey. The Finger and the Moon. London: William Heinemann, 1973. Rptd: St Albans: Panther Books, 1975. This novel is presented as the report of a freelance writer, an expert on Arthurian and Grail legends, as he tries to understand the teachings of an eccentric man and his “school” near Glastonbury. The Arthurian content of the novel comes in discussions between characters of the legend; there is also a Grail ritual performed by the characters. The narrator’s character seems to be modelled on Ashe himself.

A-57 Ashley, Doris. King Arthur and the Knights of the Round Table. Illus. Arthur A. Dixon. Ed. Edric Vredenburg. The Raphael House Library of Gift Books for Boys and Girls. London, Paris, and New York: Raphael Tuck and Sons; Philadelphia: David McKay, [1921]. Rptd: Several reprintings, with and without the illustrations. – Illustrations reproduced at The Camelot Project Website. Ed. Alan Lupack. . A retelling of episodes from Malory; Dixon provided twelve colour plates and a series of B&W illustrations.

A-58 Ashley, Doris. King Arthur’s Noble Knights. Illus. Arthur A. Dixon. The Modern Library for Boys and Girls. London, Paris, and New York: Raphael Tuck and Sons, [1934].

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A retelling of selected episodes from Malory, being an abridgement of her earlier King Arthur and the Knights of the Round Table (fewer episodes are included, and this book ends, not with the death of Arthur, but with the death of Galahad at the end of the Quest for the Holy Grail).

A-59 Ashley, Mike. “The Bridge of Fire.” In Camelot Fantastic. Ed. Lawrence Schimel and Martin H. Greenberg. New York: DAW Books, 1998. 124–68. Guinevere’s wedding ring is found in Lancelot’s room and the knight is thrown in jail. Lancelot chooses a young knight, Kamelin, to defend him by solving the mystery.

A-60 Ashley, Mike, ed. The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. The dust-jacket’s subtitle is “Heroic Adventures from the Age of Legend.” This is the second of Ashley’s anthologies of Arthurian short stories. For details of individual works, see John T. Aquino, “The Sad Wizard”; Anthony Armstrong, “Sir Borlays and the Dark Knight”; Maxey Brooke, “Morte d’un Marcheant”; Vera Chapman, “Belle Dame, Sans Merci”; Phyllis Ann Karr, “The Coming of the Light”; Ian McDowell, “The Storming Bone”; A. R. Hope Moncrieff, “Sir Lanval”; Elizabeth Stuart Phelps, “The True Story of Guenever”; Howard Pyle, “The Winning of a Sword”; Theodore Goodridge Roberts, “To Camelot” and “Mountainy Madness”; Darrell Schweitzer, “Told by Moonlight”; Keith Taylor, “The Brotherhood of Britain”; Peter Tremayne, “The Oath of the Saxon”; Don Wilcox, “Blueflow”; Sir P[elham] G[renville] Wodehouse, “Sir Agravaine”; and Jane Yolen, “The Quiet Monk.” Ashley also reprints “John the Knight of the Lion,” a translation from the Swedish, and a selection from Hilaire Belloc’s translation of “Tristan and Iseult.”

A-61 Ashley, Mike, ed. The Chronicles of the Holy Grail. London: Robinson Publishing; New York: Carroll and Graf, 1996. This is the fourth of Ashley’s anthologies of Arthurian short stories. For details of individual works, see Ken Alden, “The Figure in Darkness”; Cherith Baldry, “Hunt of the Hart Royal”; Peter T. Garratt, “The Secret History”; Parke Godwin, “The Last Rainbow”; Heather Rose Jones, “The Treasures of Britain”; Phyllis Ann Karr, “Galahad’s Lady” and “An Idyll of the Grail”; Tanith Lee, “The Kingdoms of the Air”; Steve Lockley, “Honour Before Glory”; Arthur Machen, “The Great Return”; F. Gwynplaine MacIntyre, “Reliquary”; George Moore, “Peronnik the Fool”; Arthur Quiller-Couch, “The Legend of Sir Dinar”; Lawrence Schimel and Mark A. Garland, “Shrouded in Mist”; Darrell Schweitzer, “The Unwanted Grail”; Brian Stableford, “The Lost Romance”; Keith Taylor, “The Castles of Testing”; Peter Valentine Timlett, “Maidens of the Grael” and “Launcelot’s Grail”; and Peter Tremayne, “The Magic Bowl.” Ashley also reprints a selection from Lady Charlotte Guest’s Mabinogion.

A-62 Ashley, Mike, ed. The Chronicles of the Round Table. Fwd Vera Chapman. London: Robinson Publishing; New York: Carroll and Graf, 1997. This is the fifth of Ashley’s anthologies of Arthurian short stories. For details of individual works, see John T. Aquino, “A Figure in Faerie Time”; Cherith Baldry, “The Trial of Sir Kay”; Michael Greatrex Coney, “The Hand of the Fair Lysette”; Seamus Cullen, “Meraugis and Medwina”; Paul Finch, “My Lady of the Ashes”; Eliot Fintushel, “Dieu et Mon Droit!”; Peter T. Garratt, “A Tribute of Ferns”; Parke Godwin, “Uallannach”; Liz Holliday, “The Knight of Good Heart”; Phyllis Ann Karr, “Clarissant”; Alan Kennington, “Twice Knightly”; Leonora Lang, “The Fight for the Queen”; Patrick McCormack, “Earthworks”; Theodore Goodridge Roberts, “The Goose Girl”; Kurt Roth, “The Gest of Sir Brandiles”; Fay Sampson, “Just Cause”; Lawrence Schimel, “Belleus’s Demon”; Darrell Schweitzer, “The Dragon of Camlann”; Brian Stableford, “My Mother, the Hag”; R[osalind] H. Stewart, “The Perfect Stranger”; Keith Taylor, “Tournament of Rogues”; Peter Valentine Timlett, “The Hedge of Mist”; and Peter Tremayne, “Knight of the Golden Collar.” The

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volume also contains a forward by Vera Chapman and, as an afterword, Parke Godwin’s interview with Marion Zimmer Bradley.

A-63 Ashley, Mike. “The Corruption of Perfection.” In The Doom of Camelot. Ed. James Lowder. Oakland, CA: Green Knight Publishing, 2000. 124–50. This story is set towards the end of Arthur’s reign. The king searches for Merlin, with Gawain and others, but finds instead a holy man who insists that he is not Merlin. He does counsel the king, however, to beware of perfection, and this leads Arthur to question the source of his power, Excalibur, though Constantine persuades Arthur to keep the sword. The story ends with the healing of a knight. Because Lancelot is able to accomplish this miracle, he represents the perfect knight, so Arthur now suspects him, or suspects that Morgan has engineered the whole encounter to corrupt Lancelot.

A-64 Ashley, Mike, ed. The Mammoth Book of Arthurian Legends. London: Robinson Publishing; New York: Carroll and Graf, 1998. Rptd: Arthurian Legends. Edison, NJ: Castle Books, 2002. Ashley has published a number of other “Mammoth” anthologies on various themes. This one on the Arthurian legends contains selections both medieval and modern. For details of individual works, see Eleanor Arnason, “The Dog’s Story”; Douglas Carmichael, “Madoc and the Door Ward”; George Cox, “The Treason of Morgan le Fay”; Stephen Dedman, “The Pretender”; Maude I[sabel] Ebbutt, “The Marriage of Sir Gawayne”; Allen French, “Sir Marrok the Wolf ”; Roger Lancelyn Green, “Sir Percivale of Wales”; Phyllis Ann Karr, “The Lady of Belec”; Sir James T. Knowles, “The First Pendragon”; Andrew and Leonora Lang, “The Quest of the Holy Grail”; Arthur Machen, “Guinevere and Lancelot”; A. R. Hope Moncrieff, “Sir Lanval”; Howard Pyle, “The Winning of Kinghood” and “The Winning of a Sword”; Theodore Goodridge Roberts, “The Quest of the Saracen Beast”; Fay Sampson, “Raven’s Meat”; John Steinbeck, “The Knight with the Two Swords”; Rosemary Sutcliff, “Sir Gawain and the Green Knight”; Alfred, Lord Tennyson, “The Passing of Arthur”; Peter Valentine Timlett, “The Temptation of Launcelot”; Ron Tiner, “The Carle of Carlisle”; and Jane Yolen, “The Quiet Monk.” As an “Afterword,” the book includes Phil[ip] Carradice, “The Isle of Avalon.” Ashley also reprints selections from Geoffrey of Monmouth and from Lady Charlotte Guest’s Mabinogion. Also included are “John the Knight of the Lion,” a translation from the Swedish, and a selection from Hilaire Belloc’s translation of “Tristan and Iseult.”

A-65 Ashley, Mike, ed. The Merlin Chronicles. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. A collection of Arthurian short stories, third in the series which began with The Pendragon Chronicles. The individual stories are listed in this bibliography according to author: Marion Zimmer Bradley, “The Pledged Word”; Maxey Brooke, “Morte d’Espier”; Vera Chapman, “A Sword for Arthur”; Dinah Maria Mulock [Craik], “Merlin and Tom Thumb”; Charles de Lint, “Merlin Dreams in the Mondream Wood”; Esther M. Friesner, “The Death of Nimue”; Colin R. Fry, “The Purpose of Merlin”; Robert Holdstock, “Infantasm”; Phyllis Ann Karr, “Merlin’s Dark Mirror”; Tanith Lee, “King’s Mage”; William Morris, “Ogier the Dane”; H[arold] Warner Munn, “The Sleeper and the Seer”; Jennifer Roberson, “The Horse Who Would Be King”; Theodore Goodridge Roberts, “A Quest Must End”; Jessica Amanda Salmonson, “Namer of Beasts, Maker of Souls”; Darrell Schweitzer, “The Knight of Pale Countenance”; Emile Souvestre, “The Castel of Kerglas”; David Sutton, “Midwinter”; Peter Valentine Timlett, “The Rite of Challenge”; Peter Tremayne, “The Temptations of Merlin”; E[thel] M[ary] Wilmot-Buxton, “The Seven Champions”; and Jane Yolen, “Dream Reader”.

A-66 Ashley, Mike, ed. The Pendragon Chronicles: Heroic Fantasy from the Time of King Arthur. London: Robinson Publishing, 1990. Rptd: New York: Peter Bedrick Books, 1991.

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In this, his first anthology of Arthurian short fiction, Ashley arranged the stories chronologically from Arthur’s childhood to his death (and to provide a sense of that unique arrangement, we list them below maintaining that order). For details of individual works, see Joy Chant, “Chief Dragon of the Island”; Jane Yolen, “The Dragon’s Boy”; John Steinbeck, “The Knight with the Two Swords”; Maxey Brooke, “Morte d’Alain”; Sasha Miller, “King’s Man”; Roger Lancelyn Green, “Sir Percivale of Wales”; Theodore Goodridge Roberts, “For To Achieve Your Adventure”; Vera Chapman, “The King’s Damosel”; Keith Taylor, “Buried Silver”; Ian McDowell, “Son of the Morning”; Phyllis Ann Karr, “The Lady of Belec”; André Norton, “Artos, Son of Marius”; John Brunner, “An Entry That Did Not Appear in Domesday Book”; and Darrell Schweitzer, “Midnight, Moonlight, and the Secret of the Sea.” Ashley also reprints a selection from the Mabinogion and a translation of the medieval text “Jaufry the Knight and the Fair Brunissende” by Alfred Elwes.

A-67 Ashmun, Margaret. “Iseult of Brittany.” New England Magazine 37 (Oct. 1907): 246. A Petrarchan sonnet. The octave sets the scene: Iseult walking on the beach waiting for news of her husband’s return. The sestet develops the contrast between her youthful innocence (before her marriage) and her bitterness at Tristan’s “disloyalty.” This version gives Tristan and Iseult children.

Ashton, Winnifred: see Dane, Clemence. A-68 Atkey, Philip. Heirs of Merlin. London: Cassell and Co., 1945. This thriller involves a wealthy young man who becomes determined to show that superstition is false by stealing objects that are supposedly cursed. “Merlin” is used throughout the book as the epitome of those who exploit superstition to manipulate others; the “heirs of Merlin” to whom the title refers are those in the present day who prey on people’s superstitions.

A-69 Attanasio, A. A. Arthor. London: Hodder and Stoughton, 1995. Rptd: The Eagle and the Sword. New York: HarperPrism, 1997. This novel, the second in the “Arthor” series, concerns the intrigues leading up to Arthur’s drawing of the sword from the stone. Merlin is trying to arrange for Arthur’s presence in Camelot, but various unforeseen events threaten Merlin’s plans: an embassy to a Saxon camp; a woman from the continent who brings with her two lamia; Morgan’s own plots to thwart Merlin’s vision.

A-70 Attanasio, A. A. The Dragon and the Unicorn. London: Hodder and Stoughton, 1994. Rptd: New York: HarperPrism, 1996. This long novel relates the events of the Arthurian story up to Arthur’s birth; it ends with Merlin taking the baby away to be fostered in anonymity. As a result, its main focus is Merlin, Igerne, Uther, and Merlin’s teacher Blaise. The novel, through the use of celestial and mythological beings, takes a rather different approach to the religious elements of the legend than is usual. Uther, for example, is a devout Christian while Igerne is a pagan Celtic queen; their marriage is a true union of differing beliefs and customs and peoples. Arthur is meant to be the fulfilment of this union, to carry through politically what his parents have begun.

A-71 Attanasio, A. A. Kingdom of the Grail. New York: HarperCollins, 1992. This novel is set in the twelfth century; most of the action occurs in a Norman barony that borders on Wales. The residents of the area are mystified when the aged baroness, whose son had dismissed her on a pilgrimage to the Holy Land, returns to her home with her youth apparently restored. She claims this miracle occurred when she drank from the Grail at her deathbed. The Grail’s Arthurian connections are made clear in the second section of the novel; the baroness refers to the Celtic belief that Joseph of Arimathea brought the Grail to Britain, and that Arthur’s

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knights went in quest of it. One of the characters is later compared to Perceval. (Although this novel is not connected to his later Arthurian books, Attanasio here uses the idea of Arthur as the wounded king, an idea which is developed more fully in The Eagle and the Sword and The Wolf and the Crown.)

A-72 Attanasio, A. A. The Serpent and the Grail. New York: HarperPrism / HarperCollins, 1999. This novel is the fourth in the “Arthor” series. In this installment, Arthur comes to realize the devastation that war has brought to his land; he travels in disguise with his body-guard Bedivere to learn more of what his people need. Arthur also must convince a papal emissary that Britain is a Christian country that should be granted aid. Throughout the novel, Arthur suffers from a wound that will not heal. His mother leaves her nunnery, allies herself with the Sid once again, and, empowered by their magic, sets off to recover the Grail to heal her son and his kingdom. One of the more interesting features of this book are the poems written by the Saxon king.

A-73 Attanasio, A. A. The Wolf and the Crown. New York: HarperPrism / HarperCollins, 1998. Rptd: The Perilous Order: Warriors of the Round Table. London: Hodder and Stoughton, 1999. This novel is the third in the “Arthor” series, presenting the first year of Arthur’s reign. Arthur’s claim to the throne is not accepted by many kings in Britain, so he leads a procession throughout the country to gain their allegiance, fighting battles for them, or, if all else fails, against them. One continuing thread of the book is Merlin’s and Dagonet’s adventures in various Otherworlds. Arthur learns to love again with the help of Nineve, one of the sisters of Avalon. The Round Table and the Graal are important features of this tale as well. Morgan’s role is quite interesting in this book: at times she is the traditional witch villain, yet there is real affection between her and Lot and their children, and she can be an ally as well.

A-74 Atterton, Julian. The Fire of the Kings. London: Julia McRae Books, 1984. A historical novel of Edwin and Osric, the second and third kings of Northumbria. While no Arthurian characters appear, some are mentioned as part of the land’s history: Arthur is remembered as a Welsh warlord; Owain and Urien are mentioned as rulers of Rheged defeated by the English; Peredur is a Welsh king also defeated by the English.

A-75 Atterton, Julian. Knights of the Lost Domain. London: Julia McRae Books, 1991. A sequel to Knights of the Sacred Blade.

A-76 Atterton, Julian. Knights of the Sacred Blade. London: Julia McRae Books, 1989. Set in the 1130s in Northumbria, this novel includes several allusions to the Arthurian legends. Characters compare their quest to those foretold by Merlin, and their vision of peace to that of Arthur’s time.

A-77 Atterton, Julian. The Last Harper. London: Julia MacRae Books / Franklin Watts, 1983. This historical novel is set after King Arthur’s time (here referred to as Artos), in the reign of King Urien and his son Owain. The main character is a young harper who learns from a Merlin-like figure, and is eventually named Taliesin.

A-78 Atwood, Margaret. “Avalon Revisited.” The Fiddlehead 55 (Winter 1963): 10–13. A series of seven short poems. In “The Kings,” the speaker boasts of his power to send “spectral horseman out to act / My bloody work and pleasure” (6–7). “Recollections of Vivien” describes Broceliande after she imprisons Merlin. “The Betrayal of Arthur” uses imagery of the Fall; Guenevere is both Eden and the tree that tempts men. The speaker of “Elaine in Arcadia” is Elaine

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of Astolat, who reflects on the love triangle of herself, Lancelot, and Guenevere. “The Rider” is a nameless knight who quests for the Grail. “The Apotheosis of Guinevere” uses imagery suggestive of “The Lady of Shalott” in describing the queen’s fate. “The King” plays with the idea of Arthur being taken to Avalon.

A-79 Auslander, Joseph. “Guinevere at Almesbury.” No Traveller Returns: A Book of Poems. New York and London: Harper and Brothers, 1935. 71. The scene depicted in this Petrarchan sonnet seems influenced by Tennyson, for Guenevere crouches at Arthur’s feet during their last meeting.

A-80 Auslander, Joseph. “So There Are No More Words.” Sunrise Trumpets. Intro. Padraic Colum. New York and London: Harper and Brothers, 1924. 61. This Shakespearean sonnet describes the end of a love affair; the speaker’s lover is compared to Guenevere when the queen moves into a nunnery.

A-81 Auslander, Joseph. “Yseult.” Sunrise Trumpets. Intro. Padraic Colum. New York and London: Harper and Brothers, 1924. 64. This Shakespearean sonnet describes Iseult of Ireland, imagining her beauty and power continuing after death.

A-82 Austin, Martha W[addill]. Tristram and Isoult. Boston, MA: Poet-Lore Co., 1905. The drama’s three parts take place in three different locations (Camelot, Tintagel and Brittany) after three important events (a tournament that Tristram wins, a battle where he successfully defends Cornwall, and Mark’s stabbing him). Austin says that she bases the work on Malory, but Tennyson also seems to be an influence, particularly in some descriptions of Arthur. In this version, Isoult of Brittany does try to get Isoult of Ireland to Tristram’s side when he is dying; he dies in Isoult of Ireland’s arms and she takes poison just before Mark arrives.

A-83 “Ave Atque Vale (From the Sir Constantine Branch Round Table).” Excalibur: The Chronicle of the Fellowship of the Round Table 4.1 (Oct. 1934): 3. A poem (nine lines, in blank verse) for Frederick T. Glasscock, whose death is announced in this issue: “Farewell, true heart,” who built the hall of old stone and rebuilt the Round Table from old stories; you have gone to join Arthur in Avalon. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-84 Aytoun, William Edmondstoune. “La Mort d’Arthur, Not by Alfred Tennyson.” Tait’s Edinburgh Magazine Oct. 1843. Rptd: Bon Gaultier [pseud.], [i.e., Theodore Martin and William Edmondstoune Aytoun]. The Book of Ballads. Illus. Alfred Crowquill, Richard Doyle, and John Leech. London: Wm. S. Orr, 1845. (There are some 16 nineteenth-century editions, and many reprintings.) – The Book of Ballads. The Victorian Muse. New York, and London: Garland Publishing, 1986. – The Faber Book of Parodies. Ed. Simon Brett. London and Boston, MA: Faber and Faber, 1984. 336–37. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 3. A sixteen-line poem, divided into two stanzas (nine and seven lines each); first line: “Slowly, as one who bears a mortal hurt.” Arthur’s passing is used to introduce an advertisement for rust-resistant armour made of “Mechi’s Silver Steel.”

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A-85 B., A. “To Arthur, King: In Avalon.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.4 (July 1934): 135–36. A poem of forty lines in blank verse. Arthur sleeps in Avalon, and Guinevere smooths his brow, but we raise our voices calling him to return and to achieve the Holy Grail. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-86 B., E. “The Children’s Quest.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.7 (Apr. 1931): 261–67. A six-page poem, in blank verse, telling of two children who, while walking in a meadow, meet a man holding a sword, and recognize him as Arthur. Arthur calls his knights to come in turn, and Launcelot, Tristram, Dagonet, and Galahad offer speeches in which they explain what lessons children can learn from each of their stories. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-87 Babcock, William H[enry]. Cian of the Chariots: A Romance of the Days of Arthur, Emperor of Britain, and his Knights of the Round Table; how they delivered London and overthrew the Saxons after the fall of Roman Britain. Illus. George Foster Barnes. Boston, MA: Lothrop Publishing Co., 1898. A historical novel using Cian, a Celtic prince loyal to Arthur, as the protagonist. It focuses upon Arthur’s battles with the Saxons, and his life up to the early years of his marriage. It creates an interesting opposition between Aurelia, the beautiful and competent Queen of London, and Arthur’s beautiful but manipulative Guinevere.

A-88 Bacon, Leonard. “Arthurian Interludes: I. Igraine to Arthur; II. The Legend of Lamorak.” University of California Chronicle 15 (1913): 29–35. The first poem is a dramatic monologue written in rhyming couplets. Igraine speaks to a silent, but apparently disapproving, Arthur, giving her side of the story of his conception. In this version she remains faithful in her heart to Gorlois; she was tricked by Uther one night, but was never his lover after she learned of the trick. The second poem, also written in rhyming couplets, tells the story of Lamorak after Morgause has dismissed him; it ends with his death at the hand of Gaheris.

A-89 Badger, John D’Arcy. The Arthuriad. Toronto: Pendragon House, 1972. A series of fifty-six sonnets divided into seven “cantos”; part one has three cantos, and part two has four. The sonnets are accompanied by “commentaries” that are free-verse poems. The speaker demands a “rally of the West by returning to the heroic values and moderation of the Round Table.” Pendragon House is the publishing arm of the Pendragon Society, which was founded by Jess Foster, and claims to have been the instigator of the 1968 archaeological dig at Cadbury Castle (and thus responsible for “finding Camelot”).

A-90 Baird, Alison. The Hidden World. Toronto: Viking, 1999. A parallel world novel, in which a young woman, Maeve, visiting relatives in the peninsula of Avalon in Newfoundland, suddenly finds herself in the Isle of Avalon in the parallel world of “Annwn.” One of the characters in Avalon, Morgana, claims to be a descendent of Morgan le Fay, and there are various references to King Arthur as having lived for a time in Avalon before he went to sleep. The plot includes a search by Maeve and a companion from Avalon for the Grail to aid in a battle which forms the climax of the story. There are explicit Arthurian references on pp. 147, 156–57, 201, 248, 258. There is also a “prequel,” published in 2001, The Wolves of Woden.

A-91 Baird, Edward. “They Went South by Way of Severn: A Fragment of the Arthurian Saga.” Brighid and the Dun Cow. Illus. Ernest Gill. Dudley: Herald Press, [1945]. 39–47. The cover gives the title as “Brighid and the Dun Cow: A Celtic Tale.” The book is a collection of separate works, being three tales in prose and thirty-four poems. “They Went South” tells of the

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coronation of Arthur, in the form of a Druidic rite: Myrddhin and his “master,” a knight unnamed until the last line of the story, travel by rough and wild ways to Caerleon; along the way they come upon three bodies hanging from a tree, which the knight declares that he killed at some earlier date (when Myrddhin looks at their faces, he finds that one of the three is a woman). They later encounter a knight who seeks Sir Gawaine, the two knights do battle, and Myrddhin’s master kills the other rather brutally. Arriving at a circle of standing stones, seven queens (including one named Gwynvere) annoint the knight, and the High Druid offers him the Holy Cup from which to drink (the knight refuses, for he is “not the blameless one” [46], and the Druid declares that it is enough that the knight has beheld the vision). They break his old sword, robe him in red, and gird a new sword upon him; he emerges from the temple to the cheers of the people; he brandishes his sword and exclaims, in the last line of the story: “Behold . . . I am Arthur, your King!” (47). The other works included in the book are not Arthurian.

A-92 Baker, Rosemary. “The Time Has Come. . . .” Ore 22 ([1978?]): 23–24. A poem, in which Mordred makes his accusation against the Queen.

A-93 Baldry, Cherith. “Hunt of the Hart Royal.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 94–108. One of a series of stories by Baldry which focus on the character of Sir Kay. A white hart is wounded by Arthur and his knights; Kay kills it to end its misery. Because he kills it, he must decide which is the fairest lady of the court, even though each knight will challenge him over his choice. A mysterious lady gives him a solution to his problem after he returns to her with a grail.

A-94 Baldry, Cherith. “In the Forest Perilous.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 20–29. Arthur, Kay, and Gawain go questing in the Forest Perilous, and come to a house in which Morgan le Fay shows them a series of pictures which betray the love of Lancelot and Guenevere. (The story is original to this anthology.)

A-95 Baldry, Cherith. Sir Kay’s Quest. Rochester, NY: Round Table Publications, 1996. This eighteen-page story is based on the tale of the poisoned mantle. In this version, the cloak reveals the true nature of the wearer. Kay prevents it from being circulated among Arthur’s knights by challenging the woman who brings it to wear it herself; he is then sent on a quest to find the woman and test the cloak. Gawain chooses to accompany him. As in her other stories, Baldry maintains Kay’s acerbic nature, but also shows him as possessing many virtues.

A-96 Baldry, Cherith. “The Trial of Sir Kay.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 339–54. While Arthur and his retinue are visiting the rebellious, northern kings, Kay is tricked into accompanying a damsel to rescue her father; he is then attacked and accused of raping the damsel. In order to keep peace and show Arthur’s justice, he undergoes a trial by ordeal, with unexpected results. (The story is original to this anthology.)

A-97 Baldwin, Fred D. The Camelot Contract: Ripping Off the Government Under Good King Arthur. Carlisle, PA: Pennon Press, 1986. A spoof of government consulting, this novel is set in an Earl’s domain within Arthur’s kingdom. While Arthur and Merlin are mentioned, no traditional Arthurian characters or episodes appear.

A-98 Baldwin, James. Stories of the King. Illus. Arthur Becher. Eclectic Readings. New York: American Book Co.; London: D. Appleton, 1910. Baldwin says that his target audience is “young people of the twentieth century.” While this is

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primarily a retelling of Malory, Baldwin draws from various sources: he uses, for example, the version of Arthur’s birth from Tennyson, where Arthur is carried on the waves to Merlin. Generally Baldwin arranges relationships so there is no incest or extramarital sex (Arthur’s and Galahad’s conceptions are not part of the story, and Lancelot and Guenevere are not lovers).

A-99 Bangay, Evelyn D. “Sir Cleges’ Cherries.” Poetry Review 20 (1929): 246. A three-stanza poem, this piece describes winter and the miraculous appearance of the cherries; Sir Cleges is mentioned in the second-last line, but no other Arthurian references are made.

A-100 [Bannerman, Anne.] “The Prophecy of Merlin.” Tales of Superstition and Chivalry. Illus. E. W. Thomson. London: Printed for Vernor and Hood, 1802. 123–39 (and notes 142–44). A collection of poems, mostly in ballad metres, on Gothic themes (ghostly visitations, dire prophecies) and in medieval settings. The final poem in the collection, “The Prophecy of Merlin,” is a retelling in ballad form of the Battle of Camlann and Arthur’s passing to “the Yellow Isle,” focusing on Merlin’s prophecy that Arthur should “sleep” for a time and then his kingdom would be restored. The retelling here includes various departures from the traditional tales, including a meeting with a ghostly Merlin at the gates of a castle overlooking the field of Camlann, the wounded Arthur disappearing from the battlefield leaving an empty (and magically sealed) set of armour behind, and a connection between the “Queen of the Yellow Isle” and the prophetic voice which Merlin had once permitted Arthur to hear (when Arthur hears the Queen speak, he recognizes the voice from the time when he heard the prophecy).

A-101 Barbour, Douglas. “The Timeless Forest.” Ore 22 ([1978?]): 10–15, and 23–24 (1979): 13–18. This poem alludes to several famous forests of literature and history, including Broceliande. It also mentions the Grail.

A-102 Baring, Maurice. “Ballad (I saw a sail upon the grey sea).” Sonnets and Short Poems. Oxford: B. H. Blackwell; London: Simpkin, Marshall, Hamilton, Kent and Co., 1906. 46. A poem of four quatrains, which appears to describe the scene of the death of Arthur, though he is not named; the speaker tells of seeing a sail, three maidens spinning, black wings in the sky, while “He lay asleep by the rolling flood; / His limbs were stiff and his head was bowed.”

A-103 Baring, Maurice. “Ballad (Mine eyes are dim and my wound is sore).” Sonnets and Short Poems. Oxford: B. H. Blackwell; London: Simpkin, Marshall, Hamilton, Kent and Co., 1906. 54–55. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 23. In this ballad of seven quatrains, a dying Tristan appeals to Iseult, reminding her of the love potion they shared and their vows.

A-104 Baring, Maurice. “The Camelot Jousts.” Dead Letters. London: Constable; Boston, MA: Houghton Mifflin, 1910. 103–12. Rptd: 2nd edn. London: Heinemann; Garden City, NY: Doubleday, Page, and Co., 1925. The Queen writes five of these eight imaginary letters. She is preparing for a tournament and consults Arthur about guests, arranges clandestine meetings with Lancelot, and exchanges hypocritical letters with Iseult. The letters are set at the time that Lancelot meets Elaine of Astolat and goes disguised to a tournament. The Dead Letters first appeared in the Morning Post.

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A-105 Baring, Maurice. “From the Diary of Iseult of Brittany.” Lost Diaries. London: Duckworth and Co., 1913. 10–20. A naive Iseult of Brittany narrates a series of diary entries about meeting Tristan and marrying him. Tristan is not the usual heroic lover; he is old and absent-minded, and has bad teeth. This story appears as part of a collection of supposed excerpts from the diaries of various people famous in history and legend; most of these first appeared in The Eye Witness.

A-106 Baring, Maurice. “In Memoriam A.H.” Poems 1914–1919. London: Martin Secker, 1920. 11–18. Rptd: Collected Poems. London: William Heinemann, 1925. 1–7. The speaker of this long poem laments the death of Auberon Herbert, Captain Lord Lucas RFC, who was killed in 1916. The speaker derives some comfort from the thought that his friend will join “the very brave, the very true,” including various Knights of the Round Table such as Lancelot and Tristan, in “the city of the Grail.”

A-107 Baring, Maurice. “Le Prince Errant.” Poems 1914–1919. London: Martin Secker, 1920. 57. Rptd: Collected Poems. London: William Heinemann, 1925. 21–22. A Petrarchan sonnet, in which the narrator claims to have been a witness to or participant in various events, from classical myth (Medea, Orpheus, the fall of Troy) and ancient history (Mark Antony and Cleopatra), to medieval legend (Roland, Tristram): “I heard . . . the call / That fevered Tristram whispered to the sea, / And brought Iseult of Cornwall to his side.”

A-108 Baring, Maurice. “Tristram and Iseult.” Sonnets and Short Poems. Oxford: B. H. Blackwell; London: Simpkin, Marshall, Hamilton, Kent and Co., 1906. 19. Rptd: Collected Poems. London: William Heinemann, 1925. 32. Spoken by one of the lovers, this is a Petrarchan sonnet reflecting on the unity of two who are in love.

A-109 Baring, Maurice. “Tristram and Iseult: A Play in Five Acts.” Gaston de Foix and Other Plays. London: Grant Richards, 1903. 171–263. Rptd: 2nd edn. 1913. – Collected Poems. London: William Heinemann, 1925. 235–82. A five-act play which follows the lives of the lovers from a point after Iseult’s wedding to Mark to Tristan’s death after his wedding to Iseult of Brittany.

A-110 Baring, Maurice. “Wagner.” Poems 1914–1919. London: Martin Secker, 1920. 40. This sonnet, in paying tribute to Wagner, mentions Tristan among the characters that Wagner “created.”

A-111 Baring-Gould, Sabine. “Lancelot.” The Silver Store, Collected from Medieval Christian and Jewish Mines. London: Longman, Green, and Co., 1868. 65–68. Rptd: Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 4–6. The original collection contains poems based on various old stories of Christian or Jewish origin; this is the only Arthurian item. The poem describes Lancelot’s encounter at the Chapel Perilous; he sees a dreadful vision and collapses as a result.

A-112 Barkan, Joanne. A Pup in King Arthur’s Court. The Adventures of Wishbone 15. Illus. Arvis Stewart. Allen, TX: Big Red Chair Books / Lyrick Publishing, 1998. Juvenile novel, “[i]nspired by A Connecticut Yankee in King Arthur’s Court,” and based on the television character of the dog who imagines himself as the hero of various stories (from Moby Dog

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to The Hunchdog of Notre Dame). In this adventure, Wishbone imagines himself as Henry Morgan, the ingenious Yankee transported back in time to Camelot; Wishbone has some particular difficulties with Merlin. (The Wishbone character was created by Rick Duffield.)

A-113 Barker, Elsa. “The Frozen Grail.” The Frozen Grail and Other Poems. New York: Duffield, 1910. 5–6. This poem is dedicated to “Peary and his men, before the last expedition” to the North Pole; apparently Peary took a copy of the poem with him. The members of the expedition are compared to the knights who sought the Grail; the analogy is maintained throughout the two-page poem, but no Arthurian characters are named. The poem first appeared in the New York Times.

A-114 Barr, Ann. King Arthur and the Knights of the Round Table. Illus. Jay Hyde Barnum. Winner Books. London: Publicity Products, [1955]. (*) A retelling of episodes from Malory (Gaines, Item C69). The illustrations by Barnum originally appeared the previous year in an adaptation by Estelle B. Schneider of Howard Pyle’s version (see the entry under “Pyle: adaptations”). (Information from Gaines.)

A-115 Barringer, Leslie. Gerfalcon. Neustrian Cycle 1. London: William Heinemann, 1927. The first novel in Barringer’s “Neustrian Cycle,” an alternative history set in a mythical medieval European country. Arthurian romances are part of this country’s culture, and the main character, Raoul, who is a poet as well as a warrior, alludes to several Arthurian characters and episodes. Most significantly, Raoul falls in love with a woman named Iseult; further, identifying himself with Mordred as an outcast in his own country, Raoul composes his own Arthurian romance.

A-116 Barringer, Leslie. Joris of the Rock. Neustrian Cycle 2. London: William Heinemann, 1928. Rptd: North Hollywood, CA: Newcastle Publishing Co., 1976. The second novel in Barringer’s “Neustrian Cycle,” an alternative history set in a mythical medieval European country. The main character is an outlaw named Joris, but the story also follows the childhood of his son. Characters from Gerfalcon also appear here. References to Arthurian romances are much less frequent in this novel compared to Barringer’s others, in part because Joris, as an outlaw, spends little time in courtly circles or listening to tales of chivalry. There are a couple of occasions where characters tell stories of Arthur, Merlin, the Lady of the Lake, and Lancelot, but these are very brief references.

A-117 Barringer, Leslie. Kay the Left-Handed. London: William Heinemann, 1935. A historical novel set in Richard the Lionheart’s England. An apprentice clerk has various adventures in York and is witness to several historical events. The novel contains a number of Arthurian allusions: when asked about his name, Kay refers to Arthur’s foster-brother; when he attacks Prince John (the prince has attacked a friend of Kay’s), Kay reflects that if he had succeeded in killing the prince, another Kay would have helped another Arthur to the throne; other, more minor allusions also occur.

A-118 Barringer, Leslie. Shy Leopardess. Neustrian Cycle 3. London: Methuen, 1948. Rptd: North Hollywood, CA: Newcastle Publishing Co., 1977. The third novel in Barringer’s “Neustrian Cycle,” an alternative history set in a mythical medieval European country. As part of this country’s culture, Arthurian romances and characters are mentioned by various characters; songs celebrating Arthurian episodes like the gift of Excalibur to Arthur are sung by major characters, and the story of Merlin’s imprisonment is told by the main character’s governess. Most significantly, the main character is compared to Iseult and to the Lady of the Lake: when she takes a lover, she and her lover are compared to Iseult and Tristan

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while her maid is compared to Brangaene; while swimming one night she is compared to the Lady.

A-119 Barron, T. A. The Fires of Merlin. The Lost Years of Merlin 3. New York: Philomel Books, 1998. The third book in the five-book series. The dragon Valdearg, whom Merlin met while travelling in The Seven Songs of Merlin, awakes when his newly hatched young are murdered, and he begins to take his revenge on the land of the dwarves. Urnalda, the enchantress of the dwarves, summons Merlin, takes his powers and tries to bargain with the dragon. Merlin escapes and crosses Fincayra with new friends (deer-people), trying to discover who killed the baby dragons and who is trying to destroy all magic on the island. Eventually Merlin and Valdearg must meet, but by then Merlin has learned a lot more about his own powers and about the evil that threatens them both.

A-120 Barron, T. A. The Lost Years of Merlin. The Lost Years of Merlin 1. New York: Philomel Books, 1996. In this, the first novel of the series, Barron tells the story of Merlin’s “missing years,” to fill in the gap that exists between the stories we have from medieval texts about the boy and those about the older enchanter. In this series, the thirteen-year-old Merlin tries to discover who he is by voyaging to Fincayra, a mythical land that acts as a bridge between this world and the Otherworld. He finds that Fincayra is threatened by the forces of evil, represented by the god Rhita Gawr and the king, Stangmar. In order to save his new friend Rhia, Merlin travels to the Shrouded Castle to battle these dark forces, with only a few friends and his own, unexplored powers to help him. Arthur is mentioned briefly in the prologue, where Merlin speaks and establishes the context for the story.

A-121 Barron, T. A. The Merlin Effect. Illus. Anthony Bacon Venti. New York: Philomel Books / Putnam and Grosset Group, 1994. Kate, a thirteen-year-old girl, participates in a series of fantastic adventures off the west coast of North America. Her father, a history professor and expert on the Arthurian legend and the life of Merlin, tries to find the sunken Spanish galleon Resurrecíon because he believes one of Merlin’s treasures may be on it. Kate finds the ship at the bottom of a whirlpool, meets Merlin, and helps him in an undersea battle against Nimue, the wicked sea witch, and her ally, Garlon. Some incidents of Arthur’s time are told in the course of Kate’s adventures, including stories of the Thirteen Treasures of the Isle of Britain which Merlin attempted to collect for Arthur and then lost when imprisoned by Nimue. The novel is quite well written; some passages are very poetic in conveying Kate’s fantastic experiences.

A-122 Barron, T. A. The Mirror of Merlin. The Lost Years of Merlin 4. New York: Philomel, 1999. In the fourth book of his series, Barron introduces Merlin to his older self. While trying to thwart Nimue’s plan to steal one of the Lost Treasures of Fincayra, Merlin and his friend Hallia end up in the Haunted Marsh, and, with the help of a mysterious boy, find a magic mirror that can transport people to different places and times. The older Merlin has been imprisoned in a crystal cave, and like the Merlin of T. H. White, he lives backwards in time.

A-123 Barron, T. A. The Seven Songs of Merlin. The Lost Years of Merlin 2. New York: Philomel Books, 1997. After Stangmar’s defeat, the creatures of Fincayra hold a Council to decide the future of their homeland. Merlin is chosen to go through the land, playing the Flowering Harp to restore life where Rhita Gawr had created barrenness. Part way through this mission, Merlin wants to bring Elen, his mother, to Fincayra, but when he accomplishes this, she is poisoned by Rhita Gawr. In order to journey to the Otherworld to save his mother, Merlin must discover the secrets of the seven songs and learn to be a wizard. During one of the adventures, he finds a special sword which

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he is told will one day be drawn from stone by a special king. He also meets Vivian (also called Nimue) who tries to steal his magical staff.

A-124 Barron, T. A. The Wings of Merlin. The Lost Years of Merlin 5. New York: Philomel, 2000. The last book in the series knits up some of the loose ends left in earlier books. Merlin’s childhood nemesis, Dinatius, returns; Rhita Gawr and Stangmar (Merlin’s father) both return as villains. Merlin has to save Fincayra from being drawn into the spirit world, and though he does not entirely succeed, it is saved for a more beneficial transformation than that planned by Rhita Gawr. Avalon is also created by the end of the book, and Merlin finally faces his destiny and returns to Britannia, carrying the sword that will one day be Arthur’s.

A-125 Barthelme, Donald. The King. Illus. Barry Moser. London: Secker and Warburg; New York: Harper and Row, 1990. Rptd: London: Penguin Books, 1992. A novel, in which Arthur and his court are active in England during World War II.

A-126 Bartlett, Gertrude [Mrs John W. C. Taylor]. “Ballade of Tristram’s Last Harping.” In Canadian Poets. Ed. John W. Garvin. Toronto: McClelland, Goodchild and Stewart; New York: Stokes, 1916. 398. A formal medieval “ballade,” in three eight-line stanzas and a four-line envoy, with refrains, on the subject of love and desire. The titular connection of the poem to Tristram is echoed in one reference to a “true knight” and his “Queen,” but otherwise the poem is a generic love poem in a medieval manner.

A-127 Barton, John. The Hollow Crown: An Entertainment by and about the Kings and Queens of England. London: Samuel French, and George A. Harrap, 1962. A “recital” made up of a series of readings, from Shakespeare, various chronicles, private letters, and public speeches, on the theme of the royals of England: it concludes with a reading, in several voices, of the episode of the death of Arthur, adapted from Malory. It was first performed by the Royal Shakespeare Theatre (at the Aldwych Theatre, London), 19 Mar. 1961. Excerpts from The Hollow Crown were later televised. Most of the text was issued in an audio recording, by Argo Records: a) on a 7-inch extended play record (ZFA 29 [stereo], EAF 29 [mono]), and b) on two 12-inch LPs (ZRG 5287, 5288 [stereo], RG 287, 288 [mono]). On the title-page there is an additional note: “Music, Poetry, Speeches, Letters, and other Writings from the Chronicles, from Plays, and in the Monarch’s own words – also Music concerning them and by them.” The dust-jacket has the subtitle “The Fall and Foibles of the Kings and Queens of England: First presented by the Royal Shakespeare Theatre at the Aldwych Theatre, London, on 19th March 1961.”

A-128 Barwin, Gary. King Arthur was a Mountie. Toronto: Serif of Nottingham, 1987. Rptd: “King Arthur was a Mountie.” King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 43–44. This poem consists of a series of statements similar to that of the title. It juxtaposes elements of Canadian life, politics, and popular culture with characters and elements from the Arthurian legend.

A-129 Batson, Robert. “Guinevere to Lancelot.” Every Saturday 4 (11 Oct. 1873): 420. A poem in four six-line stanzas, spoken by Guenevere, pleading with Lancelot.

A-130 Baudino, Gaël. Dragon Death. Dragonsworld 3. New York: ROC, 1992. (*) Third in the series (see the entry for the first, Dragonsworld, for a summary of the series).

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A-131 Baudino, Gaël. Dragonsworld. Dragonsworld 1. New York: ROC, 1991. The first in a trilogy of novels about a female UCLA student and an alternate reality of which she is both guardian and co-creator. Various Arthurian elements appear, including a sorcerer named Mernyl, a maimed king, and the Holy Grail.

A-132 Baudino, Gaël. Duel of Dragons. Dragonsworld 2. New York: ROC, 1991. The second in the series of novels about an alternate reality of which a UCLA graduate student is both guardian and co-creator, this book explores issues of feminism and pacificism. The main Arthurian elements are the Grail and Pellam, the Maimed King. Suzanne, the graduate student, realizes that to save the alternate reality from the horrors of twentieth-century warfare, she must find the Grail to heal herself and the land.

A-133 Baxter, George. “A Ballade to Dead Lovers.” The Ballade of Mary Magdalene and Other Poems. New York: Privately printed, 1922. 56–57. This collection of Baxter’s poems was printed in a limited edition of 999 copies for the poet’s widow. This poem is a ballade with envoy, on lovers in old stories who sold their souls for “earthly pleasure”: Launcelot, Dante, Abelard, Tristram, and Romeo; first line: “Pray, gentle sirs, of whom old poets tell.” Tristram is described as one who is still “Beloved of matron and of damosel” (21–22); Launcelot is described as one who “A thousand knights in battle overbore,” but whose own “knighthood and . . . fealty” were overcome by love (9–12).

A-134 Baxter, George. “Song of Guinevere’s Passing.” The Ballade of Mary Magdalene and Other Poems. New York: Privately printed, 1922. 58. A lyric in two six-line stanzas, on the inevitability of death but the ultimate triumph of love; first line: “Death stalketh through the land.” A note indicates that the song is “From his poetic drama, ‘Launcelot and Guinevere,’ written in Paris, 1908”; the drama has not been published.

A-135 Beardsley, Martyn. Sir Gadabout. Illus. Tony Ross. London: Dent Children’s Books / J. M. Dent and Sons, 1992. Rptd: London: Dolphin / Orion Children’s Books, 1994. This is the first in a series of children’s stories about Sir Gadabout, the worst knight in Camelot. In this story, Guinevere goes missing, and Sir Gadabout sets out to rescue her, with disasterous results. The story has also been issued as an audiobook (1 CD), read by Clive Anderson (London: Orion Publishing, 2006; ISBN 0752875000). The first several “Sir Gadabout” books were earlier issued as an audiobook under the title Tales of Sir Gadabout (3 audio cassettes; ca. 4 hours), read by Richard Mitchley (Bath: Chivers Children’s Audio Books; Hampton, NH: Chivers North America, 1995; ISBN 0745124968; catalogue no. 3CCA-3337).

A-136 Beardsley, Martyn. Sir Gadabout and the Ghost. Illus. Tony Ross. London: Dolphin / Orion Children’s Books, 1994. Rptd: New edn. London: Dolphin / Orion Children’s Books, 1995. In this third installment in the series, Sir Gadabout, the worst knight in Camelot, meets the ghost of Sir Henry Hirsute, and goes on a quest to clear his reputation.

A-137 Beardsley, Martyn. Sir Gadabout Gets Worse. Illus. Tony Ross. London: Dent Children’s Books / J. M. Dent and Sons, 1993. Rptd: London: Dolphin / Orion Children’s Books, 1994. The second novel in the series about the “worst knight” in Camelot, this one being a story about the theft of Excalibur. The story has also been issued as an audiobook (1 CD), read by Clive Anderson (London: Orion Publishing, 2006; ISBN 0752875558).

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A-138 Beare, Beryl. Discovering King Arthur. Intro. Geoffrey Ashe. London: Quantum / W. Foulsham and Co., 1999. This book is a mix of factual information about the legends and retellings of some of the stories. The main body of the text is divided into five “acts”; each of these is written in prose and adapted from a medieval or Victorian source. Act One, “Merlin,” is adapted from Geoffrey of Monmouth. Act Two, “Arthur,” is adapted from the earlier parts of Malory and is divided into five scenes. Act Three, “Culhwch and Olwen,” is an adaptation of that story from the Mabinogion. Act Four, “Gareth and Lynette,” is an adaptation from the idyll by Tennyson. Act Five, “The Death of Arthur,” is again adapted from Malory.

A-139 Beattie, Andrew. Ordinary Jack: A Sort of a Fairy Tale. . . . Illus. Lyn Andrea Stone. Montreux, London, and Washington: Minerva Press, 1996. This play was first performed in the theatre at Eltham College, in February 1995. It is a romantic farce in six scenes, and is said to be set in “Dark Age Britain” in the kingdom of Werconia. Jack, the son of King Lionel of Werconia, is to be married to the daughter of the King of Castille, although he is in love with Sharon Tucker, daughter of the local butcher. The play eventually will bring Jack and Sharon together, but not before Jack meets Macbeth’s “weird sisters” and finds the Holy Grail.

A-140 Bedford, William. “Merlin Listens To a Thrush.” The Hollow Landscapes. Sutton, Surrey: Hippopotamus Press, 1977. 15. Rptd: Ariel 11 (Jan. 1980): 48. The title of this four-stanza poem is ironic, for the one thing Merlin does not do is listen; he is portrayed as intent on his own schemes and then trapped in a cave.

A-141 Beer, Patricia. “Kitchen Calendar.” The Lie of the Land. London: Hutchinson, 1983. 35–36. In ten three-line stanzas, the poem describes a picture of the Lady of Shalott on a calendar (from the description, it would appear to be Waterhouse’s). The speaker reflects on the Lady’s fate and her reception at Camelot. (See also the entries for “Waterhouse, J. W.: The Lady of Shalott 1888” in the Fine Art section.)

A-142 Beer, Patricia. “Sir Gawain.” The Loss of the Magyar and Other Poems. London: Longman, Green and Co., 1959. 11. This three-stanza poem describes Gawain riding back to court after the events of Sir Gawain and the Green Knight.

A-143 Beeton, Samuel Orchart. The Coming K---: A Set of Idyll Lays. London: n.p., 1873. This book parodies Tennyson’s Idylls of the King as the titles of the sections suggest: “The Coming of Guelpho,” “Heraint and Shenid,” “Vilien,” “Loosealot and Delaine,” “The Glass of Ale,” “Silleas and Gettarre,” “The Last Carnival,” and “Goanveer.” The poems satirize contemporary political figures and situations.

A-144 Belgrave, M. Dorothy, and Hilda Hart. “The Loathly Lady and the Gallant Knight.” In Children’s Stories from Old British Legends. Ed. Edric Vredenburg. Illus. Harry G. Theaker. The Raphael House Library of Gift Books for Boys and Girls. London, Paris, and New York: Raphael Tuck and Sons, [1921]. 67–77. Rptd: Wondrous Deeds of Bygone Days. Illus. Harry G. Theaker. The Golden Treasury Library. London, Paris, and New York: Raphael Tuck and Sons, [1935]. 167–81. The book is a collection of tales from Norse, English, and Welsh sources (Baldur the Beautiful, Wayland the Smith, Gamelyn, etc.), and it includes “The Loathly Lady and the Gallant Knight”

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(by Belgrave), being a retelling of the medieval romance of The Wedding of Sir Gawain and Dame Ragnell.

A-145 Belgrave, M. Dorothy, and Hilda Hart. “Taliesin.” In Children’s Stories from Old British Legends. Ed. Edric Vredenburg. Illus. Harry G. Theaker. The Raphael House Library of Gift Books for Boys and Girls. London, Paris, and New York: Raphael Tuck and Sons, [1921]. 94–105. Rptd: Wondrous Deeds of Bygone Days. Illus. Harry G. Theaker. The Golden Treasury Library. London, Paris, and New York: Raphael Tuck and Sons, [1935]. 116–34. The book is a collection of tales from Norse, English, and Welsh sources (Baldur the Beautiful, Wayland the Smith, Gamelyn, etc.), and it includes the story of “Taliesin” (by Hart): “In the days of King Arthur and his noble knights, . . .” the witch Caridwen has an ugly son, to whom she intends to give wisdom; Taliesin passing by is asked to stir the cauldron; three drops land on his right hand, and the wisdom is his. A second part retells the tale of Taliesin and Elphin.

A-146 Belloc, Elizabeth. “Avallon.” America 67 (29 Aug. 1942): 579. (*) A poem, on Avalon.

A-147 Benedictus, David. Floating Down to Camelot. London and Sydney: Macdonald and Co., 1985. A university novel following the lives of several students and professors in Cambridge over the course of one week. One of the students is named “Lance”; further, “The Lady of Shalott” by Tennyson is used as an intertext throughout.

A-148 Bennett, Nigel, and P. N. Elrod. Keeper of the King. New York: Baen, 1997. This novel combines many genres; it is a vampiric espionage thriller and Grail quest. The main character, Richard, has lived for centuries; he was Lancelot in Arthur’s court, and in the 1990s is a security advisor. He is employed by the Canadian government to stop an assassination attempt on the Prime Minister, but he finds himself also on a quest for the Grail to save himself and Sabra, the Lady of the Lake, from the ravages of vampiric old age. The combination of vampire novel with Arthurian Grail quest is interesting; however, the book tends to be too mechanical in its presentation of events and characters.

A-149 Berger, Thomas. Arthur Rex: A Legendary Novel. New York: Delacorte Press / Seymour Lawrence, 1978. Rptd: An excerpt from Chap. 9 was published in Playboy 25.9 (Sept. 1978): 102–105, 110, 232–34, 236. This novel is based, for the most part, on Malory as the chapter titles make clear (they mimic Caxton’s chapter headings), but other stories, like that of Sir Gawain and the Green Knight, of Percival’s childhood, or of the Loathly Lady, are also included. The tone, however, is highly ironic and the content much more sexually explicit than Malory’s text. The court is depicted as corrupt; only Arthur’s fostering in impoverished, out-of-the-way Wales saves him from such excesses and gives him a different vision for his kingdom of chivalry and idealized behaviour. As his own experiences with women show, however, such principles are not without their contradictions. Mordred and Morgan are the villains, who inflict pain because they enjoy doing so; Guenevere is depicted as full of pride, which is what enthrals Lancelot.

A-150 Berrigan, Ted, and Ron Padgett. “Tristan Unsalted.” The World (New York, St Mark’s Church-in-the-Bowery Poetry Project) 2 (Mar. 1967): [5–9]. (*) A long poem, with allusions to the Tristan story.

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A-151 Berrill, Margaret. Sir Gawain and the Green Knight. Illus. Susan Hunter. Great Tales from Long Ago. London: Methuen; Milwaukee: Raintree Children’s Books, 1988. A children’s retelling of the medieval romance.

A-152 Berry, Cha[rle]s W[alter]. An Arthurian Reverie. Illus. John Hassall. N.p. [London?]: n.p. [For the Round Table Club], 1939. The preface indicates that this was done for “the Round Table Club,” a list of some of the officials of which is given after the title-page. Although most of the text is non-fiction (a summary of information about various persons and places in the medieval Arthurian tales, not a new version of the story), it includes several passages quoted from Berry’s verse drama, King Arthur. The “reverie” (which is recounted in the introduction) was of various Arthurian characters sometimes in recognizably modern and deliberately anachronistic situations: “There stood the soldier, a giant in stature, the master-mind and yet the tender-hearted . . . the Ubiquitous Monarch. What was in his hand? . . . a sword? Or maybe a massive fishing rod?” (13–14). Similarly, while the entries for individuals are primarily summaries of medieval sources, there are often modern “twists” (Berry describes Uther Pendragon as an old man who enjoys his wine and suffers from gout), reflecting an idea expressed in the introduction that his reverie involved some “confusion” in this “medley of ‘Arthurian’ humanity” (14). The illustrations by John Hassall (as, again, that for Uther Pendragon) often reinforce these “comic” touches. Hassall’s pen-and-ink drawings illustrate various episodes from the Arthurian legends, including Nimuë seated upon a large rock under which, presumably, Merlin is imprisoned; a young Arthur pulling the sword from the stone; “Sir Launcelot Rescuing the Queen”; “Carried away to the Isle of Avalon”; as well as individual figures (Guinevere, Arthur, etc.), and one landscape (Tintagel). (The illustrator’s name is not given in the book, and the signature that appears on the pictures is not perfectly clear, but the signature matches perfectly that found on the illustrations in another book – Through the Wood – which is known to have been illustrated by John Hassall.)

A-153 Berry, Charles Walter. King Arthur: A Simple Appreciation, Dedicated to Ye Knytte President, Ye Knyttes Vice-President, and Ye Knyttes of Ye Rounde Table Club, by Charles Walter Berry, Sworn in a Knytte of this Illustrious Club in the Guildhall of the Ancient City of Winchester. London: Merritt and Hatcher, 1923. Rptd: Selections are reprinted in Berry’s The Round Table / Arthur. London: Methuen, 1930. A lengthy verse drama, some parts of which are deliberately Shakespearean in form, in eight acts, and emphasizing the “grand ideals” of Arthurian legend. It begins with a prologue on Mount Olympus, where Mars seeks Jupiter’s permission to fly to the aid of Arthur of England. Act 1, Scs. 1 and 2: the sword in the stone episode; Sc. 3: Arthur’s coronation and tryst with Margawse; Sc. 4: Arthur’s self-accusation the morning after. Act 2, Sc. 1: the northern kings plot rebellion; Sc. 2: Arthur’s response; Sc. 3: in Arthur’s camp; Sc. 4: in the enemy camp; Sc. 5: a soliloquy by Mars. Act 3, Sc. 1: two “churls” discuss the battle, which Arthur has won, and then meet Arthur himself; Sc. 2: Arthur discusses his broken sword with Merlin; Sc. 3: the obtaining of Excalibur from the Lady of the Lake; Sc. 4: Merlin comes to King Leodegrance on Arthur’s behalf to propose a marriage with Guenever; Sc. 5: peasants in a tavern drink the health of Arthur and Guenever; Sc. 6: Hymen and Venus speak of love. Act 4: Gawain, Pellinore, and Tor recount their adventures, whereupon Arthur proclaims the ideals of the Round Table (a poetic version of Malory: to do no outrage or murder, etc.). Act 5: the knights return from the Quest of the Holy Grail, and recount their adventures. Act 6, Sc. 1: Mordred tells the king of Guenever’s unfaithfulness; Scs. 2 and 3: Launcelot and his companions at Benwick; Sc. 4: Arthur’s camp, where news of Mordred’s treachery is heard. Act 7, Sc. 1: the battlefield at Dover, and death of Gawain; Sc. 2: Arthur’s camp, on Salisbury Plain; Sc. 3: Mordred’s camp; Sc. 4: the meeting of Arthur and Mordred, and the adder; Sc. 5: the battle, and Arthur meets Mordred; Sc. 6: Arthur wounded, aided by Bedivere towards a river; Sc. 7: Arthur is taken by Queen Morgan into a barge. Act 8, Sc. 1: Bedivere speaks with a hermit; Sc. 2: Bedivere discovers a tomb with the inscription “Hic jacet Arthurus. Rex quondam. Rexque futurus.” The epilogue is a dialogue between Mars and Pax; after so much struggle, there will be a time of peace.

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A-154 Berry, Cha[rle]s W[alter]. The Round Table / Arthur: A Conversation between Two Knights of the Round Table Club. Fwd Albert C. R. Carter. London: Methuen and Co., 1930. Rptd: 2nd edn. 1936. “[A]n Arthurian ‘Shorter Catechism,’ ” according to Carter (5), in the form of a Socratic dialogue, in which the story of King Arthur is recounted (from a variety of medieval sources), and including several passages quoted from Berry’s verse drama, King Arthur. The dialogue is in two “evenings,” and in between the two one of the interlocutors is given a copy of Berry’s “Epic” to peruse. The second evening ends with a declaration of the value of membership in the Round Table Club, which models itself upon such paragons of virtue as Arthur and his knights. (While the intentions of this are not especially “literary,” it is a “fictional narrative,” and so we have chosen to include it and to count it as a novel.)

A-155 Berry, James R. Magicians of Erianne. New York: Harper, 1988. This fantasy novel begins in Erianne, where dragons are mages. The action, however, soon moves to Arthurian Britain, as the young protagonist Ronan, who has no memory of his past, is sent to retrieve the stolen Excalibur. Arthur, Merlin, and Nimue are mentioned many times and do appear at the end; Morgan is the villain of the novel, holding on to the stolen sword as a way of plotting rebellion against Arthur. Most of the other characters are original to this novel.

A-156 Betancourt, John Gregory. “The Tale of Lady Ashburn.” In The Book of Kings. Ed. Richard Gilliam and Martin H. Greenberg. New York: ROC, 1995. 99–111. This story presents a traditional Chinese tale in an Arthurian context. After Uther’s death Arthur is fostered with Sir Garvain, and in the woods meets the beautiful Lady Ashburn. Arthur and the Lady are lovers for the summer, but when their love is discovered, the Lady and her home disappear, leaving only an ancient tomb in its place. Arthur keeps the dagger and sword that she gave him.

A-157 [Bethell, John]. Llangunnor Hill: A Loco-Descriptive Poem, with notes. Carmarthen: Printed for the author, [1794]. [ESTC T123964.] A poem describing Llangunnor Hill, which is just south of Carmarthen. The poem includes references to Carmarthen as the birthplace of Merlin.

A-158 Bevan, Clare. Mightier than the Sword. London: Blackie, 1989. Adam, a boy with Spina Bifida and in a wheel-chair, imagines himself to be King Arthur and sees the people and events of his world in relation to the legends. His friends take on the roles of various knights, and together they work to prevent a housing development from destroying their park. Excalibur is a special pen given to Adam by his teacher, a Merlin figure, and the Grail is the church’s original communion chalice that had been stolen during World War II.

A-159 Bidder, George. Merlin’s Youth. Westminster: Constable, 1899. This volume contains the title poem and four others. The title poem, nearly forty pages long, tells an untraditional story of Merlin’s early adulthood: he falls in love with a woman who studies magic and teaches magic to Merlin; he wishes to marry her, but her father objects; when her father dies in battle, Merlin’s lover rejects him and marries his cousin instead. The end of the poem suggests a more traditional Arthurian Merlin: he lives in a cave and controls “kings and councils.” The four poems that follow this one give parts of the same story from the perspective of Merlin’s lover, his cousin, and their child.

A-160 Bidgood, Ruth. “Arthur.” The Anglo-Welsh Review 26.58 (Spring 1977): 9. Rptd: The Print of Miracle. Llandysul: Gomer Press, 1978. 42. A poem of nine lines reflecting on our need for Arthur’s legend; he has no grave, no fixed place, because of his importance to us.

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A-161 Bidgood, Ruth. “Carn Cafall.” Not Without Homage. Swansea: Christopher Davies, 1975. 20–21. This poem imagines the moment when Arthur’s hound, Cafall, left a footprint in a stone; the second part of the poem reflects on the survival of the stone – and its message – down through the ages.

A-162 Bidgood, Ruth. “Rhonabwy’s Dream.” The Print of Miracle. Llandysul: Gomer Press, 1978. 13. A poem describing the circumstances that led Rhonabwy to dream, and then wonders at the dream’s aftermath.

A-163 Bilgrey, Marc. “Waiting for Tomorrow.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 179–91. Merlin, in this short story, is immortal, and the story surveys his increasingly disastrous relationships with women over the course of several centuries. Nimuë is mentioned as his first love.

A-164 Binyon, [Robert] Laurence. Arthur: A Tragedy. London: William Heinemann, [1923]; and Boston, MA: Small, Maynard, [1923]. This verse drama (performed in 1923, with music by Edward Elgar) is divided into nine scenes that detail the end of Arthur’s reign. The first scene takes place at Astolat, where Lancelot has been recovering from a wound; he leaves Elaine broken-hearted. The second scene concerns Lancelot’s return to court. In the third scene, Elaine arranges her death. In the fourth scene, Guenevere’s gathering of various knights allows Mordred to taunt her with Lancelot’s rumoured attachment to Elaine; the jealous queen is accusing Lancelot when Elaine’s barge arrives. The fifth and sixth scenes are Mordred’s plot to trap Lancelot and Guenevere, and its aftermath: Gawain’s brothers killed and Lancelot’s party fled. Scene seven takes place at Lancelot’s castle, as Arthur and Gawain attempt to take revenge; the queen is reconciled with Arthur and asks to retreat to a nunnery. The last two scenes seem in some ways to draw on Tennyson since Guenevere converses with one of the nuns and is visited by Arthur; news of the final battle is brought to her in the last scene. (See also the entry for “Elgar, Edward” in the Music section.)

A-165 Binyon, [Robert] Laurence. “The Death of Tristram.” Odes. London: Unicorn Press, 1901. 29–48. Rptd: “Tristram’s End.” Selected Poems. New York: Macmillan, 1922. 22–40. – Collected Poems. 2 vols. London: Macmillan, 1931. 2: 57–70. This ode is divided into three parts. The first takes place as the dying Tristan waits for Iseult of Cornwall to arrive in Brittany. The second alternates stanzas between Tristan and Iseult; in their last conversation they recall their first meeting, the wound Tristan received from Marhault, and the love potion they drank. The third part of the poem contains the response of Iseult of Brittany and of Mark in Cornwall to the deaths of the lovers.

A-166 Binyon, [Robert] Laurence. The Madness of Merlin. Intro. Gordon Bottomley. London: Macmillan, 1947. This was to have been the first part of a three-part dramatic poem, but the author died before completing the other parts. It is divided into eleven scenes. Merlin is a Welsh prince who leaves a battle overcome with horror; he wants to remain aloof from the world, but has visions that give him no peace.

A-167 Binyon, [Robert] Laurence. “Tintagel.” Lyric Poems. London: Elkin Mathews, 1894. 65. Rptd: Collected Poems. 2 vols. London: Macmillan, 1931. 1: 11. In Lyric Poems this is Poem 30; it was written between 1887 and 1893. The poem has two stanzas,

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one of eight lines and one of ten; first line: “Low is laid Arthur’s head.” The speaker reflects on Arthur and his knights in their graves, sleeping, yet still hearing the thunder of waves and wind at Tintagel. Arthur is the only one named.

A-168 B[irch], F[rances] N[ewberry]. Untitled poem (beg.: “The Great Adventure calls for us in every street and lane”). Excalibur: The Chronicle of the Fellowship of the Round Table 1.11 (Apr. 1932): 447. A poem of two quatrains, in long lines. Excalibur is ready to serve the world “If we love our fellow-creatures and our hearts are unafraid.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-169 Birch, Frances Newberry. “The King Comes Back.” Excalibur: The Chronicle of the Fellowship of the Round Table 4.3 (Apr. 1935): 78. A poem of five quatrains. Arthur has returned and is at work in the world in the shape of those who follow his ideals. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-170 Birch, Frances Newberry. “The Knightly Heritage.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.3 (Apr. 1934): 84. In this poem of four quatrains, Camelot has turned to dust, but those of us who know can see knights in the streets today, and we should be among them. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-171 Birch, Frances Newberry. “Mirrors of Light.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.1 (Oct. 1933): 6. This poem of eight quatrains argues that as the moon reflects the sun, knights should reflect the light of the Grail. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-172 B[irch], F[rances] N[ewberry]. “Poor Man, Rich Man.” Excalibur: The Chronicle of the Fellowship of the Round Table 2.2 (Jan. 1933): 52–55. A 150-line poem, in couplets, telling the story of St Francis, inspired in his youth by stories of King Arthur and his knights, who calls his followers “Knights of the Table Round”; he is the poor man who becomes the rich man, rewarded by God with the wounds of Christ. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-173 B[irch], F[rances] N[ewberry]. “Tristram’s Farewell.” Excalibur: The Chronicle of the Fellowship of the Round Table 2.1 (Oct. 1932): 11–12. A poem of fifty lines of blank verse, with an inserted lyric (the “song of Tristram”); Tristram is saying farewell to Iseult, when Mark comes in and kills them both. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-174 Bischoff, David. Star Spring. New York: Berkeley, 1982. This science fiction novel is full of Jungian ideas; the villain wishes to gain power by controlling, essentially, the collective unconscious generated by a group of people he has imprisoned on a spaceship. In the reality that the main characters come to inhabit, they must find the Grail Castle (otherwise known as Fisher’s Bar and Grail); they are helped on their quest by Galahad and Merlin.

A-175 Bishop, Farnham, and Arthur Gilchrist Brodeur. The Altar of the Legion. Illus. Henry C. Pitz. Boston, MA: Little, Brown and Co., 1926. This historical novel takes place after Arthur’s death; Owain is a main character.

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A-176 Blacker, Terence. Revenance. London: Bloomsbury Press, 1996. The village of Burthorpe in East Anglia is the setting of this novel. Its title comes from a theory that one of the characters develops about death and ghosts; one of the characters, Margaret, is a ghost able to take on human form in order to resolve her original disastrous relationship (with John Skelton, the Tudor poet). The only Arthurian content comes early on as Margaret, when she first appears in the village, checks into the Greyhound Inn, which has been given an Arthurian make-over. Its rooms are given Arthurian names (Lancelot Lounge, Camelot Carvery, Excalibur Conference Centre), and Margaret stays in the Guenevere suite. These allusions are not sustained, but the commercialization of the legend is one of the points of social satire in the novel. The allusions are also appropriate given the number of love triangles taking place both in the present time and in Margaret’s memories of the past.

A-177 Blackie, J. S. “Merlin and Kentigern: A Legend of Tweeddale.” Blackwood’s Magazine 138 (Dec. 1885): 769–74. The poem is spoken by an old man who tells a story to a young woman. He claims that, at this spot, Merlin sat, talking to a pig and mourning the loss of a kingdom to Christianity. Kentigern meets him and tries to convert him. The poem ends with the traditional story of a “wily lady” imprisoning Merlin; when he dies, he is buried by the thorn-tree.

A-178 Blackmore, Richard. King Arthur: An Heroick Poem, in Twelve Books, . . . To which is Annexed, An Index, Explaining the Names, Countrys, Citys, and Rivers, &c. London: Printed for Awnsham and John Churchil, and Jacob Tonson, 1697. [STC (Wing) B3077 (ESTC R18780 and R235060).] In his second attempt at an Arthurian epic, Blackmore again models his work on Virgil and Milton, and includes a good deal of divine machinery to explain motivation and actions. Satan is particularly active in opposing Arthur, and even gets a chance to test Arthur (in a scene reminiscent of the Book of Job). The Roman War would seem to be the inspiration for the epic, but events and characters are considerably changed. Arthur moves into Europe at the request of Christians in Gallia because they are being oppressed; while Arthur is helping them, Satan sows discord at home, so that Arthur must return, leaving his troops on the continent without him at a crucial time (and thus extending the whole war to the regulation twelve books). Arthur is virtually the only traditional character; however, Arthur’s favourite knight is named Lucius, and is, as such, a somewhat Lancelot-like figure. The main opponents of Arthur at home are churchmen. One of these opponents is named Morogan. While he is a man, the similarity of his name and his opposition to Arthur suggest an admittedly vague connection to Morgan. Blackmore’s pair of Arthurian epics have been interpreted as political allegory, reading Blackmore’s Arthur as William of Orange, the defender of the “true” religion against the “Saxons” – Catholics.

A-179 Blackmore, Richard. Prince Arthur: An Heroick Poem in Ten Books. London: Printed for Awnsham and John Churchill, 1695. [STC (Wing) B3080 (ESTC R23258); other edns.: B3081 (ESTC R23259), B3082 (ESTC R11096).] Rptd: Menston, Yorkshire: Scolar Press, 1971. An Arthurian epic poem, the story being a much elaborated version of Geoffrey of Monmouth’s, and modelled on Virgil and Milton with all the usual epic machinery: Lucifer is behind any Saxon successes or other set-backs for Arthur’s forces, Arthur receives encouragement from heavenly messengers, and so forth. In the first five books, Arthur is shipwrecked and spends time at Hoel’s court; there are various conversations between Arthur and Hoel on Christian beliefs; Arthur’s men also inform Hoel of Arthur’s history and the reason for the Saxon threat in England. The last five books concern the actual battle for England, beginning with Arthur’s return there, attempts to achieve a peaceful solution, and then an all-out battle that ends with Arthur and Tollo in single-combat. While some traditionally Arthurian characters appear (Uther, Vortigern, Octa, Cerdic), many of the characters are not those usually in the legend, or else their roles are changed. Mordred is king of the Picts, and thus an enemy. Merlin is paid by the Saxons to curse the Britons,

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but divine intervention leads him to make prophecies in their favour instead. The work seems to have been very popular in its time, and achieved some royal favour with King William; three editions were published in the space of only two years, and the work was translated into Latin in 1700. Blackmore’s pair of Arthurian epics have been interpreted as political allegory, reading Blackmore’s Arthur as William of Orange, the defender of the “true” religion against the “Saxons” – Catholics.

A-180 Blaikie, J. Arthur. “Arthur in Avalon: From the picture by J. Archer, R.S.A.” Magazine of Art 7 (1884): 433–34. A pair of Petrarchan sonnets, the first describing the scene (of Arthur and the queens, as depicted by James Archer) and asking what comfort can be given by the four queens gathered around Arthur. The second addresses Arthur as “Glory of knighthood” and reassures him of his accomplishment; in the sestet the four queens are once again described, this time as ending their watch over the king. The poem is accompanied by a half-page, B&W reproduction of the painting by James Archer. (Also see the entry for “Archer, James: Le Mort d’Arthur” in the Fine Art section.)

A-181 Blake, William. “Jerusalem [And did those feet].” Milton: A Poem in 2 Books. Illus. William Blake. [London?]: [Printed by William Blake], 1804–1808. Rptd: Milton Ed. Kay Parkhurst Easson and Roger R. Easson. The Sacred Art of the World. Boulder, CO: Shambhala, 1978. – The Complete Poetry and Prose of William Blake. Ed. David V. Erdman; commentary by Harold Bloom. Revised edn. Berkeley and Los Angeles: University of California Press, 1982. 95–96. The well-known hymn “And did those feet in ancient time,” which draws upon the Glastonbury legends of Joseph of Arimathea and the Grail (specifically, the claim that Joseph brought the boy-child Jesus to England on one of his several trips to the Glastonbury area), appears as a Preface to Blake’s Milton; it was set to music by Hubert Parry. (See also “Parry, C. Hubert H.” and “Searle, Humphrey” in the Music section.)

A-182 Blake, William. Jerusalem, the Emanation of the Giant Albion. Illus. William Blake. [London?]: [Printed by William Blake], 1804. Rptd: [London]: Printed by William Blake, 1832. – The Complete Poetry and Prose of William Blake. Ed. David V. Erdman; commentary by Harold Bloom. Revised edn. Berkeley and Los Angeles: University of California Press, 1982. 144–259. – Jerusalem: The Emanation of the Giant Albion, Edited with an Introduction and Notes. Ed. Morton D. Paley. Blake’s Illuminated Books 1. London: William Blake Trust / Tate Gallery, 1991. A substantial poem on “Albion,” the Idea of England in Blake’s private mythology; it includes various Arthurian elements and particular references to Arthur the fifth-century prince. Also profusely illustrated with 100 plates.

A-183 Blake, William. “Merlin’s Prophecy.” [c. 1793.] The Note-Book of William Blake, Called the Rossetti Manuscript. Ed. Geoffrey Keynes. London: Nonesuch Press, 1935. 25. Rptd: The Complete Poetry and Prose of William Blake. Ed. David V. Erdman; commentary by Harold Bloom. Revised edn. Berkeley and Los Angeles: University of California Press, 1982. 473. “Merlin’s Prophecy” is a four-line verse prophecy about the meeting of two virginities (beginning “The harvest shall flourish in wintry weather / When two virginities meet together”). The titular reference to Merlin is the only obviously “Arthurian” element in the poem. The Keynes edition of the Note-Book also includes a photographic facsimile of the pages of the notebook: the poem appears on p. 106 of the reproduced manuscript. (See also “Axelrod, David” in the Music section.)

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A-184 Blaylock, James P. The Paper Grail. New York: Berkeley Publishing Group, 1991. This novel is set in modern-day California, and has to do with a museum curator, Howard, who goes upstate to visit relatives and to acquire an object for his museum. Like Bors, Howard is associated with a pelican; he follows it to the town. The object, a sketch, turns out to be “the Grail”; the old man who “owned” it is the Fisher King, and when he dies, Howard becomes the new keeper of the Grail. Howard and his eccentric relatives have to guard the Grail from a group of unprincipled developers whose leader wishes to acquire the Grail to increase her power. She makes a divining rod, supposedly of the arm-bones of Joseph of Arimathea, in order to discover where the Grail is hidden.

Blenerhasset, Thomas: see “Mirror for Magistrates.” A-185 Bloch, Bertram. The Little Laundress and the Fearful Knight. Illus. George Shanks. Garden City, NY: Doubleday and Co., 1954. A novel, about a young serf and a young knight, set in an Arthurian world. Although no Arthurian characters appear, Arthur and several of his knights are mentioned as if they live in a nearby region.

A-186 Blunt, Wilfred Scawen. “The Morte d’Arthur.” The Poetical Works of Wilfred Scawen Blunt. 2 vols. London: Macmillan and Co., 1914. 1: 345. This Petrarchan sonnet reflects on the lasting power of Malory’s version of the legend; first line: “These are the tales in all their valorous lore.” The sestet suggests that this power depends on the love triangle between Arthur, Guenevere, and Lancelot; if their story had not been so tragic, perhaps the Arthurian tales would not have had the effect on later readers that they have had.

A-187 Blunt, Wilfred Scawen. “The Wisdom of Merlyn.” The Poetical Works of Wilfred Scawen Blunt. 2 vols. London: Macmillan and Co., 1914. 2: 451–71. Blunt’s last published poem, this consists of a series of maxims ascribed to Merlin.

A-188 Blyton, Enid [Mary]. King Arthur and his Knights. Illus. Macdowell. Old Thatch Series. Edinburgh and London: W. and A. K. Johnston, [1934]. (*) Blyton’s second set of retellings of episodes from Malory is targeted at readers younger than the intended audience of her Knights of the Round Table. (Information from Gaines, Item C56.)

A-189 Blyton, Enid [Mary]. The Knights of the Round Table. Illus. Thomas Heath Robinson. John o’ London’s Children’s Library. London: George Newnes, 1930. Rptd: Illus. Kathleen Gell. London: Latimer House, 1950. – Illus. Gabrielle Morton. Shaftesbury, Dorset, and Boston, MA: Element Children’s Books, 1998. – Also republished as part of Tales of Brave Adventure. London: Dean and Son, 1963. This children’s book tells the story of Arthur, generally following Malory reasonably closely (Gaines, Item C50). Tales of Brave Adventure reproduces this text along with the story of Robin Hood.

A-190 Boardman, Phillip C. “Merlin.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 11. This eight-line poem describes the moment of Merlin’s enchantment and the reactions of both Merlin and his unnamed lover.

A-191 Boardman, Phillip C., and Charles E. Wyatt, ed. Forgotten Arthurian Poetry. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989.

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A collection of neglected Arthurian poems. For details of individual works, see Maurice Baring, “Ballad (Mine eyes are dim and my wound is sore)”; Francis Burdett Money Coutts, “The Death Song of Guenevere” and “Ettard’s Troth”; Ralph Waldo Emerson, “The Harp”; John Gray, “Parsifal Imitated from the French of Paul Verlaine”; Sophie Jewett, “The Dwarf ’s Quest: A Ballad”; Lizette Woodworth Reese, “Guinevere in Almesbury Convent”; Frank Pearce Sturm, “Launcelot Praises Guenevere with Rhymes,” “Launcelot Tells of the Enchanted Islands,” and “The Monk Launcelot Remembers Guenevere”; Arthur Symons, “Parsifal” and “Tristan’s Song”; Testudo [i.e., Mostyn Piggott], “The Second Coming of Arthur (A Certain Past Adapted to a Possible Future)”; and Helen Hay Whitney, “When Tristan Sailed.”

A-192 Boenig, Robert. “Balin Hunting.” Mythlore 31 (Spring 1982): 10. A short poem in which Balin issues a challenge to Garlon the invisible knight.

A-193 Boenig, Robert. “Bors Returning.” Mythlore 17 (May 1978): 26. A poem, in free verse, spoken by Bors as he journeys home after the end of the Grail quest. The poem is built around paradoxes, and Bors’ feeling of responsibility for determining which path the future will take: “Guinevere and Lancelot to holiness, / Mordred to faith, Arthur to safety, . . . / and mine the choice.”

A-194 Boenig, Robert. “Launcelot Running.” Mythlore 20 (Spring 1979). A poem in free verse, describing Launcelot running mad in the forest; he is compared to Nabogodnosser, Lear, and Thomas Malory.

A-195 Bogen, Nancy. Bagatelle * Guinevere. New York: Twickenham, 1995. This novel purports to be the diaries of one Felice Rothman (discovered and edited by Bogen), a space shuttle volunteer monitoring electronic pulses coming from other galaxies (similar to Contact). The various parts of her spaceship are named after Arthurian characters.

A-196 Bond, Edward. “Merlin and Arthur.” Theatre Poems and Songs. Ed. Malcolm Hay and Philip Roberts. London: Eyre Methuen, 1978. 96–97. A two-stanza poem that presents Merlin and Arthur as adversaries, everything that Merlin does in the first stanza is appropriated by Arthur in the second, so that Arthur is the figure of the tyrant here. This poem appears with others from Bond’s play, Stone; the other poems reflect on the use of tools in society, or on other stories about the use of tools, such as that of David and Goliath.

A-197 Bond, Frederick Bligh. The Rose Miraculous. Glastonbury Scripts 6. Glastonbury: Central Somerset Gazette, 1924. Rptd: The nine “scripts” were reissued in a single volume: The Glastonbury Scripts, Nos. 1–9. Glastonbury: J. O. Hartes, 1934. The “scripts” are nine pamphlets containing a series of psychic communications concerning the various antiquities of Glastonbury, the Brotherhood of the Company of Avallon, and the Holy Grail. The sixth of the “scripts” includes a poem, partly produced through automatic writing and credited by Bond to a lady with the initials H. T. S. Unlike some of the other Glastonbury Scripts, he does not claim this to be verifiable history, but says that “It is submitted as literature” (Preface). Most of the poem concerns the life of Joseph of Arimathea after the crucifixion of Christ; near the end, he and some followers journey to Britain to establish Christian worship there, settling at Glastonbury (which throughout the scripts is referred to as “Avallon”). The Grail that Joseph carries begins as a wooden cup containing the blood of Christ, but it has been transformed into a Stone like “a pale beryl” but with a line of deep red through its centre. A few Arthurian characters are mentioned near the end: Merlin, Arthur and his Queen.

A-198 Bond, F[rederick] B[ligh]. The Story of King Arthur and How He Saw the Sangreal, of his Institution of the Quest of the Holy Grail, and of the Promise of the Fulfil-

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ment of that Quest in the Latter Days. Glastonbury Scripts 9. Glastonbury: Privately printed, 1925. Rptd: The nine “scripts” were reissued in a single volume: The Glastonbury Scripts, Nos. 1–9. Glastonbury: J. O. Hartes, 1934. The “scripts” are nine pamphlets containing a series of psychic communications concerning the various antiquities of Glastonbury, the Brotherhood of the Company of Avallon, and the Holy Grail. The Story of King Arthur (the ninth script) is a metrical account, in blank verse and partly produced by automatic writing, of King Arthur and the Quest for the Grail.

A-199 Bond, Nancy. A String in the Harp. New York: Atheneum, 1976. Rptd: New York: Penguin Books, 1987. Three American children stay with their father in Wales for a year. The novel is divided between the story of their struggle to cope with this new environment and the aftermath of their mother’s death, and episodes from Taliesin’s life. One of the children, Peter, finds a harp key belonging to Taliesin, and the key has the power to bring past and present together in disturbing and exciting ways. Besides Taliesin, Arthurian characters with significant roles include Elphin, Gwyddno, and Maelgwyn; Arthur is mentioned briefly.

A-200 Bontemps, Arna Wendell. “Lancelot.” In Caroling Dusk: An Anthology of Verse by Negro Poets. Ed. Countee Cullen. New York and London: Harper and Brothers, [1927]. 162. Rptd: Personals. London: Paul Breman, 1963. 32. A poem of two quatrains; first line: “The fruit of the orchard is over-ripe, Elaine.” Lancelot speaks to Elaine, describing the garden where they have met “again” as one past its prime, with “over-ripe” fruit. The poem calls to mind the episode in Malory where Elaine of Corbenic finds Lancelot, mad, sleeping in the garden.

A-201 Borowsky, Marvin. The Queen’s Knight. New York: Random House, 1955. Rptd: London: Chatto and Windus, 1956. In this historical novel, Arthur is a stablehand who is named king by unscrupulous councillors, Merlin and Mordred among them. But the new king has a vision of justice, and he convinces Lancelot and others to support that vision.

A-202 Boss, Eleanor. In Quest of the Holy Grail. London and Edinburgh: Marshall, Morgan, and Scott, 1930. (*) A novel, retelling Tennyson’s version of the Holy Grail quest. (Information from OCLC WorldCat.)

A-203 Bostock, Carol J. “Pendragon.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 33–34. This poem of ten stanzas describes Arthur in mythic terms. His early “hidden” years, his drawing of the sword from the stone, and his acquiring of Excalibur are all mentioned, as is his status as sleeping king. The speaker appeals to him to “come heal the Land.”

A-204 Bottomley, Gordon. “Merlin’s Grave.” Scenes and Plays. London: Constable and Co.; New York: Macmillan, 1929. 59–76. A short verse drama set at Merlin’s grave. As three women watch, an old man and two women meet there; the old man and one of the women re-enact the imprisoning of Merlin in the tree. The drama suggests that this event recurs age after age.

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A-205 Bovey, John. “The Lady of Shalott.” Texas Quarterly 21.2 (Summer 1978): 127–39. This short story concerns a divorced couple who, meeting again, consider whether to reunite, despite the complications of another love interest. The title comes from a conversation about Tennyson and his poem, but the Arthurian content is slight – primarily just the idea of a love triangle.

A-206 Bowen, Olwen [pseud.], [i.e., Olwen Bowen Davies]. Tales from the Mabinogion. Illus. Richard Kennedy. New York: Vanguard Press, 1969. Retells the stories from the Mabinogion including the Arthurian ones concerning Culhwch and Olwen, the Lady and the Fountain, Yvain, and Peredur.

A-207 Bowers, Gwendolyn. Brother to Galahad. Illus. Don Bolognese. New York: Henry Z. Walck, 1963. The protagonist of this juvenile novel is Hugh of Alleyn, said to be a descendent of Joseph of Arimathea (and thus Galahad’s “brother”). He goes to Camelot and rides on the Grail quest with Galahad. He is thus an observer of and participant in events at Camelot and on quest.

A-208 Bowers, Gwendolyn. The Lost Dragon of Wessex. New York: Oxford University Press, 1957. This novel tells the story of a young orphan boy living in Wessex during the reign of Alfred. He journeys to Alfred’s court where he learns to be a warrior, a scholar, and a bard. There are several songs sung about Arthur’s time, and a key component of the story is Arthur’s arm-ring. The protagonist discovers that he is of Taliesin’s line, and that the treasure his father left for him is in fact this arm-ring, which he gives to Alfred.

A-209 Bowers, Scott T. Save Your Son: A Tale of Arthur. San Jose, New York, Lincoln, and Shanghai: Writers Club Press / iUniverse.com, 2000. A retelling of the story of Arthur, from his conception to his death, based primarily upon Malory, and focused upon Arthur’s spiritual development and ultimate salvation.

A-210 Bowie, W. Russell. The Christmas Pageant of the Holy Grail. New York: Abingdon Press, [1927]. A dramatic reading (a narrator reads most of the lines while the actors pantomime the actions) divided into four scenes; it is intended to be acted out in churches as part of Christmas celebrations. Arthur dreams of the Grail and wants his knights to acquire it as a gift for the Christ child. Galahad is the focus of the later scenes as he achieves the quest.

A-211 “The Boy and the Mantle.” In Reliques of Ancient English Poetry. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 3: 1–11. Rptd: Percy’s Reliques of Ancient English Poetry. Ed. J. V. Prichard. 2 vols. London: George Bell and Sons, 1883. 2: 342–48. – Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. 2: 301–11. – The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. 2: 311–17. – The English and Scottish Popular Ballads. Ed. Francis James Child. 5 vols. Boston, MA, and New York: Houghton, Mifflin and Co., 1883–1898. 1: 257–74 (frequently reprinted). – The Legendary Ballads of England and Scotland. Ed. John S. Roberts. Illus. Walter Crane [?]. The Chandos Poets. London: Frederick Warne and Co.; New York: Scribner, Welford and Co., [1868]. 72–76.

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– The Oxford Book of Ballads. Ed. Arthur Quiller-Couch. Oxford: Oxford University Press, 1910. 68–75. – The Book of Old Ballads. Ed. Beverley Nichols. Illus. H. M. Brock. London: Hutchinson, 1934. 55–63. A traditional ballad (Child no. 29; beginning [Child’s version “A”]: “In the third day of May / To Carleile did come”), probably of the sixteenth century, and preserved in Percy’s Folio manuscript (now British Library MS Add. 27879); it appears in a portion of the manuscript which was badly damaged (half pages with which to start fires torn out before Percy rescued the manuscript) with much loss of text. A boy comes to Arthur’s court with a mantle which tests the faithfulness of any woman who wears it, a boar’s head which could be carved by the knife of a man only if he were not a cuckold, and a horn from which only non-cuckolds could drink without spilling. Guenevere is embarrassed by the mantle, but Sir Cradock and his lady pass all three tests. The third volume of Percy’s Reliques includes two versions, the first a transcription of the manuscript, the second “as revised and altered by a modern hand” (i.e., a rewriting and reconstruction by Percy). The reprinting of this ballad in The Book of Old Ballads includes an illustration of a woman left naked in front of the court by the magic mantle. (See also the entry under “Percy, Thomas” for his reconstructed version of the ballad. For illustrations to the story, see the entries for “Shaw, John Byam Liston: The Boy and the Mantle” and “Gloag, Isobel Lilian: The Magic Mantle” in the Fine Art section.)

A-212 Boyle, Marian. “Artorius, Rex Invictus.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 56. Each of the five stanzas of this poem end with a short line giving an epithet for Arthur: Rex Dormiens, Rex Bellorum, etc. The stanzas each develop an aspect of Arthur’s legend, mentioning his war with Rome, the love triangle, and the Grail quest. The last stanza calls for Arthur to return.

A-213 Bradburne, E[lizabeth] S[utton]. “Arthur, King of England.” Long Ago and Yesterday. Illus. Trevor Stubley. Gold Book 6. Huddersfield: Schofield and Sims, 1968. 18–23. Children’s story about how Arthur came to be king, telling the story from his birth to his drawing the sword; the focus of the story is on the sword in the stone episode. The other stories in the book are not Arthurian.

A-214 Braddon, Mary Elizabeth [Mary Elizabeth Braddon Maxwell]. Mount Royal. London: John and Robert Maxwell, 1882. A love story with some Arthurian references.

Bradley, Katherine Harris, and Edith Emma Cooper: see Field, Michael. A-215 Bradley, Marion Zimmer. The Forest House. New York: Viking; London: Michael Joseph, 1993. Published a decade later than The Mists of Avalon, this novel returns to the world of Avalon that Bradley created in her best-seller. The “Forest House” is the holy place for worshippers of the Goddess before Avalon is established, for the novel is set in the first century CE; it thus chronicles the events that lead to the founding of Avalon. As in Mists, “Merlin” is a title bestowed on a Druid priest, so there is a Merlin in this tale, and the ending looks forward to the events of Mists, but the novel is not otherwise Arthurian.

A-216 Bradley, Marion Zimmer. Lady of Avalon. New York: Viking; London: Michael Joseph, 1997. This novel fills in the years between the events of The Forest House and those of The Mists of

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Avalon. It is divided into three parts; the first takes place right after the destruction of the Forest House and the last concerns the childhood of Viviane, who is an older woman when Mists begins. Bradley picks up on the theme of reincarnation which she suggested at times in her other novels; in each of the three parts of this book one can see patterns repeating, with varying degrees of complexity, in the lives of characters.

A-217 Bradley, Marion Zimmer. The Mists of Avalon. New York: Alfred A. Knopf, 1982. Rptd: London: Michael Joseph, 1983. While other writers had begun to rewrite the Arthurian legend from the point of view of female characters before the publication of this novel, Bradley’s work became one of the most famous (and best-selling) feminist versions of the legend. Bradley has sections where Morgaine speaks directly, commenting on the events narrated. The rest of the novel uses third-person narration, with the point of view shifting between several female characters: Morgaine, but also Igerne, Vivian, Morgause, Niniane, Guenevere and Nimuë. Bradley sets the events of the legend against the backdrop of a conflict between two different religions, pagan and Christian, as Christianity is rapidly displacing worship of the Goddess. The novel has also been issued as an audiobook (2 cassettes; approx. 3 hours), abridged by Nicole Dillenberg, read by Natasha Richardson (and with a musical version of Tennyson’s “The Lady of Shalott,” sung by Krysia Kristianne) (Los Angeles: Time Warner AudioBooks, 1995; ISBN 1570422052).

A-218 Bradley, Marion Zimmer. “The Pledged Word.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 130–36. A scene from Mists, about Morgaine and Nimuë’s journey to Avalon, reworked as a short story.

A-219 Bradley, Will. Launcelot and the Ladies. New York and London: Harper, 1927. The narrator of this novel is David, a young man who has visions of previous times. Through the course of the novel, he carves a bow from an old piece of yew, and in doing so finds himself observing or participating in various episodes of the Arthurian legend. The main focus is on Launcelot, particularly his relationship with Guinevere and with Elaine (in this version, Elaine of Corbenic and Elaine of Astolat are the same person). These legendary relationships have parallels in David’s life, as he has always been in love with an older woman, whose adopted daughter is now in love with him.

A-220 Bradshaw, Gillian. Hawk of May. New York: Simon and Schuster, 1980. Rptd: Omnibus edition of the complete trilogy: Down the Long Wind. London: Methuen, 1984. The first novel in the trilogy Down the Long Wind. This first portion is narrated by Gwalchmai; in many ways, he is the equivalent of Gawain, but his status as younger son well-loved by his mother also echoes Gareth’s usual role. Frustrated at his lack of warrior skills, Gwalchmai learns the skills that his mother can teach him, namely sorcery, until he rebels against her evil powers and runs away. After spending time in an Otherworldly realm, he returns to Arthur’s kingdom determined to serve the king, but first he has to gain Arthur’s trust. This novel has the most fantasy elements of any in the series, but as in the others it establishes the characters as involved in a struggle of Light against Darkness: Arthur represents or fights for the Light, whereas Morgause is an embodiment of Darkness.

A-221 Bradshaw, Gillian. In Winter’s Shadow. New York: Simon and Schuster, 1982. Rptd: Omnibus edition of the complete trilogy: Down the Long Wind. London: Methuen, 1984. The third and last novel of Bradshaw’s series. Guenevere is the main character and narrator, and

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as a result there are fewer fantastic elements; in fact, the descriptions of the final battle and the treatment of Arthur’s supposed return are handled very realistically and very effectively. The Lancelot role is taken here by Bedivere; the Gareth-figure is Gwalchmai’s son. Although Morgause is no longer alive, her presence affects all the characters as Mordred seeks revenge on Arthur, Gwalchmai and others to carry on her legacy and avenge her death.

A-222 Bradshaw, Gillian. The Kingdom of Summer. New York: Simon and Schuster, 1981. Rptd: Omnibus edition of the complete trilogy: Down the Long Wind. London: Methuen, 1984. The second novel in the trilogy, following Hawk of May. As in the first, Gwalchmai continues to fight for the Light against his mother Morgause and his half-brother Mordred, both of whom represent Darkness. This novel, however, is narrated by Rhys ap Sion, Gwalchmai’s servant. Two of the major events covered are Gwalchmai’s ill-fated love affair and the events that lead to Morgause’s death, although here her lover is Maelgwyn, not Lamorak.

A-223 Bragg, Melvyn. Credo. London: Hodder and Stoughton, 1996. Rptd: The Sword and the Miracle. New York: Random House, 1996. This historical novel recounts the life of St Bega, a seventh-century Irish woman who flees to Rheged and becomes renowned for miracles. The man she loves, Padric, is a Prince of Rheged, determined to overthrow the cruel Saxon kings (one of them his own cousin) who hold Rheged in thrall. Padric’s family is said to descend from Arthur and Urien, and Padric’s campaign to rout the Saxons is often compared to Arthur’s, so there are allusions to various episodes and characters from the legend. By the end, the allusions to Arthur become even more direct; Padric is equated to Arthur by the people, and Bega is equated to the Lady of the Lake by Padric. The novel was published in the United States as The Sword and the Miracle.

A-224 Braunbeck, Gary A. “The Ballad of the Side Street Wizard; or, Those Low-Down, Dirty, Eternally Depressing, and Somewhat Shameful Post-Arthurian Dipshit Blues.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 238–58. The story is about Buster Francis (aka Myrddin the Magician) and his unrequited love for a young woman. Mordred is the rabbit used in the show; Morgan le Fay is a bird. There is also an allusion to the hand rising from the lake with Excalibur, but the action takes place in twentieth-century America, and whether Buster is really Merlin or not is left rather open to interpretation.

A-225 Brennan, J. H. Castle of Darkness. Grail Quest 1. Illus. John Higgins. London: Armada Books, 1984. As this “choose-your-own-adventure” story begins, Merlin instructs the reader on the way the game is to be played and provides background information for the setting of the action. Arthur is said to be king of Avalon; Excalibur, the Round Table, and various Arthurian characters are mentioned. The reader then has to take on the role of Pip, a boy who lives on a farm some distance from Camelot. The villain is a wizard named Ansalom. Pip must rescue the queen, whom Ansalom abducts, and kill the villain in order to finish the game successfully. Pip is selected by Merlin, who is said to be in love with a young woman, and who therefore cannot go himself.

A-226 Brennan, J. H. Den of Dragons. Grail Quest 2. Illus. John Higgins. London: Armada Books, 1984. As in the first book of this series, the reader is invited by Merlin to take part in this adventure by becoming Pip, a farmer’s son and Merlin’s apprentice. You visit Merlin in his crystal cave and learn that a Brass Dragon from the Ghastly Kingdom is terrorizing Avalon, King Arthur’s kingdom. The reader’s job is to find the dragon and kill it. While Arthur’s kingdom is the setting, aside from Merlin and a villainous Black Knight, there are few references to Arthurian characters or episodes from the legend.

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A-227 Brennan, J. H. Gateway of Doom. Grail Quest 3. Illus. John Higgins. London: Armada Books, 1984. This installment picks up where the last left off. The Gateway to the Ghastly Kingdom must be closed, and the reader, as Pip the farmer’s son and Merlin’s apprentice, undertakes the adventure. Merlin takes a greater part in this adventure, but once again, other Arthurian characters tend to be confined to the initial chapters that set up the adventure; in this case, a meeting of King Arthur and his Knights establishes what the crisis is that Pip must solve. His success in defeating the Black Knight and closing the Gateway is rewarded with knighthood.

A-228 Brennan, J. H. Kingdom of Horror. Grail Quest 5. Illus. John Higgins. London: Armada Books, 1985. (*) The fifth in the series of Brennan’s “choose-your-own-adventure” novels set in Camelot.

A-229 Brennan, J. H. Legion of the Dead. Grail Quest 8. London: Armada Books, 1987. (*) The eighth in the series of Brennan’s “choose-your-own-adventure” novels set in Camelot.

A-230 Brennan, J. H. Realm of Chaos. Grail Quest 6. Illus. John Higgins. London: Armada Books, 1986. Rptd: New York: Dell / Laurel-Leaf Books, 1987. The sixth in a series of Brennan’s “choose-your-own-adventure” novels set in Camelot. The reader is told that he or she is needed to save Camelot. Merlin transports the reader to Camelot and gives him or her the character of Pip. The reader follows the story’s instructions, making choices about what should be done and using dice to determine outcomes of events. Near the end of the adventure, Pip meets Arthur, Guenevere and various knights of the Round Table, and they greet him again when the adventure is ended. Arthur’s kingdom here is known as Avalon.

A-231 Brennan, J. H. Tomb of Nightmares. Grail Quest 7. London: Armada Books, 1986. (*) The seventh in the series of Brennan’s “choose-your-own-adventure” novels set in Camelot.

A-232 Brennan, J. H. Voyage of Terror. Grail Quest 4. Illus. John Higgins. London: Armada Books, 1985. The crisis that leads Merlin to call once again on Pip (played by the reader) is the Saxon invasion. Arthur’s army requires help, and Merlin wants Pip to acquire the magic staff that will allow Arthur’s forces to win. However, Merlin’s spell goes wrong, so most of the adventure actually takes place in ancient Greece; only at the end does Merlin take Pip to a pyramid to retrieve the magic item and then back to Avalon to save the day. As in the other books, Arthurian characters tend to be confined to the opening and closing of the adventure, with various knights being mentioned as present at meetings of the Round Table.

A-233 [Brereton, Jane]. “Merlin: A Poem Humbly Inscrib’d to Her Majesty.” Merlin: A Poem Humbly Inscrib’d to Her Majesty. To Which is Added, The Royal Hermitage: A Poem. Both by a Lady. London: Printed by Edward Cave, at St John’s Gate, 1735. 3–10. [ESTC N3709 and T39253.] Rptd: Poems on Several Occasions by Mrs Jane Brereton with letters to Her Friends, and An Account of her Life. London: Printed by Edward Cave, at St John’s Gate, 1744. 179–88. [ESTC N43554 and T115520.] The reprinted version is accompanied by a statement, “Written in the year 1733,” though it seems not to have been published until 1735. The poem begins by invoking the “Illustrious Queen” (Caroline). The poet, referred to in the poem as “Melissa,” goes to an old oak, where Merlin appears and speaks to her. In establishing his credentials as her muse, he refers to his various

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accomplishments, including the construction of Stonehenge. Merlin commands the poet to compose and present her poem to the queen. The poem that then follows is only a couple of pages in praise of the queen. In the 1735 edition, the poem is followed by “Merlin’s Prophecy”; the information on the title-page suggests that this is not a separate poem, though it is treated separately in the later collection (see separate entry). Merlin is chosen as the poet’s muse because of his fame as a bard, but also because of his fame as a scientist (and Queen Caroline was a patron of the sciences).

A-234 [Brereton, Jane]. “Merlin’s Prophecy: Humbly Inscrib’d to His R.H. the Prince of Wales.” Merlin: A Poem. Humbly Inscrib’d to Her Majesty. To Which is Added, The Royal Hermitage: A Poem. Both by a Lady. London: Printed by Edward Cave, at St John’s Gate, 1735. 11–12. [ESTC N3709 and T39253.] Rptd: Poems on Several Occasions by Mrs Jane Brereton with letters to Her Friends, and An Account of her Life. London: Printed by Edward Cave, at St John’s Gate, 1744. 189–91. [ESTC N43554 and T115520.] In its first printing, this poem appeared as part of the poem “Merlin: A Poem Humbly Inscrib’d to Her Majesty”; in the 1744 collection, however, it is treated as a separate work. The prophecy promises a happy marriage for the Prince of Wales (Frederick); Merlin’s name (and reputation) are invoked in the title, but not mentioned in the body of the poem.

A-235 Brewer, George McKenzie. The Holy Grail: A Whitsuntide Mystery of the Quest of the Soul, Founded on Ancient Legends Derived from Various Sources. Montreal: Printed for the author, 1934. A drama in blank verse, intended according to the preface “for church use,” presenting the mystery of the Eucharist as the story of the Grail from the Crucifixion to the present time. It was first presented in the Church of the Messiah, Montreal. The play is presented in four scenes plus a prologue and epilogue, and focuses upon the legends of Joseph of Arimathea and the Grail in Avalon-Glastonbury, including the Quest for the Grail by Percivale. The Fisher King is identified as Bran the Blessed; Merlin also appears in the Quest scene. Scene titles: “Before the Tomb,” “In Avalon,” “The Quest,” “The Solemn Entry of the Grail”; Epilogue: “In Our Midst.”

Bricknell, John Lea: see Lea, John. A-236 Bridges, Sallie. “Avilion.” Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 223–38. In this poem, the speaker considers her work and then has a dream vision in which she visits Avalon, meeting not just Arthur, Guenevere and Lancelot, but other writers and historical figures.

A-237 Bridges, Sallie. “Beaumain’s Vow.” Home Journal (New York) 1859. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 175–77. In seven eight-line stanzas, this poem briefly describes Gareth’s arrival at Camelot and his vow to serve in the kitchens; the poem ends when Lancelot knights him.

A-238 Bridges, Sallie. “The Best Knight.” Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 184–89. This poem describes the healing of Sir Urre, giving details of Guenevere’s thoughts as she waits for Lancelot to come forward, and Lancelot’s prayers that allow him to perform the miracle.

A-239 Bridges, Sallie. “The Death of Lanceor.” Evening Journal (Philadelphia) 1857. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 162–65.

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The poem begins just after Balin has defeated Lanceor, describing Lanceor’s lady’s death by his side, and the building of the tomb to commemorate them.

A-240 Bridges, Sallie. “Excalibur.” Evening Journal (Philadelphia) 1857. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 159–62. Excalibur here is the sword in the stone; in ten eight-line stanzas, the poem retells the story of Arthur drawing the sword to become king.

A-241 Bridges, Sallie. “The First Meeting of Sir Launcelot and Queen Guinevere.” Evening Journal (Philadelphia) 1857. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 167–69. In six eight-line stanzas, this poem describes the Queen’s coronation and the effect that their meeting has on the Queen and Lancelot.

A-242 Bridges, Sallie. “The King and the Bard.” Home Journal (New York) 1859. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 177–79. This poem tells the story of an encounter between Arthur and an unnamed bard; the bard refuses to sing just for money, and the king praises his integrity. Bridges thus makes a statement about true rulers (who do not try to rule the spirits of their people) and true artists.

A-243 Bridges, Sallie. “The Last Meeting of Launcelot and Guinevere.” Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 212–17. Lancelot arrives in England after the last battle and goes to find Guenevere; most of the poem describes their encounter at the nunnery in which she has taken refuge.

A-244 Bridges, Sallie. “Launcelot’s Vigil.” Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 217–23. The poem describes the latter part of Lancelot’s life, during the time when he was a monk.

A-245 Bridges, Sallie. “The Love Drink.” Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 179–84. This poem recounts the growing love between Tristan and Iseult as she tends his injuries; it culminates with the scene aboard ship when they accidentally drink the love potion.

A-246 Bridges, Sallie. “Merlin’s Grave.” Evening Journal (Philadelphia) 1857. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 169–71. Merlin’s love for the Lady of the Lake and her entrapment of him beneath the stone are the subjects of this poem.

A-247 Bridges, Sallie. “The Quest of the Sancgreal.” Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 190–212. A poem telling the story of the Grail quest. It focuses on Galahad, but also gives some detail of Gawain’s failure in the quest.

A-248 Bridges, Sallie. “Sir Launcelot’s Slumber.” Evening Journal (Philadelphia) 1857. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 171–74.

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This poem describes (in twelve eight-line stanzas) the beauty of the landscape in which Lancelot lies down to rest, the beauty of his dreams of Guenevere, and his capture by the four queens.

A-249 Bridges, Sallie. “The Tomb of the Twelve Kings.” Evening Journal (Philadelphia) 1857. Rptd: Marble Isle, Legends of the Round Table, and Other Poems. Philadelphia: J. B. Lippincott and Co., 1864. 165–67. A poem in rhyme royal stanzas that describes the burial of the rebel kings, focusing on Lot’s last battle.

A-250 Bridie, James [pseud.], [i.e., Osborne Henry Mavor]. “Holy Isle.” Plays for Plain People. London: Constable, 1944. 79–154. Morgause is one of the main characters in this play, set during Arthur’s reign. However, the story is not based on any part of the traditional legends. An island is discovered, and a priest, a businessman, a sailor, and a queen (Morgause) converge there, each trying to convert the islanders to his or her own idea of civilization. (See also the entries for “Mavor, Osborne Henry” in the Fine Art section.)

A-251 Bridie, James [pseud.], [i.e., Osborne Henry Mavor]. “Lancelot.” Plays for Plain People. London: Constable, 1944. 1–78. In this two-act play, Merlin and Nimue are responsible for the trick that causes Lancelot to marry Elaine and to father Galahad. The events of the legend are somewhat compressed; when Lancelot goes mad, thirteen years pass, and when he is found again, he is summoned to the Queen. That very night they are trapped in her room. The play suggests that they have never been lovers, and that Arthur acts unjustly in accusing the Queen.

A-252 Briggs, Phyllis. King Arthur and the Knights of the Round Table. Regents Classics. London: Thames Publishing, 1954. Rptd: Dean’s Classics. London: Dean and Son, 1957. This version of the legend for children follows Malory very closely, but it condenses and sanitizes the story, as well as modernizing the language.

A-253 Brim, Connie. Arthur: Tales of the Young King. Illus. Eugene Pawczuk. Burlington, ON: Cyril Hayes Press, 1989. A picture-book for relatively young readers that tells the stories of Arthur’s birth, of the sword and the stone, of Arthur’s acquiring of Excalibur, and of the fight with Accolon and Morgan’s stealing of the scabbard. The narrative has been simplified and sanitized for its audience.

A-254 Brittain, Bill. The Wizards and the Monster. Illus. James Warhola. New York: HarperCollins, 1994. Simon Toller and Becky Rush go to school one day to find that they have a very unusual substitute teacher named Mr Merlin. Because they stand up for him when the class teases him about his name, Merlin takes them on an adventure so that they can get their wishes; Simon gets to be a wizard, and Becky gets to confront a monster. References are made to Merlin teaching and advising King Arthur.

A-255 Britter, Michael. This Merlin Conjures the Year of the Dragonfly. Waltonon-Thames: Outposts Publications, 1976. A book of fourteen poems about transformation. The speaker identifies himself as Merlin only in the title and in one poem, “I, Merlin.” Some imagery in the various poems suggest that the speaker is a magician or sorcerer. Otherwise, the poems are filled with more Christian imagery than Arthurian.

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A-256 Brodsky, Louis Daniel. “Visitation Rites.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 10. The speaker visits a famous grave in Oxford seeking inspiration, but is distressed by curious photographers at the site. The only vaguely Arthurian reference is that he compares his quest to that for the Grail: “it’s a humble Grail I quest” (13).

A-257 Brohaugh, William, and Dennis Chaptman. King Arthur’s Calamity. Woodstock, IL: Dramatic Publishing Co., 1972. This short play is divided into three acts. Queen Jennifer, feeling old and ill, decides to retire. She commands Merlin to devise a test to find a new ruler; the page-boy Arthur is able to draw the sword from the stone. An Earl and his Lady attempt to kidnap Arthur and take the throne themselves but are finally defeated.

A-258 Brooke, Maxey. “Morte D’Alain: An Unrecorded Idyll of the King.” Ellery Queen’s Mystery Magazine Dec. 1952. Rptd: Rogues’ Gallery: A Variety of Mystery Stories. Ed. Walter [B.] Gibson. Illus. Paul Spina. Garden City, NY: Doubleday and Co., 1969. 265–73. – The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1989. 70–77. Merlin solves the mystery of a murder at Arthur’s court. While he makes the solution appear magical, Merlin’s method is reminiscent of that of Sherlock Holmes, particularly since Merlin’s apprentice is the Watson-like narrator. According to Ashley’s introductions in The Merlin Chronicles and The Camelot Chronicles, Brooke wrote five short stories featuring Merlin as a detective, two of which were published in the 1950s in Ellery Queen’s Mystery Magazine, and a third published in Ashley’s The Camelot Chronicles for the first time; the other two stories apparently remain unpublished.

A-259 Brooke, Maxey. “Morte d’Espier.” Ellery Queen’s Mystery Magazine 25.6 [139] (June 1955): 76–80. Rptd: The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 248–54. Merlin discovers a spy among Arthur’s servants.

A-260 Brooke, Maxey. “Morte d’un Marcheant.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 243–52. Aleric, apprentice to Merlin, narrates this mystery set in Arthur’s court.

A-261 Brooke-Hunt, Violet. Young King Arthur. London and Edinburgh: W. and R. Chambers, 1897. (*) A novel.

A-262 Brooke-Rose, Christine. Textermination. Manchester: Carcanet Press, 1991. This novel begins at the point in Jane Austen’s Emma when Emma and Mr Elton get into the carriage together. In this version, however, they are soon joined by many other characters, all travelling to a conference at the San Francisco Hilton Hotel. These fictional characters are there to consider “the Reader,” and to consider their own fate if they are unread. The conference is interrupted by terrorists and then later by film and television characters; all want a piece of the Reader’s attention. There are a couple of brief allusions to Arthurian legends: Tristan and Iseult are mentioned as famous literary lovers; King Arthur is mentioned among those attending the conference. Lancelot, however, has a somewhat more sustained role. He and Emma Bovary (who

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loves the richness of his clothes) are enamoured of each other. The novel never spends any great amount of time on any one character, so the Arthurian content is not sustained; however, it is interesting to see which characters and characteristics of the legend appear in this work devoted to texts and readers.

A-263 Brooks, Benjamin Gilbert. “Camelot.” Camelot. Adventurers All: A Series of Young Poets Unknown to Fame 26. Oxford: B. H. Blackwell, 1919. 7–16. The poem, which dates from 1917, summarizes in a series of shifting scenes many major episodes of the legend: Guenevere’s marriage to Arthur, the Grail quest, and the fall of the realm. The violence and chaos are vividly imagined, and the portrayal of characters is rather different from that of most treatments of the legend.

A-264 Brooks, Edward. The Story of King Arthur and the Knights of the Table Round, for Boys and Girls. Illus. Aubrey Beardsley. Philadelphia: Penn Publishing, 1900. (*) A retelling of Malory for children.

A-265 Brooks, Edward. The Story of Tristram. Philadelphia: Penn Publishing, 1902. This retelling for children of Tristan’s story is based primarily on Malory with the exception of the ending, which uses the story of the black and white sails. There are eight full-page B&W illustrations, although no illustrator’s name is given.

A-266 Brooks, Felicity. Tales of King Arthur. Illus. Rodney Matthews. London: Usborne Publishing, 1994. Rptd: New York: Scholastic, 1995. Cover title: “Tales of King Arthur and his Knights.” This children’s book retells episodes from Malory but also includes the story of Sir Gawain and the Green Knight. The first page of each chapter has a small, square inset colour illustration, a miniature of part of a larger illustration that will appear in the chapter. The two-page illustrations, which appear in Chaps. 1 through 5, are as follows: “His father and brother were kneeling in front of him,” which shows Arthur after he has drawn the sword from the stone; “Look at that sword, shouted Arthur!” which shows the hand holding Excalibur above the surface of the lake; “In the doorway stood Merlin, with his great cloak billowing out,” which shows the founding of the Round Table; “A frenzied fight to the death began,” which shows the battle where Arthur has been deceived into using a false Excalibur. There are also single-page full-colour illustrations, and in Chaps. 5 through 8 the initial miniature is from one of these. The single-page illustrations are as follows: in Chap. 3, “Arise Sir Lancelot du Lake,” which shows Lancelot’s being knighted by the king; in Chap. 4, “ ‘A beautiful ship,’ gasped Uriens” shows the enchanted ship sent by Morgan to trap Arthur; in Chap. 5, “All he could see were scores of strangely shaped boulders” depicts Arthur’s search for Morgan after she steals the scabbard; in Chap. 6, “In rode an enormous man on an enormous horse” depicts the Green Knight; later in Chap. 6, a picture entitled “He fought long bloody battles with dragons” shows Gawain in mid-battle, and the reds of this picture contrast effectively with the greens of the previous illustration; in Chap. 7, “He swept across the marketplace like a furious whirlwind” shows Lancelot’s rescue of Guenevere. There is no illustration in the last chapter; the miniature directs us to the cover illustration of Arthur’s last battle. Interspersed with the text, there are numerous B&W drawings of various sizes.

A-267 Brough, William. “King Arthur; or, The Days and Knights of the Round Table: A New and Original Christmas Extravaganza in One Act.” In Lacy’s Acting Edition of Plays, Vol. 61. London: T. H. Lacy, [1864]. A Christmas pantomime, in verse, satirizing Tennyson’s Idylls. It was produced at the Haymarket, 26 Dec. 1863.

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A-268 Broun, Heywood. “The Fifty-First Dragon.” In Modern Essays (First Series). Ed. Christopher Morley. New York: Harcourt, Brace, and Co., 1921. 338–51. Rptd: Illus. Richard Decker. The Golden Book 13 (May 1931): 60–63. – Collected Edition. Compiled by Heywood [Hale] Broun. New York: Harcourt Brace, 1941. 27–35. The protagonist of this short story is “Gawaine le Coeur-Hardy,” who graduates from knight school trained to battle dragons. The headmaster gives him a magic sword to protect him, and, under its influence, his confidence is so high that he sets a record in dragon-slaying. When he discovers that the sword is not actually magical, his confidence evaporates, and he is defeated. Aside from the name of the title character and a reference to “Arthur’s Hill,” there is little Arthurian content. (See also the entry for “The Gerald McBoing Boing Show” in the “Film, Television, and Radio” section.)

A-269 Brouwer, Sigmund. Barbarians from the Isle. Winds of Light 2. Wheaton, IL: Victor Books / SP Publications, 1992. Rptd: Red Deer, AB: Coolreading.com, 2001. Second in the “Winds of Light” series. Fourteen-year-old Thomas, now Lord Magnus, continues to struggle against the Druids.

A-270 Brouwer, Sigmund. A City of Dreams. Winds of Light 5. Wheaton, IL: Victor Books / SP Publications, 1993. In the fifth book of the “Winds of Light” series, Thomas, the young hero, learns of the Merlins, a secret society founded by King Arthur’s mage to combat the Druids.

A-271 Brouwer, Sigmund. Dance of Darkness. Winds of Light 8. Colorado Springs, CO: ChariotVictor Publishing, 1997. In the eighth book of the series, a gypsy boy, Bran, faces his challenge in the catacombs of Rome.

A-272 Brouwer, Sigmund. The Forsaken Crusade. Winds of Light 4. Wheaton, IL: Victor Books / SP Publications, 1992. Fourth in the series.

A-273 Brouwer, Sigmund. Jester’s Quest. Winds of Light 7. Wheaton, IL: Victor Books / SP Publications, 1994. In the seventh book of the series, the protagonist is Raphael, a jester at the court of Pope Clement VI. Raphael thwarts an apparent assassination attempt on the Pope but is then accused of the crime himself. As he tries to clear his name, he must also figure out the role of the mysterious Juliana. The only Arthurian references come through Juliana’s role. She is one of Merlin’s descendants (and Thomas’ grandchild), using Merlin’s name as a code word, and acting as he did to fight against the Druids.

A-274 Brouwer, Sigmund. Legend of Burning Water. Winds of Light 3. Wheaton, IL: Victor Books / SP Publications, 1993. The third book of the “Winds of Light” series. The Druids pose as priests of the Holy Grail in their continued attempts to gain control of England.

A-275 Brouwer, Sigmund. Merlin’s Destiny. Winds of Light 6. Wheaton, IL: Victor Books / SP Publications, 1993. In the sixth book of the series, Thomas learns the secret which will permit the Merlins to triumph.

A-276 Brouwer, Sigmund. Wings of an Angel. Winds of Light 1. Wheaton, IL: Victor Books / SP Publications; Colorado Springs, CO: ChariotVictor Publishing, 1992.

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Rptd: Red Deer, AB: Coolreading.com, 2001. The first in a series of eight novels. In the fourteenth century, a young warrior (named Thomas) battles against Druids who are attempting to take control of England. The group opposing the Druids is known as the Merlins (Thomas first meets them in Book 5). In the third book of the series, the Druids claim to be priests of the Holy Grail.

A-277 Brown, Alan. Sword and Sorcery. London: Hodder Children’s Books, 1997. The story of young Art, up to his coronation as the King of Albion, a small island in a post-apocalyptic world. Art is a member of the clan of Ektor, which also includes Kai and Morgana, Viv and Ellie, and Morgana’s son, Dred; there is also a “foreign” girl named Gwen, of whom Art is fond. The story begins on the day when, because of the taunting of Dred, Art is finally told that he is a foundling and not a birth son of Ektor. The novel revolves around a conflict between Albion and the clan of the Dragonfolk on a neighbouring island, and a struggle for power between Morgana and the wizard Myrddin. The loss and recovery (through the aid of the Lady of the Lake) of the sword Excalibur is central to the plot.

Brown, Clive: see the entry for “Merlin and the Search for Ob” in the Games section. A-278 Brown, Marc. King Arthur. Arthur Chapter Book 13. New York: Little, Brown, and Co., 1999. Children’s story, in a series about Arthur the Aardvark (with a corresponding TV series on PBS: this is also available as a video). Arthur the Aardvark and his friends go to a medieval fair with an Arthurian theme, and Arthur pulls a sword from a stone. (See also the entry for “Arthur: Return of the King” in the “Film, Television, and Radio” section.)

A-279 Brown, Mary. The Unlikely Ones. London: Century Hutchinson, 1986. A young woman, a cat, a crow, a toad, and a fish have magical dragon stones embedded in their bodies, and when the witch who enslaves them dies, they head out on a quest to rid themselves of the stones. The setting is a post-Arthurian medieval England, and they are helped by a man called the “Ancient One” who is compared to Merlin and may in fact be Merlin. The story of his imprisonment by a young woman is told just before the “unlikely ones” first meet him, and his character seems at times like that of T. H. White’s magician.

A-280 Brown, Thomas. “Prophecies Out of Merlin’s Carmen, 1690.” The Remains of Mr Tho. Brown, Serious and Comical, in Prose and Verse, . . . in one volume . . . which makes his works compleat. . . . London: Printed for Sam. Briscoe, R. Smith, G. Strahan, [and 15 others], 1720. 66–67. (ESTC T128762.)] A poem, in Latin and English (17 lines in Latin, 20 – in couplets – in English), being a prophecy by Merlin: Arthur’s death is not to be mourned, for he and St Michael will rout all of Britain’s enemies. First lines: “Arthur as veniet Clypeo ceu nomen ab Aureo” / “Sure as ye live, who Arthur’s Fate deplare.”

A-281 Browne, E[dith] O[phelia]. Thus Merlin Said. London: Hutchinson and Co., [1934?]. A novel, telling the story of the conquest of Wales by King Edward I and the resistance of Prince Llewelyn. The Welsh belief in the prophecies of Merlin, regarding King Arthur’s return and, more specifically, that a Prince of Wales should be crowned in London, is central to the plot (and the tale becomes one of a messianic hope which is apparently fulfilled, though not in the manner expected). The story of “Gereint the Son of Erbin” (from the Mabinogion), and the differences between it and the French romances (such as Chrétien de Troyes’ Erec and Enid), is mentioned several times.

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A-282 Browne, N. M. Warriors of Alavna. London: Bloomsbury, 2000. Two teenagers on a school history trip find themselves drawn through a mist into another world. Dan and Ursula become warriors with the Combrogi, who face extinction at the hands of the Ravens (an alternate universe Roman army). The king they fight for is Macsen, so this is set in pre-Arthurian times; however, one of their companions is Kai, and the bard Taliesin also has an important role. The sequel, Warriors of Camlann, takes place in the time of King Arthur.

A-283 Browne, N. M. Warriors of Camlann. London: Bloomsbury, 2003. At the end of Warriors of Alavna Dan and Ursula attempt to return to their twenty-first century world; at the beginning of Warriors of Camlann they find themselves in Arthurian Britain just before the battle of Badon. Daniel becomes known as Gawain; Taliesin is again a major character, as are Arthur (here called Arturus), Mordred (Medraut), and Guenevere (Gwynefa).

A-284 Brownjohn, Alan. “Calypso for Sir Bedivere.” Warrior’s Career: Poems. London: Macmillan, 1972. 26–30. Rptd: Collected Poems 1952–1983. London: Secker and Warburg, 1983. 125–29. The story of Bedivere’s throwing Excalibur into the lake. The poem suggests not only that he lied about the mystical arm that received the sword, but that Arthur lied about the sword’s origin. In a note to the poem, Brownjohn explains that he felt that Arthur, in Tennyson’s version, by telling Bedivere what he was about to see, guaranteed that Bedivere would bring back such a report whether he saw an arm or not; Brownjohn, then, imagines a story in which Arthur does not prepare Bedivere in this way, and in which, perhaps, Arthur had nothing to tell anyway. “The point is the one about art covering up for life” (Warrior’s 55). The poem is written, for the most part, in rhyming couplets, with occasional quatrains as refrains.

A-285 Brownjohn, Alan. “The Seventh Knight and the Green Cat: A Variation on the Gawain Poet.” In New Poems 1975: A P.E.N. Anthology of Contemporary Poetry. Ed. Patricia Beer. London: Hutchinson and Co., 1975. 80–84. Rptd: A Night in the Gazebo. London: Secker and Warburg, 1980. 59–63. – Collected Poems 1952–1983. London: Secker and Warburg, 1983. 181–86. A humorous narrative poem, spinning off from Sir Gawain and the Green Knight. A woman with seven daughters uses a green-ish looking cat to trick six knights into marrying her daughters; her last attempt fails when the seventh knight sees through the deception, declares the cat to be a witch’s familiar, and strikes off its head. The cat calmly puts its head back on and declares that the knight must spend a year wandering in search of the Temple of the Cat Goddess. In the end, of course, after his wanderings in the wilderness and a couple of bedroom temptations, he finally agrees to marry the seventh daughter.

A-286 Broy, Evelyn J. “Tristan Asleep.” Canadian Forum 39 (Jan. 1960): 227. This nine-line poem is arranged in three couplets and then a final three-line stanza. The poem describes Tristan sleeping with his head on Iseult’s arm and reflects on what his dreams might be. The final stanza steps back from the characters to consider the poets who have created them.

A-287 Brumm, Charles. In Quest of the Holy Grail: A Hermit’s War Lyrics. Manchester: Percy Brothers, 1919. A collection of poems written during the First World War by an Englishman of German descent. The title and the prologue to the book posit the idea that the War was a new Crusade with “knights” on the front lines, and that it was a quest for “the blessing of Freedom” which could lead to the achievement of the Holy Grail (6). The poems themselves make occasional brief references to the Grail (in “Miserere” and “Freemasonry,” for instance), and there are various references to “knights” and “pilgrims,” but the connection of the War to the Holy Grail is not sustained through the collection generally.

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A-288 Brundage, Burr C. The King Who Cast No Shadow. Lanham, MD: University Press of America, 1986. An Arthurian long poem, focusing upon the Christian vs. Pagan elements. (The author’s daughter has produced a website of the poem as a hypertext accompanied by photographs: .)

A-289 Brunner, John. “An Entry That Did Not Appear in Domesday Book.” Illus. Paul Jaquays. Amazing Stories 62.6 [539] (Mar. 1988): 12–24. Rptd: The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1990. 372–84. An English monk in the company of Norman overlords visits a small island near Glastonbury. While his companions are frozen in place, he is able to visit a small chapel where Arthur sleeps near the Grail. The monk repeats the prophecy that Arthur shall return. (One of the illustrations by Jaquays which accompanies the story as it appears in Amazing Stories also appeared on the cover of the issue.)

A-290 Brunner, John. Father of Lies. New York: Belmont Books, 1968. [This is part of a double novel: Father of Lies is bound together with Mirror Image by Bruce Duncan.] A version of the story was originally published in the magazine Science Fantasy in April 1962. A crippled child, with a marvellous power of mental projection, turns his father’s baronial estate into a Tennysonian Logres, with himself as absolute ruler. He entraps his father inside an oak tree, from which he speaks oracularly when called upon.

A-291 Bryers, Paul. In a Pig’s Ear. New York: Farrar, Straus and Giroux, 1996. This novel takes place primarily in contemporary Germany; it is the story of an American film-maker, Adam, who returns to Germany to discover his past. It is narrated by his older friend and mentor, Milan. Milan draws parallels between himself and Merlin; other characters also have analogues in the Arthurian story. Further, the film upon which Adam is working is called Pendragon. The legend, therefore, underlies the plot structure and is directly and indirectly alluded to throughout the novel.

A-292 Bryher, Winifred. Ruan. New York: Pantheon, 1960. The protagonist of this story, Ruan, is a young boy living a generation after Arthur’s death. His uncle is trying to make him into a priest (of the old religion, not Christianity), but Ruan wants to be a sailor. He runs away from school one day to a fair and listens to a harper tell the story of Gawain’s final voyage. Gawain is summoned from court by a token that was his mother’s; when he and his horse Gringolet arrive at the seashore, there is a boat waiting to take them into the west. Throughout the novel, Ruan thinks of this story, comparing his own adventures and his own desire for a western voyage to Gawain’s. While the novel gives few specifics of Arthur’s day other than his opposition to Saxon settlements, the author’s foreword provides information about the battle of Camlann.

A-293 Bryher, Winifred. Visa for Avalon. New York: Harcourt, Brace and World, 1965. While the title has Arthurian potential, this novel is set in an unspecified, modern country. The main characters, who wish only to retire by the seaside in peace, find themselves in the midst of an uprising. They decide to try to emigrate to Avalon, and so have to go through various bureaucratic hurdles in order to acquire visas for their travels. The dust-jacket equates this Avalon with “the ‘Isle of the Blessed’ of the Celts to which Arthur was borne,” but there is nothing in the novel itself to make this connection. The novel ends with the arrival at Avalon, so for the reader it is always the desired land, but never seen.

A-294 Buchanan, Robert (1785–1873). Fragments of the Table Round. Glasgow: Thomas Murray, 1859.

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A collection of “fragments” of poems on the last days of Arthur’s reign, two of which were previously published (“Merlin’s Tomb” and “Camlan”). Includes “Camlan”; “Gawayne’s Ghost”; “Gawayne’s Revenge”; “Joyous Garde” (a poem on Lancelot); “Merlin’s Tomb”; “The Rendering”; “The Rescue” (of Guenevere by Lancelot); and “The Tryst.”

A-295 Buchanan, Robert (1785–1873). “Merlin’s Tomb.” In The Glasgow University Album for 1838. Glasgow: J. Smith, 1838. 1–8. Rptd: Fragments of the Table Round. Glasgow: Thomas Murray, 1859. A poem on Merlin’s entrapment by Viviane.

A-296 Buchanan, R[obert] Williams (1841–1901). “Merlin and the White Death.” Once a Week 10 (26 Dec. 1863–18 June 1864): 251–52. A poem in twelve twenty-line stanzas, in which Merlin recounts how he sought Union, the Lady of the Lake (the beautiful “water-witch”), in order to learn her secrets and to break her power over men. She appears to him, but, because he did not come to woo her, she sends him back to Camelot. Now Merlin lives haunted by the memory of her beauty. (The poem does not appear among Buchanan’s Collected Poetical Works; it seems that various of his early poems published in periodicals were not included there.)

A-297 Buchanan, R[obert] Williams (1841–1901). “Mordred.” St James Magazine 8 (Aug.-Nov. 1863): 33–39. This poem, in two parts (forty six-line stanzas of short lines), is Mordred’s account of a rebellion against Arthur. In the first part, Mordred is with a lady in the shadow of Arthur’s Towers, but finds that he dare not tell her how “a dark demon” is urging him to rise up against the king. In Part 2, Mordred is part of a rebel army led by Lancelot. He strikes down an unknown knight fighting on Arthur’s side – and when he lifts the visor to discover the knight’s identity, he finds that it is his lady-love. Dying, she declares that she knew of Mordred’s intentions, and so offered to take Mordred’s place in Arthur’s army. In grief, Mordred breaks his sword in two. (The poem does not appear among Buchanan’s Collected Poetical Works; it seems that various of his early poems published in periodicals were not included there.)

A-298 Buchanan, [Robert] Williams (1841–1901). “Sir Tristrem.” Illus. John Everett Millais. Once a Week 6 [no. 143] (22 Mar. 1862): 348–50. Rptd: The illustration is reproduced in Mancoff, Arthurian Revival in Victorian Art, Fig. 68. A poem, in twenty-nine eight-line stanzas, in which Sir Tristrem travels in a “golden bark, / With snowy pinions like a bird” (1–2), to “realms unknown” (9) beyond the “lonely kingdoms of the dead” (41) on a quest to find King Arthur; along the way he has Dante-like conversations with the shades of Guinevere, Lancelot, and a group of “the wanton lords and knights” of the Round Table fellowship (165). In the final stanza, Tristrem, purified, reaches Avilion and sees the king approaching him with a “robe of honour” (232). John Everett Millais provided an illustration (engraved drawing; partial-page illustration on p. 350) showing Sir Tristrem lying (as though dead) in a barge on a river in the moonlight; the boat has an elaborate swan-shaped prow, the sails of the boat being the swan’s wings. (The poem does not appear among Buchanan’s Collected Poetical Works; it seems that various of his early poems published in periodicals were not included there.)

A-299 Buck, Katherine Margaret. The Wayland-Dietrich Saga: The Saga of Dietrich of Bern and his Companions, Preceded by that of Wayland Smith, their deeds in the 4th and 5th Centuries, A.D., as told from the 10th to the 13th Centuries, Collected, set in order, and retold in verse in the 20th Century; Part 1, The Song of Wayland. Illus. Elizabeth Goodman. 9 vols. London: Alfred H. Mayhew, 1924–1929. Rptd: An excerpt, “Merlin and Vortigern” (including the “mandrake” illustration by

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Goodman), appears in An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: Aquarian Press, 1988. 307–31. An “epic cycle” in blank verse in eight volumes plus an index volume. Brother Fabian, now an old monk, was once a Crusader in the Holy Land with Richard the Lionheart; he recalls one night that he had entertained Queen Berengaria with tales passed down from his grandsire’s grandsire, who claimed to have heard them from Nornaguest (“whom some call Widsith”), the minstrel at the court of King Olaf of Norway. Now, in his old age, Brother Fabian intends to record these northern sagas in full. Here, then, the medieval sagas of Sigurd and Wayland are intertwined with stories of the Roman occupation of Britain, the Emperor Maximus, and the conflict arising between Vortigern and Hengest (told as a heroic tale of Hengest). The “Story of Hengest” is Book 3 of the cycle, and includes the story of Vortigern’s Tower (Book 3, Cantos 12–13; 8: 377–415). Merlin’s prophecies to Vortigern appear at the start of Canto 13, and King Arthur’s name is also mentioned several times in this section. Goodman provided a series of line drawings as illustrations; there is one illustration (facing 8: 385) to the Merlin and Vortigern story (“The Finding of the Mandrake”), which shows a wizard bending down to the ground beneath the feet of three hanged man. Part 2 of the cycle, “The Saga of Dietrich of Bern and his Companions,” has not been published, and perhaps was never completed.

A-300 Buckley, Reginald R[amsden]. Arthur of Britain: A Poem of Festival Choral Drama in Four Parts: I. The Birth of Arthur; II. The Round Table; III. The Holy Grail; IV. The Death of Arthur. London: Williams and Norgate, 1914. The Birth of Arthur was earlier called Uther and Igraine (1913). Buckley based his series of plays on the story as told by Malory, and this text became the basis for the musical dramas of Rutland Boughton which became a regular feature of the Glastonbury Festivals of 1914–1926. Boughton and Buckley worked together until Buckley’s death in 1919, after which Boughton continued to make significant revisions to Buckley’s libretto. The later dramas of Boughton’s cycle are completely his own. (See also the entry for “Boughton, Rutland, Music Drama of the Future” in the Music section; Boughton’s other works are also listed there.)

A-301 Budzisz, Annette M. “Contrapletes.” The Round Table: A Journal of Poetry and Fiction 1.1 (Spring 1984): 18. In this eleven-line poem, the Fisher King and Tristan are presented as opposites.

A-302 Bulla, Clyde R[obert]. The Sword in the Tree. Illus. Paul Galdone. New York: Thomas Y. Crowell, 1956. Rptd: New York: HarperCollins, 1962. A juvenile novel concerning a young boy who seeks Arthur’s help for his family.

Bulwer-Lytton, Edward Robert: see Lytton, Edward Robert Bulwer Lytton, Earl of. A-303 Burgess, Anthony [John Anthony Burgess Wilson]. Any Old Iron. New York: Random House; London: Hutchinson, 1989. The first chapter of this novel begins by discussing the nature of steel and the possibility of dating Excalibur. The novel then fills in the history of the protagonists, set against World Wars I and II, and this leads, near the end, to the story of how Excalibur was found and reclaimed in the twentieth century. Its finder, reluctant to have it sold or returned to museums, disposes of it in Malorian fashion, though no arm in white samite appears to catch it. One of the characters would seem to be a Fisher King figure: he eats fish and goes fishing at various points in the book; he becomes a seller of fish; he gets a wound in the war that will not heal properly.

A-304 Burgess, Anthony [John Anthony Burgess Wilson]. Earthly Powers. New York: Simon and Schuster, 1980. This novel begins with an aging writer being asked by an archbishop to record an incident

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involving the late Pope. The story that follows is a flashback to the writer’s earlier years. One recurring theme is the narrator’s struggles to reconcile his faith and his homosexuality. The Arthurian elements contribute to these musings on faith: the narrator wishes to write a screenplay on the Arthurian legend, but his treatment of the legend would focus on the conflict between Celtic and Saxon, between Christian and pagan, with the Grail and Arthur’s wars as key components; he refuses to include the Lancelot-Guenevere affair, and that, of course, is the only story the film studios want. Chaps. 44 and 46 outline his vision of the film and his colleagues’ rejection of it.

A-305 Burnham, Jeremy, and Trevor Ray. Raven. Illus. Les Matthews. London: Corgi Books / Carousel, 1977. A novelization of a British television series. A cave, slated to be used for nuclear waste disposal, must be preserved since it is the cave in which Arthur and his knights sleep. (See also the entry for Raven in the “Film, Television, and Radio” section.)

A-306 Burton, Doreen. “‘Bumps’ Wins his Spurs.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.4 (July 1930): 117–19. A young boy, nicknamed “Bumps,” imitates in his dreams the holiness of Sir Galahad by doing good deeds along his street. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-307 Butts, W. Marlin. The Youth of King Arthur: A Legendary Play in Five Scenes. East Boston, MA: Printed for the author, 1935. This short play uses a Herald who narrates the story between acted scenes. He first describes the situation of the realm, and then Merlin and the Archbishop discuss the sword in the stone. The Herald introduces Ector, and then we see him, Kay and Arthur at the tournament. The play covers the sword in the stone test and ends with Arthur being crowned; in the final speeches of Arthur there are quotations from Tennyson. The play was originally staged at Camp Camelot, in Massachusetts.

A-308 Byatt, A. S. Possession: A Romance. London: Chatto and Windus; New York: Random House, 1990. Rptd: London: Vintage Books, 1991. – New York: Modern Library, 2000. A pair of young scholars, each working separately on different Victorian authors, become an unlikely couple after they discover that their authors had a secret affair and a daughter. Roland, a scholar whose subject is Randolph Ash, discovers correspondence that suggests a relationship with another Victorian writer, Christabel LaMotte, and this leads Roland to join forces with Maud Bailey, a LaMotte scholar. The story of their investigation is combined with letters between Ash and LaMotte, with fragments of poems by each of the writers, with journal entries by others who knew them, and with scenes from their travels. LaMotte lived with another female, an artist named Blanche, who at one point in the story paints the scene of Vivian entrapping Merlin (the painting of “The Beguiling of Merlin” by Burne-Jones is used on the cover of the 1991 Vintage Books edition), and LaMotte’s uncle retells the story of Merlin’s entrapment when she is staying with his family in Brittany: he is said to tell it frequently, and never the same way twice. This story of Merlin and Vivien becomes something of a touchstone for the Victorian half of the story, and is interpreted at one point as illustrating the proto-feminist desire of a younger woman seeking from an older man a kind of masculine power. There are various other references to Arthurian themes, especially as they appear in Victorian literature and art; at one point LaMotte refers to herself as the Lady of Shalott; she fears for her art and her autonomy if she should, like the Lady, linger to look upon Lancelot (that is, Ash). There is an abridged audiobook, read by Alan Howard (2 audio cassettes; New York: Random House Audio Publications, 1991; RH/182). There is also an unabridged audiobook, read by Virginia Leishman (16 audio cassettes; ca. 23 hours; Fiction on

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Cassette; Prince Frederick, MD: Recorded Books, 1999; 95815). See also the entry for “Possession” in the “Film, Television, and Radio” section.

A-309 Byers, Richard Lee. “Castle of Maidens.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 65–80. This story is set in a Muslim court where the Grail is supposedly held. Two emissaries of Pope Urban arrive to try to bargain for the Grail, but find themselves exposing treachery at the court. One of the emissaries compares their roles (unfavourably) to Perceval and Galahad.

A-310 Byers, Richard Lee. “St Paul’s Churchyard, New Year’s Day.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 241–47. A decidedly unheroic Arthur attempts to seize the sword in the stone, meets Merlin and learns about his parentage. While other characters such as Kay, Uther and Igerne are mentioned, only Merlin and Arthur have active roles in the story.

A-311 Byles, C. E. “Tintagel.” In Tintagel in Fact and Fiction: An Anthology. Ed. Hilda Caple and S. Canynge Caple. St Ives, Cornwall: S. Canynge Caple, 1960. 25. This Shakespearean sonnet describes the coast at Tintagel, imagining the sea as an attacking army. King Arthur is mentioned as guarding the place.

A-312 Byrd, Forrest M., and John Fiero. Merlin and Vivien: A One-Act Play. Louisville, KY: Aran Press, 1990. This one-act play takes place in a motel room in Houston in Jan. 1968, in which one Vivien Partin (née Brown) is confronting her memories. Vivien is in the motel, and away from her family and routine, because she has just accepted an award as Mother of the Year by the Houston Chapter of the Daughters of the American Revolution; as gradually becomes clear, this has caused something of a crisis for her because her child is not her husband’s, and she spends her evening alone in this motel room thinking of Merlin Jenkins, with whom she had an ongoing affair for most of her adult life, but who was killed by a truck while walking along a highway on Christmas Day, just weeks earlier. Her memory of Merlin is embodied on stage as a ghost, usually sitting atop the motel-room dresser, who reminds her of their shared experiences and debates with her the meaning of those memories.

A-313 Byrd, Mickey. Merlin and Vivien: A Texas Sonnet Sequence. Texas City: Texas Portfolio Press, 1977. (*) A-314 Byron, Henry James. Jack the Giant Killer; or, Harlequin King Arthur. London: T. Lacy, 1859. A pantomime, with words and music by Byron.

A-315 C., H. C. “Guinevere to Lancelot.” The Cornhill Magazine 19 (Mar. 1869): 340. A poem of five seven-line stanzas. Guenevere reflects on their love, considering its implications in earthly and in heavenly terms. The last stanza is a strong statement of her resolution: “I cannot yield thee up” (30).

A-316 Cabell, James Branch. “Ballad of the Destroyer.” From the Hidden Way. New York: Robert M. McBride and Co., 1916. 68–70. The “Destroyer” is death, and the speaker of this poem gives numerous examples of his power

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over mighty men. Merlin is given as an example, while Vivian is compared to death who puts us in a lasting sleep. While the speaker acknowledges the power of death, the poem ends with his reaffirmation of the power of love.

A-317 Cabell, James Branch. Chivalry: Dizain des Reines. New York: Robert M. McBride and Co., 1924. The introduction of the book sets up the ten stories it contains as ones gathered from an older book written by a fictional scribe. The tales involve characters from Europe and from a fictional country that Cabell invented (and whose legends he recounts in many of his other novels). The eighth tale, “The Story of the Scabbard,” takes place after Henry Bolingbroke seizes power from Richard II. Richard narrowly escapes and eventually returns to Wales. While waiting to regain his throne, Richard poses as a shepherd and hears tales from a girl named Branwen. The tales are the Arthurian ones of the Mabinogion and Branwen compares Richard to their heroes.

A-318 Cabell, James Branch. “The Conqueror Passes.” From the Hidden Way. New York: Robert M. McBride and Co., 1916. 75–76. The poem begins with a stanza exhorting the listener to rejoice at the return of spring. Subsequent stanzas compare that joy to that of Tristan returning to Iseult of Ireland with “Glad news of Arthur’s victory.” As in other of Cabell’s poems, he uses the Arthurian allusions to reflect on the power of death and love.

A-319 Cabell, James Branch. “The Dotard Conjuror.” From the Hidden Way. New York: Robert M. McBride and Co., 1916. 88–90. The “dotard conjurer” of the title is spring, whose magic no longer works (or, at least, it no longer works for the speaker). The speaker suggests that such magic may still exist in Avalon and also mentions Broceliande.

A-320 Cabell, James Branch. “The Eighth Letter: To Sir Galahad of the Siege Perilous.” Ladies and Gentlemen: A Parcel of Reconsiderations. New York: Robert M. McBride and Co., 1934. 109–21. In some ways this is more essay than story, but its premise is that it is a letter to Galahad. Cabell begins by reflecting on the name “Galahad” and the way we might use it to refer to someone dead, but not living. He then rehearses major events of the legend, both before and after the arrival of Galahad. He returns to his original point, that the excessive purity and holiness of the figure makes him an uncomfortable, even dangerous one, both for Arthur’s society and for our own.

A-321 Cabell, James Branch. Figures of Earth: A Comedy of Appearances. London: John Lane / The Bodley Head, 1921. Rptd: Illustrated edition: Illus. Frank C[heyne] Papé. London: John Lane / The Bodley Head, 1925. – New York: Ballantine, 1969. This novel recounts the life story of the legendary Manuel of Poictesme. His stature as a heroic saviour of a land is in some ways modelled on Arthur (as well as others, notably Christ); for example, Manuel also has a wizard-figure to counsel him. Manuel’s stature is comically undercut by the true stories of his adventures before he becomes legend. There are scattered Arthurian allusions throughout the text, particularly to Guenevere and Merlin.

A-322 Cabell, James Branch. Jurgen. New York: Robert M. McBride and Co., 1919; London: John Lane / The Bodley Head, 1921. Of all of his novels, this one has Cabell’s most extensive use of the Arthurian legend. The title character is a pawnbroker who speaks nicely of the devil and in return is granted a wish: his wife disappears. Jurgen then searches for her and has many adventures, including going back in time to meet the woman he first loved. He also rescues a princess from a cave and gains a sword in the

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encounter; the princess is Guenevere and the sword, Caliburn. Jurgen returns her to her father, hoping to claim her hand in marriage as his reward, but she is already pledged to marry Arthur. Jurgen and Guenevere spend time together, until the embassy that is to bring her to Arthur arrives. It includes Merlin and the Lady of the Lake, with whom Jurgen departs. Guenevere appears again later in the novel, though she no longer remembers Jurgen. While Guenevere’s marriage to Arthur is the main element of the legend used, the Lady of the Lake mentions Lancelot in a way that suggests she has set up the love triangle. The novel has been issued as an audiobook with thirteen cassettes (San Bruno, CA: Fantastic Audio, 2001), which was dramatized and directed by Yuri Rasovsky, with music by Deems Taylor. (See also the entry for “Taylor, Deems” in the Music section.)

A-323 Cabell, James Branch. The Silver Stallion: A Comedy of Redemption. London: John Lane / The Bodley Head, 1926. Rptd: New York: Ballantine, 1979. A sequel to Figures of Earth, this novel recounts the lives of key members of the realm of Poictesme, after the legendary Manuel has passed on to another life. As in Cabell’s other novels, there are occasional allusions to Arthurian characters, mainly Merlin and Arthur. Comments made about Manuel’s legend near the end of the book make him equivalent to Arthur and thus suggest that the Arthurian legend is one of the influences on Cabell’s satirical myth-making.

A-324 Cabell, James Branch. Something about Eve: A Comedy of Fig-Leaves. New York: Robert M. McBride and Co., 1927. This philosophical novel begins with a Sylvan taking over the body of Gerald Musgrove, allowing Musgrove to wander, have many adventures, and meet a number of historical and legendary figures. Merlin is one of three wise men that Musgrove meets (the others are Solomon and Odysseus), and in Chap. 31 Merlin recounts his affair with Nimue (here a daughter of Diana), the way she tempted him away from the world of men, and the way he eventually tires of her and escapes.

A-325 Cacek, P. D. “Here There Be Dragons.” In Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 263–74. Merlin appears in a psychiatrist’s office asking for help to find the perfect candidate to achieve the Grail quest. During their conversation, there are allusions to several events from the legend, such as the quest and Merlin’s entrapment (in this case by Morgan). Eventually Merlin has to make do with the good doctor himself.

Caidin, Martin: see Indiana Jones and the White Witch. A-326 Caine, Erin [pseud.; true identity unknown]. Knights of Pleasure. [London]: Nexus, 1992. Rptd: Danson, Sophie [pseud.; true identity unknown]. Avalon Nights. London: Black Lace, 1994. Addition to the title on the cover (but it does not appear on the title-page): “The mythical quest for the highest ecstasy.” Part of a line of “erotic fiction for women,” this novel has various Arthurian knights and the King himself telling stories of their most interesting or shameful sexual exploits. A sorceress has kept Merlin as her sexual slave, but he is now weakened and failing, so she comes to Camelot to seek a replacement from among the Round Table knights. In order to have Merlin restored to them, King Arthur and the eight knights present must each tell a truthful tale about a memorable sexual encounter, and she will judge the stories and select her paramour accordingly. The nine stories told have thin connections to medieval tales (the lady of Sir Gawain’s tale is said to be the wife of Sir Bercilak, though there is little else to connect the story to Sir Gawain and the Green Knight; Sir Lancelot tells of the Lady Elaine; Sir Erek tells a tale concerning his wife Enid; King Arthur describes his encounter with the widow Margaise after his triumph

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over the rebellious kings, etc.), but they are essentially just narrative pornography (graphic descriptions of sexual acts) in medieval costume. In the Epilogue, the sorceress chooses all nine of them, and declares herself to be the new ruler of Camelot.

A-327 Caldecott, Moyra. Crystal Legends. Illus. Anthea Toorchen. Wellingborough, Northamptonshire: Aquarian Press, 1990. A collection of stories involving crystals and gemstones, intended to represent “ancient crystal lore”; each story is retold in summary form and explicated in terms of its psychological and “crystal” significance. It includes stories from the Bible, the Book of Thoth, “Beowulf,” Grimm’s Tales, legends of Cu Chulainn, and legends of Arthur. Chap. 4 (pp. 41–51), “The Ring of Invisibility,” is the tale of Owein and Luned (the Lady of the Fountain), retold from the version in the Mabinogion. There is a full-page B&W illustration to the story (p. 42), showing a light-coloured female with a horse on the opposite side of a circle from a dark-coloured man with a horse, in a variant of a Ying-Yang symbol; on the left side of the circle, their arms are extended and fingers are almost touching, reminiscent of God and Adam in Michaelangelo’s Sistine Chapel ceiling. Chap. 5 (pp. 52–65), “The Two Swords of Galahad,” is a retelling of two stories, one of Galahad pulling a sword from a stone, and the other the story of the Sword of David, retold from Malory and the medieval French Quest of the Holy Grail. There is a full-page B&W illustration to the story (p. 52), showing a richly decorated sword hilt. Chap. 6 (pp. 66–75), “The Two Swords of King Arthur,” is a version of the sword in the stone episode, and several episodes involving Excalibur (Arthur receiving it from the Lady of the Lake; Balin’s killing of the Lady of the Lake; Merlin’s warning that the scabbard must be safeguarded; Bedivere returning the sword to the lake at Arthur’s passing – this last episode told with substantial quotations from Tennyson, “The Passing of Arthur”). There is a full-page B&W illustration to the story (p. 66), showing an elaborately decorated sword tip. Chap. 9 (pp. 93–99), “The Crystal Cross of Glastonbury,” is a retelling of the story of Arthur’s vision of Our Lady and her Son, and his receiving of a Cross from them, on Wearyall Hill in “Avalon.” (The Glastonbury Cross, said to be a gift to Glastonbury Abbey from King Arthur, is known from a reference in John of Glastonbury’s Chronicle; the story told here is from Dion Fortune, Glastonbury: Avalon of the Heart.) There is a full-page B&W illustration to the story (p. 94), showing a Celtic cross with a crystal at the crossing point and rays radiating out from it.

A-328 Caldecott, Moyra. The Green Lady and the King of Shadows: A Glastonbury Legend. Glastonbury: Gothic Image Publications, 1989. A novel, based on the hagiographical legend of St Collen. Lukas, a monk of Glastonbury Abbey, finds himself slipping in and out of another reality, in which he is Gwythyr, son of Greidyawl, once a knight of King Arthur. Gwythyr is under a doom of “the great god-king Arthur,” and so, every first day of Spring, he must fight with the King of Shadows, Gwyn ap Nudd, for the maiden Creiddylad, imprisoned Persephone-like under the Tor by Gwyn. We are told that Arthur and Gwyn were once fast friends, that Arthur rode with Gwyn on the Wild Hunt, and that Gwyn served Arthur by helping Culhwch to win Olwen (alluding to the story of “Kilhwch and Olwen” from the Mabinogion); however, when Gwyn and Gwythyr came into conflict over Creiddylad, both came under Arthur’s judgement (57). The novel recounts the last of the confrontations of Gwythyr and Gwyn; this time, with the aid of a hermit living in a cave in the Tor (Brother Collen), Gwythyr wins the release of Creiddylad, whose identity as the Green Lady is then revealed (in one of the final scenes, she stands atop the Tor, transformed, beside the archangels Gabriel and Michael). Besides the myth of Persephone, the novel also makes allusions to the kidnapping of Guinevere by King Melwas.

A-329 Caldecott, Moyra. Taliesin and Avagddu: A Traditional Tale Retold. Illus. Lynette Gusman. Frome, Somerset: Bran’s Head Books, 1983. (*) A retelling of the story of Taliesin.

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A-330 Cameron, Anne. “The Elixir of Life.” Tales of the Cairds. Madeira Park, BC: Harbour Publishing, 1989. n.p. This poem appears at the end of the author’s introduction to this volume and imagines an earlier, matriarchal age; Avalon, Morgan and Merlin are mentioned.

A-331 Cameron, Anne. Stubby Amberchuk and the Holy Grail. Madeira Park, BC: Harbour Publishing, 1987. The story of Stubby Amberchuk is in part about a quest for self-identity and self-knowledge. Stubby’s father is injured at work and loses his leg; he can be seen as a Fisher King. However, the most significant Arthurian content appears in the middle of the novel. Stubby has to write a book report on The Knights of the Round Table; she imagines one of the knights or Merlin dealing with her controlling stepfather, and very soon after realizes that it is up to her to confront him. She also goes on a quest for the Grail and finds many interesting replicas; the quest leads to her greater self-knowledge and eventually takes her home again. At home, she discovers a baby dragon; one of his stories is a revisionist version of the Arthurian legend that associates women like Morgause and Morgan with the Goddess and with Avalon.

A-332 Cammell, Charles Richard. “The Return of Arthur: Ballad Written Under the Threat of Invasion, 1941.” XXI Poems. Edinburgh: Poseidon Press, 1944. (*) A-333 Campbell, Alice Ormond. The Murder of Caroline Bundy. New York: Grossett and Dunlap, 1932. Caroline Bundy, an older woman, is the daughter of a famous scientist who in his later years believed that the Grail had been hidden on his property near Glastonbury. In trying to establish the truth of this claim, she becomes the victim of con-artists who eventually murder her. The story is told from the perspective of a young man who is in love with Bundy’s niece and who is supposed to be writing a biography of the scientist; consequently, the Grail references are kept in the background until the final explanation of the mystery, although Arthur, Joseph of Arimathea, and the Grail are mentioned in connection with Glastonbury very early in the novel.

A-334 Campbell, Marion. The Dark Twin. London: Turnstone, 1973. Reading this story about a young boy with visionary powers who is fated by birth to be the “dark twin” of the young king, one would not immediately think of the Arthurian legend. The time period is much earlier; the author places it at 500 BC. The main character’s name is Drost; his love is Yssa. The characters believe in past lives; the two recognize one another, finally, as lovers from previous lives. The story is in fact Drost’s words to Yssa, telling her so that they will recognize one another again in another life. At the very end of the story (in the last sentence), he reveals Yssa’s true name: Ysolda. That suggests that Drost is a Tristan-figure (or Drust, as the author points out). The author’s afterword suggests these connections and also connects the Orchard that the characters believe they go to after death with Avalon. The pattern of action and the characters, however, do not make clear Arthurian connections.

A-335 Campbell, Stuart [pseud.], [i.e., Sydney George Campbell]. King Arthur and his Knights. London and Glasgow: William Collins, [1933]. Rptd: Stories of King Arthur. Illus. R. Wenban. Glasgow: William Collins, 1935. – Divided into two volumes: King Arthur’s Knights and The Round Table. London and Glasgow: William Collins, 1941. – King Arthur and his Knights (abridged). London and Glasgow: The Children’s Press, 1964. A retelling of Malory for children, where the more problematic relationships have been sanitized; Igerne, for example, is simply the Duke of Cornwall’s ward, not his wife.

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A-336 Campbell, [William] Wilfred. “Mordred: A Tragedy in Five Acts, Founded on the Arthurian Legend of Sir Thomas Malory.” Mordred and Hildebrand: A Book of Tragedies. Ottawa: J. Durie and Son, 1895. 1–106. Rptd: “The Last Scene from ‘Mordred.’” The Poems of Wilfred Campbell. New York, Chicago, and Toronto: Fleming H. Revell Co., 1905. 207–10. – “Songs from ‘Mordred.’” The Poems of Wilfred Campbell. New York, Chicago, and Toronto: Fleming H. Revell Co., 1905. 267–70. The title-page gives the date of composition as July and Aug. of 1893. The play begins with Arthur confessing the sin of his unknowing, incestuous affair. He becomes king in the next scene, and Merlin presents Mordred, described as a hunchback, to Arthur as his son. Arthur’s reaction drives Merlin from the court because he realizes that the king cannot live up to Merlin’s ideal; Arthur sees only horror in Mordred and cannot love or pity him. Mordred himself is well-spoken and characterized as only wanting his father’s love. This meeting in turn affects the Lancelot–Guenevere plot: because Arthur is in despair, he sends Lancelot to bring Guenevere to Camelot, and Campbell details the reasons for the two falling in love at first because of mistaken identity (she thinks he is the king and husband-to-be; he thinks she is some unknown and unspoken-for maid). Lancelot and Guenevere’s scorn of Mordred initiates his resolve to end Arthur’s reign. Vivian plays a major role in this scheme: she traps Merlin, she urges Mordred on with his plots, she brings the sword that casts doubt on Lancelot’s purity, she plans the poisoned apple episode, and she helps to trap Lancelot and Guenevere. Because Dagonet is in love with her, he also contributes to these plots against the queen and Lancelot. The Gawain figure in the play is a churl who is put in the kitchens but wants to be a knight; he is able to draw a sword from a stone that proves he is the purest knight. While the name Campbell uses, Gwaine, suggests the traditional Gawain character, as does his feud with Lancelot near the end of the play, Campbell’s character seems to combine elements of Galahad, Gareth, and Gawain. The play ends, not with Arthur, but with Mordred, who dies at his father’s side lamenting their enmity. This last section is reprinted in Campbell’s Collected Poems; the songs collected in that book are generally those sung by Dagonet throughout the play, although one is sung by Lancelot in his madness.

A-337 Campbell, [William] Wilfred. “Sir Lancelot.” The Poems of Wilfred Campbell. New York, Chicago, and Toronto: Fleming H. Revell Co., 1905. 219–25. This long (207-line) poem, in blank verse, begins with a depiction of Lancelot when he first becomes a knight and his relationship to Arthur; first line: “He rode, a king, amid the armored knights.” Guenevere’s arrival changes this, turning everything into “a nebulous mist.” The poem then moves on to focus on Lancelot’s last battle. Campbell imagines that Lancelot went to see the king before the battle of Camlann, observed him sleeping and was stricken with remorse. He leaves, but is filled with battle rage. The last section describes Lancelot’s efforts in the battle, until he is killed. While Campbell acknowledges the power of Lancelot’s love for Guenevere, that is not the main point of the poem; it is much more concerned with Lancelot’s sense of his relationship to Arthur and to the kingdom, and how he tries to reconcile that at the end.

A-338 Campion, Thomas. The Discription of a Maske, Presented before the Kinges Maiestie at White-Hall, on Twelfth Night last, in Honour of the Lord Hayes, and his Bride, Daughter and Heire to the Honourable Lord Dennye, their Marriage hauing been the same Day at Court solemnized, To this by occasion other small Poems are adioyned, Inuented and set forth by Thoma. Campion Doctor of Phisicke. London: Printed by John Windet for John Brown, 1607. [STC (P&R) 4538 (ESTC S107412).] Rptd: A Masque for Lord Hay’s Wedding. Campion’s Works. Ed. [Sylvanus] Percival Vivian. Oxford: Clarendon Press, 1909. 57–76. A short Epigram prefaces the Masque and is addressed to the king, declaring that James I’s succession to the English throne is a fulfilment of Merlin’s prophecy of Arthur’s return (though Merlin “didst mistake the name” [p. 59 of 1909 edn.]).

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A-339 Canning, Victor. The Circle of the Gods. The Crimson Chalice 2. London: William Heinemann, 1977. Rptd: (part of) The Crimson Chalice. New York: William Morrow and Co., 1978. This novel is the second in the trilogy, and it provides us with Arturo’s early life. He grows up among his father’s people, waiting for his father’s return, but eventually he must flee. While there are two main chiefs, Ambrosius and Gerontius, building up troops, Arturo becomes tired with their inaction and eventually begins to form his own band of companions. He marries (this is his first wife, not Guenevere). Merlin returns and promises to see Arturo again. Various traditional Arthurian characters appear, including Vortigern and Lancelo (Arturo’s brother-in-law in this version). The chalice of the series’ title is also introduced in this book; it is used by a Christian priest, and seems to have miraculous powers.

A-340 Canning, Victor. The Crimson Chalice. The Crimson Chalice 1. London: William Heinemann, 1976. Rptd: (part of) The Crimson Chalice. New York: William Morrow and Co., 1978. The first novel in a trilogy, being a historical reconstruction of the time of Arthur, focused upon a character named Baradoc. He hates the Saxons and is trying to return home to become chief. He meets Tia, a Roman woman whose family has been killed, and eventually they have a child, Arturo. Before his birth they are stranded on an island, where a mysterious stranger (Merlin) helps them and speaks in riddles about the future. Such riddles make it clear that the child will be king, and then king once again when the need is great.

A-341 Canning, Victor. The Immortal Wound. The Crimson Chalice 3. London: William Heinemann, 1978. Rptd: (part of) The Crimson Chalice. New York: William Morrow and Co., 1978. The final novel of the series, and it dwells on Arturo’s rise to power, a story that culminates in the battle of Badon. The end of his life is also told but very briefly. Canning includes many of the traditional elements of the legend, but changes their presentation and meaning slightly. After the death of his first wife, Arturo marries Gwennifer; her unfaithfulness is presented as her attempt to thwart Merlin’s prophecy that Arturo will have no son. Mordreth is Arturo’s foe at the end (he is just Arturo’s nephew, not son, in this version); he has been hired to eliminate Arturo, and he is willing to do this because he was earlier banished for his treatment of Gwennifer. After the final battle, Merlin meets Arturo to take him away in a boat; the sword is thrown in a river; the chalice is left with Merlin.

A-342 Capon, Paul. Warrior’s Moon. London: Hodder and Stoughton, 1960. Although this novel is set earlier than usual historical Arthurian novels (the author’s note gives the setting as “more than three thousand years ago”), the characters’ names and roles are similar to those of the legend. The boy Artor becomes Pendragon when his grandfather Utta dies during an attack on their territory of Sarm; he, his sister Morva (who has skills of healing), and a southern warrior named Trist must find the learned Merwun in order to acquire allies to retake Sarm from the invaders and to restore the sacred circle (creating Stonehenge). Vivyan, a widow, is Merwun’s companion.

A-343 Carew, Richard. A Herrings Tayle, Contayning a Poeticall fiction of divers matters worthie the reading. London: Printed for Matthew Lownes, 1598. [STC (P&R) 4614 (ESTC S104891).] A mock epic in heroic couplets about Lymazon the snail, who tries to climb to the top of Uther Pendragon’s tomb, only at the end to be flung down by the wind. There are numerous comparisons to figures from myth and legend. The story of Uther and Igerne is retold, and Merlin and his demons are credited with transporting the tomb to its present location in Cornwall.

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A-344 Carey, Jack. “Tintagel.” Woods and Mirrors: Poems. London: Salamander Imprint, 1976. 24. The setting of this poem is Tintagel, which inspires reflections on imagination and the creation of meaning. Besides the title, there are references to Lyonesse and Cadbury.

A-345 Carey, Jack. “Woods and Mirrors.” Woods and Mirrors: Poems. London: Salamander Imprint, 1976. 52–56. This poem’s male and female characters are compared, at various points, to the Fisher King, Lancelot, and the Lady of Shalott. (Carey’s use of the line, “A bow-shot through her bower eaves” suggests that the man is a Lancelot figure, with the woman as the Lady of Shalott confined in “grey middle-age.”)

A-346 “The Carle of Carlisle.” In Syr Gawayne: A Collection of Ancient Romance-Poems, by Scotish [sic] and English Authors, Relating to that Celebrated Knight of the Round Table; With an Introduction, Notes, and a Glossary. Ed. Frederic Madden. Bannatyne Club Publications 61. London: Printed by R. and J. E. Taylor, 1839. 187–206. Rptd: Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. 3: 275–94. – The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. – Sir Gawain: Eleven Romances and Tales. Ed. Thomas Hahn. Middle English Texts. Kalamazoo, MI: Published for TEAMS in Association with the University of Rochester by Medieval Institute Publications, Western Michigan University, 1995. 373–91. A short romance in rhyming couplets (beginning: “Listen to me a litle stond – / Yee shall heare of one that was sober and sound”), being a retelling of the medieval Sir Gawain and the Carle of Carlisle; it is probably of the early sixteenth century. It was not printed in Percy’s Reliques, though it is preserved in Percy’s Folio manuscript (now British Library MS Add. 27879).

A-347 Carlsen, Chris [pseud.], [i.e., Robert Holdstock]. The Bull Chief. The Berserker 2. London: Sphere Books, 1977. The sequel to Shadow of the Wolf. In this installment, the berserker is reborn as Niall Swiftaxe in a late fifth-century Irish clan. Most of the novel involves Niall’s life, his growing awareness of the demon that possesses him, and his adventures as he seeks to find a way to remove the curse of Odin. He is sought by Arthur, who needs such a warrior to help defeat the Saxons. Parts One and Four take place in Arthur’s territory and involve his learning of Niall’s existence and the battles that Niall fights as part of his warband. Arthur betrays Niall’s trust in order to take to himself some of the berserker’s powers. Arthur’s wife in this version is the Irish warrior queen Grania.

A-348 Carlsen, Chris [pseud.], [i.e., Robert Holdstock]. The Horned Warrior. The Berserker 3. London: Sphere Books, 1979. (*) The final novel of the trilogy.

A-349 Carlsen, Chris [pseud.], [i.e., Robert Holdstock]. Shadow of the Wolf. The Berserker 1. London: Sphere Books, 1977. (*) The first of a trilogy of novels about “the berserker,” cursed by Odin to be reincarnated repeatedly. In the second novel of the series, he lives in the time of Arthur.

A-350 Carmichael, Douglas. “The Grievous Stroke.” Illus. Debra McWilliams. In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 25–34. This story of Balin begins in Arthur’s court when he is given the duty of escorting a lady and her father. When the father is killed by an invisible knight, Balin takes vengeance, which leads to the

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grievous stroke of the title. Facing the opening page of the story is an illustration (pen-and-ink drawing) by Debra McWilliams: a man in fine clothes (and with a peacock feather in his hat) has an arm crooked around a lance.

A-351 Carmichael, Douglas. Pendragon: An Historical Novel. Hicksville, NY: Blackwater Press, 1977. Carmichael’s account of Arthur’s rise to power tells the story from Arthur’s conception to his drawing of the sword from the stone, and then through the twelve battles that lead to his acclamation as Emperor. Carmichael’s novel closely follows the material in Malory as well as the list of battles from Nennius ending with the battle of Mount Badon. Mordred has been conceived and born, and the king’s best friend has fallen in love with the king’s wife, but at the novel’s end Arthur has reached his peak of power and his downfall remains in the future.

A-352 Carpenter, Humphrey. The Captain Hook Affair. Illus. Posy Simmonds. London: George Allen and Unwin, 1979. Rptd: Harmondsworth: Puffin Books, 1982. Two children use a magic pencil to enter into the worlds of children’s stories such as Alice in Wonderland, Jack and the Beanstalk, and Peter Pan, and even go so far as to bring Captain Hook out of his world and put him in charge of their school. In Chap. 10 they visit Merlin as part of their investigation of how the pencil works, and they learn that it involves an ancient magic with a will of its own of which they need to beware. Merlin is described as an old man in a sheepskin coat, sheltering from the rain in a tent; he had gone on a camping trip but had mispredicted the weather. (The names of Mordred and Morgan le Fay are also mentioned early in Chap. 17, but only as part of a curse spoken by Captain Hook.)

A-353 Carpenter, Rhys. The Tragedy of Etarre: A Poem. New York: Sturgis and Walton, 1912. (*) Rptd: London: Oxford University Press, [1914]. A dramatic poem, based on the story of Pelleas and Etarre from the fourth book of Malory.

Carr, Francis: see Prince, Aelian. A-354 Carr, J[oseph] Comyns. King Arthur: A Drama in a Prologue and Four Acts. London: Chiswick Press, 1895. (Première: London: Lyceum Theatre, 12 Jan. 1895. With Henry Irving as Arthur, Ellen Terry as Guinevere, Forbes Robertson as Sir Launcelot.) Rptd: London: Macmillan, 1895. – Arthurian Drama: An Anthology. Ed. Alan Lupack. Garland Reference Library of the Humanities 1276. New York and London: Garland Publishing, 1991. 117–71. A dramatization of the story from the time that Arthur acquires Excalibur until his death, which in this version comes from a wound inflicted by Mordred in single combat; Lancelot then kills Mordred off-stage. The costumes and sets were designed by Edward Burne-Jones (the costume design for Merlin [pencil and pen and ink with watercolour, bodycolour, and gold paint on paper; 14 x 10 in.; private collection] is reproduced in Poulson, Quest, Fig. 33 [p. 153]; a drawing of the set for “The Passing of Arthur” scene (coloured chalks; 8.5 x 11 1/4 in.; 1894 [in a private collection]) is described as Item 225 in Marcus, Burne-Jones; a photograph of the stage set for Act 3 is preserved in the Museum of British Theatre and is reproduced in Harrison and Waters, Burne-Jones, Fig. 235 [p. 157]). (See also the entries for “Sullivan, Sir Arthur, Incidental Music and King Arthur” in the Music section.)

A-355 Carr, J[oseph] Comyns. Tristram and Iseult: A Drama in Four Acts. London: Duckworth, 1906. (Première: With music by Christopher Wilson; London: Adelphi Theatre, 1906.) (*) A play, in blank verse.

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A-356 Carradice, Phil[ip]. “The Isle of Avalon.” Cambrensis no. 35 (Mar. 1998): 46–51. Rptd: Mammoth Book of Arthurian Legends. Ed. Mike Ashley. London: Robinson Publishing; New York: Carroll and Graf, 1998. 558–66. (Reissued 2002 as Arthurian Legends from Edison, NJ: Castle Books.) In this short story Kei leads Aneurin the Bard to the monastery of Glastonbury in Avalon, where Ambrosius lies dying, having been wounded in defeating the Saxons at the battle of Mount Badon. At the abbey they are met by Bedwyr, Ambrosius’ other lieutenant, and there we also meet Arthur, Ambrosius’ “Page and whipping boy,” a simpleton and “a born victim.” Ambrosius begs the Bard to immortalize his deeds in story. Aneurin, however, hates Ambrosius for long ago destroying his village and killing his wife, so he creates the desired legend, but attributes Ambrosius’ successes against the Saxons to Arthur.

A-357 Carruth, William Herbert. “King Arthur’s Hunt: A Legend of Gascogne.” Each in his Own Tongue and Other Poems. New York and London: G. P. Putnam’s Sons, 1909. 104–105. A short poem of six stanzas, which tells the story of how the Wild Hunt began when Arthur left his prayers early at the sound of his deerhound’s baying.

A-358 Cartier, Marie. “The Naturopath.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 16. This poem, in describing the healing powers of the naturopath, ascribes almost supernatural powers to her like those of Morgan. Avalon is also mentioned.

A-359 Case, Clarence Marsh. The Banner of the White Horse: A Tale of the Saxon Conquest. London: Harrap; New York: Scribner, 1916. (*) A children’s novel about the coming of the Angles and Saxons to England, including a retelling of the legend of Vortigern, Hengist and Horsa.

A-360 Castro, Adam-Troy. “Jesus Used a Paper Cup.” In Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 183–90. This story sets the New Testament and the Grail quest in an alternate universe, where neither takes place until after the development of modern urban society. Castro follows the logic of this to its inevitable farcical end: the Grail is a paper cup; Lancelot, Perceval, and Galahad are searching a garbage dump for it; and the transformation of Galahad is a satiric commentary on our society.

A-361 Caulfeild, James, Earl of Charlemont. “Merlin at the Masquerade.” In The New Foundling Hospital for Wit, Being a collection of fugitive pieces, in prose and verse, not in any other collection; with several pieces never before published; A new edition, corrected, and considerably enlarged. Ed. John Almon. 6 vols. London: Printed for J. Debrett, 1784. 1: 75–76. [ESTC T139408.] A political prophecy, being thirty-six lines in heroic couplets. The speaker declares that, when the cock and lion unite, and the northern bear learns to read and write, and “a daughter and her dam” control Britannia by means of witchcraft (among various other portents), then Merlin shall return to “drive the fiend accurs’d back to her destin’d hell” (36). A footnote to the poem indicates that it was performed “At the Pantheon, Oxford-street, May 12, 1773, where it was spoken by General Lee, who soon afterwards went to America.”

A-362 Cawein, Madison J[ulius]. “Accolon of Gaul.” Accolon of Gaul with Other Poems. Louisville, KY: John P. Morton and Co., 1889. 1–64. Rptd: Nineteenth Century American Literature on Microcards. Louisville, KY: Lost Cause Press, 1963.

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– The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 219–306. A substantial narrative poem in heroic couplets (with a few lyric passages), in which Accolon speaks with Morgane of his love and of the harm that he has done to Arthur for her sake. The final portion includes the death of Accolon and Morgane’s retirement to Avilion, where she will prepare for the day when Arthur will fight his last battle. The Prelude includes something of a catalogue of Arthurian lovers, mentioning Merlin and Viviane, Arthur and Guenevere, Tristan and Isoud, among others. The reprinting of the poem in The Poems of Madison Cawein includes one illustration by Eric Pape (plate facing p. 250, with reference to a passage appearing on p. 303), showing Morgane standing beside the bed of Accolon, whom she has just murdered.

A-363 Cawein, Madison J[ulius]. “Avalon.” New Poems. London: G. Richards, 1909. 84–85. A poem of seven quatrains, in which the speaker tells of a dream of an island which cannot be seen by sinful eyes, where a maiden looks into his eyes and touches his hand. She disappears, and “A voice said, ‘This is Avalon, / And she, thy soul’s old tragedy’ ” (ll. 27–28).

A-364 Cawein, Madison J[ulius]. “La Beale Isoud.” Blooms of the Berry. Louisville, KY: John P. Morton and Co., 1887. 165–69. Rptd: Nineteenth Century American Literature on Microcards. Louisville, KY: Lost Cause Press, 1963. – “Isolt.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 329–34. A poem in six long, irregular stanzas, expressing Isoud’s anguish after Tristram’s departure.

A-365 Cawein, Madison J[ulius]. “Blodeuwedd.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 101–107. A poem, of 138 lines of rhyming couplets, telling the story of Math, son of Mathonwy, and the making of Blodeuwedd out of forest flowers. It opens by declaring that Merlin was not the only master of “white magic” in those days, but that Math was another. Near the end of the poem the beauty of Blodeuwedd is compared to that of Branwen and of Gwenhwyvar.

A-366 Cawein, Madison J[ulius]. “The Daughter of Merlin.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 363–64. A poem of seven six-line stanzas, about climbing to a summit of a mountain of graves. Only the title alludes to the legend.

A-367 Cawein, Madison J[ulius]. “Deep in the Forest.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 2: 196–208. Rptd: Four of the seven parts are rptd in Poems . . . (Selected by the Author). Fwd William Dean Howells. New York: Macmillan, 1911. 37–43. A sequence of seven poems; the sixth, entitled “The Thorn-Tree,” written in septenary couplets, is based on the story of Merlin’s entrapment in a tree by Vivien: the blooms on the thorn tree are Vivien, caught in the arms of Merlin, who is the gnarled old tree.

A-368 Cawein, Madison J[ulius]. “The Dream of Sir Galahad.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 335–39. A poem in thirteen six-line stanzas. Galahad tells of a dream in which he was visited by three

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angels, and called to be with Christ. The lips of the angels are described as “Ruby-red as the desire / Of the Sanc Graal” (ll. 26–27).

A-369 Cawein, Madison J[ulius]. “A Dreamer of Dreams.” Blooms of the Berry. Louisville, KY: John P. Morton and Co., 1887. Rptd: The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 24–26. – Poems . . . (Selected by the Author). Fwd William Dean Howells. New York: Macmillan, 1911. 34–36. A fifty-four-line poem, describing a “dreamer” who loves the beauties of the forest; the description includes a speculation that he might, “like Uther’s mystic son,” have been “born for Avalon” (ll. 7–8).

A-370 Cawein, Madison J[ulius]. “A Guinevere.” Blooms of the Berry. Louisville, KY: John P. Morton and Co., 1887. 95–97. Rptd: Nineteenth Century American Literature on Microcards. Louisville, KY: Lost Cause Press, 1963-. – The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 153–55. A dramatic monologue in fourteen four-line stanzas; the speaker is a modern woman with her lover, thinking of the older man “Sitting in his gouty chair” who may miss her if she lingers too long. In the final stanzas, she refers to her lover as her Lancelot and she his Guinevere.

A-371 Cawein, Madison J[ulius]. “The Haunted Room.” Blooms of the Berry. Louisville, KY: John P. Morton and Co., 1887. 182–85. Rptd: Nineteenth Century American Literature on Microcards. Louisville, KY: Lost Cause Press, 1963. – The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 4: 202–205. A poem, in nine eight-line stanzas. The room’s furnishings include tapestries depicting “Tall, shadowy Tristrams” who “fought and sung / For shadowy Isolds fair” (ll. 23–24).

A-372 Cawein, Madison [Julius]. “Her Vivien Eyes.” Idyllic Monologues: Poems by Madison Cawein; Old and New World Verses. Louisville, KY: John P. Morton and Co., 1898. 101–102. Rptd: Nineteenth Century American Literature on Microcards. Louisville, KY: Lost Cause Press, 1963. – The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 2: 496. A poem in three seven-line stanzas, warning the listener to beware of looking into “her” eyes, though they be stars, springs, and bibles, “lest thou be cursed, – / As Merlin was, romances tell, – / And in their sorcerous spells immersed. . . .”

A-373 Cawein, Madison J[ulius]. “In the Forest.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 3: 344. A sonnet. The speaker imagines that the forest in which he walks is that in which Arthurian knights sought the Grail; the sounds of the forest could be the laugh of Vivien and the moan of Merlin; the sun above is shaped like a Table Round, and a cloud looks like the towers of Camelot.

Cawein, Madison; “Isolt”: see the entry for his “La Beale Isoud.”

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A-374 Cawein, Madison J[ulius]. “The King.” The Triumph of Music and Other Lyrics. Louisville, KY: John P. Morton and Co., 1888. 169–71. Rptd: The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 138–40. A poem of forty-nine lines of blank verse, telling of the death of a woman at the hands of her jealous husband, who accuses her of having an affair with the king. There is a reference to how the local knights are accustomed to joust at Camelot, which suggests that the story is set in an Arthurian world.

A-375 Cawein, Madison J[ulius]. “Morgan le Fay.” Myth and Romance, Being a Book of Verses. New York and London: Knickerbocker Press / G. P. Putnam’s Sons, 1899. 33–35. Rptd: The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 353–55. This ballad begins by describing Morgan’s beauty, which bewitches Sir Kay. She takes him to the Shadowland, her kingdom that contains many of Arthur’s dead knights, such as Bors and Gawain. She introduces Kay as the knight who has killed their king, so they attack him.

A-376 Cawein, Madison J[ulius]. “Music and Moonlight.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 5: 343–45. A poem of twelve four-line stanzas, declaring that there is a “spirit . . . abroad / Of music and of sleep” which tells a tale of a castle in ancient days; centuries ago, he says, we kissed in Camelot, “When you were Guinevere, / And I was Launcelot.”

A-377 Cawein, Madison J[ulius]. “Peredur, the Son of Evrawc.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 307–28. A poem (432 lines of blank verse, with some lyric portions), telling the story of Peredur, and his discovery that Angharad’s love is true.

A-378 Cawein, Madison J[ulius]. “The Poet, the Fool, and the Faeries: A Lyrical Eclogue.” The Poet, the Fool, and the Faeries. Boston, MA: Small, Maynard and Co., 1912. 3–56. A dialogue between the poet and the fool; at one point the fool identifies himself as Dagonet, King Arthur’s fool, and he further identifies the poet as Tristram, who used to sing so well of Isolt (35). Merlin is also mentioned (10).

A-379 Cawein, Madison J[ulius]. “Romance.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 87–89. Rptd: Poems . . . (Selected by the Author). Fwd William Dean Howells. New York: Macmillan, 1911. 235–37. A poem in thirteen quatrains. The speaker imagines his lady with her hawks and hounds in a forest like Broceliand, or in armour, like Una or Britomart, or calling him to join her in Avalon.

A-380 Cawein, Madison J[ulius]. “To One Reading the Morte D’Arthure.” The Garden of Dreams. Louisville, KY: John P. Morton and Co., 1896. 111–12. Rptd: Nineteenth Century American Literature on Microcards. Louisville, KY: Lost Cause Press, 1963. – The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 5: 213–14.

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In this poem of four six-line stanzas, the speaker addresses a female reader of Malory and lists several places and characters from the legend that (he speculates) may have captured her imagination. The places include Camelot, Tintagel, and Caerleon; the people he mentions are Guenevere, Merlin, Lancelot, Arthur, and Vivian.

A-381 Cawein, Madison [Julius]. “Tristram and Isolt.” Shapes and Shadows: Poems by Madison Cawein. New York: R. H. Russell, 1898. 46. Rptd: Nineteenth Century American Literature on Microcards. Louisville, KY: Lost Cause Press, 1963. – The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 5: 231. A poem of two quatrains, describing the “horror and tempests” and demonic laughter which haunt the guilty lovers.

A-382 Cawein, Madison J[ulius]. “Tristram to Isolt.” The Poems of Madison Cawein. 5 vols. Intro. Edmund Gosse. Illus. Eric Pape. Boston, MA: Small, Maynard and Co.; Indianapolis: Bobbs-Merrill Co., 1907. 1: 365–67. A poem in twelve four-line stanzas, spoken by Tristram, who claims he knew nothing of love’s mysteries until he met Isolt. He has spent time with a false love, fair of face but “a thing of hell,” but he has been “saved” by Isolt’s love.

A-383 Cawein, Madison [Julius]. “Waste Land.” Poetry 1 (1912–1913): 104–105. A poem, in eight five-line stanzas, describing a “waste” landscape, which reflects the speaker’s grief and despair. A man and an old blind hound appear and then disappear just as suddenly. While there is no explicit reference to the quest of the Grail, the parallel with the “wasteland” of the Grail legend seems implicit.

A-384 Caws, Ian. “The Chalice Well.” Ore 37 ([1988?]): 44. In this poem, the speaker and his daughter visit Glastonbury’s Chalice Well, and he reflects on the Holy Grail still hidden, he thinks, deep in the well. There are several contrasts at work in the poem: between his reaction and his daughter’s; between his presence and that of some girls; between the present day and the past.

A-385 Ceiriog, [pseud.], [i.e., John Ceiriog Hughes]. “The Patriot Boy.” Oriau’r Haf. Wrexham: R. Hughes and Son, 1870. Rptd: Wrexham: R. Hughes and Son, 1911. 90–91. This song is based on an “old Welsh air,” but with added reference to Arthur and his Round Table. The patriot boy is one who left Arthur’s country to spread its fame; the speaker claims to be like the patriot boy.

A-386 Chadwick, Elizabeth. Daughters of the Grail. London: Michael Joseph, 1993. Rptd: New York: Ballantine, 1995. This novel is a historical fiction about thirteenth-century descendants of Mary Magdalene and about the Cathar conflict in southern France. Bridget, and then her daughter, Magda, are the “daughters of the Grail” referred to in the title. In fact, the sole Arthurian Grail reference first suggests that these women are the grail, a suggestion confirmed later by Magda: “ ‘You have read the tales of King Arthur,’ she said. ‘You may search forever and a day and never realize that all the time it [the grail] lies beneath your nose’ ” (341 Ballantine edition).

A-387 Chadwick, Elizabeth. First Knight. New York: Pocket Books, 1995. This novelization of the 1995 film of the same name is a modernization of Chrétien de Troyes’ The Knight of the Cart. Most of the story, however, is only loosely based on established Arthurian

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tradition. Meleagant is the villain who is trying to take over Guenevere’s country; she marries Arthur to preserve her realm, since she respects him and feels that he will do his best for her people. Being rescued by Lancelot leads her to fall in love with him as well, a love that remains unconsummated but for a couple of stolen kisses. Arthur becomes jealous and tries them; Meleagant’s attack interrupts the proceedings and leads to Arthur’s death before Lancelot is able to kill Meleagant. Arthur passes his sword (and quite probably Guenevere) to Lancelot, so that there is hope in the ending for a continued Camelot. For details of the film, see the entry for “First Knight” in the “Film, Television, and Radio” section.

A-388 Chalon, John. Sir Lance-a-little and the Knights of the Kitchen Table. Indianapolis: Bobbs-Merrill Co., 1972. A children’s story, concerning three boys who are playing at being knights.

A-389 Chamberlin, Ann. The Merlin of St Gilles’ Well. Joan of Arc Tapestries 1. New York: TOR Books, 2000. The first in a series which retells the story of Joan of Arc, with a focus on paganism and witchcraft. Merlin is said to have prophesied the career of Joan; the story also involves a modern child prophet (from St Gilles’ Well) as another “Merlin.” The story is continued in The Merlin of the Oak Wood (2001).

A-390 Chant, A[rthur] G[uy]. The Legend of Glastonbury. Illus. Horace J. Knowles. London: Epworth Press, 1948. A sequence of seventeen ballads on the legend of Joseph of Arimathea’s journeys to Britain.

A-391 Chant, Joy. The High Kings. Illus. George Sharp; maps by David Larkin. New York [etc.]: Bantam Books, 1983. Rptd: London: George Allen and Unwin, 1984. – New York [etc.]: Bantam Books, 1985. The stories of various legendary British kings, based on Geoffrey of Monmouth’s The History of the Kings of Britain and the Mabinogion, are recounted for the assembled members of Arthur’s court. The hardcover edition (1983 and 1984) is beautifully illustrated.

A-392 Chapman, Raymond. “The Fisher King.” Wales 6 [no. 24] (Winter 1946): 17. Rptd: “Sonnets on the Arthurian Legend.” Prince of the Clouds and Other Poems. London: Fortune Press, 1947. 19. A sonnet with a thinly-veiled political message for postwar Europe; the poem describes the “crippled glory” of the Fisher King as he waits for one who “[w]ill ask the question that would make all free.” Meanwhile, “craven silence” permits the building of “[a] tall dark tower that desolates the land.” (See also the entry for Chapman’s “Sonnets on the Arthurian Legend.”)

A-393 Chapman, Raymond. “Sonnets on the Arthurian Legend.” Prince of the Clouds and Other Poems. London: Fortune Press, 1947. 19–21. The five sonnets in this group are “Fisher-King,” “Dolorous Garde,” “Siege Perilous,” “Perceval,” and “Holy Grail.” They are interconnected in that the last line of one is the first line of the next, and the last line of the final sonnet, “Holy Grail,” repeats the first line of the first sonnet, “Fisher-King.” Each one reflects on the character or item named in the title; the last two in particular are concerned with the characteristics that will enable Perceval to achieve the quest. Dolorous Garde here is the equivalent of the Wasteland.

A-394 Chapman, Vera. “Belle Dame, Sans Merci.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 10–26.

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An extract from Chapman’s (as then not-yet-published) The Enchantresses (see the separate entry). Vivian saves a young knight from the curse of witches, but, when Vivian will not sleep with him, Morgan takes over, driving the young man mad by pretending to be Vivian. The story is original, though it mentions Arthur’s birth and Vivian’s relationship with Merlin; he was the tutor of the three sisters, and in this version Vivian is in love with him, much to the disgust of Morgause and Morgan.

A-395 Chapman, Vera. The Enchantresses. London: Gollancz, 1998. The three enchantresses of the novel are Vivian, Morgause, and Morgan. In this version, they are triplets, although Morgan’s appearance is unexpected to Igerne, and Merlin later suggests that it was supernatural; Morgan wills herself to be incarnated in that fashion. Morgan and Merlin are old adversaries, encountering one another again and again. The novel, however, concentrates on Vivian as the protagonist. Of the sisters, she is the only one to practice white magic exclusively, and she is Merlin’s wife, mother of his daughter Blaisine, and foster-mother to Arthur himself. The novel tells of Vivian’s life, from the early encounter with the young knight (published earlier as a short story “Belle Dame, Sans Merci”), her marriage and status as Lady of the Lake, her acquiring of Caliburn, to Morgan’s murder of her. Nevertheless, more common incidents of the Arthurian legend also appear: the sword in the stone episode, Morgause’s seduction of Arthur and the birth of Mordred, Morgan’s theft of the scabbard, Vivian’s entrapment of Merlin (here it is Morgan taking on her sister’s shape), and the conveying of Arthur to Avalon. The novel fits into the world created by Chapman’s earlier Arthurian novels (the trilogy of The Three Damosels; there are footnotes in this book indicating that various of the other stories mentioned are retold in Chapman’s earlier works.

A-396 Chapman, Vera. The Green Knight. London: Rex Collings, 1975. Rptd: The Three Damosels: A Trilogy. London: Magnum Books / Methuen Paperbacks, 1978. 5–124. This novel’s protagonists are Merlin’s granddaughter Vivian and Gareth’s son Gawain (often referred to as Gawain le Jeune to distinguish him from his uncle). Some sections of the novel are narrated by Vivian. Vivian’s parents are dead, and she is taken from her convent school by Morgan and trained in magic. They live at Bertilak’s castle, and Morgan forces Bertilak to become the Green Knight and challenge Arthur’s court. Vivian is married to Bertilak in name only and is persuaded to tempt the newly-knighted Gawain as a way of saving him from his doom. Gawain narrates other sections, so we see his ordeal and knighting and his answering of the challenge to spare Arthur. The last section of the novel is narrated by Melior, Merlin’s assistant; Merlin and Melior must save Vivian and Gawain from Morgan’s deceits.

A-397 Chapman, Vera. King Arthur’s Daughter. London: Rex Collings, 1976. Rptd: The Three Damosels: A Trilogy. London: Magnum Books / Methuen Paperbacks, 1978. 223–352. Most of this novel takes place after the battle of Camlann. In Chapman’s version of the legend, Arthur and Guenevere have a daughter whom Arthur designates as his heir. When he dies, however, she is at school in a convent that is then raided by Saxons. She escapes and lives for some time as a slave on a Jute holding. She is eventually found by Ambris (son of Vivian and Gawain from The Green Knight) and helped by Linet (the protagonist of The King’s Damosel). They attempt to reinstate Arthur’s kingdom, but discover a rather different way to preserve the Arthurian heritage.

A-398 Chapman, Vera. The King’s Damosel. London: Rex Collings, 1976. Rptd: The Three Damosels: A Trilogy. London: Magnum Books / Methuen Paperbacks, 1978. 125–222. This novel combines the story of Gareth and Linet with the Grail quest. Chapman begins with the wedding of Gareth to Linet’s sister, and of Gaheris to Linet; the marriage is the occasion for Linet’s

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memories of how she has ended up in this unwanted situation, for she loves Gareth, not Gaheris. Merlin arranges for Linet to become a messenger for Arthur, “The King’s Damosel.” In the course of her duties, she takes vengeance on an old enemy, learns to forgive past wrongs, falls in love, and seeks the Grail to heal her lover.

A-399 Chapman, Vera. “A Sword for Arthur.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 155–64. A short story, subsequently part of the novel The Enchantresses; here, Merlin attains the sword Caliburn from a merman in preparation for the “sword in the stone” episode.

A-400 Charitina, Mary, BVM (Sister). The Adventures of the Redcrosse Knight. Illus. Jeanyee Wong. New York: Sheed and Ward, 1945. A retelling for children of the first book of Edmund Spenser’s Faerie Queene (including Prince Arthur’s intervention to save the Red Cross Knight / St George); the story is told in twelve chapters, corresponding to the twelve cantos of the original.

A-401 Charrette, Robert N. A King Beneath the Mountain. New York: Warner Books, 1995. A sequel to A Prince among Men.

A-402 Charrette, Robert N. A Knight Among Knaves. New York: Warner Books, 1995. The final novel of the trilogy.

A-403 Charrette, Robert N. A Prince Among Men. New York: Warner Books, 1994. Set in futuristic America, this novel has King Artos brought back to life to join a young boy, John, in an attempt to allow magic to rule again over technology.

A-404 Chase, Mary Ellen. “A Candle at Night.” Collier’s (9 May 1942): 17, 74, 76–77. A short story, continuing the story of her Dawn in Lyonesse.

A-405 Chase, Mary Ellen. Dawn in Lyonesse. New York: Macmillan, 1938. A poor waitress in twentieth-century Tintagel has felt her life changed by reading the story of Tristan and Iseult. As the novel details her experiences over the course of a few days, she is constantly thinking of the story and finding parallels in her own life. The major crisis of the novel is the news that her fiancé has died; when she attends his funeral, she discovers that her best friend has been his lover. The main character’s ability to forgive her friend comes from her understanding of the story. This novel uses quotations from various versions of the Tristan story, including one from Edwin Arlington Robinson that appears at the beginning of the story. There are also references to Arthur, Merlin, and Excalibur, and their connections to local features of the landscape around Tintagel.

A-406 Chaundler, Christine. Arthur and his Knights. Illus. T[homas] Mackenzie. London: Nisbet and Co.; New York: Frederick A. Stokes, [1920]. Rptd: Lancelot: The Adventures of King Arthur’s Most Celebrated Knight. Illus. Eleanor Fortes[c]ue-Brickdale. Children’s Classics. Avenel, NJ: Random House Value, 1995. This book begins with the Merlin and Vortigern story, followed by the sword in the stone episode, Arthur’s receiving of Excalibur, his marriage to Guenevere and Merlin’s disappearance. Most of the rest of the book involves Lancelot’s adventures, except for a chapter devoted to Tristan. Chaundler follows Malory closely, except that the love affairs are glossed over. Mackenzie produced eight quite striking watercolour paintings to illustrate the first edition.

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A-407 Chaundler, Christine, and Eric Wood. My Book of Beautiful Legends. Illus. A. C. Michael. London: Cassell and Co.; New York: Funk and Wagnalls, 1916. Rptd: Famous Myths and Legends. London: Bracken Books, 1986. A collection of retellings of legends from around the world, including some Arthurian stories: “The Glastonbury Thorn” (128–30), “The Coming of Arthur” (131–35), “Lancelot and Elaine” (155–68), “The Story of Sir Galahad” (282–86), “The Passing of Arthur” (287–92), “The Knight of the Swan” (315–20, being the story of Lohengrin). There are two (colour) illustrations to Arthurian stories: in the story of Sir Galahad (facing p. 284): “Galahad alone could see the perfect beauty of the Holy Grail”; in the story of the “Knight of the Swan” (facing p. 316): “Fiercely Frederick bore down upon the unknown knight.”

A-408 Cherryh, C. J. Port Eternity. New York: New American Library, 1982. This science-fiction novel draws on Arthurian characters and relationships from Tennyson (chapters are headed with quotations from Idylls). Dela, a rich woman, owns a spaceship named The Maid of Astolat and several “made beings.” Whether these beings are companions or crew, they have all been given Arthurian names (Elaine, Lancelot, Vivian, Perceval, Linet, Gawain, Mordred) and with knowledge of the original story, they begin to act in character; the novel plays quite interestingly with the idea of Mordred’s villainy. The story is narrated by Dela’s personal servant, Elaine, who is of course in love with Lancelot. The actual human beings, Dela and her lover Griffin, in some ways resemble Guenevere and Arthur. The novel does end happily, but only by means of a spatial anomaly.

A-409 Chester, Norley [pseud.], [i.e., Emily Underdown]. “Galahad.” Knights of the Grail: Lohengrin, Galahad. Illus. “K. G.” London: Thomas Nelson and Sons, 1909. 109–54. This short story retells for children the Grail quest from Malory. It divides the story into four chapters that depict Galahad’s arrival at Camelot, his acquiring of a shield, the appearance of the Grail at Camelot and the subsequent quest of knights like Perceval and Lancelot, and Galahad’s achievement of the quest. There are three full-page, full-colour illustrations to accompany the story; while these are not signed, the initials “K. G.” appear underneath each one.

A-410 Chester, Norley [pseud.], [i.e., Emily Underdown]. “Lohengrin.” Knights of the Grail: Lohengrin, Galahad. Illus. “K. G.” London: Thomas Nelson and Sons, 1909. 9–107. Rptd: Three Northern Romances: Siegfried, Lohengrin, Undine. London: Thomas Nelson and Sons, 1925. 83–130. A retelling of the story for children. The main Arthurian content comes in the final explanation, where Lohengrin’s father, Perceval, and the Grail are mentioned. There are five full-page, full-colour illustrations to accompany the story; while these are not signed, the initials “K. G.” appear underneath each one. The story was reprinted in 1925 with two other “northern romances” retold by Richard Wilson.

A-411 Chester, Robert. Loves Martyr; or, Rosalins complaint, Allegorically shadowing the truth of loue, in the constant fate of the phoenix and turtle. A poeme enterlaced with much varietie and raritie; now first translated out of the venerable Italian Torquato Caeliano, by Robert Chester. With the true legend of famous King Arthur, the last of the nine worthies, being the first essay of a new Brytish poet: collected out of diuerse authenticall records. To these are added some new compositions, of seuerall moderne writers whose names are subscribed to their seuerall workes, vpon the first subiect: viz. the phoenix and turtle. London: Printed for E. B[lount], 1601. [STC (P&R) 5119 (ESTC S106438).] Rptd: Robert Chester’s Loves Martyr; or, Rosalins Complaint. Ed. Rev. Alexander B.

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Grosart. New Shakespere Society, Series 8, Miscellanies No. 2. London: New Shakespere [sic] Society, 1878. The principal poem is a dialogue between Dame Nature and the Phoenix; a reference to King Arthur within that dialogue provokes a long digression (34–77), giving a full account of the life of Arthur, based on Elizabethan chronicles (and apparently added to the dialogue at the insistence of “honourable-minded friends”).

A-412 Chesterton, Frances [Alice]. “Sir Cleges: Christmas Play of the Arthurian Legend.” The Children’s Crusade; Sir Cleges; The Christmas Gift: Three Plays for Children. London and New York: Samuel French, 1924. A dramatization for children of the medieval story.

A-413 Chesterton, G[ilbert] K[eith]. “The Ballad of King Arthur.” The Queen of Seven Swords. London: Sheed and Ward, 1926. 15–17. This ballad begins with a description of Arthur at the Battle of Mount Badon carrying the shield with the image of the Virgin Mary on it. The ballad then reflects on the processes of the legend that developed, regreting the displacement of the Christian element of the “historical” character.

A-414 Chesterton, G[ilbert] K[eith]. The Ballad of the White Horse. London: Methuen and Co., 1911. Rptd: The Collected Poems of G. K. Chesterton. London: Cecil Palmer, 1927. A book-length poem in ballad form about King Alfred, making comparisons between Alfred and Arthur. Chesterton suggests this comparison in his prose introduction, in talking about each king’s status as “legend.” In the poem itself, there are allusions to the lost land of Lyonesse and “the king that comes no more,” as well as to Caerleon and “fallen kings.” These allusions put Alfred’s seemingly hopeless task in the context of the eventual end of Arthur’s reign. There are more explicit allusions as well, to Arthur, Lancelot, and Uther, and to one warrior leaning on a sword as Arthur might have leaned on Excalibur.

A-415 Chesterton, G[ilbert] K[eith]. The Grave of Arthur. Illus. Celia Fiennes. Ariel Poems 25. London: Faber and Faber, 1930. This poem of twelve quatrains describes Arthur’s grave under the “Glaston Thorn” and reflects on his timelessness; he is the dead king “who shall not die.” The illustration preceding the poem picks up on various details mentioned: a tree at the top of the page and a cavern below with a skeleton, a horn, and a sword. The title-page is illustrated with a drawing of a sword in a stone by a lake.

A-416 Chesterton, G[ilbert] K[eith]. “The Great Amalgamation.” Daylight and Nightmare: Uncollected Stories and Fables. Selected and arranged by Marie Smith. New York: Dodd, Mead and Co., 1986. 121–22. A very short story, supposedly “From the lost Book of Arthur, mentioned by Geoffrey of Monmouth.” Perceval arrives at the lair of a dragon and mourns the number of dead heroes who lie there. A mysterious wizard tries to explain, but Perceval pays no attention.

A-417 Chesterton, G[ilbert] K[eith]. “The Myth of Arthur.” The Ballad of St Barbara and Other Verses. London: Cecil Palmer, 1922. 19. Rptd: The Collected Poems of G. K. Chesterton. London: Cecil Palmer, 1927. This eighteen-line poem is addressed to “O learned man who never learned to learn” and points out the narrowness of outlook in those who debate the myth of Arthur without reflecting on what the mythic elements serve.

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A-418 Chesterton, G[ilbert] K[eith]. “The Perishing of the Pendragons.” The Wisdom of Father Brown. Frontispiece by Sidney Seymour Lucas. London: Cassell and Co.; New York: Dodd, Mead, and Co., 1914. Rptd: Various reprintings, including Harmondsworth: Penguin Books, 1975. 121–40. – The Father Brown Omnibus, Including “The Innocence of Father Brown,” “The Wisdom of Father Brown,” “The Incredulity of Father Brown,” “The Secret of Father Brown.” New York: Dodd, Mead, and Co., 1927. The beginning and ending of this short story include a number of Arthurian allusions. As Father Brown and his friends travel by yacht along the Cornish coast, they note various landmarks associated with Arthurian stories, a rock shaped like Merlin, for example. There is also some discussion of the presence of such legends in the area, since the main story involves a family curse. Because Father Brown has noted the distinctive landmarks, he is able to solve the mystery and prevent a shipwreck.

A-419 Chetwin, Grace. On All Hallows’ Eve. New York: Lothrop, Lee, and Shepard, 1984. Rptd: New York: Aladdin Books / Macmillan, 1992. Myfanwy (Meg) Wilson and her sister Sue find themselves in a dangerous, magical adventure one Hallowe’en night. Meg is proud of her Celtic heritage and often tells stories of Morgan Le Fay and Arthur; the suggestion is made that she might be a descendent of Morgan with some of the same kinds of power. Meg makes allusions to several other Arthurian characters and events, including those from Tennyson and the Mabinogion.

A-420 Chetwin, Grace. Out of the Dark World. New York: Lothrop, Lee and Shepard, 1985. A sequel to On All Hallows’ Eve, featuring Meg and Sue Wilson, living in twentieth-century New York. Meg has been told by her Welsh grandmother that she has the sight, and when the book opens she has begun having disturbing dreams. The main story, then, concerns her efforts to rescue the boy who appears in her dreams asking for help. He has been trapped in a futuristic computer program (the “Dark World” of the title), and Meg rescues him through meditation with the help of two “guides” who represent different aspects of Meg herself. Morgan is one of these guides; she represents impulse and imagination. There are also references to Merlin and his imprisonment (here represented as Morgan’s doing).

A-421 Chew, Ruth. The Hidden Cave. New York: Scholastic, 1973. Rptd: The Magic Cave. Illus. Ruth Chew. New York: Hastings House, 1979. Alice and Tom, two young children, hide in a cave in the park one day during a rainstorm. They observe an old oak hit by lightning; it splits open to reveal a very old man sleeping inside. The rest of the story concerns Merlin’s adventures in Brooklyn as he tries to remember his magic, and the adventures of the children when they inadvertently use some of that magic in their own backyard.

A-422 Chiari, Joseph. “Tristan.” White Temple by the Sea. Edinburgh and London: Moray Press, [1951]. 24–26. This poem imagines different moments in the story of Tristan and Iseult, connecting each of these moments to the sea. The moments of drinking the love potion and Tristan’s death while Iseult of Brittany looks on are major points of focus for the poem.

A-423 Child, Tim, and Dave Morris. Knightmare. London: Corgi, 1988. The first book in a series based on an “award-winning game series” by Anglia Television. The book contains a short adventure novel whose protagonist, Treguard, is helped by Merlin to defeat the evil being that has taken over Treguard’s family castle. At the end of the book, there is a choose-your-own adventure game; Merlin appears in one of these scenes. There are brief refer-

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ences to Arthurian as well as other legends in both novel and game. Other Knightmare titles are listed under Morris, Dave.

A-424 Childe, Wilfred Rowland. “The Exile of King Ban.” In An Anthology of Contemporary Northern Poetry. Ed. Howard Sergeant. Intro. Thomas Moult. London: George G. Harrap, 1947. 44–45. In this poem of seven quatrains, King Ban expresses a desire to give up his crown and enter Ablamor (here described as an old, fairy, angel city).

A-425 Childe, Wilfred Rowland. “The Golden Thurible.” The Golden Thurible: Poems. London: Cecil Palmer, 1931. 66. A poem of twenty-two lines in blank verse, which describes the Golden Thurible of Monsalvat, which is swung eternally by Seraphs “in the high house of the Graal.”

A-426 Childe, Wilfred Rowland. “The Graal Chalice.” The Golden Thurible: Poems. London: Cecil Palmer, 1931. 16. A poem in twenty-one lines of blank verse, describing the speaker’s vision of the Grail, “the heart of the mystery of Avalon,” while walking through a green forest.

A-427 Childe, Wilfred Rowland. “Graalshausen.” The Happy Garden. London: Sheed and Ward, [1927]. 16. A sonnet, which reflects upon how the speaker used to wander through the woods behind Graalshausen and imagine himself to be the Fisher King.

A-428 Childe, Wilfred Rowland. “In the Holy City.” Blue Distance. London: Swan Press, 1930. (*) A poem, including an allusion to Avalon. (Information from A. Smith.)

A-429 Childe, Wilfred Rowland. “The Mystery of the Holy Grail.” Blue Distance. London: Swan Press, 1930. (*) A poem of a knight at a forest chapel. (Information from A. Smith.)

A-430 Childe, Wilfred Rowland. “The Orchard Shrine.” The Happy Garden. London: Sheed and Ward, [1927]. 25. A sonnet, in which the speaker describes an orchard near the ruins of a Templar chapel; although the Templars are gone, the trees stand like “knights of old” guarding “some sweet Sangraal.”

A-431 Chisman, Isabel, and Gladys Wiles. “The Wife of Bath’s Tale.” In Mime for Schools. London, Edinburgh, and Paris: Thomas Nelson and Sons, 1938. 79–86. A textbook for school acting classes that includes among its set pieces a short dramatization of Chaucer’s The Wife of Bath’s Tale, set in King Arthur’s court. This version differs from Chaucer’s story in that the knight, when presented by the Old Hag with the choice between a “plain and faithful” or a “young, beautiful, but untrustworthy” wife, chooses the “plain and faithful” option. (Thus the Wife of Bath’s point about the need to surrender “maistrie” into a woman’s hands is lost altogether.)

A-432 Chopra, Deepak. The Return of Merlin: A Novel. New York: Harmony Books / Crown Publishers, 1995. The author of a series of books on psychology and the spiritual “quest,” Chopra presents in the form of a fantasy novel some of his teachings (a combination of Jungian psychology with “Druidic” spiritualism), in order to help the reader to “seek the Merlin within.” The story opens with Mordred, son of Morgan le Fay and trained by her in black magic, sacking Camelot; because

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of the magic which he uses, any violent form of resistance to Mordred and his army turns back on the defender, so Arthur attempts (but does not perfectly succeed) in achieving a passive, non-resistant response to Mordred’s aggression. Mordred finds Arthur in the Great Hall and, when Arthur begins to reach for his sword, Mordred hurls him through a tear in time. The central portion of the story thus tells of how Merlin finds Arthur in the twentieth century, working as a policeman, and gathers together the various other Arthurian figures; the moment of Mordred’s triumph over Camelot is re-encountered in a kind of parallel world where Mordred is defeated for all time. This has also been issued on audio cassette (2 cassettes; approx. 3 hours), read by Simon Jones (the Introduction is read by the author) (New York: Random House Audiobooks, 1995; ISBN 0679443037; catalogue no. RH-409.)

A-433 Christian, Catherine. The Sword and the Flame: Variations on a Theme of Sir Thomas Malory. London: Macmillan, 1978. Rptd: The Pendragon: Variations on a Theme of Sir Thomas Malory. New York: Alfred A. Knopf, 1979. The dust-jacket gives the subtitle “Camelot Revisited.” The book is primarily a historical reconstruction of Malory’s tales, narrated by Bedivere.

A-434 Christie, Agatha. The Mirror Crack’d from Side to Side. London: Collins, 1962. As the title suggests, this mystery includes allusions to “The Lady of Shalott.” One of the main characters, Marina, is described as resembling The Lady: just before the first murder, Marina looks like the Lady might have when she realized the curse was upon her; at the end of the book, Marina is compared to the Lady when she arrives in Camelot. In this latter comparison, Miss Marple thinks of Marina’s husband as a “Lancelot of a later day.” The allusions are thus reiterated throughout the book and provide clues to the solution of the mystery. (See also the entry for The Mirror Crack’d from Side to Side in the “Film, Television, and Radio” section.)

A-435 Christopher, Joe R. “Five Songs of Bragdon Wood.” In The Once and Future Arthur. Niekas Science Fiction and Fantasy 38. Ed. Edmund R. Meskys. Center Harbor, NH: Niekas Publications, 1989. 30–31. A series of five short poems of varying types (ballad, villanelle, etc.), built around the idea of Merlin trapped in Bragdon Wood.

A-436 Christopher, Joe R. “The Spoils of Annwfn.” In The Once and Future Arthur. Niekas Science Fiction and Fantasy 38. Ed. Edmund R. Meskys. Center Harbor, NH: Niekas Publications, 1989. 47. A poem of seven stanzas. In each stanza one of the seven warriors who returns from Caer Siddi speaks.

A-437 Christopher, John [pseud.], [i.e., Christopher Samuel Youd]. The Sword of the Spirits. London: Hamish Hamilton, 1972. Rptd: New York: Macmillan, 1976. The main character of this novel is Luke, who has become King of Winchester. The novel is set many years after some sort of catastrophe has set civilization back to pre-technological times. The priests of the Spirits actually have remnants of that technology and work secretly to bring about the reintroduction of science. Luke is a part of those plans. While he emerges in the first half of the novel as a youthful but thoughtful ruler, his character becomes vengeful after his betrothed (Blodwen) and his best friend fall in love. A play about Tristan, Iseult, and Mark, played before the king and his court, makes him realize the situation; the steps that he takes to correct it alienate him from his friends and his city. He ends up in the Wilsh [sic] court of Blodwen’s father, acknowledged as heir; that realm reinstates technology, but since some of it consists of weapons turned against Winchester, the novel ends on a grim note.

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A-438 Chubb, Thomas Caldecott. “In Ye Olde Days.” In The Yale Record Book of Verse 1872–1922. Ed. Francis W. Bronson, Thomas Caldecot Chubb, and Cyril Hume. New Haven: Yale University Press, for the Yale Record, 1922. 96. In this poem, Lancelot, Guinevere, and Mordred are transposed to the world of Princeton and Yale.

A-439 Chubb, Thomas Caldecott. “Merlin.” The White God and Other Poems. New Haven: Yale University Press, 1920. 29–30. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 258–59. A poem of four stanzas. Merlin walks by the sea and reflects on his attempt to elevate humankind to a state closer to the divine; only he has achieved this, however, so he must walk alone. This sense of isolation has driven him from Arthur and Camelot.

A-440 Church, Alfred J[ohn], and Ruth Putnam. The Count of the Saxon Shore; or, The Villa in Vectis: A Tale of the Departure of the Romans from Britain. London: Seeley and Co.; New York: G. P. Putnam’s Sons, 1887. A historical novel set around 410 CE. It follows a number of important Roman and British leaders, such as Constantine who takes the Roman troops from Britain in his own bid to rule the empire, and the Count of the title, Aelius. However, the person who emerges as the main character is Carna, the Count’s foster-daughter, a Briton and devout Christian. Her attempt to convert a captured Saxon, Cedric, is crucial to several events, as their relationship affects more than one confrontation between Saxons and Britons. The very last chapter takes place many years after the bulk of the novel, just after Arthur has defeated the Saxons at Badon. Cedric, one of the Saxon wounded, is brought to Arthur, asks after Carna, and is reunited with her and baptised before his death. The novel, therefore, has little Arthurian content, but does establish the civil and international tensions of the time leading up to Arthur.

A-441 Chwast, Seymour. Mr Merlin and the Turtle. New York: Greenwillow Books, 1996. The premise of this children’s picture-book is that Mr Merlin “the magician” uses magic to change his pet turtle into various creatures. With each change, the child reader can unfold the page to reveal the new creature.

A-442 Ciardi, John. “Launcelot in Hell.” Poetry 97 (1960–1961): 237–39. Rptd: The Collected Poems of John Ciardi. Ed. Edward M. Cifelli. Fayetteville: University of Arkansas Press, 1997. 260–62. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 296–98. The tone is angry throughout as Launcelot gives his account of the end of Arthur’s reign in this poem of twelve six-line stanzas; first line: “That noon we banged like tubs in a blast from Hell’s mouth.” Launcelot objects to what clerks have written: it is he who fought Arthur, killing him and throwing the sword into a swamp, but by the time that he found Guenevere again, she had become a nun, full of repentance.

A-443 Clare, Helen [pseud.], [i.e., Pauline Hunter Blair]. Merlin’s Magic. London: John Lane / The Bodley Head, 1953. A novel for children, telling of how Merlin engages several children in a treasure hunt. Many Arthurian characters appear.

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A-444 Clare, Tom. King Arthur and the Riders of Rheged: The Story of Gwyr y Gogledd, the Men of the North. Kendal: Rheged Books, 1992. (*) A novel, offering a historical reconstruction of the time of Arthur.

A-445 Clark, Douglas W. “The Knight Who Wasn’t There.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 194–211. Dinadan reveals that Mordred was an imaginary knight, a person created by Dinadan as a joke, to make the other knights feel better after their failures on the Grail quest. He has to leave the court before he can make the joke known, however, and finds out later that Mordred is being used by Agravain as an excuse and rallying-point in various schemes. Dinadan’s explanation accounts for the various contradictions in stories about Mordred; Clark seems to be drawing on Malory for many of these. (The story is original to this anthology.)

A-446 Clark, Janet Macdonald. Legends of King Arthur and his Knights, Re-Told for Children. Illus. W. H. Margetson. London: Ernest Nister; New York: E. P. Dutton and Co., [1914]. A retelling of Malory for children, with most of the central Books of Tristan and of Lancelot left out. The book is illustrated with six full-page colour, twelve full-page B&W, and fifty-seven partial-page B&W illustrations.

A-447 Clarke, Gillian. “The Lighthouse.” The King of Britain’s Daughter. Manchester: Carcanet Press, 1993. 48. A nineteen-line poem in free verse, describing a lighthouse and meditating upon light and lenses. A child capturing the sun with a magnifying glass is compared to the power of Excalibur.

A-448 Clarke, Gillian. “Olwen Takes her First Steps on the Word Processor in Time of War.” The King of Britain’s Daughter. Manchester: Carcanet Press, 1993. 44. A sonnet, translating the characterization of Olwen (from the Mabinogion) as a girl who leaves white flowers wherever she steps, to one who scatters white words like stars across the “sky” of a black computer screen.

A-449 Clarke, Graham. Balyn and Balan. Boughton Monchelsea, Kent: Ebenezer Press, 1970. (*) A novel, based on Malory.

A-450 Clay, Beatrice. Stories from “Le Morte Darthur” and the “Mabinogion.” Illus. C[ecil] E[ldred] Hughes. Temple Classics for Young People. London: J. M. Dent and Sons; New York: Macmillan, 1901. (*) Rptd: Expanded edition: London: J. M. Dent and Sons, 1920. [The 1920 edition was frequently reprinted down to the 1950s.] A retelling of Malory and the Arthurian tales from the Mabinogion. (Information from OCLC WorldCat entries.)

A-451 Clay, Beatrice. Stories of King Arthur. Illus. Dora Curtis. London: J. M. Dent and Sons, 1905. Rptd: Stories from King Arthur and his Round Table. Illus. Dora Curtis. Tales for Children from Many Lands. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1913. – And frequently reprinted. – Four of the illustrations are reproduced (B&W) in An Arthurian Reader: Selections

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from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: Aquarian Press, 1988. 17, 126, 209, and 287. This is a retelling and abridgement of Malory, which also includes the story of Geraint and Enid. Curtis provided eight full-page colour illustrations, and each chapter title is presented within a half-page B&W drawing.

Clemens, Samuel L.: see Twain, Mark. A-452 Cloriston, Henry. A Chapter from Malory. London: David Nutt, 1905. A narrative poem in twenty-two eight-line stanzas (the final two being an apology addressed to Malory), based on the story of the meeting of Launcelot and Guenevere after the death of Arthur (Malory, Book 21, Chap. 8), in order to show “the contrast between the ideal of mediaeval piety accepted by the Queen and the essentially modern view taken by Launcelot” (from the preface). Each stanza is accompanied in the margin by a quotation from Malory’s version of the story.

A-453 Closs, Hannah. Tristan. London: Andrew Dakers, 1940. This novel begins when Tristan’s father returns to Lyonesse with his new and pregnant bride, only to be killed in war against Lord Morgan shortly after. Tristan is raised not knowing his family’s identity; once told, however, he soon goes to Mark’s court. Closs covers many of the usual aspects of the story: the battle with Marhault, Iseult’s healing of Tristan, their love and its consequences. Mark is a sympathetic character in this treatment; Iseult of Ireland is a dignified queen (when she and Tristan part, they do not get back together again); Tristan himself is depicted as imaginative, living in a world of dreams and somewhat disconnected from the realities of the world, which perhaps explains both his battle prowess and his abilities as a poet. Iseult of Brittany is also quite sympathetic in her growing attachment to Tristan, even though she recognizes from the first that it is a dangerous and hopeless relationship. Iseult’s reading includes stories of Arthurian heroes like Lancelot and Gawain; she compares herself to Elaine of Astolat at one point.

A-454 Clynes, Michael. The Grail Murders, Being the Third Journal of Sir Roger Shallot Concerning Certain Wicked Conspiracies and Horrible Murders Perpetrated in the Reign of King Henry VIII. London: Headline Book Publishing; New York: Otto Penzler, 1993. A historical mystery novel narrated by Roger Shallot. He recalls his adventures with Benjamin Daunby when they were commissioned by Henry VIII and Cardinal Wolsey to investigate rumours that remnants of the Templar order had found Excalibur and the Grail. There are therefore several allusions to the Arthurian legend, particularly of the discovery at Glastonbury Abbey of the remains of Arthur and Guenevere, and of the founding of Glastonbury by Joseph of Arimathea.

A-455 Cochran, Molly, and Warren Murphy. The Broken Sword. New York: TOR Books, 1997. This novel is the sequel to The Forever King, and continues the story of a young boy who has discovered that he is King Arthur reborn. His friend, Hal, an ex-FBI agent, is actually Galahad reborn, and the two travel with Taliesin. In this novel, they join forces with a blind girl who has been miraculously cured by the Grail. They must remain alive and keep the Grail out of the hands of an evil man, who was Mordred in a previous life. When Hal is separated from the rest, he journeys to England, rides with the Wild Hunt, and finds that he has brought the knights of the Round Table into modern times.

A-456 Cochran, Molly, and Warren Murphy. The Forever King. New York: TOR Books, 1992. This fantasy novel plays with the idea of Arthur’s return. Arthur, in this case, is just a young boy. Over the course of the novel, he discovers his identity as King Arthur reborn. He is helped by a Mr Taliesin (Taliesin and Merlin are treated as one figure) and protected by Hal, an ex-FBI agent who

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is actually Galahad reborn. Most of the story takes place in the present, but there are some flashbacks to the past in order to explain the history of the Grail and of Camelot. In these sections, Nimue, and Lancelot, among other knights, are important characters. The villain here is Saladin, who has had encounters with Merlin before in struggles over the Grail.

A-457 Coe, Peter. “The Wizard of Alderley Edge.” In The Oxford Book of English Traditional Verse. Ed. Frederick Woods. Oxford: Oxford University Press, 1983. 348–49. In the late 1960s, Pete Coe turned a Cheshire folktale into a popular ballad, the words to which are anthologized here. (See also the entry for “Coe, Peter, and Chris Coe” in the Music section for their recording of the ballad.) It tells of a farmer who, on his way to sell a horse, meets a wizard. He refuses to sell the horse at first, but when he has no luck in making a sale during the rest of the day, he returns and follows the wizard into Sleepers’ Hill beneath Alderley Edge. There is a cave with the sleeping Arthur and his men; the farmer is allowed to take gold and silver in payment for the horse. First line: “From Mobberley on a bright morning, on a snow-white pure-bred mare.”

A-458 Coffin, Robert P. Tristram. “The Ballad of San Graal.” Poet-Lore 33 (Autumn 1922): 464–68. (*) A-459 Cogswell, Fred. “Avalon.” The Fiddlehead no. 68 (Spring 1966): 68. In this three-stanza poem, the speaker compares four women that he knows to queens of Avalon. He laments that Avalon is not accessible anymore, that there is no magic, and that he is no Arthur.

A-460 Cohen, Matt. Too Bad Galahad. Illus. Margaret Hathaway. Toronto: Coach House Press, 1972. This book consists of a series of stories about Galahad’s Grail quests, from various perspectives (in some cases, Galahad is a twentieth-century English schoolteacher), but all burlesque.

A-461 Colander, Valerie Nieman. “The Naming of the Lost.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 4–10. Rptd: Modern Arthurian Literature: An Anthology of English and American Arthuriana from the Renaissance to the Present. Ed. Alan Lupack. New York: Garland Publishing, 1992. 476–82. This narrative poem begins with a nameless woman wandering in the Appalachians. She finds an old chair on a farmer’s porch to rest and meets a farmer, Merle, who later declares that he is Merlin and she Nimue. While most of the poem is about their reconciliation and thus takes place in the present day, there are memories of her entrapment of him in a cave, as well as references to Arthur and Avalon.

A-462 Coleridge, Samuel Taylor. “The Pang More Sharp than All: An Allegory.” The Complete Poetical Works of Samuel Taylor Coleridge, Including Poems and Versions of Poems now Published for the First Time, Edited with Textual and Bibliographical Notes. Ed. Ernest Hartley Coleridge. 2 vols. Oxford: Clarendon Press, 1912. 457–59. This poem is divided into five sections, and the speaker reflects on the loss of his young son. In Part 4 (39–41), Coleridge alludes to the Faerie Queene (3.2.19); the speaker believes that he carries an image of the child within him, as though in a crystal orb made by Merlin. While this crystal may contain reflections of desired things, the speaker concludes that they are still distant, still unattainable, hence the “pang” of the title.

A-463 Coles, Gladys Mary. “The Glass Island (Ynyswitrin or Glastonbury).” Ore 43 ([1992?]): 12–13. A thirty-eight-line poem (in a variety of stanza forms and portions in free verse) celebrating

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Glastonbury; it includes references to the Grail, and to the bodies of Arthur and Guinevere, among the things that draw “pilgrims” to Glastonbury.

A-464 Collings, Michael R. Epyllion in Anamnesis: Remembery: Taliesin: Two Cycles of Poems. Thousand Oaks, CA: Zarahelma Motets / White Crow Press, 1996. This book contains two cycles of poems. The first, Remembery, does not contain Arthurian allusions. The second, Taliesin, has a number of them. The poems are “modified sonnets” according to the author; most of them have fourteen lines divided into three, four or five stanzas. While many of the descriptions could apply to the Arthur of legend, certain ones (such as the bullets that kill Arthur) have twentieth-century connotations; in the author’s afterword, Collings says that he is deliberately connecting the Arthurian mythos with the history of “Joseph Smith and the founding of the Church of Jesus Christ of Latter Day Saints” (86); the poems generally work without knowledge of this context, however. The title of the book suggests, the author points out, a “recalling to memory”; he also describes Taliesin as a “small, public epic” (86). The titles of the poems are “Dedication: Taliesin to Brother Prayer,” “Taliesin to his Harp,” “Taliesin to Light,” “The Solstice Born,” “Taliesin Recounts the Wound to Arthur’s Leg,” “Arthur and the Head of Bran,” “The Grail,” “Arthur and Guenevere,” “Taliesin Considers Excalibur,” “Arthur and the Serpents,” “Taliesin and Arthur’s Majesty: At the Founding of the City,” “Taliesin and the Questions,” “Taliesin Witnesses the Commission to the Table,” “Arthur and the Mountains,” “Taliesin Reacts to Arthur’s Revelation,” “Arthur’s Great Hall,” “Taliesin and the Lamb,” “Taliesin Bemoans His Loss of Words,” “Taliesin at the Grave of Arthur,” “Taliesin Overlooks the Ruins of Camelot,” and “Envoi: Taliesin’s Testament.”

A-465 Collins, Charles. “Origin of ‘Yellow’.” Chicago Tribune 8 Dec. 1943. (*) A brief story in the Tribune’s “A Line o’ Type or Two” column. Northup and Parry indicate that it concerns Mordred.

A-466 Collins, [Edward James] Mortimer. The British Birds: A Communication from the Ghost of Aristophanes. London: Publishing Co., 1872. Rptd: The Arthurian lyric is excerpted and reprinted as “King Arthur Growing Very Tired Indeed.” In The Faber Book of Comic Verse. Ed. Michael Roberts. London: Faber and Faber, 1942. 231. – “Salad – After Tennyson.” In A Century of Humorous Verse, 1850–1950. Ed. Roger Lancelyn Green. Everyman’s Library 813. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1959. 44. This is a long dramatic poem in the manner of a Greek comedy, offering something of a satirical view of the current state of British poetry. In one scene, three poets (“Beard,” “Brow,” and “Hair”) compete to become the Poet Laureate of London, offering compositions on a theme of salad. The contribution by Hair (pp. 44–45; being 21 lines of blank verse, parodying Tennyson; first line: “King Arthur growing very tired indeed”) supposes Arthur and other characters to have survived into the modern world; Arthur is “very tired indeed / Of wild Tintagel,” so Merlin recommends the salad at the Cheshire Cheese, and there Arthur has been dining on a plate of greens every evening from that day to this. Launcelot, however, prefers The Cock for its port and its tender steaks.

A-467 Collins, [Edward James] Mortimer. “King Arthur.” Summer Songs. London: Saunders, Otley and Co., 1860. 63–65. A description of Arthur in a poem of six eight-line stanzas, representing him as Tory gentleman.

A-468 Collins, [Edward James] Mortimer. A Letter to the Right Hon. Benjamin Disraeli, M.P. London: n.p., 1869. Rptd: In Selections from the Poetical Works of Mortimer Collins. Ed. F. Percy Cotton. London: Richard Bentley and Son, 1886. 203–16.

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In this long poem, Collins reviews the statesmen and poets of the nineteenth century; no statesman is the equal of Disraeli, and since the death of Byron “the muses have been dumb” (p. 207 of Selections). Collins then describes the works of a variety of poets, and eventually comes to Tennyson, “Miss Alfred,” who is a “perfect poet, sir, for little girls,” but lacks “the passion a great poet knows” (209). In particular, Lord Tennyson is castigated for his Idylls: “Why did he make King Arthur’s story odious? . . . / Why send the old figures to a modern school, / Turn Vivian harlot, Merlin sensual fool?” (208–209).

A-469 Collins, [Edward James] Mortimer. “Merlin.” The Inn of Strange Meetings and Other Poems. London: Henry S. King and Co., 1871. 177–78. Rptd: Selections from the Poetical Works of Mortimer Collins. Ed. F. Percy Cotton. London: Richard Bentley and Son, 1886. 83–4. A poem of five quatrains describing the peacefulness of Merlin’s enchanted sleep in the forest of Broceliande, which concludes: “O happy happy Merlin, / Afar in the forest deep! / To thee alone of the sons of men / Gave a woman the gift of sleep.”

A-470 Collins, [Edward James] Mortimer. “A Poet’s Philosophy.” The Inn of Strange Meetings and Other Poems. London: Henry S. King and Co., 1871. 36–51. Rptd: Selections from the Poetical Works of Mortimer Collins. Ed. F. Percy Cotton. London: Richard Bentley and Son, 1886. 24–36. A poem in 32 six-line stanzas, on the magic of poetry. Stanza XIX (p. 45) is on the poet’s response to the beauty of Dawn, which is enough to make Merlin awake in his grave in Broceliande.

A-471 Collins, Joan. King Arthur and the Knights of the Round Table. Illus. Malcolm Stokes. Legends Series 741–6. Loughborough, Leicestershire: Ladybird Books, 1986. An original rewriting of the legend for children (aimed approximately at ages 8 to 12). The protagonist is Bran, a falconer’s son, who rescues Lancelot’s falcon and is taken on at the castle as a result. Through him, we witness the Round Table fellowship, Lancelot’s capture by Morgan, and his subsequent battle with Turquine (here called the Black Knight). Allusions to the sword in the stone and Excalibur stories also appear.

A-472 Collins, W[illiam] J[ohn] Townsend. “The Quest of Tarianfrych, the Knight of the Mottled Shield.” Tales from the New Mabinogion. Illus. Fred Richards. London: A. and C. Black, 1923. 8–26. The book is a collection of four modern “chivalric” romances, the first of which, “The Quest of Tarianfrych,” is set in Arthur’s Britain. Tarianfrych is a knight who seeks “greatness by the way of service” (13); he goes about doing menial tasks, and the knights of Arthur’s court declare that he is mad or else doing some sort of penance. Along the way, he meets Gawain, and there is a reference to the King as being at Camelot (13); in another episode, he aids Owain, who has been wounded (16). In the end, his virtue is rewarded and he marries the Lady of the Shining Castle, who replaces his mottled shield with a white one. The initial opening is decorated with foliage and a wood-engraved illustration of a knight riding in a forest, by Fred Richards (8–9).

A-473 Colum, Padraic. The Boy Apprenticed to an Enchanter. Illus. Dugald Stuart Walker. New York: Macmillan, 1920. Rptd: Illus. Edward Leight. Gloucester, MA: Peter Smith, 1990. A children’s novel about a magician’s apprentice who needs Merlin’s help. A bit of Merlin’s history (such as the story of his relationship with Vivien) is included.

A-474 Colum, Padraic. The Island of the Mighty, Being the Hero Stories of Celtic Britain Retold from the Mabinogion. Illus. Wilfred Jones. New York: Macmillan Co., 1924. Nine tales from Guest’s Mabinogion rearranged and retitled in order to make them more

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appealing (especially by foregrounding King Arthur and his knights). Colum uses Guest’s language except that he “simplifies” forms of names (though whether “Puil” is really a great improvement over “Pwyll” accompanied by an explanation for pronunciation is debatable), and reduces the number of names (by reducing lists of heroes to only those who actually play a role in the story). More significantly, and by way of foregrounding the Arthurian stories, the tale of “The Hunting of the Boar” (i.e., “How Culhwch won Olwen”) is turned into a frame story within which four of the other tales (“The Story of Puil, Prince of Dyved,” “The Story of Branwen,” “The Story of Lud and Levellis,” and “The Dream of Maxen the Emperor”) are told as interludes by characters within the story. The second part of the book includes four tales under the heading of “The Companions of Arthur” (“The Knight Owen and the Lady of the Fountain,” “Peredur and the Castle of Wonders,” “The Story of Geraint and the Maiden Enid,” and “The Dream of Ronabbway”). There are twenty-two full-page pen-and-ink drawings by Jones, three of which are coloured.

A-475 Colwell, Elizabeth Parsival. Songs of Tristram and Yseult: Quatrains. Chicago: [Privately printed], 1907. (*) A-476 Coney, Michael Greatrex. Fang, the Gnome. Illus. Tim Hildebrandt. New York: New American Library, 1988. This fantasy novel mainly concerns gnomes who live in a parallel world to ours. However, in the human world, two superhuman beings, Avalona and Merlin, and a human girl, Nimue, begin to tell stories that create the Arthurian legend. The stories take on a reality of their own, as they inspire heroism and chivalry.

A-477 Coney, Michael Greatrex. “The Hand of Fair Lysette.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 219–33. This story explains what happens between the time Balin strikes the Dolorous Stroke and his last battle. In seeking to win the hand of Lysette, the maiden he had taken from Garlot, Balin accumulates more and more spoils of battle, only to realize his unworthiness.

A-478 Coney, Michael Greatrex. King of the Scepter’d Isle. New York: New American Library, 1989. This sequel to Fang the Gnome takes place in the same world. Nimue and Merlin travel about telling stories of Arthur, but when Avalona merges universes so that an Arthur appears, reality turns out rather differently. The gnomes find themselves endangered because they now share a universe with humans. Many of the usual events of the legend take place, with grand romantic overtones in Nimue’s stories and with comic results in the “real” world of the novel. The end of the novel is set thousands of years in the future when Arthur (and Fang) must return to save humanity and a celestial being.

A-479 Constantine, David. “Yseut.” Madder. Newcastle upon Tyne: Bloodaxe Books, 1987. 16. Other than in the title, no names are mentioned, but the King who has sent his queen to the lepers regrets his action and wants her back.

A-480 Constantine, Pamela. “Conjuration.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 1. Merlin appears in a dream to the speaker of this poem, granting understanding of the “global dream.”

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A-481 Constantine, Pamela. “The Land is Empty Now.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 48. In this two-stanza poem, the speaker imagines Arthur’s knights returning to change an empty and mundane world into Camelot again.

A-482 Converse, Florence. “Merlin met Morgan le Fay.” Atlantic Monthly 130.3 (Sept. 1922): 376–77. This poem has an epigraph from Malory that mentions Merlin’s taking the baby Arthur away and Morgan’s being sent to a nunnery. The main poem, which consists of fourteen quatrains, imagines an encounter between Merlin, carrying the baby, and Morgan. Morgan declares her intention to be a witch and her determination to “plague the King of Britain” if she chooses. Merlin dismisses her ability to do lasting harm (and his own ability to change the course of events). Morgan in this portrayal is a rather petulant child, happy to inflict pain.

A-483 Conway, John William. Lancelot and Guinevere: A Drama in Five Acts. Norton, KS: Champion Press, 1907. This drama was written in 1903; the printed version was shortened for the stage. It dramatizes the relationship of Lancelot and Guinevere and the end of Arthur’s reign.

A-484 Cook, Paul. Tintagel. New York: Berkeley Publishing Group, 1981. The premise of this science-fiction novel is that a bacterial disease has been developed to infect people listening to music, causing them to vanish into self-created and often deadly worlds. The protagonist is a Stalker, one who is relatively immune to the disease, who finds people who have vanished. He discovers a plot to use the disease to gain world domination. His solution is to create an alternate world – a world like ours before it was contaminated by disease, pollution, and so on. The piece of music that he uses as his inspiration, and that others use as the vehicle to enter that world, is an Arthurian symphonic piece by Arnold Bax called “Tintagel.” (See also “Bax, Arnold” in the Music section.) Aside from one brief mention of the Lady of the Lake, there are no other Arthurian allusions.

A-485 Cooke, Rose Terry. “The New Sangreal.” Poems. New York: William S. Gottsberger, 1888. 268–71. The first section of the poem is spoken by a young man who wishes to be given a holy mission. He asks for a quest and refers to the knights who in the past have had such quests. The rest of the poem summarizes his life; he leaves the mountain where he has prayed, he ends up answering the call when the country goes to war, and he eventually is mortally wounded in battle. At that point the Grail is referred to again, as Christ appears to bless him. The reference to the knights in the first description of the quest is the only thing that connects this Grail to the Arthurian legend.

A-486 Cooney, Ellen. “Guenevere Grown Old.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 55. This thirteen-line poem uses the same end-rhyme for every line. The speaker meets an old woman who carries “flowering whitethorn”; the woman’s explanation of her task suggests that she is Guenevere, as there are allusions to her affair with Lancelot (though neither husband or lover is named) and to her retreat to a nunnery.

A-487 Cooney, Ellen. The Quest for the Holy Grail. San Francisco: Duir Press, 1981. A collection of seventy-seven short poems (all approximately the same length). There are two voices, one male and one female, that speak different poems. The central symbols of the work are a dish, a cup, a sword and a lance; this symbolism is influenced by the Tarot. Some of the imagery

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used suggests Arthurian connections: a wounded king, a Grail quest, the “King Fisher,” a magic boat with a special sword waiting for the quester, and “a weak old man surnamed the dragon.” Arthurian names used include Guenevere, the Loathly Lady, Excalibur and the Questing Beast.

A-488 Cooper, Susan. The Dark is Rising. The Dark is Rising 2. New York: Atheneum Publishers, 1973. The second novel of “The Dark is Rising” sequence. It begins with Will Stanton’s eleventh birthday at midwinter, when he realizes that he is a High Magician who must recover Britain’s ancient treasures. Merriman (Merlin) has a major role.

A-489 Cooper, Susan. Greenwitch. The Dark is Rising 3. New York: Atheneum Publishers, 1974. The third novel of “The Dark is Rising.” This novel features Simon, Jane, and Barney again; after the grail they found in the first book has been stolen from the museum, they must help Will Stanton and Merriman (Uncle Merry or Merlin) against the Dark.

A-490 Cooper, Susan. The Grey King. The Dark is Rising 4. New York: Atheneum Publishers, 1975. The fourth novel of “The Dark is Rising.” Will Stanton, last of the Old Ones, is recuperating in Wales after a bout of hepatitis, and achieves two quests: with the help of Bran, an albino Welsh boy, and Bran’s dog, Cafall, Will wins the harp of gold from three lords of the high magic (one Lord of the Dark, one of the Light (Merriman), and a third, later identified as the Pendragon). With the harp of gold, Will overcomes the resistance of the Grey King and awakens the three sleepers of Cader Idris, who will aid the Light in its final encounter with the rising Dark. Bran has been raised by Owen Davies though he is not Bran’s father: some years earlier a woman named Gwen had appeared in the valley with a baby, then disappeared three days later leaving Bran with Davies. Will learns that Bran was brought to the twentieth century from an earlier time, and that he is son and heir to the Pendragon (the fact that the Pendragon also had a dog named Cafall is mentioned).

A-491 Cooper, Susan. Over Sea, Over Stone. The Dark is Rising 1. New York: Harcourt, Brace and World, 1965. The first novel in “The Dark is Rising.” Three children (Simon, Jane, and Barney) find an ancient map which leads them to a grail (not the Holy Grail) which was made after the time of King Arthur, and purports to tell the true story of Arthur’s days.

A-492 Cooper, Susan. Silver on the Tree. The Dark is Rising 5. New York: Atheneum Publishers, 1977. The fifth and final novel in “The Dark is Rising.” In the last book, all the principals of the early books come together (though Merriman is missing for most of the early part of the book, and his absence is frequently noted by the other characters): the three Drew children, Will Stanton, and Bran Davies are on a quest to secure Pendragon’s sword which will defeat the Dark for all time. In the central portion of the book, Will and Bran enter “The Lost Land,” where one Gwion is their helper and guide: it is gradually revealed that Gwion is a friend of the Light and of Merriman (whom he also calls “Merlion,” p. 164) and that he is also known as “Taliesin.” Will, Bran, and the three Drew children are united in the area of Snowdon in Wales, for the ultimate conflict with the rising Dark. Bran is the son of Arthur and Guinevere (and so “the Pendragon”), delivered by Guinevere and Merriman Lyon (Merlin) to the twentieth century when he was a baby, to be raised by a Welsh farmer (as recounted in The Grey King). Early in the novel Arthur himself appears: Will is caught back in time, and finds himself with Arthur and Merriman / Merlin on the eve of the battle of Mons Badonicus / Mount Badon. Arthur informs Will that there are two great risings of the Dark, in Arthur’s time and in Will’s, and Arthur’s success in his time will, in part, depend upon Will’s success in his time. “Pendragon’s sword” is to be the key to Will’s success. Arthur,

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then, is in a parallel time, battling the Dark at Mount Badon, while “The Six” are engaged with the Dark in its second and last rising. Arthur himself appears three times in the book. He appears in the scene just described, in which Will gives to Arthur the circle of six signs of the Light. Preparatory to the climax of the novel, as The Six journey through time to the Tree where the ultimate encounter is to take place, they hear battle sounds and see in the mist Arthur, who speaks to them and recounts that Badon has gone well; he returns the circle of six signs to Will. At the end of the book, after the Lords of the Dark are defeated and cast out of Time, Arthur arrives in the ship Pridwen sailing in the air, and the Circle of the Lords of the Light voluntarily withdraw with him from the world, sailing to the land of apples behind the North Wind. As Merriman explains, now that the Dark is defeated, the Light has fulfilled its purpose; further, now that humankind has gained the power to destroy the world, humankind must be left on its own to try to save the world.

A-493 Cope, Wendy. “Queen Guinevere. . . .” In Other People’s Clerihews. Ed. Gavin Ewart. Illus. Nicola Jennings. Oxford: Oxford University Press, 1983. 40. This untitled four-line clerihew humorously portrays the queen as a frustrated career woman.

A-494 Corbett, Scott. Dr. Merlin’s Magic Shop. Illus. Joe Mathieu Boston, MA, and Toronto: Little, Brown and Co., 1973. A young boy named Nick goes into a magic shop and meets Mr Merlin and his dog Arthur. Mr Merlin has plans for a rather nasty magic trick, and Nick has to use his own magic trick to get away.

A-495 Corbluth, Elsa. “Tirra-lirra.” New Poetry 2 (1976): 69. This poem of eight quatrains rewrites the ending of “The Lady of Shalott” by Tennyson so that the Lady unexpectedly finds herself beyond Camelot and not dead. The first four stanzas examine and dismiss possible causes for her death, and finding no reasonable cause, assumes that she was “bored” and “sad, lonely, tired.”

A-496 Cornwell, Bernard. Crackdown. New York: Harper Collins, 1990. Crackdown is a thriller about a British ex-marine who, sailing in the Bahamas, gets caught up in the war on drugs. There are a couple of direct Arthurian allusions. He compares himself to Sir Galahad and also comments on political illusion-making using Kennedy’s “Camelot” as an example: “The art of politics, like the art of the theatre, is to create a perfect illusion. It had taken a politician to make a simulacrum of Camelot in the twentieth century, and he had done it so perfectly that no one noticed that the Knights of the Round Table were being sent to be slaughtered in Viet Nam” (280). Furthermore, his last name, Breakspear, reinforces the metaphor of the knight jousting to prove the truth, a metaphor which he applies to himself when he faces danger.

A-497 Cornwell, Bernard. Enemy of God: A Novel of Arthur. Warlord Chronicles 2. London: Michael Joseph, 1996. A continuation of The Winter King, narrated, like the previous novel, by Derfel Cadarn; this is the tale of the uniting of the British kingdoms under Arthur in response to the threat from the Saxons. This has also been issued as an audiobook (4 cassettes; approx. 6 hours), read by Tim Pigott-Smith (Penguin Audiobooks); reissued (2001) with the audiobooks of the other two novels in the series under the title “The Warlord Trilogy.”

A-498 Cornwell, Bernard. Excalibur. Warlord Chronicles 3. London: Michael Joseph, 1997. This third novel in “The Warlord Chronicles,” once again narrated by Derfel, begins after Guinevere’s betrayal of Arthur (he sends her to be imprisoned at the shrine at Ynys Wydryn) and ends with Arthur’s last battle against Mordred, brought about by the schemes of petty kings. This has also been issued as an audiobook (4 cassettes; approx. 6 hours), read by Tim Pigott-Smith

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(Penguin Audiobooks); reissued (2001) with the audiobooks of the other two novels in the series under the title “The Warlord Trilogy.”

A-499 Cornwell, Bernard. Harlequin. Grail Quest 1. London: HarperCollins, 2000. Issued in the USA as The Archer’s Tale (in order to avoid confusion with Harlequin Romances). This series is a tale of the Hundred Years’ War in fourteenth-century England; the protagonist is one Thomas of Hookton, whose family is reputed once to have owned the Holy Grail, which, in this time of war, is now desired by all of Europe. This has also been issued as an audiobook (4 cassettes; approx. 6 hours), read by Tim Pigott-Smith (HarperCollins Audiobooks, 2000).

A-500 Cornwell, Bernard. Vagabond. Grail Quest 2. London: HarperCollins, 2002. A continuation of the “Grail Quest” series: see Harlequin entry. This has also been issued as an audiobook (4 cassettes; approx. 6 hours), read by Tim Pigott-Smith (HarperCollins Audiobooks, 2002).

A-501 Cornwell, Bernard. The Winter King. Warlord Chronicles 1. London: Michael Joseph, 1995. Rptd: New York: St Martin’s, 1996. Derfel Cadarn, once one of Arthur’s men, now a monk, narrates this story to Igraine long after the events. The first of a trilogy entitled “The Warlord Chronicles,” this novel tells of how Uther’s bastard son Arthur undertakes the guardianship and regency on behalf of Uther’s baby grandson Mordred, and of the wars between the British kings. This is a retelling of the Arthurian stories in terms of a realistic portrayal of sixth-century Britain; further, while the main episodes and principal characters of the traditional story appear (Arthur’s twelve battles against the invading Saxons, the Battle of Camlann against Mordred, etc.), the relationships and motivations are radically altered (not least in that Arthur is the Governor, acting as regent for the infant Mordred; the Battle of Camlann is Arthur’s rebellion against Mordred, who has turned out to be a tyrant; Morgan was once a witch but has converted to Christianity, and so forth). This has also been issued as an audiobook (4 cassettes; approx. 6 hours), read by Tim Pigott-Smith (Penguin Audiobooks); reissued (2001) with the audiobooks of the other two novels in the series under the title “The Warlord Trilogy.”

A-502 Cosier, Tony. “The Plow.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 14–15. The foundrymark on an abandoned plow is “Perceval,” and this reminds the speaker of the knight Perceval and the opera of his story.

A-503 Costello, Louisa Stuart. “A Dream.” 1815. Rptd: The Camelot Project Website. Ed. Alan Lupack. . In this poem of rhyming couplets, the speaker has a dream that shows the figure of Arthur, sleeping in some fairy realm. The speaker is told by a fairy guide various stories of Arthur’s passing, but wakes before learning the truth. (We have seen the item only as reprinted.)

A-504 Costikyan, Greg. “Our Hour of Need.” In Camelot. Ed. Jane Yolen. Illus. Winslow Pels. New York: Philomel Books, 1995. 181–95. This short story begins with five American children, on holiday in Hyannis Port, playing an Arthurian role-playing game. War is about to break out, and there are fears of nuclear attack. As they gather on the beach at midnight to pray for Arthur’s return as the last part of their game, an American “Arthur” appears. Kay and Arthur are mentioned in the role-playing game; T. H. White is mentioned as one of the inspirations for the game.

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A-505 Cottle, Joseph. The Fall of Cambria, in Twenty-Four Books. 2nd edn. 2 vols. London: Longman, Hurst, Rees, Orme, and Brown, 1811. This poem recounts the conflict between Edward I of England and Llewellyn, Prince of Wales. Part of Llewellyn’s education consists of stories of Arthur, and he wishes to emulate Arthur as a leader who drives back the invaders of his land. In parley with a representative of Edward’s, Llewellyn cites Arthur to legitimize his claim to Wales as an independent country. As Edward marches into Wales, a Cambrian prophetess warns him that Arthur will defeat him, though Edward protests that Arthur died and was buried at Glastonbury. References such as these appear throughout the poem.

A-506 Cotton, John. “The Quest.” Old Movies and Other Poems. London: Chatto and Windus / The Hogarth Press, 1971. 39–47. A series of poems with a prose introduction that discusses their origin in a reading of La Queste del Saint Graal. The dramatic monologues that follow the introduction reveal the characteristics of Lancelot, Bors, Gawain, Perceval, the Fisher King, and Galahad that have affected each of them in his quest for the Grail.

Courthope, William John: see Geoffrey Junior. A-507 Coutts, Francis Burdett Money [Money-Coutts, Francis Burdett; Coutts-Nevill, Francis Burdett Thomas, Baron Latymer; Latymer, Francis Burdett Thomas Coutts-Nevill, Baron]. “A Ballad of Cornwall.” The Yellow Book: An Illustrated Quarterly 11 (Oct. 1896): 45–47. Rptd: Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 7–8. Tristan weeps over Iseult, whom he thinks has been untrue. Iseult’s dog finds him there, and the lovers are thus reunited.

A-508 Coutts, Francis Burdett Money [Money-Coutts, Francis Burdett; Coutts-Nevill, Francis Burdett Thomas, Baron Latymer; Latymer, Francis Burdett Thomas Coutts-Nevill, Baron]. “The Death Song of Guenevere.” Egypt and Other Poems. London: John Lane / The Bodley Head; New York: John Lane; Toronto: Bell and Cockburn, 1912. 78–79. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 10. Guenevere’s song to Death, about her King who she feels does not love her.

A-509 Coutts, Francis Burdett Money [Money-Coutts, Francis Burdett; Coutts-Nevill, Francis Burdett Thomas, Baron Latymer; Latymer, Francis Burdett Thomas Coutts-Nevill, Baron]. “Ettard’s Troth.” Egypt and Other Poems. London: John Lane / The Bodley Head; New York: John Lane; Toronto: Bell and Cockburn, 1912. 78–79. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 8, 10. The story of Pelleas, Ettard, and Gawain told in a poem of three stanzas.

A-510 Coutts, Francis Burdett Money [Money-Coutts, Francis Burdett; Coutts-Nevill, Francis Burdett Thomas, Baron Latymer; Latymer, Francis Burdett Thomas CouttsNevill, Baron]. King Arthur: A Trilogy of Lyrical Dramas Founded on the “Morte d’Arthur” of Sir Thomas Malory. London: John Lane / The Bodley Head, 1897. “Two hundred copies privately printed for F. B. Money Coutts and his friends,” according to library catalogue information (OCLC WorldCat entry). This is the libretto for a trilogy of operas.

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See also “Albéniz, Isaac” in the Music section; Albéniz, a Spanish composer, is responsible for the music, though not all the operas were finished.

A-511 Coutts, Francis Burdett Money [Money-Coutts, Francis Burdett; Coutts-Nevill, Francis Burdett Thomas, Baron Latymer; Latymer, Francis Burdett Thomas CouttsNevill, Baron]. The Romance of King Arthur. London: John Lane / The Bodley Head; New York: John Lane Co., 1907. The “Romance” is a sequence of two dramas and two narrative poems, together covering the entire history of Arthur from his conception to the Battle of Camlann and subsequent death of Lancelot: “Uther Pendragon” (1–38), “Merlin” (39–88), “Launcelot du Lake” (89–186), and “The Death of Launcelot” (187–211). In a Preface, Baron Latymer declares that he has included only one significant innovation, making Mordred the legitimate son of Morgan (not Morgause), born some years before Arthur; Morgan’s malevolence towards Arthur is motivated here by a maternal desire to see her own son on the throne. Part 1, “Uther Pendragon”: a narrative poem in blank verse except for one lyrical passage, telling the story of Igerne and the conception of Arthur, focusing upon Merlin’s role in bringing about the conception and later the protection of the baby despite the enmity of Morgan. Part 2, “Merlin”: a three-act play in blank verse (with several lyrical passages), in which Arthur (by pulling the sword from the stone) comes to the throne (Act 1), Morgan and Mordred are brought before Arthur accused of treason (Act 2), and Arthur, while in the forest a-maying, is approached by Guenevere who seeks his help against robbers who have attacked her father; in order to ensure that Arthur will marry Guenevere, and thus seal his doom, Morgan contrives to have Merlin entrapped under a rock, freeing Nivian from his unwelcome advances (Act 3). (There is a French version of “Merlin” by Villiers Barnett, with music by I. Albéniz [Paris and Monte Carlo: Continental Weekly, 1913].) Part 3, “Launcelot du Lake”: a five-act play, in blank verse, intertwining several stories which Malory carefully separated in the latter part of his work: the knights have a vision of the Grail and begin a quest; Lancelot, on orders from Guenevere, stays behind (Morgan encourages the affair, but only with the intention ultimately of betraying the lovers), but Elaine, a lady of the court, insists that he has a higher duty and should go (Act 1). There is strife among the knights of Camelot, stirred up by Mordred and Agravain, who plot against Launcelot and the Queen; Morgan attempts to destroy Guenevere and undermine Arthur by having Lamorak put poison in a cup in Guenevere’s chamber that is intended for Gawain (Act 2). In the Queen’s Chamber, Guenevere and her attendants entertain several knights, and the poisoned cup intended for Gawain is drunk, instead, by Sir Dagonet (this episode is a modified version of Malory’s story of Sir Patrise and the poisoned apple), who dies, and the queen stands accused of murder (Act 3). Lancelot, hearing of the queen’s arrest, interrupts his questing for the Grail to come to her; Agravain is lying in wait for him, and they do battle; at the end of the scene, Mordred and Morgan emerge from hiding, and with them is Arthur, who has witnessed all (Act 4). On a street in Westminster, Liones, Linet, and Kay meet and discuss recent events, particularly Arthur’s war against Lancelot (Act 5, Sc. 1). Later, in a nunnery in Glastonbury, Lancelot comes to Guenevere, having arrived too late to stand with Arthur in the Battle of Camlann; Guenevere gives an account of the final battle, and then sends Lancelot away (Act 5, Sc. 2). Part 4, “The Death of Lancelot” is a narrative poem, in blank verse, recounting Lancelot’s grief and self-accusations, and his withdrawal to Joyous Gard for the last part of his life (he does not here, as in Malory, take holy orders).

A-512 Coutts, Francis Burdett Money [Money-Coutts, Francis Burdett; Coutts-Nevill, Francis Burdett Thomas, Baron Latymer; Latymer, Francis Burdett Thomas CouttsNevill, Baron]. “Sir Dagonet’s Quest.” The Yellow Book: An Illustrated Quarterly 13 (Apr. 1897): 107–109. Rptd: Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 9–10. Mark, hoping to encounter Tristan, meets Dagonet instead, but Dinadan tricks him into thinking that the court fool is Lancelot.

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A-513 Cowee, Bill. “Needlepoint.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 45. Arthur burns a letter he receives from Guenevere. The needlepoint of the title refers to tapestries that Arthur remembers hanging with Guenevere’s help; he has destroyed them as well.

A-514 Cox, Irving E. “Lancelot Returned.” Fantastic Universe Science Fiction 8.4 (Oct. 1957): 58–68. This short story is set in 1950s Hollywood and is narrated by a publicity agent. One of his clients, an actress, is visited by Lancelot, who is intent on saving her daughter.

A-515 Cox, John Harrington. A Knight of Arthur’s Court; or, The Tale of Sir Gawain and the Green Knight, Translated and Adapted for School Use. Illus. Frank T. Merrill. Boston, MA: Little, Brown, and Co., 1910. Reissued in same year bound together with Cox’s version of “Beowulf ” as Knighthood in Germ and Flower: The Anglo-Saxon Epic, “Beowulf,” and the Arthurian Tale “Sir Gawain and the Green Knight,” Translated from Original Sources and Adapted for Use in the Home, the School, and Pupils’ Reading Circles. Boston, MA: Little, Brown, and Co., 1910. – Sir Gawain and the Green Knight, Retold. Illus. George Barraud. All-Time Tales 28. London: George G. Harrap, [1913]. The story of Sir Gawain and the Green Knight is “here presented in suitable form for children of the elementary schools” (Preface). While the chapters correspond to the four “fits” of the original, this is not a strict and literal translation, but the adaptation of the story to novel form (including the clarification of motivation and other points of difficulty in the original). The first edition included two full-plate (B&W) illustrations: the frontispiece shows Sir Gawain’s departure from Camelot, mounted on his horse with King Arthur and Queen Guenevere standing in a Romanesque archway, and a young woman handing Gawain his shield (the Virgin and two pentangles are visible); facing p. 58 is an illustration of the hunting of the boar by Bertilak and his companions (a boar is cornered by a huntsman on foot with sword and a pack of hounds, with horsemen approaching in the distance). The 1913 reprint has eight pen-and-ink drawings by Barraud, including new versions of Merrill’s two illustrations.

A-516 Craig, Alec. The Voice of Merlin. London: Fortune Press, 1946. A book-length poem spoken by Merlin as he recalls the events of Arthur’s reign.

A-517 [Craik], Dinah Maria Mulock. “Avillion or the Happy Isles.” Avillion and Other Tales. London: Smith, Elder, 1853. (*) Rptd: Romantic Tales. London: Smith, Elder, 1859. – New Edition, 1866. – Also republished, Leipzig: Tauchnitz, 1861 and 1865. A story about a dream of meeting Arthur and his knights in Avalon.

A-518 Craik, Dinah Maria [Mulock]. King Arthur: Not a Love Story. Chicago and New York: Bedford, Clarke and Co., 1886. A middle-aged clergyman and his wife vacationing in Switzerland discover a baby abandoned by his mother. They decide to adopt him, and he is named Arthur after King Arthur. The story Mrs Trevena tells of Arthur being found by Merlin at Tintagel suggests the version of Arthur’s birth told by Tennyson and the story is repeated later, when she tells her Arthur of his origins. The novel repeatedly refers to the boy as “King” Arthur, keeping the allusion and the model of knightly behaviour before the reader. The story is as much about the foster mother as about the child.

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A-519 [Craik], Dinah Maria Mulock. “Tom Thumb.” The Fairy Book. 1863. Rptd: The Fairy Book. Illus. Warwick Goble. London: Macmillan and Co., 1923. 85–92. – “Merlin and Tom Thumb.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 223–30. In this collection of traditional fairy tales, Mrs Craik (as she is best known) includes a story of Tom Thumb, whose birth comes about because of Merlin’s magic. Tom spends some time at King Arthur’s court and is knighted by him.

A-520 Cram, Ralph Adams. Excalibur: An Arthurian Drama. Boston, MA: Richard G. Badger / The Gorham Press, 1909. Rptd: (in part) Poet-Lore 44 (Autumn 1938): 351–62. An “Advertisement” preceding the text indicates that the work was completed in the year 1893, and that it was intended as the first part of a trilogy (never completed) which would “do for the epic of our own race, and in a form adapted to dramatic presentation, a small measure of that which Richard Wagner achieved in an allied art for the Teutonic legends.” Further, the author sees “the Arthurian legends as the perfect embodiment of the spirit and impulse of that great Christian epoch we call Mediaevalism.” The play, in three acts with a prologue, is written in blank verse with some passages in lyric measures (to be sung by a chorus of “Angelic voices”), and one senses a conscious imitation of Shakespeare in the language. The play presents the early part of Arthur’s reign, from the sword in the stone to the beginning of the Roman war; Merlin as servant of God and the cause of righteousness struggles to preserve Arthur and England from the wickedness of Morgan le Fay. As Merlin explains in Act 3, Excalibur and the Holy Grail were brought to England by Joseph of Arimathea, who also created the Round Table for himself and his companions: the Holy Grail returned to heaven, Excalibur was seized by Morgan le Fay during the reign of King Uther’s grandfather, and the Round Table was preserved in Cameliard; with the restoration of Excalibur and the Round Table to the Pendragon, “the night is broken, and Pendragon’s see / Shall reign, Pendragon, on Pendragon’s throne.” Prologue: Merlin declares to Morgan le Fay that he has seized Excalibur from her possession, thus assuring the triumph of “Pendragon’s seed”; Angelic voices declare that hell is thus confounded and the Kingdom of God is at hand. Act 1: the sword in the stone (here identified as Excalibur) at Uther’s funeral; Arthur achieves the sword, and Merlin declares his paternity, but various knights and kings reject him, and Arthur embarks on a series of wars. Act 2: Sir Launcelot and King Arthur both court Guenever, and eventually come to blows over her; Merlin urges Arthur to curb his folly, while Morgan urges Guenever to desire a crown. When Guenever is finally asked whom she would prefer as husband, she declares “I will be Queen of England” (and Morgan, in an aside, declares, “I have won!”). Nimue, handmaid to Morgan, attempts to seduce Merlin, but he throws her off the battlements, declaring that he will not allow himself to be subject to the same folly as Arthur because the survival of England depends on him. Merlin chides Arthur, they struggle for mastery, and Merlin finally yields, consoling himself that, at least, Guenever will bring with her the Round Table. Act 3: the knights of Camelot are divided between loyalty to Launcelot and Arthur; Sir Breuse, encouraged by Morgan, desires the throne for himself. As preparations are being made for Arthur’s wedding, messengers from Rome arrive demanding tribute, and a war with Rome is decided upon. Before Arthur leaves for the Continent, however, he is seduced by Morgan (in disguise as Guenever) and gives her his sword; Merlin appears and breaks the enchantment, warning Arthur that the product of his incest will destroy him. Merlin offers, however, to retrieve Excalibur if Arthur will dedicate himself wholly to the creation of the kingdom that Merlin envisages. Arthur promises to abandon lust and folly but refuses to give up his love for Guenever; Merlin contents himself with this, and magically retrieves Excalibur from Morgan’s keeping. The play ends with Angelic voices celebrating this triumph, and looking forward to the achievement of the Holy Grail, and with it the establishment of the Kingdom of God on earth.

A-521 Crawford, Tom. The Story of King Arthur. Illus. John Green. Ed. Thomas Crofts. Dover Children’s Thrift Classics; Great Adventure Novels for Children 4. New York: Dover Publications, 1994.

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A juvenile retelling of episodes from Malory, including the sword in the stone episode and Arthur’s conflict with Accolon and Morgan, but primarily focusing on Lancelot. Lancelot and Guenevere are described as great “friends,” so the rumours and Arthur’s jealousy seem rather unwarranted. Chapters: “The Sword in the Stone,” “The Round Table,” “Morgan le Fay,” “Sir Lancelot’s First Adventure,” “The Chapel Perilous and Other Adventures of Sir Lancelot,” “Sir Lancelot and Dame Elaine,” “Sir Lancelot’s Exile and Return,” “The Death of King Arthur.” (There is also a colouring book version, with an abbreviated text; see “Green, John,” in the Fine Art section.)

A-522 Creeley, Robert. “Bresson’s Movies.” Echoes. West Branch, IA: Toothpaste Press, 1982. np. Rptd: Twentieth Century Poetry and Poetics. Ed. Gary Geddes. 4th ed. Toronto: Oxford University Press, 1996. 312–13. This poem, containing eight four-line stanzas, describes scenes from two of Robert Bresson’s films; in the second scene described, Lancelot is a main character. The poem reflects on the truth of the images that Bresson conveys.

A-523 Creswick, Paul. King Arthur: The Story of the Round Table. Illus. B. Westmarcott and L. D’Emu. New York: American Book Co.; London: D. Appleton, 1925. (*) A retelling of episodes from Malory, illustrated with drawings. (Information from Gaines, Item C42.)

A-524 Crichton, Michael. Timeline. New York: Alfred A. Knopf, 1999. In this thriller, a wealthy physicist is funding research into quantum physics to enable faster computers; his research has also led to the discovery of the “multiverse,” the multiple universes that exist alongside our own. The company has developed technology to enable travel to these other universes, some of which are in times previous to our own. Three history students must travel to fourteenth-century France in order to rescue their professor, who has been stranded there. The Arthurian allusions are slight: the Professor is described in a historical foreword as a “Merlin-like figure”; although that description is not repeated, he does have the kind of scientific knowledge associated at times with magic and with Merlin. A more direct allusion occurs late in the novel when two of the students, in order to uncover a secret passage to rescue their colleagues, travel to a “green chapel” and encounter a huge green knight who attempts to behead them; he is mad and, aside from the colour and his use of an axe, is not similar to the medieval Green Knight.

A-525 Crompton, Anne E[liot]. “Excalibur.” In Camelot. Ed. Jane Yolen. New York: Philomel Books, 1995. 79–90. This story is set during the time that young Arthur spends with Sir Ector. The protagonist and narrator is an unnamed girl, one of the Fey. When she sees Arthur threatened by brigands who have been hired to kill him, she saves his life. In doing that, she leads him to a forbidden lake and cave. There they meet the Lady of the Lake and Merlin, Arthur is told his true parentage and destiny, the Lady promises him Excalibur, and the young girl is told she will be the next Lady of the Lake.

A-526 Crompton, Anne Eliot. Gawain and Lady Green. New York: Donald I. Fine, 1997. Crompton rewrites Sir Gawain and the Green Knight by tracing the beginning of their encounter. Gawain is in the north on king’s business and is hungry and alone when he stumbles upon a village feast. He is crowned May King and stays through the summer in the company of the May Queen, the Lady Green of the title. However, when he realizes that the delights of the summer will end with his death at the Summersend festival, he is determined to escape. Lady Green helps him get away, risking her life and her village on his word that he will marry her at Arthur’s court. He abandons her, and the breaking of his word sets in motion the strange challenge in Arthur’s hall.

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The druid of the village plays the role of the Green Knight and tests Gawain in the traditional way, though here, Lady Green plays the “wife” who attempts to sway Gawain from his honour. In the end, Gawain sacrifices not his life, but his pride at the Green Chapel. One consequence of this rewriting is that Morgan is written out of the story; Lady Green’s anger with Gawain, and by extension Arthur’s court, is given much more justification. Characters from Crompton’s other novels appear, such as Merlin, Niviene, Lancelot, Arthur, and Guenevere, though the last three appear in only one episode.

A-527 Crompton, Anne Eliot. Merlin’s Harp. New York: Donald I. Fine, 1995. The protagonist of this original Arthurian novel is Niviene (or Vivian), who retells the story. She lives with her mother, the Lady of the Lake, and with Merlin on Avalon. While Avalon is usually separate from the human world, one of the Fey, Mellias, has brought Guenevere to Avalon. Niviene’s brother Lugh desires adventure and agrees to take the queen back to Arthur in order to become part of the human world as the knight Lancelot. While Niviene does not want anything to do with the outside world, she does seduce a human man (readers recognize him as Arthur), and when her son of this union disappears, Merlin convinces her to become involved in the affairs of humans again. She meets Gildas, who refuses to include Arthur in his history in petty revenge; she is one of those who restore the sword that Morgan steals from Arthur; she also attends the last battle, recognizing her son in his final moments and taking Arthur back to Avalon.

A-528 Crompton, Anne Eliot. Percival’s Angel. New York: Roc / New American Library / Penguin Putnam, 1999. This is set in the same Arthurian world that Crompton created in Merlin’s Harp. The main characters are Lili, a Fey, and Perceval, a human boy whose mother, Alanna, escaped to the Fey Forest when he was just a baby. Perceval finally learns about the outside world – a world of knights and honour and glorious quests. He and Lili set off into that world, Perceval to become a knight and to quest for the Holy Grail, and Lili to develop a human heart. Characters from Crompton’s previous novels, such as the Lady of the Lake, Merlin, and Vivian also appear.

A-529 Crompton, Richmal. “The Knights of the Square Table.” William – the Bad. Illus. Thomas Henry. London: Newnes, 1930. 1–21. Rptd: London: Macmillan Children’s Books, 1984. Crompton produced a long series of “Just William” stories from ca. 1919 to his death in 1969, featuring the adventures of a young boy, William Brown, and his friends, “the Outlaws,” in an English village; the stories first became popular in magazines, and then in a series of some 38 books. Recently, BBC Radio 4 has broadcast readings of some of the stories by Martin Jarvis, and these are being issued as audiobooks on CD. The eleventh volume in the series, William – the Bad, begins with a story in which Ginger, one of William’s friends, receives as a gift a copy of a book, King Arthur and the Knights of the Round Table. This leads William to declare himself to be King William, Ginger to be Merl the Magician, and the rest of the Outlaws to be Knights of the Square Table; they go into the business of righting wrongs (at a rate of 6 pence for little wrongs, 1 shilling for larger ones). The story then tells of how the Knights successfully intervene in the case of a young man whose “damosel” has begun to heed the attentions of a “false knight”; the Knights manage through a series of strategems to bring the couple back together.

A-530 Croskey, Julian. Merlin: A Piratical Love Story. London: 1896. (*) A-531 Crossley-Holland, Kevin. The Seeing Stone. Arthur Trilogy 1. London: Orion Children’s Books, 2000. The first novel in a trilogy, which tells the story of a boy named Arthur de Caldicot, living in the Welsh marches in twelfth-century England; Merlin appears and gives him a black “seeing stone,” in which he begins to see visions of his namesake, King Arthur (thus Crossley-Holland can present a new version of the whole story of King Arthur as a second narrative line). The story is

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continued in At the Crossing-Places (2001). The Seeing Stone is also available as an audiobook (abridged: 2 audio cassettes; ca. 4 hours), read by Samuel West (London: Orion, 2000). There is also an unabridged audiobook, read by Michael Maloney (6 audio cassettes; 7.5 hours; New York: Bantam Books Audio, 2001).

A-532 Crossley-Holland, Kevin, adapt. “The Slumber King.” British Folk Tales: New Versions. London and New York: Orchard Books, 1987. 38–44. A retelling of a traditional folktale (sometimes known as “The Gold of Craig-y-Dinas”). A Welsh man is led to a cavern in which Arthur and his knights are asleep.

A-533 Crossley-Holland, Kevin. Tales from Europe. London: BBC Educational Publishing, 1991. One of the “tales” is that of the sword in the stone, here using Arthur’s point of view.

A-534 Crossley-Holland, Kevin. “The History of Tom Thumb.” British Folk Tales: New Versions. London and New York: Orchard Books, 1987. 155–74. A retelling of the traditional folktale. A childless couple are aided by Merlin in having a child, but he is the height of a thumb; nevertheless, he proves the most valiant of Arthur’s knights, and his adventures include a battle against Gargantua the Giant.

A-535 Crow, Donna Fletcher. Glastonbury: The Novel of Christian England. Wheaton: Good News / Crossway Books, 1992. A novel of Glastonbury from the time of Joseph of Arimathea to that of Henry VIII; one section is set in the time of “Arthurius.”

A-536 Crowe, William. “Merlin’s Glass.” In Wayside Sonnets, 1750–1850. Ed. Edmund Blunden and Bernard Mellor. Aberdeen: Hong Kong University Press, 1971. 22. In the octave of this Petrarchan sonnet, the speaker wonders at the existence of the “orb of glass” that Merlin made for Rience to show “the forms of things unborn.” The sestet of the sonnet reflects on hope and the state of the lover’s mind; the connection between sestet and octave is somewhat unclear, but both seem to be meditating on enchantment and perception.

A-537 Crowlesmith, J[ohn]. Stories of King Arthur and his Knights. Illus. H. S. Greig. London: Goodship House, [1927]. (*) Rptd: London: Aldine House, [1931]. Tales retold from Malory, illustrated: “the stories chosen are those which seem to present a message to youth” (6).

A-538 Crowley, John. AEgypt. New York: Bantam, 1987. This novel intertwines several stories. In one, Dr Dee, magician figure of Elizabeth I’s court, meets a man who has had a dream that leads him to Glastonbury; when Dee travels to Glastonbury on his own Grail quest, he and his companions discuss the historical King Arthur and the grave at Glastonbury. In another thread of the novel that is set in contemporary America, Pierce, a disillusioned history professor, moves to a small town to write a book. He remembers that his father read to him Sidney Lanier’s Boy’s King Arthur, and these memories connect Pierce to the figure of Perceval; he is on his own quest for wholeness.

A-539 Crowley, John. Love and Sleep. New York: Bantam, 1994. This sequel to AEgypt has many of the same characters and themes; the Arthurian allusions are much more slight in this novel than in the previous one, but the idea of the Grail quest persists. One of the main characters, Pierce, is compared to Perceval, and several characters quest after the Grail (variously defined and often not explicitly described). Pierce is also compared to Merlin as he enters into a doomed love affair.

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A-540 Crowley, Susan Hanniford. “Heartleaf.” Marion Zimmer Bradley’s Fantasy Magazine 14 (Fall 1991): 31. (*) A brief story involving Lancelot.

A-541 Crowther, Peter. “All We Know of Heaven.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 131–47. As a fifth-grade student listens to his teacher read from John Steinbeck’s The Acts of King Arthur and his Noble Knights he thinks about the accident that has put his mother in hospital. She is kept alive only by a life-support system, and there is no hope of her recovery. The sword in the stone story leads to a class discussion of strength, and the boy acquires the strength to accept his mother’s fate.

A-542 Crozier, Lorna [pseud.], [i.e., Lorna Uher]. “Morgain le Fay.” Humans and Other Beasts. Winnipeg: Turnstone Press, 1980. 18. A dramatic monologue in free verse, in which Morgan plans the seduction and destruction of an unnamed man. The second stanza could be read as implying conception, which would suggest the man is Arthur; the first stanza’s reference to the man’s beard as covered with ice (suggesting age?) and the second stanza’s reference to his “magic” might suggest he is Merlin.

A-543 Crozier, Lorna [pseud.], [i.e., Lorna Uher]. “Nimue and Merlin.” Humans and Other Beasts. Winnipeg: Turnstone Press, 1980. 22. Nimue reflects upon the various stories about how she imprisoned Merlin. She refers to his imprisonment in a cave, or in a coffin, but claims she’s actually carrying him, reduced in size, in a pocket.

A-544 Cullen, Seamus. “Meraugis and Medwina.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 355–72. This short story explains how Meraugis, raised in the woods, becomes a knight, with the help of the resourceful and determined Medwina. Some Arthurian characters appear in minor roles: Tristan, Mark, Elaine, Palomides, and Lancelot.

A-545 Cunningham, Elaine. “Hidden Blades.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 30–49. A short story rewriting the story of “The Lady of Shalott” by Tennyson; it is narrated by Guenevere some time after the events. Guenevere, in love with Lancelot, finds out that he ignores her because he loves a fairy lady. One of the lords of fairy, who loves the Lady of Shalott, makes a deal with Guenevere. She arranges Lancelot’s fateful passing of the tower, which sends the Lady back to the fairy realm; however, the Lady chooses death instead. Guenevere gets Lancelot’s love, but also a fairy curse, which explains her barrenness.

A-546 Curry, Ann. The Book of Brendan. London: Macmillan Children’s Books, 1989. Rptd: New York: Holiday House, 1990. A children’s fantasy novel, set in 725 CE. The young male protagonist is a descendant of King Arthur while the young female protagonist is a descendant of Gunamara, Arthur’s Queen. In order to battle the evil designs of one of Merlin’s descendants, the two children and their helpers venture to the Isles of Truth to wake the King and Queen.

A-547 Curry, Catherine. “The Morgana Sequence.” Ore 19 ([1975?]): 14–16. (*) Four poems, with an Arthurian theme.

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A-548 Curry, Jane Louise. The Sleepers. New York: Harcourt, Brace and World, 1968. The sleepers of the title are Arthur and his knights, who are discovered in this children’s novel.

A-549 Cutler, U[riel] Waldo. Stories of King Arthur and his Knights, Retold from Malory’s “Morte Darthur.” Children’s Favorite Classics. New York: Thomas Y. Crowell, [1904]. Rptd: Told Through the Ages 4. London: George G. Harrap, 1905. – Illustrated with photographs of Arthurian subjects: Harrap’s New Reward Series 2. London: George G. Harrap, 1914. – Stories of King Arthur and his Knights, Illustrated in Color. Rev. edn. New York: Thomas Y. Crowell, 1924. – Told Through the Ages. London: George G. Harrap, 1928. – King Arthur and his Knights, Retold from Malory’s “Morte Darthur.” New and revised edition. Illus. W[illiam] Hatherell. London: George G. Harrap, 1933. – Stories of King Arthur. Illus. Elinore Blaisdell. New York: Thomas Y. Crowell, 1941. Gaines, Item B14. Malory is presented in modern English, abridged and bowdlerized, for “young people of the present time”; this version “chooses such stories as best represent the whole, and modifies these only in order to remove what could possibly hide the thought, or be so crude in taste and morals as to seem unworthy of the really high-minded author of five hundred years ago” (Intro., xviii). A Polish translation of Cutler’s Arthurian stories has also been published (trans. Felicja Kruszewska; Warsaw: Wydawnictwo Pelikan, 1991). For details of the illustrations, see the entries in the Fine Art section under Blaisdell, Elinore; Fredericks, Alfred; Hatherell, William; Howard and Hastings; Pettie, John; and Watkins, Frank.

A-550 Cutler, U[riel] Waldo. Tales from Malory, Retold. All-Time Tales 20. Illus. B. Burleigh. London: George G. Harrap, [1911]. This is an abbreviated version of Cutler’s Stories of King Arthur and his Knights, with a focus on two episodes: the story of Tristram and Isoud, and the story of the Quest for the Holy Grail. The illustrations are pen-and-ink drawings, including eight full-page and various partial-page illustrations; a coloured version of the frontispiece appears on the cover.

A-551 D., H. “To My Fellow-Pilgrims.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.7 (Apr. 1931): 278. A poem of ten couplets, drawing parallels between the quests of Arthur’s knights and those of the modern pilgrim to Tintagel. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-552 D’Avenant, William. Britannia triumphans: A masque, presented at White Hall, by the Kings Majestie and his lords, on the Sunday after Twelfth-night, 1637; by Inigo Iones surveyor of his Majesties workes, and William Davenant her Majesties servant. Music by William Lawes. London: Printed by John Haviland for Thomas Walkley, 1637/8. [STC (P&R) 14718 (ESTC S107854).] Rptd: The Dramatic Works of William D’Avenant. 5 vols. New York: Russell and Russell, 1964. 2: 245–300. This masque was first performed on the Sunday after Twelfth Night for the king and queen on 17 Jan. 1638 (“1637” by old style of dating). The sets and costumes were designed by Inigo Jones, and he gets top billing in the printed account, which has a great number of details about the presentation. D’Avenant is responsible for the words, however, and music for the songs was composed by William Lawes. The Arthurian content in this masque is the use of Merlin as a character; Imposture calls him up to use his magic powers to provide a parade of examples. The drama thus depends on the association of Merlin with prophetic and magical powers, though these are not

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depicted as necessarily good powers. There is also a scene with a knight fighting a giant to save a lady, but those characters are unnamed.

D’Avigdor, Elim H.: see “Wanderer.” A-553 Dacey, Philip. “After a Fifteenth-Century Miniature Showing King Mark Stabbing Tristan in the Presence of Ysolt.” The Beloit Poetry Journal 17.4 (Summer 1967): 24. This five-stanza poem describes and comments on the depiction of the scene in the painting. Mark, Tristan, and Iseult are all present; the speaker of the poem is struck by the fact that none of the characters seem to react to the violence of the knife wound.

A-554 Dalkeith, Lena. “Sir Gareth of Orkney.” Little Plays. Told to Children Series. London: T. and E. C. Jack; New York: E. P. Dutton and Co., [1907?]. 1–37. This short, three-act play is designed for children to act out. It retells the story of Gareth’s quest to rescue Lionors. The play begins after Gareth has spent his year in the kitchens, and only two battles are part of the action. The name “Lena Dalkeith” may be a pseudonym for Jeanne (Yeats) Cherry.

A-555 Dalmon, Charles. “Camelot.” In Twentieth-Century Poetry. Ed. John Drinkwater, Henry Seidel Canby, and William Rose Benét. Boston, MA: Houghton, Mifflin, 1929. 110–11. A poem of six quatrains, in which the speaker and a companion (two children), who are “dreaming over” a Book of Arthur and wishing to be in Camelot, are addressed by an “old pilgrim.” When asked the way to Camelot, the pilgrim replies that some find it quickly but others require many years to discover it.

A-556 Dalton, Morey. “Sir Pedivere.” Spectator 105 (19 Nov. 1910): 859. This is a short poem in blank verse, beginning “The Queen had said to him, ‘Go then to Rome, / And bear her with thee since she was thy wife.” Having killed his wife in a fit of rage, and submitted himself to the judgement of the Queen, Peredur is travelling to Rome with the corpse of his wife to seek absolution from the Holy Father. The poem describes the experience of his ride “with Death,” and the tenderness with which he tends the corpse of the one whom he had loved but murdered. Peredur dies of exposure before reaching Rome, after having wrapped his wife’s body in his cloak to keep her warm. The poem is prefaced by a short quotation from The Noble History of King Arthur.

A-557 Dana, Robert Patrick. “Merlin, at the End.” The Power of the Visible. Chicago: Swallow Press, 1971. 19–20. According to the notes on the copyright page, this poem first appeared in The West Coast Review, but no date is given for that appearance. This poem has six six-line stanzas and takes place at the moment that Merlin is enchanted by Vivian. There are allusions to events from the legend, such as the queen’s love for Lancelot and the death of Arthur in battle, recalled as the words that entrap Merlin are spoken.

A-558 Dane, Clemence [pseud.], [i.e., Winnifred Ashton]. The Saviours: Seven Plays on One Theme. London: Heinemann; Garden City, NY: Doubleday, Doran, and Co., 1942. The book presents the scripts of a series of seven radio plays, narrated by Merlin, in which Arthur returns at various points in history (as King Alfred, Robin Hood, Queen Elizabeth, etc.) to be a “saviour”: “Merlin,” “The Hope of Britain,” “England’s Darling,” “The May King,” “The Light of Britain,” “Remember Nelson,” and “The Unknown Soldier.”

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Danson, Sophie: see Caine, Erin. A-559 Darby, Catherine [pseud.], [i.e., Maureen Peters]. A Dream of Fair Serpents. London: Robert Hale; New York: Popular Library / CBS Publications, 1979. A novel set in Wales in a series of historical periods (Roman Britain, early Anglo-Saxon Britain, the reign of Richard III, mid-eighteenth century, mid-nineteenth, and later twentieth century), in each of which periods a group of characters with suggestively Arthurian names appear: Mervyn (“the Guardian”), Vivien, Cade, Ellen, Morgan, Gavin, Bryn, Gwennie; at some point they become conscious that they seem to be “drawn back here life after life” (249). Over time and in their several reincarnations, they accumulate the “four hallows”: the wand, the dagger, the cup, and the coin. In their final twentieth-century incarnation, they retrieve the four hallows from the cave in which their earlier selves had secreted them, and use the power inherent in the “hallows” to save the world from self-destruction.

A-560 Darby, Catherine [pseud.], [i.e., Maureen Peters]. Sangreal. London: Robert Hale, 1984. A historical romance set in the eighteenth century, but which adapts the patterns of the Arthurian story. One Gwendolen Grange in the year 1790 marries Sir Rex Brittain; his uncle is named Ambrose, his sister is named Megan Gorlais, and she has a bastard son, Morris; there is an adopted brother, named Bedwin, whom Gwendolen finds attractive. Vivien is a neighbour up the road living with her crippled father, with a daughter named Ellen, just back from an Irish convent; her return sets the stage “for a conflict between the forces of good and evil into which Gwendolen is drawn to re-enact an ancient part and not until she has known both joy and heartbreak does she begin to glean the true nature of the secret that, down the centuries, so many have died rather than betray” (from a description in the front-matter of the book). Other characters have suggestive names: Lady Irene, Sir Usher, Percivale, etc. Rex and Morris die near the end, and Gwendolen finds that this will keep Bedwin and her apart forever. In the final paragraph, Bedwin rows away in a boat in the mist and she knows she will never see him again.

A-561 Darby, Harold S. “In a Chamber in Brittany.” A Blind Gipsy and Other Poems. London: Selwyn and Blount, 1928. 36–40. A poem which presents Tristan’s dying speech.

A-562 Darley, George. “Merlin’s Last Prophecy.” Athenaeum 14 July 1838: 495–96. This poem has thirteen quatrains. In the first, a speaker (possibly Merlin) commands “wild Ocean Daughters” to approach; the rest of the poem is their reply. They are named as Merlin’s daughters and Morgan’s handmaidens who live on Avalon, and while most of the poem is their description of themselves, by the end they are praising Queen Victoria. As Britain’s “Guardian Spirits,” they bring to Victoria greetings from Morgan, Caliburn from “Pendragon’s Son,” and a prophecy of greatness from Merlin.

A-563 Darton, F. J. Harvey. “The Fair Unknown.” A Wonder Book of Old Romance. Illus. A[rthur] G[eorge] Walker. London: Wells Gardner Darton and Co.; New York: F. A. Stokes, [1907?]. Rptd: Stories of Romance from the Age of Chivalry. New York: Arlington House, 1984. 110–43. A young man who is, unknown to anyone else, Gawain’s son is made a knight by Arthur and receives the first quest that offers itself. On his way to aid the Lady of Synadown, accompanied by a dwarf and a mocking young lady, he meets several adventures, defeating various knights, giants and magicians. The story is accompanied by five B&W drawings: “He found a knight lying slain” (111); “Arise, young knight, arm yourself, there is danger” (121); “Were I armed, even as you are, we would fight” (129); “‘Sir Knight,’ she said, ‘you are false of faith to King Arthur’”; (135); “A window opened in the wall, and a great dragon issued therefrom” (141).

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A-564 Darton, F. J. Harvey. “The Seven Wise Masters.” A Wonder Book of Old Romance. Illus. A[rthur] G[eorge] Walker. London: Wells Gardner Darton and Co.; New York: F. A. Stokes, [1907?]. 175–255. Rptd: Stories of Romance from the Age of Chivalry. New York: Arlington House, 1984. 175–255. The Emperor’s new wife turns him against his first son and plots the young man’s death. She persuades the Emperor using stories, but the son’s seven teachers persuade the Emperor with other stories to let the boy live. One of the stories told by the wife is about Herod (221–27); Merlin, “the wise man that never had a father,” is a main character. The story is accompanied by a B&W drawing, showing Merlin standing before a reclining, sickly Herod: “Under your bed is a great cauldron of water, boiling day and night” (223).

A-565 Darton, F. J. Harvey. “Sir Cleges and the Cherries.” A Wonder Book of Old Romance. Illus. A[rthur] G[eorge] Walker. London: Wells Gardner Darton and Co.; New York: F. A. Stokes, [1907?]. 67–80. Rptd: Stories of Romance from the Age of Chivalry. New York: Arlington House, 1984. 67–80. A knight fallen on hard times takes a gift to King Uther, but in order to get to the King he must promise a third of his reward to each of three wicked guards or stewards. When asked what he wants as a reward, he asks for twelve beatings that he can then distribute. This story is a rewriting of a medieval romance. It is accompanied by two B&W drawings: “On a cherry tree in our garden I found this fruit” (71); “The steward fell down like a log” (77).

A-566 Darton, F. J. Harvey. “Sir Gawain and the Green Knight.” A Wonder Book of Old Romance. Illus. A[rthur] G[eorge] Walker. London: Wells Gardner Darton and Co.; New York: F. A. Stokes, [1907?]. 81–109. Rptd: Stories of Romance from the Age of Chivalry. New York: Arlington House, 1984. 81–109. A prose rewriting of the medieval romance Sir Gawain and the Green Knight. Sir Gawain offers to take up the challenge of the Green Knight, and finds the Green Chapel a year later in order to receive the return blow. The story is accompanied by three B&W drawings: “The Green Knight turned and rode out, his head in his hand” (87); “She stooped over him, and with all courtesy kissed him” (97); “He leaned his neck forward and bared it” (105).

A-567 Davey, Frank [Frankland Wilmot Davey]. “Afterthought on Arthur.” Tish 19 (14 Mar. 1963): 8. Rptd: Tish 1–19. Ed. Frank Davey. Vancouver: Talon Books, 1975. 410–11. A short poem reflecting on the role of women and sexuality in Arthur’s fate. Morgause and Guenevere are the two women mentioned; the poem therefore alludes to Mordred’s conception and to Guenevere’s affair with Lancelot, though the latter character is not mentioned by name.

A-568 Davey, Frank [Frankland Wilmot Davey]. King of Swords. Vancouver: Talonbooks, 1972. This long poem is actually a series of forty short, free-verse poems. The speaker uses figures from the legend to represent relationships between men and women in general, and in his own case in particular. As a result the characters that appear most often include Arthur, Guenevere, Lancelot, Elaine of Corbenic, Morgause, Merlin, and Mordred. The sword and the Grail are also recurring symbols, sometimes used with their Arthurian stories, and sometime incorporating Tarot symbolism. Some parts of this poem appeared in a variant form in Davey’s Arcana (Toronto: Coach House Press, 1972).

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A-569 Davey, Frank [Frankland Wilmot Davey]. “Morte D’Arthur.” Tish 14 (14 Oct. 1962): 7–9. A poem, divided into six sections, and based on Malory, sometimes through direct quotations and sometimes by mention of Malory’s name. The first section begins by reflecting on two conceptions, Mordred’s (though he is not named) and Arthur’s, and Merlin’s role in each. Section two reflects on early quests, particularly the story of Balin and Balan, while section three returns to Mordred’s conception, focusing on Morgause’s character. Section four considers the character of Gawain, who is Arthur’s support, but who also reveals his weakness when he pursues Lancelot. Section five deals with the end of the story, particularly Bedivere’s throwing of the sword into the lake. Section six then considers the story as a whole, the way that the beginning and end are connected by the image of sword and scabbard.

A-570 David, Peter. Knight Life. New York: Ace Fantasy, 1987. Rptd: Rev. ed. New York: Ace Fantasy, 2002. This humorous novel is set in late twentieth-century New York. Arthur, preserved by Merlin’s magic, decides to run for mayor. Merlin, having escaped Morgan’s magical imprisonment when he grew to be a young child (he ages backwards here, as in T. H. White), is Arthur’s advisor. The Lady of the Lake makes a brief, hilarious appearance in Central Park to give Arthur Excalibur. Perceval, who survived the centuries because he drank from the Grail, also joins Arthur; Perceval, a Moor, is now an accountant and treasurer of Arthur’s campaign. Gwen, the reincarnation of Guenevere, also rejoins Arthur and is instrumental in defeating Morgan and Mordred, the villains. Lancelot, who becomes Morgan’s slave, is in this version abusive and self-absorbed. The novel satirizes contemporary politics and reflects on Arthurian ideals. The 2nd edn. (2002) is about 50% longer than the original. David has also published a sequel, One Knight Only (New York: Ace, 2003).

A-571 Davidson, Gladys. “The Lady of Shalott.” Stories of the Ballets. London: Werner Laurie, 1949. 36–39. A prose version of the story of the ballet by Sir Frederick Ashton; the story is very close to that of Tennyson and includes some direct quotations from his poem. There are a couple of significant differences, however: the curse is given a source (a Magician); the Lady’s exclamation about “pale shadows” happens after she rushes to the window to see Lancelot; and there is no boat, so the Lady dies near the tower, and Lancelot, drawn by the exclamations of the rural folk, arrives to see her there.

A-572 Davidson, Gladys. Lancelot and Guenevere, Retold from the Original Sources. Illus. Innes Fripp. The World’s Romances. London: Thomas Nelson and Sons; Boston, MA: Dana Estes and Co., [1912?]. This rewriting follows Malory closely in the latter part of its story; Davidson uses more of her own fancy to describe the meeting of Lancelot and Guenevere and the early stages of their love. There are eight full-page colour plates.

A-573 Davidson, Gustav. “Musing on Camelot and Avalon.” Poet-Lore 33 (Winter 1922): 552. In this Petrarchan sonnet, the speaker imagines himself to be Lancelot and reflects on his love for the queen and the pain that love causes Arthur.

A-574 Davidson, John. “A Ballad of Lancelot.” Selected Poems. London and New York: John Lane / The Bodley Head, 1905. 55–69. A poem, in 84 ballad stanzas, on the madness of Lancelot; first line: “By coasts where scalding deserts reek.” Lancelot, living in the woods, driven mad by his sense of his own failings, is visited by a young man who identifies himself as Lancelot’s son, Galahad. Newly inspired, Lancelot regains his senses, and follows Galahad in pursuit of the Holy Grail.

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A-575 Davidson, John. “The Last Ballad.” The Last Ballad and Other Poems. London and New York: John Lane / The Bodley Head, 1899. 1–23. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 119–30. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 11–22. This poem describes Lancelot’s period of madness from which Galahad rescues him.

A-576 Davies, Andrew. The Legend of King Arthur. Illus. Peter Archer. London: Armada / Fontana Paperbacks, 1979. This book is based on the BBC television mini-series written by Davies (see the entry for Legend of King Arthur in the “Film, Television, and Radio” section). It retells the story from Uther’s winning of Igerne to Guenevere’s death after Camlann. Morgan is the protagonist of the first chapter but the villain thereafter.

Davies, Olwen Bowen: see Bowen, Olwen. A-577 Davies, Robertson. The Lyre of Orpheus. Cornish Trilogy 3. Toronto: Macmillan, 1988. The third novel in Davies’ Cornish Trilogy. Francis Cornish, the main character of What’s Bred in the Bone, has left a legacy called the Cornish Trust to be used to support the arts. Francis’ heir, Arthur, is Chair of the Trust. There are allusions to the Arthurian legend in the names and relationships of characters; for example, Arthur’s wife Maria has an affair with Geraint, an actor and director. Moreover, one of the projects supported by the Trust is an Arthurian opera, begun by E. A. Hoffman, that a music student is trying to finish. There is explicit discussion of what approach the opera should take, of whether the story is comic or tragic, and of the extent to which Malory should be followed.

A-578 Davies, Robertson. The Rebel Angels. Cornish Trilogy 1. Toronto: Macmillan of Canada, 1981. This, the first novel of the Cornish Trilogy, has less Arthurian content than What’s Bred in the Bone or The Lyre of Orpheus but does provide background to the characters involved in the Arthurian love triangle of Lyre. There is also a major character who is referred to as a Wizard; near the end of the novel he is compared to Merlin, though this comparison is not developed extensively. The novel is set after Francis Cornish’s death, while his executors catalogue his personal possessions; it is concerned with various academic rivalries and the relationships each of the major male characters develop with one of the narrators, the young scholar Maria.

A-579 Davies, Robertson. What’s Bred in the Bone. Cornish Trilogy 2. Toronto: Macmillan, 1985. The second novel of the Cornish Trilogy begins after the death of Francis Cornish. After a discussion of the mysterious nature of certain aspects of his life, the reader is given his life story by the Angel of Biography and Francis’ personal daimon. The Arthurian legend influences Francis at several key points: artistic representations of the legend (particularly the Pre-Raphaelites) inspire him when as a child he first begins to study art; the story of the Grail affects him as a high-school student with its idealism; he reacts to his mother’s infidelity with thoughts of the story of Arthur, Guenevere, and Lancelot; and the love stories of the legend (particularly that of Tristan and Iseult) blind him to the true nature of the cousin he sleeps with at Tintagel (he ends up having to marry her).

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A-580 Davis, Alastair. “Avalon.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.1 (Oct. 1933): 12–13. A poem of seventy lines, in blank verse. The narrator, walking along the edge of a mere, thinks of an island in the distance as that where Arthur lies and where Bedivere threw the sword. He then has a vision in which a band of knights approach and welcome him as one of their own; one encourages him to seek the Grail, for which he will be given mystic aid. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-581 Davis, Alastair. “Camelot.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.10 (Jan. 1932): 381. A poem in eight quatrains. Like Arthur, Launcelot, Guinivere, and Galahad, we should resolve to “seek high renown” and “penetrate life’s veil.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-582 Davis, Alastair. “The Coming of Galahad.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.11 (Apr. 1932): 418–20. A poem of 120 lines in blank verse. A narrative of Galahad coming to Camelot and sitting in the Siege Perilous; thereupon, the Grail appeared, and Galahad rode off on the Quest, leaving behind the joys of the world for “the mystic love-life of the soul.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-583 Davis, Alastair. “The Hall: Evening.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.3 (Apr. 1934): 92. A sonnet, which describes Arthur’s hall in evening light; Excalibur flashes, and all those present exclaim, “The Graal, The Holy Graal, we shall not fail / Thee, Lord and Royal Lover.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-584 Davis, Alastair. “On the Quest: An Allegory.” Excalibur: The Chronicle of the Fellowship of the Round Table 2.2 (Jan. 1933): 58–59. A poem of eighty lines, in blank verse. Sir Galahad is tempted and wrestles with a fiend. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-585 Davis, Alastair. “The Passing of Galahad.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.12 (July 1932): 461–63. A poem of 100 lines in blank verse. A narrative of Galahad’s final vision of the Grail, his conversation with Christ, and his passing (and that of the Grail) to heaven, with a promise that it will return only “When men be true to Me and sin be dead.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-586 Davis, Alastair. “To a Valiant Knight.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.2 (Jan. 1934): 80. A poem of two quatrains: “lift up your heart, for God Himself has crowned you with lillies, as Galahad.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-587 Davis, Courtney, and Peter Quiller. Merlin the Immortal. Devised and ed. Michael Joseph. Fwd Sir George Trevelyan, Bt. Illus. Courtney Davis. Reading: Spirit of Celtia, 1984. A book of New Age spiritualism and prophecy, consisting of a series of messages from “an energy that has manifested” itself to eleven individuals as Merlin; this series of messages – being a call “to look within and to rediscover the Ancient Wisdom before we pass the point of no return” – are accompanied by Celtic designs by Courtney Davis (15 full-page designs, with explanations of the symbolism used, plus a variety of partial-page illustrations and borders), as well as various

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comments by Quiller (including an account of how Merlin appeared to him in his bedroom one night). The book concludes with an invitation to others who have had similar visitations to contact the authors.

A-588 Davis, Georgene [Webber]. The Round Table: A History Drawn from Unreliable Chronicles. Rutland, VT: Tory Press, 1930. A two-act play, set in the sixth century, which begins when Arthur is seventeen and living unknown in a forest with his foster-family. The drama follows his love for Morgan, his rise to power, his marriage to Guenevere and the relationships that lead to the downfall of his reign. An epilogue relates his death and the possibility of his return.

A-589 Davis, Glover. “Lancelot.” Legend. Middletown, CT: Wesleyan University Press, 1988. 38. In the first part of this two-part poem, the speaker looks “at a print of the round table” and imagines the feelings of Lancelot: guilt, shame, and inability to achieve the Grail. The second part is set in the modern world of skyscrapers and automobiles, and the speaker’s love for a woman causes him to think of Lancelot’s story again.

A-590 Davis, R. “The End of Summer.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 259–82. This retelling of the battle of Camlann has Merlin, after the battle, confronting the lovers (Guenevere and Lancelot) and reconstructing the truth of Arthur’s death. Common elements of the legend, such as Mordred’s parentage and his killing of Arthur, and Merlin’s imprisonment, are here deliberate falsifications to hide the true story.

A-591 Dawson, Coningsby. The Road to Avalon. [London]: Hodder and Stoughton; New York: George H. Doran, 1911. In the days after the death of King Arthur at Camlann, a charcoal-burner’s son in the Forest of Bedgraine (in the land of Logres) has a vision in which he is told to “Seek out Avalon; King Arthur shall come again” (4). He recollects having seen long ago Arthur, Guinevere, and Launcelot riding in the forest (after which he decided, though low born, to practice courtesy); he also recalls another occasion when Sir Bors took shelter with the family and held long conversation with the lad (4–5). His quest in search of Avalon brings him into contact with characters such as Sir Specious, Sir Vanitas, Lilith, Adam and Eve, and Conscience, and to places with names such as the Scarlet City, the Rock of Romance, the Mountain of Wisdom, or the Wood of Forbidden Delights. Sir Mordred has a prominent role in the story, as one of those attempting to frustrate the lad’s quest. The boy seeks out Merlin, in an enchanted sleep and guarded by Vivienne in the Forest of Broceliande, to help guide him to Avalon. Avalon, when he reaches it, is found to have a Tree of Knowledge (i.e., it is here to be identified with the Garden of Eden / Earthly Paradise); when he eats of the fruit, he understands that he is, himself, King Arthur re-embodied. As King Arthur, he returns to the world through which he had passed while seeking Avalon, and sets to right many of the ills which he had earlier encountered. He returns to his life as son of a charcoal-burner, knowing that wherever he dwells is Avalon, and that Arthur has come again.

A-592 Day, Clarence. “Farewell, my friends.” New Yorker 29 Dec. 1934: 27. Rptd: “Hail and Farewell.” New York Times Book Review 5 Apr. 1936: 27. An eight-line poem, in which the speaker declares that “I’m off to seek the Holy Grail, / I cannot tell you why,” except that Aspiration drives him, even though “all I want is to stay with you” The poem as printed in the New Yorker is accompanied by an illustration by the author, showing a bespeckled, balding man being dragged (though he digs in his heels) by a woman, presumably the said “Aspiration.”

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A-593 De Angelo, Michael. Cyr Myrddin: The Coming of Age of Merlin. Seattle, WA: Gododdin Publishing, 1979. (*) Rptd: A portion of this was reprinted as a story story: “The Tintagel Vision of the Celtic Priesthood.” In Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 291–99. A novel of Merlin. (We have not seen the novel but only the reprinted extract, in which Merlin arrives at Tintagel and learns from the hermits there what his mission – i.e., the creation of Arthur’s kingdom – must be).

A-594 De Beverley, Thomas [pseud.], [i.e., George Newcomen]. “The Achievement of the Sangraele and the Death of Sir Galahad.” The Youth of Sir Arthur, The Quest of Sangraele, and Other Poems. London: Erskine Macdonald, 1925. 30–33. The volume is a collection of narrative poems, retelling stories and legends from various sources, including the Biblical story of “Ruth,” the legend of “St George and the Dragons” [sic], and “The Voyage of Sir Brian” (i.e., Brendan). The collection includes a number of Arthurian poems. This poem (in blank verse) tells of Sir Galahad’s arrival at the castle of Carbouek in company with Percival and Bors, of Galahad’s vision of Christ within the eucharistic host, and his coronation. A year later, Joseph of Arimathea appears and greets Galahad, and Galahad is translated to heaven.

A-595 De Beverley, Thomas [pseud.], [i.e., George Newcomen]. “The Birth of Sir Galahad.” The Youth of Sir Arthur, The Quest of Sangraele, and Other Poems. London: Erskine Macdonald, 1925. 19–24. This poem, in blank verse, tells of Launcelot’s visit to King Pellas and his daughter Elaine. Dame Brisen, with the connivance of Pellas, and through her knowledge of Alchemy and Astronomy (and using a potion), gives Elaine the appearance of Guinever, so that Galahad is conceived. Launcelot, realizing the deception the next morning, threatens Elaine, but is persuaded to relent and departs. The poem ends as King Pellas and Sir Bors have a vision of the Holy Grail, which Bors will achieve second to Galahad.

A-596 De Beverley, Thomas [pseud.], [i.e., George Newcomen]. “Sir Percival’s Vision.” The Youth of Sir Arthur, The Quest of Sangraele, and Other Poems. London: Erskine Macdonald, 1925. 25–29. In this poem, in blank verse, Sir Percival, on the quest for the Graele, finds a lion and a serpent struggling, and he slays the serpent to save the more noble beast; that night he dreams of two ladies, riding the lion and the serpent, the latter of which accuses him, but offers to make peace if he will abandon his faith and love her. A hermit interprets this dream for him, declaring it to be an allegory of the New Law and the Old. On another occasion, Percival is in the process of succumbing to a seduction when, upon crossing himself, the temptress-demon disappears.

A-597 De Beverley, Thomas [pseud.], [i.e., George Newcomen]. “Sir Uwaine’s Daughter.” The Youth of Sir Arthur, The Quest of Sangraele, and Other Poems. London: Erskine Macdonald, 1925. 34–40. In this poem (in blank verse), the story is told of Uwaine’s daughter, Leontine, who is courageous and wishes to be a knight, and his son, Hugo, who is cowardly. When a tournament is called in Camelot, Leontine goes in Hugo’s armour and fells many knights before she herself is felled (and gravely wounded) by Sir Martingal; when Martingal discovers that his opponent was a lady, he declares his determination to marry her. At the end of the poem, Leontine is a wife and mother, and Hugo has been shamed by his sister’s success into being more courageous.

A-598 De Beverley, Thomas [pseud.], [i.e., George Newcomen]. “The Story of Nimue.” The Youth of Sir Arthur, The Quest of Sangraele, and Other Poems. London: Erskine Macdonald, 1925. 15–18.

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This poem, in stanzas of three rhyming lines, is the story of Merlin’s entrapment. Nimue, a virtuous fairy maid, sees the wickedness behind Merlin’s smiles, and determines to force him to atone for his sins. First, she strips from him his enchantment against aging, and he turns into an old man overnight. Secondly, while Merlin sits beneath a tree, she comes to him, sits on his knee, allows him to caress her, and then persuades him, for love of her, to enter a magic cave, which she then seals behind him.

A-599 De Beverley, Thomas [pseud.], [i.e., George Newcomen]. “The Wife of Bath’s Tale.” The Youth of Sir Arthur, The Quest of Sangraele, and Other Poems. London: Erskine Macdonald, 1925. 41–48. This poem is the tale of the knight and the loathly lady, retold from Chaucer (in blank verse).

A-600 De Beverley, Thomas [pseud.], [i.e., George Newcomen]. “The Youth of Sir Arthur.” The Youth of Sir Arthur, The Quest of Sangraele, and Other Poems. London: Erskine Macdonald, 1925. 7–14. This poem, in blank verse, begins with the flight of Gorlois and Igraine from Uther’s court, the conception of Arthur, his fostering by Sir Ector, and his pulling of the sword from the stone as a sword for Kay. The poem concludes as Ector kneels before him as king and explains to him his parentage. Arthur’s incest is mentioned and is here blamed on Merlin, who encouraged him without revealing that the lady was his sister. Igraine’s willingness to marry Uther leads to comments by the narrator about the waywardness and fickleness of “all women.”

A-601 De Camp, L. Sprague. “Merlin.” Procrastination no. 12 (1974): 25. Rptd: Heroes and Hobgoblins. Illus. Tim Kirk. Forest Park, GA: Heritage Press, 1977. 147–48. Merlin is in his oak; he speaks with the narrator of this poem.

A-602 De Camp, L. Sprague. “The Sorcerers.” In Alchemy and Academe: A Collection of Original Stories Concerning Themselves with Transmutations, Mental and Elemental, Alchemical and Academic. Ed. Anne McCaffrey. Garden City, NY: Doubleday and Co., 1970. 32–33. Rptd: Heroes and Hobgoblins. Illus. Tim Kirk. Forest Park, GA: Heritage Press, 1977. 150. In this poem of four seven-line stanzas, the author reflects on people associated with magic. While we tend to think of magic as “dead,” as the first stanza suggests, the last three stanzas give evidence of the number of people who make money from claims to magic, whether those claims are real or falsified. They are thus alchemists acquiring gold from dross. Merlin is mentioned as one of the “men of magic” from the distant past.

A-603 De Camp, L. Sprague. “Tintagel.” The Arkham Collector 1 (Summer 1967): 22. Rptd: Heroes and Hobgoblins. Illus. Tim Kirk. West Kingston, RI: Donald M. Grant, 1981. 21. A Petrarchan sonnet, juxtaposing the commercial use of Arthurian themes in Tintagel (“King Arthur’s Tea Shop” and “Sir Gareth’s Petrol”) with the heroic past, concluding that the past is not lost completely: “But if you harken closely, you can hear / . . . The neigh of knightly steeds, the clang of steel. / The trumpets and the sigh of Guinevere” (11–14). The Arkham Collector, in which the poem first appeared, is a newsletter from Arkham House Publishers, used primarily to present announcements of new books, but often with a few poems interspersed.

A-604 De Camp, L. Sprague, and Fletcher Pratt. “The Mathematics of Magic.” Unknown (or Street and Smith’s Unknown) 3.6 (Aug. 1940): 2–66. Rptd: (with “The Roaring Trumpet”) The Incomplete Enchanter. New York: Henry Holt and Co., 1941.

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– These two were republished (with “The Castle of Iron” added as Book 3) as The Compleat Enchanter: The Magical Misadventures of Harold Shea. Garden City, NY: Nelson Doubleday, 1975. – Again republished, with two additional novellas (bringing the total to five), in The Complete Compleat Enchanter. New York: Baen, 1989. This is the second of five novellas of the adventures of Harold Shea, psychologist and paraphysical mathematician, which began in “The Roaring Trumpet” (which had appeared in Unknown (or Street and Smith’s Unknown) 3.3 (May 1940): 2–54). Reed Chalmers, inventor of the theory that lies behind travel to alternate worlds, goes with Shea in his travels, and the theory is elaborated in this portion of the story. In the previous story, “The Roaring Trumpet,” the travellers were in the world of ancient Germanic gods; in this novella they travel to the world of Spenser’s Faerie Queene Book 4, where they undertake to help Gloriana’s knights. Arthur is mentioned frequently though he never appears.

A-605 De Camp, L. Sprague, and Fletcher Pratt. The Incomplete Enchanter. New York: Henry Holt and Co., 1941. Rptd: (with “The Castle of Iron” added as Book 3) The Compleat Enchanter: The Magical Misadventures of Harold Shea. Garden City, NY: Nelson Doubleday, 1975. – Again republished, with two additional novellas (bringing the total to five), in The Complete Compleat Enchanter. New York: Baen, 1989. The Incomplete Enchanter combines the first two Harold Shea novellas, “The Roaring Trumpet” (in the world of ancient Germanic gods) and “The Mathematics of Magic” (in the world of Spenser’s Faerie Queene) into one twenty-chapter novel. Like Queen Gloriana in Spenser’s story, King Arthur is repeatedly mentioned here but never appears. Three additional novellas (including one more with an Arthurian theme, “The Castle of Iron”; see the separate entry), eventually complete The Complete Compleat Enchanter.

A-606 De Camp, L. Sprague, and Fletcher Pratt. “The Castle of Iron.” Unknown (or Street and Smith’s Unknown) 4.6 (Apr. 1941): 2–44. Rptd: (expanded) The Castle of Iron: A Science Fantasy Adventure. New York: Gnome Press, 1950. – (With two other novellas) as Book 3 of The Compleat Enchanter: The Magical Misadventures of Harold Shea. Garden City, NY: Nelson Doubleday, 1975. 201–334. – Again republished, with two additional novellas (bringing the total to five), in The Complete Compleat Enchanter. New York: Baen, 1989. 221–368. In this novella (the third in a series of five), Harold Shea and Reed Chalmers, travellers in alternate universes, are caught up in the world of Ariosto’s Orlando Furioso; Merlin appears as a character in the story.

A-607 De Lint, Charles. Ascian in Rose. Seattle: Axoloti, 1986. Rptd: “Ascian in Rose.” Spiritwalk New York: TOR, 1992. 19–91. This story is a sequel to Moonheart, so there are references to Taliesin and to events from that novel. The villain of this story is an evil Celtic queen called Glamorgana; the similarities of the name to “Morgan” would suggest that the Arthurian character is perhaps an inspiration for de Lint’s character, though parallels are not made explicit.

A-608 De Lint, Charles. “The Fair in Emain Macha.” Space and Time no. 68 (1985). Rptd: The Fair in Emain Macha. New York: Tor, 1990 (in a double volume with Fritz Leiber’s Ill Met in Lankhmar). – A Handful of Coppers: Collected Early Stories, Vol 1: Heroic Fantasy. Burton, MI: Subterranean Press, 2003. 185–240. According to de Lint’s notes in A Handful of Coppers (the only copy of the story we have seen), the

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version of this story in Space and Time is different than the subsequent versions. This is the fourth and last story of Colum Mac Donal. He returns from exile to Aerin in order to avenge his clan’s death and to meet again the princess he had loved. Artos appears only at the beginning of the story to forbid Colum’s departure for Aerin (which Colum ignores), but Myrddin is a main character throughout the story. He travels with Colum because he realizes that Artos’ dream of peace cannot succeed if the current, illegal king of Aerin is not stopped from making alliance with the Valkings.

A-609 De Lint, Charles. “Forest of Stone.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 21–37. A young musician befriends an old man living on the streets whose tales suggest that he is Merlin.

A-610 De Lint, Charles. “The Iron Stone.” Space and Time no. 61 (1982). Rptd: A Handful of Coppers: Collected Early Stories, Vol 1: Heroic Fantasy. Burton, MI: Subterranean Press, 2003. 161–83. This is the third of de Lint’s four stories of Colum Mac Donal, and one of the three with Arthurian content. (See also the entries for “The Ring of Brodger” and “The Fair in Emain Macha.”) The story begins when Ancelin (Lancelot) has fled with Artos’ wife Gwenore; Artos commands Colum to catch up to the lovers, kill Ancelin, and return Gwenore to Artos. On his way, however, Colum encounters raiders (Gaths) at a coastal village and finds the iron stone of the title, a stone used to invoke Germanic gods. Colum tries, and eventually succeeds in, making a temporary peace between Ancelin and Artos so that they can successfully repel the invaders. The story is particularly interesting in the way it handles the love triangle. De Lint quotes lines from songs by Robin Williamson (see the entries for Williamson in the Music section, particularly “Five Denials on Merlin’s Grave”).

A-611 De Lint, Charles. “Merlin Dreams in the Mondream Wood.” Pulphouse no. 7 (Spring 1990): 141–56. Rptd: Spiritwalk New York: TOR, 1992. 5–18. – The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 434–46. This story, like others in the collection Spiritwalk or the novel Moonheart, is set at Tamson House in Ottawa, in this case in the late 1960s. Sara encounters Merlin in her dreams and finally frees him from his enchantment.

A-612 De Lint, Charles. Moonheart. New York: Ace-Berkley, 1984. Like much of de Lint’s fiction, this novel is urban fantasy: it is set in late twentieth- century Ottawa, but in the midst of the ordinary world, the spiritworld exists and makes itself felt in strange occurrences. Tamson House, a main setting for the novel, exists in more than one of these worlds. Taliesin is an important figure in the novel, and he recounts some of his story, including learning from Merlin, being found by Elphin, and encountering Maelgwyn. In his own time, he was banished by Maelgwyn, and as he is set adrift in a coracle, he curses Maelgwyn’s druid. Taliesin ends up on Canadian shores and learns from the Native American shamans. Centuries later, the druid believes that he is fighting an evil power who once was Taliesin; the novel’s action follows the protagonists Kieran and Sara as they try to determine the source of the evil power and how to stop it. There are a number of other characters – including Sara’s uncle, an ex-biker, an artist, a lawyer, an RCMP officer, and some hoodlums who become involved in the action. De Lint combines Celtic and Native American belief systems throughout the novel.

A-613 De Lint, Charles. “Passing.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 149–77. In this short story, a young female reporter meets a Lady of the Lake. De Lint refers to Excalibur and Arthur in explaining the lady’s situation: her ability to remain human is tied to an unsheathed

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sword, and she keeps looking for someone to perform a rite that would free her from the sword entirely.

A-614 De Lint, Charles. “The Ring of Brodgar.” Space and Time no. 58 (1980). Rptd: A Handful of Coppers: Collected Early Stories, Vol 1: Heroic Fantasy. Burton, MI: Subterranean Press, 2003. 139–59. This is the second of de Lint’s stories of Colum Mac Donal. (The first is “Night of the Valkings” published originally in Space and Time no. 58 (1978) and reprinted in A Handful of Coppers, but it takes place in Aerin and has no Arthurian characters.) Journeying from Aerin to Endland (de Lint’s spelling), he is nearly drowned and has to agree to a bargain with the Aelden (supernatural beings) to save his life. They transport him safely to Endland where he is found by Myrddin and becomes one of Artos’ captains. De Lint depicts Arthur’s kingdom as a rough place, but Artos’ vision of a unified kingdom is treated as heroic. The main captains also mentioned are Gawen, Ancelin (Lancelot) and Drustans (Tristan), but the bulk of the story concerns Colum’s bargain; he has to be the champion of the Aelden, and in the process he keeps Artos’ kingdom safe from the Picts. Myrddin accompanies him on his travels.

A-615 De Lint, Charles. Spiritwalk. New York: Tor, 1992. In Spiritwalk, de Lint collects a series of previously published, related fantasy stories. All of them are set at Tamson House, so the book is a sequel to Moonheart. While “Merlin Dreams in the Mondream Wood” and “Ascian in Rose” have significant Arthurian content (see separate entries), the other stories, “Westlin Wind” and “Ghostwood,” are only Arthurian in that they refer to events in the previous stories and novel, so that Merlin and Taliesin are mentioned once or twice, though they take no part in the action.

A-616 De Marsh, Ted. “Lancelot’s Last Quest.” Illus. Kenneth Scott. On Spec 9.3 (Fall 1997): 31–40. This short story takes place after Arthur’s death and Guinivere’s retreat to a nunnery. Lancelot has wandered for many years, and in old age lives in a village where the main crop is olives. When the olive trees stop producing, he enacts a ritual quest that ends in his death, while restoring fertility to the groves.

A-617 De Vere, Aubrey. “King Henry at the Tomb of King Arthur.” The Search after Proserpine and other Poems Classical and Meditative. London: Kegan Paul, Trench and Co., 1884. 97–103. Rptd: Selected Poems. London: Macmillan, 1894. – “King Henry the Second at the Tomb of King Arthur.” Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 23–28. This poem has two parts. In the first, a harper plays a song of King Arthur which persuades King Henry to seek Arthur’s grave. In the second, Henry has the grave at Glastonbury opened and is brought by the experience to a greater reverence of God. The epitaph of the poem could apply to either Arthur or Henry.

De Walden, Lord Howard: see Ellis, T. E. A-618 Deal, Babs H. The Grail: A Novel. New York: David McKay Co., 1963. A novel about football as part of college culture in America, set at the fictional Castle University in the Southern U.S. The story involves a middle-aged football coach named Arthur Hill, his young wife, Jennie, and his star quarterback, Lance Hebert. The climax of the novel comes when Arthur discovers the love affair, but, when another member of the team (Mel Grant) comes to tell him about it and suggests that it is “hurting the team,” Arthur brusquely dismisses him. When Arthur subsequently confronts Jennie with his knowledge, it becomes apparent that he is more

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hurt by his loss of faith in his quarterback than by the unfaithfulness of his wife. In the final game of the season, Coach Hill calls a number of plays from the bench, undermining Lance and causing demoralization of the team, and resulting in a confrontation between Lance and another player in the huddle (“You ain’t nothing. We all know about you and Coach Hill’s wife”). Although Coach Hill’s interference stops before the final play (and his final words after the game are praise of Lance and regret that the blocking had been inadequate), the team “disintegrated.” In the final play of the game, Lance comes up half an inch short of the “grail” of the goal line, and thus they lose the last game of an otherwise perfect season.

A-619 Dean, Pamela. “This Fair Gift.” In Sisters in Fantasy 2. Ed. Susan Shwartz and Martin H. Greenberg. New York: Penguin Books, 1996. 33–79. This short story is set in an alternate universe that uses both technology and magic. The protagonist, Janie, works in a law office and, while arranging the Christmas party, finds pieces of magical clothing to present as gifts. Because the clothes choose to fit the person, Dean is playing on the stories of the ill-fitting mantle, although here each piece of clothing represents a quality of the wearer. Many (though not all) of the characters have Arthurian names: Baer is the head of the company, with other lawyers named DuLac, Wayne Lotson and Stuart Kay; Baer’s secretary is Gwen, and DuLac’s is Elaine. The qualities that are revealed by the clothing of these characters also matches their Arthurian counterparts.

A-620 Dean, P[hyllis] A. “The Great Hall at Tintagel.” Excalibur: The Chronicle of the Fellowship of the Round Table 4.4 (July 1935): 119. Five four-line stanzas. When entering the Great Hall, the world is left behind and “Our old ideals awake from slumber.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-621 Dean, Phyllis A. “Investiture.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.5 (Oct. 1930): 186–87. A fifty-line poem in blank verse, describing an investiture ceremony in King Arthur’s Hall. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-622 Dean, P[hyllis] A. “Vision.” Excalibur: The Chronicle of the Fellowship of the Round Table 4.1 (Oct. 1934): 29–32. A poem of 130 lines, in blank verse, presenting a vision in which the members of “all Round Tables” are addressed by Arthur; each of the patrons of particular Round Tables (Percival, Galahad, etc.) express wishes and blessings for their particular memberships. The poem ends as all those in the hall cheer, a “clarion-call of Avalon.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-623 Dedman, Stephen. “The Pretender.” Illus. Alan Lee. Realms of Fantasy Feb. 1997: 40–45, 69. This short story portrays Arthur as gay, and Lancelot and Guenever’s love affair occurs with his sanction. Mordred as Arthur’s son is a politically useful tale which hides Mordred’s own feelings for Arthur and the true story of Mordred’s conception.

A-624 Deeping, [George] Warwick. Love Among the Ruins. Illus. W. Benda. London: Cassell and Co.; New York: Outlook Co., 1904. A novel telling the story of a young woman who becomes part of a peasant uprising and who falls in love with the man supposed to be her enemy. Deeping seems to be drawing from Robin Hood, Joan of Arc, and Arthurian stories; some Arthurian names are used for characters, and there are numerous allusions to Arthurian episodes and places.

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A-625 Deeping, [George] Warwick. The Man on the White Horse. London, Toronto, Melbourne, and Sydney: Cassell and Co.; New York: Alfred A. Knopf, 1934. The man on the white horse is Geraint, a fourth-century landowner in southern Britain. The novel recounts his attempts to defend his holdings not just from the Saxons, Picts, and Celts threatening Britain at the time, but against a more immediate enemy: a power-hungry bishop who is leading a rebellion in a nearby city. Aside from the general setting of Britain at the time of Roman decline, none of the events are Arthurian; one possible exception is a reference made to the fact that Geraint will not stay at home after his marriage, but will continue to fight to defend his land (a seemingly unnecessary comment in the novel that recalls the story of Geraint and Enid). However, an astonishing number of characters (besides Geraint) have Arthurian names: Geraint’s love, Guinevra (Guenevere); his allies, Gawain and Constantine; his servants, Caradoc, Balan, and Morgan. Given Deeping’s other work, these names suggest that the story is influenced in some way by the legend, or is perhaps meant to be a precursor to Arthurian times.

A-626 Deeping, [George] Warwick. The Man Who Went Back. London: Cassell and Co.; New York: Alfred A. Knopf; Toronto: McClelland and Stewart, 1940. The first-person narrator of this novel is a young twentieth-century man who is in a car accident and wakes up in Dark Ages Britain. He takes the form of Pellias, the son of the steward to Ambrosius Superbus, whose brother is Aurelius Ambrosius. He takes part in the defence of Britain against the Saxons, and this provides the opportunity for many reflections on the similarities between their time and his own (the beginning of World War II). While Arthur is not a character in this novel, the narrator recalls various details of the Arthurian legends, particularly the hope that an Arthur will appear to rally the British against the invaders.

A-627 Deeping, [George] Warwick. The Sword and the Cross. London: Cassell and Co., 1957. This historical novel concerns Gerontius and Igerna, a young man and woman whose homes are destroyed as Saxons invade Britain. Gerontius gathers men to fight the Saxons and becomes an ally of Arthur.

A-628 Deeping, [George] Warwick. Uther and Igraine. Illus. W. Benda. New York: Outlook Co.; London: Grant Richards, 1903. Rptd: London: Cassell and Co., 1927; – New York: Alfred A. Knopf, 1928; – New York: Grosset and Dunlap, 1928. Deeping piles incident on incident in this novel star-crossed lovers. The two main characters meet and fall in love, only to be separated immediately; Gorlois uses Merlin’s magic to marry Igraine; at one point she escapes and acts as a knight errant. Gorlois eventually captures her and tries to tame her by torture, only to be attacked by Uther.

A-629 Deirdre [pseud.]. “Souvenir.” Chicago Tribune 27 Jan. 1923. (*) A poem, including some reference to the Tristan story.

A-630 Delabertouche, E. [pseud.], [i.e., Edward Erskine Matthews]. Pendragon. Privately published, 1915. (*) A drama set in Roman Britain; Uther and Arthur are mentioned.

A-631 Delaney, Frank. “Culhwch and Olwen.” Legends of the Celts. London: Hodder and Stoughton, 1989. 185–95. Delaney includes stories from Irish and Welsh sources. He declares that, with the Welsh stories in particular, he has used “storyteller’s license” especially to condense and simplify the tales. This retelling of Culhwch’s story from the Mabinogion leaves out many of the lists of heroes to focus on

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Culhwch’s time at Arthur’s court and his encounter with the Giant; this is followed by a summary of the tasks that he completes in order to marry Olwen.

A-632 Delaney, Frank. “The Dream of Rhonabwy.” Legends of the Celts. London: Hodder and Stoughton, 1989. 196–201. This is a retelling of the story from the Mabinogion of Rhonabwy’s dream of Arthur and Yvain playing a “board game” that matches the movements of their armies.

A-633 Delaney, Frank. “The Lady of the Fountain.” Legends of the Celts. London: Hodder and Stoughton, 1989. 202–12. This retelling of the tale of Yvain from the Mabinogion begins in Arthur’s court, where Yvain first hears of the fountain and its lady; it continues with his adventures in rescuing the lady and ends with his adventures with the lion. Yvain marries Luned at the end.

A-634 Delaney, Frank. “Tristan and Iseult.” Legends of the Celts. London: Hodder and Stoughton, 1989. 215–34. Delaney has chosen to retell this story because of its “powerful . . . place . . . in the body of Celtic legend” and thus in Western culture. This retelling begins in the middle of the story, after everyone knows that Tristan and Iseult are lovers as a result of the love potion. The story is therefore mostly about the various intrigues to discover the lovers, to reconcile Mark to them, or to punish them; it ends with two accounts of their deaths, one where Mark is responsible, and one with Tristan in Brittany.

A-635 Dell, Floyd. “King Arthur’s Socks: A Comedy.” In The Provincetown Plays, First Series. New York: F. Shay, 1916. Rptd: King Arthur’s Socks and Other Village Plays. New York: Alfred A. Knopf, 1922. 149–74. “First produced in New York City by the Provincetown Players.” The play is set in Camelot, Maine, where Guenevere is the wife of a philosophy professor named Arthur; Lancelot and Vivien are artists. The play concerns one last meeting between Lancelot and Guenevere before Lancelot leaves.

A-636 [Deloney, Thomas.] “The Noble Acts Newly Found of Arthur of the Table Round, To the Tune of Flying Fame” [a broadside ballad, also known as “Sir Lancelot du Lake” or “Lancelot du Lac”]. London: Printed for W. I. [W. Jones?], 1620. [STC (P&R) 6558.5 (ESTC S2568).] Rptd: (with “The Jolly Pinder of Wakefield” [broadside ballad]) [London]: Printed for F. Coles, T. Vere, J. Wright, and J. Clarke, [1674–1679?]. [STC (Wing) D959B (ESTC R179003).] – The Garland of Good Will divided into three parts: containing many pleasant songs and prety poems to sundry new notes. With a table to find the names of all the songs. London: Printed for Robert Bird, 1631. n.p. [STC (P&R) 6554 (ESTC S114551).] – “Sir Lancelot du Lake.” Reliques of Ancient English Poetry. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 1: 181–86. [ESTC T84936 and N65532.] – Old Ballads, Historical and Narrative, with Some of Modern Date, None of Which are Included in Dr. Percy’s Collection. 2 vols. Ed. Thomas Evans. London: Printed by T. Evans, 1777. 1: 5–10. [ESTC T146587; 2nd edn.: T146588.] – The Book of British Ballads. Ed. S. C. Hall. 2 vols. London: Jeremiah How, 1842–1844. 1: 117–24. – The Works of Thomas Deloney, Edited from the Earliest Extant Editions and Broadsides, with an Introduction and Notes. Ed. Francis Oscar Mann. Oxford: Clarendon Press, 1912. 323–26.

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– The Book of Old Ballads. Ed. Beverley Nichols. Illus. H. M. Brock. London: Hutchinson, 1934. 163–68. – And various other printings. This broadside ballad (beginning “When Arthur first in Court began, / And was approved King” appears to have been in circulation by the 1590s; it is entered in the Stationers’ Register on 8 June 1603. Copies of the two broadsides are extant in the collections of the Wood Ballads 401(61), Bagford Ballads (2: 14, 15), Pepys Ballads (2: 100), Roxburghe Ballads (6: 721–23), and Huth Ballads. Deloney includes it (as Item 8 of Part 1) in his Garland of Good Will, which is generally taken as evidence that he was the author of the ballad; further, while the 1631 edition of Deloney’s Garland is the earliest one extant, this was entered in the Stationers’ Register in 1593, suggesting that an earlier edition may have been published. The ballad tells of Lancelot’s search for adventures, his fight with Turquine, and his rescue of the imprisoned knights (cf. Malory, Bk. 6, Chaps. 7–9). In Hall’s Book of British Ballads, the ballad is accompanied by six illustrations (engraved drawings) by Edward Corbould (on which see the entry in the Fine Art section under Corbould, Edward: “Sir Lancelot du Lac”). In The Book of Old Ballads, the ballad is headed with a line drawing by H. M. Brock, showing two knights in combat (163). In Shakespeare’s 2 Henry IV (1600), II.iv.31–33, Falstaff enters singing “When Arthur first in court.” In John Marston and John Webster’s The Malcontent (London: Printed by V[alentine] S[immes] for William Aspley, 1604), Maleuole uses the line “When Arthur first in Court beganne,” but does not give any more of the song. The lines “When Tarquin first in Court began, / And was approved King” begin a song sung by Valerius in Thomas Heywood’s play The Rape of Lucrece (London: Printed by E. Allde for I. Busby, 1608). There is also a burlesque song beginning “When Arthur first in court began” in imitation of Deloney’s opening line – the song appears in various forms during the seventeenth and eighteenth centuries, and was transcribed from oral tradition by folk song collectors in the nineteenth – indicating something of the popularity of Deloney’s ballad (see the entry for “When Arthur first in court began”). Eleanor Fortescue-Brickdale produced an illustration for the ballad: see the entry for “Fortescue-Brickdale, Eleanor: Sir Lancelot and Sir Tarquin” in the Fine Art section.

A-637 Delrio, Martin. Harold R. Foster’s Prince Valiant. New York: Avon Books, 1998. A novel based on a screenplay by Michael Frost Beckner, Anthony Hickox and Carsten Lorenz; the screenplay is itself based on Hal Foster’s Prince Valiant in the Days of King Arthur, a comic strip that ran from 1937 to 1982 (when it was taken over by John Cullen Murphy). The novel begins with Valiant as Gawain’s squire, and it recounts the adventures that lead Valiant to discover his true identity as he is rescuing Excalibur from Morgan and her Viking allies. (See also the entries under “Prince Valiant” in the Comics, Film, and Music sections.)

A-638 Delving, Michael. Die Like a Man. London: Collins (Crime Club), 1970. (*) A crime story involving the Grail.

A-639 Demetrick, Mary. “The Lady of the Lake Goes to Paris to Get Away from It All.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 61–62. A poem describing a railway journey that “the Lady” takes to Paris, and it reflects on dreams and fantasy. The title and a few mentions of water and a sword make up the Arthurian allusions.

A-640 Devereux, Blanche. “Gwrtheyrn the Drunkard.” Star of Mercia: Historical Tales of Wales and the Marches. Intro. Ernest Rhys. London: Jonathan Cape, 1922. 11–34. A story of one Mogneid, a druid and kinsman of Gwrtheyrn (Vortigern). Gwrtheyrn has been deposed by his former allies the Saxons and is being pursued by Aurelius Ambrosius, the new ruler of Britain. One reference to Arthur suggests that these events take place after his lifetime. This is the only Arthurian story in the collection.

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A-641 Dexter, Susan. “Where Bestowed.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 363–75. A short story set after Arthur’s death. It begins with the story of Bedivere returning Excalibur to the lake, but the body of the story concerns one of the knights who searches for Excalibur in order to rally the people to save them from the Saxons. In the end, he finds what he seeks, though not in the way he had thought he would.

A-642 Dias, Earl J. “The Knights of the Square Table.” Plays: the Drama Magazine for Young People 25 (Dec. 1965): 51–62. Rptd: New Comedies for Teen-agers. Boston, MA: Plays Inc., 1967. 258–79. A “comic melodrama” (as the magazine describes it) playing on Arthurian names. The queen, for example, is Giddyvere, one of the knights is named Perceval. Lancelot and Merlin are also mentioned. The play mocks heroic and chivalric notions with ridiculous situations (none of which are Arthurian).

A-643 Dickinson, Peter. The Changes Trilogy. Harmondsworth: Puffin / Penguin, 1985. An omnibus edition of the three novels of the series, arranged according to internal chronology instead of date of original publication: The Devil’s Children (first published 1970); Heartsease (first published 1969); and The Weathermonger (first published 1969). Of the three, only The Weathermonger is explicitly Arthurian, as it is only in that book that Merlin is revealed as the reason for Britain’s regression to Dark Ages technology (see the separate entry for The Weathermonger). Thus while he is the cause of the circumstances of the other two novels, that only becomes clear in the third. There is a figure called Arthur in The Devil’s Children who leads a small community, but he is a relatively minor character and is killed off by thieves, so the Arthurian parallels are not sustained. (For details of the television series based on these novels, see the entry for “Changes” in the “Film, Television, and Radio” section.)

A-644 Dickinson, Peter. Merlin Dreams. Illus. Alan Lee. London: Victor Gollancz; New York: Delacorte Press, 1988. The story of Merlin’s final enchantment and “entrapment” sets up a series of short stories that recount episodes from Merlin’s dreams. The stories themselves are not explicitly Arthurian and generally resemble folktales, but there are brief mentions of magical occurrences (like a beheaded green knight) that keep the Arthurian context in mind. Dickinson also seems to be suggesting historically plausible backgrounds for the Arthurian tradition by describing, for example, tribal rituals for choosing a new king as part of Merlin’s memories; such memories do not follow the Arthurian stories, but are suggestive of them nonetheless. The nameless girl who “entraps” Merlin helps him perform a ritual he has freely chosen, but Dickinson suggests that the common story of her trapping him was the result of the villagers misunderstanding the situation. Most pages are beautifully illustrated with either pencil drawings or full-colour pictures. (On the illustrations, see the entry under “Lee, Alan: Merlin Dreams” in the Fine Art section.)

A-645 Dickinson, Peter. The Weathermonger. London: Victor Gollancz, 1969. Rptd: The Changes Trilogy. Harmondsworth: Puffin / Penguin, 1985. 237–348. A brother and sister team are sent to find the cause of Britain’s mysterious change. One day, everyone became afraid and uncertain of modern technology, so that England, Wales, and Scotland have reverted to Dark Ages technologies and ways of life. Some people were less affected, and some escaped after; Jeff and Sally, the protagonists of this novel, were affected but have awakened from that state. Jeff is the weathermonger of the title; though he understands how to work machines, he also has magical abilities that allow him to create and manage weather conditions. When they finally find the source, they discover that a pharmacist had discovered Merlin, sleeping, and had provided him with morphine to try to control him. Instead, Merlin’s dreams and thoughts have caused this nationwide reversion. Though published first, the other two novels of the trilogy (Heartsease and The Devil’s Children) take place before the events of this one (see

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the entry for The Changes Trilogy); the trilogy was adapted by Anna Home for a ten-episode BBC-TV serial that began on 6 Jan. 1975 and aired weekly. (See also the entry for “Changes” in the “Film, Television, and Radio” section.)

A-646 Dickson, Gordon R. The Dragon and the Gnarly King. The Dragon Series 3. New York: TOR, 1997. The third in a series of fantasy novels set in an alternate fourteenth century with the twentieth-century Jim Eckert (scholar, apprentice magician, and occasional dragon) as protagonist. In this novel, he and his companions must travel to the underworld kingdom of the Gnarlies, for the Gnarly King is in league with dangerous humans who wish to overthrow the English king and gain power for themselves. As part of this journey, Jim and his friends travel through Lyonesse. Several Arthurian characters and stories are mentioned, but only Sir Dinadan and the Questing Beast appear; many of the characters mentioned (like Arthur and Pellinore) will appear in the fourth book, The Dragon in Lyonnesse. The novel also quotes Tennyson; parts of “The Passing of Arthur” are recited.

A-647 Dickson, Gordon R. The Dragon in Lyonesse. The Dragon Series 4. New York: TOR, 1998. The fourth in a series of fantasy novels set in an alternate fourteenth century; the protagonist is a twentieth-century man. In this novel, Jim travels with his friends to The Drowned Lands and Lyonesse in order to stop the Dark Powers, who, with the help of Mordred and Morgan, are trying to take over those worlds. There are numerous references to Malory and, near the end of the book, to Tennyson; parts of “The Passing of Arthur” are recited. Various Arthurian characters appear, most notably Pellinore, the Questing Beast, Merlin, and Arthur himself.

A-648 Dickson, Gordon R. The Dragon Knight. The Dragon Series 2. New York: TOR, 1990. The second book in the series begun by The Dragon and the George, this novel relates further adventures of Jim Eckert, a twentieth-century scholar in an alternate medieval universe. In this one, he journeys to France to rescue Prince Edward and begins to use his magical powers. While there are no Arthurian references in The Dragon and the George, there are several references to Merlin and his teacher in this novel, as Jim becomes the apprentice of the magician Carolinus. Lancelot and Nimue are mentioned as well.

A-649 Dietz, Jim. “Excalibur.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 18. The speaker of this poem owns Ted Williams’ bat, but is told by a wizard-figure to return it to the land. The title suggests Arthurian parallels.

A-650 Dillon, Arthur. King Arthur Pendragon. London: Elkin Mathews, 1906. This five-act play intertwines the story of Tristan and Iseult with that of the end of Arthur’s reign. Mordred’s plot to trap Lancelot and the queen and his attempt to seize the throne form the major parts of the action.

A-651 Disney, Walt, Co. Mickey Mouse in King Arthur’s Court. London: Dean and Son; New York: Blue Ribbon Books, [1933?]. (*) Picture-book.

A-652 Disney, Walt, Co. The Sword in the Stone. Disney Classic Series. New York: Galley Books; Greenwich, CT: Twin Books, 1987. Rptd: Walt Disney’s The Sword in the Stone. New York: Mouse Works / Penguin, 1993. A large-sized picture-book based on the Walt Disney film. While it follows the film quite closely,

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some details are changed or left out; for example, the wolf only starts to pursue the Wart when he leaves for the castle with Merlin, Wart’s journey to Merlin’s house and his journey with Merlin to the castle are both made shorter, and the encounters with Kay and Ector are also minimized. The book is brightly coloured, with illustrations duplicating the animation of the film. (See also the entry for The Sword in the Stone in the “Film, Television, and Radio” section.)

A-653 Disney, Walt, Co. Sword in the Stone. New York: Viking Child Books, 1988. (*) A novelization of the film. (See also the entry for The Sword in the Stone in the “Film, Television, and Radio” section.)

A-654 [Disney, Walt, Co.] The Sword in the Stone: Based on Walt Disney Productions Full Length Cartoon Feature Film. By Derry Moffat. London: New English Library, 1976. (*) A children’s picture-book based on the Walt Disney film. (See also the entry for The Sword in the Stone in the “Film, Television, and Radio” section.)

A-655 Disney, Walt, Co. “The Sword in the Stone: The Wizards’ Duel.” Disney’s Adventureland: Including Robin Hood and the Daring Mouse, The Sword in the Stone: the Wizard’s Duel, The Aristocats. New York, and Racine, WI: Golden Book / Western Publishing Co., 1989. A picture-book that includes episodes from three Disney films. The episode from The Sword in the Stone begins with the Wart’s desire to be a bird, tells of his transformation and arrival at Madame Mim’s, and ends after Merlin has defeated the witch in the duel. While Archimedes appears in the pictures, he is not mentioned in the text; the story has been simplified from the film version. (See also the entry for The Sword in the Stone in the “Film, Television, and Radio” section.)

A-656 Ditmas, E[dith] M[argaret] R[obertson]. Gareth of Orkney. London: Faber and Faber, 1956. While based on Malory, Ditmas adds many details and clarifies motivations in order to turn the romance into a historical novel of youth and maturation.

Dixon, Andy: see the entry for “King Arthur’s Knight Quest” in the Games section. A-657 Dixon, Franklin W. King for a Day. Illus. Marcy Ramsey. The Clues Brothers 12. New York, London, Toronto, Sydney, Tokyo, and Singapore: Minstrel / Simon and Schuster, 1999. Frank and Joe Hardy, the famous Hardy Boys, go to a new theme park with their friends and have to solve a mystery. Their friend Chet pulls a sword out of a stone to become King for a Day, but then the sword is stolen and the brothers must find the thief.

A-658 Dixon, Peter. “Chalice.” Ore 23–24 (1979): 11. This short poem describes a communion chalice, imagining the long history of quests for the Grail, for the divine.

A-659 Dobson, Austin. “Palomydes.” At the Sign of the Lyre. London: Kegan Paul, Trench and Co., 1885. 86–87. Rptd: Collected Poems. 2 vols. New York: Dodd, Mead and Co., 1895. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 29. The speaker of this five-stanza poem compares himself to Palomydes, loving though he is not loved in return; first line: “Him best in all the dim Arthuriad.”

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A-660 Dockery, G. Daniel and Charles Wyatt, ed. Minor Arthurian Poetry of the Nineteenth Century. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. An anthology of poetry. For details of individual works see William Edmondstoune Aytoun “La Mort d’Arthur, Not by Alfred Tennyson”; Sabine Baring-Gould, “Lancelot”; Francis Burdett Money Coutts, “A Ballad of Cornwall” and “Sir Dagonet’s Quest”; John Davidson, “The Last Ballad”; Aubrey de Vere, “King Henry at the Tomb of King Arthur”; Austin Dobson, “Palomydes”; Ralph Waldo Emerson, “Merlin I” and “Merlin II”; Eugene Field, “A Proper Trewe Idyll of Camelot”; Adam Lindsay Gordon, “The Rhyme of Joyous Garde”; Robert Stephen Hawker, “The Doom-Well of St Madron” and “Queen Guennivar’s Round”; S. Weir Mitchell, “How Lancelot Came to the Nunnery in Search of the Queen”; W[illiam] H[enry] Rhodes, “Rosenthal’s Elaine”; Sir Walter Scott, “Thomas the Rhymer: Part Third”; and Alaric Alexander Watts, “The Lady and Merlin. A Picture by [Stewart] Newton.”

A-661 [Doctor Who.] Platt, Marc. Battlefield. Doctor Who 152. London: Target, 1991. This is a novelization of the “Battlefield” episode of the show. Brigadier Winifred Bambera is more obviously equated with Guenevere in this version, but the basic plot elements and characters are the same. (See also the entry for “Doctor Who” in the “Film, Television, and Radio” section.)

A-662 [Doctor Who.] “The Creation of Camelot.” In Doctor Who Annual. Manchester: World International, 1983. (*) The printed version of an episode of the television series in which the Doctor visits King Arthur. (For details of the television show’s Arthurian episodes, see the entries for “Doctor Who” in the “Film, Television, and Radio” section.)

A-663 Dodd, E[lisabeth] F[rances]. The Knights of the Round Table: The Story of Some of Their Adventures. Madras, Bombay, Calcutta, and London: Macmillan and Co., 1960. “The old British legend of King Arthur and his knights is told here in very simple English, suitable for the middle forms of schools where English is taught as a foreign language,” adhering to a vocabulary limit of 1000 words (Preface). This selection of the legends emphasizes the Grail story, beginning with Joseph of Arimathea bringing the Grail to Britain and ending with its appearance at Camelot. Some other basic episodes of the legend are also included (birth of Arthur, the sword in the stone, marriage to Guenevere and establishment of the Round Table, Pellinore and the White Hart, Gawain as knight of the fountain (instead of Yvain), Geraint and Enid, Sir Bors at the Grail castle, the birth of Lancelot and his fostering by the Lady of the Lake, Galahad’s quest for the Holy Grail). There is a series of pen-and-ink illustrations, but the artist is not credited.

A-664 Donaldson, John W., ed. Arthur Pendragon of Britain: A Romantic Narrative by Sir Thomas Malory as Edited from “Le Morte Darthur.” By Sir Thomas Malory. New York: G. P. Putnam, 1911. Rptd: Illus. Andrew Wyeth. New York: G. P. Putnam’s Sons, 1943. The foreword indicates that this is the Morte Darthur as Donaldson imagines Malory would have wished it to be: abridged (by about 50%) and “improved” (by the rearrangement of some episodes and by a more careful focus upon Arthur). The 1943 reprinting was provided with four full-page B&W drawings by Andrew Wyeth (son of N. C. Wyeth), being portraits of the principal characters (Gaines, Item B36, with a reproduction of the title-page facing p. 66).

A-665 Doolan, Moira F. The Knights of the Round Table, from the “Morte D’Arthur” of Sir Thomas Malory. Dominion Library. London: Lutterworth Press, 1954. (*) A retelling of various episodes from Malory, with a focus on the early parts of the story (from Arthur’s wedding to the induction of Pelleas into the Fellowship) (Gaines, Item C64). (Information from Gaines.)

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A-666 Dorr, James S. “Dagda.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 90–95. The speaker of this poem is Dagda, who reflects on all of the years of keeping the Grail. The poem mentions Perceval specifically and describes a king who is obviously Arthur. The Grail as Christian cup or pagan cauldron also appears in this poem.

A-667 Doughty, Maryellen. “King Arthur’s Eyes.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 57–58. This poem describes various events from Arthur’s life, including his fostering, his taking of the sword from the stone, his marriage, the love affair of Lancelot and Guenevere, the battle against Mordred, and Arthur’s possible return. At the end of each description, a slightly longer couplet refers to Arthur’s eyes and what he sees or what they express.

A-668 [Douglas], Christiana Jane. Arthur. London: Hurst and Blackett, 1870. (*) A novel of Arthur.

A-669 Doyle, Sir A[rthur] Conan. “The Last of the Legions.” The Last Galley: Impressions and Tales. London: Smith and Elder; New York: Doubleday, Page and Co.; Leipzig: Tauchnitz, 1911. 91–101. Rptd: The Last of the Legions and other Tales of Long Ago. New York: George H. Doran Co., 1925. A historical short story, set at the moment that the orders come from Rome for the legions to withdraw from Britain. One of the British leaders who hopes to create a British-ruled Britain is Caradoc; Mordred is mentioned as one of the violent men whose actions doom Caradoc’s dream.

A-670 Doyle, Debra, and James D. Macdonald. “Selling the Devil.” In On Crusade: More Tales of the Knights Templar. Ed. Katherine Kurtz. New York: Warner Books, 1998. 220–50. In this second story about Peter Crossman, he uncovers a plot to raise the devil and then kill him with a special sword. The sword is Clarent, King Arthur’s second sword, also known as his sword of justice (Excalibur is also mentioned). The sword possesses those who seize it and make them instruments of justice. Crossman has to recover the sword and stop the plot before too many people are killed in the name of justice. Maggie, the secret agent / nun, is once again involved in the action. (See also the entry under “Macdonald, James.”)

A-671 Doyle, Debra, and James D. Macdonald. “Stealing God.” In Tales of the Knights Templar. Ed. Katherine Kurtz. New York: Warner Books, 1995. 248–72. Peter Crossman is a secret agent for modern Knights Templar; he is both warrior and priest. In this, the first story where he appears, we are also introduced to Maggie (Sister Mary Magdalene) of the Special Action Executive of the Poor Clares. The two of them combine their talents to discover who has stolen the Grail. There are references to Wolfram von Eschenbach’s Parzival and to other Arthurian stories (the Templars had confused people looking for the Grail by getting “people to go looking for dinnerware” [253]). The whole story has a James Bond flavour of violence and wit. (See also the entry under “Macdonald, James.”)

A-672 Dozois, Gardner, and Sheila Williams, ed. Isaac Asimov’s Camelot. New York: Ace Books, 1998. The stories that appear in this anthology were originally published in Asimov’s Science Fiction

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Magazine. For details of individual works, see Roger Zelazny, “The Last Defender of Camelot”; Esther M. Friesner, “The Three Queens” and “Wake-up Call”; Michael Swanwick, “The Dragon Line”; Jane Yolen, “The Quiet Monk”; Tanith Lee, “Into Gold”; Steven Popkes “Dr. Couney’s Island”; Ian McDowell, “Son of the Morning”; Megan Lindholm, “Silver Lady and the Fortyish Man”; Eleanor Arnason “The Dog’s Story.”

A-673 DragonHeart. By Charles Edward Pogue. New York: Boulevard Books, 1996. Rptd: (audiobook) Read by Michael Page. 2 cassettes (approx. 3 hours). Grand Haven, MI: Nova Audio Books / Brilliance Corp., n.d. ISBN 1561008958. A novelization of Pogue’s screenplay for the film of the same name (see the entry for “DragonHeart” in the “Film, Television, and Radio” section). While the story is essentially the same, Pogue has made the novelization more detailed and uses Arthurian allusions more explicitly. When the main characters reach Avalon, for example, they realize that each stone pillar represents one of Arthur’s knights and name these knights; ghosts of Arthur’s men appear to the protagonist and each recite a line of the Old Code.

A-674 DragonHeart Junior Novelization. Adapt. by Adriana Gabriel. Based on the screenplay by Charles Edward Pogue. Los Angeles: Price Stern Sloan, 1996. This “junior novelization” follows the film closely, and is a simpler version than Pogue’s novel. It also reproduces a few stills of scenes from the film.

A-675 Drake, David. The Dragon Lord. New York: Doherty, 1982. The only real good guys in this bloodthirsty tale are Mael (an Irish mercenary), Starkad (a Dane mercenary), and Veleda (a witch / goddess). Arthur is a megalomaniac, madly intent on fame and world domination, Merlin is his lackey, and his men are trained killers. The Saxons are no better; some of them are shown sacrificing humans to their gods. The main characters are also violent, but their strong devotion and loyalty to one another gives them some redeeming qualities. Arthur, desiring more power, forces Merlin to conjure a wyvern to wipe out the Saxons, but Merlin cannot control the creature, and Mael and his friends must kill it before it destroys the universe.

A-676 Drayton, Michael. Englands Heroicall Epistles. London: Printed by J[ames] R[oberts] for N. Ling, 1597. [STC (P&R) 7193 (ESTC S111950); also 7193.2 (ESTC S91774); 7194 (ESTC S105378); 7195 (ESTC S116520); 7196 (ESTC S105393 and S126696); 7197 (ESTC S116347); and (Wing) D2145 (ESTC R22515).] Rptd: The Works of Michael Drayton. Ed. J. William Hebel (Vol. 5 ed. Kathleen Tillotson and Bernard H. Newdigate). 5 vols. Oxford: Published for the Shakespeare Head Press by Basil Blackwell, 1961. 2: 129–308. In imitation of Ovid’s Heroides, Drayton offers fictional letters by individuals from the history of England, several of which include brief Arthurian references: “Mortimer to Queene Isabel” (168–74 in the 1961 edn.) has Mortimer referring to his father’s attempt to found a new “Round Table” order of chivalry centred at Kenilworth (169); “Queene Katherine to Owen Tudor” (201–207) speaks of the fact that both Wales and England glory in tales of Camelot, of Pendragon’s Race, and of Arthur’s Table, making a marriage between English and Welsh royalty “natural”; “Owen Tudor to Queene Katherine” (208–14) replies that Merlin foretold the union of Wales and England in the Tudor line (209); there is a second reference to Merlin when Tudor mentions Caermarthen and calls it “Merlins town”).

A-677 Drayton, Michael. Poly-Olbion; or, A chorographicall description of tracts, riuers, mountaines, forests, and other parts of this renowned isle of Great Britaine with intermixture of the most remarquable stories, antiquities, wonders, rarityes, pleasures, and commodities of the same: digested in a poem . . . with a table added, for direction to those occurrences of story and antiquitie, whereunto the course of the volume easily leades not.

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[Ed. John Selden.] London: Printed for Mathew Lownes, I. Browne, I. Helme, and I. Busbie, 1612. [STC (P&R) 7226 (ESTC S121629); also 7227 (ESTC S121632); 7228 (ESTC S121639).] The Second Part, or a continuance of Poly-Olbion from the eighteenth song, Containing all the tracts, riuers, mountaines, and forrests: intermixed with the most remarkable stories, antiquities, wonders, rarities, pleasures, and commodities of the east, and northerne parts of this isle, lying betwixt the two famous riuers of Thames, and Tweed. London: Printed by Augustine Mathewes for John Marriott, John Grismand, and Thomas Dewe, 1622. [STC (P&R) 7229 (ESTC S121634); 2nd edn. 7230 (ESTC S121637).] Rptd: Poly-Olbion: A Chorographicall Description of Great Britain [Parts 1 and 2]. 3 vols. Spenser Society Publications ns 1–3. Manchester: Spenser Society, 1889–1890. – The Works of Michael Drayton. Ed. J. William Hebel (Vol. 5 ed. Kathleen Tillotson and Bernard H. Newdigate). 5 vols. Oxford: Published for the Shakespeare Head Press by Basil Blackwell, 1961. Vol. 4. A description of England and its history and legends, arranged by region of the country, in prose and verse (thirteen “songs” with prose explanations and historical commentary). Elements of the Arthurian legend and folklore are introduced in several sections.

A-678 Drinkwater, John. “On the Performance of Thomas Hardy’s ‘Famous Tragedy of the Queen of Cornwall.’ ” From an Unknown Isle. London: Sidgwick and Jackson, 1924. 30. The entire volume of poems is dedicated to Hardy, and this particular poem reflects on one of Hardy’s works and the legend behind it. The first stanza describes the familiar characters of Hardy’s tragedy (they are so familiar that in fact Drinkwater does not use their names). The last two stanzas reflect on the endurance of the story and the love of Tristan and Iseult. The poem is dated at Dorchester on 30 Nov. 1923. (See also the entry for “Ireland, John” in the Music section.)

A-679 Drummond, Hamilton. Sir Galahad of the Army. Toronto: McClelland and Goodchild, 19--. This novel is set during a war between France and Italy. King Charles (son of Louis XI) disguises himself to accompany the protagonist, LeBrocq, on a mission with some Italians to protect a convent from renegades. LeBrocq is the Galahad of the title. His comrades in the army give him the nickname because of his idealism and his determination to protect innocents, particularly women, from harm. After the convent rescue, he is knighted by the king and charged to take one of the women back to her family. Allusions to Galahad and to the Grail are sustained throughout the book.

A-680 Dryden, John. King Arthur; or, The British worthy, a dramatick opera: perform’d at the Queens Theatre by Their Majesties servants. [Music by Henry Purcell.] London: Printed for Jacob Tonson, 1691. [STC (Wing) D2299 (and ESTC R19755 and R225097); also 1695: (Wing) D2300 (and ESTC R6445); 1735: ESTC T29426; 1735: ESTC T29427; 1736: ESTC N55936; 1736: ESTC T73432; 1736: ESTC T175398; 1750: ESTC N2776; 1763: ESTC T16468; 1763: ESTC T180080; 1769: ESTC T180128.] Rptd: Arthurian Drama: An Anthology. Ed. Alan Lupack. Garland Reference Library of the Humanities 1276. New York and London: Garland Publishing, 1991. 67–115. The play, called by Dryden a “dramatick opera,” was written in 1684, in anticipation of the Silver Jubilee of Charles II, with an allegorical prologue celebrating the Restoration. However, King Charles requested something else for the occasion, and Dryden set King Arthur aside and wrote Albion and Albanius, set to music by Luis Grabu and performed in 1685. After Dryden was stripped of his Laureateship and forced by financial circumstances again to write for the public stage, he revised the play and sent it to Purcell (Purcell’s score was never published and is now known only from several incomplete and somewhat confusing manuscript copies). The plot is

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generally based on Geoffrey of Monmouth, though the specifics are Dryden’s own invention. It is set in the wars of the Christian Britons against the pagan Anglo-Saxons; Oswald, leader of the invaders, with his magician Osmond, has captured Emmeline, Arthur’s beloved. The story tells of how Arthur, with Merlin’s aid, seeks to rescue Emmeline. Dryden’s King Arthur was first performed in 1691. A revival in 1736, with the opera adapted by a “Mr Giffard,” was entitled “Merlin; or, The British Inchanter.” A version by Thomas Arne in 1784 was entitled “Arthur and Emmeline.” (For details of music composed for Dryden’s words, see the entries for “Purcell, Henry,” “Arne, Thomas, Arthur and Emmeline,” “Nelson, Paul,” “Pearsall, Robert Lucas,” and “Whittaker, W. G.” in the Music section.)

A-681 [Dryden, John.] Merlin: or, the British Inchanter, and King Arthur, the British Worthy. By William Giffard. London: Printed for Edmund Curll, 1736. Rptd: Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 165–98. A revival of Dryden’s King Arthur with some alterations. It is a five-act play with Emmeline as Arthur’s love. (See also the entry for “Purcell, Henry” in the Music section.)

A-682 Du Bose, Horace M. The Gang of Six: A Story of the Boy Life of Today. Nashville and Dallas: Publishing House of the M. E. Church, 1906. This story is about a young man who decides to help a “gang” of six boys. When they meet he tells them stories; one is of a knight of King Arthur’s court, Sir Christopher, and his squire. The boys become “squires” themselves and then later “knights” as they learn more about Christ and become dedicated Christians. There are several references to Arthur and the Round Table throughout.

A-683 Du Maurier, George. “A Legend of Camelot.” Illus. George du Maurier. Punch 50 (Jan.-June 1866): 94, 97, 109, 128, 131. Rptd: A Legend of Camelot. New York and London: Harper, 1898. 1–12 and plates. – The poem appears in A Century of Humorous Verse, 1850–1950. Ed. Roger Lancelyn Green. Everyman’s Library 813. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1959. 65–72. – The five engravings are reproduced in Suriano, The Pre-Raphaelite Illustrators 282–83. The poem is a parody of Tennyson’s Arthurian poems; first line: “Tall Braunighrindas left her bed.” Each of the five parts is accompanied by one half-page illustration. Suriano describes these five engravings as “appropriately over-detailed, mock-medieval parodies of Pre-Raphaelites and their female ‘types’ ” (283). The 1898 book version reproduces Du Maurier’s several works for Punch, of which “Legend” is only one.

A-684 Duffy, Maureen. Capital: A Fiction. London: Jonathan Cape, 1975. The stories of two twentieth-century residents of London are interspersed in this novel with brief stories from past inhabitants or visitors to the London area. Some of these inhabitants are dinosaurs or cavemen. At the end of Part 1, there is a story about a boy who travels with an old man. The boy has drawn a dagger out of a stone and has thus been proclaimed the new “Artos”; the old man’s name, Murddin, makes him obviously a Merlin-figure. After spending a night with a priestess, the boy is told to cast the dagger back in the lake; he is disappointed when nothing happens, though the old man refers to an arm dressed in white. In Part 2 (“New Troy”), Duffy draws on Geoffrey of Monmouth for characters such as Brutus and the other kings of Britain.

A-685 Duggan, Alfred Leo. The Conscience of the King. London: Faber and Faber, 1951. This book is framed as the autobiography of Cerdic, eventual King of the West Saxons, from his boyhood in Britain, to his exile in Germany, and to his triumphant claiming of a kingdom in Britain. One episode in his long career is his defeat by Arthur at Badon Hill. This is the first novel of a “Saxon Trilogy.”

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A-686 Dungate, Pauline E. “The Magic Roundabout.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 105–14. Three girls meet an old man in the park. The names and allusions to various patterns of relationships make this story Arthurian. For example, Jenny has a dog named Rex, but then spends all of her time with a dog named Dulac; Nimmi wants to learn herbal lore from the old man.

A-687 Dunkerley, Desmond. The Deeds of the Nameless Knight. Illus. Robert Ayton. Tales of King Arthur 2. Loughborough: Ladybird Books, 1977. This is a retelling for children of the story of Gareth’s first quest.

A-688 Dunkerley, Desmond. The Knight of the Golden Falcon. Illus. Robert Ayton. Tales of King Arthur 4. Loughborough: Ladybird Books, 1977. This book for children contains three stories. The first is a fairly conventional retelling of Geraint’s winning of Enid. The second is the story of Balin and Balan (though Balan is here called Bors). The third is the story of Gawain’s quest to find a fountain whose waters will cure the Queen’s illness; he believes he will have to overcome a knight and marry the fountain’s owner, an ugly witch, but when he proves his courage, she turns out to be a beautiful maiden. In each story, Arthur’s ongoing war with the Saxons is mentioned.

A-689 Dunkerley, Desmond. Mysteries of Merlin. Illus. Robert Ayton. Tales of King Arthur 1. Loughborough: Ladybird Books, 1977. A small book for children retelling some of the major stories of Merlin and Arthur, such as Uther’s death, the sword in the stone, and Arthur and Guenevere’s marriage. Some of the events and characters are given rather different relationships than is common; Morgan, for example, is Merlin’s stepsister, and Pellinore leads the rebellious kings against Arthur.

A-690 Dunkerley, Desmond. Sir Lancelot of the Lake. Illus. Robert Ayton. Tales of King Arthur 3. Loughborough: Ladybird Books, 1977. This children’s book focuses on two of Lancelot’s adventures: his capture by Morgan and subsequent escape and defeat of Turquine; and his encounter with Elaine of Astolat.

Dunn, Linda: see Resnick, Mike, and Linda Dunn. A-691 Eager, Edward [McMaken]. Half Magic. New York: Harcourt, Brace and World, 1954. Four children find a talisman one summer and discover that it possesses half-magic; that is, it will grant half of any wish. One of the children, who likes to read, uses a wish to go back in time to Arthur’s court. The children meet Lancelot, rescue him from Morgan, watch and participate in a tournament, and talk to Merlin. Other Arthurian characters, including the king, queen, and knights such as Mordred, are also mentioned.

A-692 Eager, Edward [McMaken]. Knight’s Castle. New York: Harcourt Brace, 1956. Rptd: Illus. N. M. Bodecker. San Diego, New York and London: Harcourt Brace Jovanovich, Publishers, 1984. Two children, Roger and Ann, have magical adventures with their two cousins, Jack and Eliza. An old toy soldier of Roger’s, called the Old One, conducts them into the magic realm of their own toys. The children are caught up in the story of Ivanhoe, Robin Hood and Richard the Lionheart, but King Arthur and his court are mentioned as ideals of chivalry, and Roger must draw a sword from a stone in order for the adventure to conclude successfully. One reference to King Arthur is also a reference to Half Magic, a previous book by the same author.

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A-693 Earle, Jean. “Blondie.” Selected Poems. Bridgend, Mid Glamorgan: Seren Press, 1990. 11. This poem about a girl and her effect on others alludes to Iseult, Arthur and Guenevere.

A-694 Earle, Jean. “Merlin’s Hill.” Selected Poems. Bridgend, Mid Glamorgan: Seren Press, 1990. 41–44. This poem has three parts and describes the location, Merlin’s Hill, but also the various legends associated with the place. Merlin, Arthur, Guenevere, and Vivian are mentioned.

A-695 Ebbutt, Maude I[sabel]. “The Marriage of Sir Gawayne.” Hero-Myths and Legends of the British Race. Illus. W. H. Margetson, et al. London: George G. Harrap; New York: T. Y. Crowell, 1910. 265–85. Frequently reprinted, under various titles, including The British Race, The British, and Ancient Britain. Ebbutt’s intentions, as stated in the preface of the collection, are to present a variety of stories to show the medieval concepts of heroism and its attendant qualities. This is therefore a prose rendition of the medieval romance, and a brief introduction precedes the story to explain the characters. Arthur wishes for adventure, but when he follows a damsel’s directions to an enchanted castle, he is overcome and must find out the answer to what women want in order to ransom his life. A hideous-looking woman tells him the answer, and in return asks to marry one of the knights; Gawain is the only one courteous enough to volunteer and to give her a choice that leads to her disenchantment. This story has four full-page illustrations, one of Arthur challenging the castle, one of Arthur and the lady, and two of Gawain and the lady, before and after her transformation (while there are various illustrators for the collection as a whole, Margetson is responsible for these four).

A-696 Edgerton, Teresa. The Grail and the Ring. New York: Ace Books, 1994. The secondary world of this fantasy novel draws on the Arthurian legend for names and motifs; particularly Arthurian is the quest for a lost cup that must be recovered by the hero, and the wounded king and wasteland that are associated with that cup.

A-697 Edghill, India. “Grail Wisdom.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 106–23. Galahad is the protagonist of this short story. In order to save an aging King Arthur, Galahad journeys to Glastonbury to find the Grail, in this case a lady who lengthens Arthur’s life. Twenty years later, Galahad returns with Mordred, who finds his own Grail lady, and with her at his side claims the throne. The story therefore contrasts two reigns: one filled with too much sameness, and the other with too much novelty. When Galahad returns a third time to Glastonbury, he takes no Grail, but leaves Excalibur behind. The Roman war is here part of Mordred’s reign, and although the young prince is ambitious, there is no battle with Arthur to mark the turn of power. (The story is original to this anthology.)

A-698 Edghill, Rosemary. “The Maltese Feline.” In Catfantastic V. Ed. André Norton and Martin H. Greenberg. New York: DAW Books, 1999. 93–106. This short story combines Arthurian characters and allusions with characters and allusions from Humphrey Bogart films such as Casablanca and The Maltese Falcon. The main character, Artos Pendragon, is hired to find a missing person, but he ends up on the trail of the Maltese Cat instead.

A-699 Edghill, Rosemary. “The Sword of the North.” In Camelot Fantastic. Ed. Lawrence Schimel and Martin H. Greenberg. New York: DAW Books, 1998. 244–85.

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The story of Arthur’s wooing of Guenevere, written as a tribal legend. Thus Guen-Hwyfar (White Shadow) is the leader of the Picts with her sister Mor-Rhiganu (Dark Shadow). The Bear King (Arthur), seeking to establish his throne with a legendary sword and heirs, comes to negotiate with Guen-Hwyfar, eventually winning the sword and marrying the two women.

Edmiston, Margaret C.: see the entry for “Merlin Book of Logic Puzzles” in the Games section. A-700 Edwards, John Emlyn. The Adventures of Arthur Dragon-King. London: Methuen, 1984. A engaging novel for young adults, based more on Welsh tales and history than on medieval romances.

A-701 Edwards, John Emlyn. “Cave of Hidden Treasure.” The Dragons of Snowdon and Other Welsh Legends. Illus. David Wynn Millward. London: Methuen, 1989. 62–74. This is one of the stories in Edwards’ collection that is set in modern times. A young Welsh man searching for a lost sheep ends up in a cave where he finds various treasures (old gold coins, an old ring) and King Arthur and his knights asleep. He visits the cave twice; the second time, one of the knights asks if it is time and the shepherd tells him it is not. The shepherd then blocks up the entrance so they will not be disturbed, but he uses the ring he has found to prove to a young woman that he was telling the truth, and she then agrees to marry him.

A-702 Edwards, John Emlyn. “The Dragons of Snowdon.” The Dragons of Snowdon and Other Welsh Legends. Illus. David Wynn Millward. London: Methuen, 1989. 9–20. This is a retelling of the story of Vortigern’s tower. In this version, Merlin realizes he has special abilities only when he is brought before the king. The fact that he has no father is explained; his father was a fisherman who drowned. Merlin reveals the dragons, explains their meaning, and then leaves to find the court of Arthur (here already a king).

A-703 Edwards, John Emlyn. “The Luck of Elphin.” The Dragons of Snowdon and Other Welsh Legends. Illus. David Wynn Millward. London: Methuen, 1989. 88–99. This is a retelling of the story of Elphin’s weir and Elphin’s discovery of the young Taliesin. It also includes Taliesin’s performance in front of Maelgwn’s bards and the horse race that Elphin wins by following the bard’s instructions. It ends with Taliesin’s appearance at Arthur’s court.

A-704 Edwards, John Emlyn. “The Tyrant with a Hundred Beards.” The Dragons of Snowdon and Other Welsh Legends. Illus. David Wynn Millward. London: Methuen, 1989. 36–48. The tyrant of the title is Rhitta the Giant, who conquers kings and shaves their beards to add to a mantle he is making. He is defeated by a young Arthur, who commands Rhitta to be shaved so that his own beard will complete the cloak.

A-705 Edwards, Zachary. “Avilion.” Avilion and Other Poems. London: Chapman and Hall, 1907. 1–181. A long poem of eight cantos in which the speaker undertakes a journey to the land of the dead – Avilion. He meets a host of people from England’s history and eventually visits Camelot and Arthur. Various Arthurian figures and episodes are mentioned; the story of Tristan and Iseult is told in some detail.

A-706 Edwards, Zachary. “Sir Palomides.” Avilion and Other Poems. London: Chapman and Hall, 1907. 183–327. A long poem with Preface, Introduction and Notes. During the seven cantos that retell Palomides’ adventures, several Arthurian episodes are recounted and characters mentioned.

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A-707 Edwardson, E. “The Courteous Knight.” The Courteous Knight and Other Tales Borrowed from Spenser and Malory. Illus. Robert Hope. Edinburgh and London: Thomas Nelson and Sons, 1899. 9–55. A retelling for children of the story of Sir Calidore from Spenser. Sir Calidore knights Tristan and binds the Beast with a Thousand Tongues.

A-708 Edwardson, E. “How King Arthur Conquered Rome.” The Courteous Knight and Other Tales Borrowed from Spenser and Malory. Illus. Robert Hope. Edinburgh and London: Thomas Nelson and Sons, 1899. 96–125. Edwardson follows Malory closely in this story of Arthur’s tribute to Rome.

A-709 Edwardson, E. “King Hermance’s Avenger.” The Courteous Knight and Other Tales Borrowed from Spenser and Malory. Illus. Robert Hope. Edinburgh and London: Thomas Nelson and Sons, 1899. 126–38. This story is taken from Malory where Palomides avenges a knight’s death.

A-710 Edwardson, E. “Sir Crooked Coat.” The Courteous Knight and Other Tales Borrowed from Spenser and Malory. Illus. Robert Hope. Edinburgh and London: Thomas Nelson and Sons, 1899. 157–72. Rewrites the story of La Cote Male Taile.

A-711 Effinger, George Alec. “Maureen Birnbaum and the Saint Graal.” In Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 351–72. This short story is a satire of traditional Grail quests. The protagonist, Maureen (Muffy to her friends), recounts her adventure and provides commentary on the sexual symbolism of traditional elements like serpents, giants, and the Grail itself, though Maureen’s quest object is the Saint Nappie (the fruit bowl of the Last Supper). Joseph of Arimathea is one of her travelling companions; he tells her of Galahad’s quest, and other Arthurian characters such as Perceval, Lancelot and Arthur are also mentioned.

A-712 Egan, Thomas M. “Sandcastles by the Sea.” Mythlore 25 (Autumn 1980): 18. A “dreamer” on a beach imagines various fantastic worlds, including Avalon. There are references to the Grail quest and to the love of Tristan and Iseult.

A-713 Eiseley, Loren. “Druid Born.” Another Kind of Autumn. Illus. Walter Ferro. New York: Charles Scribner’s Sons, 1977. 63–64. A poem fashioned as a dialogue between “the poet” and “I.” As the two discuss knowledge, they use Arthurian examples, mentioning Arthur, Merlin, and Excalibur in particular.

A-714 Eiseley, Loren. “I, Merlin, Say It.” The Innocent Assassins. New York: Charles Scribner’s Sons, 1973. 43–44. The poem describes a king waiting in the hill, asleep yet not asleep, waiting for that final deed. The end of the poem has Merlin telling the king to rest, that the time has passed.

A-715 Eiseley, Loren. “New Men, New Armor.” The Innocent Assassins. New York: Charles Scribner’s Sons, 1973. 105–106. This poem begins with the Green Knight calling out to Gawain, but Gawain is unable to respond. The images throughout the rest of the poem are of the end of Arthur’s reign. The poem uses the Green Knight as representative of spring and renewed life, but the Arthurian characters are dead, from a time past and unrecoverable.

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A-716 Eliot, T. S. The Waste Land. The Criterion 1 (Oct. 1922): 50–64. Rptd: Poems 1909–1925. London: Faber and Gwyer, 1925. 65–85. – The Waste Land and Other Poems. London: Faber and Faber, 1940. This famous poem is divided into five sections and incorporates various images of a twentieth-century “wasteland.” One figure that appears is the Fisher King, and Eliot also quotes from Tristan und Isolde and Verlaine’s Parsifal. Eliot’s notes to the poem make the Arthurian connections explicit; Jessie Weston’s From Ritual to Romance, a book about the Grail legends, inspired the poet. (There have been some musical settings for parts of the poem [though not always the most Arthurian sections]; for an example, see the entry for “Dalby, Martin” in the Music section. See also the entry for The Wasteland in the Comics section.)

A-717 Elizabethan revels: Kenilworth entertainments for Queen Elizabeth. 1575. Elizabeth I’s royal visit to Kenilworth in July 1575 was celebrated with pageantry devised on behalf of Robert Dudley, Earl of Leicester; it is described by George Gascoigne in his Princely Pleasures, and also in a letter by William Patten (see the entries under “Gascoigne” and “Patten”). The castle and grounds were decorated “as in the days and reign of King Arthur”; Merlin’s prophecies are a central theme, and are considered to forecast Elizabeth’s glory. The climax was the appearance of a Lady of the Lake (a mermaid), with a story of a curse and the enmity of Sir Bruce Sans Pittie; Triton speaks of a prophecy that the Lady would be released from her torment at the coming of a “better maide” (i.e., Elizabeth). The Arthurian ballad of “King Ryence’s Challenge” was also performed on this occasion (see also the entry for “King Ryence’s Challenge.”)

A-718 Elizabethan revels: Lord Cumberland’s speeches. “Speech of Lord Cumberland delivered to Queen Elizabeth in the Tilt yard at Whitehall when, taking upon him the name of the Knight of Pendragon Castle, he was appointed to the position of Chief Champion for the Tilt-yard to the Queen in 1592 in lieu of Sir Henry Lee,” 1592. George, Third Earl of Cumberland, His Life and His Voyages: A Study from Original Documents. By George C. Williamson. Cambridge: Cambridge University Press, 1920. 108–109. Elizabeth’s Accession Day tilts (at Whitehall on 17 Nov. each year) often had Arthurian themes. Sir Henry Lea, early in Elizabeth’s reign, had gallantly proposed to offer himself in a joust annually on her succession day; in 1591, he retired from his position as her knight, and George, Earl of Cumberland, was appointed the next year to replace him. In his inaugural appearance in 1592, in the thirty-third year of Elizabeth’s reign, Lord Cumberland arrived with Merlin as his attendant, apparently carrying a model of Pendragon Castle (to which his speech alludes; the speech is preserved among the manuscripts of Appleby Castle in the Cumbria Record Office and first printed in Williamson’s biography). He identifies Pendragon Castle with Vortigern’s tower, threatened by warring dragons until Merlin discovered them. Further, he identifies the castle as the birthplace of Arthur, and indicates that one can see there “Excalibers Swords, ye Sleeve yt Sr. Lancelott bare for his Ladie, Balyns Speare, Sr Braumins Smyter, Dinidans Dittie, Sr Gawins Spurres, Sr. Lamoracks Gauntlett, ye Sangrealls old Shield, made for ye proofe of ye Morgley Gash, not for ye Musket shott.” The speech also included a six-line prophecy, in verse, which Cumberland claims was discovered by Merlin between two stones of the castle wall, beginning “When a Virgin hath reigned thirty three yeares. . . .” (See also the entry for “Peele, George.”)

A-719 Elizabethan revels: Lord Cumberland’s speeches. “Speech of Lord Cumberland delivered to Her Majestie on Crownation day att Windsore Castle,” 1593. George, Third Earl of Cumberland, His Life and His Voyages: A Study from Original Documents. By George C. Williamson. Cambridge: Cambridge University Press, 1920. 122–23. On the 34th anniversary of her Coronation Day, Elizabeth was entertained with a masque at Windsor Castle, and Cumberland, the Queen’s Champion, offered the queen a speech (preserved among the Appleby Castle manuscripts in the Cumbria Record Office), using many of the same conceits with regard to Pendragon Castle that he had used the year before, and again incorpo-

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rating a pair of verse “prophecies” which flattered the queen (though Merlin was not specifically mentioned on this occasion).

A-720 Elliott, Janice. The Empty Throne. Illus. Grahame Baker. London: Walker Books, 1988. In a post-Apocalyptic world, a young man named Red travels with his family to find an old city and an old throne, to establish a new king. Arthur helps him in battle, and there are references to some events of Arthur’s life. This is the sequel to The King Awakes.

A-721 Elliott, Janice. The King Awakes. Illus. Grahame Baker. London: Walker Books, 1987. In a post-Apocalyptic world, a young boy wakes Arthur, who then helps his family; they travel to the Isle of the Blest.

Ellis, Mary A. N. W.: see Williams-Ellis, Amabel. Ellis, Peter Berresford: see Tremayne, Peter. A-722 Ellis, T[homas] E[velyn], Eighth Baron Howard de Walden. Lanval: A Drama in Four Acts. London: Privately printed by J. Davy and Sons, 1908. Lanval, a foreign knight at Arthur’s court, decides to leave court to seek his fortune. He finds instead a beautiful woman from the “Middle World” who takes him to her world. Eventually he wishes to return to the world of action and duty, and she promises him fortune as long as he does not reveal his love for her. When he is later confronted by Guenevere, who wishes him to be her knight, Lanval breaks his promise, is accused by the Queen, and banished. His love returns as he despairs and takes him with her again; this seems to change the fortunes of Arthur’s armies.

A-723 Ellison, Harlan. “The Grail.” The Essential Ellison: A 35-Year Retrospective. Ed. Terry Dowling with Richard Delap and Gil Lamont. Omaha and Kansas City: Nemo Press, 1987. 143–62. In this short story, the main character searches for “the Holy Grail everyone calls True Love” and, by the end of the story, finds it. The grail is described as a cup that reveals to those who look into it the ones they have loved. The main character doubts his worthiness to achieve the grail, and he refers to “knights on white chargers,” those “without flaw,” as the usual candidates for finding it. Thus, the story is only marginally Arthurian.

A-724 Emerson, Ralph Waldo. “The Harp.” The Complete Works of Ralph Waldo Emerson. Intro. Edward Waldo Emerson. Boston, MA: Houghton, Mifflin and Co., 1904. 9: 237–41. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 53–55. – Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 255–57. The poem concerns poetry and inspiration, but there are allusions to Arthur and the Round Table as examples of the secret knowledge of the Muse, and allusions to Merlin as exemplar of the poet. His entrapment is mentioned in one such allusion.

A-725 Emerson, Ralph Waldo. “Merlin I.” Poems. Boston, MA: J. Monroe and Co., 1847. Rptd: Selected Poems. Boston, MA: Ticknor and Fields, 1865. – “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan

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Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 219–21. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 30–32. – Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 254–55. The speaker of this poem reflects upon the power of Merlin as bard, and thereby upon the power of poetry.

A-726 Emerson, Ralph Waldo. “Merlin II.” Poems. Boston, MA: J. Monroe and Co., 1847. Rptd: “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 222–23. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 32–34. – Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 255. This poem reflects on the creation of poetry and links poetry and nature. The title is the only Arthurian reference.

A-727 Emerson, Ralph Waldo. The Merlin Poems of Ralph Waldo Emerson. [Tuscaloosa, AL]: Bullnettle Press, 1993. (*) An eleven-page booklet; limited edition, fine press printing. Contents: “Merlin’s Song” and “Merlin” (I and II). Colophon: “One hundred five copies of this book have been printed. The type is hand-set Dante; the text paper is Nideggen, in wrappers of Strathmore Valencia Red. The binding was done by Coriander Reisbord. A Vandercook SP20 press and Van Son rubber base inks were used for the presswork. Designed & printed by Asa Peavy, 12 March 1993.” (Information from OCLC WorldCat entry.)

A-728 Emerson, Ralph Waldo. “Merlin’s Song.” May Day and Other Pieces. London: George Routledge and Sons, 1867; Boston, MA: Ticknor and Fields, 1868. 93. Rptd: “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 224. – Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 257. A poem of thirteen lines concerning poetry; the speaker claims to have learned a song from Merlin, and the poem details the possible effects of the song on its audience.

A-729 Emmons, Earl H. “Lancelot: Chivalry Should Begin at Home.” Hell-Raisers of History. Illus. Herb Roth. Mount Vernon, NY: Peter Pauper Press, 1948. 28–32. This humorous poem explains, in rhymed four-line stanzas, Arthurian chivalry and Lancelot’s affair with Guenevere.

A-730 Emra, Cyril. “The Love-Song of Tristram and Iseult.” The Love Song of Tristram and Iseult and Other Poems. London: Elliot Stock, 1905. 1–23. A poem describing the voyage of Tristan with Iseult to Cornwall where she is to marry Mark. Iseult gives Tristan the love potion in this version; the poem ends with the dawn and Tristan’s remorse.

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A-731 Emra, Cyril. “When Tristram to Tintagel Came.” The Love Song of Tristram and Iseult and Other Poems. London: Elliot Stock, 1905. 70–77. Tristan returns from fighting Mark’s wars to find Mark gone hunting and Iseult alone. Tristan and Iseult are killed by a vengeful Mark upon his return.

A-732 Endersby, Clive. Read All About It! Toronto: Methuen, 1981. The back cover of this book states that it is “based on the television series Read All About It!”; the title-page acknowledges TV-Ontario’s co-operation in its production. The original story idea is credited to Jack Newman. The title of the book refers to the fact that the three child protagonists create their own newspaper as a way to investigate what has happened to the uncle of one of them. They discover a plot by a sinister alien to take over the town. Merlin briefly appears to talk to the children and to help them by means of his magic powers before he disappears back into the book he came from.

A-733 Endersby, Clive. “Young King Arthur.” Young King Arthur and The Adventures of Robin Hood: Two Plays for Young Audiences. Toronto: Playwrights Canada, 1983. 1–44. This play premièred at Theatre Aquarius on 27 Apr. 1980. The basis of the action is the sword in the stone story, but Endersby has made several changes. Mordred and Morgan are siblings; Mordred wants to be king even though he cannot draw the sword, and Morgan tries to aid him with her magic, by making him stronger so he will win the tournament and by taking Arthur away so that he cannot be crowned king after he has withdrawn the sword. Guenevere, pretending to be a squire, has a part in the action, as she learns of Mordred’s plans and tries to help Arthur. Kay is much older than Arthur in this version, and Merlin has not been Arthur’s tutor before the play begins. Endersby has included various ways for the audience to participate, whether by chanting “magic” spells with Merlin or answering questions posed by the characters.

A-734 Engar, Keith. Arthur and the Magic Sword. [Anchorage, KY]: Children’s Theatre / Anchorage Press, 1952. Rptd: Twenty Plays for Young People: A Collection of Plays for Children. Ed. William B. Birner. Anchorage, KY: Anchorage Press, 1967. – Merlin’s Tale of Arthur’s Magic Sword. New Orleans: Anchorage Press, 1982. The play has Merlin speak to the audience as a narrator. The first act takes place just before Uther’s death and just after Arthur’s secret birth. The other two acts take place fourteen years later when Kay is knighted and Arthur pulls the sword from the stone. The play was copyrighted in 1949 by Engar and was first produced in 1950 at the University of Minnesota Theatre; pictures from this production are included in the published play.

A-735 English, David. Excalibut. Illus. Jan Brychta. Fwd Brian Johnston. Intro. W. G. Grass. London: George Weidenfeld and Nicholson, 1987. This picture-book combines bunnies, cricket, and the legends of King Arthur. Buntham the Unready draws a magic cricket bat from a stone and defends King Arthur’s lands.

A-736 Enston, Elizabeth. “Ennobled Sir.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 17. The speaker pledges herself to her lover, referred to as Sir Lancelot.

A-737 Enston, Elizabeth. “Guinevere – A Gentle Guardian.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 13. A vision of Guenevere appears to the speaker of this poem.

A-738 Enston, Elizabeth. “May Day in the Cheviot Hills.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 26–27. Arthur and Guenevere are mentioned in the description of present-day May celebrations.

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A-739 Enston, Elizabeth. “My Heart’s Call.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 14. The speaker wishes to be reconciled with her “Sir Lancelot” in this six-stanza poem.

A-740 Enston, Elizabeth. “A Shadow’s Love.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 7. A five-stanza poem. The speaker is compared to Guenevere, her lover to Lancelot.

A-741 Enston, Elizabeth. “Tintagel’s Time.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 15. The poem describes the landscape of Tintagel in the present time and in King Arthur’s.

A-742 Enston, Elizabeth. “A Turtledove’s Time.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 28–29. In this poem, the speaker is compared to Guenevere, her love to a turtledove.

A-743 Enston, Elizabeth. “A Walk in the Woods.” Guinevere: A Heart Unveiled. Braunton: Merlin Books, 1992. 36. This poem describes Lancelot and his horse.

A-744 Erskine, John. “At the Front.” Collected Poems 1907–1922. New York: Duffield and Co., 1922. 118–22. A sequence of five sonnets (subtitled “French Army, January-March, 1918”), describing the “mortal strife” of a World War I front line. Sonnet 2 declares that “this weird pantomime, / This dignity of action” reminds one of Lancelot, Galahad, Hector, Tristram and Palamides, or Roland blowing his horn too late: “These quiet actors play these parts again” (119).

A-745 Erskine, John. Galahad: Enough of His Life to Explain His Reputation. Indianapolis: Bobbs-Merrill Co.; London: Nash and Grayson, 1926. Rptd: Darby, PA: Darby Books, 1981. While the title of this novel suggests that its focus will be Galahad, he only enters it in Section 2 and disappears before its end. The “enough of his life” that Erskine gives us “to explain his reputation” is mainly the story of Lancelot, Guenevere, and Elaine. Guenevere is determined to create a man who will be truly great; she becomes disappointed with first Arthur and then Lancelot, though she still controls them. Galahad, who believes in her ideals to the extent that he rejects her when he finds out about her affair with Lancelot, is her success; Etarre, one of Guenevere’s waiting-women, tries to seduce Galahad, to no avail because Guenevere has persuaded him to save himself for some great feat. While that great quest is for the Grail, the novel simply says that Galahad has left in search of it; it is not a major part of the action. Elaine of Astolat appears in the last section; though Lancelot seeks to avoid the mistake he made many years earlier with Galahad’s mother, Elaine clings to her love and dies for him. The last scene which concerns Lancelot shows him retiring to a monastery to confess and, one suspects, to escape these manipulative women. Other major episodes include Lancelot’s madness and Meleagaunt’s abduction of Guenevere.

A-746 Erskine, John. “Seven Tales from King Arthur’s Court [1]: The Tale of King Arthur’s Sword ‘Excalibur.’” Illus. Dulac. American Weekly (4 Feb. 1940): 1, 16. This story retells the episode of Arthur receiving the sword from the Lady of the Lake. The illustration shows Arthur reaching for a sword, with a flimsily clad Lady looking on. An article entitled “Who Was King Arthur?” accompanies the story.

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A-747 Erskine, John. “Seven Tales from King Arthur’s Court [2]: The Tale of Sir Tristram and the Love Potion.” Illus. Dulac. American Weekly (11 Feb. 1940): 1, 16. Erskine tells the story of Tristan’s fight with Marhault and the subsequent visit to Ireland where he is cured and falls in love with Iseult. The illustration shows the lovers together at sea. The article discusses Tristan’s identity.

A-748 Erskine, John. “Seven Tales from King Arthur’s Court [3]: The Tale of the Enchantress and the Magic Scabbard.” Illus. Dulac. American Weekly (18 Feb. 1940): 1, 18. The story of Morgan’s attempt to steal Excalibur. The illustration shows her sneaking away with the scabbard; the article with the story explains who Morgan is.

A-749 Erskine, John. “Seven Tales from King Arthur’s Court [4]: The Tale of Sir Galahad and the Quest of the Sangreal.” Illus. Dulac. American Weekly (25 Feb. 1940): 1, 15. The story focuses on Galahad’s quest and the end of his life in Sarras. The illustration shows angels reaching for Galahad as he faints back against Joseph of Arimathea. A short accompanying article discusses Galahad and other versions of the story.

A-750 Erskine, John. “Seven Tales from King Arthur’s Court [5]: The Tale of Sir Launcelot and the Four Queens.” Illus. Dulac. American Weekly (3 Mar. 1940): 1, 16. This story of Lancelot’s imprisonment by the four queens is illustrated with a picture of them finding him sleeping beneath a tree. The short article with the story explains who Lancelot was.

A-751 Erskine, John. “Seven Tales from King Arthur’s Court [6]: The Tale of Merlin and One of the Ladies of the Lake.” Illus. Dulac. American Weekly (10 Mar. 1940): 1, 13. The story begins with Pellinore’s rescue of the lady with whom Merlin falls in love. The illustration shows the ground swallowing Merlin while a woman looks on. The accompanying article discusses who Merlin was.

A-752 Erskine, John. “Seven Tales from King Arthur’s Court [7]: The Tale of How Sir Launcelot Slew Sir Agravaine.” Illus. Dulac. American Weekly (17 Mar. 1940): 1, 17. In this story, Agravain, not Mordred, traps Lancelot and Guenevere. The illustration shows one knight stabbing another while a woman looks on. The story is accompanied by an article on Agravain and Guenevere.

A-753 Erskine, John. Tristan and Isolde: Restoring Palamede. Indianapolis: Bobbs-Merrill Co., 1932. Rptd: London: John Lane / The Bodley Head, 1939. This novel seeks to “restore” Palomides, focusing on his character as the outsider who comes to Tintagel to learn of love; for the most part he is disappointed. The use of the outsider provides a humorous perspective on the love triangle.

A-754 Erwin, Gail. Arthur, the Future King. Cover illus. Gregory Hill. Orem, UT: Encore Performance Publishing, 1989. The play was performed under the titles “The Sword of the Stone” and “How Arthur Became King”; première at the Emmy Gifford Children’s Theater in Omaha, Mar. 1987. A children’s play (musical drama), of ca. 60 minutes, presenting the story of Arthur’s birth, his training by Merlin, and the pulling of the sword from the stone, as recalled by Merlin from within his rock. The pen-and-ink illustration on the cover shows a young Arthur standing behind the stone holding the sword.

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A-755 Eshbach, Lloyd Arthur. The Armlet of the Gods. The Gates of Lucifer 2. New York: Del Rey / Ballantine, 1986. Alan MacDougall vacations in Scotland, but he still has the serpentine armlet that he acquired in the Other World, Tartarus, in The Land Beyond the Gate. That armlet eventually draws him back to the gates; he goes through the second one into a world of perpetual gloom where he comes in conflict with several gods and kings (the names of these are drawn from various mythologies, but many of them are Celtic, often from the Mabinogion). Taliesin is his companion for many of these adventures. By the end, Alan has learned that he is the descendent of an ancient king, probably Arthur.

A-756 Eshbach, Lloyd Arthur. The Land Beyond the Gate. The Gates of Lucifer 1. New York: Del Rey / Ballantine, 1984. The first chapter of this fantasy novel concerns Malcolm MacDougall, who finds a strange tower in Scotland and becomes one of the Sidhe. The rest of the novel tells the adventures of his brother Alan when he comes in search of Malcolm and finds the tower, an armlet, and a sword. The armlet allows him access into Tartarus, the land of the dead created by Lucifer. Taliesin is a major character, and the story of his origins given (involving Ceridwen and her cauldron) makes it clear that this is the Arthurian character, though no other Arthurian allusions are present.

A-757 Eshbach, Lloyd Arthur. The Sorceress of Scath. The Gates of Lucifer 3. New York: Del Rey / Ballantine, 1988. Alan MacDougall goes through the third gate, arriving this time in a land of women ruled by the Sorceress, Scathach. She tries to convince him that they have known one another in past lives; one of the “lives” she presents to him in a vision casts Alan as Vollmar, illegitimate son of Vortigern. Vortigern’s conflicts with Aurelius and Uther are mentioned; the only other Arthurian character is Alan’s friend Taliesin who again joins his adventures.

A-758 Evans, Dilys. Looking for Merlyn. Illus. David Wiesner. New York: Scholastic, 1998. (*) A children’s novel set in Wales during World War II. A young girl meets a storyteller whom she believes to be Merlin. (Information from OCLC WorldCat entry.)

A-759 Evans, Quinn Taylor. Daughter of Camelot. Merlin’s Legacy 6. New York: Zebra Books, 1999. The entirety of this novel takes place several years after the events remembered in Dawn of Camelot. The protagonist is the daughter of Merlin’s sister and her mortal husband; her love interest is the warrior Tristan, who aside from his name has no clear resemblance to the Arthurian character. Arthur and Merlin also appear, Guenevere is mentioned, and Morgan continues to work with the forces of Darkness against the protagonists and their friends.

A-760 Evans, Quinn Taylor. Daughter of Fire. Merlin’s Legacy 1. New York: Kensington Publishing Corp., 1996. This historical romance is set immediately after the Battle of Hastings. The heroine is Vivian of Amesbury, who is taken to William of Normandy to heal him. Vivian is eventually revealed to be one of Merlin and Ninian’s daughters, and she visits them in the Otherworld to discover what she must do to defeat the Darkness that wishes to destroy England. Vivian’s lover also enters the Otherworld to find a way to protect her; there he battles Arthur himself and is given the sword Excalibur to take back to his own time to fight the Darkness and rescue Vivian.

A-761 Evans, Quinn Taylor. Daughter of Light. Merlin’s Legacy 3. New York: Kensington Publishing Corp., 1997. Rptd: Unity, ME: Five Star, 1999. In this third novel of the series, Cassandra, another of Merlin and Ninian’s daughters, joins with

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Stephen, bastard son of William the Conqueror, in fighting Saxon and Welsh rebels and the Darkness. They travel through space and time to Camelot at the time of Arthur’s death, and to the Otherworld to retrieve the Oracle, a crystal that completes the Round Table.

A-762 Evans, Quinn Taylor. Daughter of Mist. Merlin’s Legacy 2. New York: Kensington Publishing Corp., 1996. Rptd: Unity, ME: Five Star, 1999. The second historical romance of this series deals with Merlin and Ninian’s second daughter, Brianna, and the warrior she marries in order to protect her Scottish foster-family from being destroyed by Norse raiders. Brianna is a shapeshifter who holds the knowledge of the Grail, and a Grail quest forms the climactic action. Vivian, Merlin, and Ninian, from the previous book, appear; Ninian is the most important in helping Brianna. The action is set immediately after the events of the first novel.

A-763 Evans, Quinn Taylor. Dawn of Camelot. Merlin’s Legacy 5. New York: Kensington Publishing Corp., 1998. While the frame of this novel begins after the events in the fourth novel, most of the action takes place in Arthur’s time, as he returns from exile to establish his kingdom, fighting rebellious Britons as well as the plots of his own sister. Merlin’s sister and her love for a mortal warrior is the main focus of the action.

A-764 Evans, Quinn Taylor. Shadows of Camelot. Merlin’s Legacy 4. New York: Kensington Publishing Corp., 1997. In the fourth book of the series, Merlin discovers he has a son, who must return to Arthur’s Camelot in order to save the Camelot of his own time (the eleventh century). A number of Arthurian characters appear, although some of their relationships and roles are rather different from tradition.

A-765 Evans, Sebastian. “Arthur’s Knighting.” In the Studio: A Decade of Poems. London: Macmillan and Co., 1875. 133–52. This poem details a feast hosted by Leodegrance where Arthur and Guenevere meet. The next day, Guenevere arms Arthur for battle and kisses him; this is the “knighting” to which the title refers. The speaker, although unnamed, seems to be one of Arthur’s knights.

A-766 Evans, Sebastian. “The Eve of Morte Arthur.” In the Studio: A Decade of Poems. London: Macmillan and Co., 1875. 153–80. The poem is set just before the events that will end Arthur’s life: Mordred is about to take the throne and the queen. Various stories connected with the earlier portions of Arthur’s life are surveyed in a lament for past glories.

A-767 Evernden, Margery. King Arthur’s Sword: A Historical Legend Dramatized. Full-Length Play Series no. 24. Chicago: Coach House Press, 1959. A short three-act play (mimeographed typescript: the series title is handwritten), presenting the episode of King Arthur drawing the sword from the anvil, with a subplot involving Pellinore (who holds Sir Hector in his dungeon, until Arthur defeats him with his newly-won sword). Guinevere is a frequent visitor to Merlin in the enchanted forest of Usk, and is introduced to Arthur by Merlin when Arthur and Kay come riding into the forest.

A-768 Ewing, Harry E. The Demise of a Dragon: A Work of Fiction. New York: Rivercross Publishing, 1995. A short fantasy novel about Sigrud the Norseman and his quest to slay the last dragon. He is guided on his quest by Merlin, whose powers come from the dragon. The only other Arthurian character is Vivien, the magical woman whom Merlin loves.

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A-769 Eytinge, Pearl. Vivien: A Play in Four Acts. New York: A. S. Seer’s Print, 1891. (*) A-770 Fadiman, Clifton. The Story of Young King Arthur. Illus. Paul Liberovsky. Legacy Books Y-16 / Legacy Library 8. New York: Random House, 1961. Rptd: London: Frederick Muller, 1962. This book gives the story of Arthur from his birth to his marriage. Merlin is given a prominent role; although Uther’s use of disguise to get to Igerne is not a part of this version, Merlin’s presence is foregrounded in other ways, such as his gift of the Round Table to Arthur and Guenevere.

A-771 Fainlight, Ruth. “Cup and Sword.” The Knot. London: Hutchinson, 1990. 79. A short poem which mentions Arthur, Excalibur, and the Grail. It reflects on the relationship between stone, sword, cup, and story.

A-772 Fane, Violet [pseud.], [i.e., Mary Montgomerie Lamb]. “Lancelot and Guinevere.” From Dawn to Noon. London: Longmans, Green; New York: G. W. Carleton and Co.; 1872. 131–36. A poem in twenty-eight quatrains, in the voice of a wife whose husband reads to her Tennyson’s Idyll of “Guinevere” (see also the entry for “Tennyson, Alfred; Guinevere”); she summarizes Tennyson’s story and describes her emotional responses to it. She recognizes herself in the queen (“I had loved him too / Were he my knight” [27–28]); she sympathizes with Elaine though she sees Elaine as a “love-sick girl” (60) whom Lancelot could not possibly love as he did the more mature queen. In the final stanzas, though, she forgets the story and its judgment upon Guinevere – and she ignores the admonitions of her own guardian angel – when she hears the footstep of her own “Lancelot” on the stair.

A-773 Fanthorpe, U. A. “At Cadbury.” Standing To. Liskeard, Cornwall: Harry Chambers / Peterloo Poets, 1982. 62–63. Visiting Cadbury, the poet finds “knights” there in the form of cattle and swallows, with rabbits as pages. The poet reflects on the connection between landscape and legend, though she decides that “Camelot towers’ pennons wave anywhere. / This is simply Cadbury.” From here, however, one can look out to the magic of the Apple Island, as Arthur may once have done, seeing there his grave. The poem refers to Tennyson, Malory, and T. H. White, who created their own Camelots.

A-774 Faraday, W. Barnard. Pendragon. London: Methuen and Co., 1930. Rptd: Intro. Raymond Thompson. Oakland, CA: Green Knight Publishing, 2002. This historical novel is narrated by Arthur and describes major battles such as Celidon and Badon. The majority of the narrative concerns the developing relationship between Arthur and Guenevere, a warrior princess who claims the title of Pendragon.

A-775 Farjeon, Eleanor. “Is Arthur Gone to Avalon?” The Children’s Bells: A Selection of Poems. Illus. Peggy Fortnum. London: Oxford University Press, 1957. Rptd: New York: H. Z. Walck, 1960. 31–32. This two-stanza poem, which appears in a section called “Songs of Kings and Heroes,” is a series of questions and answers. The questions ask whether Arthur has gone and who was witness to his going; the answers talk about the barge, the three queens, and Bedivere’s role as witness.

A-776 Farnsworth, David. The King, the Sword and the Dragon. Toronto, ON: Playwrights Co-op, 1975. A two-act play first produced in 1972 at Dalhousie University in Halifax, NS. Art is a servant to a cruel knight, Cedric. When the king dies, the court magician announces a sword in the stone test; Art succeeds but Cedric claims the throne. Only after Art’s success with a dragon problem is he made King Arthur.

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A-777 Farrington, Margaret Vere [pseud.], [i.e., Margaret Vere F. Livingston]. Tales of King Arthur and his Knights of the Round Table. Illus. Alfred Fredericks, and others. New York and London: G. P. Putnam’s Sons, 1888. The author’s preface declares that the tales of Arthur are as deserving to be taught to school-children as are the myths of Greek and Rome (p. 7), and this book is presumably to help the Arthurian legends be better known. The two initial chapters offer a survey of medieval legends of Arthur, Arthurian geography, and medieval chivalry, before beginning the narrative. The narrative is mostly a retelling (much abbreviated) of Malory, but also includes “The Lady of the Fountain” and “Geraint the Son of Erbin” episodes from the Mabinogion. There are eight full-page illustrations (B&W reproductions of paintings) as well as numerous decorations; six of the illustrations are by Alfred Fredericks (signed “A.F.”), one is signed “Wilson,” and one is unsigned.

A-778 Faulkner, Helen Searight. “Excalibur.” Catholic World 179 (Aug. 1954): 376. In this sonnet, the author first remarks on the endurance of the Arthurian legends and then speculates on why we continue to be fascinated by them. The Grail is mentioned as one of the possible reasons for the stories’ appeal.

A-779 Faulkner, William. Mayday. Illus. William Faulkner. 1926. Rptd: Intro. Carvel Collins. Notre Dame: University of Notre Dame Press, 1978. The first publication of this work was a hand-lettered booklet with three full-page illustrations that Faulkner gave as a gift to Helen Baird; thus the reprint is the only version widely available (while the reprint was registered for copyright in 1976, it does not appear to have been published until 1978.) This short tale is set in medieval times, using Sir Galwyn, a young knight, as the protagonist. Sir Galwyn, searching for the ideal woman of his dreams, encounters Tristan and Iseult, defeating the former and loving the latter. The real woman, though beautiful, does not live up to the ideal, and he leaves her.

A-780 Favorite Children’s Stories from England [audiobook]. The Magic Looking Glass 6. New York: CWP, 1991. (*) Audio cassette, including “How Arthur was Crowned King” and “Sir Lancelot of the Lake.” (Information from OCLC WorldCat entry.)

A-781 Fawcett, Bill. “Demon Sword.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 377–97. This short story begins with Morgan, a Druid priestess, watching a battle between Arthur and the old kings. Arthur here is portrayed as a tyrant; after the battle of Badon, Merlin joined him and gave him Excalibur, whose magic makes all men wish to follow him. His conquering of the old kings is seen as a threat to a settled way of life. Morgan, with Perceval’s help, steals Excalibur and thus ensures Arthur’s downfall.

A-782 Fawcett, Edgar. The New King Arthur: An Opera without Music. New York: Funk and Wagnalls; London: Jerrard, 1885. Rptd: Nineteenth-Century American Drama Series. New York: Funk and Wagnalls, 1980–1989. This two-act burlesque drama begins with Arthur and his knights returning from war. Lancelot conspires with Guinevere to steal Excalibur by promising her Merlin’s potions for face-wash and hair-dye if she succeeds; Merlin is persuaded to help the plot by promises of political office if Lancelot becomes king. Meanwhile Vivien overhears the conspiracy and plots with Modred to seize Excalibur from the queen before Lancelot can take it. All of these plots are foiled by Dagonet, though he is not rewarded. Galahad is also a major character, whose main role is to wander about singing songs of his own great virtues and of the impossibility of his loving Vivien because she is not blond-haired. While no music is provided, there are many songs for characters throughout the play.

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A-783 Fawcett, Edgar. “The Punishment.” Song and Story: Later Poems. Boston, MA: James R. Osgood and Co., 1884. 160. A poem of two quatrains; first line: “Two haggard shades, in robes of mist.” These “two haggard shades,” wandering through hell for all eternity chained to one another although they do not recognize each other, are identified by the speaker as Launcelot and Guinevere.

A-784 Felderman, Eric. This Prophecy Merlin Shall Make. Littleton, NH: Pormanteau Editions, 1991. (*) A novel.

A-785 Fenn, Lionel. “The Awful Truth in Arthur’s Barrow.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 309–34. A Scottish baron and actor on the run from his mother’s assassins is kidnapped by a professor to help in a quest for the Holy Grail. There are references to the Arthurian quest, particularly to Galahad and his reputation as the purest knight. The quest ends in an unexpected and humorous discovery. Fenn plays with many conventions of action films and quest stories.

A-786 Fergusson, Adam. Roman Go Home. London: Collins, 1969. The protagonist of this novel is Marcus, a young Roman who spends time in Britain and falls in love with a British girl, the niece of Vortigern. The novel covers the withdrawal of Romans from Britain and Vortigern’s alliance with the Saxons. Although somewhat a historical novel, its events and language are modelled on political events of our own time.

A-787 Ffrench, Yvonne. “In Cornwall.” London Mercury 26 (Aug. 1932): 300. This Petrarchan sonnet describes the seacoast and the birds flying near the coast. At the very end of the poem, night falls and the ghost of Iseult’s ship is described as “navigat[ing] the night.”

A-788 Field, Eugene. “A Proper Trewe Idyll of Camelot.” A Little Book of Western Verse New York: Charles Scribner’s Sons, 1907. 133–46. Rptd: Poems. New York: Scribner, 1910. 45–50. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 35–43. A satirical poem that mimics Chaucer (it begins, like the Canterbury Tales, by discussing April showers), but also draws on the Connecticut Yankee story: a stranger, obviously from more modern times, arrives at Arthur’s court. The stranger is able to make away with all the women of the court because the men become so drunk; there is a somewhat lengthy discourse (rather mocking in tone) about the evils of mixing drinks.

A-789 Field, Eugene. “The Tragedie of Elaine.” Clink of the Ice and other Poems Worth Reading. Chicago: M. A. Donohue and Co., 1905. 128–34. Field mimics the style of Malory and other medieval writers, using archaic spellings and words to give the sense of a medieval story. What he is actually describing is the performance of a play about Elaine of Astolat. Field evokes the reactions and comments of the audience as well as reviewing the performance.

A-790 Field, Eugene. “The Vision of the Holy Grail.” John Smith, U.S.A. Chicago: M. A. Donohue and Co., 1905. 103–106. Rptd: “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan

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Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 235–37. Elaine, overcome with sorrow at Lancelot’s absences, refuses to take part in the Christmas festivities at Pelles’ castle. When she retires with the baby Galahad, they have a vision of the Grail that comforts her.

A-791 Field, Michael [pseud.], [i.e., Katherine Harris Bradley and Edith Emma Cooper]. The Tragedy of Pardon. London: Sidgwick and Jackson, 1911. 1–125. One of two Tristan and Iseult plays by these two authors, who published under the name “Michael Field.” This longer play recounts the story beginning with the making of the love potion and the trip to Cornwall; it ends with the rather mysterious deaths of the lovers in Brittany. Mark, on the whole, is sympathetic to the lovers’ plight. The play is published together with Diane, which is not Arthurian.

A-792 Field, Michael [pseud.], [i.e., Katherine Harris Bradley and Edith Emma Cooper]. Tristan de Léonois. London: Sidgwick and Jackson, 1911. This is one of two Tristan and Iseult plays by these two authors, who published under the name “Michael Field.” In this play, the lovers die by sharing a poisoned cup to match the love potion that they drink earlier in the play. This play is published together with The Accuser, which is not Arthurian.

A-793 Fielding, Henry. Tom Thumb: A Tragedy, by Scriblerus Secundus. London: Printed and sold by J. Roberts, 1730. [ESTC T4506; also N49612.] Rptd: Tom Thumb: A Tragedy, as it is Acted at the Theatre in the Hay-Market. 2nd edn. London: Printed and sold by J. Roberts, 1730. [ESTC T125610; also T3258, T3261, N49611, T475.] First performance: 24 Apr. 1730. A two-act play using folktales of a diminutive man in the time of King Arthur in order to parody popular playwrights of the period. A year later this was revised and reissued as The Tragedy of Tragedies; or, The Life and Death of Tom Thumb.

A-794 Fielding, Henry. The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great, as it is Acted at the Theatre in the Hay-Market; with annotations of H. Scriblerus Secundus. Frontispiece by William Hogarth. London: Printed and sold by J. Roberts, 1731. [ESTC T51553; also T126069, T210846, T3262, T3260, T225881, T3259, T51554, T196924.] Rptd: Eighteenth-Century Comedy. Ed. W. D. Taylor and Simon Trussler. London: Oxford University Press, 1969. First performance: 24 Mar. 1731. A reworking (and expansion into three acts) of his 1730 play, Tom Thumb: A Tragedy, by Scriblerus Secundus; this is a drama based on folktales of a diminutive man in the time of King Arthur, used to burlesque other playwrights.

A-795 Fielding, Henry. The Opera of Operas; or, Tom Thumb the Great: Alter’d from The Life and Death of Tom Thumb the Great, and Set to Musick after the Italian Manner, as it is Performing at the New Theatre in the Hay-Market. Adapt. by William Hatchett and Eliza Fowler Haywood. London: Printed for William Rayner, 1733. [ESTC N10671.] Rptd: The Opera of Operas; or, Tom Thumb the Great: Alter’d from The Life and Death of Tom Thumb the Great, and Set to Musick after the Italian Manner, by Mr Lampe, as it is Perform’d by His Majesty’s Company of Comedians at the Theatre-Royal in Drury-Lane. London: Printed for J. Roberts, 1733. [ESTC N10672; also T51456.] An opera (printed without the music), adapted from Henry Fielding’s The Tragedy of Tragedies; or, The Life and Death of Tom Thumb the Great. (See the entry for “Arne, Thomas, and John Frederick Lampe” in the Music section.)

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A-796 Fielding, Henry. Tom Thumb; A Burletta, as now performed at the Theatres Royal, Drury-Lane, Covent Garden, and Hay-Market; Altered from Henry Fielding, Esq. Adapt. by Kane O’Hara. London: Barker and Son, 1806. According to Northup and Parry, “The play was originally produced in 1780, but it was not printed until the revival of 1805.” The whole play is set at Arthur’s court. Arthur is willing to betroth his daughter to Tom, but the queen, jealous, is enraged by the idea. A potentially tragic ending, where everyone dies in a rapid series of revenge killings, is averted by Merlin. (See the entry for “Markordt, J.” in the Music section.)

A-797 Finch, Paul. “My Lady of the Ashes.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 165–87. Sir Yder, determined to save a young woman stricken with leprosy, ends up in a world of enchantment, fighting trolls and sorcery. There are references to numerous Arthurian knights, including Arthur, Balin, Gawain, Agravain, Lancelot, Merlin, and Bedivere.

A-798 Finkel, George. Twilight Province. Sydney: Angus and Robertson, 1967. Rptd: Watch Fires to the North. New York: Viking Press, 1968. This juvenile novel is narrated by Bedwyr. Arthur (here called “Artyr”) is a dux bellorum in the north of Britain, trying to unify the Romans against Saxon invaders.

A-799 Fintushel, Eliot. “Dieu et mon droit!” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 125–47. Fintushel rewrites the story of Sir Blamor’s challenge of Agwisance and the subsequent fight with Agwisance’s champion, Tristram. Tristram’s dead mother, Elizabeth, appears as a witch to provide otherworldly protection.

A-800 Fisher, Catherine. Fintan’s Tower. London: John Lane / The Bodley Head, 1991. Kay is a hero in this story, one of Arthur’s men who did return from Caer Siddi and who has vowed to go back, not this time to get the Cauldron but to rescue his friend Gweir. A young boy finds himself chosen to receive the power to help in the rescue.

A-801 Fisher, Robert. The Knight in the Rusty Armour. North Hollywood, CA: Medwin Powers Wilshire Book Co., 1990. A story about a knight so obsessed with quests that he is eventually stuck in his armour. Merlin helps him solve his problem through a new age quest for identity.

A-802 Fisk, Alan. The Summer Stars. Llandysul: Gomer, 1992. Rptd: Brooklyn: Domhan Books, 2000. A novel set after Arthur’s death, but with frequent references to his fame, to his warriors, and particularly to his victory in the Battle of Badon. Written in the first-person by an elderly Taliesin, a monk at Glastonbury, the novel is his life-story intended as something of a confession. Because this is a historical novel, Taliesin’s birth has no fantasy elements: he is an illegitimate son of Hywel, born to a peasant woman in a nameless village; when he becomes a bard against his father’s wishes, he changes his name from Gwion to Taliesin. He spends some time as Maelgwyn’s bard; later he serves as bard to Urien and then to Owain, after Urien is killed by treachery. The British failure to unite in the face of the Saxon threat is a continuous theme.

A-803 Fitzgerald, F. Scott. “O Russet Witch!” Tales of the Jazz Age. New York: C. Scribner’s Sons, 1922. 234–72. The protagonist of this story is Merlin Grainger. The story follows him throughout his life, from

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his time as a clerk in a bookstore to his old age when he owns the store. The witch of the title is a woman whom he idealizes; the story is mainly concerned with their encounters. The use of Merlin as a name is not coincidental (a reference to the legend is made when Merlin’s son Arthur works on Wall Street), but the allusion is brief. (Even less substantial are the uses of the “grail” in The Great Gatsby [Scribner, 1925] and in This Side Paradise [Scribner, 1920]; in each case, Fitzgerald’s usage suggests that he takes the word to designate a generic quest object, with little sense of any reference to Arthurian story.)

A-804 Fleischer, Leonore. The Fisher King. New York: Signet / Penguin, 1991. A novelization of the film of the same name (script by Richard LaGravenese). A radio talk show personality who has fallen on hard times meets a homeless man intent on finding the Holy Grail in modern-day New York. (For details of the screenplay, see the entry for “LaGravenese, Richard” in the Literature section; for details of the film, see the entry for “The Fisher King” in the “Film, Television, and Radio” section.)

A-805 Flieger, Verlyn. “Avilion: A Romance of Voices.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 231–312. The work is divided into fifteen sections, each with a character’s name: “Bedever,” “Kay,” “Margause,” “Balyn,” “Fata Morgana,” “Brisen,” “Pelles,” “Elayne,” “Bors,” “Gawain,” “Lancelot,” “Mordred,” “Genever,” “Merlion,” and “Rex.” In all but two cases, the title indicates who is speaking; each first-person narrator tells of certain events in which he or she was personally involved, so that by the end, “Avilion” covers most of the major episodes of the legend (though the Tristan and Iseult story is not included). The two exceptions are the sections entitled “Lancelot” and “Rex”: “Lancelot” uses a third-person narrator, showing the knight receiving a letter and remembering scenes of his love for Guenevere; “Rex” has a series of italicized quotations from Malory but presented using first-person. (The story is original to this anthology.)

A-806 Flood, Julie B. “Merlin.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 2–3. This poem consists of thirteen stanzas, each composed of three short lines. The speaker considers Merlin as belonging to another time, yet wishes for the belief that he represents.

A-807 Flynn, Benedict. King Arthur and the Knights of the Round Table [audiobook]. Junior Classics. Cover art by Henrietta Webb. Redhill, Surrey: Naxos AudioBooks. 1997. NA 213812. Audio recording (2 cassettes or 2 CDs). Read by Sean Bean. Includes more detail and achieves greater coherence than Malory, some of which is a result of novelistic techniques (motivations clarified, details added for plot development). The story is made “child-friendly” by eliminating most of the darker bits. There is lots of magic: Morgan le Fay and her two sisters act as “weird sisters” in the plot; Merlin can read peoples’ minds, make fires glow hotter by thought, etc. The story begins with the death of King Uther (roughly at the same time as the birth of Arthur) and continues to the death of Arthur. The story of Sir Gawain and the Green Knight (without the attempted seduction and without the ambiguities of the original ending) is also included. The cover picture shows a knight on rampant horse brandishing a sword, with a castle and two tournament tents in background, observed by old bearded man with staff, standing at the left edge.

A-808 Footman, Jennifer. “Creator.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 15. This short poem suggests that we long for Merlin as creator and end up in “selfmade . . . prisons” as did he.

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A-809 Forbes, Elizabeth Stanhope. King Arthur’s Wood: A Fairy Story; and with it the Tale Re-told of Sir Gareth of Orkney and ye Ladye of ye Castle Perilous. Illus. Elizabeth Stanhope Forbes. London: Simpkin, Marshall, Hamilton, Kent and Co.; Bristol: Edward Everard, [1904?]. A portfolio-sized book, produced in a limited edition of 350 copies, presenting the story of a boy, Myles, who grows up in a remote farmhouse, and one day is told by his mother that a stand of trees that he can see from the house is known as “King Arthur’s Wood.” Being a boy who loves romances, he is bitten by a desire to explore the wood, and there comes upon a cave in which he finds a book. That night he is visited in his bedroom by a “wee man,” the “Brown Spirit of the Woodlands,” who comes to retrieve the book of his master Merlin (who now lies in an enchanted sleep). The boy promises to return the book on the morrow, and the wee man promises to tell a story in return, and thus begins a series of meetings during which gradually is told the complete tale of Sir Gareth (“Beaumains,” the Kitchen Knight, in a retelling based on Malory). The story is accompanied by a substantial collection of plates, some watercolours and some charcoal drawings; besides the plates, there are also “in-text” illustrations in the book. The illustrations are divided, some illustrating the story of Myles, and some illustrating the story of Sir Gareth. A study for Plate 10 survives (“Arthur and Guinevere”; watercolour with bodycolour over charcoal; 4.75 x 5.75 in.; private collection; see The Last Romantics, Item 129). (See also the entry for Forbes’ “The Black Knight” in the Fine Art section.)

A-810 Ford, Hilary [pseud.], [i.e., Christopher Samuel Youd]. A Bride for Bedivere. London: Hamish Hamilton; New York: Harper and Row, 1976. The protagonist of this romance is Jenny Cowper, who when her father dies is taken in by her mother’s cousin, Sir Donald Bedivere. The older man plans for her to marry his oldest son, who is dying of consumption. The Arthurian content of the story consists of various references to the folklore surrounding the estate in Cornwall where the family lives: it is called Carmaliot, and Sir Bedivere is convinced that it is located on the site of the original Camelot; the Bediveres changed their name two generations previously (from Bedver) to make the Arthurian connection more obvious, and that pride of heritage supplies motive for the old man’s actions. The plot and characters themselves do not follow Arthurian patterns, but rather those of a conventional romance story.

A-811 Ford, John M. The Dragon Waiting: A Masque of History. New York: Timescape Books, 1983. Rptd: New York: Avon Books, 1985. Set during the reign of Richard III, this fantasy novel has various Arthurian allusions.

A-812 Ford, John M. Web of Angels. New York: Pocket Books, 1980. This science fiction novel uses allusions to a number of myths and legends, including the Arthurian legend. The main character is often compared to a Grail knight and uses aliases like Galahad and Perceval. Other Arthurian characters are also mentioned, and Taliesin plays a role.

A-813 Ford, John M. “Winter Solstice, Camelot Station.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 244–50. A poem placing Arthurian characters in a twentieth-century Camelot’s railway station. Characters mentioned include Kay and Merlin; Pellinore and the Questing Beast; Bors; Gareth, Agravain, Gaheris, and Gawain (with allusions to T. H. White but also to the Green Knight); Galahad and the Grail; Mordred; Arthur and Lancelot. There are also allusions to twentieth-century culture, including paparazzi and the story of The Maltese Falcon.

A-814 Ford, Williston Merrick. Grail: An Agelong Romance. Boston, MA: Christopher Publishing House, 1961. The book contains a series of discrete episodes, set in several different historical periods, begin-

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ning in ancient Egypt and ending in twentieth-century America. The premise is that love is the Grail and is eternal; the various couples of the book are echoes of each other. One of the episodes refers to Arthurian characters; the idea of a Grail quest is explored there. This novel is an expanded version of Quest: An Agelong Romance that was published under the name Williston Merrick in 1953.

Ford, Williston Merrick: see Merrick, Williston. A-815 Forward, R. L. Camelot 30K. New York: TOR Books, 1993. This science-fiction novel concerns the discovery of a distant planetoid that has cities, though the inhabitants of the icy planet are insect, rather than humanoid, in size and shape. As the six Earth scientists sent to the planet discover, the culture is similar to medieval times, with a warrior caste, tournaments, and a queen and consort. Many of the names are based on Arthurian characters: Merlene, for example, is a wizard (though female); the queen’s consort is Rexart; a great warrior who resents Rexart is Mordet; another warrior is Laslot; their city is Camalor. Forward makes the play on “Camelot” obvious by having the scientists make that connection. Though the relationships between these characters do not follow the conventional ones of legend, Camelor does fall.

A-816 Foster, Jess. The Coming of Arthur / Balin and Balan [audiobook]. Read by Pat McDonald; incidental harp music by Pauline Rogers. One audio cassette. London: Anvil, 1975. ANV 605. (*) Jess Foster was the founder of the Pendragon Society, and he issued a series of Arthurian stories on audio cassette, read by Pat McDonald and Robert Hardcastle.

A-817 Foster, Jess. Gareth of Orkney [audiobook]. London: Anvil, 1977. ANV 612. (*) One of a series of of Arthurian stories written by Foster and issued on audio cassette, read by Pat McDonald and Robert Hardcastle.

A-818 Foster, Jess. Gawain and the Green Knight / Lancelot on the Quest [audiobook]. London: Anvil, 1975. ANV 606. (*) One of a series of of Arthurian stories written by Foster and issued on audio cassette, read by Pat McDonald and Robert Hardcastle.

A-819 Foster, Jess. The Marriage of Gawain / The Coming of the Grail [audiobook]. London: Anvil, 1977. ANV 613. (*) One of a series of of Arthurian stories written by Foster and issued on audio cassette, read by Pat McDonald and Robert Hardcastle.

A-820 Foster, Jess. Merlin and Nimue / The Young Perceval [audiobook]. London: Anvil, 1975. ANV 607. (*) One of a series of of Arthurian stories written by Foster and issued on audio cassette, read by Pat McDonald and Robert Hardcastle.

A-821 Foster, Will. “The Legend of Lohengrin.” The Legend of Lohengrin and Other Poems. London: T. Fisher Unwin, 1894. 13–74. The poem begins by summarizing the story of the Fisher King’s wound and Percival’s healing of it. The main poem then retells Wagner’s opera from Lohengrin’s perspective.

A-822 Foster, Will. “Sir Launcelot.” The Fallen City and Other Poems. Edinburgh and London: William Blackwood and Sons, 1892. 1–26. This poem focuses on Lancelot after Arthur has departed France to fight Mordred.

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A-823 Fowler Wright, S. The Ballad of Elaine. Illus. Albert Wainwright. London: Merton Press, 1926. A ballad divided into four sections, each with a number of stanzas. In the first, Elaine of Astolat heals Lancelot, and Bors brings news from court about the Queen’s anger. In the second, Lancelot leaves Elaine, and Elaine dies. In the third, Elaine’s body arrives at court. In the fourth, Elaine is buried, and the Queen and Lancelot are reconciled. The speaker of the poem concludes with the hope that in heaven, it would be Elaine with Lancelot.

A-824 Fowler Wright, S. The Riding of Lancelot. London: Fowler Wright, 1929. A subtitle is given, not on the titlepage, but on the first page of the poem’s text: Morte d’Arthur, Book VI; this subtitle is an accurate description of the contents of the poem. Wright has followed this one book from Malory quite faithfully, using iambic pentameter lines with a varying rhyme scheme. Some characters’ names have been replaced with those of more well-known Arthurian characters; for example, instead of a relatively unknown knight and his lady in their pavilion, Lancelot encounters Pelleas and Nimue. Wright has also changed the ending, for Lancelot’s return to court is the occasion for his first kiss with Guenevere.

A-825 Fowler Wright, S. Scenes from the Morte d’Arthur. Westminster: Merton Press, 1929. (*) A-826 Fowler Wright, S. The Song of Arthur. Ludlow: FWB, 1996. Rptd: Ed. A. Fowler-Wright. . According to A. Fowler-Wright in the Foreword to S. Fowler Wright’s works on the website, this poetic rewriting of the Arthurian legends was destroyed in manuscript during World War II; it was rewritten, but never entirely completed to the author’s satisfaction. Both The Riding of Lancelot and Scenes from the Morte d’Arthur are incorporated into this larger work.

A-827 Fox, Marilyn. King Arthur: The Sword from the Lake; Based on Traditional Sources, as Told in “Jackanory” by Michael Bryant. Illus. Paul Birkbeck. Jackanory Stories. London: BBC, 1975. (*) A retelling of the story of Excalibur. “Jackanory” was a BBC-1 children’s storytelling radio programme.

A-828 Frankland, Edward [Percy]. The Bear of Britain. Fwd Lloyd George. London: Macdonald and Co., 1944. (*) Rptd: Arthur, the Bear of Britain. Cover illus. Randy Gallegos. Ed. Raymond H. Thompson. Oakland, CA: Green Knight Publishing, 1998. A-829 Frankland, Edward [Percy]. England Growing. London: Macdonald and Co., 1944. Rptd: “Medraut and Gwenhwyvar.” An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: The Aquarian Press, 1989. 263–69. The book contains a series of “episodes” taking place in the same location in England at different points in history. The second episode is entitled “Medraut and Gwenhwyvar”; there are a couple of other Arthurian references, but this is the only sustained Arthurian story.

A-830 Frankowski, Leo. The Fata Morgana. Riverdale, NY: Baen, 1999. A businessman and an engineer build a boat and set out to sail the world, but they are shipwrecked on a floating island. The apparition of the island is known as the “Fata Morgana,” and the narrator makes it clear that the Arthurian Morgan is the source of the name. The legends of the

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lost lands of Lyonesse are also referred to, and there are allusions to various Arthurian place-names, such as Avalon. For the most part, however, these allusions are slight.

A-831 [Fraser, Antonia (Lady).] Pakenham, Antonia. King Arthur and the Knights of the Round Table. Illus. R. Tyndall. Norwich: Heirloom Library, 1954. Rptd: By Antonia Fraser. Illus. Rebecca Fraser [the author’s young daughter]. London: Sidgwick and Jackson; New York: Alfred A. Knopf / Random House, 1970. A retelling of medieval tales, though freely adapted, and with episodes rearranged (Merlin does not disappear until just before the Battle of Camlann, for instance). The 1954 edn. includes eight full-page colour plates by Tyndall. In the 1970 edition, there are thirteen full-page colour plates (three of them of two-page size, spanning the central fold); there are also pen-and-ink drawings interspersed throughout the text.

A-832 Fraser, Ian. Tristan the Lover. New York: Vantage, 1989. (*) A novel.

A-833 Freeman, J. H. G. “The Enchanted Sword.” In Pip and Squeak Annual 1927. Ed. “Uncle Dick.” Daily Mirror, 1927. 89–91. A young boy called Percival is reading about Arthurian knights (Lancelot jousting with Kay) when a neighbourhood boy catches the kitten Princess and takes her away to his bulldog. What follows is a combination of the young boy’s fantasy and reality. He sees a sword lifted out of a rain barrel with Courage written on it, and therefore dares a bulldog-ish dragon and successfully fights with the bully to rescue the cat.

A-834 Freeman, Keller Cushing. “The Death of Arthur: A Requiem for Six Voices.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 38–45. Each of the six sections begins with a one- or two-sentence explanation of who the speaker is in terms of his or her role in the story or relationship to Arthur. The six who speak are Perceval (Arthur’s page in this version), Morgause, Mordred, Guenevere, Lancelot and Merlin; they refer to various incidents like Mordred’s conception, the battle of Camlann, Arthur being taken to Avalon, and the love of Lancelot and Guenevere. The poem is meant to be performed to music; the notes to the volume indicate it has been performed at Furman University in South Carolina.

A-835 Freeman, Nancy Louise. “The Knights Who Say ‘Ni!’” Xenofilkia 44 (1993): 876. (*) A song about the Knights who say “Ni,” from the Monty Python film Monty Python and the Holy Grail.

A-836 French, Allen. “Sir Marrok: A Tale of the Days of King Arthur.” St Nicholas Magazine 29 (May 1902): 592–620. Rptd: Sir Marrok: A Tale of the Days of King Arthur. New York: Century Co., 1902. This story combines the Arthurian legend with that of Robin Hood in that it begins in Sherwood Forest in the days of Uther, acknowledging that the legend of Robin Hood will come from the same area years later. Sir Marrok, the hero, undergoes many adventures both with Arthur as a knight and in his own lands as wolf. Various references are made to events and people in Arthur’s kingdom throughout the novel.

A-837 Frere, John Hookham [pseud.], [i.e., William Whistlecraft and Robert Whistlecraft]. Prospectus and Specimen of an Intended National Work, by William and Robert Whistlecraft, of Stow-Market, in Suffolk, Harness and Collarmakers, Intended to

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Comprise the Most Interesting Particulars Relating to King Arthur and His Round Table. London: John Murray, 1817. Rptd: The Monks and the Giants. London: John Murray, 1821. – Ed. R. D. Waller. Manchester: University Press, 1926. The first two cantos of what came to be known as The Monks and the Giants concern the giants more than the monks. The poem begins with a description of King Arthur’s court and some of the knights, specifically Lancelot, Tristan, and Gawain. The court is interrupted with word that giants have carried off some ladies; Tristan and Gawain head off to their rescue and encounter the giants. Gawain works hard, but it is Tristan’s strategies, devised while out hunting, that carry the day.

A-838 Frere, John Hookham [pseud.], [i.e., William Whistlecraft and Robert Whistlecraft]. Prospectus and Specimen of an Intended National Work, by William and Robert Whistlecraft, of Stow-Market, in Suffolk, Harness and Collarmakers, Intended to Comprise the Most Interesting Particulars Relating to King Arthur and His Round Table. Cantos III and IV. London: John Murray, 1818. Rptd: The Monks and the Giants. London: John Murray, 1821. – Ed. R. D. Waller. Manchester: University Press, 1926. Cantos 3 and 4 of what came to be known as The Monks and the Giants concern the encounter between the monks and the giants that takes place before the action described in Cantos 1 and 2. The giants and monks live peacefully in the valley together until the monks get more and bigger bells; the giants are enraged by the sound of bells and besiege the monastery. The lone monk who also dislikes bells becomes the leader in the fight against the giants, but that fight ends abruptly with the giants’ disappearance (they had gone off to seize the ladies, the action that began the first two cantos). There are no Arthurian characters specified in this section, though it takes place in King Arthur’s day.

A-839 Friesner, Esther [M]. “Articles of Faith.” In Monochrome: The Readercon Anthology. Ed. Bryan Cholfin. Broken Mirrors Press, 1990. Rptd: Up the Wall (and Other Stories). Berkeley Heights, NJ: Wildside Press, 2000. 10–31. A short story, set in the period before the birth of Arthur. Now that Merlin has proven to be a “traitor” to his demonic kin, the devils of hell plot to steal the Holy Grail in order to prevent the coming Age of Arthur.

A-840 Friesner, Esther [M]. “Chivalry.” Fantasy Book 4.3 [no. 17] (Sept. 1985): 48-(?). Rptd: Up the Wall (and Other Stories). Berkeley Heights, NJ: Wildside Press, 2000. 32–34. A comic poem in septenaries; Queen Gwenevere, to escape “the Once and Future King! (the Ever-Present Bore),” has Nimué create a phantom Gwenevere to stay with Arthur while she manages a pub in Hell, Queen Gwen’s Bar and Grail.

A-841 Friesner, Esther [M]. “The Death of Nimuë.” Fantasy Book 4.2 [no. 16] (June 1985): 59–60. Rptd: The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 386–90. – Up the Wall (and Other Stories). Berkeley Heights, NJ: Wildside Press, 2000. 35–40. Raven takes her elderly mother to an oak tree where a stone at the base marks Merlin’s place. Nimuë, Raven’s mother, wakes Merlin to make him take back his magic, for the power has become a burden. He refuses and, bat-like, flies away. Raven, to give her mother rest, agrees to accept the power and discovers its burden is quite different when it is not snatched.

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A-842 Friesner, Esther [M]. Druid’s Blood. New York: New American Library, 1988. (*) Arthur makes a brief appearance.

A-843 Friesner, Esther M. “Goldie, Lox, and the Three Excalibearers.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 193–225. Goldie is a Jewish girl working in a New York deli who has been chosen by Morgan and Merlin to be the keeper of Excalibur, a new Lady of the Lake. Trying to convince Goldie of her destiny takes longer than the legendary figures expect, but once convinced, Goldie takes her charge seriously and bestows it on Arthur to defeat the evil sorcerer who has kept Goldie herself enslaved. The story is set in the 1950s.

A-844 Friesner, Esther M. “Sparrow.” Return to Avalon: A Celebration of Marion Zimmer Bradley. Ed. Jennifer Roberson. New York: DAW Books, 1996. 218–50. Sparrow is a page who witnesses what really happens after the battle of Camlann. While Sparrow does meet the Lady of the Lake, the story of the sword’s return to her is made up by Bedivere to justify his possession of it; he is the villain that Sparrow must eventually confront.

A-845 Friesner, Esther M. “The Three Queens.” Illus. Carol Heyer. Isaac Asimov’s Science Fiction Magazine (Jan. 1993): 68-(?). Rptd: Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 27–51. – Up the Wall (and Other Stories). Berkeley Heights, NJ: Wildside Press, 2000. 74–102. Modred, black magician and disciple of Merlin, narrates the story of his self-sacrifice (in the winter of the year) to save Arthur and his reputation, and to establish the myth of Arthur’s survival and promised return. Arthur is dying a slow death by illness, and Guinhwyfar and Lancelot have “abandoned” him for the religious life. Modred, with the help of his mother, Black Morgan, feeds the story of a grand but fictional Battle of Camlann to a drugged poet and then they stage Arthur’s passing to “Avalon” for the poet to witness. In the barge are two queens, Morgan the Black and Guinhwyfar the White (bribed into participation with enough gold to establish a Christian nunnery with herself as abbess), with Modred hidden beneath the bier; the third queen of the title, who meets the entourage on the island, is the Lady of Ynis-witrin, Vivian, Queen of the Fey. Arthur then departs with Morgan into retirement and the tending of gardens, Guinhwyfar departs to found her nunnery, and Modred, like Merlin before him, surrenders himself to Vivian as a human sacrifice, to be sealed in a hollow tree trunk and then cast into the water.

A-846 Friesner, Esther M. “Told You So.” In Alternate Kennedys. Ed. Mike Resnick. New York: Tor, 1992. 323–33. This humorous short story imagines that John F. Kennedy was helped in his presidential race by Merlin, but afterwards Kennedy begins to feel as though Merlin and Kennedy’s own father have too much control. He makes a bargain with a leprechaun so that everything he says comes true, with eventually disastrous results.

A-847 Friesner, Esther M. “Totally Camelot.” Asimov’s Science Fiction 22.8 [no. 272] (Aug. 1998): 50–54. Morgan, the Queen of Air and Darkness, is holding her seelie court when a messenger interrupts the merrymaking to announce that Arthur, her brother-husband, is dead (or nearly so). Vivien (the Lady of the Lake) and Merlin (thought to be trapped in a tree) arrive to consult about what to do with the body; meanwhile Arthur and Bedivere are disposing of Excalibur. The story is quite farcical, achieved primarily through the juxtaposition of passages in archaic diction and romantic

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style with others using contemporary idioms and psychobabble (not to mention the dying Arthur’s Yiddish).

A-848 Friesner, Esther M. “Up the Wall.” Isaac Asimov’s Science Fiction Magazine 14.4 [no. 155] (Apr. 1990). Rptd: Smart Dragons, Foolish Elves. Ed. Alan Dean Foster and Martin Harry Greenberg. New York: Ace / Berkley, 1991. 246–75. – Up the Wall (and Other Stories). Berkeley Heights, NJ: Wildside Press, 2000. 41–73. A gigantic Geat – variously called Ursus or Arctos or Bee-wolf – shows up on Hadrian’s Wall (speaking in alliterative verse), but flees when a dragon / fen-monster appears, leaving behind his great sword thrust into a log. Caius (“Cai”), a legionary, married to a Celtic woman named Goewin, kills the dragon, is named successor to his fallen lord, and pulls Bee-wolf ’s sword from the log, at which point he renames himself Arctos.

A-849 Friesner, Esther M. Up the Wall (and Other Stories). Cover illus. George Barr. Berkeley Heights, NJ: Wildside Press, 2000. Title on cover: “Up the Wall and Other Tales of King Arthur and his Knights.” This is a collection of five stories and one poem, all previously published (and for each of which there are separate entries in this bibliography): “Wake-Up Call,” “Articles of Faith,” “Chivalry,” “The Death of Nimuë,” “Up the Wall,” and “The Three Queens.”

A-850 Friesner, Esther M. “Wake-up Call.” Illus. Judith Mitchell. Isaac Asimov’s Science Fiction Magazine (Dec. 1988): 108-(?). Rptd: Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 193–200. – Up the Wall (and Other Stories). Berkeley Heights, NJ: Wildside Press, 2000. 1–9. While Arthur sleeps (in the bedroom of a twentieth-century flat), the four queens (Fay, Gwen, Vivian, and Lady – that is, the Lady of the Lake, in a bowl of water) play bridge, smoke cigarettes, and talk like charwomen. A noise is heard from the bedroom; Vivian eventually goes to look and announces that Arthur has gone. While the four queens are still debating about whether this is another false alarm, like a number of earlier incidents, Arthur returns, complaining that no one else has awoken to hear his call. Morgan takes him back to bed (and “helps him to fall asleep”), and then the four resume their card game.

A-851 Friesner, Esther M., and Anne Elizabeth Stutzman. “Repro Man.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 50–69. Merlin, in contemporary London, deals with his recalcitrant teenage daughter. Various Arthurian characters and episodes are mentioned.

A-852 Frith, Henry. King Arthur and his Knights of the Round Table. Illus. F[rancis] A[rthur] Fraser. London and New York: George Routledge and Sons, 1884. Various reprintings with different sets of illustrations. A modernization and abridgement of Malory (Gaines, Item B5). For the most part it remains close to the original text, even mimicking some of Caxton’s chapter headings. The most obvious changes are those making the text more suitable for young readers: Uther marries Igerne after Gorlois dies in an unrelated battle, for example, and the tales of Lancelot and Guenevere’s love seem to be all slanders. Frith also includes Caxton’s preface at the end of the book. Fraser provided a series of B&W full- and half-page illustrations, and decorations for the head and tail of chapters. (For the other sets of illustrations, see the entries in the Fine Art section under Pitz, Henry C.; Schoonover, Frank E.; and Wheelwright, Rowland.)

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A-853 Froome, Charles D. “At Tristan’s Monument near Fowey.” Ore 20 ([1976?]): 30. The poem uses a variation on the sonnet form to consider the legacy of Tristan and his love.

A-854 Frost, Gregory. “The Vow that Binds.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 132–43. A short story about the doomed love between a man who can talk to animals and the maiden he rescues. It reads like a folktale. Only the first paragraph has Arthurian allusions; it says that the story happens in Cornwall during Mark’s reign but before Tristan’s arrival.

A-855 Frost, William Henry. The Court of King Arthur: Stories from the Land of the Round Table. Illus. Sydney Richmond Burleigh. New York: Charles Scribner’s Sons, 1896. The book is a series of stories that the author tells to one “Helen,” a young girl with whom he is travelling in England; this retelling, then, follows a geographical arrangement (an episode of the Arthurian legend is told because they have arrived at a place associated with that episode) rather than in chronological order.

A-856 Frost, William Henry. Knights of the Round Table: Stories of King Arthur and the Holy Grail. Illus. Sydney Richmond Burleigh. New York: Charles Scribner’s Sons, 1897. (*) A companion volume to Frost’s Court of King Arthur.

A-857 Fry, Christopher. Thor, with Angels. London: Oxford University Press, 1949. Rptd: Plays. Oxford: Oxford University Press, 1969. This drama takes place after Arthur’s day in 596 C.E. The main characters are Jutes. The men return to their farmstead after participating in a battle; they bring with them a British slave who had slain their leader. While trying to decide whether to kill him or not, the daughter of the household introduces an old man she has found; he is Merlin, released from his rocky prison. The main theme of the play is the conflict between religious beliefs; the leader of the clan has saved the slave’s life because of seemingly Christian divine intervention, which disturbs these followers of Thor. Merlin talks about Arthur’s court as Christian and refers to “Joseph’s faithful staff” blossoming at Glastonbury. According to the notes to the Oxford University Press edition, the play was performed first in 1948, at the Canterbury Festival, and at that time was available (presumably in small numbers) as an acting edition published by H. J. Goulden, for the Friends of Canterbury Cathedral.

A-858 Fry, Colin R. “The Purpose of Merlin.” Fantastic 14.4 (Apr. 1965): 19–31. Rptd: The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 209–22. A rewriting of the story of Palug’s Cat. Kay goes to Mona to kill a monster that has taken the lives of local fisherman, and who has an old man, Palug, as a companion. Kay succeeds, and Merlin’s words to him afterwards suggest that Merlin and the creature had “come down” together, over “the invisible seas between the worlds” (31). Merlin’s purpose is left unclear at the end of the story, which suggests that he may be from another world or planet.

A-859 Fry, Susan. “The Battle, Lost.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 176–82. The protagonist and narrator of this story is a peasant woman. She, with her children and sister-in-law, is struggling to bring in the crops in order to have enough food to survive the winter. Her husband has gone to fight with the king, and there are rumours of war. While they work, a nameless knight on horseback appears and dies after giving them news of the battle of Camlann.

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The story effectively contrasts the worlds of the peasants and the knights, commenting on the waste of tournaments and quests from the perspective of one who wants only peace and sufficient food. (The story is original to this anthology.)

A-860 Fullarton, Ralph Macleod. Merlin: A Dramatic Poem. Edinburgh: Blackwood, 1889. (*) A-861 Furst, Clyde B. Merlin. New York, and Boston, MA: [D. B. Updike], 1930. This long poem catalogues many of Arthur’s knights and the ladies at the court; its primary focus is Merlin’s work in helping the knights to improve the kingdom.

A-862 G., A. G. “The Quest of the Holy Grail.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.8 (July 1931): 321. A poem in four quatrains. The young pilgrim must seek God’s help to achieve the Holy Grail. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-863 G., F. W. “A Vision of the Holy Grail.” The Month 89 (June 1897): 621–26. The beginning of this poem refers to Arthur’s court and mentions Galahad as the one who achieved the Grail. These references are mainly to set a contrast, for the main character whose story the speaker tells is an ordinary person who does his best to lead a Christian life and is rewarded just before his death with a vision of the Grail.

A-864 Gaiman, Neil. “Chivalry.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 344–57. This short story’s protagonist is Mrs Whitaker, an elderly lady who each week collects her pension and spends a little bit of money in the Oxfam shop. One of the objects she buys is the Grail, and Galahad appears shortly afterwards in his quest for it. There are references to Arthur, as the one who has sent Galahad on the quest, and Galahad tells Mrs Whitaker a bit about his family (Elaine, Pelleas, and Lancelot).

A-865 Gál, László. Merlin’s Castle. Illus. László Gál. Toronto: Stoddart Publishing Co., 1995. An illustrated children’s story, in which a brother and sister receive a book from their father that includes pictures of a castle; with their pet lizard, they magically enter the castle to find Merlin who agrees to help them make their wishes come true. The illustrations cover each two-page spread, with the text printed over top of them. Merlin is depicted as wearing a blue cloak, with dark grey hair and beard.

A-866 Galloway, C. F. J. The Exploits of Lancelot: A Satire. London: Stockwell, 1924. (*) A-867 García y Robertson, R[odrigo]. “Three Heads for the High King.” Weird Tales 51.1 [294] (Spring-Fall 1989): 74–96. A short story narrated by Caer, a young girl living on Ultima Thule. She relates the events of one summer when a young man comes and works for her family while he waits for a vessel willing to sail to Avalon, where he hopes to find his mother. The young man’s stories have nameless characters, but are recognizable as stories of the sword in the stone and of Guenevere’s love affair; the name he is given at the farm, Hands, recalls the story of Gareth. When he is hunted by knights from Britain, Caer helps him escape. At the end his identity is revealed: he is Mordred, his mother is Morgan, and Arthur is the king who has sent the knights after him. In this story, Mordred is a devout Christian and suffers for his feelings for Guenevere.

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A-868 “Gardens.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.7 Apr. 1931): 279. 8 lines of blank verse, offering a poetic catalogue of gardens in old stories; the majority of these are paradisal, including the Vale of Avalon, but in the last line these are juxtaposed with the last garden mentioned, that of Gethsemane. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-869 Gardiner, Alfonzo. King Arthur and his Noble Knights of the Round Table, being selections from “Le Morte Darthur” of Sir Thomas Malory, Kt., Prepared for School Use. The “A.L.” Bright Story Readers 51. Leeds: E. J. Arnold, [1908]. (*) A retelling of Malory for children, also incorporating passages from Tennyson.

A-870 Gardner, C. A. “Three Queens Weeping.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 76–89. The three queens of the title are Morgan, Nimue, and the Queen of Northgales. They take Arthur away to be healed, but each time they approach one of their lands, they find it in ruin, affected by the events of Arthur’s kingdom. The story thus includes references to Nimue’s love for Pelleas, the love of Lancelot and Guenevere, Galahad’s quest, and the battle of Camlann. Arthur eventually chooses to die and be laid to rest at Glastonbury. (The story is original to this anthology.)

A-871 Gareth, David. “Arthur’s Lament for Merlin.” In A Round Table of Contemporary Arthurian Poetry Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 6–7. This poem is Arthur’s tribute to Merlin as he mourns the loss of his mentor and celebrates Merlin’s role in the creation of Camelot. Merlin’s love for Vivian is also mentioned.

A-872 Gareth, David. “Prelude to the Quest.” Illus. Debra McWilliams. In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 37–42. Lancelot tells his story of his early life, his love for Guenevere, and his interpretation of the Grail quest. Opposite the opening page of the story there is a pen-and-ink drawing by Debra McWilliams showing a woman holding a flat dish.

A-873 Gareth, David. “Sir Mador Seeks the Grail.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 18–30. An unnamed knight narrates this story of the Grail quest. The focus here is on Mador’s obsession with the quest. Mador is characterized as puritanical; he refuses to believe any other vision of the Grail but his own, and he insists that all around him act according to his beliefs. He even begins to kill innocent peasants in his quest. Several other knights are mentioned, such as Perceval and Gawain; Mordred joins Mador and gains power from that association; Bedivere is the knight who ends Mador’s quest.

Garland, Mark A.: see Schimel, Lawrence and Mark A. Garland. A-874 Garlick, Raymond. “At Camelot.” A Sense of Europe: Collected Poems, 1954–1968. Llandysul: Gwasg Gomer, 1968. 67. A poem of six four-line stanzas reflecting on the legend that has grown from Camelot and describing the figures of Arthur, Gawain, and Guenevere carved in stone at Modena.

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A-875 Garner, Alan. The Moon of Gomrath. London: William Collins Sons and Co., 1963. This sequel to The Weirdstone of Brisingamen involves the same characters, as well as the Wild Hunt. It is also available as an audiobook (2 cassettes), read by Robert Powell (London: Collins, 1995).

A-876 Garner, Alan. The Weirdstone of Brisingamen: A Tale of Alderley. London: William Collins Sons and Co., 1960. Rptd: Revised edn.: Harmondsworth: Penguin Books, 1963. The novel begins with a retelling of the tale of the Wizard of Alderley Edge: a farmer with a snow-white mare on the way to market meets a wizard, and at the end of the day sells the mare to him and sees the knights sleeping in a cave. While this story is often associated with Arthur (the king and his knights) and Merlin (the wizard), in this novel, the king remains nameless (though his helmet has a dragon crest), and the wizard is called Cadellin. However, the spirit of the tale remains Arthurian, and an evil witch-figure is called the Morrigan, while a benevolent magical woman is called the Lady of the Lake (and she is the wife of one of the sleeping knights). Two twentieth-century children, Colin and Susan, visit Alderley and end up trying to restore a lost talisman that keeps the king and knights sleeping until they are needed. Also available as an audiobook (2 cassettes), read by Robert Powell (London: Collins, 1995).

A-877 Garratt, Peter T. “The Battle Song of Artor the War Leader.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 30–32. A poem that reads like a song to be chanted in Arthur’s hall. It summarizes the twelve battles (and victories) of Arthur, including Badon. Other kings, like Mordred and Vortipor, are mentioned as jealous of Arthur’s prowess.

A-878 Garratt, Peter T. “The Secret History.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 264–86. This short story about Galahad’s Grail quest sets it in Dark Age Britain and incorporates historical figures such as Gildas. Galahad is a fanatic whose pursuit of the Grail counters Arthur’s more modest plans for the realm.

A-879 Garratt, Peter T. “A Tribute of Ferns.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 105–24. Bedivere recalls his mission or pilgrimage to a unique order of monks and nuns. Years later, Arthur demands tribute from them and receives an appropriate, but unexpected, one.

A-880 Garton, James Archibald. The Bowman. Eton: Spottiswoode, Ballantyne and Co., 1931. This play begins as all the knights leave on the quest of the Grail. When an Abbess comes seeking aid, only a minstrel is there to help her. Arthur eventually makes him a knight. Besides the king and queen, some other Arthurian characters are mentioned, but the main character and action are not traditional.

A-881 Gascoigne, George. Princelye Pleasures at the Courte of Kenelwoorth; that is to saye, the copies of all such verses, proses, or poeticall inventions, and other devices of pleasure, as were there devised, and presented, by sundry gentlemen, before the Queene’s Maiestie, In the Yeare 1575. London: Richard Jhones, 1576. [STC (P&R) (no entry).] Rptd: The whole woorkes of George Gascoigne Esquire: newlye compyled into one volume,

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that is to say: his Flowres, hearbes, weedes, the fruites of warre, the comedie called Supposes, the tragedie of Iocasta, the Steele glasse, the complaint of Phylomene, the storie of Ferdinando Ieronimi, and the pleasure at Kenelworth Castle. London: Printed by Abell Jeffes, 1587. [STC (P&R) 11638 (ESTC S105705).] – The Princely Pleasures at Kenelworth Castle; A brief rehearsall, or rather a true Copie of as much as was presented before her majesti[e] at Kenelworth, during her last aboade there. The Complete Works of George Gascoigne. Ed. John W. Cunliffe. 2 vols. Cambridge: Cambridge University Press, 1907. 2: 91–131. Gascoigne describes the activities of the Queen at Kenilworth in 1575, including descriptions of the entertainments and their scripts. Arthur is referred to several times; the Queen and the lords of Kenilworth are represented as his heirs. The only active Arthurian character is the Lady of the Lake, who appears in two different dramas. In one she recites the history of the place (beginning in Arthur’s time) and claims that only the Queen’s appearance has overcome the Lady’s fear and allowed her to emerge from her lake. In the second, Triton claims that she has been beset by a churlish knight, and only the presence of the Queen (a greater maiden than the Lady) can free her of this curse. (See also “Elizabethan revels,” “King Ryence’s Challenge,” and “Patten, William.”)

A-882 Gash, Jonathan [pseud.], [i.e., John Grant]. The Grail Tree. London: William Collins Sons and Co., 1979. One of the series of stories about Lovejoy, an antiques dealer in East Anglia, who regularly gets involved in elaborate and usually murderous plots. The particular antique around which this story is centred is a pewter cup which is said to be the Holy Grail; the “tree” is an elaborate reliquary in which the cup is kept and to the decoration of which a number of famous artists have contributed. There is also, near the beginning of the story, some account of a pageant being presented by school-children about the kings of England, including King Arthur; the pageant includes a fake antique sword that at one point Lovejoy refers to as a false “Excalibur.” (To the best of our knowledge this novel was not used for an episode of the television series.)

A-883 Gemmell, David A. Ghost King. London: Century Hutchinson, 1988. Set in the Dark Ages, this fantasy novel is about a king named Uther.

A-884 Gemmell, David A. The Hawk Eternal. London: Legend, 1995. This fantasy novel is a sequel to Ironhand’s Daughter and while it is about a different world than ours and thus does not rewrite the Arthurian legend, there are a number of parallels to Arthurian stories. First, Gemmel uses a number of character names from the legend: Taliesin is a major figure, something of a Druid priest-scientist; Gwalchmai and Agwaine are companions of the protagonist’s son; an island where monks dwell guarding their secrets is called Vallon, and heroes go there to die. Second, there are events that echo Arthurian plot elements: a woman steps out of the mist on a lake to give a sword to a hero (in this case, to the Hawk Queen); the villainous, destructive race that seeks to destroy the protagonist’s clan is called the Aenir, but details of their behaviour (particularly the blood-eagle) suggest that they are modelled on the Saxons of many an Arthurian novel.

A-885 Gemmell, David A. Last Sword of Power. London: Century Hutchinson, 1988. This sequel to Ghost King again uses Arthurian names (Morgan and Lancelot in particular).

A-886 Gemmell, David A. Wolf in Shadow. The Sipstrassi Tales. London: Century, 1987. A post-Apocalyptic science fiction novel. The hero, on a quest for Jerusalem, is compared to Galahad or Lancelot questing for the Grail.

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A-887 Genillat [pseud.], [i.e., Thomas Heyward Gignilliat]. Merlinson: A Play in Verse. Savannah: Pigeonhole Press, 1952. Although written in the 1920s, this play was not published until much later. The title character is Merlin’s son, who is in love with Arthur’s daughter, Iseult, whom Tristan also loves. Within the play, the chorus mentions sources such as Gildas, Nennius, and Geoffrey of Monmouth.

A-888 Geoffrey Junior [pseud.], [i.e., William John Courthope]. The Marvellous History of King Arthur in Avalon and of the Lifting of Lyonnesse: A Chronicle of the Round Table Communicated by Geoffrey of Monmouth. London: John Murray, 1904. (*) A mystical communication about Arthur to “Geoffrey Junior” from Geoffrey of Monmouth.

A-889 Gerard, Francis. The Secret Sceptre. London: Rich and Cowan, 1937. The Holy Grail is the centre of this detective novel.

A-890 Gerhardie, William. “Tristan und Isolde.” Pretty Creatures. New York: Duffield and Co.; London: Ernest Benn, 1927. Rptd: Introd. Michael Holroyd. London: Macdonald, 1974. 9–42. The main character of this story, an American named Ebenezer, meets a beautiful young woman in Vienna and begins a relationship with her. She calls herself Isolde, after the character in the opera, and since during the story they go to see the opera, there are many references to Tristan, Isolde, and Mark. Gerhardie uses the legend to contrast the increasingly sordid affair between the two modern characters.

A-891 Giblin, James Cross. The Dwarf, The Giant, and the Unicorn: A Tale of King Arthur. Illus. Claire Ewart. New York: Clarion Books, 1996. (*) A retelling for children of the conclusion of the medieval French story of Le chevalier du papegau, concerning how the young Arthur was shipwrecked on an island occupied by a dwarf, his giant son, and a unicorn.

A-892 Gibson, Wilfrid Wilson. “The Queen’s Crags.” Borderlands and Thoroughfares. New York: Macmillan, 1914. Rptd: Collected Poems 1905–1925. London: Macmillan and Co., 1933. 277–90. A poem in the form of a dialogue between an old man and a young man sitting beneath the Queen’s Crags on Midsummer Eve. The place is associated with Arthur and Guinevere; in local legend, the king is supposed to have thrown things at the queen at that spot to create the crags. The young man has had visions of Guinevere there twice before, but the beautiful woman who appears in the end is a local girl. (Note that we have seen the poem as reprinted, not the original.)

A-893 Gibson, Wilfrid Wilson. “Rousing of the King.” North Country Magazine 2 (May 1901). (*) A poem referring to the legend of the sleeping king.

A-894 Gibson, Wilfrid Wilson. “Song of the Lough Maiden.” North Country Magazine 2 (May 1901): (*) A poem on Broomlea Lough, with reference to King Arthur.

Gignilliat, Thomas Heyward: see Genillat. A-895 Gikow, Louise. “King Arthur and his Knights.” Muppet Babies’ Classic Children’s Tales. Illus. Tom Brannon. New York: Hugh Lauter Levin Associates, 1990. This one-page retelling of the sword in the stone story is based on Sidney Lanier. It is illustrated with a large coloured picture of Arthur (Baby Kermit) pulling the sword from the stone while

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others look on in amazement. There are a number of other stories included in this book (which has no page numbers), but this is the only Arthurian one.

A-896 Gilbert, Henry. King Arthur’s Knights: The Tales Re-told for Boys and Girls. Illus. Walter Crane. Edinburgh and London: T. C. and E. C. Jack, 1911. Rptd: Frequently reprinted. The Knights of the Round Table. In Days of Old. Illus. Walter Crane. Edinburgh and London: T. C. and E. C. Jack, [1915]. – Facsimile reprint of 1911 edn.: King Arthur’s Knights. London: Bracken Books, 1985. – King Arthur. Illus. Frances Brundage. Akron, OH: Saalfield, [1925]. – King Arthur’s Knights. Illus. T[homas] H[eath] Robinson. London: Thomas Nelson and Sons, 1933. – King Arthur and his Knights. Intro. Naomi Lewis. Illus. John Vernon Lord. Macmillan Little Classics. London and Bassingstoke: Macmillan Children’s Books, 1995. One of Crane’s decorations is reproduced in Mancoff, Return, 11. Mancoff also reproduces three of the illustrations (colour): 114, 119, 150. – One of the illustrations, “Sir Galahad is Brought to the Court of King Arthur,” is reproduced (colour) in Mancoff, Arthurian Revival in Victorian Art, Pl. VI. – Two of the illustrations, “Sir Lancelot Forbids Sir Bors to Slay the King” and “Sir Geraint and Lady Enid in the Deserted Roman Town,” are reproduced ((B&W) in Mancoff, Arthurian Revival, Figs. 94 and 95. A juvenile retelling of tales, based primarily on Malory, abridged, with some details derived from the tales of the Mabinogion and other sources. The 1911 edition includes sixteen full-page colour illustrations, as well as other decorations, by Walter Crane (see Massé 59); the 1915 edition includes eight of these illustrations (Massé 60). Later editions replace Crane’s illustrations with others (by Frances Brundage, T[homas] H[eath] Robinson, and John Vernon Lord). The 1995 edition is a somewhat abbreviated and simplified version of the story, with a new introduction (Naomi Lewis offers a summary of what is known of the historical Arthur, a survey of the medieval sources for the legend, and a consideration of some of the modern versions), and with new illustrations by John Vernon Lord (eight full-page B&W drawings, as well as other decorations).

A-897 Gillespy, Charlotte Ainsley. Guinevere or the Ladder of Love. Illus. Oscar Wilson. London: Society for Promoting Christian Knowledge, 1913. The novel concerns a young woman growing up, taking on more responsibilities, and following the teachings of her Christian faith. She is in love with Arthur who is a dear friend, but they can only marry after many years of self-sacrifice; there is no love triangle, but the nicknames of the characters strengthen the allusion to the Arthurian legend. There are several references to Tennyson and to a painting by G[eorge] F[rederic] Watts entitled “Sir Galahad” (for information on Watts’ painting, see the entry in the Fine Art section.)

A-898 Gilliam, Richard, Martin H. Greenberg, and Edward E. Kramer, ed. Excalibur. New York: Warner, 1995. An anthology containing stories and a few poems about swords, most concerning Excalibur (called the “sword of magic, sword of myth” on the cover). For details of individual Arthurian works, see Jane Yolen, “The Question of the Sword”; Diana L. Paxson, “The God-Sword”; Eric Lustbader, “Lassorio”; Nancy Holder, “Prayer of the Knight of the Sword”; T. Winter-Damon, “Echoes of the One Sword”; Peter Crowther, “All We Know of Heaven”; Charles de Lint, “Passing”; Lawrence Schimel, “Nights of the Round Table”; Esther M. Friesner, “Goldie, Lox, and the Three Excalibearers”; Judith Tarr, “Siver, Stone, and Steel”; Richard Lee Byers, “St Paul’s Churchyard, New Year’s Day”; Brad Linaweaver, “The Other Scabbard”; Daniel H. Scheltema, “Hope’s Edge”; Randy Miller, “The Scout, the Slugger and the Stripper”; Ardath Mayhar, “The Weapon”; Brad Strickland, “The Sword in the Net”; Terry Tappouni, “Once and Future” (poem); Mercedes Lackey, “Once and Future” (story); Jody Lynn Nye, “Sword Practice”; Susan Dexter,

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“Where Bestowed”; Bill Fawcett, “Demon Sword”; Susan Shwartz, “Troubled Waters”; Joe Haldeman, “Literary Cubism Saves the Universe”; Gary Gygax, “Duty”; and Darrell Schweitzer, “The Epilogue of the Sword.”

A-899 Gilliam, Richard, Martin H. Greenberg, and Edward E. Kramer, ed. Grails: Quests of the Dawn. New York: ROC, 1994. The first volume of a two-volume re-edition and expansion of the 1992 Grails: Quests, Visitations and Other Occurrences. For details of individual Arthurian works, see Mercedes Lackey, “The Cup and the Cauldron”; Diana L. Paxson, “The Feast of the Fisher King”; James S. Dorr, “Dagda”; Janny Wurts, “That Way Lies Camelot”; Lawrence Watt-Evans, “Visions”; Lionel Fenn, “The Awful Truth in Arthur’s Barrow”; Brian M. Thomsen, “Reunion”; Margo Skinner, “Quest Now”; Neil Gaiman, “Chivalry”; and Rick Wilber, “Greggie’s Cup.”

A-900 Gilliam, Richard, Martin H. Greenberg, and Edward E. Kramer, ed. Grails: Quests, Visitations and Other Occurrences. Atlanta, GA: Unnameable Press, 1992. Copies of this first of the editors’ anthologies of works about the Grail are more difficult to locate than the two later collections, published in 1994, that reprinted the stories, with others: Grails: Quests of the Dawn and Grails: Visitations of the Night. The editors indicate that they had more stories than could fit in a single volume, hence the two-volume expansion. For details of individual Arthurian works, see Mercedes Lackey, “The Cup and the Cauldron”; Diana L. Paxson, “The Feast of the Fisher King”; James S. Dorr, “Dagda”; Janny Wurts, “That Way Lies Camelot”; Lawrence Watt-Evans, “Visions”; Lionel Fenn, “The Awful Truth in Arthur’s Barrow”; Brian M. Thomsen, “Reunion”; Margo Skinner, “Quest Now”; Neil Gaiman, “Chivalry”; Rick Wilber, “Greggie’s Cup”; Richard Lee Byers, “Castle of Maidens”; Gregory Nicoll, “From Camelot to Deadwood”; S. P. Somtow, “The Steel American”; Jerry Ahern and Sharon Ahern, “Siege Perilous”; Robert E. Weinberg, “Seven Drops of Blood”; and Nancy Holder, “To Leave if You Can.”

A-901 Gilliam, Richard, Martin H. Greenberg, and Edward E. Kramer, ed. Grails: Visitations of the Night. New York: ROC, 1994. The second volume of a two-volume re-edition and expansion of the 1992 Grails: Quests, Visitations and Other Occurrences. For details of individual Arthurian works, see Doug Murray, “The Unholy”; Richard Lee Byers, “Castle of Maidens”; Gregory Nicoll, “From Camelot to Deadwood”; S. P. Somtow, “The Steel American”; Adam-Troy Castro, “Jesus Used a Paper Cup”; Jerry Ahern and Sharon Ahern, “Siege Perilous”; P. D. Cacek, “Here There be Dragons”; George Alec Effinger, “Maureen Birnbaum and the Saint Graal”; Robert E. Weinberg, “Seven Drops of Blood”; and Nancy Holder, “To Leave if You Can.”

A-902 Glasscock, Frederick T., ed. Excalibur: The Chronicle of the Fellowship of the Round Table. Vols. 1–6 (Oct. 1929-Oct. 1936). Issues 1–12 constitute vol. 1 (1929–1932); thereafter the journal was numbered in 4 issues per annual volume: 2 (1932–1933); 3 (1933–1934); 4 (1934–1935); 5 (1935–1936). Issue 6.1 (Oct. 1936) is the last issue. Glasscock was the founder of a club, intended to encourage young boys to practice chivalry and Christian virtue, the headquarters of which was King Arthur’s Hall in Tintagel (on the Hall and its decoration, see the entry under “Glasscock, Frederick T.: King Arthur’s Hall” in the Fine Art section). Excalibur was the official journal the Fellowship; the journal ran from 1929 to 1936, and includes club news, descriptions of Arthurian sites in Cornwall (including King Arthur’s Hall itself), as well as stories and poems on Arthurian themes. An announcement of the death of Frederick T. Glasscock appears in 4.1 (Oct. 1934), with a formal obituary in 4.3 (Apr. 1935).

A-903 [Glasscock, Frederick T.?]. “The Holy Grail.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.1 (Oct. 1929): 13.

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A thirteen-line poem, celebrating “[t]he cup of death that holds the seeds of life” and grants spiritual light to the soul “[t]hrough the life-blood of the Christ.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-904 [Glasscock, Frederick T.?]. “The Holy Grail.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.3 (Apr. 1930): 81. A poem of four five-line stanzas, declaring that long ago knights of purity and endurance sought the Holy Grail, and that people today can do the same, recognizing that the Grail is Christ. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-905 [Glasscock, Frederick T.?]. “King Arthur (Prelude).” Excalibur: The Chronicle of the Fellowship of the Round Table 1.6 (Jan. 1931): 206–10. The first portion of a verse drama; in this Prelude, Joseph of Arimathea and an unnamed “Lad” (i.e., Jesus) visit Tintagel (not, as is more usually claimed, Glastonbury); in a second scene, Joseph returns to Tintagel at a later date with a “Friend,” to whom he relates something of the earlier visit. Preceding this “Prelude” is a short introduction, headed “The Symbolic Story of King Arthur” (pp. 205–206). A summary of the whole drama was separately published as a pamphlet. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-906 [Glasscock, Frederick T.?]. King Arthur: His Symbolic Story in Verse. Tintagel: King Arthur’s Hall, [1929?]. This is not the text of the play itself, but an 11-page pamphlet giving the synopsis of a five-act play (for a description of the play, see the entry for “Vere, B. D.”). The Prologue presents the story of Jesus visiting Britain with Joseph of Arimathea. Act 1 is in three scenes, being the episodes of the sword in the stone, the origins of the Round Table, and the gaining of Excalibur (the place is identified as Dosmary [Dozmary] Pool). Act 2, in three scenes, dramatizes the wedding of Arthur and Guenevere, the founding of the Order of the Round Table, and the beginning of the Grail quest. Act 3, in four scenes, portrays the betrayal of Launcelot and Guenevere by Mordred, the procession leading Queen Guenevere to the fire, Guenevere’s rescue by Launcelot, and Launcelot’s banishment by Arthur. Act 4 takes place after the Battle of Camlann (the place is identified as Slaughterbridge) and the passing of Arthur (he expresses a desire – but this is not presented as narrative fact – to go to Avilion, and a hope that he will one day return). Act 5 shows Galahad achieving the Grail and dying in its presence.

A-907 [Glasscock, Frederick T.] “King Arthur: The Symbolic Story of King Arthur and the Knights of the Round Table and the Two-Fold Quest.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.7 (Apr. 1931): 274–77; 1.8 (July 1931): 303–309; 1.9 (Oct. 1931): 340–46; 1.10 (Jan. 1932): 384–87; 1.11 (Apr. 1932): 421–27; 1.12 (July 1932): 464–68; 2.1 (Oct. 1932): 21–25; 2.2 (Jan. 1933): 65–72; 2.3 (Apr. 1933): 95–101; 2.4 (July 1933): 162–67; 3.1 (Oct. 1933): 17–22; 3.2 (Jan. 1934): 52–58; 3.3 (Apr. 1934): 97–102. Rptd: King Arthur: The Symbolic Story of King Arthur and the Knights of the Round Table and the Twofold Quest. Tintagel: King Arthur’s Hall, 1931. A four-act play (presented in thirteen installments), dramatizing the legend of Arthur (and presenting in dramatic form the “Symbolic Story” – a spiritual interpretation of the Arthurian story – which Glasscock presented in a series of articles in the same journal, including an installment in Vol. 1.7: 273–74: see the entry under Glasscock, “King Arthur: The Symbolic Story”). Part 1: A pair of prologues (a prose preface to the play, explaining the “symbolic meanings” of the characters and actions, and a verse prologue to be acted as part of the play) are offered. The verse prologue presents a chorus of women speaking with angels, who tell them that the way to aid knights on their quests is to love them. Part 2: “The Sword of a Knight and King”; Act 1, Sc. 1: the story of the sword in the stone; Arthur is declared king. Part 3: “The Round Table of King Arthur”; Act 1, Sc. 2: Arthur and Merlin at Dosmary Pool; Arthur receives Excalibur (pp. 340–44

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are an introduction, outlining the “symbolic meaning” of the characters and action). Part 4: Act 2, Scs. 1–2: Arthur succumbs to the temptation of Margawse. Part 5: Act 2, Sc. 3: marriage of Arthur and Guenevere; Merlin informs Arthur that the baby has been born which will destroy him. Part 6: Act 2, Sc. 4: founding of the Round Table, and the oaths of the knights. Part 7: Act 2, Sc. 5 (first part): the Siege Perilous; Galahad pulls a sword from a stone. Part 8: Act 2, Sc. 5 (second part): Galahad is brought to Camelot by Joseph of Arimathea, Galahad is armed and the Quest for the Holy Grail initiated. Part 9: Act 3, Sc. 1: the betrayal by Mordred of Launcelot and Guenevere. Part 10: Act 3, Scs. 2–3: Guenevere’s trial, and her rescue by Launcelot. Part 11: Act 3, Scs. 4–5, and Act 4, Sc. 1: Launcelot surrenders Guenevere to Arthur; Launcelot is banished; Galahad achieves the Holy Grail. Part 12: Act 4, Scs. 2–3: treachery of Mordred; death of Arthur. Part 13: Act 4, Sc. 4 and Epilogue: sorrow at the death of Arthur; the last meeting of Launcelot and Guenevere. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-908 [Glasscock, Frederick T.?]. “A Legend.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.3 (Apr. 1930): 87. This poem (24 lines of blank verse) is said to be reprinted from “Old College Magazine.” Sir Galahad, weary and riding homeward, sees a beggar lying face down in the dirt and thinks to pass by without stopping; reconsidering, he turns back, turns over the beggar’s body, and recognizes “Those eyes that Peter knew, the face / That smiled on Lazarus” (ll. 23–24). (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-909 [Glasscock, Frederick T.?]. “The Questing Knight.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.1 (Oct. 1929): 5. A poem in three quatrains, in which a knight is described, who wanders on no particular quest, but in the company of an “Other” upon whose breast he lays his head at night. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-910 [Glasscock, Frederick T.?]. “Sir Galahad.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.1 (Oct. 1929): 5. A poem in three quatrains, in which Sir Galahad prays and receives encouragement from Jesus. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-911 [Glasscock, Frederick T.?]. “To ---.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.1 (Oct. 1929): 13. A sonnet, addressed to one “who hast touched the Grail in purity,” to whom will go the credit if the poet achieves the Grail likewise. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-912 Glennie, John S. Stuart. King Arthur; or, The Drama of the Revolution. 2 vols. London: Trübner, 1867–1870. Volume I: Prologue and Overture. Volume 2: Play the First: The Romance of the Forest; or, The Quest for Merlin. This drama was conceived as five plays around the conflict between God and the world, on epic, social and individual levels; the projected series of plays was not completed. The first volume consists mainly of translations from Greek, Latin and German poems. The setting is “under Arthur’s Seat, on the outskirts of the Caledonian Forest.” Arthur is compared to Greek heroes such as Theseus. In the second volume (the first play), a host of Arthurian characters journey to Avalon for a feast, and they discuss Christianity, Love and the Ideal Life. The play is set in the days of Vortigern though the knights are given Arthurian names. Arthur is not yet king and does not know his parentage. According to Northup and Parry (1944), a third volume (with a second play) was published by Moxon in 1880 (The Romance of the Youth of King Arthur), but we have found no confirmation of this.

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A-913 Gloag, John. Artorius Rex. New York: St Martin’s, 1977. Two novels of pre-Arthurian times precede this novel (Caesar of the Narrow Seas and The Eagles Depart). Artorius Rex is set in Roman Britain and is narrated by Kay (Caius). Arthur is sent to Britain by the Emperor to restore Roman rule and Christianity by uniting petty kings. He becomes infatuated with and marries the daughter of a Saxon king; the narrator is suspicious of this woman and traces most of Arthur’s failures to her influence and infidelity. Arthur is depicted as a leader with vision and personality, who cannot succeed because of those around him.

A-914 Glyn, Elinor. The Sequence 1905–1912. London: Duckworth and Co., 1913. Rptd: Guinevere’s Lover. [US title.] The novel is the story of a woman named after Arthur’s queen. She is married to a man much older than she; she develops a relationship with a younger, more sympathetic man that causes great heartache before it reaches its destined end. There are specific references to the Arthurian legend besides her name.

A-915 Godwin, Parke. Beloved Exile. New York: Bantam Books, 1984. The novel is the sequel to Firelord and begins right after Arthur’s death. Guenevere attempts to take Arthur’s place, but cannot command the loyalty of enough of his followers. She ends up as a slave to an Anglian landowner, spending ten years with him. Her experiences with the Anglians change her perspective; when she returns to Arthur’s kingdom, Constantine and Emrys are still battling for control, with characters like Elaine and her son (with Lancelot) taking sides in a futile and destructive power struggle.

A-916 Godwin, Parke. Firelord. Garden City, NY: Doubleday and Co., 1980. This novel is narrated by Arthur on his deathbed; a monk records his words. It is a historical novel set in Dark Age Britain; Morgan is therefore one of the Prydn and Mordred is her legitimate son by Arthur when the latter spends time with her tribe. Godwin includes most of the traditional events of the legend, but gives many of them a different slant, as in Morgan’s and Guenevere’s abilities to rule, or the misunderstandings that give traditional characters complex motivations while leading to the usual consequences.

A-917 Godwin, Parke. “The Lady of Finnigan’s Hearth.” Illus. Steve Fabian. Fantastic 26.3 (Sept. 1977): 50–71, 122–24, and 131. Rptd: Ghosts: A Treasury of Chilling Tales Old and New. Ed. Marvin Kaye and Saralee Kaye. Garden City, NY: Doubleday and Co., 1981. 91–121. – Also in The Fire When It Comes. Ed. Marvin Kaye. Garden City, NY: Doubleday and Co., 1984. 45–75. The story begins with a one-sentence rehearsal of Iseult of Ireland’s life, mentioning Arthur, Tristram and the land of Cornwall. The rest of the story is about Iseult in the afterlife. She is not happy in either heaven (she and Tristan quickly become bored with one another), or hell, and eventually through a trick gets back to earth to find the secret of life. She makes a deal with Marty Finnegan (a present-day, divorced man) to sweep his hearth and take care of him for a year; the deal changes both his life and hers. The original illustration in Fantastic is a beautiful full-page picture of Iseult playing a harp in heaven.

A-918 Godwin, Parke. “The Last Rainbow.” Illus. Joe Staton. Fantastic 27.2 (July 1978): 20–43. Rptd: The Fire When It Comes. Garden City, NY: Doubleday and Co., 1984. 112–44. – The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1996. 360–93. A short story set in the later Middle Ages. The young female protagonist, Brangaene, dreams of faeries’ granting wishes and eventually does catch one (one of Godwin’s Prydn) who leads her, her father, and the Bishop on a search for the Grail. There are references to the Arthurian legend and

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characters such as Lancelot and Percival in the description of the Grail and the quest. (While set in the same world as Godwin’s novel sequence, this is set at a later time, and the story is not directly related to Godwin’s novel with the same title.)

A-919 Godwin, Parke. The Last Rainbow. New York: Bantam Books, 1985. This novel is a “prequel” to Firelord and Beloved Exile and so has fewer Arthurian characters. It tells the story of Father Patrick and how he is changed by living with the Prydn or Faerie (some of whom are ancestors of Morgan, an important character in Firelord). Ambrosius – who, in Firelord, will hand over power to Arthur – also appears in this work.

A-920 Godwin, Parke. “Uallannach.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 84–107. Rptd: The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 406–26. This short story is a sequel to Firelord as it describes Mordred and Arthur’s last encounter from Mordred’s point of view. The story also gives us some of the history of the conflict, particularly Morgan’s death when she takes Mordred to meet Arthur and Guenevere.

A-921 Godwin, Parke, ed. Invitation to Camelot. Afterword by Raymond H. Thompson. Cover illus. Jill Carla Schwartz. New York: Ace Books, 1988. An anthology which brings together previously unpublished short stories on Arthurian themes. For details of individual works, see Morgan Llywelyn, “Their Son”; Tanith Lee, “The Minstrel’s Tale”; Phyllis Ann Karr, “Two Bits of Embroidery”; Elizabeth Ann Scarborough, “The Camelot Connection”; Parke Godwin, “Uallannach”; Susan Shwartz, “Seven from Caer Sidi”; Gregory Frost, “The Vow that Binds”; Madeleine E. Robins, “Nimuë’s Tale”; Chelsea Quinn Yarbro, “Night Mare”; Sharan Newman, “The Palace by Moonlight”; Jane Yolen, “Meditation in a Whitethorn Tree”; and John M. Ford, “Winter Solstice, Camelot Station.”

A-922 Gohorry, John. A Life of Merlin: Poems. Frontispiece by John Gruenwald. San Francisco: Bullnettle Press, 1999. (*) A 51-page booklet; limited edition, fine press printing. A cycle of poems that uses Geoffrey of Monmouth as a principal source. Colophon: “Based primarily on J. J. Parry’s translation of Geoffrey of Monmouth’s Vita Merlini. . . . John Gruenwald printed the frontispiece image. The Poliphilus and Blado types were cast by Bradley Hutchinson and hand-set and printed by Asa Peavy with the welcome assistance of Carolyn Fraser. Coriander Reisbord bound the edition, which consists of 95 copies. The paper is Somerset Textured, printed on a Vandercook SP-15 press.” (Information from OCLC WorldCat entry.)

A-923 [Golagros and Gawane.] [The knightly tale of Golagros and Gawane]. Edinburgh: [Printed] Be Walter Chepman and Androw Millar, 1508. [STC (P&R) 11984.] Rptd: “Gawan and Gologras.” Scotish Poems Reprinted from Scarce Editions. Ed. John Pinkerton. 3 vols. London: John Nichols, 1792. 3: 65–123. – The Knightly Tale of Golagrus and Gawane, and Other Ancient Poems. Ed. David Laing. [Edinburgh]: [David Laing], 1827. – Pieces from the Makculloch and the Gray MSS., Together with the Chepman and Myllar Prints. Ed. George Stevenson and Henry W Meikle. Scottish Text Society Publications 65. Edinburgh and London: Printed for the Society by W. Blackwood and Sons, 1918. 67–110. – The Chepman and Myllar Prints: Nine Tracts from the First Scottish Press, Edinburgh 1508, Followed by the Two Other Tracts in the Same Volume in the National Library of Scotland; A Facsimile with a Bibliographical Note by William Beattie. Ed. William Beattie. Edinburgh: Edinburgh Bibliographical Society, 1950. 7–48, 51.

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– Sir Gawain: Eleven Romances and Tales. Ed. Thomas Hahn. Middle English Texts. Kalamazoo, MI: Published for TEAMS in Association with the University of Rochester by Medieval Institute Publications, Western Michigan University, 1995. 227–308. A metrical romance composed around 1500 and first printed in 1508 by Chepman and Millar (colophon: “Heir endis the knightly tale of Golagros and Gawane. . . .” “Be Walter Chepman and Androw Millar, the viii day of Apile the yhere of God M.CCCCC and viii yheris [i.e., 8 Apr. 1508]”; this black-letter edition is one of the earliest dated Scottish printed books). Pinkerton’s reprinting divides the work into four parts (each with twenty-three to twenty-six stanzas) and provides prose summaries of each part. Arthur, on his way to the Holy Land, hears of Gologras, and later meets with him, seeking his tribute. Throughout the poem, Gawain is the one who accomplishes errands for Arthur, either because of his courtesy (in contrast to Kay) or through feats of arms (as in the final conflict with Gologras). Gologras eventually does pay homage to Arthur.

A-924 Golding, W. G. “Lament of Sir Bors for His Sister.” Poems. London: Macmillan, 1934. 32. The title of this two-quatrain poem sets up Bors as its speaker; he commands silence in mourning for the dead woman. There are no other Arthurian allusions.

A-925 Golding, W. G. “The Old Boat.” Poems. London: Macmillan, 1934. 30. A poem of three quatrains. The first two describe the old boat he sees “By the lonely isles” (1). In the last quatrain, he sees the boat’s magical possibilities; it could have carried Lancelot on the Grail quest or Arthur to Avalon.

A-926 Goldman, James. The Man from Greek and Roman. New York: Random House, 1974. Rptd: New York, London, and Toronto: Bantam, 1975. A down-on-his-luck museum curator tries to find the truth about the museum’s latest acquisition, a chalice from early Roman times that has been made for someone called “Josephus.” When the museum announces its find, an English archaeologist claims that the chalice was stolen from him; he is excavating Cadbury and believes the chalice is the Grail. As a result, there are several references to stories from the legend; the protagonist compares himself to Lancelot and Galahad, for example, because he is after the truth about this chalice. The novel picks up its pace as it goes along, with various twists to the mystery of where the chalice originated.

A-927 Goldowsky, Barbara. “Lancelot.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 22–23. The speaker in this poem describes the Arthurian love triangle and then compares with it her own situation.

A-928 Goldowsky, Barbara. “The Love Letter.” Ferry to Nirvana. Aurora, CO: National Writers Press, 1983. Rptd: The volume was reprinted in full in Ferry to Nirvana and New Poems. Mattituck, NY: Amereon, 1991. – This poem was reprinted in The Round Table: A Journal of Poetry and Fiction 5 (1989): 21. This poem describes the speaker’s love as being like one of the captives whom Lancelot sent to Guenevere.

A-929 Goldstein, Lisa. Strange Devices of the Sun and Moon. New York: TOR Books, 1993. A historical fantasy novel: that is, it is set in Elizabethan England, with people such as Queen Eliz-

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abeth and Christopher Marlowe as characters, but it also includes fairy folk. The fairy queen, Oriana, gave her son to be fostered by humans, but now needs him to return to lead his people against the red king. The son’s name is Arthur; his human parents chose the name out of legend, which suggests King Arthur and his return, and that aspect of the legend is also used in the novel by unscrupulous courtiers who try to use Arthur in plots against Elizabeth.

A-930 Goodchild, John Arthur. The Dream of a Scavenger: A Tale of Arthur in Plain English. Bath: G. M. Curtis, 1918. (*) A-931 Goodman, Julius. The Magic Path. Illus. Frank Bolle. Choose Your Own Adventure Series 26. Toronto: Bantam, 1985. The first sign that the path is magic is that it takes the children to Camelot. From there the reader can end up in several adventures: jousting with the Black Knight, being turned into a frog by Merlin, meeting a dragon. The path leads also to other places, like the Wild West or the time of the dinosaurs. Although a couple of Arthurian characters appear in minor roles, the setting is the most Arthurian aspect.

A-932 Goodrich, Peter, ed. The Romance of Merlin: An Anthology. Garland Reference Library of the Humanities 867. New York: Garland Publishing, 1990. The first half of this anthology provides excerpts of works written before 1500. The latter half deals with Merlin in the Renaissance, and in the nineteenth and twentieth centuries. For details of individual (modern) works from which excerpts are taken, see Edmund Spenser, The Faerie Queene; Thomas Heywood, The Life of Merlin; Alfred, Lord Tennyson, “Merlin and Vivien”; Mark Twain, A Connecticut Yankee in King Arthur’s Court; Edwin Arlington Robinson, Merlin; T. H. White, The Once and Future King; and C[live] S[taples] Lewis, That Hideous Strength.

Goodridge Roberts, Theodore: see Roberts, Theodore Goodridge. A-933 Gordon, Adam Lindsay. “The Rhyme of Joyous Garde.” Poems of Adam Lindsay Gordon. Oxford: Oxford University Press, 1913. 161–71. Rptd: Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 44–52. In this ballad, Lancelot remembers his love for the queen (whose name is never mentioned). He is obviously near to death, and while he does not exactly repent for loving her, he regrets the consequences of that love.

A-934 Gosse, Edmund. “Guenevere.” On Viol and Flute. London: Henry S. King, 1873. 102–103. This poem of four six-line stanzas describes a meeting of Lancelot and Guenevere as they affirm their love. The second line of each stanza is in parentheses; each lists a different set of three fruits or plants, and those in the last stanza, which reflects on the doom this love will cause, are “nightshade, wormwood and agaric” in keeping with the bitter ending. This poem appears in only this edition of On Viol and Flute, not later editions.

A-935 Gosse, Edmund. “Sestina.” On Viol and Flute. London: Henry S. King, 1889. 168–70. This poem is about a poet in Provence trying to woo a lady. One of the songs he sings to her is Arthurian, “Of Lancelot and of Galahad,” and this song stirs his lady’s heart.

A-936 Gotera, Vince. “Gawain’s Rap.” The Wooster Review 9 (Spring 1989): 29. This “rap” retells the story of Gawain and the Green Knight in six quatrains; only the first part of the story, the appearance of the Green Knight at Arthur’s court, is told in any detail.

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A-937 Gould, Gerald. “In the Woods.” Poems. London: Sidgwick and Jackson; New York: M. Kennerley, 1911. 34–35. Rptd: Gerald Gould. Ed. Humbert Wolfe. The Augustan Books of English Poetry, 2nd ser. 20. London: Ernest Benn, [1928]. 15. – The Collected Poems of Gerald Gould. London: Victor Gollancz; New York: Payson and Clarke, 1929. 89–90. A poem of four seven-line stanzas, describing Lancelot and Guinevere as they “Walked from the Maying in the wood” (l. 2), unaware of “how the next / Short hour should leave them loveperplexed / And irremediably dear” (5–8).

A-938 Gould, Gerald. “Lancelot and Guinevere.” Poems. London: Sidgwick and Jackson; New York: M. Kennerley, 1911. 77–78. Rptd: In The Home Book of Verse, American and English, 1580–1912. Ed. Burton E. Stevenson. New York: Henry Holt and Co., [1912]. 2813–14. [This anthology reappeared in a number of editions, each of which was reprinted several times.] A poem of eight quatrains describing Lancelot’s state of mind as he rides far from court, haunted by the memory of Guenevere’s eyes. (This poem is not included in Gould’s Collected Poems.)

A-939 Gouletas, Basil. “Tristan and Isolde.” Illinois English Bulletin 33.4 (Jan. 1946): 23–24. A brief short story providing commentary on the beginning of the opera of Tristan and Isolde as though it were a football game.

A-940 Graff, Irvine. The Return of Arthur. Boston, MA: Stratford Co., 1922. A ballad set at the beginning of World War I. The speaker meets Lord Kitchener and sees in him Arthur returned.

A-941 Grail Ceremony at Camp Winnataska. “Seventy-Five Years of Performances of the Grail Ceremony at Camp Winnataska: The Quest of the Holy Grail.” By Mildred Leake Day. Quondam et Futurus: Quarterly for Arthurian Studies 10 (1989–1990): 12–22. This article prints the “Grail Ceremony” used at an Alabama Christian children’s camp. Day provides the context for the ceremony in a few brief paragraphs, and then “The Quest of the Holy Grail” is reproduced. Day says, “the script . . . has never been in any form but typewritten. . . . [T]he ceremony has been maintained as an oral tradition, with the written version used as a prompt sheet” (12). The play begins with an extensive narrated introduction that retells the story of Joseph of Arimathea and connects that story to the lives of those at the camp. The dramatic portion is set at Arthur’s court, and various knights appear. Thus there are references to Gareth’s time in the kitchens, and to Lancelot’s knighting of Galahad. When Galahad arrives, he recounts his vision of the Grail, and this story begins the Grail quest. The second act is set a year and a day later, when the knights return. Their adventures on the quest are told to the court. The drama then ends with Arthur addressing the audience and the singing of a hymn, “Follow the Gleam.”

A-942 Grange, Amy Mary. A Modern Galahad. London: Catholic Truth Society, 1895. (*) A novel.

A-943 Grant, Allan. “Fiction.” Unknown (or Street and Smith’s Unknown) 4.5 (Dec. 1940). Rptd: From Unknown Worlds. Ed. John W. Campbell, Jr. Illus. Edd Cartier. New York: Street and Smith, 1948. 59. A poem in five quatrains, in which the speaker observes that a reader of fiction can experience many adventures – including “the sport of King Arthur’s court” – while never leaving his chair.

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Grant, John: see Gash, Jonathan. A-944 Grant, Karen J. “The Thirteenth Tree.” M.A. thesis in Creative Writing. University of Alberta, 1991. (*) Grant uses multiple narrators to retell the story of Arthur, with the central focus upon Morgan. The novel intentionally reverses traditional depictions, making Merlin villainous and Morgan the protagonist. Inspirations include Malory, Geoffrey of Monmouth, and Mary Stewart. (Information from the thesis abstract.)

A-945 Graver, Fred. Journey to Stonehenge. Illus. Leslie Morrill. Choose Your Own Adventure 35. Toronto: Bantam, 1984. In this book, you go on an archaeological dig at Stonehenge and, according to the choices made, meet Merlin and travel to ancient Britain. Merlin tells you that later he will be Arthur’s teacher.

A-946 Graves, Alfred Percival. “The Coming of Sir Galahad and a Vision of the Grail.” A Celtic Psaltery. New York: Stokes, n.d; London: Society for Promoting Christian Knowledge, 1917. 174–75. The poem describes the knights sitting at the Round Table, waiting for they know not what. Galahad arrives, and the Grail appears.

A-947 Graves, Robert. “Merlin and the Child.” In The New Witness 15 Mar. 1918. Rptd: Seeds in the Wind: Juvenilia from W. B. Yeats to Ted Hughes. Ed. Neville Braybrooke. London: Hutchinson, 1989. 114–15. A poem of three stanzas. Merlin meets a young boy, addressed by Merlin as “Lamb of thunder” and thus perhaps the Christ-child. When Merlin tells the boy that he is searching for a serpent’s egg to perform magic, the boy tells him that there is only God, not any other diviner. According to Smith, there is an “earlier, shorter version [that] appeared as ‘Merlin the Dreamer’ in The Carthusian, 11, no. 373 (Feb. 1914).”

A-948 Gray, Frances Angevine. “Comrade to Galahad.” Signature of Time. Portland, ME: House of Falmouth, 1968. 19. The comrade of the poem’s title is the unnamed speaker who describes Galahad’s single-minded pursuit of his quest. The speaker, on the other hand, observes the beauties of nature and sees some connection to the divine through them.

A-949 Gray, Frances Angevine. “Glastonbury Abbey.” Signature of Time. Portland, ME: House of Falmouth, 1968. 23. A poem of two stanzas. The first reflects on the legend that connects Glastonbury to Arthur. The second juxtaposes the supposed sacredness of the site with its use for tourism.

A-950 Gray, John. “Parsifal Imitated from the French of Paul Verlaine.” Silverpoints. London: Elkin Matthews and John Lane, 1893. xxii. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 38. The poem uses a variation of the Petrarchan sonnet to describe Parsifal’s successful quest: his resisting of temptation, his healing of the Fisher King, and his achievement of the Grail.

A-951 Gray, Maxwell [pseud.], [i.e., Mary Gleed Tuttiett]. “Sir Launcelot at the Forest Chapel.” Atlanta 7 (Oct. 1893): 35. (*) A poem.

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A-952 Gray, Nicholas Stuart. Sir Gawain and the Green Knight: A Play. Illus. Victor Ambrus. London: Dennis Dobson, 1969. The play combines the stories of Sir Gawain and the Green Knight and The Wedding of Sir Gawain and Dame Ragnell, along with a number of original scenes and events, in large part to provide clearer motivation for the story. Act 1, Sc. 1: the arrival of Gawain at Arthur’s court, where he is revealed to be something of a diamond in the rough (he means well, but gets people’s backs up); Sc. 2: the Green Knight appears (in Arthur’s private apartments, not in open hall), and causes the disappearance of Arthur’s sword, offering to restore it if Arthur can answer the question of what women desire. When Arthur and his immediate companions cannot give a satisfactory answer, Arthur pleads for time; if Gawain agrees to marry the Knight’s sister, Arthur can have one year to find the answer (and his sword is restored temporarily for that period of grace). These arrangements made, the Green Knight proposes a Christmas Game of a stroke for stroke challenge. (The beheading takes place off-stage, but Gawain returns carrying the head, and the headless knight comes in after him.) Arthur laments that Gawain went too far: a light tap would have avoided serious consequences, but a mortal stroke will doom Gawain to the same. Ragnell enters, and Gawain is distressed; he leaves immediately to follow the Green Knight to learn where he lives. Act 2: Gawain in a bedroom recovering from injuries incurred when he was thrown from his horse; he is tended by Lady Miriel, wife of Bercilak. The three hunts, the exchange of winnings, the attempted seduction and the giving of the “ribbon” take place in a single scene (with two fade-outs, to indicate passing time), set in Gawain’s bedroom. Act 3, Sc. 1: Gawain meets the Green Knight at the Green Chapel, and is shamed and angered when his fault is exposed. Sc. 2: Queen Guinevere and Lady Ragnell, before a mirror, experiment with make-up and jewellery to improve Ragnell’s appearance; she expresses regret, and offers to leave without holding Gawain to his vow, but Guinevere declares that it is too late. Sc. 3: Gawain and Ragnell have married, and Gawain declares that Ragnell is now free to return to her brother; Kynan, Prince of the Hollow Hills of Eildon (who is also Bercilak and the Green Knight), arrives; after some further difficulties, including painful recognitions on Gawain’s part, and the granting to Ragnell of mastery, all is sorted out: the enchantment upon Ragnell is lifted, and Arthur’s sword is restored. The motivation for the whole is revealed to be a feud with Gawain’s mother, Morgan-Morgawse.

A-953 Gray, Phoebe. Little Sir Galahad. Illus. F. Liley Young. Boston, MA: Small, Maynard and Co.; New York: The Christian Herald, 1914. The Galahad of the title is a young boy, crippled from a childhood injury. The story follows him and two of his friends as they grow up. They belong to a club called the Galahad Knights which takes the Round Table as its model and endeavours to teach young people Christian values. The main pedagogical point in this novel concerns temperance; all of the ills that befall characters are associated with alcohol.

A-954 Greely, J. N. “Sir Percivale’s Ballad.” Yale Monthly Magazine (Apr. 1906): 219. (*) A-955 Green, Paul. Arthurian Cycles. Newcastle upon Tyne: Pig Press, 1978. (*) A poem cycle, printed in a limited edition of 200 copies.

A-956 Green, Robert Montraville. The Round Table: An Arthurian Romance Epic Volume 1. Boston, MA: Privately printed by the Eliot Press, 1955. A versified version of tales from Malory, also drawing upon Chrétien and Marie de France. The poem is divided into two books, each with ten cantos, and retells the story from just before Arthur’s conception to Arthur’s conquest of Rome.

A-957 Green, Roger Lancelyn. King Arthur and his Knights of the Round Table, Newly Re-told Out of the Old Romances. Illus. Lotte Reiniger. Puffin Story Books 73. London: Puffin / Penguin Books, 1953. Rptd: London: Faber and Faber, 1957.

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– Everyman’s Library Children’s Classics. Illus. Aubrey Beardsley. London: Everyman’s Library; New York: Alfred A. Knopf, 1993. – Excerpt: King Arthur’s Court. Penguin Children’s 60s. London: Penguin Books, 1996. A retelling of the legends, based primarily upon Malory (“but I have not felt bound to follow him slavishly – any more than he scrupled to adapt or combine his many French sources” [11]), with thirty-four woodcut illustrations. The 1993 Everyman’s Library edition uses instead illustrations from the 1893–1894 Le Morte Darthur illustrated by Aubrey Beardsley (see the entry under “Beardsley, Aubrey” in the Fine Art section): two double-page, twelve full-page, and twenty-three partial-page illustrations, twenty-one decorated initials, and four title-page borders. An audiobook version was issued by Puffin in 1996 (2 cassettes; approx. 3 hours); read by Terrence Hardiman; abridged and adapted by Robin Waterfield; with music by Martin Cook; produced by Mellie Buse. A television programme based on Green’s retellings of the legend was produced by PBS-TV in their series “Once Upon a Classic” (the series aired from 1976–1979; we lack further details).

A-958 Green, Roger Lancelyn. “Merlin, the Wizard of Britain.” In In The Hamish Hamilton Book of Magicians. Illus. Victor Ambrus. London: Hamish Hamilton, 1973. 64–83. Rptd: A Book of Magicians. Harmondsworth: Puffin / Penguin Books, 1977. A life of Merlin, drawing details from a variety of medieval sources (Nennius, Geoffrey of Monmouth, the Suite de Merlin, Layamon, Robert de Boron, and others [271, “Notes on Sources”]). The Merlin section includes four full-page illustrations (pen-and-ink drawings) by Ambrus: two messengers speak to the boy Merlin, seeking a fatherless child (67); Merlin at Stonehenge (73); Arthur pulls the sword from the stone (77); Merlin and Niviene (82).

A-959 Green, Roger Lancelyn. Sir Lancelot of the Lake. Illus. Janet Grahame Johnstone and Anne Grahame Johnstone. Paulton: Purnell and Sons, 1966. This retelling for children draws on Malory and French romances to cover Lancelot’s entire life. In this version, Galahad’s birth is legitimate, and the love between Guenevere and Lancelot is Platonic.

A-960 Greenberg, Martin H., ed. Merlin. Cover illus. John Howe. New York: DAW, 1999. A collection of short stories (all original to this volume), although the anthology begins with a poem by Jane Yolen, “Old Merlin Dancing on the Sands of Time.” The cover art shows green fields, trees and cloudy castles; the middle third (a vertical strip down the middle of the cover) shows the head and shoulders of a young boy in green and beside and almost behind him are the head and shoulders of an old man, with glasses and a long white hair and beard, wearing a tall, blue hat with gold symbols on it. For details of individual works, see the entries for Jane Yolen, “Old Merlin Dancing on the Sands of Time”; Diana L. Paxson, “Cauldron of Light”; Charles de Lint, “Forest of Stone”; Tim Waggoner, “One Morning at the Stone”; Esther M. Friesner and Anne Elizabeth Stutzman, “Repro Man”; André Norton, “Root and Branch Shall Change”; Kathleen M. Massie-Ferch, “Touched by Moonlight and Sunshine”; John Helfers, “The Final Battle”; Pauline E. Dungate, “The Magic Roundabout”; Lyn McConchie, “Other Agendas”; Lisanne Norman, “The Wild Hunt”; Brian M. Thomsen, “Mouse and the Magic Guy”; Alan Rodgers, “Merlin and Viviane”; Marc Bilgrey, “Waiting for Tomorrow”; Bradley H. Sinor, “Central Park”; Jean Rabe, “Last Flight Over the Giant’s Dance”; Brooks Peck, “The Well-Made Knight”; Gary A. Braunbeck, “The Ballad of the Side Street Wizard”; R. Davis, “The End of Summer”; and Michelle West, “Return of the King.”

A-961 “The Greene Knight.” In Syr Gawayne: A Collection of Ancient Romance-Poems, by Scotish and English Authors, Relating to that Celebrated Knight of the Round Table;

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With an Introduction, Notes, and a Glossary. Ed. Frederic Madden. Bannatyne Club Publications 61. London: Printed by R. and J. E. Taylor, 1839. 224–42. Rptd: Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. 2: 56–77. – The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. 2: 120–37. – Sir Gawain: Eleven Romances and Tales. Ed. Thomas Hahn. Middle English Texts. Kalamazoo, MI: Published for TEAMS in Association with the University of Rochester by Medieval Institute Publications, Western Michigan University, 1995. 309–35. A ballad (dated “about 1500” by Hahn [310]) which retells in compressed form the story of Sir Gawain and the Green Knight (beginning: “List! wen Arthur he was King, / He had all att his leadinge”). This was not printed in Percy’s Reliques, though it is preserved in Percy’s Folio manuscript (now British Library MS Add. 27879).

A-962 Greenslet, Ferris. The Quest of the Holy Grail: An Interpretation and Paraphrase of the Holy Legends, . . . With Illustrations from the Frieze Decoration in the Boston Public Library by Edwin Austin Abbey, R.A. Boston, MA: Curtis and Cameron, 1902. (*) The story of the Grail quest, following the paintings by E. A. Abbey. (See also the entries for “Abbey, Edwin Austin” in the Fine Art section.)

A-963 Greenwood, Ed. “The Shadow of a Sword.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 151–69. A short story set after the Battle of Camlann, as Constantine attempts to establish himself as king. He and his knights, including Dagonet of the Round Table, meet a mysterious knight who is revealed to be Bedivere. Constantine undergoes a test where he is advised by Merlin and Arthur, and tempted by Morgan and Excalibur. (The story is original to this anthology.)

A-964 Gregg, (Rev.) Arthur Eugene. The Quest of the Holy Grail: A Dramatic Recital for Boys. Ed. William Byron Forbrush and Frank Lincoln Masseck. Potsdam, NY: Frank Lincoln Masseck, 1909. This drama was written particularly for a boys’ club, The Knights of King Arthur. In the first part, the knights learn of the Grail and swear to the quest; in the second part, they return and report. The author has incorporated readings and quotations from the Bible, Tennyson, Malory, James Russell Lowell, and others.

A-965 Greville, Fulke, Lord Brooke. “Sonnet XXIII” of Caelica. Certaine Learned and Elegant Workes of the Right Honorable Fulke Lord Brooke written in his youth, and familiar exercise with Sir Philip Sidney. The seuerall names of which workes the following page doth declare. London: Printed by E[lizabeth] P[urslowe] for Henry Seyle, 1633. 175 (of the second pagination sequence). [STC (P&R) 12361 (ESTC S120837).] Rptd: Elizabethan Sonnet Cycles. Ed. Martha Foote Crow. 4 vols. London: Kegan Paul, Trench, Trübner, and Co., 1898. 4: 53–54. A 22-line “sonnet” (four quatrains and a sestet, beginning “Merlin, they say, an English Prophet borne, / When he was yong and gouern’d by his Mother”), which recounts a story of Merlin and his prophetic abilities. Witnessing a funeral procession, the young Merlin laughs; when he is rebuked for this, he reveals the real relationships between the priest, mother, and supposed father of the dead boy.

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A-966 Grey, John. “My Lady of the Lake.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 5. A short poem, in which the speaker remembers his childhood-imagined Lady of the Lake.

A-967 Grey, John. “Two Arthurs.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 45. A short poem, set as Arthur is dying. Gawain’s ghost invites him to follow, to leave the battlefield.

A-968 Griffin, John. [Griffin, Michael John Clay]. The Camelot Conundrum. London: Robert Hale, 1979. A novel about a British secret agent who infiltrates “The Round Table,” a subversive political group. The author quotes from Malory and other sources to reinforce the Arthurian associations.

A-969 Griffiths, Paul. The Lay of Sir Tristram. London: Chatto and Windus, 1991. Rptd: London and Basingstoke: Pan Books, 1992. This novel combines fragments of stories about Tristram with fragments of stories about people writing and performing an opera about Tristram (similar to Wagner’s), and the speaker’s own life and love relationships.

A-970 Groom, Arthur. “When Knights were Bold.” In Bubble and Squeek [sic] Annual. Illus. G. Moreno. London: Birn Brothers, n.d. (*) Groom’s “annual” ran for four years, 1950–1953. This story involves time travel and an encounter with Sir Lancelot.

A-971 Gross, Gwen. Knights of the Round Table. Illus. Norman Green. Step-Up Adventures. New York: Random House, 1985. Rptd: Bullseye Step into Classics. Illus. Norman Green. Cover illus. Larry Schwinger. New York: Random House, 1993. Juvenile retelling of select medieval Arthurian tales (Gaines, Item C100: Gaines notes that Green’s illustrations seem to be intended for a significantly older audience than is the text). Contents: The Sword in the Stone; Lancelot and the Round Table; The Beautiful Witch [Morgan le Fay: tales of Accolon and of the burning cloak]; Sir Gawain and the Lady Ragnell; The Kitchen Knight; The Last Battle.

A-972 Gross, Harvey Seymour. “Parsifal.” Plans for an Orderly Apocalypse and Other Poems. Ann Arbor: University of Michigan Press, 1968. 29. The title refers to the speaker of this nineteen-line poem. He is confused by his mother’s instructions and how they apply to the odd and miraculous sights of the Fisher King’s castle.

A-973 Gross, Joel. The Lives of Rachel. New York: New American Library, 1984. This novel traces the women named Rachel in one Jewish family over the centuries. Four of the Rachels, in particular, have their stories told; the second of these lives in Britain during the Saxon invasions. When her husband is killed by the Saxons, she and her father use their skills to make armour and weapons for Ambrosius and Arthur. Arthur is in love with Rachel, despite his marriage to another, unnamed woman, but he must leave her to take up the leadership of the Britons when Ambrosius dies. Rachel makes him a sword for his great battle against Hengist and the Saxons; the novel specifies that this sword is the one legend came to call Excalibur and that it was pulled from a stone.

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A-974 Grove, Donna. Return to Camelot. New York: HarperCollins, 1995. A romance novel, sequel to her A Touch of Camelot. In late nineteenth-century Philadelphia, Arthur Pierce, the brother of the protagonist of the previous novel, is hired to find Excalibur, and while on the quest falls in love with Chelsea Delafield, an Arthurian specialist. The novel opens with a short prologue, retelling the scene in which Merlin helps Arthur to gain Excalibur from the Lady of the Lake.

A-975 Grove, Donna. A Touch of Camelot. New York: HarperCollins, 1994. The female protagonist of this romance novel is part of a family the various members of which are obsessed with the Arthurian legend. She is named Guenevere (Pierce), and her brother, Arthur; the man of her dreams is compared to Lancelot, and she believes that they are destined to be lovers. Various aspects of the legend are mentioned: Arthur defeats a giant with a slingshot named Excalibur; the Round Table is a group of corrupt politicians. The story itself is set in the Old West.

A-976 Groves, Charles. “Arthur’s Seat.” Collected Poems. Edinburgh: Ramsay Head Press, 1972. 49. Describes a rock formation (in Edinburgh); the rock is named after King Arthur.

A-977 Guest, Harry. “Arthur from Silchester.” Agenda 26.1 (1988): 29–31. In this ten-stanza poem, the speaker surveys the landscape and imagines Arthur’s coronation and the events after it. There are references to the love affair and to the battle of Camlann. The poem ends with consideration of the relationship between history and legend.

A-978 Guest, Harry. Days: A Novel. London: Anvil Press Poetry, 1978. This short novel is postmodern in that it consists of a series of fragments that describe both the life of a writer and the semi-autobiographical book that he is writing. Both writer and his protagonist are involved in love triangles modelled on Tristan, Mark, and Iseult (the first two names are used, but Iseult is called Isobel). The triangle is further complicated by the sexual relationship of the Mark and Tristan characters.

A-979 “Guinevere’s Comb.” In A Dictionary of British Folk-Tales in the English Language, Incorporating the F. J. Norton Collection. Comp. Katharine M[ary] Briggs. 2 vols. in 4. London: Routledge and Kegan Paul, 1970–1971. B.2: 218–19. Rptd: British Folktales. Comp. Katharine M[ary] Briggs. New York: Pantheon Books, 1977. 239. A summary of a local legend. On a ridge near Sewingshields are two outcrops known as the King’s Crag and Queen’s Crag; the local story is that these are the seats of Arthur and Guenevere. Further, a story is told that one day Arthur was angered by something that Guenevere said, and threw a great boulder at her, which she deflected with her comb; the boulder with the marks of Guenevere’s comb can be seen on the hillside.

A-980 Guiterman, Arthur. “Gawaine’s Choice.” A Ballad-Maker’s Pack. New York and London: Harper and Brothers, 1921. 91. A Shakespearean sonnet which considers a choice that Gawain makes when he and two other knights go on a quest.

A-981 Guiterman, Arthur. “King Arthur and the Half-Man.” A Ballad-Maker’s Pack. New York and London: Harper and Brothers, 1921. 72–74. This poem, in rhyming couplets, tells a story of Arthur and his conflict with a giant.

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A-982 Guiterman, Arthur. “Lancelot.” A Ballad-Maker’s Pack. New York and London: Harper and Brothers, 1921. 83–84. This poem is Sir Ector’s tribute to his dead brother, Lancelot.

A-983 Guiterman, Arthur. “Legend.” A Ballad-Maker’s Pack. New York and London: Harper and Brothers, 1921. 85–86. A six-stanza poem describing Arthur and his men, sleeping in a hill, waiting to be awakened.

A-984 Guiterman, Arthur. “The Perfect Marriage.” A Ballad-Maker’s Pack. New York and London: Harper and Brothers, 1921. 75. This sonnet invents a fairy lover, Trinali, for Merlin.

A-985 Guiterman, Arthur. “Queen Yseult’s Bell.” A Ballad-Maker’s Pack. New York and London: Harper and Brothers, 1921. 87. A Shakespearean sonnet about Tristran’s gift to Iseult.

A-986 Guiterman, Arthur. “To Sir Thomas Mallory.” A Ballad-Maker’s Pack. New York and London: Harper and Brothers, 1921. 71. In this Petrarchan sonnet, the speaker addresses Sir Thomas Malory and asks for new tidings of Arthur’s knights.

A-987 Guler, Kathleen Cunningham. Into the Path of Gods. Macsen’s Treasure 1. Steamboat Springs, CO: Bardsong Press, 1998. The first novel of a trilogy, set in pre-Arthurian Romano-Britain (but the birth of Arthur has already been foretold). Myrddin Emrys is in search of Macsen’s Treasure. The story continues in In the Shadow of Dragons (2001).

A-988 Gunn, Thom[son]. “Merlin in the Cave: He Speculates Without a Book.” Poetry 86 (1955): 131–34. Rptd: The Sense of Movement. London: Faber and Faber, 1957. 56–58. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 27–42. This poem consists of twelve seven-line stanzas in which Merlin speaks, reflecting on his imprisonment and the desire for life or death. No other Arthurian characters are mentioned.

Gunson, Jonathan, and Martin Coombe: see the entry for “The Merlin Mystery” in the Games section. A-989 Guthrie, Kenneth Sylvan. Perronik the Innocent; or, The Quest of the Golden Basin and the Diamond Lance: One of the Sources of Stories about the Holy Grail; a Breton legend, after Souvestre. Brooklyn: Comparative Literature Press, 1915. A retelling of the Breton legend of Perronik, a Perceval-figure, on a quest for the Golden Basin.

A-990 Gwdihw. Ceridwen’s Cauldron. N.p.: Oriel Cambria, 1997. (*) A retelling of the tale of Taliesin.

A-991 Gwyndaf, Robin. Welsh Folk Tales. Illus. Margaret D. Jones. Cardiff: National Museum of Wales, 1989. This book contains both English and Welsh texts, depending on which cover you open. These are short versions (usually only a page long) of tales associated with different places in Wales (entitled

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according to the place they represent); they were gathered through interviews with a variety of storytellers. There are ten that concern Arthurian characters or items: “Nant Gwrtheyrn, Gwynedd: Gwrtheyrn the traitor” (the story of Vortigern); “Castellmarch, Gwynedd: March ap Meirchion and his horse’s ears” (March is often identified with King Mark); “Dinas Emrys, Gwynedd: The Red Dragon” (the story of Merlin’s prophecy to Vortigern); “Yr Wyddfa (Snowdon), Gwynedd: Arthur and Rhita the giant” (Arthur and the mantle of kings’ beards); “Rhuthun, Clwyd: Huail’s Stone” (Huail beheaded by Arthur); “Tre Taliesin, Dyfed: Ceridwen the Witch and the legend of the birth of Taliesin, the poet”; “Nanteos, Dyfed: The Nanteos Cup and the Holy Grail”; “Caerfyrddin (Carmarthen), Dyfed: Merlin the Magician” (Merlin as a wild man of the woods who prophesies); “Tre Rheinallt, West Glamorgan: Arthur’s Stone” (a huge stone associated with Arthur and his journey to Camlann); and “Ogof Craig y Dinas, West Glamorgan: King Arthur’s Cave” (a man finds Arthur and his knights sleeping in a cave).

A-992 Gygax, Gary. “Duty.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 429–58. The story retells a number of events from the legend, with two twists: the usual heroes of the legend like Arthur and Merlin are more villainous, and the story is told from Excalibur’s point of view. Vivian is the one who creates the sword; Merlin’s desire for her is also a desire to appropriate her magic and the sword.

A-993 H., A. “The Fall of Galahad.” Spectator 95 (21 Oct. 1905): 609. (*) A short poem.

A-994 Haber, Karen. “The Spell Between Worlds.” In Return to Avalon: A Celebration of Marion Zimmer Bradley. Ed. Jennifer Roberson. New York: DAW Books, 1996. 251-74. After Merlin’s imprisonment, Nimue feels she has been abandoned by the Goddess because she learned Merlin’s magic. This story concerns some of her memories of her time on Avalon and her decision to make a pilgrimage away from the island of priestesses to find her magic once again.

A-995 Hacker, Marilyn. “Nimue to Merlin.” The New American Review 15 (1972): 120-21. Rptd: Presentation Piece. New York: Viking Press, 1974. 97-98. Hacker uses a sestina for this dramatic monologue. Nimue, in her tower, asks Merlin in for a drink. Through her conversation, we learn a bit about their past history as she seduces him.

A-996 Hadfield, Alice M[ary]. King Arthur and the Round Table. Illus. Donald Seton Cammell. Children’s Illustrated Classics. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1953. After a prologue on the early life of Merlin, the bulk of the book retells Malory with some additional material from the Mabinogion, Wace, Layamon, and the High History of the Holy Grail; there are also poetic quotations from Tennyson (note on p. vi). The text is illustrated with eight full-page colour plates and fourteen full-page B&W drawings. The binding, endpapers, and jacket design are by Alexander H. Williams.

A-997 Hagedorn, Hermann, Jr. The Silver Blade: A Drama in One Act. Berlin: Alfred Unger, 1907. This one-act play takes place when Lancelot arrives to arrange Guenevere’s betrothal to Arthur. Guenevere has already fallen in love with Lancelot. Much of the action centres on her indecision about whether or not to marry Arthur. (See also the entry for “Hill, Mabel Wood” in the Music section.)

A-998 Haigh, J. L. Sir Galahad of the Slums. London: Simpkin, Marshall, Hamilton, Kent and Co., 1907. (*)

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A-999 Haines, Alan. King Arthur and his Knights. Read by Anthony Hyde. London: Tellastory, 1985. TS 334. (*) An audiobook.

A-1000 Haldeman, Joe. “Literary Cubism Saves the Universe.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 427–28. The poem begins with the image of the sword in the stone as the dangerous test that only champions can face. In this scenario, the sword, once drawn, asks a question that only an unlikely hero ever answers.

A-1001 Haldeman, Linda. The Lastborn of Elvinwood. Cover illus. Elizabeth Malczynski. Garden City, NY: Doubleday and Co., 1978. In order to keep their race from disappearing, the fairy folk decide to change one of their people for a human baby girl. Four humans are involved in this scheme, and one of them is Merlin’s student. Merlin’s supposed entrapment by Nimue is explained as a deception to allow him to get out of politics; his status as powerful wizard makes him a not-entirely benevolent character in this novel, but he is very important to the transformation of human and fairy folk. The fairy folk include characters such as Oberon and Puck.

A-1002 Hall, Aylmer. The Sword of Glendower. London: Methuen and Co., 1960. Rptd: The Search for Lancelot’s Sword. A Criterion Book for Young People. New York: Criterion Books, 1962. A novel set in twentieth-century Wales, in which three teenagers search for a legendary sword, but find themselves up against determined, and murderous, competition. The legend that is the basis of the story involves two swords given by the fairies to Sir Lancelot, and then passed down through a line of Welsh heroes (including Owen Glendower) until the time of Henry Tudor; when a British King sits on the British throne, the swords were to be returned to the fairies. When one of the swords is discovered, the search for the second begins, and soon grows deadly serious. Apart from the ostensible connection of the swords with Sir Lancelot, there is nothing Arthurian about the novel.

A-1003 Hall, John Leslie. Old English Idyls. Boston, MA: Ginn and Co., 1899. 47–58. Rptd: “Cerdic and Arthur.” In “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 225–33. This book has eight divisions; the first five concern Arthurian times as they recount the summons to Hengist and Horsa, their support of Vortigern, the marriage of Vortigern and Rowena, Horsa’s death in battle, and the confrontation between Cerdic and Arthur. The poem is alliterative, following the style of Anglo-Saxon poetry, and its focus remains on the Anglo-Saxons; Arthur is admitted to be a brave fighter for his people, but his part in the section that bears his name is quite minor – the Anglo-Saxons are the heroes celebrated in this work.

A-1004 Hall, Willis. Dragon Days. Illus. Alison Claire Darke. London: John Lane / The Bodley Head, 1985. A young boy goes up on stage to help a magician with a conjuring trick and ends up in Camelot to help Merlin (the magician) save dragons before they become extinct.

A-1005 Hamilton, Ernest William. Launcelot: A Romance of the Court of King Arthur. London: Methuen and Co., 1926. A novel written in the style of a medieval prose romance. While many characters and events have been modelled on medieval versions, the novel rearranges some of them to provide greater expla-

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nation of and motivation for characters. Lancelot marries Elaine and fathers Galahad near the beginning of the book; it is Guenevere, not Elaine, who seeks to seduce Lancelot. Lancelot’s failures to be faithful to Elaine are usually due to trickery or sorcery; likewise, he never finds the Grail because he is trapped by Morgan. The novel thus makes Lancelot less to blame, but several of the novel’s women become more villainous as a result.

A-1006 Hamlett, Christina. The Enchanter. New York: M. Evans and Co., 1990. (*) A romance novel about Merlin. This author has also written a three-act play entitled “A Yankee Sweetheart in King Arthur’s Court,” but it seems not to have been formally published (Jenna Glatzer, in “An Interview with Christina L. Hamlett”; Absolute Write website: .)

A-1007 Hamley, Sir Edward Bruce. “Sir Tray: An Arthurian Idyl.” Blackwood’s Magazine 113 (Jan. 1873): 120–24. Rptd: Sir Tray: An Arthurian Idyl. [San Francisco?]: Bullnettle Press, 1995. This burlesque poem combines the story of Tennyson’s “The Lady of Shalott” with that of Old Mother Hubbard. The Lady, after the whole sorry business with Lancelot, married Sir Hubbard; the poem takes place when she goes to the cupboard to get the dog, Sir Tray, his supper. The Lady’s “death” in other versions of the story is here explained as an illusion created by Merlin. The Bullnettle Press edition is an eleven-page booklet in a limited edition, fine press printing. Colophon: “Designed and printed by Asa Peavy.” (We have seen the original in Blackwood’s, not the Bullnettle Press version; information for the reprint is from OCLC WorldCat entry.)

A-1008 Hampden, John. “The Christmas Cherries.” Sir William and the Wolf, and Other Stories from the Days of Chivalry. Illus. Eric Fraser. London: J. M. Dent; New York: E. P. Dutton and Co., 1960. 93–101. The story of Sir Cleges, who is restored to Uther’s court when a branch of cherries miraculously blooms at Christmas.

A-1009 Hampden, John. “Gawain and the Green Knight.” Sir William and the Wolf, and Other Stories from the Days of Chivalry. Illus. Eric Fraser. London: J. M. Dent; New York: E. P. Dutton and Co., 1960. 139–68. A prose retelling of the medieval romance of Sir Gawain and the Green Knight with a full-page, brightly coloured illustration of the Green Knight.

A-1010 Hampden, John. Knights of the Round Table, Taken from “Le Morte D’Arthur” by Sir Thomas Malory. Books Within Books 35. London and Edinburgh: Thomas Nelson and Sons, [1930]. (*) A retelling of episodes from Malory (Gaines, Item B31). (Information from Gaines and from the British Library catalogue.)

A-1011 Hampden, John. “Sir Kay and Sir Gawain.” Sir William and the Wolf, and Other Stories from the Days of Chivalry. Illus. Eric Fraser. London: J. M. Dent; New York: E. P. Dutton and Co., 1960. 102–105. A short tale set during Arthur’s pilgrimage to the Holy Land. Kay is sent to a castle to ask for provisions and acts so rudely that he is refused; Gawain, on the same errand, is so courteous that he acquires an invitation for the whole company to dine.

A-1012 Hampden, John. “The Well and the Stone.” Sir William and the Wolf, and Other Stories from the Days of Chivalry. Illus. Eric Fraser. London: J. M. Dent; New York: E. P. Dutton and Co., 1960. 63–76. A retelling of the story of Yvain and the Fountain. It ends with Yvain happily married and living at

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his wife’s court. It is illustrated with a full-page, brightly coloured picture of a knight pouring water onto a stone.

A-1013 Hanemann, H. W. “Ex-Caliber, or a Square Peg in a Round Table: Dr Collins takes a Good Look at King Arthur.” The Facts of Life: A Book of Brighter Biography Executed in the Manner of some of our Best or Best-Known Writers, Scriveners, and Scribes. Illus. Herb Roth. New York: Farrar and Rinehart, 1930. 187–209. This satirical piece applies Freudian psychoanalysis to the life of King Arthur, drawing on various medieval texts for “proof ” and referring to Tennyson mockingly.

A-1014 Hanratty, Peter. The Book of Mordred. Lake Geneva, WI: Ace / New Infinities Productions, 1988. This novel begins Mordred’s story when he is four years old and his mother Morgause is burned as a witch. Much of the novel concerns his quest for the Grail in the company of Lancelot and Galahad. The novel views most of the characters ironically: Arthur often strays, Lancelot and Galahad are self-centred, and Merlin is mad and experimenting with dangerous technologies (more details of these experiments appear in The Last Knight of Albion). The novel ends with Arthur’s departure for the Roman war.

A-1015 Hanratty, Peter. The Last Knight of Albion. Cover illus. Doug Beekman. New York: Bluejay Books, 1986. The main character of this fantasy novel is Perceval. Knighted during the last battle, he is with Arthur when the latter dies, and he then goes on a quest to find and take revenge on Mordred (hence the subtitle on the cover though not on the title-page: “The Quest for Mordred”). Perceval does tell a bit of his life as a squire to Gawain, but most of the novel is set after the end of Arthur’s kingdom. Perceval ends up with Mordred’s daughter, trying to protect a village from barbarians. A notable feature of this novel is its combination of modern and historical elements: Mordred wins by using nuclear weapons held by the druids (an interesting version of the Dolorous Stroke); various villagers discuss modes of social organization more appropriate to the twentieth century than Arthurian times.

A-1016 Hansen, Brooks. The Chess Garden; or, The Twilight Letters of Gustav Uyterhoeven. Illus. Miles Hyman. London: Sceptre; New York: Farrar, Straus and Giroux, 1995. This novel tells the story of the life of a Dutch physician interspersed with letters that are written while he is on a last trip to South Africa. His life story concerns his childhood, courtship of his wife, his disillusionment with science (as it is practised by his colleagues) and the way he is influenced by Swedenborg’s ideas. The “twilight letters” are his imagined adventures in the Antipodes; by the end they are an allegory for the passing of the soul from this life to another. In the letters, he meets a man who seems to be a warrior-hero, living a long time, showing up when he is needed; the doctor also meets the mother of this man, who longs to know what has happened to her son. The doctor also meets a king, dressed in leaves, who mourns his queen; when he discovered she was in love with his best knight, he chained her in the orchard and went away, and she turned into a tree. Thus there seems to be an Arthurian connection, as the (unnamed) reviewer for TLS (23 June 1995) notes, though it is a rather tenuous one.

A-1017 Hanson, Charles Henry. Stories of the Days of King Arthur. Illus. Gustave Doré. London, Edinburgh, and New York: Thomas Nelson and Sons, 1882. A selection of stories from Malory, the Mabinogion, Sir Gawain and the Green Knight, and other medieval sources, assembled for younger readers (so inappropriate or highly mystical material has been omitted). The stories are illustrated with engravings by Doré (from his illustrations to Tennyson’s Idylls). The chapters are as follows: Merlin the Wizard; How Arthur Got his Crown, his Queen and the Round Table; The Deeds and Death of Balin; The Adventure of the Hart, the

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Hound and the Lady; The Evil Devices of Morgan le Fay; The Adventure of the Three Knights and Three Damsels; Lancelot du Lake; Sir Gawaine and the Green Knight; Sir Beaumain’s [sic] Quest; Sir Tristram; Geraint and Enid; Sir Ewaine and the Adventures of the Fountain; The Tournament at Lonazep; and The End of the History of the Round Table and the Passing of Arthur.

A-1018 Haraszthy, Jan. The Fantastic Happy Landing. Chicago: Dramatic Publishing Co., 1975. In this two-act play, a school custodian has found a way to travel through time. He and one of the students, Billy, go back to the court of King Arthur in Act 1; in Act 2 they travel to another world. The play relies on slapstick comedy and parodies knightly ideals.

A-1019 Hardy, Thomas. The Famous Tragedy of the Queen of Cornwall at Tintagel in Lyonesse: A New Version of an Old Story, Arranged As a Play for Mummers in One Act Requiring No Theatre or Scenery. London and New York: Macmillan, 1923. Rptd: New and revised edition. London: Macmillan, 1924. – Poetic Works. Vol. 2. London: Macmillan, 1931. This play has twenty-two short scenes, plus a prologue and epilogue spoken by Merlin. The action takes place at Tintagel and details the end of the love affair of Tristan and Iseult of Ireland. Hardy incorporates both the story of the black and white sails causing Tristan’s death and the story of Mark stabbing him; here the report that the sail is black (meaning Iseult could not come to him) causes a death-like state, but he recovers and rejoins Iseult in Cornwall, only to be killed by the jealous and treacherous Mark. (There was also a musical version of this; see “Boughton, Rutland” entries in the Music section, specifically those for “Evensong,” “Foreboding,” “The Queen of Cornwall,” and “A Song of Lyonesse.”)

A-1020 Hardy, Thomas. “When I Set Out for Lyonnesse.” Satires of Circumstance: Lyrics and Reveries with Miscellaneous Pieces. London: Macmillan and Co., 1914. 20. Rptd: Collected Poems of Thomas Hardy. London: Macmillan and Co., 1919. 293–94. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 146. A poem of three six-line stanzas, written in 1870. The speaker sets out for Lyonnesse and returns with “magic in my eyes.” The reference to prophecy and wizards in Stanza 2 is suggestive, but other than the place-name, there is no explicit Arthurian content. (There have been numerous musical settings for this poem; see the entries for “Austin, Frederick”; “Bailey, Judith”; “Duke, John”; “Finzi, Gerald”; “Gibbs, Cecil Armstrong”; “Harrison, Sidney”; “Hart, Fritz”; “Le Fleming, Christopher”; “McCourt, Thomas”; “O’Brien, Katherine E.”; “Speyer, Charles A.”; and “Walters, Leslie” in the Music section.)

A-1021 Hare, Amory [pseud.], [i.e., Mrs James Pemberton Hutchinson]. Tristram and Iseult: A Play. Illus. Wharton Esherick. Gaylordsville, CN: Sliden Mountain Press, 1930. A play in three acts, in blank verse, based upon the legend as presented in Bédier’s compilation of Béroul and Thomas, but “omitting the supernatural incidents” (Author’s Note). It focuses on Tristan and Iseult in Cornwall at Mark’s court. The lovers are brought together by the potion; before drinking it they acted, at least, as though they hated one another. The spell of the potion is such that they cannot live apart. Act 1: the bringing of Iseult from Ireland. Act 2: discovery by King Mark of Tristram and Iseult’s love for one another. Act 3: Tristram’s exile and death.

A-1022 Harrison, G[eorge] B[agshawe]. New Tales from Malory. Illus. C. Walter Hodges. New Tales Series. London: Thomas Nelson and Sons, 1939. (*) A retelling of Malory, with illustrations (Gaines, Item C55).

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A-1023 Hart, Jack. The Lady of the Fountain. Independence, MO: International University Press, 1986. This long poem uses seven-line rhymed stanzas, which are grouped into five major sections. The tale is based on the Mabinogion and on Yvain, but the author interposes in various stanzas to discuss the legend, offer analysis of the story, and comment on writing.

A-1024 Hartas, Leo, and John Yeoman. King Arthur’s Spaceship and Other Mechanical Marvels that Might have Changed the World. London: Pan Macmillan Children’s Books, 1993. This imaginative children’s book gives descriptions and schematic diagrams of six supposedly historical inventions from the Stone Age, ancient Egypt, Rome, King Arthur’s England, Elizabethan England, and eighteenth-century England. Only one of these inventions, a spaceship destined for the moon, is Arthurian. The description refers to writers like Geoffrey of Monmouth and William of Malmesbury as “sources” for the information. The rocket was designed to fetch moondust for Merlin’s spells, and Lancelot was put in charge, despite the Queen’s protests. The authors make fun of the attempts to locate Camelot; every place mentioned in the description is followed by a parenthetical explanation “the original Camelot.”

A-1025 Hartley, C. Gasquoine. Stories of Early British Heroes. Illus. Patten Wilson. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1902. Rptd: London and Toronto: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1918. This volume contains five stories, all based, according to the introduction, on Geoffrey of Monmouth. The introduction summarizes the beginnings of Geoffrey’s work and leads up to the first story (“The Coming of Julius Caesar to Britain”); this story and the second (“The Introduction of Christianity into Britain”) are not Arthurian. All of the stories, however, are loosely linked, making the volume more of a unified work than a collection of separate stories. The last three of the stories have explicit Arthurian content. “The Coming of the Saxons” is the story of Vortigern, beginning shortly after he has usurped the throne and ending after his marriage to Rowan, Hengist’s daughter, with the slaughter at the treaty hall. This story has one (B&W) illustration of Hengist and Horsa’s ships. “The Marvellous Life of the Prophet Merlin,” the fourth story, recounts Merlin’s encounter with Vortigern and his prophecy of the dragons, as well as Merlin’s moving the Giant’s Dance to Britain; at the end, Merlin takes Uther’s child away to be raised. One B&W illustration of the dragons is included. In the fifth story, “The Reign of Arthur, the Great Hero Prince,” Merlin presents Arthur to the people and acclaims him king; this story also summarizes the events of his reign, including his fight against the Saxons, his wedding, the Roman War, and his final conflict with Mordred. Some details, like Merlin’s making the Round Table and the role of elves in Arthur’s upbringing, are introduced from Wace and Layamon. Hartley includes notes at the beginnings of stories, and the narrative voice of these and other narratorial intrusions into the stories suggest that they are intended for a young audience. (Note: We have seen the reprinted version.)

A-1026 Hastings, Selina. Sir Gawain and the Green Knight. Illus. Juan Wijngaard. London: Methuen / Walker, 1981. A retelling of the story of Sir Gawain and the Green Knight for children; about two-thirds of the book concerns Gawain’s adventures at Bercilak’s castle and the final meeting with the Green Knight. The illustrations and text decoration imitate medieval manuscripts and are filled with details and luminous colours.

A-1027 Hastings, Selina. Sir Gawain and the Loathly Lady. Illus. Juan Wijngaard. London: Walker Books, 1985. A modern version, for children, of the medieval story (an analogue of Chaucer’s The Wife of Bath’s Tale). Arthur, overcome by a Black Knight, must ransom himself by finding the answer to the question of what women most desire; a loathly lady promises to reveal the answer if Gawain

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marries her. Sir Kay and Guinevere appear in minor roles. The illustrations and text decoration imitate a late medieval manuscript and are lovely: the book won the 1985 Kate Greenaway Medal for children’s book illustration.

A-1028 Haughton, Rosemary. Elizabeth’s Greeting. London: Constable, 1968. A historical novel of St Elizabeth of Hungary. Two of the historical characters included in the tale are Wolfram von Eschenbach and Gottfried von Strassburg. Wolfram’s point of view shapes the Prologue of the book, and references are made to his Parsifal; Wolfram sees the young Elizabeth as one who sees the Grail. Gottfried’s point of view is used in the epilogue; he compares Elizabeth to his Iseult, as one who represents the ideal of love (both spiritual and earthly). He is witness to her death. Klingsor is a mysterious mage who appears throughout the narrative to predict future events or to direct the poets and other characters.

A-1029 Havill, Juanita. “The Cat and Uther Pendragon.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 46–52. King Uther and his court, while celebrating the birth of a son (supposedly Ector’s but actually the king’s), are interrupted by seven animals who bring gifts for the baby Arthur. Uther gladly accepts six of the gifts, but ignores the cat’s gift, to his later regret.

A-1030 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Last Wizard. New York: Warner, 1997. The youngest, most powerful, and last living of the Dark Ones confronts the Living Triangle of Wyrdrune, Kira and Mordred (now in the body of John, a New York police officer). This book resolves the conflict begun in The Wizard of 4th Street.

A-1031 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Samurai Wizard. New York: Warner Books, 1991. The fifth volume of Hawke’s series. A sorcerer in Japan ends up in league with Leila, one of the Dark Ones who had escaped from Paris. Mordred, Wyrdrune, Kira and Billy (Merlin) must stop her before she destroys Tokyo.

A-1032 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Wizard of 4th Street. New York: Warner Books, 1987. In this novel, set in the future, a wizard-school dropout and a street thief steal three runestones and end up in a sorcerous battle for their lives. Merlin, Mordred and Morgan all take part in the action, which ends with the runestones bonding to Mordred, the wizard and the thief, and the Dark Ones escaping into the world. (A comic book version of this novel was also issued; see the entry for The Wizard of 4th Street in the Comics section.)

A-1033 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Wizard of Camelot. New York: Warner Books, 1993. This book acts as a prequel to the series, explaining how Merlin was awakened by an ex-police officer named Tom Malory during the time of the Collapse. Merlin opens a school of thaumaturgy to teach magic; he instructs adepts to use magic to power technology to restore order in the world. Various characters of the legend are mentioned as Merlin tells stories about them.

A-1034 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Wizard of Lovecraft’s Cafe. New York: Warner Books, 1993. The avatars of the runestones battle a powerful member of the Dark Ones in New York. Mordred is part of one of the avatars; he merges with a wounded police officer. Various events of the legend are rehearsed.

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A-1035 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Wizard of Rue Morgue. New York: Warner Books, 1990. Fourth volume of Hawke’s series.

A-1036 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Wizard of Santa Fe. New York: Warner Books, 1991. This novel, like others in the series, has characters who have been merged with Arthurian personalities such as Merlin, Mordred and Gorlois. The main events of the Arthurian legend are summarized to illustrate the merging of Old Ones and humans; Gorlois, for example, is one of the Old Ones. The friends must battle a necromancer in Santa Fe who is killing young women. Billy is attacked, and Merlin and Gorlois merge their life forces with his to save him.

A-1037 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Wizard of Sunset Strip. New York: Warner Books, 1989. The avatars of the runestones and their friends travel to Los Angeles to seek out the Dark Ones. Morgan’s husband joins the team; he wears a ring once owned by Gorlois. Gorlois himself manifests in the climactic battle against the Dark Ones which takes place in the Magic Kingdom.

A-1038 Hawke, Simon [pseud.], [i.e., Nicholas Yermakov]. The Wizard of Whitechapel. New York: Warner Books, 1988. The second novel in Hawke’s series.

A-1039 Hawker, Robert Stephen. “The Doom-Well of St Madron.” Willis’s Current Notes (Dec. 1855): 93. Rptd: Cornish Ballads. Oxford and London: James Parker and Co., 1869. 41–43. – Cornish Ballads and Other Poems. Ed. C. E. Byles. Illus. J. Ley Pethybridge and others. London: John Lane / The Bodley Head, 1904. 144–46. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 54–55. This ten-stanza poem tells a story of Arthur riding with his queen and his knights to St Madron’s Well. The waters of the well test the “troth” of anyone who touches them; while a number of Arthur’s companions (including the queen and Lancelot) are tested without consequence, Mordred’s touch makes the water boil. The poem first appeared in

A-1040 Hawker, Robert Stephen. “King Arthur’s Waes-hael.” Notes and Queries 2nd ser. 11 (5 Jan. 1861): 4. Rptd: The Quest of the Sangraal: Chant, the First. Exeter: Printed for the Author, 1864. Appendix D. – Cornish Ballads. Oxford and London: James Parker and Co., 1869. 170–71. – Cornish Ballads and Other Poems. Ed. C. E. Byles. Illus. J. Ley Pethybridge and others. London: John Lane / The Bodley Head, 1904. 165–66. – Selected Poems. Ed. Cecil Woolf. Illus. Brigid Peppin. London: Cecil Woolf, 1975. 57–8. – King Arthur’s Waes-hael. [San Francisco?]: Bullnettle Press, 1994. C. E. Byles notes that this poem’s original publication was under the pseudonym “Ben. Tamar” (166). Besides the title, there is little in the poem that is Arthurian, as it celebrates Christ’s birth with the waes-hael cup. The Bullnettle Press edition is a three-page booklet, in a limited edition, fine press printing. Colophon: “The text of the poem & rubric follows that appearing as Appendix D to ‘The quest of the Sangraal,’ privately published by Robert S. Hawker in 1864. . . . Seventy copies of this pamphlet have been printed in celebration of Christmas. . . . Thirty-five copies are on handmade Velke Losiny paper, printed dry; the rest are on Ingres Antique.” (We have seen the poem as it appears in Cornish Ballads; the information on the Bullnettle Press edition comes from OCLC WorldCat entry.)

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A-1041 Hawker, Robert Stephen. “Queen Guennivar’s Round.” Cornish Ballads. Oxford and London: James Parker and Co., 1869. 168–69. Rptd: Cornish Ballads and Other Poems. Ed. C. E. Byles. Illus. J. Ley Pethybridge and others. London: John Lane / The Bodley Head, 1904. 102. – Selected Poems. Ed. Cecil Woolf. Illus. Brigid Peppin. London: Cecil Woolf, 1975. 46–48. – Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 54–55. This five-stanza poem is Guenevere’s song as she and her maidens go down to the sea, but the content is not otherwise Arthurian; first line: “Naiad for Grecian waters!” It first appeared in All the Year Round in 1841. In the volume of Selected Poems, the poem is accompanied by an illustration by Brigid Peppin, being a line-drawing showing a female warrior (with sword and shield) standing among trees (47).

A-1042 Hawker, Robert Stephen. The Quest of the Sangraal: Chant, the First. Exeter: Printed for the Author, 1864. Rptd: Cornish Ballads. Oxford and London: James Parker and Co., 1869. 180–203. – Cornish Ballads and Other Poems. Ed. C. E. Byles. Illus. J. Ley Pethybridge and others. London: John Lane / The Bodley Head, 1904. 171–90. – Selected Poems. Ed. Cecil Woolf. Illus. Brigid Peppin. London: Cecil Woolf, 1975. 53. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 27–42. This long poem describes Arthur’s challenge to his men to find the Grail. It begins with the rousing shouts of the knights as they gallop from Tintagel (here, Dundagel); these shouts are repeated periodically throughout the poem, conveying the energy of the knights as they begin the quest. Arthur summarizes the history of the Grail, including Christ’s Passion and Joseph of Arimathea’s role in keeping the Grail and bringing it to Britain. The four main knights (Galahad, Gawain, Lancelot, and Perceval) are described in some detail. In the 1904 edition, there is a photograph of “Dundagel: Where gate and bulwark darken o’er the sea” (facing p. 181).

A-1043 Hawker, R[obert] S[tephen]. “Sangraal: From ‘The Quest.’ ” Excalibur: The Chronicle of the Fellowship of the Round Table 1.12 (July 1932): 479. Two excerpts, totalling twenty-four lines, from Hawker’s longer work, “The Quest of the Sangraal”; the excerpts are on Joseph of Arimathea and the Grail. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-1044 Hawker, Robert Stephen. “To Alfred Tennyson, Laureate, D.C.L.: On his ‘Idylls of the King.’ ” Selected Poems. Ed. Cecil Woolf. Illus. Brigid Peppin. London: Cecil Woolf, 1975. 53. A poem of four ballad stanzas; first line: “They told me in their shadowy phrase.” The true meaning of the prophecy of Arthur’s immortality is that Tennyson, the greatest bard, would come to immortalize him in story.

A-1045 Hawks, Kate. The Lovers: The Legend of Trystan and Yseult. New York: Avon Books, 1999. A historical novel of Tristan and Iseult narrated by Gareth, who begins life as an Irish peasant and eventually becomes servant and comrade to Tristan. The usual tangle of loves is complicated here by Gareth’s feelings for Isolt, Tristan’s wife, and the usual ending of the lovers’ death in one another’s arms is revealed to be a corrupt version created by a minstrel who thinks the truth lacks the proper romantic feeling. The cover of the book reproduces an oil painting from 1902 called

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“The Death of Tristram”; the credits attribute it to Marianne Stokes (see our entry for “Mileham, Harry R.” in Fine Art).

A-1046 Hawthorne, Nathaniel. “The Antique Ring.” Sargent’s Magazine Feb. 1843. Rptd: The Snow Image and Uncollected Tales. Ed. William Charvat, Roy Harvey Pearce, and Claude M. Simpson. The Centenary Edition of the Works of Nathaniel Hawthorne 11. Columbus: Ohio State University Press, 1974. 338–52. This is a story within a story. A young man presents his lady with an antique ring, and she asks him, since he is a young writer, to provide a history for it. Most of the tale concerns the Earl of Essex, imprisoned in the tower waiting for execution; he had been given the ring by Queen Elizabeth I, who herself had inherited it from her ancestors. However, the ring was originally Merlin’s, who gave it to his love but was betrayed by her (she is unnamed in this version). As a result of Merlin’s spells, the ring has an evil spirit that is only purified when the ring is given centuries later as a donation to an American church. The young man thus can give it to his lady as a symbol of love.

Hayden, Mrs Charles L.: see McGinley, Phyllis. A-1047 Hayden, Dorothea H. “Tristram and Isolt.” Gifts to the Giver. Los Angeles: Ivan Beach Jr., 1931. (*) A short story.

A-1048 Haydon, A[rthur] L[incoln]. Stories of King Arthur. Illus. Arthur Rackham. Cassell’s Fairy Tale Series 5. London and New York: Cassell and Co., 1905. Rptd: Cassell’s Treasure House Classics. London: Cassell and Co., 1910. – Reproductions of illustrations: “Merlin and Nimuë,” a picture showing Merlin kneeling before Nimuë at the mouth of a cave, is reproduced (colour) in Matthews, Merlin: The Pitkin Guide, 16. – Another of the pictures from this set of illustrations is reproduced in “Camelot 1996” (calendar). Originally published in six monthly installments in the magazine Little Folks 56 (July-Dec. 1902). A juvenile retelling of selected episodes from Malory, accompanied by four coloured plates and two B&W illustrations by Arthur Rackham.

A-1049 Hayes, James Juvenal. Sir Kay, a Poem in the Old Style. Sioux City, Iowa: Dark Harp Press, 1923. This poem is divided into nine sections and uses rhyming couplets to tell a story of Kay before Arthur makes him seneschal. While riding, Kay encounters an enchanted castle and lady, but though he falls in love with her, he cannot break the enchantment, nor can he find her again. The poem concludes that this adventure causes the cynicism for which he is commonly known.

A-1050 Hayles, Brian. The Moon Stallion. London: Mirror Books, 1978. (*) A novelization of a television program, in which Merlin and Arthur play minor roles. (See also the entry for “Moon Stallion” in the “Film, Television, and Radio” section.)

A-1051 Hayne, Paul Hamilton. “Tristram of the Wood.” Poems of Paul Hamilton Hayne. Boston, MA: D. Lothrop, 1882. 245–46. A poem of twelve three-line stanzas. It begins with Tristan facing a battle, yet all he can see is an image of Iseult’s face. The battle is his final one, as he is mortally wounded.

A-1052 Hays, Edward M. St George and the Dragon and the Quest for the Holy Grail. Illus. Edward [M.] Hays. Easton, KS: Forest of Peace Books, 1986.

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George goes out on a quest and meets a dragon, who makes him realize that he needs greater preparation for the quest. The book is in the form of a journal, with entries from each Saturday as George meditates in his garage and talks with the dragon, who tells him parables. Most of these parables are based on Bible stories, and none are explicitly Arthurian, but there are frequent references to Arthurian characters (Arthur, Guenevere, Lancelot, and Perceval) and to the Holy Grail. The Grail here is not so much an object achieved through a physical quest as it is self-knowledge gained through reading and introspection.

A-1053 Headlee, Kim. Dawnflight. The Legend of Guinevere 1. New York: Sonnet Books, 1999. A historical novel, though marketed as part of a “romance” line. Headlee’s protagonist is Guenevere, and the book begins soon after she has come of age. Arthur Pendragon has defeated the Caledonians, Guenevere’s people, and the treaty requires that she marry a Brydein lord of her choosing. Originally betrothed to Urien, she becomes convinced that the match would be disastrous for her and her people because Urien does not respect her status and abilities as a leader and as a warrior; Arthur, on the other hand, does. Headlee captures the conflict of cultures and the conflicts between religions (Guenevere gradually converts to Christianity).

A-1054 Headon, Deirdre. King Arthur and his Knights. Illus. Julek Heller. Limpsfield, Surrey: Dragon’s World, 1990. This comprehensive retelling includes many well-known episodes from the legend as well as some less common, like Lancelot’s battle with giants at Tintagel. Headon also increases Morgan’s role, unifying the stories by having Morgan as villain; for example, the story of Gareth ends with Linet and Lionors as serpents in disguise, tools of Morgan. The book has a large number of illustrations, either B&W drawings beside and around sections of text or full-page colour illustrations.

A-1055 Headon, Deirdre. Knights. Illus. Julek Heller. New York: Schocken, 1982. This book is a mix of fact and fiction, though the primacy given to Julek Heller as illustrator (he is listed first on the title-page) suggests that Headon’s text is meant as an opportunity to showcase his gorgeous full-colour pictures. The text alternates chapters about knightly customs and day-to-day life with chapters retelling the stories of famous legendary knights. Many of these stories are Arthurian: Headon retells the stories of Arthur (his conception, the sword in the stone, and the Excalibur episodes), Perceval (his childhood and arrival at court), Gawain (the Green Knight story), Gareth (his time in the kitchen and his first quest), Tristan (his love for Iseult), Lancelot (the story of Elaine of Corbenic), Galahad (the Grail quest), and Lohengrin (the swan knight story). The book ends with the story of Arthur’s death. Each of the main characters of these stories is provided with a portrait by Heller.

A-1056 Heard, John, Jr. “The Marriage of Tristram.” Poet-Lore 48 (Spring 1942): 78–83. The poem begins the morning after Tristan marries Iseult of Brittany. The wedding ring he gave her is said to have been designed by Merlin; it was given to Tristan by Iseult of Ireland, and the fact that he has given it away is supposed to cause her death. Tristan, torn between love and hate for Iseult of Ireland, receives a message from her, leaves his bride, takes a boat and meets Iseult of Ireland’s funeral ship; he sails off into the west with her.

A-1057 Hearne, Isabel. Queen Herzeleid, or Sorrow-of-Heart, an Episode in the Boyhood of the Hero Parzival: A Poetic Play in Three Acts. London: David Nutt, 1911. This three-act play takes place in the forest when Perceval is fifteen years old. It covers the events that lead him to leave his mother for the wider world. Perceval’s mother, Herzeleid, is the main focus. A poem precedes the play and gives the background of the earlier life of Perceval’s father and mother.

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A-1058 Heath-Stubbs, John. Artorius: A Heroic Poem in Four Books and Eight Episodes. London: Enitharmon Press, 1973. There are twelve sections to this work, each designated by a zodiac sign and arranged into four groups to correspond to the seasons. Within each of the groups, Heath-Stubbs uses various forms including dialogues or lectures. The most striking form is heroic verse, as it is used in each section and imitates Anglo-Saxon heroic poetry with its alliteration. The twelve sections thus move from Spring to Winter, from Arthur’s heady victory at Badon to his final battle. Mordred is the queen’s lover in this version. Heath-Stubbs incorporates meditations on the nature of justice and power, as various knights contribute their ideas as to the way Arthur should order his new kingdom.

A-1059 Heath-Stubbs, John. “Elegy.” Collected Poems, 1943–1987. London: Carcanet, 1988. 241–42. The poem is dedicated “to one long dead,” and the speaker seeks inspiration and guidance from this figure. In describing the landscape, the speaker refers to Arthur, his queen, and Mordred.

A-1060 Heath-Stubbs, John. “The Lament of Tristan.” Poetry Quarterly 5 (Spring 1943): 26. Rptd: Beauty and the Beast. London: Routledge and Kegan Paul, 1943. – Collected Poems, 1943–1987. London: Carcanet, 1988. 240. This poem has two six-line stanzas that contrast the coldness of the sea with the warmth of spring. Tristan is lamenting that warm past or perhaps lamenting the world as a wintry place now that he has to leave Iseult.

A-1061 Heath-Stubbs, John. “The Triumph of the Muse.” Nine 3 (Apr. 1952): 220–42. Rptd: Revised version (1955): The Triumph of the Muse and Other Poems. London, New York, and Toronto: Oxford University Press, 1958. 44–65. – Collected Poems, 1943–1987. London: Carcanet, 1988. 596–613. “The original version of The Triumph of the Muse was printed in Nine; the present version was broadcast in the BBC Third Programme in December 1955” (Author’s note prefacing The Triumph of the Muse and Other Poems, p. ix). A mock-heroic celebration of the heroic traditions of the British Isles, in six cantos of terza rima with prologue and epilogue. Merlin and Taliesin are mentioned in a catalogue of Celtic poets.

A-1062 Heath-Stubbs, John. “Triumph Songs for the Nine Worthies III.” The Immolation of Aleph. Manchester: Carcanet, 1985. 30–31. There are three poems in this collection about the nine worthies: the first concerns Joshua, David, and Judas Maccabeus; the second concerns Hector, Alexander, and Julius Caesar; this last poem concerns Arthur, Charlemagne, and Godfrey. The poem is divided into three parts, one for each of the “worthies.” Arthur’s section is Arthur’s speech as he lies dying at Camlann; he commands that Excalibur should be thrown into the lake and questions the possibility of his return.

A-1063 Heber, Reginald. “Fragments of the Masque of Gwendolen.” Poetical Works. London: Frederick Warne and Co., [1841?]. 257–80. This masque combines two common Arthurian stories: Merlin’s imprisonment and the story of the Loathly Lady. Merlin is infatuated with Gwendolen, so when she refuses him, he curses her to a hideous appearance; he is then imprisoned with his own magic. Gwendolen later gives Gawain the answer he needs to save Arthur; Gawain marries Gwendolen and breaks the spell.

A-1064 Heber, Reginald. Morte d’Arthur, a Fragment. Poetical Works. London: Frederick Warne and Co., [1841?] 171–255. A poem of three cantos. The first begins by setting up the story of Arthur and Guenevere (here called Ganore) as something of a morality tale. It concerns Arthur’s return with his bride and the

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wedding feast that is interrupted by the appearance of the white hind. Heber adds a couple of details: Guenevere, though of royal blood, has been raised as a simple shepherdess and is in love with an unnamed man; the hind’s appearance is accompanied by a woman who prophesies what will happen and advises that the hind be killed, but Guenevere protects it. The second canto begins in the bridal chamber where the white hind, Morgan in disguise, curses the sleeping king and queen before stealing out to send Mordred on a mission. Canto three includes the story of Balin’s drawing of the sword, but it also includes Guenevere’s realization that her love is actually the renowned knight Lancelot.

A-1065 Hedrick, Larry C. Sword of Elfame. Beyond the Shores of Time 1. Ed. Pamela Ball and Judith Powell. Largo, FA: Top of the Mountain Pub., 1993. In this Christian fantasy, contemporary young adults enter a world beyond time to do battle with the forces of evil. Arthur is mentioned as one who fought similar battles in the past. In order to defeat the evil forces, the protagonists must wake Arthur and his warriors and face the arch-demon with Excalibur.

A-1066 Helfers, John. “The Final Battle.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 96–104. Merlin is released from his prison and meets a descendent of Mordred. This story is an interesting variation on the motif of sorcerous duels.

Heller, Julek: for King Arthur and his Knights, see Headon, Deirdre. A-1067 Hemans, Mrs Felicia [Browne]. “Taliesin’s Prophecy.” Welsh Melodies. London: 1822. Rptd: In The Poetry of Wales. London: Houlston and Sons; Llanidloes: John Pryse, 1873. 86–87. This poem, of four quatrains, celebrates the “island of the mighty” about which Taliesin prophesied; Uther and his descendents are mentioned as rulers.

A-1068 Henkes, Kevin. Two Under Par. New York: Puffin Books / Penguin, 1987. A ten-year old boy must learn to accept his new stepfather and stepbrother. The stepfather’s name is Arthur, but he calls himself “King,” and he runs a miniature golf course called Camelot. One of the moments of bonding between father and son occurs while they fix up the castle on this course.

A-1069 Herbert, Kathleen. Ghost in the Sunlight. London: John Lane / The Bodley Head, 1986. (*) Like her earlier The Lady of the Fountain and Queen of the Lightning, this is a historical novel, set after Arthur’s reign.

A-1070 Herbert, Kathleen. The Lady of the Fountain. Frome, Somerset: Bran’s Head Books, 1982. Rptd: Published in the USA as Bride of the Spear. New York: St Martin’s, 1988. A novel set after Arthur’s reign in the north of England. The protagonists are Lot’s daughter (who is compared to the Lady of the Fountain – a goddess-figure) and Urien’s son. There are a number of references to events of Arthur’s time, particularly to his plan to unite various kingdoms against common enemies and to the events of the end of his reign, but the main focus is the troubled romance between the protagonists. The American version, Bride of the Spear, is essentially the same book, with alterations to only a couple of episodes.

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A-1071 Herbert, Kathleen. Queen of the Lightning. London: John Lane / The Bodley Head, 1983. This novel is a sequel to The Lady of the Fountain and refers to events in that first novel. The protagonist, Riemmelth, is descended from Urien; Urien, Owain, and Arthur are considered heroes, and the feuds they were involved in are continued in the generation of the novel. There are also allusions to the story of Tristan and Iseult.

A-1072 Herford, Oliver. “The Enchanted Wood.” The Bashful Earthquake and Other Fables and Verses, . . . with Many Pictures by the Author. Illus. Oliver Herford. New York: Charles Scribner’s Sons, 1898. 64–67. A poem of 23 couplets, telling of a dense wood in which live a morose Raven and a happygo-lucky Treefrog. One day, Merlin chances to lose his way in the wood and overhears the Raven and the Treefrog taking tea and expressing their perspectives on life. Recognizing the working of a spell, he disenchants the forest and all its inhabitants; the Raven turns out to be a wise old man, the Treefrog a “goodly youth.” Restored to human form, they continue their debate as if there had been no interruption. The poem is accompanied by four partial-page illustrations (pen-and-ink drawings): two of them show the Raven, and two show Merlin (with a conical wizard’s cap); in one, Merlin is standing beneath a tree (p. 65), and in another he stands speaking with the youth who reclines on a grassy bank.

A-1073 Herford, Oliver. “Ye Knyghte-Mare: A Post-Mort-d’Arthurian Legend.” The Bashful Earthquake and Other Fables and Verses, . . . with Many Pictures by the Author. Illus. Oliver Herford. New York: Charles Scribner’s Sons, 1898. 83. A burlesque poem of five ballad stanzas; first line: “Ye log burns low, ye feaste is donne.” In the middle of the night, twelve drunken Round Table knights, snoring on the floor of the feast hall, are visited by the spectral shades of their reproachful grandmothers. (Although the volume is quite profusely illustrated, there is no illustration to accompany this poem.)

A-1074 Hewitt, John [Harold]. “Pendragon.” The Collected Poems of John Hewitt. Ed. Frank Ormsby. Belfast: Blackstaff Press, 1991. 460. A poem of eight lines. Merlin, Arthur, Jennifer, and Iseult are gone and almost forgotten, but in the stirring of “midnight waters” “I see the old Excalibur.” First line: “The wizard touch of Merlin’s gone.”

A-1075 Heyer, Carol. Excalibur. Illus. Carol Heyer. Nashville: Ideals Children’s Books, 1991. The first page of this children’s picture-book summarizes the sword in the stone story; in the rest of the book Arthur meets the Black Knight (who is not given any other name) and breaks his (Arthur’s) sword, Merlin’s enchantment saves the king, and Arthur gets a new sword and scabbard from the Lady of the Lake. Unlike Malory’s version, Heyer has Arthur’s knights accompany him to challenge the Black Knight, though only Merlin and Arthur meet the Lady. All of the illustrations are full-colour; there are eight full-page illustrations, numerous partial-page illustrations, and one two-page spread that depicts the Lady’s underwater kingdom.

A-1076 Heywood, Thomas. A Chronographicall History of All the Kings, and Memorable Passages of This Kingdome, from Brute to the Reigne of Our Royall Soveraigne King Charles; with the life and predictions of Merline (Sirnamed Ambrosius), the Ancient British Prophet; his prophesies interpreted, and their truth made good by our English annalls; being a subject never published in this kinde before, and deserves to be knowne and observed by all men. London: Printed by J. Okes, 1641. [STC (Wing) H1777A (ESTC R40977).] Rptd: The Life of Merlin, sirnamed Ambrosivs, his prophesies, and Predictions Interpreted. London: Printed by J. Okes, 1641. (Wing H1786.)

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– Merlins Prophesies and Predictions Interpreted, and their truth made good by our English annalls, with the life of merlin; being a chronographicall history of all the kings, and memorable passages of this kingdom from Brute, to the reign of the late king; a subject that deserves to be known, and observed by all men. London: Printed for I. E[mery], 1651. [STC (Wing) H1789 (ESTC R14810).] – Life of Merlin, Surnamed Ambrosius. Carmarthen: J. Evans, 1812. – The Life of Merlin: His Prophecies and Predictions Interpreted. Pwllheli: Jones (Wales), 1987. – Excerpts: The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York and London: Garland Publishing, 1990. 203–17. – Excerpts: Merlin Through the Ages: A Chronological Anthology and Source Book. Ed. R[obert] J. Stewart and John Matthews. London: Blandford, 1995. 122–34. Between 1641 and 1651, Heywood’s Life of Merlin was published under three different titles, but these are the same work despite the variation in the titles. Heywood follows Geoffrey of Monmouth closely in this work when he provides information about Merlin’s life and prophecies. There is a discussion of the nature of prophecy, and retellings of the stories of Merlin’s birth, his encounter with Vortigern, and his helping of Uther. All of these are condensed, but Heywood also adds details of Merlin’s time with Vortigern and the magical entertainments that he provided for the king. The principal purpose of the work is to present and explicate Merlin’s prophecies in relation to events in English history down to Heywood’s own time.

A-1077 Heywood, Thomas. Troia Britanica; or, Great Britaines Troy: A poem deuided into XVII. seuerall cantons, intermixed with many pleasant poeticall tales. Concluding with an vniuersall chronicle from the Creation, vntill these present times. London: Printed by W. Jaggard, 1609. [STC (P&R) 13366 (ESTC S119729).] Rptd: Anglistica et Americana 83. Hildesheim: Georg Olms, 1972. An epic account of the history of Britain, emphasizing its Trojan connections and classical history. Arthur, Camelot, and the Round Table are mentioned in Canto 11, Stanza 4 (p. 243, misnumbered 245), and the stories of Vortigern, Uther, Merlin, and Arthur are summarized in Stanzas 62–64 of Canto 16 (including Arthur’s twelve battles against the Saxons, and the Battle of Camlann in which Mordred and Arthur were slain).

A-1078 Hezlep, William. Merlin’s Cave. Studio City, CA: Players Press, 1996. A children’s one-act play. Two children and their nanny, while having a picnic on a hillside in Wales, encounter elves and other fairy folk who serve the imprisoned Merlin. For the children to leave the hill safely, they must free Merlin by drawing a sword. There are suggestions that the nanny is Vivien, though she denies it. Hezlep has a number of plays with the two children and the nanny as protagonists meeting ghosts or other historical characters; the plays are advertised as being suitable for children aged seven to ten.

A-1079 Hieatt, Constance B. The Castle of Ladies. Illus. Norman Laliberté. New York: Thomas Y. Crowell, 1973. This story’s sources include Chrétien de Troyes and Wolfram von Eschenbach but with expansions of Hieatt’s own. It begins with Gawain taking up Kay’s duties supervising the kitchen; when Kay is brought back injured from his quest, Gawain takes up the quest, much to the lady’s disgust at his kitchen clothes. His adventures include a joust where he wears the favour of a little girl, the castle with the perilous bed owned by Morgan (who ends up helping Gawain), and the final encounter with a basilisk.

A-1080 Hieatt, Constance B. The Joy of the Court. Illus. Pauline Baynes. New York: Thomas Y. Crowell, 1971.

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A retelling of Chrétien de Troyes’ Erec and Enid including an ending where Erec must rescue knights captured in a misty garden.

A-1081 Hieatt, Constance B. The Knight of the Cart. Illus. John Gretzer. New York: Thomas Y. Crowell, 1969. This retelling draws on Chrétien as its main source, but Hieatt, in the Preface, also acknowledges her debt to Malory and her own imagination. One significant change that Hieatt makes is to Lancelot’s motivation, as there is little mention of the love of Guenevere and Lancelot; for example, after Lancelot defeats her abductor the first time, he almost immediately leaves to find Gawain instead of having a tryst with Guenevere in her prison.

A-1082 Hieatt, Constance B. The Knight of the Lion. Illus. Joseph Low. New York: Thomas Y. Crowell, 1968. A retelling of Chrétien’s The Knight of the Lion for a young audience.

A-1083 Hieatt, Constance B. The Minstrel Knight. Illus. James Barkley. New York: Thomas Y. Crowell, 1974. A retelling of the story of Sir Orfeo. The first chapter is set in Camelot at Arthur’s court, where Orfeo, acting as a wandering minstrel, visits and plays for the court. The rest of the story takes place in Orfeo’s own kingdom, where he defeats his treacherous steward, and in the Otherworld, where he uses his skills as a minstrel to rescue his wife.

A-1084 Hieatt, Constance B. Sir Gawain and the Green Knight. New York: Thomas Y. Crowell, 1967. A juvenile retelling of the medieval romance of Sir Gawain and the Green Knight.

A-1085 Hieatt, Constance B. The Sword and the Grail. Illus. David Palladini. New York: Thomas Y. Crowell, 1972. Like many of Hieatt’s other works, this is based closely on medieval texts (in this case Chrétien de Troyes and Wolfram von Eschenbach), but she admits in the preface to having “borrowed freely . . . from many versions” and “pulled together the threads of the story in [her] own way.” Her version, then, retells the story of Perceval’s childhood, his arrival at court, and his eventual achievement of the Grail that restores the Fisher King to health and the Loathly Lady to beauty as the Grail Maiden.

A-1086 Hildebrandt, Greg. “Jack the Giant Killer.” Greg Hildebrandt’s Favorite Fairy Tales. Illus. Greg Hildebrandt. New York: Little Simon, 1984. (*) Rptd: Morris Plains, NJ: Unicorn Publishing House, 1992. An illustrated retelling of the tale, set in Arthur’s time, with illustrations.

A-1087 Hildebrandt, Rita. Merlin and the Dragons of Atlantis. Illus. Tim Hildebrandt. Indianapolis and New York: Bobbs-Merrill Co., 1983. This book is about Merlin before the time of Arthur. Its premise is that Merlin is from Atlantis, a world with incredible technology. He rebels against a corrupt ruler but spends many years seeking to destroy the last, terrible creations of Atlantis – dragons.

A-1088 Hill, Aaron. “Merlin in Love; or, Youth against Magic: A Pantomime Opera, in Five Acts.” The Dramatic Works of Aaron Hill, Esq. 2 vols. London: Printed for T. Lownds, 1760. 2: 321–42. [ESTC T34928.] This short “five-act” play retells the story of Merlin’s enchantment in the form of a Harlequinade. Merlin here represents Age; he is the old man who wants to marry the young Columbine, though

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she favours Harlequine. Merlin is persuaded to allow Columbine the use of his magic wand, which she uses against him to turn him into an ass.

A-1089 Hill, Geoffrey. “Merlin.” For the Unfallen: Poems 1952–1958. London: Andre Deutsch, 1959. 20. Rptd: New and Collected Poems, 1952–1992. Boston, MA, and New York: Houghton Mifflin, 1994. 8. – In The New Poetry. Ed. A. Alvarez. Harmondsworth: Penguin, 1966. 201. In this poem of two quatrains, Merlin contemplates the “outnumbering dead”: all the people he knew, including Arthur and those associated with him, while now “over their city stands the pinnacled corn.” First line: “I will consider the outnumbering dead.”

A-1090 Hill, Graham. Guinevere: A Tragedy in Three Acts. London: Elkin Mathews, 1906. Northup and Parry indicate that this play was “Acted at the Court Theatre in London on October 13, 1906.” Hill compresses a number of events to create this tragedy. The play begins with Guenevere’s arrival, but Mordred, Vivian (his wife) and Agravain are already plotting to overthrow Arthur. The love of Guenevere and Lancelot, therefore, is not responsible for the final, fatal battle, but it is a major part of the action.

A-1091 Hill, Maureen. Knights of the Round Table. Headstart. London: Caxton Editions, 1998. A short (forty-six page) novel; the “Headstart” series is a collection of “early readers.” The retelling is based on Malory and Sir Gawain and the Green Knight, with a number of reproductions of Arthurian art works from medieval and modern sources.

A-1092 Hilton, William. “Arthur, Monarch of the Britons: A Tragedy.” The Poetical Works of William Hilton. 2 vols. Newcastle-upon-Tyne: Vol. 1 printed by Angus and Robson; vol. 2 printed by T. Saint, 1775–1776. 2: 169–251. [ESTC T97834.] The title-page says that this play was finished on 29 Nov. 1759, but apparently it was not performed at that time (Lacy and Ash, The Arthurian Handbook 156). The five-act play focuses on the end of Arthur’s reign. There is no Lancelot here; Mordred has usurped throne and queen. Much of the play’s action concerns the shifting allegiances of Mordred’s men and traitorous allies (Saxons and Picts); it ends with Arthur’s death and Constantine’s succession.

A-1093 Hinchman, Walter S. “Tintagel.” Tintagel and Other Verses. Groton: Groton School Press, 1910. 1–4. This poem is divided into three parts. In the first, the speaker describes Tintagel’s landscape and imagines Tristan, Iseult, and Mark there, particularly the moment when Mark kills Tristan. The second part lists Arthur’s knights who may have been seen at Tintagel. The third part reflects on the timelessness of the place and the way the present population will some day be yet more ghosts at Tintagel.

“The Historie of the Conquests of the Noble Conquerour Arthur”: see Lloyd, Richard. A-1094 The History of Jack, the Giant Killer, etc. Durham: George Walker, Jr., 1838. In one episode, Jack meets “the son of King Arthur.”

A-1095 Hodges, Margaret. The Kitchen Knight: A Tale of King Arthur. Illus. Trina Schart-Hyman. New York: Holiday House Books, 1990. Each page of this picture-book has a full-page, full-colour, framed illustration; the text is

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presented in a box over the illustrations. The book retells the story of Gareth, from his arrival at court asking permission to work in the kitchens to his betrothal to Linesse.

A-1096 Hodges, Margaret. Knight Prisoner: The Tale of Sir Thomas Malory and His King Arthur. Illus. Don Bolognese and Elaine Raphael. New York: Farrar, Straus and Giroux, 1976. A blend of fact and fiction, this book tells the story of Malory’s life as he writes in prison; bits of Arthurian stories are connected to fictionalized accounts of his life and to historical events.

A-1097 Hodges, Margaret, and Margery Evernden. Of Swords and Sorcerers. Illus. David Frampton. New York: Charles Scribner’s Sons, 1993. In the Foreword, Hodges and Evernden recall the origin of this book: a storytelling session at the Carnegie Library of Pittsburgh with Cecile Cox Offill. The book, then, is their print version (some forty years later) of this session. It includes various episodes from Malory as well as stories of Vortigern and the dragons, and Lancelot and the sword bridge. It is illustrated with woodcuts.

A-1098 Hoffman, Mary. Women of Camelot: Queens and Enchantresses at the Court of King Arthur. Illus. Christina Balit. New York: Abbeville Press, 2000. A collection of nine stories, each of which tells a portion of the Arthurian story from the point of view of the female characters. The characters focused on are Igerne, Guenevere, Nimue, Linet, Morgan, Morgause, Ragnell, and the two Elaines.

A-1099 Hogg, Thomas. The Fabulous History of Cornwall. Truro: E. Heard, 1827. Rptd: Excerpts in Inside Merlin’s Cave: A Cornish Arthurian Reader. Ed. Amy Hale, Alan M. Kent, and Tim Saunders. London: Francis Boutle Publishers, 2000. 82–87. A poetic history that includes sections on some major Arthurian characters, including Arthur, Tristrem, and Merlin.

A-1100 Holder, Nancy. “Prayer of the Knight of the Sword.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 91–105. This story begins with Joseph of Arimathea at Glastonbury, switches to a young knight’s experience during the Crusades, and takes him back in time as guardian of Excalibur and Igerne, both before and at the end of Arthur’s life.

A-1101 Holder, Nancy. “To Leave If You Can.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: In Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 416–29. A short story about migrant farm labourers. The father tells his daughter Arthurian stories, particularly of Galahad and the Grail. The father is a Fisher King figure, with a wounded thigh.

A-1102 Holdstock, Robert. The Fetch. London: Macdonald and Co./Orbit Books, 1991. A novel about the family of a boy who has psychic powers. The boy’s favourite stories are those of the Fisher King and the Holy Grail, and images of king and Grail appear throughout the novel. The boy is able to “fetch” artefacts from various places and times, and he keeps trying to “fetch” the Grail.

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A-1103 Holdstock, Robert. “Infantasm.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 110–29. A satirical short story about Merlin’s role in arranging for Arthur’s conception.

A-1104 Holdstock, Robert. Lavondyss: Journey to an Unknown Region. London: Victor Gollancz, 1988. A sequel to Mythago Wood taking place after the events of the first book and with appearances by some of its characters. The protagonist is a young girl named Tallis (after Taliesin) whose grandfather leaves her a book of legends with a cryptic note about the wood and the mythagos. As she grows up, she finds she can access the other worlds found in the woods. One of the stories that she discovers features Arthurian characters: Arthur and Mordred are brothers in this story; their third brother, Scathach, is a major character in the novel. The name of the unknown region, Lavondyss, is explicitly derived from Avalon and Lyonesse. Other allusions to Arthurian characters include Gawain and Guenevere.

A-1105 Holdstock, Robert. Merlin’s Wood; or, The Vision of Magic. London: HarperCollins, 1994. The spirits of Merlin and Vivian re-enact, in a twentieth-century family, their desperate struggle for power; the setting is the wood of Broceliande. Holdstock draws on Tennyson as well as other stories of Merlin. This book also contains two other, non-Arthurian tales.

A-1106 Holdstock, Robert. Mythago Wood. London: Victor Gollancz, 1984. This novel introduces the idea of mythagos: creatures brought to life from the minds of those who interact with the wood. Many legendary figures are mentioned as appearing as mythagos, Arthur among them. Guiwenneth, a mythago that the protagonist links to stories of Guenevere, is a main character, and like Guenevere is part of a love triangle. A warrior named Peredur also appears. While use of these characters is not always consistent with traditional stories, the novel makes clear that the characters have their sources in that tradition.

A-1107 Holdstock, Robert. “The Shapechanger.” The Bone Forest. London: Grafton, 1991. Rptd: The Bone Forest. London: Grafton, 1992. 121–48. An eighth-century magician is summoned by a village troubled by a demon in a well. The magician’s apprentice communicates with the “demon,” which readers recognize as a young, twentieth-century boy who is trying to escape from domestic violence and abuse. The boy is reading from a book about Arthur and wishes that Sir Gawain would come to his rescue; his thoughts warp the magician’s reality. First appeared in GM Magazine in 1989.

Holdstock, Robert: see also Carlsen, Chris. A-1108 Hole, Richard. Arthur; or, The Northern Enchantment: A Poetical Romance in Seven Books. London: Printed for G. G. J. and J. Robinson, 1789. [ESTC T116961.] Rptd: Dublin: Printed by Zachariah Jackson, 1790. [ESTC T126093.] This poem tells, in rhyming couplets, the story of Arthur after he is cast ashore in the western islands. The main conflict of the romance is between Arthur and Hengist; both men are courting Imogen, Merlin’s daughter, and Hengist uses various devious means to oppose Arthur’s suit. Merlin gives us this background in book two; most of the rest of the romance concerns Arthur’s adventures and battles, and those of Lancelot as he tries to withstand Hengist’s forces. All ends happily for Arthur and Imogen.

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A-1109 Holland, Rupert Sargent. “The Knights of the Golden Spur” (Part 1). Illus. Reginald Birch. St Nicholas Magazine 39 (Nov. 1911): 43–47; “The Knights of the Golden Spur” (Part 2). Illus. Reginald Birch. St Nicholas Magazine 39 (Dec. 1911): 127–32; “The Knights of the Golden Spur” (Part 3). Illus. Reginald Birch. St Nicholas Magazine 39 (Jan. 1912): 235–42; “The Knights of the Golden Spur” (Part 4). Illus. Reginald Birch. St Nicholas Magazine 39 (Feb. 1912): 328–34; “The Knights of the Golden Spur” (Part 5). Illus. Reginald Birch. St Nicholas Magazine 39 (Mar. 1912): 427–34; “The Knights of the Golden Spur” (Part 6). Illus. Reginald Birch. St Nicholas Magazine 39 (Apr. 1912): 524–30; “The Knights of the Golden Spur” (Part 7). Illus. Reginald Birch. St Nicholas Magazine 39 (May 1912): 631–38. A young boy uses a book and an amulet to get to the Hall of the Round Table where he meets four knights of the Golden Spur; he wants to become one of them and agrees to accompany each of them on an adventure. The first of the knights is Lancelot, who takes him to Camelot to meet King Arthur before heading out to rescue a maiden. Other adventures (with non-Arthurian knights) continue the story until the last installment, when the boy meets with all of the knights one more time and is dubbed a knight himself. The first and second installments thus have the most Arthurian elements.

A-1110 Hollick, Helen. The Kingmaking. Pendragon’s Banner 1. London: William Heinemann, 1994. Rptd: New York: St Martin’s, 1995. This historical novel is the first of a trilogy and moves from Uther’s return to Britain to face Vortigern to Arthur’s defeat of the Saxons led by Hengest.

A-1111 Hollick, Helen. Pendragon’s Banner. Pendragon’s Banner 2. London: William Heinemann, 1995. Rptd: New York: St Martin’s, 1996. The second novel in the trilogy concerns Arthur; two of his major antagonists are Winifred (his first wife) and Morgause (a priestess).

A-1112 Hollick, Helen. Shadow of the King. Pendragon’s Banner 3. London: William Heinemann, 1997. (*) Rptd: New York: St Martin’s, 1997. Third in the series.

A-1113 Holliday, Liz. “The Knight of Good Heart.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 234–50. This short story creates a background for Sir Breunis that portrays him as a second son, rebellious at being destined for a monastery, who falls into one of Morgan’s spells.

A-1114 Hollins, Dorothea. The Quest: A Drama of Deliverance in Seven Scenes and a Vision. London: Williams and Norgate, 1910. In each scene, various questors seek to free the Enchanted Princess. Arthur and Galahad are the first to try and fail; other scenes are set through time to the twentieth century. A child is eventually the Deliverer. The words are meant to be accompanied by music, but only the words are given in the text.

A-1115 Holmes, John Eric. Mordred. New York: Ace Books, 1980. The title is followed by the declaration, “From an outline by Larry Niven and Jerry Pournelle”; this is a sequel to Armageddon 2419, AD with an aging Anthony Rogers as the protagonist. Rogers is similar to King Arthur in that he returns to youth and thus is able to lead his people against an

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old military threat; the leader of his enemies is his illegitimate son. When Mordred’s relationship with Rogers is revealed, the characters discuss the passage of Malory that describes the final confrontation of Arthur and Mordred. Rogers also refers to his secret weapon as Excalibur.

A-1116 Holmes, Lillian. Little Sir Galahad. Elgin, IL: David C. Cook Publishing, 1904. A short and didactic novel about a young, lame, orphan boy who tries to live “pure in heart” like Sir Galahad. The story is illustrated (though the illustrator is not identified) with three full-page and two partial-page engravings.

A-1117 Holt, Gavin [pseud.], [i.e., Percival Charles Rodda]. The Dark Lady. London: Hodder and Stoughton, 1933. (*) A novel with slight Arthurian references.

A-1118 Holt, Hazel. The Cruellest Month. London: Macmillan; New York: St Martin’s / Thomas Dunne, 1991. A murder mystery set in Oxford; the second “Sheila Malory” mystery. An elderly cataloguer, Gwen Richmond, is found dead beneath an overturned bookcase in the New Library at the Bodleian. When younger, Gwen had been romantically involved with a man named Lance, whose brother Arthur and sister Elaine blame Gwen for his death (the names of the three siblings are explained by the fact that their father was a medievalist and their mother an Arthurian “enthusiast”). There are various incidental Arthurian references throughout: Elaine owns a dog named Iseult because of its white paws; further, she is an illustrator of children’s books, and is currently working on a series of “Round Table” portraits (in a manner said to have successfully resisted the influence of Burne-Jones; there are various references to Pre-Raphaelite painters throughout the novel). Her brother (Arthur) sat for her portrait of Merlin, and she is currently seeking a Sir Mordred. While these Arthurian references contribute to characterization, they do not figure significantly in the plot.

A-1119 Holt, Tom. Grailblazers. London: Orbit / Little, Brown and Co. (UK), 1994. A knight who has been put into an enchanted sleep by drugged milk is awakened in the twentieth century on Merlin’s orders to lead the Order of the Chevaliers of the Sangrail in their (very humorous) quest for the Grail. The other knights are Turquine, Bedevere, Pertelope, Lamorak, and Galahaut.

A-1120 Holtby, Mary. “Lohengrin.” In How to Be Tremendously Tuned in to Opera. Ed. E. O. Parrott. Illus. Sue Shields. London: Viking / Penguin, 1989. 143–44. This poem uses alliteration and rhyme for comic effect as it summarizes the story of the swan knight.

A-1121 Holtby, Mary. “There once was a lass of Shalott. . . .” In The Penguin Book of Limericks. Ed. E. O. Parrott. Illus. Robin Jacques. London: Allen Lane, 1983. 147. The story of Tennyson’s “The Lady of Shalott” condensed into a limerick.

A-1122 Honigsberg, David M. “Now Cracks a Noble Heart.” In Michael Moorcock’s Elric: Tales of the White Wolf. Ed. Michael Moorcock, Edward E. Kramer and Richard Gilliam. Stone Mountain, GA: White Wolf Fiction, 1994. 91–96. Elric, a character first created by Michael Moorcock, appears in an Arthurian world in this short story. He arrives after the battle of Camlann, to report to Arthur that he has been unable to recover Merlin.

Hopper, Nora: see the entries for “Chesson, Nora” under “Tennyson: adaptations.”

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A-1123 Horne, Richard Henry (Hengist). “The Three Knights of Camelott: A Fairy Tale.” Ballad Romances. London: Charles Ollier, 1846. 123–53. Although this poem mentions a variety of Arthurian characters like Arthur, Merlin, Lancelot and Tristan, the three protagonists are original to this ballad. The three knights encounter a fairy realm; only one of them resists the temptations and traps to slay the evil giant.

A-1124 Horowitz, Anthony. The Unholy Grail: A Tale of Groosham Grange. London: Methuen Children, 1991. The second in a series of novels about life at the “Goosham Grange” school.

A-1125 Horton, Douglas. A Legend of the Graal, To be Played or Read in the Season of Easter or Christmas. Illus. Elizabeth B. Warren. Boston, MA, and Chicago: Pilgrim Press, 1925. Intended for a church audience either at Easter or at Christmas, this drama features a squire who is at an old chapel to keep vigil before he receives knighthood. He learns a lesson in true humility and service. Although the Grail appears, no other Arthurian references are made.

A-1126 Horvath, Betty. Sir Galahad, Mr Longfellow, and Me. New York: Atheneum, 1998. This children’s novel is set in Missouri in 1938. The protagonist and narrator is Emily Ann Campbell, who is beginning sixth grade and wants to do something to be remembered when she leaves her school at the end of the year. Under the influence of her new teacher, whom she sees as Sir Galahad, she starts writing poetry. One of her poems is entitled “Sir Galahad Rides Again”; she thinks of her teacher as she writes it, so Galahad is not a knight but a man doing noble, kind deeds.

A-1127 Hosken, James Dryden. “Lyonesse.” Cornish Magazine (Aug. 1898): 94. In this six-stanza poem, the lost land of Lyonesse is described. The speaker imagines its halls, towers, and occupants, including a beautiful queen. Aside from the name of the land, there are no Arthurian allusions.

A-1128 Household, Geoffrey. Summon the Bright Water. London: Michael Joseph, 1981. A twentieth-century economic historian on holiday becomes interested in a commune and tries to figure out the source of their prosperity. The leader has a gold chalice that one of the characters, a retired major, believes to be the Grail. The major, who assists the protagonist in the investigation, is an Arthurianist: he discusses Arthurian events (such as Badon) and the strategies and tools (such as cavalry) Arthur may have used. The protagonist compares the major to Perceval. In the final scene, the protagonist and his lover stage the return of the Grail to the commune in a way that suggests the Lady of the Lake and Excalibur.

A-1129 Housman, Clemence. The Life of Sir Aglovale de Galis. London: Methuen, 1905. Rptd: London: Jonathan Cape, 1954. – Cover illus. Marc Fishman. Intro. Douglas A. Anderson. Oakland, CA: Green Knight Publishing, 2000. – “The Life of Sir Aglovale de Galis.” An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: Aquarian Press, 1989. 223–44. (The first three chapters of the novel are reprinted) This novel is written in a style reminiscent of Malory, whom Housman refers to as her “own dear Master.” Housman fills in the gaps of Malory’s account of Aglovale, Pellinore’s oldest son; she uses Aglovale to explore the life of a man condemned by human society who nevertheless tries to

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follow Christian precepts. Arthur and his court censure Aglovale’s failings but never recognize his virtues; the standards by which they judge him become a commentary on their own failings. The novel is rather long, but its ending is powerful.

A-1130 Hovey, Richard. The Birth of Galahad: A Romantic Drama. Launcelot and Guenevere: A Poem in Dramas 3. Boston, MA: Small, Maynard and Co., 1898. Rptd: New York: Duffield, 1909. – Arthurian Drama: An Anthology. Ed. Alan Lupack. Garland Reference Library of the Humanities 1276. New York and London: Garland Publishing, 1991. 173–249. In this play, Guenevere bears Lancelot’s son, Galahad, but Elaine is purported to be the mother. Most of the action that follows concerns Arthur’s war with Rome as the Roman Emperor seizes Guenevere’s letter to Lancelot and Guenevere herself, threatening to tell Arthur of the love affair unless Lancelot fights for Rome against Arthur. This was meant to be part of a cycle of nine plays, called collectively Launcelot and Guenevere: A Poem in Dramas.

A-1131 Hovey, Richard. The Holy Grail and Other Fragments, Being the Uncompleted Parts of the Arthurian Dramas. Ed. Mrs Richard Hovey (Henriette Knapp Hovey). Preface Bliss Carman. New York: Duffield, 1907. This collection, published after his death, contains Hovey’s notes on his planned cycle of plays. He intended the completed cycle to consist of three parts, each with three plays (a masque, a tragedy, and then a romantic drama in each part). The scenes from the planned tragedy The Holy Grail: a scene where Morgan and Morgause plan treachery, only to be interrupted by Lamorak and his news of the Grail quest; scenes of Galahad’s, Perceval’s, and Lancelot’s preparations for the quest; and a scene between Arthur and Guenevere. The volume also contains notes on Astolat, a drama that would have described the reunion of Lancelot and Guenevere; on Fata Morgana, a masque planned to deal with ethics; on King Arthur, a tragedy whose finished scenes involve Mordred’s plans to trap Lancelot and Guenevere; and on Avalon, which would have concluded the cycle with reflections by various characters. (See also the entry for “Bullard, Frederic Field” in the Music section.)

A-1132 Hovey, Richard. “The Last Love of Gawaine.” The Bookman 8 (Dec. 1898): 333. Rptd: To the End of the Trail. New York: Duffield, 1908. 144. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 234. According to the notes in To the End of the Trail, this is one of the poems intended to be part of “a dramatic sonnet sequence.” The speaker of this sonnet addresses a lady who he is convinced will betray him. There are no other Arthurian allusions besides the title.

A-1133 Hovey, Richard. Launcelot and Guenevere: A Poem in Dramas. New York: United States Book Co., 1891. The first publication of The Quest of Merlin and The Marriage of Guenevere; they were then published individually (see the entries for the individual plays).

A-1134 Hovey, Richard. “Launcelot and Gawaine.” Along the Trail: A Book of Lyrics. Boston, MA: Small, Maynard, and Co., 1898. A fourteen-line poem in blank verse. The title characters are used to represent the two faces of a poet, and how he is viewed by each of the two women who love him. First appearance in The Bookman 6 in Nov. 1897.

A-1135 Hovey, Richard. The Marriage of Guenevere: A Tragedy. Launcelot and Guenevere: A Poem in Dramas 2. Chicago: Stone and Kimball, 1895.

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Rptd: Boston, MA: Small, Maynard, and Co., 1899. – New York: Duffield and Co., 1909. This five-act play begins with Arthur and his knights on their way to Arthur’s wedding. Lancelot must leave to help a damsel, so it is not until Act 2, in Camelot, that he meets Guenevere and recognizes her as a young woman whom he earlier met and with whom he has fallen in love. The play ends with Morgause trying to reveal their relationship, but Arthur refuses to believe it. (See also the entry for “Bullard, Frederic Field” in the Music section.)

A-1136 Hovey, Richard. The Quest of Merlin: A Masque. Launcelot and Guenevere: A Poem in Dramas 1. Boston, MA: Small, Maynard and Co., 1898. Rptd: New York: Duffield and Co., 1909. The masque begins with Merlin in a cave consulting the Norns; he wishes to know Arthur’s destiny, particularly regarding his marriage to Guenevere. Later with the Lady of the Lake and Nimue, he is told to beware of the wedding. At the end, three stars (of Arthur, of Guenevere, and of Lancelot) address him. Besides the foretold love of Lancelot and Guenevere, Nimue reminds him of the day that Arthur was given Excalibur.

A-1137 Hovey, Richard. Taliesin. Poet-Lore 8 (1896): 1–14, 63–78, 292–306. Rptd: Taliesin: A Masque. Launcelot and Guenevere: A Poem in Dramas 4. Boston, MA: Small, Maynard and Co., 1899. The masque consists of three movements, and each movement appeared in a separate issue of Poet-Lore (numbers 1, 2, and 6 of Vol. 8, which has continuous pagination). The first movement is set in Broceliande; Taliesin and Perceval meet while trying to find the imprisoned Merlin, and they speak to him and to Nimue. The second movement is Taliesin’s journey, assisted by Nimue, up the mountain Helicon; he encounters the nine muses and receives poetic gifts from Hermes and Apollo. The third movement is set at the Grail Castle where Taliesin and Perceval talk with Evelac; Perceval would like to see the Grail but is told it is not yet time, and Taliesin has a vision granted him by an Angel.

Howard de Walden and Seaford, Baron: see Ellis, T. E. A-1138 Howard, Larry. The Song of Sir Rod the Long: A Gay Romance of the Round Table. San Jose, New York, Lincoln, and Shanghai: Writers Club Press / iUniverse.com, 2000. A long narrative poem in rhyming couplets (“a bawdy verse novel”), supposedly translated from a twelfth-century French romance contained in the recently discovered “lavender manuscript,” telling the “ribald” (homosexual) adventures of an orphan boy who becomes the greatest of the knights of the Round Table. The tale is told by Sir Lionel at Guenevere’s request at Arthur’s birthday party (after Arthur, “up so tight,” has gone to bed); various of the Round Table knights at the party (Sir Lancelot, Sir Kay, Sir Tristan, Sir Gawain, and others) are mentioned in the Prologue and Epilogue (the party scenes).

A-1139 Howard, Newman. “A Ballad of Sir Kay (to E. D. H.).” Collected Poems. London: Macmillan and Co., 1913. 508–11. The two parts of this ballad portray Kay’s cowardly attack on Lohot, and the consequences of that deed.

A-1140 Howard, Robert E. “Swords of the Northern Sea.” Tigers of the Sea. Illus. Tim Kirk. Ed. Richard L. Tierney. New York: Ace, 1979. 73–120. Cormac finds himself in the middle of an uprising in a Viking stronghold. The new leader intends to carve out territory in Britain and mentions Cerdic and Hengist as examples.

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A-1141 Howard, Robert E. “The Temple of Abomination.” Tigers of the Sea. Illus. Tim Kirk. Ed. Richard L. Tierney. New York: Ace, 1979. 167–90. While on their way to fight Saxons, Cormac and his friends encounter the inhabitants of an evil temple. Arthur is now a king; Cormac explains the political situation to his friends. This story was unfinished at Howard’s death, and Tierney completed it.

A-1142 Howard, Robert E. “Tigers of the Sea.” Tigers of the Sea. Illus. Tim Kirk. Ed. Richard L. Tierney. New York: Ace, 1979. 1–72. In this short story, Cormac and his friends rescue a British princess. Although we do not meet Arthurian characters, they help establish the setting. The events of the story take place when Uther rules, and Vortigern and Saxons like Cerdic and Hengist are mentioned. This story was unfinished at Howard’s death, and Tierney completed it.

A-1143 Howard, Sidney. They Knew What They Wanted: A Comedy in Three Acts. Garden City, NY: Doubleday, Page and Co., 1925. In Howard’s Preface, he declares that “It is shamelessly, consciously, even proudly, derived from the legend of Tristram and Yseult.” Northup and Parry rejected it as non-Arthurian nevertheless. Aside from a love triangle of older man, young bride, and young man, there is little of the Arthurian story here. The characters are living in California, the Mark-figure is Italian and speaks with a stereotypical dialect, the Tristan-figure is a labour-organizer / farm labourer considered to be a son by the older man, the Iseult-figure is a waitress seen once and courted by mail. The play ends happily with each of the characters getting what he or she wants.

A-1144 Howard, Vernon. “Sir Galahad and the Maidens.” In Short Plays from the Great Classics (for Young Actors and Actresses). Illus. Shizu. New York: Sterling, 1960. 34–41. In this short play, Galahad unexpectedly arrives at a castle held captive by seven wicked brothers. He defeats them to free the castle.

A-1145 Howd, Eric Machan. “Proud Whispers of the Air.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 19. Arthur is the speaker of this poem; he remembers his childhood and the preferential treatment of Kay. The sword in the stone test is mentioned.

A-1146 Howe, John. The Knight with the Lion: The Story of Yvain. Illus. John Howe. Boston, MA: Little, Brown, 1996. Howe retells Chrétien’s story of Yvain, the lion, and the Lady of the Fountain for a young audience. Each set of pages has one full page of text and one full-page, full-colour illustration (there are fourteen illustrations in all). The illustrations are very realistic and visually stunning; the picture of Yvain riding into the castle, for example, has knight and horse charging straight toward the reader.

A-1147 Howell, Bill. “The Continuing Saga of Sir Littlelance as Told in Serial Form to the Maid Beverley.” The Red Fox. Toronto: McClelland and Stewart, 1971. 91. This three-stanza poem tells a nonsense story of Lancelot, his bride, a Black Knight, and Merlin; aside from character names, the poem’s narrative is not Arthurian.

A-1148 Howell, Mavis. “Annwn.” Annwn. Oxford: Amate Press, 1988. (*) A poem.

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A-1149 Howells, Mildred. “Romance.” St Nicholas 9 (Nov. 1891): 3. A poem of five quatrains that describes a young girl playing; she imagines herself in various legendary and historical scenes, including “King Arthur’s court.”

A-1150 Howlett, Moya. The Grail Reviv’d. London: David Barton, 1993. There are three poems in this collection, all using four-line rhymed stanzas: “The Haresceugh Bowl Ballad,” “The True Ballad of the Most High Matter of the Holy Grail,” and “The Haresceugh Bowl Prophecies.” Each presents a variation on the following theme: The Lady, keeper of the Grail, takes a consort and then kills him. The explanatory Preface links the Lady with Elaine and Guenevere, and the consort with Galahad or Perceval.

A-1151 Hubbard, L[afayette] Ron[ald]. “The Case of the Friendly Corpse.” Unknown (or Street and Smith’s Unknown) 5.2 (Aug. 1941). (*) Rptd: The Case of the Friendly Corpse. L. Ron Hubbard Classic Fiction Series. Hollywood, CA: Author Services, 1991. King Arthur and the knights of the Round Table appear in the final scene to save the day. The story achieved some notoriety when it first appeared because Hubbard includes in it Harold Shea, the hero of a series of stories by L. Sprague de Camp and Fletcher Pratt, who was introduced to readers of Unknown just two issues previously; Hubbard has Shea rather brusquely killed.

A-1152 Huemer, Richard. A Dragon on the Hill Road. Illus. Walter Peregoy. Los Angeles: Valley Village Press, 1958. This book is a series of poems telling the story of Merlin’s attempt to send Lancelot to the twentieth century. Lancelot, transported to modern Tennessee, meets a twentieth-century Elaine of Astolat.

A-1153 Hughes, Ian. “Marchlyn.” Anglo-Welsh Review 26.58 (Spring 1977): 31. Rptd: Slate. Bangor: Deiniol Press, 1977. 15. – Anglo-Welsh Poetry, 1480–1980. Ed. Raymond Garlick and Roland Mathias. Bridgend, Mid Glamorgan: Poetry Wales Press, 1984. 332–33. The poem questions the possibility of Arthur’s return since Marchlyn, a lake supposedly hiding Arthur’s resting-place, has been drained, built over, and Arthur has not protested. First line: “I no longer believe in Arthur.”

Hughes, John Ceiriog: see Ceiriog. A-1154 Hughes, Rhiannon. “The History of Tom Thumb.” In Legends of the Mist. London: New English Library, 1972. (*) Retelling of the traditional tale.

A-1155 [Hughes, Thomas]. “The Misfortunes of Arthur (Uther Pendragons Sonne) Reduced Into Tragicall Notes.” Certaine deu[is]es and shewes presented to her Maiestie by the gentlemen of Grayes-Inne at her Highnesse court in Greenewich, the twenty eighth day of Februarie in the thirtieth yeare of her Maiesties most happy raigne. London: Printed by Robert Robinson, 1587/8. 1–47. [STC (P&R) 13921 (ESTC S104286).] Rptd: In Early English Classical Tragedies. Ed. John W. Cunliffe. Oxford: Clarendon Press, 1912. 217–96. – The Misfortunes of Arthur. Ed. Brian Jay Corrigan. New York and London: Garland Publishing, 1992. This play, the earliest extant play in English based on Arthurian legend, is a five-act tragedy, each act divided into multiple scenes and a dumb show. The play is framed by the speeches of the ghost of Gorlois as he curses Arthur for Uther’s treachery; Arthur’s “misfortunes” are set up as the result

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of this curse, so that Arthur’s fall is tragically tied to the sins of his father. The main action of the play is Arthur’s return from his Roman wars to the news that Mordred has usurped the throne; Guenevere is a willing party to Mordred’s scheme because Arthur has left her for so long. The play was first performed before Queen Elizabeth, though the exact date is questioned.

A-1156 Hume, Cyril. “Dialogue.” Myself and the Young Bowman and Other Fantasies. Garden City, NY: Doubleday, Doran and Co., 1932. 126–27. A conversation between Tristan and Iseult.

A-1157 Hume, Cyril. “Song for Camelot.” Myself and the Young Bowman And Other Fantasies. Garden City, NY: Doubleday, Doran and Co., 1932. 125. This poem is a warning for lovers, using Arthurian characters like Guenevere, Lancelot, Elaine, Tristan, and Iseult, among others, as examples.

A-1158 Hume, Cyril. “To Elaine in Avalon.” Myself and the Young Bowman And Other Fantasies. Garden City, NY: Doubleday, Doran and Co., 1932. 18. The title of this Shakespearean sonnet is the only Arthurian allusion. The octave describes the lady, who appears to be dreaming of a man (possibly Lancelot?); in the sestet, the speaker demands her attention.

A-1159 Hume, Cyril. “Uther’s Blood.” Myself and the Young Bowman And Other Fantasies. Garden City, NY: Doubleday, Doran and Co., 1932. 123–24. The speaker suggests that he is a descendant of Uther and catalogues a number of Arthurian characters like Palomides, Pelleas, Gawain, Merlin, Lancelot, Guenevere, and others.

A-1160 Humphries, Rolfe. “A Brecon Version.” Green Armor on Green Ground: Poems in the Twenty-Four Official Welsh Meters and Some, in Free Meters, on Welsh Themes. New York: Charles Scribner’s Sons, 1956. 58–60. Rptd: Collected Poems of Rolfe Humphries. Bloomington: University of Indiana Press, 1966. 221–23. This poem, in a kind of “blues” measure, tells of Trystan’s successes both in battle and with Essylt. King March sought advice from Arthur, and Arthur passed a judgement that “one should have her / While the leaves were on the trees, / And the other one should have her / While the leaves were off the trees.” Essylt rejoices, since the existence of evergreens means that she may stay with Trystan the whole year round.

A-1161 Humphries, Rolfe. “The Return of Peredwr.” Collected Poems of Rolfe Humphries. Bloomington: University of Indiana Press, 1966. 249–50. A poem, in five six-line stanzas, describing the sight of Peredwr – with a focus on his weapons, horse, and hounds – as he rides up “to the courtyard gate.”

A-1162 Humphries, Rolfe. “Rhonabwy’s Dream.” Forbid Thy Ravens: Didactic and Lyrical Poems. New York: Charles Scribner’s Sons, 1947. 48–50. Rptd: Green Armor on Green Ground: Poems in the Twenty-Four Official Welsh Meters and Some, in Free Meters, on Welsh Themes. New York: Charles Scribner’s Sons, 1956. 45–47. – Collected Poems of Rolfe Humphries. Bloomington: University of Indiana Press, 1966. 128–29. This poem of eight eight-line stanzas depicts the stand-off between Arthur and Owain as they play chess.

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A-1163 Humphries, Rolfe. “Under Fortress Crag (A Welsh Legend).” The New Yorker (1958): Rptd: “Under Craig y Ddynas.” Collected Poems of Rolfe Humphries. Bloomington: University of Indiana Press, 1966. 245–46. A poem, in seven seven-line stanzas of blank verse, tells how the knights – either of Arthur or of Owen Lawgoch – sleep under Craig y Dinas, and were disturbed when their summoning bell was accidentally rung by a “bag of gold” (presumably in the process of being stolen by a thief).

A-1164 Hunkin, Gladys. “Legend at Tintagel.” In Tintagel in Fact and Fiction: An Anthology. Ed. Hilda and S. Canynge Caple. St Ives, Cornwall: S. Canynge Caple, 1960. 26. A note to this poem identifies it as “from ‘Cornish Crystal.’” A poem of twenty-four lines using rhyming couplets. It surveys the various stories connected with Tintagel (Arthur, Lancelot, Galahad, and Elaine of Astolat are mentioned) and describes a solitary bird flying above the ruins today as the only thing that remains of those legendary days.

A-1165 Hunt, Edward Eyre. “The Parting of Lancelot and Guinevere.” The Harvard Monthly 46 (June 1908): 154–55. This poem depicts the final meeting and conversation of Lancelot and the queen after Arthur’s death.

A-1166 Hunt, Enid Leigh [pseud.], [i.e., Mrs Derek E. Thornton]. The Advent of Arthur. London: Sampson Low, Marston and Co.; New York: Lippincott, 1908. (*) A-1167 Hunt, Jonathan. Illuminations. New York: Bradbury Press, 1989. An alphabet picture-book with designs inspired by medieval illuminated manuscripts. All of the words chosen to illustrate the alphabet name things from medieval life or stories, and some of these are Arthurian: Excalibur, Grail, Merlin, Round Table. Each is explained, so some details of the legend are retold and other characters are mentioned.

A-1168 Hunt, Peter. A Step Off the Path. London: Julia MacRae Books, 1985. Four young adults hiking near the border of Wales and England discover descendants of Arthur’s knights. The story of their journey back to England is intertwined with the story that another girl is telling about the group.

A-1169 Hunter, Evan. “Dream Damsel.” In Cosmic Knights. Isaac Asimov’s Magical Worlds of Fantasy 3. Ed. Isaac Asimov, Martin H. Greenberg, and Charles G. Waugh. New York: New American Library, 1985. 165–75. The original copyright of the story is 1954. In the story, a knight falls in love with the girl of his dreams – literally. The setting is Arthur’s court, and a number of Arthurian characters are mentioned.

A-1170 Hunter, Jim. Percival and the Presence of God. London, and Boston, MA: Faber and Faber, 1978. Rptd: Cover illus. Ed Org. Ed. Raymond H. Thompson. Oakland, CA: Green Knight Publishing, 1997. This novel is narrated by Percival; it gradually becomes clear that he is on his quest to find the Fisher King’s castle for the second time, so that he can then return to the lady he loves, Whiteflower, and that he tells this story to whomever he meets on the quest. The main events concern his months with Whiteflower (the novel opens with his defence of her hall) and his first encounter with the Fisher King, but he also remembers some of his earlier life. He encounters Whiteflower and then the Fisher King because he is trying to find and join Arthur’s court (some-

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thing he never accomplishes). The novel explores the creation of legends and reflects on human understanding of the divine in the midst of war and love.

Hutchinson, Mrs James Pemberton: see Hare, Amory. A-1171 Huxley, Mildred. “Subalterns: A Song of Oxford.” The Spectator 117 (July–Dec. 1916): 343. A poem, in seven four-line stanzas. The young men who fought in the Great War and who lie in graves in Flanders were “Galahads,” “knights of God,” who “find the Grail ev’n in the fire of hell.” Girouard notes that the final stanza of this poem was recommended by Cecil Harcourt Smith as a text suitable for war memorials (Return to Camelot 284 and n20).

A-1172 Hylton, John Dunbar. Arteloise: A Romance of King Arthur and the Knights of the Round Table. Palmyra, NJ: Hylton Publishing Co., 1887. The hero of this romance is Beau de Mains. While the setting at first is Arthur’s court, and while Arthur’s war with Rome makes up the major conflict of the tale, most of the story is original to Hylton. For example, the hero’s story is not at all like that of Gareth, and it is possible that the name was selected to emphasize the character’s good works, since he is pure of heart and performs mighty feats.

A-1173 Ifans, Rhiannon. “Arthur and the Magic Sword.” Tales from Wales. Illus. Helen Holmes. Talybont, Dyfed: Y Lolfa Cyf, 1989. 49–54. The sword in the stone story.

A-1174 Ifans, Rhiannon. “How Snowdon was Built in a Day.” Tales from Wales. Illus. Helen Holmes. Talybont, Ceredigion: Y Lolfa Cyf, 1989. 5–12. A giant wants Arthur’s beard for his mantle; eventually the giant is killed and his tomb creates Snowdon.

A-1175 Ifans, Rhiannon. The Legends of King Arthur. Illus. Helen Holmes. Talybont, Ceredigion: Y Lolfa Cyf, 1990. This retelling relates the stories of Arthur’s conception and the sword in the stone, but the focus is generally on the medieval Welsh sources, including the tales of the Mabinogion. As a result, who fosters Arthur is never mentioned, and although Cai does appear, he is not Arthur’s fosterbrother, but a knight with marvellous powers, like the ability to radiate heat. The stories Ifans retells include Arthur’s raid on Caer Siddi and Culhwch’s marriage to Olwen. The story of Camlann has the Saxons as the villains; Mordred fights with Arthur and dies after killing the last Saxon. Ifans ends her retelling with the tale of the farmer who finds the cave where Arthur and his knights sleep, waiting for the appropriate time to come to the country’s aid.

A-1176 Ifans, Rhiannon. “Prince Culhwch.” Tales from Wales. Illus. Helen Holmes. Talybont, Ceredigion: Y Lolfa Cyf, 1989. 13–19. Culhwch and Olwen marry with Arthur’s support (a retelling of a portion of Culhwch and Olwen).

A-1177 Ilio, Dominador I. “Percival on an Island in Times Square.” In Six Filipino Poets. Intro. by Leonard Casper and notes by N. V. M. Gonzales and Jean Edwardson. Manila: Benipayo Press, 1954. 20. The speaker of this poem (a variation on a sonnet) compares himself to Perceval, but he finds no Grail in the neon-lighted crowds of New York.

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A-1178 Indiana Jones and the Dance of the Giants. By Rob MacGregor. New York: Bantam Books, 1991. A novel set soon after Indy becomes an archaeologist and gets his first teaching assignment in London. The woman who hired him arranges for Indy to work with her and her daughter excavating Ninian’s Cave in Scotland, but they are threatened by a group seeking a parchment said to be written by Merlin. The climax of the novel takes place at Stonehenge, and a Merlin-like figure appears to Indy there. For details of the Arthurian Indiana Jones film, see Indiana Jones and the Last Crusade in the “Film, Television, and Radio” section.

A-1179 Indiana Jones and the Last Crusade. By Les Martin. New York: Random House, 1989. A novelization of the film for young readers including photos from the film. Some details of the story have been made more concise. For details of the film, see Indiana Jones and the Last Crusade in the “Film, Television, and Radio” section.

A-1180 Indiana Jones and the Last Crusade. By Rob MacGregor. New York: Ballantine Books, 1989. The novelization of the film for adults, so it is longer than the other versions and stays quite close to the film’s events, adding some details of thoughts and motivations. Several versions of the Arthurian legends are referenced: Parzival by Wolfram von Eschenbach; the opera Parsifal by Richard Wagner; the Morte Darthur by Sir Thomas Malory; and Idylls of the King by Alfred, Lord Tennyson. There are photos from the film included in the book. For details of the film, see Indiana Jones and the Last Crusade in the “Film, Television, and Radio” section.

A-1181 Indiana Jones and the White Witch. By Martin Caidin. New York: Bantam Books, 1994. Indiana Jones is taking a flying lesson from his friend Gale when they realize that her community, in southern England, has been attacked; the attackers want a map that will supposedly lead to gold buried in America during the Civil War. In trying to help, Indy meets one of Gale’s friends, a woman who is a witch with miraculous powers of healing. Indy realizes that she wields the sword made by Merlin, Caliburn, and wears a garment made from the leather that had once been the magical scabbard. There are numerous references to the Arthurian legend as Indy tries to distinguish between myth and fact, and stop the bad guys of course.

A-1182 [Indiana Jones, Young.] Young Indiana Jones and the Ghostly Riders. By William McCay. Young Indiana Jones Books 7. New York: Random House, 1991. Indy is going to school in England, and he spends some holidays with a friend, Cerdic, in Wales. They talk of numerous stories associated with Arthur including the Ghostly Riders who appear at Hallowe’en. The main plot involves an unscrupulous mine owner who tries to ruin Cerdic’s family. Indy encounters the Ghostly Riders, including Morgan, and finds out from them where Arthur’s treasure was buried. The treasure saves Cerdic’s family.

A-1183 Ireland, W[illiam] H[enry]. Vortigern. In “Vortigern: An Historical Tragedy,” in Five Acts; . . . and “Henry the Second: An Historical Drama,” Supposed to be written by the author of “Vortigern.” London: Printed for J. Barker, B. White, T. Egerton, and R. Faulder, [1799]. (Premiere: London: Drury Lane, 2 April 1796.) [ESTC T50991.] Each of the two plays has separate pagination and a separate title-page. Vortigern was performed on one night only, at the Theatre Royal, Drury Lane, on 2 Apr. 1796; the performance was controversial, since the play was presented as a newly discovered work by Shakespeare. Like a Shakespearian tragedy, the play is divided into five acts and dramatizes Vortigern’s rise to and fall from power. Here Constantius makes him co-ruler before Vortigern has him killed. Vortigern’s own family rebels against him because of his treatment of his wife (particularly when he marries Rowena), but also because his daughter is in love with Aurelius. Aurelius and Uther triumph over

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Vortigern at the end, but show him mercy. The play included several songs, with music by William Linley. (See also the two entries under “Linley, William” in the Music section.)

A-1184 Isaac, Margaret. Sir Gawain and the Green Knight: A Christmas Tale from Long Ago. Illus. Barbara Crow. Caerleon: Aspecs, 2000. (*) A retelling of the medieval romance of Sir Gawain and the Green Knight. (Information from OCLC WorldCat entry.)

A-1185 Isaac, Margaret. “Sir Gawain and the Green Knight: A Christmas Tale from Long Ago.” Language Learning Through Story: Key Stage two, year 5: resources in support of the National Literacy Strategy. Ed. Margaret Isaac and Alun Isaac. Caerleon: Aspecs, 2000. (*) This collection of three stories includes Isaac’s rewriting of the medieval romance of Sir Gawain and the Green Knight. (Information from OCLC WorldCat entry.)

A-1186 Isherwood, Shirley. Tim’s Knight. Illus. Valerie Littlewood. London: Hamish Hamilton, 1987. (*) A modern boy brings an Arthurian knight into the twentieth century.

A-1187 Jack the Giant Killer, and Other Stories. Philadelphia: Henry Altemus Co., 1905. Jack, the son of a farmer in Cornwall, makes his fortune killing giants. This version is set in the time of King Arthur, and Jack helps Arthur’s son (who is not named in this version) to win a bride. Jack’s deeds are recognized, and he is made a knight of the Round Table. None of the other stories in the collection are Arthurian.

A-1188 Jack the Giant-Killer. Illus. Margaret W. Tarrant. London: Harrap, [1922]. (*) Illustrated version of the traditional tale.

A-1189 Jackson, Myrna. “Lancelot Interrupts the Performance.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 9–12. This poem is divided into three parts: “Prologue,” “Queen Guinevere,” and “King Athur.” Lancelot is the speaker and reflects on his relationship with both of these characters, but he also comments on what writers have done with their stories.

A-1190 Jacobs, Joseph. “Childe Rowland.” English Fairy Tales. Illus. John D. Batten. London: David Nutt, 1890. 117–24. Rptd: In Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 220–28. Childe Rowland must venture into fairyland to rescue his sister (Burd Ellen) and their two brothers who have attempted her rescue previously. Jacobs has condensed the events of this fairy tale somewhat, omitting some of the people that Childe Rowland encounters in fairyland. While he does not make King Arthur and his queen the children’s parents, which appears in his source (Jamieson’s Illustrations of Northern Antiquities; see the entry for “Jamieson, R.” in this section), Merlin is still the one who provides advice for Childe Rowland. (It is interesting to note that Jacobs claims that Jamieson added the figures of Arthur and his queen to the story because of the mention of Merlin; for more details, see Jacobs’ notes to the story in English Fairy Tales, which are also reprinted in Merlin Through the Ages, or his article on Childe Rowland, in Folklore 2 [1891]: 182–97). Jacobs has kept the form, a mixture of verse and prose (cante-fable). There is a B&W drawing of Child Rowland as the frontispiece of the volume. Jacobs aims in his collection for readable tales for children, not necessarily scholarly accuracy, and so says, “In the majority of instances I have had largely to rewrite these Fairy Tales” (Preface).

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A-1191 Jacobs, Joseph. “History of Tom Thumb.” English Fairy Tales. Illus. John D. Batten. London: David Nutt, 1890. 140–47. Merlin grants the wish of a ploughman and his wife so that they have Tom Thumb as their son. He gets to King Arthur’s court after being swallowed by a fish and has many adventures at court, though the (nameless) queen’s jealousy puts him in grave danger. Jacobs aims in his collection for readable tales for children, not necessarily scholarly accuracy, and so says, “In the majority of instances I have had largely to rewrite these Fairy Tales” (Preface).

A-1192 Jacobs, Joseph. “Jack the Giant-Killer.” English Fairy Tales. Illus. John D. Batten. London: David Nutt, 1890. 99–112. This version of the story is set in Arthur’s time; Jack helps Arthur’s (unnamed) son, and they end up at Arthur’s court. A B&W illustration of Jack (wearing his invisible cap and therefore unseen in the picture!) faces page 111. Jacobs aims in his collection for readable tales for children, not necessarily scholarly accuracy, and so says, “In the majority of instances I have had largely to rewrite these Fairy Tales” (Preface).

A-1193 Jacobs, Maria. Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. One section of this collection of poems is also named “Iseult, We are Barren,” and that section contains twenty poems. Tristan, Iseult, and Mark are the speakers, as they reflect and react to the circumstances of their story. Some of these poems were previously published or broadcast (see individual entries below).

A-1194 Jacobs, Maria. “Discrepancy.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: “Three Poems from Iseult, We are Barren.” The Fiddlehead no. 120 (Winter 1979): 36–38. – Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 59. – King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 35. Mark watches the looks the lovers exchange.

A-1195 Jacobs, Maria. “End of an Interval.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 56. Iseult waits for Tristan to return.

A-1196 Jacobs, Maria. “Hindsight.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 55. Mark realizes his mistake in sending Tristan to Ireland.

A-1197 Jacobs, Maria. “Imprinted I.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 52. Iseult speaks, reflecting on Tristan’s music.

A-1198 Jacobs, Maria. “Imprinted II.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 53. An unnamed speaker (possibly Tristan) reflects on the effects of the loved one’s presence.

A-1199 Jacobs, Maria. “Iseult, We are barren.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 67. Mark speaks to Iseult.

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A-1200 Jacobs, Maria. “It isn’t spring.” Arc 3. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 61. The lovers renew their passion.

A-1201 Jacobs, Maria. “King Mark Deceived.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 54. Tristan speaks, reflecting on Mark’s love for Iseult and for Tristan, and the way that love blinds him to their affair.

A-1202 Jacobs, Maria. “King Mark’s Decree.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: “Three Poems from Iseult, We are Barren.” The Fiddlehead no. 120 (Winter 1979): 36–38. – Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 60. Mark gives his reason for decreeing that Iseult be given to the lepers.

A-1203 Jacobs, Maria. “The long run.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: “Three Poems from Iseult, We are Barren.” The Fiddlehead no. 120 (Winter 1979): 36–38. – Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 65. Mark reflects on his relationship with Tristan.

A-1204 Jacobs, Maria. “Love’s in the mouth.” Origins 9.4. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 58. A reflection on the mind’s power to create “love.”

A-1205 Jacobs, Maria. “Rumble.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Waves 7.1 – Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 64. The lovers reflect on the judgement the world will make of their actions.

A-1206 Jacobs, Maria. “Song of the Intruder.” Malahat Review 54 (Apr. 1980): 127. Rptd: Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 63. One of the lovers reflects on the impossible distance between them even though they lie together.

A-1207 Jacobs, Maria. “Tristan’s Law Again.” In Shark Tank. Ed. Irving Layton. Toronto: York Poetry Workshop, 1977. 60. Rptd: “Tristan’s Law – Closeup.” CBC Anthology. CBC Radio, 31 Mar. 1979. – Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 57. This poem has the unnamed speaker (Iseult) preparing to meet Tristan once again and anticipating the reunion. It appeared with a slightly different title (“Tristan’s law – closeup”) and one or two changed words in Iseult, We are Barren.

A-1208 Jacobs, Maria. “Whimper.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Waves 7.1 – Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 62. The “whimper” of the title refers to the effect of the loved one on the speaker (probably Tristan).

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A-1209 Jacobs, Maria. “The Wood of Morois.” CBC Anthology. CBC Radio, 31 Mar. 1979. Rptd: Waves 7.1 – Iseult, We are Barren. Windsor, ON: Netherlandic, 1987. 69. A poem spoken by one of the lovers as they hide in the woods from Mark; there is a reference to the sword that Mark leaves between them.

A-1210 James, Cary. King and Raven. New York: TOR Books, 1995. Unlike many Arthurian tales, this novel uses as a first-person narrator a peasant boy who comes to Camelot to receive justice for the rape and murder of his sister by four knights. While Arthur tends to be portrayed as charismatic and noble, even his actions reveal the assumptions of his class; most other knights are much less noble when they are faced with people from other classes. Many common Arthurian stories are reported, but they tend to be background to the protagonist’s rise to knighthood. The most important Arthurian episodes include the story of Sir Gawain and the Green Knight (Merlin tells the story as a lesson for the protagonist), the love of Lancelot and Guenevere (since knowledge of the affair gives the protagonist power over Lancelot), and the battle of Camlann (since the protagonist witnesses Arthur on his way to Avalon).

A-1211 James, Edwin Stanley. “Avalon.” The Statue and Other Poems. London: Erskine Macdonald, 1921. 59. Rptd: In A Celtic Anthology. Ed. Grace Rhys. Edinburgh and New York: George G. Harrap, 1927. 312–13. This poem has five stanzas of four lines each. In it, a nameless speaker longs to find Avalon. Broceliande and Lyonesse are also mentioned.

A-1212 James, Edwin Stanley. “Camel River.” The Statue and Other Poems. London: Erskine Macdonald, 1921. 47. In this short poem (three four-line stanzas), the speaker sits next to the Camel River and imagines Guenevere going to her wedding.

A-1213 James, Edwin Stanley. “Excalibur.” The Statue and Other Poems. London: Erskine Macdonald, 1921. 54. A hymn of praise to Excalibur; the nameless speaker / knight praises its virtues and speaks of a quest for the Grail.

A-1214 James, Edwin Stanley. “Tintagil.” The Statue and Other Poems. London: Erskine Macdonald, 1921. 12. The speaker of this short poem watches the sea and imagines Tristan, Iseult, and Mark in the afterlife.

A-1215 James, John. Men Went to Cattraeth. London: Cassell and Co., 1969. Rptd: Toronto: Bantam, 1988. A historical novel, narrated in retrospect by the bard Aneirin and based on the Gododdin. Arthur is only a child at the time of the novel’s main events, but he and his half-sister Gwenllian are important members of the king’s household where Aneirin lives (the king, Mynydog, is Arthur’s uncle and is fostering him until Gorlois’ death). While the novel relates the expedition led by Owain against the Saxons, an expedition that ends in tragedy at Cattraeth, throughout Aneirin compares the time of this expedition with his present time when Arthur is king. Arthur’s accomplishments are seen as being enabled by this expedition, both because of the loss of lives the “Savages” suffer and because Arthur learns from the mistakes of Owain’s battle. Owain, in this version, is a prince of Cornwall and brother to Tristan, so there are allusions to the love of Tristan and Iseult as well.

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A-1216 James, John. Not for All the Gold in Ireland. London: Cassell and Co., 1968. Rptd: Toronto: Bantam Books, 1988. A historical novel of Britain and Ireland during Roman times. A wealthy trader intent on finding gold in Ireland is caught up in war and rebellion. The novel uses several stories and characters from the Mabinogion (one of the protagonist’s names is Mannanan [sic]). The main Arthurian content, however, is the character of Taliesin and the appearance of the Grail and the sword in the stone.

A-1217 James, John. Votan. London: Cassell, 1966. A historical novel set in the second century. It is narrated by Votan (originally named Photinus the Greek, his name changes to become Votan or Woden as he spends time with Germanic peoples). Most of the novel is based on Germanic legends; the only Arthurian content appears in Part 5: Pictland. Votan is chosen to be the consort who will be killed when his year is over; Taliesin befriends him. Taliesin’s teacher was Merlin; the little we are given of Taliesin’s history suggests that James has the Arthurian character in mind.

A-1218 Jamieson, R[obert]. “The Romance of Child Rowland.” In Illustrations of Northern Antiquities from the earlier Teutonic and Scandinavian Romances; Being an Abstract of the Book of Heroes, and Nibelungan Lay; with Translations of Metrical Tales, from the Old German, Danish, Swedish, and Icelandic Languages; with Notes and Dissertations. Ed. H. W. Weber, R. Jamieson, and W[alter] S[cott]. Edinburgh: John Ballantyne and Co.; London: Longman, Hurst, Rees, Orme, and Brown, 1814. 398–403. Rptd: Joseph Jacobs reprints this in his article on the subject in Folklore 2 (1891): 182–97. Jamieson’s section of this book is “Popular Heroic and Romantic Ballads,” and in his introduction to the section he indicates that many of what follows are translations from the Dutch Kaempe Viser. However, the ballad designated as “Rosmer Haf-Mand, or the Mer-Man Rosmer” (397–410) is not one translated ballad, but actually a series of stories of elves or of people trapped in Elfland, and the first of these is “Childe Rowland.” Merlin gives advice to the hero as to how to free Burd Ellen, but other Arthurian names appear (Arthur, Gwenevra, Excalibur), enclosed in square brackets to indicate that these are Jamieson’s additions to what is otherwise his memory of hearing the story as a child. While the Romance is argued to be of great age, Jamieson in some ways has created his own, more explicitly Arthurian version, and, as Northup and Parry note, this was the version often anthologized in school readers. For related entries, see “Jacobs, Joseph.”

A-1219 Jay, William. The Lost History of Redwyn. Bloomfield Hills, MI: Lancaster Books, 1992. Redwyn, a medieval travelling magician and swindler, is set upon by those he has tricked and escapes into the dreaded forest of Grinmere. There he finds a wonderful sword and meets an old man, beginning an adventure to save the heir of Solway castle and the town of Solway itself from the evil Morcar and the plague. Jay draws on the Arthurian legend in several ways. The old man, Nelrum, is actually Merlin, the sword is Excalibur, and one of Redwyn’s followers is Perceval. Nelrum tells stories of the days of King Arthur; Redwyn is compared to Arthur and the castle of Solway is compared to Camelot.

A-1220 Jenkins, John. “The Grave of King Arthur.” In The Poetry of Wales. London: Houlston and Sons; Llanidloes: John Pryse, 1873. 94–95. This collection contains translations and original poems; this appears to be one contributed by the editor of the volume. In eleven quatrains, the speaker of the poem calls on the sun, a star, a river, the winds, and the ocean to indicate the grave of Arthur; none can reveal his resting-place.

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A-1221 Jenner, Katharine. “Anglice, a Patriotic Song of our Motherland.” Songs of the Stars and the Sea. London: Erskine MacDonald, 1926. Rptd: Inside Merlin’s Cave: A Cornish Arthurian Reader. Ed. Amy Hale, Alan M. Kent, and Tim Saunders. London: Francis Boutle Publishers, 2000. 183–84. Five-stanza poem. Arthur, Geraint, Tristan, Gawain, Percival, and the Grail are mentioned as part of Cornwall’s past. There is also a Cornish version, written by Jenner’s husband, Henry Jenner (see notes to the poem in Inside Merlin’s Cave).

A-1222 Jeter, K. W. Morlock Night. New York: DAW Books, 1979. This novel uses, for its protagonists, minor characters from H. G. Wells’ Time Machine to continue Wells’ story. Morlocks have seized the Time Machine and are using it to invade Victorian England. Only Merlin and a reborn Arthur can prevent the end of the world.

A-1223 Jewett, Eleanore Myers. The Hidden Treasure of Glaston. Illus. Frederick T. Chapman. New York: Viking Press, 1946. A historical novel for children set in Glastonbury in 1171. The young boy who is the protagonist is left to stay at the Abbey and as part of his duties with the monks discovers a book about the Grail. He also has a vision that leads to the discovery of the grave of Arthur and Guenevere; he investigates hidden vaults and finds Excalibur. A hermit who searches for the Grail also tells stories about Sir Gawain.

A-1224 Jewett, Sophie. “The Dwarf ’s Quest: A Ballad.” In Persephone and Other Poems. By members of the English literature department, Wellesley College. Boston, MA: Fort Hill Press, 1905. 53–61. Rptd: The Poems of Sophie Jewett: Memorial Edition. New York: Thomas Y. Crowell, 1910. 169–78. – Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 61–66. This long ballad tells the story of Sir Dagonet’s quest for and achievement of the Grail; first line: “Sir Dagonet was sad of heart.”

A-1225 Jocelyn, Beredene. “The Holy Grail.” Mysteries of the Holy Grail. By Corinne Heline. Santa Monica, CA: New Age Bible and Philosophy Centre, 1982. 30. This poem appears in an otherwise non-fiction book discussing the Arthurian legends. The poem itself refers to “the seeking soul,” but the title is the only explicitly Arthurian allusion.

A-1226 Johnson, Barbara Ferry. Lionors. New York: Avon Books, 1975. This historical novel is narrated by Lionors, a woman that Malory briefly describes as Arthur’s lover and mother of his son. In this novel, Lionors is Arthur’s friend, lover and advisor throughout their lives; the child is a blind daughter who becomes a nun.

A-1227 Johnson, Clifden, ed. King Arthur and the Knights of the Round Table. New York: Macmillan, 1916. (*) Based on Malory.

A-1228 Johnson, Joyce. “The Lady of Shalott.” In How to be Well-Versed in Poetry. Ed. E. O. Parrott. London: Viking, 1990. 191–92. Johnson divides her parody of Tennyson’s poem into two parts and a moral. The fantastical nature of the original poem is deflated as the speaker wonders about the presence of servants and speculates that the Lady simply died of a chill.

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A-1229 Johnson, Melissa. “Arthur Dreaming in the Castle Hall.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 8. Arthur dreams about the tangle of relationships between Lancelot, Guenevere, and himself.

A-1230 Johnson, Melissa. “Guinevere Dreaming, Alone in Bed.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 8. In Guenevere’s dream, she wants to be a dragon, but can only stand by as maiden to be rescued by Lancelot and Arthur.

A-1231 Johnson, Melissa. “Lancelot Dreaming in the Wild.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 7. Lancelot dreams that he is Uther and has killed Arthur, but he is also Guenevere’s lover. The title might suggest that this is one of Lancelot’s dreams during his madness.

A-1232 J[ohnson], R[ichard] [?]. The History of Tom Thumbe, the Little, for his Small Stature Surnamed King Arthur’s Dwarfe; Whose Life and adventures containe many strange and wonderfull accidents, published for the delight of merry Time-spenders. London: Printed for Thomas Langley, 1621. [STC (P&R) 14056 (ESTC S93107).] Rptd: “The History of Tom Thumbe.” Ed. Curt F. Bühler. In Merie Tales of the Mad Men of Gotam, and The History of Tom Thumbe. Evanston, IL: Northwestern University Press, for the Renaissance English Text Society, 1965. 1–24 (of the second pagination). A prose version of the legend of Tom Thumb; the attribution to Johnson is based on the identification of the author in the colophon as “R. I.” The story is set in the time of King Arthur, and Tom ends up, in his later adventures, at Arthur’s court; Merlin is also an important character. The reprint is a scholarly one, with an introduction about the history and transmission of the text (the two works bound together have different editors and are separately paginated). Bühler reproduces the 1621 title-page, which includes a woodcut showing Tom Thumb in three scenes from the story: he can be seen among the leaves which a cow is eating, carried by a black raven through the sky, and standing on a table where a woman is kneading bread.

A-1233 J[ohnson], R[ichard] [?]. The Most Pleasant History of Tom a Lincolne, that renowned souldier, the Red-rose Knight, who for his valour and chivalry, was surnamed the boast of England. Shewing his honourable victories in forraigne countries, with his strange fortunes in the Fayrie land: and how he married the faire Anglitora, daughter to Prester Iohn, that renowned monarke of the world. Together with the lives and deathes of his two famous sonnes, the Blacke Knight, and the Fayrie Knight, with divers other memorable accidents, full of delight. London: Printed by Aug. Mathewes, 1631. [STC (P&R) 14684 (ESTC S105584); also 1635: 14685 (ESTC S109192); 1655: STC (Wing) J807 (ESTC R218071); 1668: (Wing) J807A (ESTC R179113); 1682: (Wing) J808, (Wing) J809 (ESTC R498); 1703: ESTC N35375; 1704: ESTC T202062; 1705: ESTC T54289; 1710?: ESTC T55227.] Rptd: R. I., The Most Pleasant History of Tom a Lincolne. Ed. Richard S. M. Hirsch. Columbia, SC: University of South Carolina Press, 1978. Part 1 of the work was entered in the Stationers’ Register in Dec. 1599, Part 2 in 1607, but the first edition extant is that of 1631, by which point the two parts are being printed in a single volume. Part 1 was adapted for the stage (see next entry). In the first part of the romance, King Arthur meets an Earl’s daughter and falls in love with her. He hides her in a convent and arranges for her child to be raised by shepherds. This child, Tom, eventually comes to court, is made knight,

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becomes friends with Lancelot, and has several adventures, both martial and romantic. The first book ends with an Elaine-like sequence, where a fairy lady who loved Tom and died for grief at his departure is found floating on the sea. Tom meanwhile marries Prester John’s daughter. The second part of the romance begins with King Arthur’s death; on his death-bed, he confesses to his adultery and acquaints Tom with his real mother. The Queen (given no other name) is enraged and arranges for her rival’s death; Tom’s wife and son abandon him. Tom dies part-way through the romance at the hands of his wife and her new lover; his son avenges his death, meets with Tom’s son by the fairy lady, and the two have many adventures, including meeting with Lancelot again.

A-1234 [Johnson, Richard]. Tom a Lincoln. 1611–1619. Ed. G. R. Proudfoot and H. R. Woodhuysen. Malone Society Reprints. Oxford: Oxford University Press, for the Malone Society, 1992. A dramatized version of Johnson’s prose romance, drawing primarily on material in Part 1. Arthur is a major character for the play begins and ends with him; at the beginning he is entreating Tom’s mother and at the end he is arranging Tom’s marriage. Well-known knights of the court appear: Lancelot, Tristan, and Gawain; they compliment Tom on his martial abilities. The war that Tom fights for Arthur takes place in France (unlike Johnson’s version). While there are various theories about who may have adapted the story into a play (Thomas Heywood is one candidate), the author’s identity is not known. It was probably written and performed (possibly at Gray’s Inn) between 1611 and 1619.

Johnson, Richard, “A New Sonnet of a Knight and a Faire Virgin”: see the entry for “New Sonnet of a Knight.” A-1235 Johnson, W. R. The History of England, in Easy Verse, From the Invasion of Julius Caesar, to the Beginning of the Year 1806; Written for the Purpose of being Committed to Memory by Young Persons of Both Sexes. London: Tabart and Co, 1806. A history of England, as the title indicates, intended to be memorized by schoolchildren. It is written in couplets and divided into chapters of about twenty-eight lines each, many of the chapters summarizing the events of the entire reign of a given monarch (not unlike John Lydgate’s “Verses on the Kings of England”). Chap. 3 (pp. 6–7), in thirteen couplets, includes a summary of the story of Vortigern, Hengist, Horsa, and Rowena. Chap. 4 (pp. 8–9), in eleven couplets, includes a mention of King Arthur: “Succeeding chiefs [of the Saxons] with hostile numbers land, / ‘Gainst whom the Britons make a valiant stand, / By royal Arthur led, alas! in vain, / Such crowds of foreign tribes usurp the plain” (p. 8, ll. 4–7). A footnote adds the following information: “This prince’s history, is involved in much obscurity; but all agree, that he was a most heroic prince, and he is said to have defeated the Saxons in twelve successive battles” (p. 8 n.).

A-1236 Johnson, William Henry. Sir Galahad of New France. London: H. B. Turner and Co., 1905. (*) A novel.

A-1237 Johnston, Annie Fellows. Keeping Tryst: A Tale of King Arthur’s Time. Boston, MA: Page, 1905. An allegorical tale about Ederyn, an orphan page who wishes to be a knight. By faithfully performing small tasks and being attentive to duty, he eventually wins the notice of King Arthur and is knighted.

A-1238 Johnston, Annie Fellows. Two Little Knights of Kentucky: Who Were the “Little Colonel’s” Neighbors. Boston, MA: Page, 1899. Johnston wrote a series of books about the “Little Colonel,” a young girl in Kentucky; this novel is a story of her neighbours (two boys and a girl) and what they do to help a homeless child. The

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Arthurian allusions are used mainly to suggest the idealism that the children are taught; they use Arthur and Galahad as models of Christian behaviour. Tennyson and James Russell Lowell, whose Vision of Sir Launfal is acted out in a pageant in the course of the book, are frequently mentioned.

A-1239 Johnston, Johanna. King Arthur: His Knights and Their Ladies. New York, Toronto, London, Auckland, and Sydney: Scholastic, 1979. Brief retelling of Malory for children.

Johnston, Norma: see St John, Nicole. Johnstone, Janet Grahame, and Ann Grahame Johnstone: see Tom Thumb. A-1240 Johnstone, Paul. “Up, Red Dragon!” Blue Book Magazine 90.5 (Mar. 1950): 104–17. (*) A historical reconstruction of the legend, recounting the story of Captain Artorius.

A-1241 Jones, Beryl M. Tales of Magic and Romance. Illus. Joy Mellor. Cardiff: University of Wales Press, 1964. A retelling of eight tales from the Mabinogion, including four of the Arthurian stories: “Geraint and the Sparrow-Hawk” (50–71), “Owain and the Enchanted Fountain” (72–86), “The Winning of Olwen” (105–26), and “How Peredur Became a Knight” (142–69). The book is illustrated with pen-and-ink drawings, one full-page, one half-page illustration, and one tailpiece per story. The stories were originally prepared for radio broadcast (BBC Radio): see the entry for “Tales of Magic and Romance” in the “Film, Television, and Radio” section.

A-1242 Jones, Courtway. In the Shadow of the Oak King. The Dragon’s Heirs 1. New York: Simon and Schuster, 1991. Jones’ introduction to the novel (and thus to the series) suggests that he is rewriting Malory with the aim of making the story more historically plausible and recuperating some of the characters that are weak or villainous in Malory. The narrator and protagonist of this novel is Pelleas, a Pict who is Uther’s bastard son; he is therefore a half-brother to Arthur and acts as smith, guardian, and companion. Merlin, also a smith, is Pelleas’ teacher. The novel ends shortly after Arthur has taken the throne (the sword in the stone episode is part of this) and has married Guenevere.

A-1243 Jones, Courtway. A Prince in Camelot. The Dragon’s Heirs 3. New York: Pocket Books / Simon and Schuster, 1995. Choosing Mordred as the protagonist in the third novel of the series, Jones rewrites the character to make him less of a villain; actions taken against Arthur are usually the result of Mordred acting on bad information, and even the final duel between the two is the result of a lie (he expects to meet Lancelot). As a result, other characters are made the villains instead: Agravain and Kay (who has always been jealous of Arthur). The novel begins with Mordred’s childhood and ends after the final battle.

A-1244 Jones, Courtway. The Witch of the North. The Dragon’s Heirs 2. New York: Pocket Books / Simon and Schuster, 1992. This novel is the second in the “Dragon Heirs” series, and Morgan is the protagonist and narrator. It ranges from her childhood (around the time of Arthur’s conception) to just before the battle of Camlann. Morgan has the power to curse or to comfort people and often works as a healer; however, she also dresses as a knight and rides to war. Lot rapes her and thus is Yvain’s father. She has less antagonism to Arthur than in some versions, though great antagonism for Lancelot.

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A-1245 Jones, D[avid]. The Anathemata: Fragments of an Attempted Writing. London: Faber and Faber, 1952. This long poem is divided into eight sections and draws substantially upon Biblical, Classical, and Arthurian stories. The most common Arthurian allusions are to Arthur’s possible return, to the boar hunt, to the lands of Mark and Tristan, to Pellam’s Wasteland, to Merlin’s relationship with the Lady of the Lake, and to Guenevere (called here both Ganore and Gwenhwyfar, depending on the section). Jones’ extensive notes to the poem expand on the Arthurian allusions, identify his sources, and reflect on Welsh traditions that lie behind the characters. (See also the entries for “Jones, David” in the Fine Art section.)

A-1246 Jones, David. “Caillech.” The Roman Quarry and Other Sequences. Ed. Harman Grisewood and René Hague. London: Agenda Editions; New York: Sheep Meadow Press, 1981. 97–105. As with other of Jones’ works, this story presents the thoughts and associations going through the mind of someone during a sermon and mass, being primarily a collection of fragments of history and legend. There are brief references to Arthur’s raid on Annwn and to Isolt and her “blanches mains” (98). At the end of the story, the episode of Lancelot bursting into the Grail chapel (while thinking of Gwenhwyfar) is recollected. (See also the entries for “Jones, David” in the Fine Art section.)

A-1247 Jones, David. “The Grail Mass.” The Roman Quarry and Other Sequences. Ed. Harman Grisewood and René Hague. London: Agenda Editions; New York: Sheep Meadow Press, 1981. 106–10. This poem (in free verse) is closely related to the story “Caillech” which is printed just before it in the same volume. Again, these are thoughts and associations of someone witnessing a mass, and again they conclude with a recollection of the episode of Lancelot (here “Lawnslot”) bursting into the Grail chapel. (See also the entries for “Jones, David” in the Fine Art section.)

A-1248 Jones, David. “The Hunt.” Agenda 4.1 (Apr.–May 1965): 3–6. Rptd: Agenda (David Jones Special Issue) 5.1–3 (Spring-Summer 1967): 23–27. – The Sleeping Lord and Other Fragments. London: Faber and Faber, 1974. 65–69. As Jones’ notes to the poem indicate, this is based on the boar hunt in the story of Culhwch. The poem is divided about equally between a catalogue of the types of men riding on this hunt and a description of Arthur as hunter. (See also the entries for “Jones, David” in the Fine Art section.)

A-1249 Jones, David. In Parenthesis. London: Faber and Faber, 1937. Jones, in his Preface, refers to “this writing”; it could either be considered a long narrative poem (and his concern with line breaks and punctuation supports this) or a poetic novel. The writing is set in World War I, communicating the experience of one company as they are sent to the front line trenches. Throughout Jones alludes to other literary works, particularly medieval and Welsh Arthurian texts. The battle of Camlann, the story of Culhwch, the notion of the wasteland (one of the sections is entitled “King Pellam’s Launde”), and Merlin’s madness after battle are used repeatedly; extensive explanations of these Arthurian allusions are given in Jones’ notes to the poem. (See also the entries for “Jones, David” in the Fine Art section.)

A-1250 Jones, David. “The Sleeping Lord.” Agenda 5.1–3 (Spring–Summer 1967): 28–54. Rptd: The Sleeping Lord and Other Fragments. London: Faber and Faber, 1974. 70–96. This poem offers the reflections of one who watches over “the sleeping lord,” who is also identified as “the Bear of the Island” (a phrase Jones uses elsewhere, such as in “Under Arcturus,” to identify Arthur). The speaker begins with questions, wondering whether rocks or wind discomfort him, but the bulk of the poem follows the speakers thoughts as they range over the history,

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legends, and geography of Britain. (See also the entry for “Matthews, David” in the Music section, and for “Jones, David” in the Fine Art section.)

A-1251 Jones, David. “Under Arcturus.” The Roman Quarry and Other Sequences. Ed. Harman Grisewood and René Hague. London: Agenda Editions; New York: Sheep Meadow Press, 1981. 64–83. Two Roman soldiers serving on Hadrian’s Wall offer quite differing accounts of life in the Province of Britannia, so far north that they live “under Arcturus.” In the speech of one of the soldiers to “the Bear of the Island” known as Artorius (66, 68–69), he wonders whether the celestial Arcturus lent light to Artorius, and speculates about the legends to be told in the future of this Bear (70–71). (See also the entries for “Jones, David” in the Fine Art section.)

A-1252 Jones, Diana Wynne. Hexwood. London: Methuen, 1993. Rptd: New York: Greenwillow Books, 1994. Time and reality are mixed up in this young-adult science fiction novel as the characters interact in the field of the Bannus, a complex computer designed to select the Reigners of an intergalactic corporation / government. The Bannus, sealed and out of use for centuries, is reactivated by a minor character who wants “hobbits on a Grail quest” (256). Instead, the Bannus draws in the current, tyrannical Reigners and other candidates from present and past. Among these characters are Arthur and Merlin, although these are not the names used for most of the book. Other Arthurian characters, like Morgan and the Fisher King, appear, as well as the Grail.

A-1253 Jones, Frank H. The Life and Death of King Arthur: A Play. London: Macmillan, 1930. The title-page says, “In IV scenes, the first III adapted from Le Morte Darthur, the last from Tennyson’s ‘Idylls of the King.’” The first scene depicts Arthur drawing the sword from the stone; the second takes place when Galahad arrives in Camelot and the Grail quest is begun; the third has various knights reporting on the success or failure of the quest; the fourth shows Arthur being taken to Avalon. The scenes derived from Malory have been much simplified; for example, Arthur is simply one of the knights who tries to pull the sword, so we are given no information about how he came to be there. The fourth scene uses lines taken directly from Tennyson although actions have again been compressed. The introduction states that the play was written for the students of Wellesley School, Croydon, and first produced by them.

A-1254 Jones, Glyn. “Esyllt.” Selected Poems, Fragments and Fictions. Ogmore-by-Sea: Poetry Wales Press, 1988. 24. The speaker of this short poem, presumably the Iseult of Arthurian legend, watches her lover leave.

A-1255 Jones, Gwyn. “Gwydion Mathrafal.” In Penguin Parade, 11. Ed. D[enys] Kilham Roberts. Harmondsworth: Penguin Books, 1945. 7–17. A Welshman searches for the grave of Arthur and engages in a (mainly verbal) battle with an Englishman. He finally has a vision of Arthur’s court.

A-1256 Jones, Heather Rose. “The Treasures of Britain.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 208–17. This story draws on Celtic tales of mantles and drinking horns to test ladies’ fidelity. Guenevere uses magic treasures of Britain to prevent the testing, not to save her own honour, but to maintain the harmony at court.

A-1257 Jones, Marcia Thornton, and Debbie Dadey. Spooky Spells. Illus. John Steven Gurney. The Bailey City Monsters 6. New York, Toronto, London, Auckland, Sydney, Mexico City, New Delhi, and Hong Kong: Little Jack Paperback / Scholastic, 1999.

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The Bailey City Monsters stories are a spin-off of the Bailey City Schoolkids series. In the “Monsters,” Ben, Annie, and Jane (the kids of Dedman Street) repeatedly face strange people who come to stay at the Hauntly Manor Inn (home of their friend, Kilmer, and his weird parents, who look like vampires and eat raw meat). In this episode, the visitor to the Inn is Kilmer’s great-uncle Nilrem, who has a long, white beard, who dresses in a wizard’s costume, and who has a seemingly magical ability to hit baseballs out of sight.

A-1258 Jones, Mary J. Avalon. Tallahassee, FL: Naiad Press, 1991. The protagonist and narrator of this lesbian Arthurian novel is Argante, the daughter of Guenevere. Argante is fostered at the woman-ruled island of Avalon and is chosen by the goddess to become Lady there. While the novel touches on some events at court, the main conflicts concern the murder of a previous Lady by Balin and the ongoing attempts of Annis, queen of the Wastelands, to destroy Avalon and Camelot; Mordred is one of Annis’ followers. The novel ends rather abruptly, while Argante is still quite young and Arthur (who is possibly her father) is still alive.

A-1259 Jones, T. Harri [Thomas Henry Jones]. “Anoeth Bid Bedd i Arthur.” The Colour of Cockcrowing and Other Poems. London: Rupert Hart-Davis, 1966. 31. This short poem has epigraphs from The Stanzas of the Graves (an old Welsh poem) and from David Jones who defines “anoeth” as “something difficult to acquire, hidden, precious, a wonder.” The speaker of the poem compares his grave to that of Arthur and longs for Arthur to return again, so that the speaker’s love, too, might return.

A-1260 Jones, T. Harri [Thomas Henry Jones]. “Merlin’s Lament.” The Enemy in the Heart: Poems 1946–1956. London: Rupert Hart-Davis, 1957. 60. In this five-stanza poem, Merlin looks back on the kingdom that he helped establish and that he could not save.

A-1261 Jones, Thomas S[amuel], Jr. “Arthur.” Six Celtic Sonnets. Portland, ME: Mosher Press, 1926. Rptd: The Bookman (New York) 63 (May 1926): 380. – Shadow of the Perfect Rose. New York: Farrar and Rinehart, 1937. 120. This sonnet provides a vivid description of a chieftain in a mead-hall dreaming of battle and his fate. Only the title identifies this chieftain as Arthur, though Jones associates him with the Dragon.

A-1262 Jones, Thomas S[amuel], Jr. “Caer Sidi.” Six Celtic Sonnets. Portland, ME: Mosher Press, 1926. Rptd: Shadow of the Perfect Rose. New York: Farrar and Rinehart, 1937. 121. While Arthur is not mentioned by name in this Petrarchan sonnet, a chieftain referred to as the “Dragon King” goes into a perilous realm to retrieve a magical cauldron. Merlin is also mentioned.

A-1263 Jones, Thomas S[amuel], Jr. “Dundagil.” Sonnets of the Saints. Portland, ME: Mosher Press, 1925. 6. Rptd: “Tintagel.” Shadow of the Perfect Rose. New York: Farrar and Rinehart, 1937. 153. The octave of this sonnet imagines the appearance of a fortress on a cliff, complete with knights riding out on the Grail quest. In the sestet, the illusion vanishes.

A-1264 Jones, Thomas S[amuel], Jr. “Joyous-Gard.” Interludes. Clinton, NY: George William Browning, 1908. 6. Rptd: Sonnets. Clinton, NY: George William Browning, 1909.

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– The Rose Jar. Clinton, NY: George William Browning, 1909. 8. – The Pathfinder 4 (June 1910): 8–9. – Shadow of the Perfect Rose. New York: Farrar and Rinehart, 1937. 7. In this Petrarchan sonnet, the person beloved by the speaker is compared to the Grail, granting vision to the speaker. No Arthurian names are mentioned, but because of the title, the speaker might be Lancelot and the beloved, Guenevere.

A-1265 Jones, Thomas S[amuel], Jr. “Merlin’s Cave.” Shadow of the Perfect Rose. New York: Farrar and Rinehart, 1937. 202. Merlin is depicted in this poem as guarding his solitude in his cave from those who would use him to gain power, but he welcomes the true seeker.

A-1266 Jones, Thomas S[amuel], Jr. “Taliesin.” Six Celtic Sonnets. Portland, ME: Mosher Press, 1926. Rptd: Shadow of the Perfect Rose. New York: Farrar and Rinehart, 1937. 121. Taliesin is characterized as the “last of the Druid band” who sings from “a breaking heart.” His surroundings turn to “golden orchards,” and there is also a reference to “healing waters” and the “Dragon City,” so this is possibly an Arthurian Taliesin, mourning Arthur’s death, and himself being transported to Avalon. This interpretation seems the more credible given the prose Taliesin of the same author; similar phrases to the last line of this sonnet are used to describe Taliesin’s conversion to Christianity in the prose work.

A-1267 Jones, Thomas S[amuel], Jr. Taliesin. New York: [Privately printed], 1923. A short prose work divided into eight sections, which retells the life of Taliesin. The story begins soon after Arthur’s battle at Camlann, and Taliesin visits Avalon in his quest for wisdom. He also sees the Grail and converts to Christianity.

A-1268 Jonson, Ben. The Speeches at Prince Henry’s Barriers. 1610. The Workes of Benjamin Jonson. London: Printed by W[illiam] Stansby, 1616. 965–74. [STC (P&R) 14751 (ESTC S111817 and S126501); also 14752 (ESTC S112455).] Rptd: Works. Ed. C. H. Herford, Percy Simpson, and Evelyn Simpson. 11 vols. Oxford: Clarendon Press, 1925–1952. 7: 321–36. – Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 149–58. The speakers of this masque include the Lady of the Lake, Arthur, and Merlin. The masque, devised by Inigo Jones, along with the “barriers” (essentially knights jousting on foot rather than on horseback) celebrated the induction of Henry as the Prince of Wales, 6 Jan. 1610. (The 1616

Works was reissued in 1640 as “Vol. 1” when Vol. 2 was first published.) A-1269 Jourdain, M. “Merlin.” The Nation 8 (12 Nov. 1910): 272. (*) A poem.

A-1270 Joyce, James. Finnegan’s Wake. New York: Viking, 1939. The Arthurian legend is just one of many sources for allusions in Joyce’s work. The most common Arthurian stories Joyce uses include the love triangles of Tristan, Iseult, and Mark, and of Arthur, Guenevere, and Lancelot; the story of the boar hunt from “Culhwch and Olwen”; and the story of the final battle. Sometimes these allusions simply consist of playing with names like Mordred, Excalibur, or other characters already mentioned. James S. Atherton’s The Books at the Wake lists allusions in Joyce’s text.

A-1271 Kallis, Stephen A. “Morte de Sherlock.” The Baker Street Journal (Sept. 1964). Rptd: In Sherlock Holmes by Gas-Lamp: Highlights from the First Four Decades of The

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Baker Street Journal. Ed. Philip A. Shreffler. New York: Fordham University Press, 1989. 166–71. Sherlock Holmes sits on a park bench by the Channel and solves the important puzzle of the way to avoid death. His solution draws on the tradition of Arthur’s passing to Avalon, with pipe and magnifying glass thrown into the water instead of the sword, and with a hansom cab as transportation instead of a boat.

A-1272 Kane, Gil, and John Jakes. Excalibur! New York: Dell Publishing Co., 1980. This novel (note that it is not a novelization of a film) retells Arthur’s life, beginning before his birth with Merlin’s plan to create a king to hold back the Saxons. The novel spends more time on Arthur’s younger years than later events, and Lancelot becomes more important to the narrative as the authors emphasize his relationships (his love for Guenevere began before her marriage to Arthur, and Elaine kills herself after giving birth to Galahad because she knows that Lancelot has returned to the queen). Morgan and Mordred are the stereotypical villains.

A-1273 Karr, Phyllis Ann. “Clarissant.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 251–82. Gawain, attempting to rescue an ungrateful damsel, discovers two odd castles and a river presided over by a mysterious ferryman.

A-1274 Karr, Phyllis Ann. “The Coming of the Light.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 360–73. This short story is set after the knights have left on the Grail quest, but it views Arthur’s court quite differently, through the perspective of a young Saxon whose family has been killed by Arthur’s knights, probably led by Lancelot. Kay and Mordred are the most sympathetic characters at Arthur’s court, willing to give the boy justice or at least a chance; Arthur is a tired leader who would rather the boy be executed to save the bother of trying him.

A-1275 Karr, Phyllis Ann. “Galahad’s Lady.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 151–77. Karr draws on Malory’s account of the Grail quest in this short story. It is told, for the most part, from the point of view of Amide, Percival’s sister. As she bleeds into the silver dish to heal the leprous lady, she remembers various episodes of her Grail quest and thinks of her companions, particularly Galahad.

A-1276 Karr, Phyllis Ann. “An Idyll of the Grail.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 287–91. A poem, written in the style of Tennyson’s Idylls of the King, which takes up Guenevere’s story two years after she has entered the nunnery and recounts the divisive effects of her presence there. Guenevere’s selfless action to help an apparently dying woman (an angel in disguise) leads to a heavenly vision.

A-1277 Karr, Phyllis Ann. The Idylls of the Queen. New York: Ace Books, 1982. In Book 18, Chaps. 1–8 (Caxton’s edition), of Malory, Guenevere is accused of poisoning a knight. Karr treats this episode as a murder mystery with Kay as the narrator and detective who is determined to save the queen. Kay’s questioning of the “suspects” allows Karr to allude to a number of other Arthurian episodes, particularly involving the Orkney clan. Karr’s rewriting of the episode creates sympathy for Kay (who is in love with the queen), Morgan (who helps him, in her own way), and Mordred. Lancelot, usually the hero of this episode, is less heroic than self-centred since he uses the queen’s predicament to increase his own glory.

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A-1278 Karr, Phyllis Ann. “The Lady of Belec.” In The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1990. 344–53. This short story is written from the perspective of the Lady. She met Gawain once; when she sees him dead after his battles with Lancelot, her grief finally reveals her secret love. Karr’s portrait of the possessiveness of the Lady’s husband is memorable.

A-1279 Karr, Phyllis Ann. “The Last Idle of the King.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 73–75. This humorous poem imagines Arthur and his knights waging peace and sinking into mundane activities and boredom. Arthur uses Excalibur to break the Round Table in disgust. (The story is original to this anthology.)

A-1280 Karr, Phyllis Ann. “Merlin’s Dark Mirror.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 199–208. A short story based on Arthur’s attempt to kill the baby Mordred, and using the idea of Merlin as devil’s son.

A-1281 Karr, Phyllis Ann. “Mordred and the Dragon.” In The Ultimate Dragon. Ed. Byron Preiss, John Betancourt and Keith R. A. DeCandido. Illus. Lars Hokanson and Frances Cichetti. New York: Dell Publishing, 1995. 207–15. Karr draws on the episdoe in Malory in which Mordred learns the truth of his parentage and kills the hermit who tells him. Karr’s story begins just after this; Mordred encounters a dragon that questions the doom he feels he must fulfil.

A-1282 Karr, Phyllis Ann. “The Realm of the Dead and the Dreaming.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 50–72. This short story takes place just before the three queens arrive to take Arthur to Avalon. It is set in “the realm of the dead and the dreaming,” which allows Karr to gather a number of Arthurian characters together in sleep or in death to prepare to welcome Arthur to Avalon. Morgan, Nimue, Clarissant, and Merlin work the magic, including the retrieval of Excalibur; Kay, Mordred and other knights join them in death; Guenevere joins them in dreams. (The story is original to this anthology.)

A-1283 Karr, Phyllis Ann. “The Truth about the Lady of the Lake.” Marion Zimmer Bradley’s Fantasy Magazine no. 9 (Summer 1990): 47. Rptd: In The Best of Marion Zimmer Bradley’s Fantasy Magazine. Ed. Marion Zimmer Bradley. New York: Warner Books, 1994. 189–92. This story, which appeared in a special short-short issue of the magazine, features two protagonists from other Karr stories, Frostflower and Thorn. They travel into an Arthurian world and end up a part of Arthur’s retrieval of the sword from a hand in the lake.

A-1284 Karr, Phyllis Ann. “Two Bits of Embroidery.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 31–45. The bits of embroidery referred to in the title are the sleeve made by Elaine of Astolat and a kerchief stitched by a kitchen maid for Kay. Karr contrasts Lancelot’s supposed chivalrous treatment of Elaine with Kay’s more sensible (and possibly more sensitive) treatment of the maid.

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A-1285 Katz, Welwyn Wilton. The Third Magic. Toronto: Groundwood Books / Douglas and McIntyre, 1988. This novel, a winner of the Canadian Governor General’s Literary Award, successfully combines parallel worlds and time travel. A Canadian girl named Morgan is visiting Cornwall and is drawn into a parallel world where she meets Arddu; the two of them try to understand what the Circle and the Line (rival magical forces on that world) are doing, and that leads the two young people to become part of the Arthurian story in our past. A Merlin-figure is the representative of the line; Morrigan represents the Circle; the “third magic” of the title is older and more powerful, represented by a Cup and a Sword that Morgan and Arddu must reunite. Katz’s version convincingly accounts for the often contradictory relationship between Arthur and Morgan in traditional Arthurian stories.

A-1286 Kay, Guy Gavriel. The Darkest Road. The Fionavar Tapestry, Book 3. Toronto: Collins Publishers, 1986. The final book of the trilogy concerns the war between forces of Darkness against Fionavar. Arthur, Lancelot, and Guenevere are major characters, and the love triangle is resolved somewhat differently from the tradition, though a journey to Avalon is still involved. Owein and the Wild Hunt are again important.

A-1287 Kay, Guy Gavriel. The Summer Tree. The Fionavar Tapestry, Book 1. Toronto: McClelland and Stewart, 1984. Five Canadian students are drawn from Toronto into a parallel world. The series is influenced throughout by Celtic legends; though this novel of the trilogy is the least explicitly Arthurian, one of the Canadians will later be revealed as Guenevere, and “Owein’s Horn” is one of the magical artifacts found (Owein and the rest of the Wild Hunt are asleep in a cave). There is also a cauldron able to raise the dead, which dark forces have seized.

A-1288 Kay, Guy Gavriel. The Wandering Fire. The Fionavar Tapestry, Book 2. Toronto: Collins Publishers, 1986. This sequel to The Summer Tree becomes more explicitly Arthurian. Kim, the Canadian student who has become a Seer, calls a Warrior to help Fionavar; in order to do this she must visit Stonehenge, talk to the ghost of Uther, and find the grave of Arthur at Glastonbury. Arthur from then on is a major character; he raises Lancelot to help in the war that Fionavar faces. Owein and the Wild Hunt are also a part of this war.

A-1289 Keats, John. “The Eve of St Agnes.” Lamia, Isabella, The Eve of St Agnes, and other Poems. London: Taylor and Hessey, 1820. Rptd: The Poems of John Keats. Ed. Jack Stillinger. Cambridge, MA: Belknap Press / Harvard University Press, 1978. 299–318. Keats alludes to Merlin and to his association with demons (171).

Keaveny, James R.: see Landis, Arthur H. A-1290 Keenan, Anne. Dragon Lady; or, The King’s Servant. Halifax, NS: Dramatists Co-op, 1978. (*) A juvenile drama based on the medieval romance of The Wedding of Sir Gawain and Dame Ragnell.

A-1291 Keith, Chester. Queen’s Knight. London: Allen and Unwin, 1920. (*) A novel of Lancelot.

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A-1292 Kelly, Michael. “British Matter.” Ore 37 ([1988?]): 26–35. (*) A poem, in which the speaker meets various ancient people in a bar.

A-1293 Kelly, Michael. “The Mushroom Cloud. . . .” Ore 38 ([1989?]): 23. A poem on life in the age of nuclear war, which includes references to the Grail and to the High King in Glastonbury.

A-1294 Kelly, Michael. “Usk Valley.” Ore 23–24 ([1979?]): 18–19. A poem, including a reference to Arthur asleep.

A-1295 Kelly, Robert. “The Beguiling of Merlin.” The Convections. Santa Barbara: Black Sparrow Press, 1978. 121–24. This poem is divided into six sections. The name Burne-Jones appears in parentheses after the title, which suggests that descriptions throughout the poem of Merlin’s eyes or posture refer to the painting. The poem reflects not just on the painting and the story of Merlin and Nimue, but on our society’s ideas about love and sex.

A-1296 Kelly, Tim. A Connecticut Yankee in King Arthur’s Court. Droitwich: Hanbury Plays, [1987]. (*) A play based on Mark Twain’s novel. See also the entry in this section for “Twain, Mark.” For the musical version, see the entry for “Nestor, Larry” in the Music section.

A-1297 [“Kemp Owen.”] “Kempion.” In Minstrelsy of the Scottish Border, Consisting of Historical and Romantic Ballads, Collected in the Southern Counties of Scotland, with a Few of Modern Date, Founded upon Local Tradition. Ed. Sir Walter Scott. 3 vols. Kelso: Printed by James Ballantyne, for T. Cadell, jun. and W. Davies, 1802–1803. 2: 93–97. Rptd: Minstrelsy: Ancient and Modern, with an Historical Introduction and Notes. Ed. William Motherwell. Glasgow: J. Wylie, 1827. 373–77. – Ancient Ballads and Songs of the North of Scotland, hitherto unpublished, with Explanatory Notes. Ed. Peter Buchan. 2 vols. Edinburgh: W. and D. Laing, and J. Stevenson, 1828. 2: 78–80. – The Book of British Ballads. Ed. S. C. Hall. 2 vols. London: Jeremiah How, 1842–1844. 1: 51–6. – The English and Scottish Popular Ballads. Ed. Francis James Child. 5 vols. Boston, MA, and New York: Houghton, Mifflin and Co., 1883–1898. 1: 306–13 (frequently reprinted). – The Oxford Book of Ballads. Ed. Arthur Quiller-Couch. Oxford: Oxford University Press, 1910. 321–23. – The Penguin Book of Ballads. Ed. Geoffrey Grigson. Harmondsworth: Penguin Books, 1975. 80–81. – The Traditional Tunes of the Child Ballads, with their Texts, According to the Extant Records of Great Britain and America. Ed. Bertrand Harris Bronson. 4 vols. Princeton, NJ: Princeton University Press, 1959–1972. 1: 322–23. A traditional ballad (Child no. 34; beginning [Child’s version “A”]: “Her mother died when she was young”), telling a variant of the “wooing of the loathly lady” story; Isabel, under an enchantment cast by her stepmother, appears to be a “savage beast” (in some versions she is a fiery dragon) until Owyne (presumably Owain, son of Urien) kisses her three times. Besides the broad parallel with the story of The Wedding of Sir Gawain and Dame Ragnell, there is also some suggestion of Sir Gawain and the Green Knight in that the lady gives a gift in exchange for each kiss, and each gift (a belt, a ring, and a brand) is said to preserve the one who possesses it from losing blood. In Hall’s Book of British Ballads, the ballad is accompanied by four illustrations (engraved drawings) by W. B. Scott (on which see the entry in the Fine Art section under Scott, W. B.).

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A-1298 Kemp, Debra A. “Igraine.” In Offerings for the Green Man: Poetry and Prose of the Celtic Nations. Ed. Kathleen Cunningham Guler. Steamboat Springs, CO: Bardsong Press, 2000. 45–48. This short story is narrated by Igerne as she tries to decide what to do after Gorlois’ death. She must marry Uther in order to protect Morgause and Morgan; Uther’s desire here is portrayed as desire for the land that owes fealty to her, and he forces the marriage by threatening her daughters.

A-1299 Kemp, Debra A. “Mercy for Davy.” Samsära Quarterly [online magazine] no. 1 (Winter 2000). [link broken]. (*) A chapter from her novel The House of Pendragon, Book 1: The Firebrand, published in 2003.

A-1300 “Kempy Kay.” In A Ballad Book. Ed. Charles Kirkpatrick Sharpe. [Edinburgh]: Webster, 1823. 81–85. Rptd: The Ballad Book. Ed. George Ritchie Kinloch. Edinburgh: n.p., 1827. 40–44. – “Kempy Kaye: From Tradition (Mrs Gemmell).” Scotish [sic] Ballads and Songs. Edinburgh: Thomas George Stevenson, 1859. 35–38. – The English and Scottish Popular Ballads. Ed. Francis James Child. 5 vols. Boston, MA, and New York: Houghton, Mifflin and Co., 1883–1898. 1: 300–306 (frequently reprinted). – The Traditional Tunes of the Child Ballads, with their Texts, According to the Extant Records of Great Britain and America. Ed. Bertrand Harris Bronson. 4 vols. Princeton, NJ: Princeton University Press, 1959–1972. 1: 321. A traditional ballad (Child no. 33; beginning [Child’s version “A”]: “Kempy Kaye’s a wooing gane”). Kempy Kaye, perhaps Sir Kay of Arthurian story, woos the daughter of one Bengoleer, a “loathly lady”; in this story, however, she is not said to be under an enchantment, and Kaye’s wooing is neither reticent nor restrained, so the ballad is a burlesque love story.

A-1301 Kendon, Frank. Tristram. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1934. This book is divided into nine parts: in each there is a narrative poem and one or two short lyric poems. The narrative poems put together tell the story of Tristan and Iseult, creating interesting and quite realistic relationships between the major characters.

A-1302 Kennealy-Morrison, Patricia. Blackmantle: A Triumph. New York: HarperPrism, 1997. This novel of the Keltiad takes place after the time of Brendan (see The Deer’s Cry) and before the time of Arthur (see Tales of Arthur).

A-1303 Kennealy[-Morrison], Patricia. The Copper Crown. Tales of Aeron 1. New York: Bluejay Books, 1984. The first published novel of The Keltiad, specifically of The Tales of Aeron. The premise of the series is that the Kelts (on Earth) were actually descendants of space-faring people; they eventually leave Earth and end up colonizing a planet, so their language, countries, and culture have many similarities with Celtic Earth culture. In particular, Kennealy uses many Arthurian names. In this first novel, contact with an Earth ship precipitates war with other alien rivals. The ancestors of Aeron, the queen and one of the main protagonists, include Arthur and Morgan. Note that at the time of first publication, Kennealy published under that name alone; in publishing later books, she uses the name Kennealy-Morrison.

A-1304 Kennealy-Morrison, Patricia. The Deer’s Cry. New York: HarperPrism, 1998. This book of the Keltiad, though one of the latest published, deals with the early history of the Kelts. Brendan is the protagonist, and a good portion of the novel is set on Earth, at the time of St

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Patrick and of Arthur (in Kennealy’s fictional universe, the two characters exist at the same time). This is mainly of interest as a prequel to the rest of the Keltiad sequence.

A-1305 Kennealy[-Morrison], Patricia. The Hawk’s Gray Feather. Tales of Arthur 1. New York: Penguin Books, 1990. While this novel builds on the world created in her Tales of Aeron series, it is set earlier in Keltic history. Taliesin is the narrator who tells of Arthur’s (his foster-brother) rise to power as part of the Counterinsurgency fighting a Vortigern-like usurper (here called Edeyrn). Other important traditional Arthurian characters include Morgan, Guenevere (Gwenwynbar), Merlin (Merlynn), and Bedivere (Bedwyr). Note that at the time of first publication, Kennealy published under that name alone; in publishing later books, she uses the name Kennealy-Morrison.

A-1306 Kennealy-Morrison, Patricia. The Hedge of Mist. Tales of Arthur 3. New York: HarperPrism, 1996. This novel concludes the Tales of Arthur. Once again narrated by Taliesin, it tells of Arthur’s quest, his final battle, and the disappearance of his self, his ship Prydwen, and his crew. Morgan is an important character as well.

A-1307 Kennealy-Morrison, Patricia. The Oak Above the Kings. Tales of Arthur 2. New York: Penguin Books, 1994. This second novel in the Tales of Arthur series is again narrated by Taliesin. It tells the story of the middle of Arthur’s reign, including an increasingly troubled relationship with Guenevere (here called Gweniver). The ending sets up a Grail quest to be dealt with in the next novel of the sequence The Hedge of Mist.

A-1308 Kennealy[-Morrison], Patricia. The Silver Branch. Tales of Aeron 3. New York: New American Library, 1988. The third published novel of the Keltiad and one of the Tales of Aeron; because it is a prequel to The Copper Crown and The Throne of Scone Kennealy sometimes in listing her books labels it as the first of the Tales of Aeron. The novel is set early in Aeron’s life, explaining some of the events that are mentioned in the previous two books. Note that at the time of first publication, Kennealy published under that name alone; in publishing later books, she uses the name KennealyMorrison.

A-1309 Kennealy[-Morrison], Patricia. The Throne of Scone. Tales of Aeron 2. New York: Bluejay Books, 1986. The second published book of “The Tales of Aeron.” Aeron, in order to save her world and regain her throne, must search for the lost ship of Arthur and the thirteen treasures. She succeeds in finding the Prydwen and finds Arthur, Bedivere (Bedwyr) and others; they look as though they are sleeping. The prophecy of Arthur’s return is also mentioned. Note that at the time of first publication, Kennealy published under that name alone; in publishing later books, she uses the name Kennealy-Morrison.

A-1310 Kennedy, Charles Rann. The Seventh Trumpet. A Repertory of Plays for a Company of Seven Players, VII. New York: Samuel French, 1942. Set at Glastonbury during World War II, this five-act play depicts problems of faith and nationalism in the context of the war. Arthurian allusions are used throughout: one of the characters is named Perceval, and the end of the play features a vision of the Grail (imagined as death by bombing). Northup and Parry report that the play was first presented “at the Mansfield Theater, New York, on Nov. 21, 1941, and in spite of the fact that it was ordered by ‘God the Holy Ghost’ it was received with ‘guffaws.’” The author’s preface describes the circumstances surrounding the play.

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A-1311 Kennington, Alan. “Twice Knightly.” Illus. Mendoza. Evening Standard [London] no. 34973 (28 Sept. 1936): 26–27. Rptd: In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 188–95. The story of Sir Melleas, a not very valiant knight, who “defeats” a dragon (which, in fact, dies of indigestion).

A-1312 Kenyon, Bernice Lesbia. “Iseult or Lilith.” Scribner’s Magazine 77 (Jan.-June 1925): 307. This poem of four quatrains uses figures from Arthurian legend and the Bible. The speaker compares herself and another, nameless woman: if the speaker is Iseult of Ireland, then “she” is Iseult of Brittany; if the speaker is Lilith, then “she” is Eve. Queen Iseult and Lilith represent “wildness” and divinity.

A-1313 Kernaghan, Eileen. “The Chalice Well, Glastonbury.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 17. This short poem describes the surroundings of the well; other than the Arthurian associations of the location, there are no explicit Arthurian references.

A-1314 Kerr, Sophie. “Ho-hum, Sir Galahad.” Saturday Evening Post (New York) 214 (2 Aug. 1941): 16–17, 66–70. The “Sir Galahad” of the title is a singer who as a young man had all of his hometown’s girls in love with him. The protagonist of the story was one of those girls; now a middle-aged and happily married woman, she throws a party for her “Sir Galahad” when he returns to town, only to find him remarkably changed. “Galahad” in this case is a means of describing character; two of the women who knew him bought a painting of Galahad because it reminded them of this young man. The contrast between the romantic notions of “Galahad” and the mundane reality create humour.

A-1315 Kerven, Rosalind. King Arthur. Illus. Tudor Humphries. Eyewitness Classics. New York: DK Publishing, 1998. This book rewrites the story of Arthur, from the time he draws the sword from the stone. Kerven makes some of the characters complex: Guenevere is a competent ruler, while Merlin’s pursuit of Nimue is very one-sided, and his magic is both good and evil. Other characters, like Morgan and Mordred, are purely evil; Morgan turns herself into a snake to begin the battle of Camlann. This story is beautifully illustrated; throughout the book there are also smaller bits of texts elaborating on facts of the legend and of history, with illustrations from art and film.

A-1316 Kesey, Ken. “Tarnished Galahad.” Demon Box. New York: Viking, 1986. n. p. Demon Box is a collection of short stories, none of which are Arthurian. However, the collection opens with this short poem. “Tarnished Galahad” is a convict who once had some standing in society; the name suggests his fall from one who might be expected to achieve great things, to one who will achieve nothing but a jail sentence.

A-1317 Keyes, Sidney. “The Grail.” The Collected Poems of Sidney Keyes. Ed. Michael Meyer. London: George Routledge and Sons, 1945. 110. Rptd: In The Faber Book of Twentieth Century Verse. Ed. John Heath-Stubbs and David Wright. 3rd edn. London: Faber and Faber, 1975. 167–68. A poem of four four-line stanzas and one two-line. Arthur, Galahad, Bors, Guenever, Lancelot are shamed by the Grail, but “the dead girl” (presumably Blanchefleur), “the flowre-crowned, alone /

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Walks without fear the bannered streets of heaven. . . . / She alone / Knew from her birth the mystic Avalon.” First line: “The great cup tumbled, ringing like a bell.” The poem is influenced by the works of Charles Williams, as Meyer indicates in his notes to the poem (124).

A-1318 Keyes, Sidney. “Troll Kings.” The Iron Laurel. London: Routledge, 1942. 29–30. The speaker catalogues a number of sleeping kings in this poem, including Arthur (who dreams of Guenevere) and Lancelot (who dreams of the Grail). The speaker requests that we let them sleep, that their waking might be dangerous.

A-1319 Kidd, Flora. The Black Knight. London: Mills and Boon, 1976. (*) A modern love story with Arthurian allusions.

A-1320 Kidd, Flora. Bride for a Captain. London: Mills and Boon, 1981. A romance novel set in Cornwall; the heroine is named Iseult because her parents were fans of the Arthurian legend. Aside from her name and those of her brother (Tristan) and the dog (Merlin), little use is made of the legend.

A-1321 Kidd, Walter Evans. “Lancelot’s Last Night at Camelot.” “Poems Out of the Motley.” Old Oregon 6.4 (Jan. 1924): 11–12. (*) A poem.

A-1322 Kiernan, Sean. Roar: The Cauldron. New York: HarperPrism, 1998. As its cover proclaims, this is a novel “based on the Fox TV series.” The protagonist, Conor, travels with three companions to find a cure for his land, which under some sort of curse has become a wasteland. His quest takes him to Avalon, and he is assisted by Merlin; only when he brings a Grail-like object to Merlin can the land be restored.

A-1323 Kilmer, Aline. “For All Ladies of Shalott.” Poetry 18 (1921): 74–75. Rptd: The Bookman 53 (Aug. 1921): 533. A poem of three quatrains. Each of the first two stanzas begins with a line from Tennyson and then ends with the speaker asserting her role (as observer and advisor to the Lady) in the story. The final quatrain summarizes the Lady’s fate.

A-1324 Kilworth, Garry. “X-Calibre.” In Zenith 2: The Best in New British Science Fiction. Ed. David S. Garnett. London: Orbit, 1990. 85–93. This short story is divided into eleven sections; each sketches another stage in the rise and fall of Gwenyth, a businesswoman who seeks to restore order in the Dark Ages that follow the collapse of the market. The story plays with the terminology of Wall Street and combines it with Arthurian allusions: Gwenyth’s main opponent is her half-brother, Morton (a combination of Morgan- and Mordred-figures); she is betrayed by her best friend and her lover; she is given a computer program – her secret weapon – which she names “x-calibre,” and so on.

A-1325 Kimball, Hannah Parker. “Merlin Revivified and the Hermit.” Poet-Lore 12.4 (1900): 537–40. This poem is set up as a dialogue. Merlin, freed from the oak, meets a hermit who counsels him to pray and fast. Merlin, on the other hand, wants to praise God by celebrating the beauty and joy of spring.

“King Arthur” (song): see “When Arthur first in court began.” A-1326 King Arthur and his Knights. Illus. Harry G. Theaker. Children’s Treasury Series. New York: Gallery Books / W. H. Smith Publishers, 1990.

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This anonymous retelling is based on a selection of sources, but all the stories tend to be sanitized; for example, the identity of Galahad’s father is never mentioned. Likewise, Mordred is never identified; the last battle takes place against an unknown enemy. Some of the usual stories are changed; Gawain has the adventure at the Fountain, for example. The retelling also spends quite a bit of time on the Grail, describing its early history with stories of Joseph of Arimathea and Mordrains. There are thirty full-page colour illustrations and one full-page B&W drawing. (See the entry for “Winder, Blanche” for the original appearance of Theaker’s Arthurian illustrations.)

A-1327 King Arthur and his Knights. Illus. R[ichard] B[ertram] Ogle. Epworth Children’s Classics 5. London: Epworth Press, [1927]. (*) A retelling of episodes from Malory. (Information from British Library catalogue.)

A-1328 King Arthur and his Knights. New York: Phoenix Learning Resources, 1988. (*) (Information from OCLC WorldCat.)

A-1329 King Arthur and his Knights. Stories Old and New 51. London and Glasgow: Blackie and Son, [1910]. (*) Rptd: Illus. G. S. Ronalds. London: Blackie and Son, 1955. – Illus. Harry Green. London: Blackie and Son, 1965. A retelling for children of major episodes of the legend, based on Malory. The story is accompanied in the first edition by four full-page colour plates (artist not identified). (Information from OCLC WorldCat entry.)

A-1330 King Arthur and his Knights: Stories of the Round Table, based on “Le morte d’Arthur” by Sir Thomas Malory. Brodie Books 45. London: James Brodie, [1928]. (*) A retelling of episodes from Malory. (Information from Gaines, Item C48 and British Library catalogue.)

A-1331 King Arthur and his Knights: Tales of the Goodly Fellowship of the Round Table. Illus. Norman Little and Innes Fripp. The Children’s Bookshelf. London, Edinburgh, Dublin, and New York: Thomas Nelson and Sons, [1913]. A retelling of episodes from Malory, illustrated with eight full-page colour plates.

A-1332 King Arthur and his Knights, Retold for the Younger Reader from the Famous Legends. Early Reader Series 29. London: Hampster Books, [1900?]. A retelling of episodes from Malory, illustrated with thirty-three B&W half-page drawings.

A-1333 “King Arthur and King Cornwall.” In Syr Gawayne: A Collection of Ancient Romance-Poems, by Scotish and English Authors, Relating to that Celebrated Knight of the Round Table; With an Introduction, Notes, and a Glossary. Ed. Frederic Madden. Bannatyne Club Publications 61. London: Printed by R. and J. E. Taylor, 1839. 275–87. Rptd: In Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. 1: 59–73. – The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. 1: 25–36. – The English and Scottish Popular Ballads. Ed. Francis James Child. 5 vols. Boston, MA, and New York: Houghton, Mifflin and Co., 1883–1898. 1: 274–88 (frequently reprinted). – The Oxford Book of Ballads. Ed. Arthur Quiller-Couch. Oxford: Oxford University Press, 1910. 75–88. – Sir Gawain: Eleven Romances and Tales. Ed. Thomas Hahn. Middle English Texts.

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Kalamazoo, MI: Published for TEAMS in Association with the University of Rochester by Medieval Institute Publications, Western Michigan University, 1995. 419–36. A traditional ballad, of the sixteenth or seventeenth century (Child no. 30; beginning [Child’s version “A”]: “[Saies, ‘Come here, cuzen Gawaine so gay,] / My sisters sonne be yee”), drawing on themes of medieval Arthurian romances. It was not printed in Percy’s Reliques, though it is preserved in Percy’s Folio manuscript (now British Library MS Add. 27879); it appears in a portion of the manuscript which was badly damaged (half pages with which to start fires torn out before Percy rescued the manuscript) with much loss of text. The ballad tells of the adventures of King Arthur and four of his knights in the court of King Cornwall, when they go in quest of the “greater” Round Table of which Guenever has told them.

A-1334 “King Arthur and the Dragon.” In A Dictionary of British Folk-Tales in the English Language, Incorporating the F. J. Norton Collection. Comp. Katharine M[ary] Briggs. 2 vols. in 4. London: Routledge and Kegan Paul, 1970–1971. B.1: 163–64. Rptd: In British Folktales. Comp. Katharine M[ary] Briggs. New York: Pantheon Books, 1977. 144–45. A summary of a local legend from the area around Dunster Castle. It is said that Arthur once fought a dragon in the caves near the castle; further, the marble top of the altar of St Carantacus was made into the Round Table.

A-1335 King Arthur and the Knights of the Round Table. Purnell Classic. Maidenhead: Purnell, 1976. (*) A retelling of episodes from Malory (Gaines, Item C90). (Information from Gaines.)

A-1336 “King Arthur at Sewingshields.” In A Dictionary of British Folk-Tales in the English Language, Incorporating the F. J. Norton Collection. Comp. Katharine M[ary] Briggs. 2 vols. in 4. London: Routledge and Kegan Paul, 1970–1971. B.2: 243–44. A summary of a local legend according to which Arthur and Guenevere sleep enchanted in a cave near Sewingshields. Further, it is said that a local farmer once came upon them and very nearly discovered the spell to awaken them. (See also the entry for “Potter Thompson.”)

“King Arthur he had three sons” (song): see “When Arthur first in court began.” “King Arthur was a valiant knight” (song): see “When Arthur first in court began.” A-1337 “King Arthur’s Death: A Fragment.” In Reliques of Ancient English Poetry: Consisting of old heroic ballads, songs, and other pieces of our earlier poets, (chiefly of the lyric kind.) Together with some few of later date. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 3: 28–36. [ESTC T84936 and N65532; also T83734, T83735, T82693, T84265, and T81998.] Rptd: In Ancient Ballads, Selected from Percy’s Collection, with Explanatory Notes, Taken from Different Authors, for the Use and Entertainment of Young Persons, . . . with Plates. Ed. “A Lady.” London: Printed by W. Wilson for Vernor, Hood, and Sharpe, and for John Harris, and for E. Upham in Exeter, 1807. 115–19. – Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. 1: 497–507. – The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. 2: 69–78. – The Book of British Ballads. Ed. S. C. Hall. 2 vols. London: Jeremiah How, 1842–1844. 1: 125–34.

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– The Legendary Ballads of England and Scotland. Ed. John S. Roberts. Illus. Walter Crane [?]. The Chandos Poets. London: Frederick Warne and Co.; New York: Scribner, Welford and Co., [1868]. 76–82. An anonymous ballad (first line: “On Trinity Monday in the morn”), probably of the seventeenth century, and first printed in Percy’s Reliques. The ballad tells the story of the Battle of Camlann and the passing of Arthur, beginning with his dream of Gawain’s warning. In Hall’s Book of British Ballads, the ballad is accompanied by eight illustrations (engraved drawings) by John Franklin (on which see the entry in the Fine Art section under Franklin, John). In the Roberts edition, the story is illustrated with a single plate (an engraved drawing, facing p. 81; it is signed “A” – the artist is not otherwise identified), showing Sir Lukyn (Bedivere) and the return of Excalibur to the Lady of the Lake.

A-1338 “King Arthur’s Death.” In An Anthology of Catholic Poets. Ed. Joyce Kilmer. Rev. edn. Garden City, NY: Halcyon House, 1952. A ballad in eight stanzas; first line: “‘O go again,’ said the King.” Duke Lukin throws the scabbard and then Escalberd into the river, and sees a barge and hears ladies wailing. He then walks to a chapel and begs the “rites of the Church.”

A-1339 King Arthur’s Knights. A Favourite Book. London: Thomas Nelson and Sons, 1958. (*) A retelling of Malory for children (Gaines, Item C73). (Information from Gaines.)

A-1340 King Arthur’s Knights. Illus. Eric Tansley. London: Thomas Nelson and Sons, 1967. (*) Children’s retelling, with a focus on Gareth.

“King Arthur’s Three Sons” (song): see “When Arthur first in court began.” A-1341 “King Ryence’s Challenge” [“A Defiance to King Arthur and His Round Table”]. 1575[?]. In Musarum Deliciæ; or, The Muses recreation. Conteining severall pieces of poetique wit. 2nd edn. Ed. Sir J[ohn] M[ennes] and Ja[mes] S[mith]. London: Printed by J. G. for Henry Herringman, 1656. 100–101. [STC (Wing) M1711 (ESTC R202918).] Rptd: In Cambria Triumphans; or, Brittain in its perfect lustre shewing the origen and antiquity of that illustrious nation, the succession of their kings and princes, from the first, to King Charles of happy memory, the description of the countrey, the history of the antient and moderne estate, the manner of the investure of the princes, with the coats of arms of the nobility. Ed. Percie Enderbie. 2 vols. London: Printed for Andrew Crooke, 1661. 2: 197–98. [STC (Wing) E728 (ESTC R19758).] – Reliques of Ancient English Poetry. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 3: 25–27. [ESTC T84936 and N65532.] – Ancient Ballads: Selections from Percy’s Collection. London: Printed by W. Wilson for Vernor, Hood, and Sharpe, and for John Harris, and for E. Upham in Exeter, 1807. 115–19. – Percy’s Reliques of Ancient English Poetry. Ed. J. V. Prichard. 2 vols. London: George Bell and Sons, 1883. 2: 121–23. An anonymous early modern ballad, included in Percy’s Reliques (beginning: “As it befell on a Pentecost Day, / King Arthur at Camelot kept his Court royall”). William Patten’s account of the revels at Kenilworth for Queen Elizabeth in 1575 (see the entry for “Patten, William”) includes a description of a minstrel’s performance of this song (and Patten quotes six stanzas of the ballad [53–54]); Percy speculates that the ballad “was probably composed for that occasion,” but this cannot be confirmed. The poem as Percy reproduces it is incomplete (Percy’s manuscript is badly damaged, and portions of pages are missing, but his source may have been incomplete as well): a

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dwarf sent from King Ryence challenges Arthur, claiming his beard, Kay serves the dwarf at the feast, and then Arthur answers the challenge by declaring his intention to defeat Ryence.

A-1342 King, Baragwanath. “The Coming of Arthur.” Arthur and Others in Cornwall. London: Erskine Macdonald, [1925]. Rptd: Inside Merlin’s Cave: A Cornish Arthurian Reader 1000–2000. Ed. Amy Hale, Alan M. Kent, and Tim Saunders. London: Francis Boutle Publishers, 2000. 173–183. A poem set after the feast where Uter [sic] fell in love with Igerne. Evil witches vie with a Christian counsellor to persuade Uter; when Merlin arrives and offers his aid, Uter accepts, thus following the witches’ advice. The poem ends when Uter, his disguise discovered, pledges to marry Igerne.

A-1343 King, J[ohn] Robert. Mad Merlin. New York: Tor, 2000. This novel retells the beginning of the Arthurian legend, from the time of Uther’s love for Igerne to the battle of Mount Badon. Merlin’s powers are depicted as very real; the battles are not just between mortal Saxons and Britons, but between gods of various ages and places, and Merlin turns out to have been Jove at one point. The story is continued in Lancelot du Lethe (2001).

A-1344 King, Vivian Smallwood. “Merlin to Vivien.” In Contemporary American Women Poets. Ed. Tooni Gordi. New York: Henry Harrison, 1936. 269. A twenty-line poem, in which Merlin acknowledges the inconstancy of Vivien but longs for her to “share [her] golden youth” with him.

A-1345 Kinross, Martha. Tristram and Isoult. London: Macmillan and Co., 1913. Rptd: In Arthurian Drama: An Anthology. Ed. Alan Lupack. Garland Reference Library of the Humanities 1276. New York: Garland Publishing, 1991. 251–91. This drama, written in blank verse, is divided into three parts: the first takes place in Camelot, the second in Tintagel, and the third in Brittany. In Camelot, Isoult of Ireland brings word that Cornwall has been attacked; she gets to meet Arthur, Guinevere, and Lancelot. At Tintagel, we observe Mark’s treatment of Isoult, his jealousy, and his willingness to have Tristram fight his battles for him. The scene in Brittany is Tristram’s death scene; Isoult of Ireland takes poison in order to die with him. A significant number of lines in this play match those of Tristram and Isoult by Martha W[addill] Austin; it is possible that this play is a revision of the first, published under a different name. (See the entry under “Austin, Martha” for details of that publication.)

A-1346 Kipling, Rudyard. “Puck’s Song.” Puck of Pook’s Hill. London: Macmillan, 1906. A poem that opens the novel. It is a description of landscape that refers to historical events, progressing further back in time as the poem goes on. At the end, Britain is described as “Merlin’s Isle of Gramarye.” See also “Bellamy, Peter” in Music section.

A-1347 Kirby, F. J. Tales Told at the Round Table. London: Trefoil Publishing Co., [1931]. (*) A-1348 Kirby, Lynne. Pendragon. Illus. Patrick Kirby. Reading Well, Stage 7. Bothell, WA: Wright Group, 1987. (*) Rptd: Story Chest, Stage 14. Arnold-Wheaton, 1987. A school reader on King Arthur. (Information from OCLC WorldCat entry.)

A-1349 Kissane, John. The Glade of the Golden Knight. [Leeds?]: E. J. Arnold, 1988. (*) A poem about Pellinore.

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A-1350 “The Knight of the Magic Loom.” Punch 9 (1845): 189. This poem consists of ten nine-line stanzas. The knight referred to in the title is a wealthy manufacturer: his wars are waged at the table where he consumes vast quantities of food; his magic consists of employing steam and “enslaving” his factory workers. In the poem, this knight has a dream that makes him reconsider what he owes to his workers. One brief comparison to Arthur and Lancelot makes up the Arthurian content.

A-1351 Knight, Katherine. “Merlin.” Ore 21 (1976): 10. An eighteen-line poem, in which the poet reflects on Merlin’s love which, despite its cost to him and his schemes for Britain, nevertheless proved his humanity.

The Knightly Tale of Golagros and Gawane: see “Golagros and Gawane.” A-1352 Knights of the Round Table. Illus. Mixi-Berel. A Rainbow Story Book 10. London: Ward, Lock, 1964. (*) A retelling of episodes from Malory.

A-1353 Knights of the Round Table: A Story of King Arthur with four plates in colour and over 40 illustrations and text based on the Metro-Goldwyn-Mayer cinemascope film. Children’s Favourite Film Story. London: Ward, Lock, 1954. (*) A novelization of the 1954 MGM film (Gaines, Item C66). (See the entry for Knights of the Round Table [1954] in the “Film, Television, and Radio” section; there was also a retelling of the story of the film in comic book form: see the entry for Knights of the Round Table in the Comics section.) (Information from Gaines.)

A-1354 Knowles, Sir James T. “The First Pendragon.” In The Mammoth Book of Arthurian Legends. Ed. Mike Ashley. London: Robinson Publishing; New York: Carroll and Graf, 1998. 3–11. The first chapter of Knowles’ The Story of King Arthur and his Knights of the Round Table. It begins with Vortigern and Merlin and ends with Uther’s death.

A-1355 K[nowles], [Sir] J[ames] T. The Story of King Arthur and his Knights of the Round Table. Illus. G[eorge] H[ouseman] Thomas. London: Griffith and Farran, 1862. Rptd: 2nd edn. London: Frederick Warne and Co., 1866. – The Legends of King Arthur and his Knights. 3rd edn. London: Strahan and Co., 1868. – The Legends of King Arthur and his Knights. 9th edn. Illus. Lancelot Speed. London and New York: Frederick Warne and Co., 1912. – King Arthur and his Knights. Illus. Louis Rhead. Rhead’s Illustrated Juveniles. New York and London: Harper and Brothers, 1923. And many other reprintings. This children’s version of Malory (which begins with Vortigern’s story, based on Geoffrey of Monmouth) has been reprinted many times, under several titles and with different sets of illustrations (Gaines, Item C1). For the Lancelot Speed illustrations, see the entry under “Speed, Lancelot” in the Fine Art section.

A-1356 Koch, Norman L. Merlin, Wizard of the Dark Ages: Unrecorded Exploits. Nashville: Winston-Derek, 1992. This novel is set in the kingdom of King Richard at the time of the Crusades. Merlin undertakes several projects at the request of the king: he defeats Teuton invaders; he joins the Crusades to recover the stolen Holy Grail from Saladin; and he journeys about the countryside restoring peace and order. Since these are previously “unrecorded exploits,” none of the episodes resemble traditional Arthurian events, and while some names sound Arthurian, no other traditional Arthurian characters appear.

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A-1357 Koopman, Harry L. “The Death of Guinevere.” Orestes, a Dramatic Sketch and Other poems. Buffalo, NY: Moulton Wenbourne and Co., 1888. (*) A poem.

A-1358 Koopman, Harry L. “My Galahad.” Orestes, a Dramatic Sketch and Other poems. Buffalo, NY: Moulton Wenbourne and Co., 1888. (*) A poem.

A-1359 Koralek, Jenny. The Knights of Hawthorn Crescent. Illus. John Lawrence. London: Methuen Children’s Press, 1986. A nine-year-old boy makes a birthday wish to meet magic and soon does. He and his friends free Merlin from the Hawthorn tree where he has been imprisoned, thwart Morgan’s evil plans, meet Arthur and restore Excalibur to him. In addition, throughout the story there are allusions to various other Arthurian characters.

A-1360 Korn, Eric. “A Ballade of Unlicensed Archaeology.” The Times Literary Supplement 21 Jan. 1983: 60. As part of his column “Remainders,” Korn comments on the case of an Enfield man who supposedly found King Arthur’s sword and was jailed for refusing to give it to the town council. The ballad appears in the middle of this discussion, and in it Korn takes on the persona of the finder of Excalibur, who plucks it “from the mire” and suffers the consequences. The Grail is also mentioned. Apparently Korn had misunderstood the situation, as there was a letter clarifying the events in a later issue.

A-1361 Kottmeyer, William. King Arthur and his Knights. Illus. Murray McKeehan. Junior Everyreaders. St Louis, Atlanta, Dallas, and Pasadena: Webster Publishing Co., 1952. A modernized and abridged retelling of Malory, accompanied by thirteen full-page B&W illustrations (Gaines, Item C57).

A-1362 Kraft, David Anthony. Ghost Knights of Camelot. Illus. Earl Norem. Wizards, Warriors and You 4. London: Parachute Press, 1984. A “choose-your-own-adventure” story; readers are invited to make certain decisions which affect the progress of the story; other situations are resolved, and different narrative paths chosen, by coin tosses, time of day, or the day of the week it happens to be when the reader is reading. The adventure pits a wizard and a warrior of King Henry against the knights of Camelot who have been raised from the dead by Morgan to conquer the world.

A-1363 Kramer, Aaron. “Cablegram.” New York Times 27 Dec. 1960: sect. 1, p. 28. Rptd: In The New York Times Book of Verse. Ed. Thomas Lask. Macmillan, 1970. – Rumshinsky’s Hat and House of Buttons: Two Collections of Poetry. New York: Thomas Yoseloff, 1964. 95–96. This variation on a Petrarchan sonnet is a call for Arthur to return. Merlin and Avalon are mentioned; the suggestion is that if Arthur should return, he would end up in Avalon, wounded once again.

A-1364 Krensky, Stephen. Arthur the King. Marc Brown Arthur Chapter Book 13. Boston, MA: Little, Brown and Co., 1999. Based on a teleplay by Peter Hirsch. The characters were created by Marc Brown and are now a PBS-TV series; this story was broadcast as “The Return of the King” as part of Episode 309 of “Arthur,” on PBS-TV, 25 Feb. 1999. Arthur the Aardvark and his third-grade class go on a field trip to a Medieval Fair, and enter a series of competitions directed by “a man dressed as Merlin the

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wizard” (7) (such as “Merlin’s Labyrinth,” a race through a maze) against a class from another school. The final competition is pulling a sword from a stone: Arthur succeeds and is crowned by “Merlin” as “king” of the fair.

A-1365 Krensky, Stephen. The Dragon Circle. Illus. A. Delaney. New York: Atheneum, 1977. This children’s novel tells the story of a twentieth-century American family (a father and five children) who all have magic powers and of the adventures that follow when they discover that five dragons have woken from a centuries-long sleep nearby. The youngest child, Perry, has been cast as King Arthur in the school play, and his cardboard Excalibur has a crucial role in the action. The dragons fled from England at the time of Arthur and Merlin because the Knights of the Round Table were slaying dragons.

A-1366 Kudlinski, Kathleen. “The Changing of the Shrew.” In Camelot. Ed. Jane Yolen. Illus. Winslow Pels. New York: Philomel Books, 1995. 5–15. This short story rewrites the episode by T. H. White in which Arthur is changed into various animals. One spring day, Arthur convinces Merlin that they should have their lessons outside. As part of the lesson, Merlin changes Arthur into first a mouse and then a shrew, but the changes have consequences that Merlin did not foresee.

A-1367 “Kulhwch and Olwen; or, The Twrch Trwyth.” The Shrine of Wisdom 21.82 (Winter 1939): 257–69. (*) Retelling.

A-1368 Kushner, Ellen. Knights of the Round Table. Illus. Judith Mitchell. Cover illus. James Warhola. Choose Your Own Adventure Series 86. Toronto, New York, London, Sydney, Auckland: Bantam, 1988. The note “An Edward Packard Book” appears on the title-page; on the verso, “Original conception of Edward Packard” (by whom also the copyright is held). In the series, the protagonist is “you,” and the reader is presented with various paths through, and outcomes of, a series of possible narratives (“if you choose to ride with Sir X, then continue on p. Y”); thus “Choose Your Own Adventure.” In this volume in the series, King Arthur’s court is the setting. There are twenty-four possible outcomes, beginning in a bookstore where the bookseller offers you a chance to go to Camelot (in one of the narratives, the bookseller is revealed to be Merlin): in one possible narrative, you choose not to go to Camelot, but to go to college and become a world expert on Arthurian literature; in another, you choose to become a kitchen scullion (“Pretty Hands”) and play out the tale of Sir Gareth; in another you become Gawain in the story of Sir Gawain and the Green Knight; in another you wake up Merlin and return him to Camelot; in another you try on a cloak sent from Morgan le Fay and end up in ashes (before waking up back in the bookstore).

A-1369 Kushner, Ellen. Thomas the Rhymer. New York: William Morrow, 1990. Rptd: London: Victor Gollancz, 1991. In the first part, Gavin, a crofter, tells of his encounters with “Tom Harper” (Thomas the Rhymer) and of his songs and tales, until one day he disappeared; the second part is narrated by Thomas himself, telling of his seven years with the Queen of Elfland; the third part, after Thomas’ return from Elfland, is narrated by Meg, Gavin’s wife; the final section is narrated by Elspeth, Thomas’ wife, as Thomas lies dying. In one episode in the middle section (103–105), Thomas meets another King in Elfland when he dips a cup into an enchanted well; the King speaks of himself as one who is waiting here “until the need is great” (104) (Thomas refers to him later as “the King Who Waits” [110], and he is hailed by the Queen of Elfland as “the King Who is to Come” [168]; he is given no other name, but is presumably Arthur). The King asks Thomas, “When the last ride comes, where will you stand? Will you be among the host of Faery, or will you ride, singing, at my side?” Thomas kneels and gives his fealty to the human “king.” As Thomas is leaving Elfland after

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his seven years, the King appears to bid him farewell, and to ask him a favour: “Greet them for me, sun and moon and leaf on the tree, when you set foot on Middle-Earth once more. Remember me, Rhymer, for we shall meet again” (168). There is an incidental reference to Merlin (50) as reputedly the author of a certain song. Sir Tristram is the subject of one of Thomas’ songs (214), and the Lady of the Lake (faery paramour of a king, swimming in water with a naked sword) of another (215: four stanzas of the song are printed).

A-1370 Kuttner, Henry. “Wet Magic.” Illus. Kolliker. Unknown Worlds 6.5 (Feb. 1943): 9–33. Rptd: In Echoes of Valor. Ed. Karl Edward Wagner. New York: Tor / Tom Doherty Associates, 1987. 219–86. An ex-actor, World War II pilot named Arthur Woodley is shot down in Wales and ends up in Morgan’s lake. Vivienne wants him to stay forever, but he must pass a test to do so. He just wants to leave, so seeks help from Bleys and from Merlin (here Merlin has locked himself in a tree to get away from Vivienne). Eventually Arthur must face Morgan; in their confrontation he draws Excalibur from a stone. Many other characters and incidents from the legend are mentioned, as Vivienne is a continuous gossip who repeats all sorts of scandals.

A-1371 Kyle, Duncan. Black Camelot. London: Collins; New York: St Martin’s, 1978. Rptd: New York: Berkeley, 1980. This thriller is set in Nazi Germany and based on historical fact, centred around Himmler’s Arthurian castle where he and other SS men were “knights of the Round Table.”

A-1372 L’Engle, Madeleine. The Arm of the Starfish. New York: Farrar, Straus, and Giroux, 1965. A young scientist, Adam Eddington, is sent to Portugal for the summer to work with a renowned scientist. On the way, he becomes mixed up in warnings of treason and a kidnapping of the scientist’s daughter. He wants to do the right thing, but he cannot decide who to trust. As he goes to the scientist’s home for the first time, his guide stops him in a circle of standing stones and asks him if he is “going to be a Mordred” (97). This allusion to the legend highlights the fatherly role that the scientist will take on for Adam, and the consequences, political and societal, if Adam should betray him.

A-1373 LaBombard, Joan. “The Magician.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 13–14. A stage magician is the speaker of this five-stanza poem. In the second, third, and fourth stanza, he remembers when he, as Merlin, had truly powerful magic: in Stanza 2 he mentions knights such as Lancelot, Galahad, and Gawain; Stanza 3 recounts Merlin’s role in making Arthur king; and Stanza 4 tells how he was trapped by Niniane.

A-1374 Lackey, Mercedes. “The Cup and the Cauldron.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: In Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 2–19. – Fiddler Fair. Riverdale, NY: Baen, 1998. 158–77. This story is set in Arthur’s time. Two young women, one a follower of the Goddess and one a novice in a Christian nunnery, seek their own versions of the Grail and discover they can only succeed by working together, regardless of their different beliefs.

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A-1375 Lackey, Mercedes. “Dumb Feast.” In Christmas Ghosts. Ed. Mike Resnick. New York: DAW, 1993. Rptd: Fiddler Fair. Riverdale, NY: Baen, 1998. 43–54. In this short story, set in the nineteenth century, Aaron Brubaker decides to call up the ghost of his dead wife, Elizabeth, on Christmas Eve. He succeeds, but does not realize that the “dumb feast” he has enacted puts him into her power, and that Elizabeth is very angry with the way he treated her and controlled her when she was alive. He had deliberately prevented her from painting, thwarting a promising artistic talent. The Pre-Raphaelites are mentioned as one of her influences; Burne-Jones is said to have praised her ability. One of her paintings, never finished, was a self-portrait as the Lady of Shalott (that is the only explicit Arthurian reference). The details suggest, in some ways, Lizzie Siddell, for she, too, painted self-portraits and began a Lady of Shalott.

A-1376 Lackey, Mercedes. “Once and Future.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 327–38. Rptd: Fiddler Fair. Riverdale, NY: Baen, 1998. 178–89. A twentieth-century man takes a sword from a hand in a lake, but refuses to believe that he is Arthur.

A-1377 Lacy, Norris. “Avalon.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 59. This short poem describes Arthur sleeping in Avalon, but makes the possibility of his return seem unlikely.

A-1378 Lacy, Norris. A Camelot Triptych. Rochester, NY: Round Table Publications, 1997. This collects three short stories: “Merlin’s Tale,” “Winter’s Queen,” and “The Mordred Manuscript.” See the entries for the individual stories.

A-1379 Lacy, Norris. “Merlin’s Tale.” A Camelot Triptych. Rochester, NY: Round Table Publications, 1997. 1–27. Merlin visits Blaise so that the latter can record the story of Arthur’s reign or, more properly, Merlin’s involvement in it. As a result, major events are summarized; Merlin is responsible for many things, including Guenevere’s affair with Lancelot. The story ends just before the end of Arthur’s reign.

A-1380 Lacy, Norris. The Mordred Manuscript. Rochester, NY: Round Table Publications, 1994. Rptd: A Camelot Triptych. Rochester, NY: Round Table Publications, 1997. 57–80. This twenty-four-page story recounts the fall of Arthur’s kingdom as Mordred told it to a monk, John of Carlisle. Arthur, in Mordred’s version, is intent on world domination, while Mordred acts according to political principles to save the kingdom from its king’s obsession.

A-1381 Lacy, Norris. “Winter’s Queen.” A Camelot Triptych. Rochester, NY: Round Table Publications, 1997. 29–56. At the convent, Guenevere tells her story to a nun who records it. Merlin, from Guenevere’s perspective, is a villain who interferes and tries to manipulate Arthur. Arthur’s infidelities justify her own love for Lancelot, though she still feels guilt for that relationship.

A-1382 LaGravenese, Richard. The Fisher King: The Book of the Film. New York: Applause Books, 1991. (*) The screenplay for the film. (For details of the film, see the entry for “The Fisher King” in the

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“Film, Television, and Radio” section; for the novelization of the film, see the entry for “Fleischer, Lenore.”)

A-1383 LaGravenese, Richard. The Fisher King: A Screenplay. N.p.: n.p., 1989. (*) The screenplay for the film. (Information from OCLC WorldCat entry.) (For details of the film, see the entry for “The Fisher King” in the “Film, Television, and Radio” section; for the novelization, see the entry for “Fleischer, Lenore.”)

A-1384 LaGravenese, Richard. The Fisher King: The Illustrated Screenplay. New York: Applause Theatre, 1991. (*) The screenplay for the film. (For details of the film, see the entry for “The Fisher King” in the “Film, Television, and Radio” section; for the novelization, see the entry for “Fleischer, Lenore.”)

A-1385 Laird, Sir Patrick. “Glastonbury.” Figments and Fantasies: A Selection of Verse. Edinburgh: Serif Books, 1949. 19. The speaker of this poem visits Glastonbury and imagines Joseph of Arimathea there; he also refers to the place as Avalon.

A-1386 Laird, Sir Patrick. “When Good King Arthur Ruled.” Figments and Fantasies: A Selection of Verse. Edinburgh: Serif Books, 1949. 32. This poem uses the style of Tennyson to retell the traditional nursery rhyme; Arthur steals meal to make a plum pudding for the Queen. See also the entry for “When good King Arthur ruled this land” in the Literature section.

A-1387 Lancelot and Guinevere: A Study in Three Scenes. London: Bell, 1919. (*) An anonymous one-act play.

A-1388 Landgraf, Susan. “Tree Temple.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 5–6. This poem alludes to Arthur, Guenevere, and Lancelot. The Round Table is associated with the trees as something made of wood and susceptible to destruction. The Grail is also mentioned.

A-1389 Landis, Arthur H. [pseud.], [i.e., James R. Keaveny]. Camelot in Orbit. Cover illus. Don Maitz. New York: DAW Books, 1978. In this sequel to A World Called Camelot the protagonist must once again battle dark forces on the planet that the Galactic Foundation calls Camelot. There are allusions to Lancelot and to the Grail, but once again the main Arthurian content is the application of the name Camelot to an alien, medieval-like society.

A-1390 Landis, Arthur H. [pseud.], [i.e., James R. Keaveny]. Home – To Avalon. New York: DAW Books, 1982. (*) Set on the planet Camelot.

A-1391 Landis, Arthur H. [pseud.], [i.e., James R. Keaveny]. The Magick of Camelot. Cover illus. Richard Hescox. New York: DAW Books, 1981. A sequel to A World Called Camelot.

A-1392 Landis, Arthur H. [pseud.], [i.e., James R. Keaveny]. A World Called Camelot. Cover illus. Thomas Barber, Jr. New York: DAW Books, 1976. The verso of the title-page says, “An earlier and somewhat different version of this novel was published as a serial under the title Let There Be Magick with the by-line of ‘James R. Keaveny,’ and is copyright 1969 by Camelot Publishing Company.” The premise of this novel is that in the

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future, humans are part of a Galactic Foundation that observes and occasionally intervenes in the affairs of other worlds. The planet in question in this novel is called by the Foundation “Camelot” because of its feudal organization and because magic actually works there. The first-person narrator (an Adjuster for the Foundation) refers to Merlin in discussing an instance of magic, so it is clear that the Arthurian story is behind the naming of the planet. The peoples of Camelot have a legend about a king who will return, but his name is Collin, not Arthur; the narrator takes on this persona in order to save the planet from dark forces.

A-1393 Landon, Letitia Elizabeth. “A Legend of Tintagel Castle.” Fisher’s Drawing Room Scrap-book. London: H. Fisher, R. Fisher, and P. Jackson, 1833. 8–9. Rptd: The Poetical Works of Letitia Elizabeth Landon (L.E.L.). Ed. William B. Scott. London: George Routledge and Sons, 1873. 494–95. – Poetical Works of Letitia Elizabeth Landon “L.E.L.”: A Facsimile Reproduction of the 1873 Edition with an Introduction and Additional Poems. Ed. F. J. Snyder. Delmar, NY: Scholars’ Facsimiles and Reprints, 1990. 494–95. – Letitia Elizabeth Landon: Selected Writings. Ed. Jerome McGann and Daniel Reiss. Peterborough, ON: Broadview, 1997. 211–13. This poem of fifteen quatrains tells the story of a wood-nymph who seduces Lancelot; he leaves her to return to war and forgets her because of Guenevere (here called Genevra). The wood-nymph dies and floats down the river to be found by the lovers. While there are similarities to Tennyson’s “The Lady of Shalott” (and the stories supposedly have the same source), Landon’s poem is different in having Lancelot love the nymph, forgetting her only when he returns to the queen. First line: “Alone in the forest, Sir Lancelot rode.” In the 1873 edition, a B&W drawing of Tintagel accompanies the poem (facing p. 495).

Laneham, Robert: see Patten, William. A-1394 Lang, Andrew, ed. The Book of Romance. Illus. H[enry] J. Ford. London and New York: Longmans, Green and Co., 1902. Reproductions of the illustrations: three illustrations reproduced (B&W) in Mancoff, Return, 57, 61, 113. – Two illustrations reproduced in John Matthews, An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story, 159, 227. – Three of the pictures reproduced in Hopkins, Book of Guinevere, 39, 57, and 85. An anthology of nineteen stories retold in modern English from medieval sources, the first thirteen of which are Arthurian (based primarily on Malory). There is a five-page introduction by Lang. The illustrations by H. J. Ford include forty-three full-page plates (thirty-five in B&W, eight in colour) and eight partial-page B&W drawings. Under the heading “Tales of the Round Table,” Lang includes the following stories: “The Drawing of the Sword,” “The Questing Beast,” “The Sword Excalibur,” “The Story of Sir Balin,” “How the Round Table Began,” “The Passing of Merlin,” “How Morgan le Fay tried to Kill King Arthur,” “What Beaumains Asked of the King,” “The Quest of the Holy Grail,” “The Fight for the Queen,” “The Fair Maid of Astolat,” “Lancelot and Guinevere,” “The End of it All.” These thirteen stories (with the Ford illustrations) were reissued in 1905 as a separate volume (see the entry below, under “Lang, Andrew: King Arthur”). Mike Ashley anthologizes “The Fight for the Queen” giving “Leonora Lang” as the author (see the entry below).

A-1395 Lang, Andrew. “In Tintagel.” Rhymes à la Mode. London: Kegan, Paul, Trench and Co., 1887. 66–67. Rptd: Ballades and Rhymes. London and New York: Longman, Green and Co., 1911. 182–83.

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– The Poetical Works of Andrew Lang. Ed. Mrs Lang. 4 vols. London and New York: Longmans, Green and Co., 1923. 3: 136. No Arthurian characters are mentioned in this fourteen-line poem, since this is a dialogue between “lui” and “elle.” However, he is trying to persuade her to leave Tintagel for Joyous Gard, so it is probable that Arthurian stories have influenced it.

A-1396 Lang, Andrew. “Sir Launcelot.” St Andrews University Magazine Mar. 1863. Rptd: In Andrew Lang and St Andrews: A Centenary Anthology. Ed. J. B. Salmond. St Andrews: St Andrews University Press / Henderson and Sons, 1944. 44–45. Salmond, in his introduction (11) and in his notes to the poem (45), says that this was the first poem Lang published, and he did so under the initials “J.P.” The poem consists of ten six-line stanzas and details Launcelot’s experience at the chapel where he dreams he sees a knight healed by the Grail, but cannot see the Grail itself. In the last stanza, he is commanded to leave the place because of his sin. (We have seen the poem as reprinted, not in the original publication.)

A-1397 Lang, Andrew, ed. Tales of King Arthur and the Round Table, Adapted from the “Book of Romance” by Andrew Lang. Illus. H[enry] J. Ford. London, New York, and Bombay: Longmans, Green and Co., 1905. Rptd: New York: Schocken Books, 1967. – King Arthur: Tales of the Round Table. Illus. Charles Mozley. New York: Franklin Watts, 1968. The 1905 edition is a reissue (photographic reproduction: not reset) of the thirteen Arthurian stories from Andrew Lang’s The Book of Romance (1902), with the original illustrations by H. J. Ford, but without Lang’s introduction and without the six non-Arthurian stories that were included in the original. Contents: “The Drawing of the Sword,” “The Questing Beast,” “The Sword Excalibur,” “The Story of Sir Balin,” “How the Round Table Began,” “The Passing of Merlin,” “How Morgan le Fay tried to Kill King Arthur,” “What Beaumains Asked of the King,” “The Quest of the Holy Grail,” “The Fight for the Queen,” “The Fair Maid of Astolat,” “Lancelot and Guinevere,” “The End of it All.” The 1968 edition replaces the Ford illustrations with new illustrations (ten full-page drawings) by Charles Mozley, which are closely based on the Ford illustrations.

A-1398 Lang, Leonora. “To Fight for the Queen.” In The Book of Romance. Ed. Andrew Lang. London: Longmans, Green, 1902. Rptd: In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 373–79. A retelling of Malory’s tale of the poisoned apple and Sir Mador’s accusation of the Queen. This story appears in Andrew Lang’s The Book of Romance without identifying another author; Ashley attributes it to Leonora Lang.

A-1399 Lang, M. R. Yseulte: A Dramatic Poem. Digby: Long, 1905. (*) A-1400 Langham, Tony. King Arthur’s Mouse. Illus. Dandi. Leeds: E. J. Arnold and Son, 1988. This children’s novel concerns two brave mice who live in Camelot. While trying to uncover the plot of a treacherous mouse, they discover that Morgan and Mordred plan to kill King Arthur. The mice manage to save their own colony from disaster and to prevent the murder of the king.

A-1401 Lanier, Sidney, ed. The Boy’s King Arthur, Being Sir Thomas Malory’s History of King Arthur and his Knights of the Round Table, Edited for Boys, with an Introduction. By Sir Thomas Malory. Illus. Alfred Kappes. New York: Charles Scribner’s Sons; London: Sampson Low, Marston, Searle, and Rivington, 1880.

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Frequently reprinted, down to present, in various formats and with different sets of illustrations. A modernization and abridgement of Malory (Gaines, Item B4; the title-page is reproduced facing p. 48). The earliest printings include twelve plates of illustrations (B&W) by Alfred Kappes. The 1880 Lanier text was slightly abridged and reissued in 1917 [“In this edition . . . omission has been made of some minor passages and introductory matter. . . .” – Prelim. page] with new illustrations by N. C. Wyeth (15 full-page colour plates, though some later reprintings had fewer). The version with the illustrations by Kappes remained in print until 1937 in Scribners’ series “The Boy’s Library of Legend and Chivalry,” while the version with Wyeth’s illustrations was being produced in Scribners’ series of “Scribner Illustrated Classics.” Some of the original paintings for Wyeth’s illustrations to The Boy’s King Arthur are preserved in the Brandywine River Museum, near Wilmington, Delaware. In 1950, Graosset and Dunlap produced an edition of Lanier’s text with illustrations by Florian. (See also the entries for “Kappes, Alfred,” “Florian,” and “Wyeth, N. C.” in the Fine Art section.)

A-1402 Lanier, Sidney, ed. The Boy’s Mabinogion, Being the Earliest Welsh Tales of King Arthur in the Famous Red Book of Hergest, Edited for Boys, with an Introduction... . Illus. Alfred Fredericks. New York: Charles Scribner’s Sons; London: Sampson Low and Co., 1881. Rptd: Knightly Legends of Wales: or, The Boy’s Mabinogion: Being the Earliest Welsh Tales of King Arthur in the Famous Red Book of Hergest. 2nd edn. The Boy’s Library of Legend and Chivalry. New York: Charles Scribner’s Sons, 1884. (And various reprintings from 1881 to 1938.) – Children’s Literature Reprint Series. Great Neck, NY: Core Collection Books, 1976. The title was changed for the 1884 reprint, as the Publisher’s Note explains, because “Knightly Legends of Wales” seemed a title more likely to generate sales. This is an edition of twelve of the tales in Lady Charlotte Guest’s translation, edited to hasten the pace when the action is “long-lagging,” and to conform to modern standards of decency (i.e., the text is bowdlerized) (Author’s Preface, xix), with notes (to some tales) pointing out parallels in Malory. Contents: “The Lady of the Fountain”; “Kilhwch and Olwen; or, The Twrch Trwyth”; “Peredur the Son of Evrawc”; “The Dream of Rhonabwy”; “Pwyll, Prince of Dyved”; “The Story of Lludd and Llevelys”; “the Origin of the Owl”; “Branwen the Daughter of Llyr”; “Manawyddan and the Mice”; “Geraint the Son of Erbin”; “The Dream of Maxen Wledig”; “Taliesin.” Illustrated with twelve full-page engravings.

A-1403 Lanier, Sterling E. “Ghost of a Crown.” Magazine of Fantasy and Science Fiction 51.6 (Dec. 1976): 5–45. Rptd: In The Best Fantasy Stories from the Magazine of Fantasy and Science Fiction. Ed. Edward L. Ferman. London: Octopus Books, 1986. 594–633. – The Curious Quests of Brigadier Ffellowes. Illus. Ned Dameron. West Kingston, RI: Donald M. Grant, Publisher, 1986. 15–68. One of a series of stories about the strange adventures in the early twentieth century of one Brigadier Ffellowes, a remnant of the British Empire, stories which the Brigadier recounts to companions in a gentlemen’s club in Manhattan. In this story, the Brigadier assists a friend in Cornwall whose brother, digging beneath the family’s ruined castle near Avalon House, is awakening demonic monsters which ought to be left sleeping until the end of time; specifically, Lord Lionel is attempting to awaken a sleeping “Dark Lord” who was defeated in his last battle by one with a magic sword. Lord Lionel is prevented in this when confronted by his brother, James Arthur Geraint Percival Bedivere Tristram, who, in his moment of need at the height of the battle, receives from the sea a weapon which was “long and glittered, . . . which caught the light with a blue flame” (63). Earlier in the story, when the Brigadier first begins to suspect that these events have something to do with the Arthurian legends, he offers his understanding of the essence of the story of Arthur: “Arthur was a Christian, and he fought the sorcery of his enemies with spiri-

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tual powers of his own, . . . aided by at least one white wizard” (42), a pattern repeated in the current adventure. One of the monsters awakened by Lord Lionel is The Hunter; the cover of the Dec. 1976 issue of The Magazine of Fantasy and Science Fiction (by Ron Walotsky) shows a ghostly Hunter, mounted, brandishing a spear, hovering over cliffs; in the Curious Quests printing, the story is accompanied by a pen-and-ink drawing by Ned Dameron showing the meeting of James and the Brigadier with The Hunter (47).

A-1404 Larcom, Lucy. “The Cross and the Grail.” The Cross and the Grail. Illus. Dora Wheeler. Chicago, IL: Woman’s Temperance Pub’n Association, 1887. 1–5. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . The beginning of the poem describes the heroism of Arthur’s knights as they seek the Grail, imagining that the vision of the Grail is also a vision of the Cross. The latter part of the poem challenges its readers to live by their knightly ideals.

Latimer, Jonathan P.: see Stray, P. J. A-1405 Laubenthal, Sanders Anne. Excalibur. Intro. Lin Carter. New York: Ballantine Books, 1973. The premise of this novel is that in the twelfth century a Welsh prince, Madoc, brought the sword of Arthur to America to a colony he intended to found there. The novel takes place in twentieth-century Mobile, Alabama. During an archaeological investigation of an old house, Excalibur and the Grail are found. Morgan and Morgause are both major characters (Morgause as a villain), and the archaeologist is a descendant of Madoc and thus a modern Arthur-figure.

A-1406 Laughlin, James. “The Inviolable Maiden.” The Bird of Endless Time. Port Townsend, WA: Copper Canyon Press, 1989. 55–57. Rptd: The Collected Poems of James Laughlin. Intro. Hayden Carruth. Wakefield, RI, and London: Moyer Bell, 1994. 276–77. This poem works with the theme of La Belle Dame Sans Merci: at the end, the speaker describes himself as overthrown by love of this untouchable woman. The majority of the poem reflects on the beauty of the woman and the fact that no man can affect her. She is described as of “Morgan’s line” but not evil; she is from the pages of Malory. Throughout the poem, Laughlin uses diction suitable to medieval romance, for which he provides a glossary at the end. First line: “Came she not from the pages of Malory, from the Morte Darthur?”

A-1407 Laughlin, James. “Our Meetings.” The Bird of Endless Time. Port Townsend, WA: Copper Canyon Press, 1989. 49–51. The speaker of this poem reflects on the way the thoughts of he and his lover meet now and have met in the past. He imagines they have met before as Tristan and Iseult; he quotes a few lines from Wagner’s opera.

A-1408 Laumer, Keith. “A Trace of Memory” (Part 1). Amazing Stories 36.7 (July 1962): 6–61; “A Trace of Memory” (Part 2). Amazing Stories 36.8 (Aug. 1962): 76–121; “A Trace of Memory” (Part 3). Amazing Stories 36.9 (Sept. 1962): 32–80. Rptd: The three parts were collected, the entire story substantially expanded, and published in book form: A Trace of Memory. New York: Warner Books, 1972. An unemployed ex-soldier is hired to help a strange man who suffers from amnesia and finds himself dealing with an alien civilization. He travels to another world, Vallon, to help its king, Rthr; he is a king who returns to his people in their time of need and draws a sword from a stone; the novel also suggests that while stranded on Earth, Rthr was King Arthur.

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A-1409 Lawhead, Stephen R. Arthur. The Pendragon Cycle 3. Tenafly, NJ: Crossways Books, 1989. Rptd: New York: Avon Books, 1990. This novel is divided into three sections, each with a different narrator. Pelleas talks of the beginning of Arthur’s reign as dux bellorum, the only title the rival kings will agree to bestow on him. Bedivere tells of the twelve battles that lead to Arthur’s becoming king. Aneirin narrates the end of Arthur’s reign, including the treachery of Mordred (here Morgan’s son by her own son Urien) and Merlin’s taking Arthur to Avalon. Guenevere is a warrior queen in this version.

A-1410 Lawhead, Stephen R. Avalon: The Return of King Arthur. New York: Morrow / Avon Books, 1999. Unlike Lawhead’s other Arthurian novels, this one takes place in modern Britain (though the exact year is not specified). The last member of the royal family takes his own life, but then an obscure young man (James Stuart) is found to be heir to the throne, to be King Arthur returned. A mysterious figure called Mr Emries (or Merlin) helps him; his wife is Jenny; his best friend’s last name is McKay. James ensures the continuation of the monarchy and thwarts the evil plans of Morgan and of the British Prime Minister. There is also an audiobook version, narrated by Robert Whitfield (2002).

A-1411 Lawhead, Stephen R. Grail. Pendragon Cycle 5. New York: Avon / Eos, 1997. This takes place immediately after the events of Pendragon and details Arthur’s attempt to create a shrine to the Grail. Morgan uses her creation Morgause (here called Morgaws) to try to seize the Grail and create war. The novel is narrated by Gwalchavad, brother to Gwalchmai (and therefore a Gareth-figure). However, some chapters begin with italicized passages, usually only about a page long, that are Morgan’s comments, so we get some details that Gwalchavad could not know (like the creation of Morgaws).

A-1412 Lawhead, Stephen R. Merlin. The Pendragon Cycle 2. Tenafly, NJ: Crossways Books, 1988. Rptd: New York: Avon Books, 1990. In this novel, Merlin narrates the story of his life. As in Taliesin Fair Folk from Atlantis have major roles: Morgian (a Morgan-figure) is one of them (and Merlin’s aunt); Avallach (the Fisher King) is Merlin’s grandfather. The novel begins with Merlin’s childhood and ends after Arthur’s birth when the various kings are making claims to the throne. Igerne gives Merlin the sword of Britain, and in anger at the kings he drives it into a keystone outside a church, thus setting up the sword in the stone test for the true king to come. There is an audiobook version read by Frederick Davidson (1995).

A-1413 Lawhead, Stephen R. Pendragon. The Pendragon Cycle 4. New York: Avon Books, 1994. This novel covers some of the same time period as Arthur but with Merlin as narrator. Merlin’s prologue suggests that he will recount Arthur’s forgotten war, and this is against a character called the Black Boar, a Vandal. Lawhead is drawing on the story of the boar hunt in “Culhwch,” but making the “boar” a rival warrior. Guenevere and her bodyguard are also important characters. Arthur is badly wounded at the end, and Merlin heals him with the Grail, thus setting up the fifth book of the series.

A-1414 Lawhead, Stephen R. Taliesin. The Pendragon Cycle 1. Tenafly, NJ: Crossways Books, 1987. Rptd: New York: Avon Books, 1990. This novel, in order to tell the story of Merlin’s parents, begins with their childhoods. It therefore alternates between Atlantis (home of Charis, his mother) and Britain, where Taliesin is found by

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Elphin. Both Atlantis and Britain see the approach of dark forces. After Merlin’s birth, Taliesin is killed by Morgan’s treachery.

A-1415 Lawrence, Ann. The Hawk of May. Illus. Shirley Felts. London: Macmillan, 1980. The protagonist of this novel is Sir Gawain, who, lost while travelling, is given shelter by a man intent on trapping him in a compromising situation. Ten days later, at court, the man appears, claiming Gawain has violated his daughter; in a trial by ordeal, Gawain is given one year to discover the answer to the riddle, “what do women want.” The outlines of the story follow the traditional tale, but Lawrence has provided many details to describe the year of Gawain’s search and to create interesting characters.

A-1416 Lawrence, Ann. Merlin the Wizard. Illus. Susan Hunter. Great Tales from Long Ago. London: Methuen Children’s Books, 1986. Based upon The History of the Kings of Britain, Le Morte Darthur and Le Roman de Merlin, this retelling briefly relates the major events of Merlin’s life. Some episodes, like the sword in the stone, are recounted in a sentence or two, while others, like Vortigern’s story or Merlin’s love for the Lady of the Lake, are given in more detail.

A-1417 Le Cain, Errol. King Arthur’s Sword. London: Faber and Faber, 1968. This children’s book has many full-page, brightly coloured illustrations. It rewrites the story of Arthur, Excalibur, and the Lady of the Lake, and Morgan’s attempts to steal it and injure Arthur. The sword in this version is more magical than usual; it can transform itself into anything that Arthur might need.

A-1418 Le Gallienne, Richard. “On Rereading ‘Le Morte d’Arthur.’” The Bookman 1 (Jan. 1920): 417–20. (*) A poem.

A-1419 Lea, F[anny] H[easlip]. “Galahad Himself.” Saturday Evening Post (New York) 31 Mar. 1928: 8–9, 66, 69, 70, 72, 74. A pilot is referred to as “Galahad” for the usual reasons (does not drink, smoke, or chase women). The story is about his falling in love with a rather notorious young woman. While there is little Arthurian about the use of “Galahad” as a nickname for much of the story, Lea does quote Tennyson to describe her character at one point.

A-1420 Lea, Fanny Heaslip. “Yseult to Tristram.” Good Housekeeping 85 (Nov. 1927): 36. This poem of two quatrains asks why they should not love, since they have to part. The title suggests the Arthurian context; there is no explicit Arthurian content in the body of the poem.

A-1421 Lea, John [pseud.], [i.e., John Lea Bricknell]. Tales of King Arthur and the Round Table. Illus. Arthur A. Dixon. Told for the Bairns. London: S. W. Partridge and Co., 1920. (*) A retelling of selected stories from Malory: the sword in the stone, the quest of Sir Tor, the adventures of Sir Galahad (Sir Galahad and Sir Melias, Sir Galahad and the Seven Wicked Knights; no mention of the Holy Grail), the passing of Arthur (war against Launcelot and war against Mordred). Dixon provided six colour plates by way of illustration. (Information from Gaines, Item C38.)

A-1422 Leader, Mary. Triad. New York: Coward, McCann and Geoghegan, 1973. Rptd: New York, London, and Toronto: 1974.

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The triad of the title refers not only to the “Old Welsh Triad” that acts as the epigraph to the novel, but also to the eventual revelation of the three women of the story: Branwen, Rhiannon, and Phoebe. Leader plays with the idea of the triple goddess through these characters. Branwen and Dr. Ambrose discuss the legendary sources of her and Rhiannon’s names, connecting those stories to the Arthurian legends: Rhiannon in particular is associated with the Lady of the Lake / Niniane / Vivien. Dr. Ambrose takes on Merlin characteristics by the end of the novel.

A-1423 Leaf, Lotta. “Arthur of England at Innsbrück.” The Poet’s Garden and Other Poems. London: Women’s Printing Society, 1916. 12. The speaker of this poem describes her experience as a tourist in Innsbrück, going to see a statue of King Arthur. A note on the title-page says that this volume was printed for private circulation.

A-1424 Leaf, Lotta. “An Episode.” The Poet’s Garden and Other Poems. London: Women’s Printing Society, 1916. 53. This poem is divided into two parts: the first has two octaves and is entitled “He Speaks”; the second has three octaves and is entitled “She Speaks.” The poem thus presents each lover’s thoughts as he leaves her. The setting is Camelot, but there are no specific Arthurian characters named. A note on the title-page says that this volume was printed for private circulation.

A-1425 Lee, F[rank] H[arold]. The Children’s King Arthur. Illus. Honor C. Appleton. Frontispiece by Rowland Wheelwright. Children’s Bookshelf. London, Toronto, Bombay, and Sydney: George G. Harrap, 1935. A short and simple retelling of Malory, with a focus on the episodes of the Sword and the Stone, the gaining of Excalibur, Balin and Balan, “Beaumains”-Gareth, Lancelot (several episodes, including that of Elaine of Astolat), the Grail quest, and the Battle of Camlann. The frontispiece reproduces Wheelwright’s painting of Arthur and the Lady of the Lake, as Arthur is given Excalibur (see the entry in the Fine Art section for “Wheelwright, Rowland: The King asked her whose Sword it was”). The illustrations in the text (by Appleton) consist of thirty-nine pen-and-ink drawings.

A-1426 Lee, Tanith. “Into Gold.” Illus. Terry Lee. Cover illus. (illustrating Lee’s story) by Carl Lundgren. Isaac Asimov’s Science Fiction Magazine (Mar. 1986): 22ff. Rptd: In Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 89–122. The names in this story suggest Arthurian parallels. It is the story of the birth of “Ardorius,” narrated by Skorous, the advisor to King Draco. In the period after the fall of Rome, Draco sees and desires the daughter of a merchant from the East, who is beautiful but also reported to have the power to turn any material into gold. They eventually marry and Zafra bears a son. Believing that Zafra intends to sacrifice the child to her gods, Skorous interferes at the critical moment in a ritual, recognizing only too late that it was a ritual to convey a form of divinity upon the “golden” boy. Zafra leaves the kingdom, and Skorous is generally believed to be the rescuer of the prince, but he is aware that a great plan has been frustrated and that Ardorius will grow up with a constant sense of an inexplicable “deep and silent pain.”

A-1427 Lee, Tanith. “King’s Mage.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 255–64. A short story about Merlin and the Grail quest.

A-1428 Lee, Tanith. “The Minstrel’s Tale.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 19–29. This story is told by a minstrel who witnesses an eerie enchantment at a shepherd’s cottage.

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Although included in the anthology, there are no explicit Arthurian references, except perhaps for a song the minstrel sings about a knight in love with the wife of his liege lord.

A-1429 Lee, Thomas Herbert. “The Marriage of Iseult: A Tragedy in Two Scenes.” The Marriage of Iseult and Other Plays. London: Elkin Mathews, 1909. 1–19. This short play is divided into two scenes. In the first, Tristan and Iseult are on board ship bound for Cornwall and Iseult’s marriage to Mark; Iseult challenges him to drink poison with her, but Brangaene has changed the potion. Scene two takes place some time after Iseult’s marriage. She and Tristan are together, but he must sneak away again; tired of the deception, the two lovers drink poison and die happily in one another’s arms, much to Mark’s dismay.

A-1430 Lees, Frederick. The Arthuriad of Catamandus. Hong Kong and London: Crane Books, 1996. (*) A historical novel narrated by one of Arthur’s illegitimate sons (not Mordred). (Information from reviews.)

A-1431 Leeson, Robert. The Song of Arthur. London: Walker, 2000. (*) Juvenile fiction about King Arthur. (Information from OCLC WorldCat entry.)

A-1432 “The Legend of Glastonbury (in Somersetshire Dialect).” Excalibur: The Chronicle of the Fellowship of the Round Table 1.9 Oct. 1931): 368. A nineteen-line poem, mostly in couplets (one odd line without a matching rhyme). Asserts the truth of the legend that Joseph of Arimathea visited Glastonbury and planted the Holy Thorn on Weary-all Hill in Avalon. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

“The Legend of King Arthur”: see Lloyd, Richard. A-1433 Leggett, Benjamin F. “The Ballad of the King.” A Sheaf of Songs. New York: John B. Alden, 1887. 7–13. A poetic retelling of the story of the loathly lady. Arthur, under a wizard’s spell, must find the answer to what women want; Gawain agrees to marry the apparent hag who provides the king with the answer, and is rewarded with a beautiful bride.

A-1434 Lehane, Brendan. Legends of Valour. Enchanted World Series. Alexandria, VA: Time-Life Books, 1984. This brightly illustrated book is divided into four chapters, the first two of which contain stories from Irish legends. The last two chapters, “Brotherhood of the Round Table” and “The Noblest Quest of All,” contain the Arthurian stories of Erec and Enid, various of Lancelot’s adventures (including the fight with Turquine and the sword-bridge episodes), Balin and the Dolorous Stroke, the Grail quest, Perceval’s childhood, Mordred’s trapping Lancelot and Guenevere, and the last battle. These stories are connected by description of various characters or of the world of chivalry and knights in a way that makes this a bit different from usual retellings of medieval stories. (Note that this Time-Life book identified its author; for other books in the series, see the entries under “Time-Life.”)

A-1435 Lehmann, Ruth P. M. Blessed Bastard: A Novel of Sir Galahad. San Antonio, TX: Wings Press, 1997. This novel tells the story of Galahad’s life, from his childhood to the conclusion of the Grail quest.

A-1436 Leitch, Mary Sinton. “Tintagel.” In Contemporary American Women Poets. Ed. Tooni Gordi. New York: Henry Harrison, 1936. 281. The speaker of the poem remembers how the idea of Tintagel once affected her with imaginings

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of knights and chivalry. The poem ends with the reflection that its power has faded: “no man seeks the Grail.”

A-1437 Leo. Frown Strong: A Conversation with Merlin. “Fragments of a Great Teaching” Series. Putney: Cobwebs Press, 1974. This book contains thirty-two fictional dialogues between a student and a teacher. The characters are referred to by many names; the teacher is called “Merlin” in the book’s subtitle and in the first conversation. In one conversation, the teacher mentions that “a certain Pendragon came here” (43) many years before, an allusion to Arthur. The dialogues concern spirituality, and have no other explicit Arthurian content. Note that the author is given no other name.

A-1438 Lerner, Alan Jay. Camelot. Music by Frederick Loewe. London: Chappell, 1960. The musical based on The Once and Future King (see the entry under “White, Terence Hanbury”; also see the entry under “Loewe, Frederick” in the Music section, and the entry for Camelot in the “Film, Television, and Radio” section.)

A-1439 Letts, W[inifred] M. “Elaine at Astolat.” Hallow-e’en and Poems of the War. London: Smith, Elder and Co., 1916. 66. Rptd: The Spires of Oxford and Other Poems. New York: E. P. Dutton and Co., 1917. 66. This short poem is divided into two stanzas: the first stanza of twelve lines is Elaine’s complaint about Lancelot and the way that his presence has enthralled her; the second, four-line, stanza, describes Lancelot’s lack of response as he is not even aware of her.

A-1440 Letts, Winifred M. Waste Castle: A Book for Girls. Illus. J. Jellico. Jack, 1907. (*) Children’s novel, with Wasteland and Grail quest references.

A-1441 Levin, Martin. “Merlin the Magician.” Whatever Happened to Lady Chatterley’s Lover?: The Further Adventures of Fictional Characters. Illus. Victor Juhasz. Kansas City and New York: Andrews, McMeel and Parker, 1985. 45. In this collection, Levin tells the further adventures of seventy-four different sets of characters, taken from literary classics, fairytales, and popular fiction of a variety of nationalities. Most of these tales are less than a page in length. One of two Arthurian entries concerns Merlin. During an earthquake, Merlin escapes from the rock under which he’d been imprisoned by the ladies of the lake. However, after a brief experience of twentieth-century life, he returns to it.

A-1442 Levin, Martin. “Tristan and Isolde.” Whatever Happened to Lady Chatterley’s Lover? The Further Adventures of Fictional Characters. Illus. Victor Juhasz. Kansas City and New York: Andrews, McMeel and Parker, 1985. 91. In this collection, Levin tells the further adventures of seventy-four different sets of characters, taken from literary classics, fairytales, and popular fiction of a variety of nationalities. Most of these tales are less than a page in length. One of two Arthurian entries concerns the lovers Tristan and Iseult. Tristan, the dragon slayer, eventually becomes the president of a foundation to save dragons. While on a fundraising tour for this cause, he disappears with Isolde and all the money.

A-1443 Lewis, Charlton M[iner]. Gawayne and the Green Knight: A Fairy Tale. New Haven: Yale University Press, 1913. This book-length poem is divided into four parts and tells the story of Sir Gawain and the Green Knight in rhyming couplets. Lewis has altered the story by introducing Elfinheart, the lady Gawain loves. She was raised in Fairyland, and the Green Knight is an emissary of Fairyland sent to test Gawain’s courage and honour (and thus his suitability to marry Elfinheart). The basics of the encounters between Gawain and the Green Knight, and between Gawain and the castle’s hosts, are similar to the medieval version. Although the title-page says 1913, the verso gives 1903 as date of copyright and first publication, but no other details are given; Brown, “Arthurian Literature,”

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reported that “The Library of Congress catalogue gives the publication data of the earlier edition as ‘Boston and New York: Houghton Mifflin Co., 1903.’ ”

A-1444 Lewis, C[live] S[taples]. “Launcelot.” Narrative Poems. Ed. Walter Hooper. London: Geoffrey Bles, 1969. 95–103. Rptd: In “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 189–96. Approximately the first half of this poem describes the court and particularly Guenevere as they wait for the knights to return from the Grail quest. The second half of the poem is then Lancelot’s story, told to the queen, of some of his adventures while on the quest.

A-1445 Lewis, C[live] S[taples]. That Hideous Strength: A Modern Fairy-tale for Grown-ups. London: John Lane / The Bodley Head, 1945. Rptd: The Cosmic Trilogy. London: Pan Books / The Bodley Head, 1989. – Excerpts included in The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York: Garland Publishing, 1990. 379–417. Lewis’ science fiction trilogy featured a protagonist named Ransom who travelled to Mars in Out of the Silent Planet and to Venus in Perelandra; That Hideous Strength concludes the trilogy but is set on Earth. The cosmic beings that Ransom has met in the earlier novels have warned him of a threat; N.I.C.E. is attempting to wake Merlin and use him for their own destructive purposes. Unlike the other novels, this one uses Ransom’s perspective very seldom; he is seen by others unfamiliar with his journeys. He has become a Fisher King, but also the leader of the Pendragon forces; Merlin, when awakened, comes to offer him service. The house and grounds where Ransom lives is referred to as Logres, and there are allusions to Charles Williams’ poem Taliessin through Logres. A radio dramatization of the novel was prepared in 1990 by Stephen Mallatratt; see the entry under “That Hideous Strength” in the “Film, Television, and Radio” section.

A-1446 Lewis, C[live] S[taples], and Owen Barfield. Mark vs. Tristram. Ed. Walter Hooper. Cambridge, MA: Lowell House Printers, 1967. Rptd: Illus. Pauline Baynes. Oxford: Oxford University C. S. Lewis Society, 1990. Both have been limited editions. Lewis and Barfield, in their correspondence, discussed recent theories about the life of Thomas Malory and from that came a series of five letters. Barfield wrote as a solicitor for King Mark; Lewis replied as Blaise and Merlin, solicitors for Tristan. Various Arthurian characters are mentioned as both writers quote precedents for their clients’ affairs.

A-1447 Lewis, H. S[inclair]. “Launcelot.” The Yale Literary Magazine 69.6 [615] (Mar. 1904): 224. Rptd: (with several variant readings) as a five-page pamphlet (limited to 100 copies): Launcelot. [New Haven]: [Yale Literary Magazine,] [1904]. – “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 245. This poem has two stanzas. In the first Lancelot believes the queen loves him; in the second, he fears she does not. This is Sinclair Lewis’ first published work.

A-1448 Leyden, John. Scenes of Infancy: Descriptive of Teviotdale. Edinburgh: T. N. Longman and O. Rees, 1803. Rptd: Poetical Remains. London: Longman; Edinburgh: Constable, 1819. This poem is divided into four parts and consists of reminiscences and descriptions of the place, including stories associated with the area. For example, at the end of Part 2, the story of Thomas

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the Rhymer is retold, with the sleeping knights in Fairyland’s hill associated with Arthur. As well, the poet compares himself to Merlin near the beginning of Part 1, and the notes to the poem give further history of the character.

A-1449 Linaweaver, Brad. “The Other Scabbard.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 249–64. One of the Little People spies on the court and on Merlin, but becomes Merlin’s companion to witness the eventual claiming of a dark Excalibur.

A-1450 Lincoln, Victoria [Mrs Victor Augustus Lowe]. “Tristan and Isolde, Act I.” American Mercury 36 (Nov. 1935): 327. (*) A-1451 Lindholm, Megan. “Silver Lady and the Fortyish Man.” Illus. Laura Lakey. Isaac Asimov’s Science Fiction Magazine (Jan. 1989): 90ff. Rptd: In Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 167–91. A frustrated female writer, stuck in a part-time job at Sears since she cannot earn a living by her writing, is gradually drawn into a series of encounters with a middle-aged man, who eventually introduces himself as Merlin (a descendent of the original). There are several adventures which might be the result of magic or might be carefully staged coincidences. In the end, he declares that he works for Boeing and could get her a job there, but she continues to believe that she has experienced true magic; at any rate, her writer’s block is gone and she has a subject about which to write.

A-1452 Lindholm, Megan. Wizard of the Pigeons. New York: Ace-Berkley, 1986. An urban fantasy novel, where the realistic details of Seattle reveal a world of magic and demons. The wizard of the title is a Vietnam veteran, but he is also a wizard: people are drawn to tell him their troubles, and he must answer questions with the truth. The novel suggests that he has played this role before in other times; a story that his friend Cassandra tells suggests that in one incarnation he was Merlin.

Lindsay, Barbara: see Sterne, E[mma] G[elders], and Barbara Lindsay. A-1453 Lindsay, Eleanor Vliet. Merlin and Arthur: A Play with Music about the Boyhood of King Arthur. San Antonio, TX: Project towards degree of Master of Fine Arts, Trinity University, 1982. This two-act play begins with a troupe of actors deciding to perform a play called “Merlin and Arthur.” Within that play, Arthur is taught by Merlin and is shown passing several tests, which lead up to his drawing of the sword from the stone. Morgan is the villain of the piece; two of the tests Arthur faces result from her treacherous attempts to kill him or to prevent him from becoming king.

A-1454 Lindsay, [Nicholas] Vachel. “Galahad, Knight who Perished.” Collected Poems. New York: Macmillan Co., 1923. 302. The dedication to “all Crusaders against the International and Interstate Traffic in Young Girls” suggests the reason for Lindsay’s use of Galahad; the poem demands our return to “immaculate ways among men” and holds up Galahad as an example.

A-1455 Lindsay, [Nicholas] Vachel. “King Arthur’s Men have come Again.” Collected Poems. New York: Macmillan Co., 1923. 336–37. This poem has three stanzas, each about a different group of men who “have come again”; only the first stanza uses Arthur. Since, according to the subtitle, this was “written while a field-worker

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in the Anti-Saloon League of Illinois,” the invocation of Arthur’s men allows Lindsay to compare current crusaders to those of the past.

A-1456 Lindsay, [Nicholas] Vachel. “Three Poems About Mark Twain.” Collected Poems. New York: Macmillan Co., 1923. 258–63. In the third poem of this group, Twain is compared to one of his characters, as “The Yankee to King Arthur’s court returns”; this allusion to Twain’s Arthurian work is the only Arthurian allusion.

A-1457 Lindsay, Philip. The Little Wench. London: Ivor Nicholson and Watson, 1935. In this long novel about the various lovers of Camelot, Lancelot and Guenevere receive the most attention, but the stories of Merlin and Nimue, Pelleas and Etarre, Tristan and Iseult, among others, are intertwined with the major love triangle and the doom that it brings to Camelot. The “wench” of the title is Galahad’s term for the Queen. Although the novel constructs rather interesting family relationships for Arthur, for the most part it lingers on unsympathetic characters.

A-1458 Lindskold, J. Changer. New York: Avon Books, 1998. This fantasy novel is set in late twentieth-century America. The Changer of the title is a shape-shifter, one who has lived centuries. When his coyote wife and children are killed, he seeks answers and vengeance. This involves him in the internal struggles of the athanor, beings of myth and legend who live on in modern society. The “king” of these beings is Arthur, who runs a company called Pendragon Productions; a mage who helps him is Lovern (Merlin in an earlier time; there is reference to his being imprisoned by a sorceress, one of their current enemies).

A-1459 Linton, William James. “The Old Legend of King Arthur.” Love-Lore and Other Early and Late Poems. Hamden, CT: Appledore Press, 1895. 69–75. The collection is an edition limited to 100 copies. In this poem, the chants of the fairy queens, as they take the dying Arthur away in a boat, alternate with Arthur’s thoughts about his life and his death and the worthiness of either. The promise of his return is repeated by the fairy speakers but also by the poet who pleads for Arthur to return now.

A-1460 Lister, Robin. The Story of King Arthur. Illus. Alan Baker. London: Kingfisher Books, 1988. Rptd: The Legend of King Arthur. Illus. Alan Baker. Garden City, NY: Doubleday and Co., 1989. – 2nd edn. London: Kingfisher Books, 1992. This book consists of fourteen tales from the legend narrated by Merlin. While the first three focus on his life (his encounter with Vortigern, for example), the rest are about Arthur, from his conception, to the sword in the stone episode, to his acquisition of Excalibur, the relationship between Lancelot and Guenevere, the Grail story, and the final days of Arthur’s reign. There have been various reprintings under both titles.

A-1461 “Little Miss Muffet, Reset as an Arthurian Idyll.” In The Faber Book of Parodies. Ed. Simon Brett. London, and Boston, MA: Faber and Faber, 1984. 339–41. A poem, in which Miss Muffet, sitting on her tuffet, stirring her dish of whey, dreams that Lancelot or Galahad or another of the Round Table might come and choose her to be his love.

A-1462 Little, Patrick. Knight of Swords. London: Macmillan Children’s Books, 1982. In this young adult fantasy novel, two twentieth-century teenagers must join forces with a young knight from the fifteenth century and John Dee, a scholar-magician from the sixteenth century, in order to prevent an evil magician from raising the forces of evil in dragon form. The young knight, when he is thrown into the twentieth century, believes that he has acted like Balin in the

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story of the Dolorous Stroke; the twentieth-century protagonists read parts of Malory as they try to understand what is happening.

A-1463 Lively, Penelope. The Whispering Knights. Illus. Gareth Floyd. London: William Heinemann, 1971. Three children playing in a barn decide to make a witch’s brew (using ingredients and incantations from Shakespeare). They succeed in bringing Morgan into their twentieth-century town and then have to find a way to banish the evil sorceress again. The knights of the title are standing stones.

Livingston, Margaret Vere F.: see Farrington, Margaret Vere. A-1464 Llewellyn, Caroline. False Light. Boston, MA, New York, London, Toronto: Little, Brown and Co. (Canada), 1996. The cover announces this to be “a novel of suspense” in the tradition “of Daphne du Maurier and Mary Stewart.” It takes place at Kerreck Du in Cornwall, home of the reclusive and notorious photographer Quentin Finn. The home once belonged to Henry Hobhouse, a Victorian photographer, who lived there with his wife, a spiritualist and medium, Marianna. The heroine, Dana, who wants to write a book on Marianna, arrives at Kerreck Du to do research, but is distracted by the entangled lives, and the murders, of people around Finn. Hobhouse had done a series of photographs depicting the Tristan legend, and Finn is doing a similar series, so there are references to the Arthurian legend throughout, as well as a trip to Tintagel. The love triangle is also suggested by the relationships between Hobhouse, Marianna, and a mysterious lover, and between Finn, his late wife Solange, and his son Daniel.

A-1465 Llewellyn, D. W. A. “Drystan and Esyllt.” Ballads and Songs. London: Arthur H. Stockwell, 1922. (*) A poem.

A-1466 Llewellyn, D. W. A. “King Arthur’s Sleep.” In Public School Poetry 1920–21. London: Heinemann, 1921. (*) A poem.

A-1467 Llewellyn, D. W. A. “Morgen le Fay.” Ballads and Songs. London: Arthur H. Stockwell, 1922. (*) A poem.

A-1468 Lloyd, Richard. “The Historie of the conquests of the noble conquerour Arthur,” with “An Example of this former Historie.” A brief discourse of the most renowned actes and right valiant conquests of those puisant princes, called the nine worthies: wherein is declared their seuerall proportions and dispositions, and what armes euerie one gaue, as also in what time ech of them liued, and how at the length they ended their liues. London: Printed by R. Warde, 1584. n.p. [Sigs. F1–F2.] [STC (P&R) 16634 (ESTC S119668).] Rptd: “The Legend of King Arthur.” Reliques of Ancient English Poetry. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 3: 37–41. [ESTC T84936 and N65532.] – The Legendary Ballads of England and Scotland. Ed. John S. Roberts. Illus. Walter Crane [?]. The Chandos Poets. London: Frederick Warne and Co.; New York: Scribner, Welford and Co., [1868]. 57–60. This verse summary of the story of Arthur, in thirty-two septenary couplets, was composed as part of Lloyd’s work on the Nine Worthies; the life of Arthur is told here in the first person

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(beginning, “Of Brutus blood in Brittaine borne I Arthur am by name”). Each “historie” of a worthy is followed by an “Example of this historie” (twenty-four lines in three-line stanzas of septenaries), and Arthur’s “Example” warns us against unlawful lust and lechery, which causes the ruin of kingdoms. The “historie” is preceded by an engraved illustration, showing a king, crowned but in armour, bearing sword and shield (Sig. E4v). Arthur’s “historie” came to be reproduced separately from the rest of the work; a slightly abbreviated version, set out in twenty-five ballad stanzas, appears in Percy’s Reliques as “The Legend of King Arthur.” Percy suggests that this ballad was based on Geoffrey of Monmouth, but other sources are equally possible.

A-1469 Llwyd, Richard. “The Address of the Bard of Snowdon to His Countrymen.” Poems, Tales, Odes, Sonnets, Translations from the British. 2 vols. Chester: J. Fletcher, 1804. 184–200. The subtitle of the poem provides its context: “written in June 1803 during the threats of invasion.” The poem reviews Britain’s history and her resistance to invaders at various periods. Arthur, “Dragon-Crested,” is mentioned in the poem; the notes connect the dragon-crest to Uther as well. (Note: the pagination is continuous from one volume to the next.)

A-1470 Llwyd, Richard. “The Castle of Harlech.” Poems, Tales, Odes, Sonnets, Translations from the British. 2 vols. Chester: J. Fletcher, 1804. 146–64. This poem begins, “In Arthur’s days of ancient date.” The poem surveys the history of the castle, so the only Arthurian allusions (besides the line quoted, there is mention of Maelgwyn) occur at the beginning. The Arthurian references are obviously to provide an illustrious background for the castle. (Note: the pagination is continuous from one volume to the next.)

A-1471 Llwyd, Richard. “The Vision of Taliesin.” Poems, Tales, Odes, Sonnets, Translations from the British. 2 vols. Chester: J. Fletcher, 1804. 136–44. This poem invokes Taliesin as the figure of a Bard whose words had power to inspire and to last. The speaker encourages his contemporaries to aim for this kind of virtue and talent. (Note: the pagination is continuous from one volume to the next.)

A-1472 Llywelyn, Morgan. “Their Son.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 2–17. This short story is about a son (left nameless throughout the story) of a sorceress who tries to learn who his father is and what his own destiny might be. He is present at the battle of Camlann.

A-1473 Lockley, Steve. “Honour Before Glory.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 218–27. This story combines the tale of Kay’s quest for the Grail with the story of the Wandering Jew. The quest, in the end, is not so much for the object as it is for peace.

A-1474 Locksley, Dervin. “Arthur’s Knights Tackle Caesar’s Senators.” In The Boy Scouts Year Book [1930]. Illus. Francis J. Rigney. Ed. Franklin K. Mathiews. New York and London: D. Appleton and Co., for the Boy Scouts of America, 1930. 157–59. A poem written in rhyming couplets that plays with the “Roman War” episode. It describes a football game between the Knights of Camelot and the Senators of Rome. The poem is full of puns and allusions to Roman and Arthurian characters, including Gawain, the star of the knights’ team; Mordred, who drugs Gawain in order to win a bet; and Merlin, who is timekeeper.

A-1475 Lodge, David. Small World: An Academic Romance. London: Martin Secker and Warburg; New York: Macmillan, 1984. Rptd: New York: Warner, 1986. This novel brings back characters from Lodge’s Changing Places and like the earlier novel is a

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satire often, but not exclusively, directed at the academic world, and in this case academic conferences. Arthurian content includes use of names (Arthur, Morgana), and use of the Wasteland / Fisher King / quest motifs.

A-1476 Loomis, Richard. “The Testing of Cadog.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 12–18. In this story, Arthur and a couple of his men go to see a monk of Llancarfan best the warlord Cynan. Loomis has based the story on a medieval Welsh saint’s life.

A-1477 Lounsbury, G. Constant. “An Iseult Idyll.” An Iseult Idyll and Other Poems. London: John Lane / The Bodley Head, 1901. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A poem in two parts, depicting Iseult’s journey from Ireland to Cornwall, and the moment when she and Tristan share the love potion. (We have seen the poem only as reprinted.)

A-1478 Love, Stewart, and William D. Cumming. “King Arthur.” In Plays for Reading and Recording. London: George G. Harrap, 1960. 13–22. Rptd: Boston, MA: Plays, 1966. Love’s name appears in two ways, as “T. S. Love” on the cover and as “Stewart Love” on the title-page. This single-scene play is set after the Battle of Camlann as Arthur lies beside the lake, waiting for Bedivere to have returned Excalibur to the lake. During each of Bedivere’s absences, Arthur remembers and converses with Merlin, Mordred, and others. The collection is intended for teachers of drama.

A-1479 Lovell, Gerald. “Arthurian Epitaphs.” Arthurian Epitaphs and Other Verse. London: Mitre Press, 1976. 7–8. A sequence of eight epitaphs on major characters of the legend: “Arthur,” “Balin and Balan,” “Dagonet,” “Gareth,” “Gawaine,” “Merlin,” “Palamides,” and “Tristram.” Each of the epitaphs is quite short, from a couplet in “Gawaine” to an octave in “Palamides,” but more usually a quatrain each. Each one sums up the character’s fate, so there are allusions to Balin and Balan’s fatal battle with each other, Gareth’s death at Lancelot’s hands, Merlin’s imprisonment, and Tristan’s death.

A-1480 Lovell, Gerald. “Mordred.” Arthurian Epitaphs and Other Verse. London: Mitre Press, 1976. 9. In this three-stanza poem, Mordred reflects on his father’s idealistic reign and his own attempt to take over the kingdom.

A-1481 Lovell, Gerald. “Palamide’s Song.” Arthurian Epitaphs and Other Verse. London: Mitre Press, 1976. 10. The four stanzas of this poem compare Iseult to various natural features: her hair is the sky, her eyes are stars, her heart is a frozen lake and so on. It conveys both the title character’s desperate love and despair.

A-1482 Lovell, Gerald. “The Saracen and the Round Table.” Arthurian Epitaphs and Other Verse. London: Mitre Press, 1976. 12. The subtitle of this short poem sets up its speaker and situation: “The old Emir, Father of Palamides, soliloquises.” The poem that follows is the Emir’s lament for his lost son.

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A-1483 Lovell, Gerald. “The Two Isouds.” Arthurian Epitaphs and Other Verse. London: Mitre Press, 1976. 11. Tristan is the speaker of this short poem. He leaves Brittany for Cornwall and so is caught for a moment between the claims of two women.

A-1484 Lowder, James, ed. The Doom of Camelot. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. This anthology is a collection of original short stories and one poem, focusing on the end of Arthur’s reign. For details of individual Arthurian works, see Mike Ashley, “The Corruption of Perfection”; Cherith Baldry, “In the Forest Perilous”; Douglas W. Clark, “The Knight Who Wasn’t There”; Elaine Cunningham, “Hidden Blades”; India Edghill, “Grail Wisdom”; Verlyn Flieger, “Avilion: A Romance of Voices”; Susan Fry, “The Battle, Lost”; C. A. Gardner, “Three Queens Weeping”; Ed Greenwood, “The Shadow of a Sword”; Phyllis Ann Karr, “The Last Idle of the King”; Meredith L. Patterson, “How Sharper Than a Serpent’s Tooth”; Darrell Schweitzer, “Saxon Midnight”; Marcie Lynn Tentchoff, “Surrendering the Blade”; Elizabeth Wyrick Thompson, “The Last Road”; Catherine Wells, “A Hermit’s Tale.”

A-1485 Lowe, Samuel E[dward]. In the Court of King Arthur. Illus. Neil O’Keeffe. Racine, WI: Whitman Publishing Co., 1918. (*) A retelling of episodes from Malory, though with significant departures. (Information from Gaines, Item C36.)

Lowe, Mrs Victor Augustus: see Lincoln, Victoria. A-1486 Lowell, James Russell. “The Vision of Sir Launfal.” The Vision of Sir Launfal. Cambridge, MA: George Nichols, 1848. Rptd: The Vision of Sir Launfal. Illus. Sol Eytinge, Jr. Boston, MA: Ticknor and Fields, 1867. – Illus. Edmund H. Garrett. Boston, MA: Houghton, Mifflin and Co., 1890. (Illustrations reproduced at The Camelot Project Website (). – Oakleaf Series [3]. Guildford: Astolat Press / A. C. Curtis, [1904?]. – The Vision of Sir Launfal. Ed. Daniel A. Lord. Chicago: Loyola University Press, 1918. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 207–18. Sir Launfal, about to leave on the Quest for the Holy Grail, has a vision that teaches him the true meaning of the Grail and of the Quest. There were many reprintings, on its own (such as the Oakleaf Series pamphlet), with other poems (like Tennyson’s “Holy Grail”), and edited for school use (see Lord’s edition listed in the reprints). The 1867 edition includes three full- and three partial-page illustrations by Eytinge. Garrett’s illustrations for the 1890 edition focus upon several key moments of the poem including Launfal arming himself to begin his quest; Launfal’s scorning of a beggar; Launfal musing on his quest; Launfal’s hall after he returns. (For musical versions, see the entries for “Bornschein, Franz”; “Cadman, Charles W.”; “Sowerby, Leo”; and “The Vision of Sir Launfal” in the Music section.)

A-1487 Lucas, Barbara. “Guinevere’s Farewell.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 9. This poem gives Guenevere’s despairing thoughts as Lancelot leaves, presumably on the Grail quest.

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A-1488 Lucas, Barbara. “Lancelot’s Farewell.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 8. This poem reveals Lancelot’s desire to be more than he has been; he leaves Guenevere for the Grail quest.

A-1489 Lucie-Smith, Edward. “Adam and Tristan.” Towards Silence. London: Oxford University Press, 1968. 12. This poem appears in Part 1 of this collection, which is also called “Adam and Tristan.” The comparison between these two figures focuses on the temptation aspects of their stories, the moments of appetite, whether it be the apple or the love potion.

A-1490 Lucie-Smith, Edward. “Fragments of a ‘Tristan.’” Towards Silence. London: Oxford University Press, 1968. 7–11. This poem appears in Part 1 of this collection, which is called “Adam and Tristan.” The poem is divided into four sections: the first, “Tristan’s Voyage,” is set during the journey to Cornwall with Iseult; the second, “Mariadoc’s Dream,” describes Tristan’s sneaking into Iseult’s room; the third, “In the Forest,” takes place as Tristan and Iseult hide in the forest like animals; the fourth, “Tristan’s Madness,” is set in Mark’s court where Tristan arrives in disguise.

A-1491 Luke, David. “Tristan.” In Poetry from Oxford in Wartime. Ed. William Bell. London: Fortune Press, 1945. 82. This Petrarchan sonnet describes Tristan as longing for death and the union with his “lost queen” that death will permit.

A-1492 Lumpkin, Arthur H. “Camelot.” Arizona Quarterly 28.4 (Winter 1972): 300. A short poem.

A-1493 Lunn, Jean. “Elegy for Camelot.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 54–55. An elegy of six six-line stanzas, each spoken by a different woman of the legend, and a last quatrain, spoken by the poet. The women are Lyonesse, Guinevere, Queen of North Wales, Queen of the Waste Lands, Morgan, and Linette.

A-1494 Lupack, Alan, ed. “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. An anthology of Arthurian poetry; see individual entries throughout this bibliography. Contents: Matthew Arnold, Tristram and Iseult; Thomas Caldecott Chubb, “Merlin”; John Ciardi, “Launcelot in Hell”; John Davidson, “The Last Ballad”; Ralph Waldo Emerson, “Merlin I,” “Merlin II,” and “Merlin’s Song”; Eugene Field, “The Vision of the Holy Grail”; Thom[son] Gunn, “Merlin in the Cave: He Speculates Without a Book”; John Leslie Hall, “Cerdic and Arthur”; Thomas Hardy, “When I set out for Lyonnesse”; Robert Stephen Hawker, “The Quest of the Sangraal”; Richard Hovey, “The Last Love of Gawaine”; C[live] S[taples] Lewis, “Launcelot”; H. Sinclair Lewis, “Launcelot”; James Russell Lowell, The Vision of Sir Launfal; John Masefield, “The Ballad of Sir Bors,” “The Fight at Camlan,” and “The Sailing of Hell Race”; Edgar Lee Masters, “Ballad of Launcelot and Elaine” and “The Death of Launcelot”; Edna St Vincent Millay, “Elaine”; William Morris, “The Chapel in Lyoness,” “The Defence of Guenevere,” “King Arthur’s Tomb,” and Sir Galahad: A Christmas Mystery; Edwin Muir, “Merlin”; Alfred Noyes, “The Riddles of Merlin”; Dorothy Parker, “Guinevere at her Fireside” and “Iseult of Brittany”; Ernest Rhys, “The Castle of Carbonek,” “King Arthur’s Sleep,” “The Quest of the Grail: On the Eve,” “Sir Launcelot and the Sancgreal,” “The Song of the Four Knights,” and “The Unfinished Book of Bleise”; Edwin

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Arlington Robinson, “Mordred, A Fragment”; Jack Spicer, The Holy Grail; Algernon Charles Swinburne, “King Ban”; Sara Teasdale, “Guenevere”; Alfred, Lord Tennyson, “The Lady of Shalott,” “Merlin and the Gleam,” and “Sir Launcelot and Queen Guinevere: A Fragment”; John Veitch, “Merlin”; Christopher Ward, “King Arthur” and “Sir Lancelot du Lake”; Jessie L. Weston, “Knights of Arthur’s Court”; Thomas Westwood, The Sword of Kingship; Richard Purdy Wilbur, “Merlin Enthralled”; Charles Williams, “The Crowning of Arthur” and “The Departure of Merlin”; Yvor Winters, “Sir Gawayne and the Green Knight”; and William Wordsworth, “The Egyptian Maid.”

A-1495 Lupack, Alan. Arthurian Lyrics. Rochester, NY: Privately printed, 1986. Rptd: (with additional poems) in The Dream of Camelot. Vista, CA: Green Chapel Books, 1990. This pamphlet contains the following poems: “Lancelot and Guinevere” which is a Shakespearean sonnet detailing Lancelot’s thoughts as he gazes at the Queen; “The Villanelle of the Two Elaines” which contrasts the fates of the two Elaines; “Guinevere’s Farewell to Arthur” which is a villanelle spoken by Guinevere as she reflects on the twists of fate; “Bedivere Contemplates Camelot” which is a Shakespearean sonnet set after Arthur’s death. (The last two were previously published; see individual entries.)

A-1496 Lupack, Alan, ed. Arthurian Drama: An Anthology. Garland Reference Library of the Humanities 1276. New York and London: Garland Publishing, 1991. This anthology includes six dramas from the seventeenth century to the early twentieth century. Contents: J[oseph] Comyns Carr, King Arthur; John Dryden, King Arthur; Richard Hovey, The Birth of Galahad; Martha Kinross, Tristram and Isoult; Ernest Rhys, The Masque of the Grail; and William Rowley, The Birth of Merlin; Lupack concludes with a further list of Arthurian drama.

A-1497 Lupack, Alan. “At a Performance of Tomaszewski’s Knights of King Arthur.” The Third Wind: A Journal of Poetry and Metaphysics Spring 1984: 78. This short poem describes the performance of a play, based on Malory and the response to “Arthur” by one of the audience.

A-1498 Lupack, Alan. “Bedivere Contemplates Camelot.” Negative Capability 5.2 (Spring 1985): 162–63. Rptd: Arthurian Lyrics. Rochester, NY: Privately printed, 1986. – The Dream of Camelot. Vista, CA: Green Chapel Books, 1990. A Shakespearean sonnet set after Arthur’s death. (We have seen the poem as reprinted.)

A-1499 Lupack, Alan. “Comet over Camelot.” Star-line: The Newsletter of the Science Fiction Poetry Association 9.6 (Nov.–Dec. 1986): 3. (*) Rptd: The Dream of Camelot. Vista, CA: Green Chapel Books, 1990. A poem.

A-1500 Lupack, Alan. The Dream of Camelot. Vista, CA: Green Chapel Books, 1990. A collection of Arthurian poems, some of which had been previously published. See the entries for “Bedivere Contemplates Camelot,” “Guinevere’s Farewell to Arthur,” “Comet over Camelot,” and Arthurian Lyrics (1986).

A-1501 Lupack, Alan. “Guinevere’s Farewell to Arthur.” Negative Capability 5.2 (Spring 1985): 162–63. Rptd: Arthurian Lyrics. Rochester, NY: Privately printed, 1986. – The Dream of Camelot. Vista, CA: Green Chapel Books, 1990. A villanelle spoken by the queen. (We have seen the poem as reprinted.)

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A-1502 Lupack, Alan, ed. Modern Arthurian Literature: An Anthology of English and American Arthuriana from the Renaissance to the Present. Garland Reference Library of the Humanities 1420. New York: Garland Publishing, 1992. This anthology includes poems, plays, and excerpts of longer fiction works, most written in English, but some translations as well. The organization of the contents (listed below in the order of presentation) takes the reader through the centuries: Edmund Spenser, from The Faerie Queene; Ben Jonson, The Speeches at Prince Henries Barriers; Jonathan Swift, “A Famous Prediction of Merlin, the British Wizard”; Henry Fielding, Tom Thumb; “The Marriage of Sir Gawaine” (as reconstructed by Thomas Percy); William Wordsworth, “The Egyptian Maid or the Romance of the Water-Lily”; Alfred, Lord Tennyson, “The Lady of Shalott,” “Sir Galahad,” and “Merlin and the Gleam”; William Morris, “The Defence of Guenevere” and “King Arthur’s Tomb”; Algernon Charles Swinburne, “The Day Before the Trial” and “Lancelot”; Matthew Arnold, “Tristram and Iseult”; Mrs T. K. Hervey, from The Feasts of Camelot; J[oseph] Comyns Carr, King Arthur: A Drama in a Prologue and Four Acts; James Russell Lowell, “The Vision of Sir Launfal”; Nathaniel Hawthorne, “The Antique Ring”; Katrina Trask, “Kathanal”; Howard Pyle, from The Story of King Arthur and his Knights; Sara Teasdale, “Guenevere”; Edwin Arlington Robinson, “Merlin”; John Masefield, “Gwenivere Tells” and “The Death of Lancelot as Told by Gwenivere”; Charles Williams, “Mount Badon” and “The Coming of Galahad”; Richard Purdy Wilbur, “Merlin Enthralled”; John Ciardi, “Launcelot in Hell”; Thomas Berger, from Arthur Rex; Valerie Nieman Colander, “The Naming of the Lost”; and Wendy M. Mnookin, “Guenever Speaks.” See individual entries throughout this bibliography.

A-1503 Lupack, Alan, and Barbara Tepa Lupack, ed. King Arthur and his Knights. A special issue of The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987). A special double issue of The Round Table, offering an anthology of short stories and poems. Contents: “A Question of the Grail” and “The Turning,” by Colleen Anderson; “Artorius, Rex Invictus,” by Marian Boyle; “The Naturopath,” by Marie Cartier; “Guenevere Grown Old,” by Ellen Cooney; “The Lady of the Lake Goes to Paris to Get Away from It All,” by Mary Demetrick; “King Arthur’s Eyes,” by Maryellen Doughty; “Creator,” by Jennifer Footman; “The Death of Arthur: A Requiem for Six Voices,” by Keller Cushing Freeman; “Sir Mador Seeks the Grail,” by David Gareth; “My Lady of the Lake,” by John Grey; “Discrepancy,” by Maria Jacobs; “The Magician,” by Joan LaBombard; “Avalon,” by Norris Lacy; “The Story of Grisandole” and “The Perilous Bed,” by John Matthews; “Guenever Speaks,” by Wendy M. Mnookin; “He Rides Out,” by Patricia Nesbitt; “Morgan’s Lament,” by Janet P. Reedman; “Merlin,” by Ann K. Schwader; “Colors: 1964,” by Hollis Rowan Seamon; “Pendragon in Eden,” “Time of the Goatstar” and “Tintagel: Uther and Arthur Meet in Merlin’s Dwelling,” by Steve Sneyd. The volume is illustrated with reproductions of Arthurian book illustrations by Louis Rhead, Howard Pyle, Florence Harrison, and Aubrey Beardsley.

A-1504 Lupack, Alan, and Barbara Tepa Lupack, ed. King Arthur and his Knights II. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989). A special issue of The Round Table, offering an anthology of short stories and poems. Contents: “The Naming of the Lost,” by Valerie Nieman Colander; “Merlin,” by Phillip C. Boardman; “The Testing of Cadog,” by Richard Loomis; “Guenever Plots Against Elaine,” by Wendy M. Mnookin; “Guenever Views the Corpse of Elaine,” by Wendy M. Mnookin; “Lancelot,” by Barbara Goldowsky; “The Grievous Stroke,” Douglas Carmichael; “Parsival’s Remorse,” by Colleen Anderson; “Prelude to the Quest,” by David Gareth; “King Arthur was a Mountie,” by Gary Barwin; “Two Arthurs,” by John Grey; “The Cat and Uther Pendragon,” by Juanita Havill; “Guinevere, the Nun,” by Sarah Singer; “Elegy for Camelot,” by Jean Lunn; “The End of the Quest,” by Laurence Snydal.

A-1505 Lupack, Barbara Tepa, and Alan Lupack, ed. An Arthurian Miscellany. Rochester, NY: Round Table Publications, 1998. A small collection of poetry. Contents: Myrna Jackson, “Lancelot Interrupts the Performance”;

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Melissa Johnson, “Lancelot Dreaming in the Wild,” “Arthur Dreaming in the Castle Hall” and “Guinevere Dreaming, Alone in Bed”; Susan Landgraf, “Tree Temple”; Fred Stedman-Jones, “Camlann”; Edgar A. Tooke, “Seekers of the Real (?) King Arthur”; Karen Vincent, “The Keeper”; and Holly Webb, “Carmen Sine Nomine.” See individual entries.

A-1506 Lupack, Barbara Tepa, and Alan Lupack, ed. A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Rochester, NY: Round Table Publications, 1993. The verso of the title-page indicates that this “takes the place of vol. 7 of The Round Table: A Journal of Poetry and Fiction.” Contents (see individual entries throughout this bibliography): Pauline J. Alama, “Muirgan, the ‘Sea-Born’”; Carol J. Bostock, “Pendragon”; Louis Daniel Brodsky, “Visitation Rights”; Pamela Constantine, “Conjuration” and “The Land is Empty Now”; Tony Cosier, “The Plow”; Bill Cowee, “Needlepoint”; Jim Dietz, “Excalibur”; Julie B. Flood, “Merlin”; David Gareth, “Lament for Merlin”; Peter T. Garratt, “The Battle Song of Artor the War Leader”; Eric Machan Howd, “Proud Whispers of the Air”; Eileen Kernaghan, “The Chalice Well, Glastonbury”; Barbara Lucas, “Lancelot’s Farewell” and “Guinevere’s Farewell”; R. E. Miller, “Against Time”; Steve Sneyd, “A Time of Buried Questioning”; Genevieve Stephens, “The Dark Tower”; Robert Stutts, “Passant d’Arthur” and “Fáth Mo Dhuilichinn”; Sarah Tolmie, “The Story of the Meeting of Cuculainn and Arthur”; Gail White, “The Testament of Guinevach”; and Kay Newburger Wisniewski, “Percivale.” The volume also contains illustrations by Simon Rouse, Cathy Buburuz and Margaret B. Simon, and Scott Thomas.

A-1507 Lustbader, Eric. “Lassorio.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 29–46. The title character is a warlord who takes control of Camelot exactly one hundred years after Arthur’s death. One day while hunting he encounters Merlin, Excalibur, and Avalon.

A-1508 Lyderson, Pat. The Knights of the Rad Table. Denver, CO: Pioneer Drama Service, 1994. (*) A play. Two characters (Gwen and Artie) end up in Camelot with the help of Merlin. (Information from OCLC WorldCat entry.)

A-1509 Lyderson, Pat. King Artie and the Knights of the Rad Table. Music by Wendy Woolf. Englewood, CO: Pioneer Drama Service, 1997. (*) We are not sure if this is a musical version of The Knights of the Rad Table or a musical sequel to it. (Information from OCLC WorldCat entry.)

A-1510 Lyle, Walter. Badon Mountain: A Narrative Poem in the English Tradition. London: Mitre Press, 1969. A poem divided into six parts, written in Spenserian stanzas. Lyle begins with the familiar Trojan connection to Britain, and many figures from Classical mythology oversee the action. The battle of Badon is a battle of Aurelian against Saxons led by Hengist.

A-1511 Lyman, Dean Belden, Jr. “To Launcelot and the Rest.” The Last Lutanist and Other Poems. New Haven: Yale University Press, 1923. 20–21. The speaker compares himself to famous lovers, such as Lancelot, Tristan, or Pelleas. His comparison emphasizes the way these lovers must continually win the love of the woman in question (Guenevere, in particular, is mentioned).

A-1512 Lytton, Edward Bulwer Lytton, Baron (1803–1873). “The Fairy Bride: A Tale.” Poetical and Dramatic Works. 5 vols. London: Chapman and Hall, 1852–1854. (*) This story is said to be loosely related to the medieval romance of “Lanval.”

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A-1513 Lytton, Edward Bulwer Lytton, Baron (1803–1873). King Arthur: An Epic Poem. London: Henry Colburn, 1848. Rptd: 2nd edn. London: Henry Colburn, 1849. – Poetical and Dramatic Works. 5 vols. London: Chapman and Hall, 1852–1854. Vols. 2 and 3. This Arthurian epic was composed in the 1820s, but first published (anonymously) twenty years later (the second edition, one year after the first, included the author’s name). While the overall structure of the story is a traditional one of the resistance of the (Christian) Cymrians against the invading (Pagan) Saxons, and while the chivalric backdrop is borrowed from Malory, the narrative is an original one, in which Arthur sets out from his castle Carduel in order to perform the Three Labours (with the aid of his closest companions, Caradoc, Gawaine, and Lancelot, and under the instruction of Merlin), and the final encounter with the Saxons is not a battle on Mount Badon but a confrontation in a “heathen” temple over a demand for a (Christian) human sacrifice. Bulwer Lytton avoids the adultery theme and the rift between Arthur and Lancelot by “splitting” the character of Guenevere: Arthur is married to Genevieve while Lancelot is happily married to one Genevra. (For a painting based on a scene from the work, see the entry in the Fine Art section for “Martin, John: King Arthur and Ægle in the Happy Valley.”)

A-1514 Lytton, Edward Bulwer Lytton, Baron (1803–1873). “The Rats and the Mice; A Fable, of the Days of King Arthur, Addressed to His Grace the Duke of Wellington.” The Siamese Twins: A Satirical Tale of the Times, With Other Poems. London: Henry Colburn and Richard Bentley, 1831. 379–84. A satirical poem, in heroic couplets, telling of how the rats and mice once were allies in battles against cats, but now the House of Mice and Senate of Rats are struggling with one another over issues of cheese. There is nothing Arthurian here beyond the reference to Arthur in the title.

Lytton, Edward Robert Bulwer Lytton, Earl of (1831–1891): see Meredith, Owen. A-1515 MacBride, Melchior [pseud.], [i.e., John Purcell Quinton]. The Story of Glastonbury and the Grail; or, The Light of Avalon: A Mystery Play Concerning the Introduction of Christianity to England by Joseph of Arimathea. London: Hunter and Longhurst, 1909. A five-act “Shakespearean” play, in blank verse, telling the story of Joseph of Arimathea in Glastonbury / Avalon, and the establishment there of the first Christian church. Joseph is accompanied by Martha, Mary, and Lazarus, among others, and Saints Peter and Paul appear near the end to help establish the church. The Christians meet little resistance in converting the British, since in the course of the play it is determined that Christian lore and Druidic lore are essentially the same; indeed, we are told that all the ancient wisdom of the Greeks was learned by them from the Celts (who were with the Greeks at Troy, and who also taught Virgil to look for the Prince of Peace, as expressed in his fourth Eclogue), and that the British were given clear prophecies of the coming of Christ. The three Magi were British chieftains, and Joseph returns to them some of the tokens which they had left with the Christ child, including two coins and a glass bowl; the bowl is, by Christ’s command, buried at the foot of Glastonbury Tor, from which a spring wells up. One of the chieftains, Arviragus, refers to himself as the Fisher King, and he goes off in the central portion of the play to parley with the Romans, who are posed on the Normandy shore and ready to invade; also in the council of British chieftains is Boadicea.

A-1516 Maccarone, Grace. The Sword in the Stone. Hello Reader! Level 2 (Kindergarten-Grade 2). Illus. Joe Boddy. New York, Toronto, London, Auckland, and Sydney: Carwheel Books / Scholastic, 1992. A retelling of the “sword in the stone” episode for beginning readers. In a land without a king, the grown men fight and the young boys (including Arthur) hide; Merlin causes a sword embedded in a stone to appear, but none of the grown men can pull it out. One day Arthur helps an old

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knight to look for his missing sword, and removes the sword from the stone to offer to him; with the true king thus revealed, the old knight reveals himself to be Merlin in disguise.

A-1517 MacCormac, John. “The Enchanted Weekend.” Unknown (or Street and Smith’s Unknown) 2.2 (Oct. 1939): 115ff. Rptd: From Unknown Worlds. Ed. John W. Campbell, Jr. Illus. Edd Cartier. New York: Street and Smith, 1948. 4–27. An American historian, James Fielden, comes to a Cornish castle to consult manuscripts in the library, hoping to find information on Arthur and Merlin; his weekend there coincides with a gathering of friends for a fox hunt, so the story is something of a drawing room farce centred on the American historian meeting the English country set. He is smitten by the daughter of the house, named Niniane, but realizes that he has few abilities which would impress her. The Arthurian aspects of the plot, however, centre upon a large rock situated in the castle’s library and an ancient empty chest. In a secret compartment in the chest the historian discovers the words of a spell in ancient Welsh, casting someone into a sleep within a rock; the historian reads the spell backwards, and the rock across the room bursts and Merlin stands before him. Merlin is anxious to rush away to meet a Yogi with whom he has been telepathically communicating, but he gives the historian answers to his historical questions about Arthur (and confirms that the family in the castle are the descendants of Merlin and the original Niniane), and gives him two charms; one is in the form of a ring, which will allow the historian to win in any sports in which he competes, and the other is a spell to make any woman fall in love with him. The bulk of the story, then, tells of how he uses the ring through the course of the weekend, but without the desired results: he is brilliant at bridge, but his partners believe that he has cheated; he beats the professional tennis player, but wounds him with a serve; similarly, the golf pro with whom he plays ends up in hospital; and when he joins the fox hunt, he rescues the fox and his horse wounds several of the dogs. Thus, though he is “winning,” he still seems rather silly. Nevertheless, as he is attempting to slip quietly away, he is confronted by the young Niniane, and learns that she has fallen in love with him even though he has not used the love charm. There are three illustrations to the story (in the 1948 anthology), including one (p. 4) which shows Merlin.

A-1518 MacDonald, George. Phantastes: A Faerie Romance for Men and Women. London: Smith, Elder, and Co., 1858. Rptd: Frequently reprinted, including Illus. Arthur Hughes. London: Arthur C. Fifield, 1905. – Illus. Arthur Hughes. Whitethorn, CA: Johannesen, 1994. – Everyman’s Library 732. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1915. – Phantastes and Lilith. Intro. C. S. Lewis. London: Victor Gollancz, 1962. In Chap. 3, the narrator reads a portion of a book of “wondrous tales of Fairy Land,” and quotes a short passage concerning the meeting of Sir Galahad and Sir Percivale. Arthur Hughes provided thirty-three illustrations for the text, including a frontispiece showing the meeting of the two knights (on the Hughes illustrations, see the entry under “Hughes, Arthur: Phantastes” in the Fine Art section). There is also an audiobook of the novel (unabridged), read by Nadia May (6 audio cassettes, ca. 9 hours; Ashland, OR: Blackstone Audio Books, 1987; catalogue no. 1128).

A-1519 MacDonald, George. “The Sangreal: A Part of the Story Omitted in the Old Romances.” Illus. H. J. Lucas. Good Words 4 (1863): 454–55. Rptd: The Poetical Works of George MacDonald. 2 vols. London: Chatto and Windus, 1893. 2: 65–72. A poem, of 180 lines in ballad measure, divided into six separately titled parts, telling a story of Galahad’s spiritual development from a state of despair to a state of possessing a grail within his heart. The poem was accompanied by an engraved plate, showing an armed knight kneeling in prayer among the underbrush beside a tree.

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A-1520 Macdonald, James D., and Debra Doyle. “Holly and Ivy.” In Camelot. Ed. Jane Yolen. Illus. Winslow Pels. New York: Philomel Books, 1995. 125–35. Gawain, Dynadan, Lancelot and Kay come up with a “marvel” to begin one of Arthur’s feasts in this rewriting of the beginning of Sir Gawain and the Green Knight. (See also the entry under “Doyle, Debra.”)

A-1521 Macgregor, Mary. Stories of King Arthur’s Knights. Illus. Katharine Cameron. Told to the Children 2. Edinburgh: T. C. and E. C. Jack, [1905]. Rptd: Illus. Morgan Rendle and Walter Crane. Nelson’s Standard Bumper Books. London: Thomas Nelson, [1930]. – Illus. C. Walter Hodges. Edinburgh: Thomas Nelson, [1939]. The stories that are told are “Geraint and Enid,” “Lancelot and Elaine” (i.e., Elaine of Astolat), “Pelleas and Ettarde,” “Gareth and Lynette,” “Sir Galahad and the Sacred Cup,” “The Death of King Arthur.” There are eight full-page colour illustrations by Cameron in the 1905 edition. MacGregor, Rob: see Indiana Jones and the Last Crusade and Indiana Jones and the Dance of the Giants in Literature section.

A-1522 Machen, Arthur. The Great Return. London: Faith Press, 1915. Rptd: The Caerleon Edition of the Works of Arthur Machen. 9 vols. London: Secker, [1923]. Vol. 7. The narrator of this novel goes back to Wales to discover the truth behind the rumours of strange occurrences. The “return” in question is that of the Grail; several miraculous events testify to its presence. Machen draws on Welsh traditions about the Grail, but he also mentions Tennyson because of the popularity of his poems.

A-1523 Machen, Arthur. “Many-Tower’d Camelot.” T. P.’s Weekly 13 (2 Apr. 1909): 431–33. Rptd: “Guinevere and Lancelot.” Notes and Queries. London: Spurr and Swift, 1926. 1–18. – Guinevere and Lancelot and Others. Illus. Stephen Fabian. Ed. Michael T. Shoemaker and Cuyler W. Brooks, Jr. Newport News, VA: The Purple Mouth Press, 1986. 7–15. – “Guinevere and Lancelot.” An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: The Aquarian Press, 1989. 283–91. In this version, Guinevere uses sorcery to force Lancelot to love her.

A-1524 Machen, Arthur. The Secret Glory. London: Secker; New York: Alfred A. Knopf, 1922. Rptd: Vol. 4 of the “Caerleon Edition.” London: Secker, [1923]. Set in twentieth-century England, this is the novel of a young man, the last Keeper of the Grail. Most of the novel is concerned with his days at a boarding school with his uncle; the “secret glory” of the title is his consciousness of the wonder of the world of which no one else seems to be aware. The young man, Ambrose, is Welsh, and translated excerpts from Taliesin’s poetry are used throughout the novel; some of these include references to Arthur. Besides the Grail, there are allusions to Avalon and the Wasteland.

A-1525 MacIntyre, F. Gwynplaine. “Reliquary.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 307–23. This short story tells of Bors’ last days in a monastery and the young postulant who tries to trick the ancient monk into revealing the secret wealth of Camelot and the Grail.

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A-1526 MacKinstry, Elizabeth. “Merlin.” Puck in Pasture. Garden City, NY: Doubleday, 1925. 61–67. (*) A poem.

A-1527 Maclehose, Sophia H. Tales from Spenser, Chosen from the Faerie Queene. New York: Macmillan, 1890. Rptd: London: T. Fisher Unwin, 1909. A retelling of stories from Spenser’s Faerie Queene, for children.

A-1528 MacLeish, A[rchibald] Fleming. The Destroyers. The Living Drama Series. New York: John Day Co., 1942. A three-act play, in blank verse and prose, conflating Arthur’s battle with the rebel kings and the Battle of Camlann, with a theme of the strength of destiny and the futility of human action. The setting is Roman Britain, during the civil wars following the withdrawal of the Legions but prior to the coming of the Germanic tribes; the focus is upon the disposition of Arthur’s army, and the principal characters are given modern military designations. Act 1 presents the gathering of intelligence (primarily by Howell and Merlin) and the questioning of suspects; there are also private conversations between Medrawt, one of the leaders of the rebellion, and Ginevra, with whom he is having an affair; he reveals to Ginevra his complicity in the rebellion and the fact that the rebels have been planting misinformation to have Terence, a commander loyal to Arthur, arrested. In another private conversation, Arthur’s sister, Anna (wife of Loth), tells her son Medrawt that he is the son of Arthur, not Loth, but this only makes his hatred of Arthur the greater. In Act 2, Vivian comes to Arthur’s camp bringing a (very modern) medical report on Anna to Merlin, which reveals that Arthur is Medrawt’s father; Howell is ambushed and murdered; Loth joins the rebel army; Medrawt offers to parley with Arthur; Arthur commands Terence’s execution although he has not yet been found guilty, and Merlin argues with him: “You are seeing to it that all your errors shall be fatal” (94). In the parley, Medrawt demands Arthur’s abdication and Arthur demands Medrawt’s surrender; Medrawt reveals to Arthur his incest with Anna. In Act 3, Merlin waits in Arthur’s tent for news; Ginevra, who was found wandering in the vicinity, is brought in, also anxious about Arthur; Gavin comes with news that Arthur is wounded; in a second scene, Ginevra finds Arthur and there is something of a reconciliation, and she then goes to find help; Medrawt then arrives, challenging Arthur to combat; when Arthur refuses to rise, Medrawt pins him with a lance; Arthur pulls himself up and delivers a mortal blow with his sword; Merlin and Ginevra arrive to witness Arthur’s death. The Arthurian Handbook says that it was written as a radio play, but there is no information in the book about the original performance of the play, and no indication that it was originally conceived as a radio drama.

A-1529 MacLeish, Archibald [Fleming]. The Hamlet of A. MacLeish. Boston, MA, and New York: Houghton Mifflin Co., 1928. Rptd: Collected Poems. Boston, MA: Houghton Mifflin Co., 1985. 111–35. Only the third part of this fourteen-part poem is Arthurian. “Bleheris on Quest of Holy Grail” uses several items from Arthurian Grail quests, such as a mysterious boat, a perilous chapel, and visions of Grail and Lance.

A-1530 MacLeish, Roderick. Prince Ombra. New York: Congdon and Weed / St Martin’s, 1982. Rptd: New York: Tor, 1983. The prince of the title is a figure of great evil; in each generation this figure is reborn and must be faced down by a hero. The premise of the novel is that this hero has access to the collective memory and knows all myth and languages from before birth. The little boy who is the hero in the late twentieth century thus “remembers” Arthur’s reign and encounter with Mordred. According to this version, the sword in the stone is a metaphor; what Arthur did was show his people how to make iron. Mordred is Ombra in that generation, and that is significant to the

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present story because the figure of evil seems often to come from the hero in some way. Also significant is the figure of Lucan at the Battle of Camlann; as one of the survivors of the battle, he is the “rememberer,” a figure who also appears in this generation.

A-1531 Macleod, Fiona [pseud.], [i.e., William Sharp]. “Beyond the Blue Septentrions: Two Legends of the Polar Stars.” Where The Forest Murmurs: Nature Essays. London: George Newnes; New York: Charles Scribner’s Sons, 1906. 312–26. Rptd: The Silence of Amor: Where the Forest Murmurs. The Writings of “Fiona Macleod” 6. New York: Duffield, 1911. – An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: The Aquarian Press, 1989. 342–48. This work consists of a discussion about the polar stars and the Arthurian legend; during the first section, characters like Arthur, Guenevere, Lancelot, Taliesin, Merlin, and Mordred are mentioned, as well as various legends that associate them with different places. The next two sections are rewritings of legends about the polar stars. In the first of these, Arthur as a boy has a dream where he ascends to these stars and finds the constellations are actually kings, with himself as the leader; when he returns he founds an order of companion knights.

A-1532 Macleod, Fiona [pseud.], [i.e., William Sharp]. “The Last Fay.” The Hour of Beauty: Songs and Poems. Old World Series. Portland, ME: Thomas B. Mosher, 1907. 21–22. Limited edition of 925 copies. A poem in three stanzas of 12, 16 and 16 lines, rhymed ababcdcdefef. . . . The “last fay” seeks its creator, Merlin, in order to find “sleep and rest and peace” (12); Merlin, however, “lies asleep / Hidden in some forgotten spot” (13–14), leaving the fay to wander. Eventually, however, Merlin will rise to be king of the fays: “Merlin shall rise our lord and king, / To leave for aye the tribes of Man, / And let the clarion summons ring / The kingdom of the Immortal Clan” (33–36).

A-1533 Macleod, Fiona [pseud.], [i.e., William Sharp]. “The Love Song of Drostan.” From the Hills of Dream: Threnodies, Songs and Later Poems. Edinburgh: Geddes and Colleagues, 1897. 54–56. Rptd: London: Heinemann, 1907. – The Hour of Beauty: Songs and Poems. Old World Series. Portland, ME: Thomas B. Mosher, 1907. 63–64. “From Drostan and Yseul, an unfinished drama.” A twenty-line poem, in blank verse, in which Drostan, at the moment of taking the love potion, calls on Oengus, son of Aed and Dana, to fill them with “the white flame of love.”

A-1534 Macleod, Mary [Mary Macleod Banks]. The Book of King Arthur and his Noble Knights: Stories from Sir Thomas Malory’s “Morte Darthur.” Illus. A[rthur] G[eorge] Walker. Intro. John W. Hales. London: Wells Gardner, Darton, and Co.; New York: E. and J. B. Young, 1900. Rptd: Frequently reprinted, sometimes with title changed to King Arthur and his Knights. The story was also serialized in Sunday: Readings for the Young 28–33 (1901–1906). An adaptation of Malory for a young audience. For the several sets of illustrations, see the entries in the Fine Art section under “Davenport, Basil”; “Davis, J. Watson”; “Dobkin, Alexander”; “Levit, Herschel”; “Pitz, Henry C.”; “Pyle, Howard: King Arthur and his Knights”; “Walker, A. G.: Book of King Arthur”).

A-1535 MacNeil, Mary. “Too Late.” Acadia Athenaeum 58.6 (Apr. 1932): 17–21. This one-act play follows Tennyson closely, though the lines are prose, not poetry. The only char-

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acters are the queen, Arthur, and two members of the convent where the queen is hiding. By the end she realizes her love for Arthur, but he has already left for the field of battle.

A-1536 Macpherson, Jay. “The Old Enchanter.” The Boatman. Toronto: Oxford University Press, 1957. 39. This three-stanza poem describes Merlin, sleeping because of Nimue’s charms, dreaming of “Arthur and the rest.”

A-1537 MacVean, Jean. “Dance of Morgan le Fay.” In New Poems 1977–78: A P.E.N. Anthology of Contemporary Poetry. Ed. Gavin Ewart. London: Hutchinson, 1977. (*) A poem.

A-1538 MacVean, Jean. The Intermediaries. London: Victor Gollancz, 1965. Author’s Note: “The Intermediaries is based on the legend of Tristan and Isolde as told by the thirteenth century poet Gottfried von Strassburg, the last section being based mainly on Thomas’ Tristran. The story is re-created in modern terms. The lovers suffer and experience in the twentieth century.” Sir Mark Holmesley, chair of a car manufacturing company, marries a young Irish woman named Isobel, who works in the Dublin airport, and they settle in London. While Mark is away on a business trip in America, Mark’s nephew, Charles, spends two evenings with Isobel drinking a special golden liqueur, provided by Isobel’s friend Blanche, and they soon find themselves in a love affair. Upon his return, Mark is told of the affair by two “third parties”; he discovers the truth of the stories when he uses a key to enter Charles’ apartment and finds the lovers in bed asleep (he leaves the key on the bed). When Isobel declares that she must return to Mark, Charles, who works for the War Office, accepts an assignment to a secret mission (to discover details of a reported nuclear missile site in Hungary). While waiting in Vienna for the mission to commence, Charles meets and marries the sister of Conrad Untermeyer, his American counterpart; this sister’s name is also Isobel, and she is said to have remarkably white hands. The Hungarian mission is successful, but Conrad and Charles are nearly captured while recrossing the frontier into Austria, and Charles is shot; Conrad sends a letter to Lady Isobel Holmesley, telling her that Charles is dying and asks her to come to Vienna. When she arrives, Charles’ wife does not open the door to her, but tells Charles that Lady Isobel has not come, so he dies before Lady Isobel sees him. The final pages are a letter from Lady Isobel to Sir Mark, informing him of these events in Vienna, and indicating her intention to commit suicide and to join Charles “in eternity.”

A-1539 Madams, H[arvey] H. Dark Encounter: A Narrative Concerning Arthur and the Witch of Kernick. Illus. Rob Johnson. Bodmin, Cornwall: Fairhaven Publications, 1980. A narrative poem portraying Arthur as a Celtic chieftain of Cornwall. It is set in the fifth century, and its main story involves Arthur’s meeting with a witch.

A-1540 Maguire, Gregory. “Builder of Keeps.” In Camelot Fantastic. Ed. Lawrence Schimel and Martin H. Greenberg. New York: DAW Books, 1998. 206–43. A crippled builder finds himself lost in a strange mist on a promontory of land. He is joined by two strange beings, Merlin and Morgana. Eventually, they give him his hands back so that he may build Camelot for the Legend to come of the House of Pendragon. Merlin and Morgana are comic, supernatural beings, so the story blends comedy and mysticism.

A-1541 Malamud, Bernard. The Natural. New York: Farrar, Straus and Giroux, 1952. This novel about a baseball player with dreams of being the best player in the game alludes to the Arthurian legend in various ways. Roy Hobbs eventually plays for the New York Knights; their coach is “Pop” Fisher who feels, because of an incident in his past, that he is jinxed, and the poor performance of the team supports this belief (they are, one might say, in the Wasteland of the standings). Roy, therefore, can be seen as an Arthur-figure, as with his almost magical bat

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“Wonderboy” he brings the team together to be more successful; he can also be seen as Perceval-like, trying to “cure” the Fisher-King figure.

A-1542 Malcolm, Arthur [pseud.], [i.e., Henry Meade Williams]. King Arthur and his Knights of the Round Table. Sears Juvenile Classics. New York: J. H. Sears, [1928]. (*) Rptd: Illus. Margaret Malpass Geiszel. Sears Illustrated Juveniles. New York: J. H. Sears, [1928]. A retelling of Malory for children, published in two formats (with and without illustrations). (Information from Gaines, Item C47.)

A-1543 Malden, Joy. “Glastonbury Flowers.” Poetry Review 17.3 (May-June 1926): 160. A poem in four six-line stanzas, expressing the idea that, although Arthur, Guinevere, and Joseph are gone, and Avalon is hidden, still there are true believers and pilgrims who seek Avalon.

A-1544 Mallet, David. “Tyburn: To the Marine Society.” The Poetical Works of David Mallet, With the Life of the Author. The Poets of Great Britain Complete from Chaucer to Churchill: Bell’s Edition. Ed. John Bell. Edinburgh: [Printed] at the Apollo Press, by the Martins, 1780. 134–146. [ESTC T139883.] A poem, of 334 lines in couplets, composed in 1762, in praise of a benevolent society; first line: “It has been (all examples show it).” Most of the poem is spoken by “Tyburn tree,” the public gallows, which complains that, by the work of the Marine Society, it is being denied rogues for hanging. Towards the end of the poem is an Arthurian reference: “send me . . . / . . . Arthur’s knights . . . / Not those of old renown’d in fable, / Nor of the Round but gaming table / Who ev’ry night, the waiters say, / Break ev’ry law they make by day . . .” (ll. 313–320).

A-1545 Mallett, Katie. “Parsifal.” In How to Be Tremendously Tuned in to Opera. Ed. E. O. Parrott. Illus. Sue Shields. London: Viking / Penguin, 1989. 145–46. A short poem summarizing the opera of the same name.

A-1546 Mallory, James. Merlin. 3 vols. New York: Warner Books; London: Voyager, 1999–2000. This novelization of the TV film of the same name (see the entry for “Merlin” (1998) in the “Film, Television, and Radio” section) is divided into three books. Part 1: The Old Magic begins with Mab as she encourages Vortigern to usurp the throne, details Merlin’s birth and childhood, and takes the story up to the point where Merlin is summoned by Vortigern. Mab wants to return the kingdom to worship of her as opposed to Christianity; this conflict between pagan and Christian shapes the entire story. Part 2: The King’s Wizard includes Merlin’s encounter with Vortigern, his meeting and falling in love with Nimue (here a mutual affection), and the beginning of Arthur’s reign. Many events of that reign are covered, from Arthur’s being made king to the quest for the Grail, here a quest that Arthur himself undertakes, leaving his kingdom to be ruled by Guenevere, Lancelot, and Merlin. Part 3: The End of Magic concludes the story with the fall of Camelot, Arthur’s death, Mab’s defeat, and Merlin’s eventual reunion with Nimue.

Malory, Sir Thomas: Malory’s Morte Darthur is outside the scope of this bibliography, but for modern versions of Malory, see the entries for Donaldson, John W.; and Lanier, Sidney: The Boy’s King Arthur. Also, for modern illustrations to, and art works based upon, Malory, see the entries in the Fine Art section under Alexander, Ann D.; Arthurian Tales; Arno, Enrico; Bawden, Edward; Beardsley, Aubrey; Birch, Reginald; Birmingham School of Printing; Clarke, Graham; Connick, Charles J.; Craig, William Marshall; Donaldson, Catherine; Doré, Gustave: The Story of Elaine; Ferguson, Anna-Marie; Flint, W[illiam] Russell; Galsworthy, Gay; Gere, Charles, and Margaret Gere; Gibbings, Robert; Hassall, Joan; Kappes, Alfred; Malory, Thomas; Pailthorpe, Doris; Postage stamps, UK, 1985; Rackham, Arthur; Rado, Anthony; Sandford, Lettice; Schaeffer, Mead, and John R. Neill; Stratton, Helen; Thomson, Rodney; Urquhart, Helen; Uwins, Thomas; Wheelwright, Rowland; and Wyeth, N[ewell] C[onvers].

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A-1547 Manning, Frederic. “Tristram.” Poems. London: John Murray, 1910. 14–15. A poem of fourteen lines, comprising seven rhyming couplets. The speaker of the poem is Tristan, who complains of his loneliness and his desire to be with his love.

A-1548 Manning, Rosemary. Dragon in Danger. Illus. Constance Marshall. Garden City, NY: Doubleday and Co., 1959. Rptd: Harmondsworth: Kestrel Books / Penguin Books, 1972. This children’s fantasy is a sequel to Green Smoke. In this installment, Sue takes Dragon home with her for a visit, and they run into unscrupulous men who wish to exploit the dragon’s tourist potential. The dragon claims to have spent time at King Arthur’s court and mentions Camelot and tournaments; his actual connection to Arthur is not revealed until The Dragon’s Quest.

A-1549 Manning, Rosemary. Dragon in the Harmondsworth: Kestrel Books / Penguin, 1980.

Harbour.

Illus. Peter

Rush.

R. Dragon goes on vacation in Weymouth harbour, making new friends, meeting some old friends (characters from Dragon in Danger), and getting involved in a mystery. He makes numerous references to the time he spent at King Arthur’s court, and compares people and events to those he remembers from that time. He also gives copies of The Dragon’s Quest to people.

A-1550 Manning, Rosemary. The Dragon’s Quest. Illus. Constance Marshall. London: Constable, 1961. This children’s fantasy novel weaves the story of Gareth with the story of a dragon. The dragon comes from Cornwall with Guenevere and the Round Table when Guenevere marries Arthur. The wicked Morgan poisons Arthur’s mind against the dragon, who ends up serving for a year in the kitchens to prove his harmlessness. There he meets the unknown kitchen boy. When the two are freed from kitchen duty, each undertakes a different quest, but their paths continue to cross. This story is framed by another story, of a contemporary girl named Susan who knows the dragon and finds the book telling this tale in his cave. A couple of the Arthurian characters are given non-traditional relationships to Arthur: Kay is Arthur’s uncle, and Morgan, while Arthur’s half-sister, is Leodegrance’s daughter.

A-1551 Manning, Rosemary. Green Smoke. Illus. Constance Marshall. London: Constable and Co., 1957. Rptd: Harmondsworth: Puffin Books / Penguin Books, 1967. In this children’s novel, a young girl, Sue, on holiday in Cornwall, is entertained and shown the local sights by an ancient and friendly dragon. The dragon claims to have personal knowledge of Arthur and his court; Tintagel and the pool in which Excalibur lies are among the places visited.

A-1552 Marigold, David. Lancelot and Elaine: A Lost Love. Myths and Legends 3. London: John Murray, 1983. This retelling of Galahad’s conception imagines Arthur as a crafty king attempting to tame and control rowdy knights. He sends Lancelot to Corbenic, planning with Pelleas a way to shame Lancelot so that he would be forced to stay away from the Queen. Elaine helps Lancelot avoid this shame, but before they can acknowledge their love for one another, Guenevere intervenes, Lancelot goes mad, and Elaine dies after giving birth to Galahad.

A-1553 Markiewicz, Michael. “Merlin’s Knight School.” In Bruce Coville’s Book of Monsters: Tales to Give You the Creeps. Ed. Bruce Coville. Illus. John Pierard. New York: Scholastic, 1993. 40–54. Kay tells this story about an adventure he and the young Arthur have when they find a monster while exploring Merlin’s house.

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A-1554 Marks, Alan. Childe Roland. Illus. Alan Marks. Folk-Tales of the World. London: Blackie, 1988. (*) A picture-book, retelling the story of Childe Roland, son of King Arthur, from the traditional ballad.

A-1555 Marquis, Don[ald] [Robert Perry]. “King O’Meara and Queen Guinevere” (Part 1). Illus. W. H. D. Koerner. Saturday Evening Post (New York) 202.37 (15 Mar. 1930): 6–7, 146, 149, 152, 154, 156; “King O’Meara and Queen Guinevere” (Part 2). Illus. W. H. D. Koerner. Saturday Evening Post (New York) 202.38 (22 Mar. 1930): 22–23, 110, 114, 119, 121. The frame of this story is a young man listening to his father tell stories of their ancestors; the father becomes enraged over the suggestion that Arthur was English (he was Irish, of course), and tells the story of their own ancestor (the King O’Meara of the title). King O’Meara joins up with Arthur to help him with strategy against the Saxons; he is also supposed to help with Arthur’s “domestic” troubles (the love of Lancelot and Guenevere), but O’Meara ends up with Guenevere after Arthur and Lancelot, out of honour, duel and kill each other. Mordred is the villain who would try and trap O’Meara and Guenevere, but O’Meara is too quick-witted for him.

A-1556 Marquis, Don[ald] [Robert Perry]. “Lancelot and Guinevere.” Sonnets to a Red-Haired Lady and Famous Love Affairs. Illus. Stuart Hay. Garden City, NY: Doubleday, Page and Co., 1922. 122–25. This satirical poem imagines a morose Lancelot and an overweight queen loving in spite of themselves. First line: “King Arthur was a steady king.”

A-1557 Marquis, Don[ald] [Robert Perry]. Out of the Sea: A Play in Four Acts. Garden City, NY: Doubleday, Page and Co., 1927. A play set in twentieth-century Cornwall, where a young American falls in love with a married woman. Her husband, Mark, is very cruel, and the characters are aware of the Tristan-Iseult love triangle that they seem to be re-enacting.

A-1558 Marquis, Don[ald] [Robert Perry]. “Tristram and Isolt.” Sonnets to a Red-Haired Lady and Famous Love Affairs. Illus. Stuart Hay. Garden City, NY: Doubleday, Page and Co., 1922. 73–80. Rptd: The Home Book of Modern Verse. Ed. Burton Egbert Stevenson. New York: Henry Holt and Co., 1925. 451–53. This satirical poem reduces the love affair to an ill-timed meeting at a window; a vengeful Mark shuts the window on the lovers’ heads.

A-1559 “The Marriage of Sir Gawaine.” In Reliques of Ancient English Poetry, Consisting of Old Heroic Ballads, Songs, and Other Pieces of our Earlier Poets, together with some few of later date. Ed. Thomas Percy. 3 vols. 4th edn. London: Printed by John Nichols, for F. and C. Rivington, 1794. 3: 350–58. [ESTC T81998.] Rptd: In Syr Gawayne: A Collection of Ancient Romance-Poems, by Scotish [sic] and English Authors, Relating to that Celebrated Knight of the Round Table; With an Introduction, Notes, and a Glossary. Ed. Frederic Madden. Bannatyne Club Publications 61. London: Printed by R. and J. E. Taylor, 1839. 288–97. – Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. 1: 103–18. – The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. 1: 59–66.

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– The Legendary Ballads of England and Scotland. Ed. John S. Roberts. Illus. Walter Crane [?]. The Chandos Poets. London: Frederick Warne and Co.; New York: Scribner, Welford and Co., 1868. 63–72. – The English and Scottish Popular Ballads. Ed. Francis James Child. 5 vols. Boston, MA, and New York: Houghton, Mifflin and Co., 1883–1898. 1: 288–96 (frequently reprinted). – The Oxford Book of Ballads. Ed. Arthur Quiller-Couch. Oxford: Oxford University Press, 1910. 88–98. – Sir Gawain: Eleven Romances and Tales. Ed. Thomas Hahn. Middle English Texts. Kalamazoo, MI: Published for TEAMS in Association with the University of Rochester by Medieval Institute Publications, Western Michigan University, 1995. 359–71. – The Traditional Tunes of the Child Ballads, with their Texts, According to the Extant Records of Great Britain and America. Ed. Bertrand Harris Bronson. 4 vols. Princeton, NJ: Princeton University Press, 1959–1972. 1: 317–18. A traditional ballad (Child no. 31; first line: “Kinge Arthur liues in merry Carleile / And seemely is to see”), based upon the medieval romance of The Wedding of Sir Gawain and Dame Ragnell, and first printed in Percy’s Reliques from Percy’s Folio manuscript (now British Library MS Add. 27879); it appears in a portion of the manuscript which was badly damaged (half pages, with which to start fires, torn out before Percy rescued the manuscript) resulting in the loss of approximately half the text. The text is very fragmentary; there are many stanzas missing or incomplete. The tale told is that of the loathly lady who rescues King Arthur from his fate by answering the question of what women most desire. Percy believed that the poem was quite early, and that it “furnished that bard [Chaucer] with his Wife of Bath’s Tale”; it is quite unlikely, however, that this ballad predates Chaucer, and it is more likely to be of the sixteenth century. See the entry under “Percy, Thomas: The Marriage of Sir Gawaine” for Percy’s attempt to reconstruct the fragmentary poem. John Seally wrote a short opera based on the ballad; see “Seally, John; Marriage of Sir Gawaine” in the Music section.

A-1560 Marshall, Edison. The Pagan King. Garden City, NY: Doubleday and Co., 1959. Rptd: Cover art by Marc Fishman. Oakland, CA: Green Knight Publishing, 2001. This novel of his reign is narrated by Arthur himself.

A-1561 Marshall, Paule. The Fisher King. New York: Scribner, 2000. The protagonist of this novel is a young boy, Sonny, who comes back to Brooklyn from Paris with his guardian, Hattie, for a celebration of his grandfather’s music (his grandfather was a famous jazz musician). Over the course of the novel, the full story of his grandfather’s life emerges, particularly his relationship with Hattie and with his wife, and with their families. Sonny never knew his grandfather, but he has overheard many details about him. He draws castles, inspired by an Arthurian picture-book, so there are brief allusions to the Grail and to Lancelot, and his “signature” is a fully armed knight outside the castle. Near the end of the novel, Sonny reveals to his cousins that he is the knight, and he guards the castles because his grandfather is inside. The imagery thus connects the dead musician grandfather with the wounded Fisher King of Arthurian legend.

A-1562 Marshall, R. M. “The Red Rose Knight.” The Red Rose Knight and Other Tales from an Elizabethan Bookshelf. Illus. Stephen Reid. London: Wells, Gardner, Darton and Co., [1910]. (*) Children’s version.

A-1563 Martin, Constance M. King Arthur and his Knights, from the Story by Sir Thomas Malory. Illus. Gerald Ososki. Riverside Readers. London: Philip and Tacey, [1935]. (*)

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Rptd: Illus. Helen Jacobs. Riverside Series 5. London: Martin’s Press, 1948. – London: Philip and Tacey, 1955. A retelling of episodes from Malory (Gaines, Item C54). (Information from Gaines and OCLC WorldCat.)

A-1564 Martin, Mrs Herbert. Britomart. London: R. Bentley and Son, 1894. (*) A novel set in modern times but with parallels to Spenser.

Martin, Les: see Indiana Jones and the Last Crusade in Literature section. A-1565 Martin, Winona C. The Story of King Arthur, in Twelve Tales. New York: Storytellers, 1915. (*) Orig. serialized in twelve monthly parts in Storytellers’ Magazine 1–2 (July 1913–July 1914). A retelling of Malory for children. (Information from Gaines, Item C34.)

A-1566 Martine-Barnes, Adrienne. The Crystal Sword. New York: Avon Books, 1988. The sequel to The Fire Sword with the same kind of Arthurian references. Although he is a minor character, Arthur king of Albion is once again compared to the legendary King Arthur. There is a very brief reference to the Grail quest as well, when the protagonist, Eleanor’s son Dylan, completes his quest for the crystal sword successfully. Dylan is associated with Dylan-of-the-Waves of the Mabinogion but, as in the first novels, such parallels and Arthurian allusions are not sustained. The series continues with The Rainbow Sword (1988) and The Sea Sword (1989), but as these novels take place in the Middle East and in India and China, the Arthurian allusions become even less significant.

A-1567 Martine-Barnes, Adrienne. The Dragon Rises. New York: Ace Books, 1983. (*) Science fiction novel in which Arthur plays a role.

A-1568 Martine-Barnes, Adrienne. The Fire Sword. New York: Avon Books, 1984. Eleanor, a young twentieth-century woman, is drawn into an alternate thirteenth century in Albion. She is commissioned by St Bridget (actually a goddess) to unite the fire sword with its sheath and to restore the rightful heir to the throne. This heir is Arthur, grandson of Henry and Eleanor of Aquitaine, but he is compared to the legendary King Arthur as well; the sign of the dragon presages his birth, for example. There are references to a couple of other characters from the legend, and the main character has a cup that functions at some points like a Grail, but the Arthurian parallels are not sustained, partly because a number of myths and legends are blended.

A-1569 Masefield, John. “The Aftermath.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 265–67. This poem summarizes events after Uther’s death, including Ban’s marriage to Elaine and the birth of their son Lancelot, the marriage of Merchyon and Helen with the birth of their children Olwen and Marc, and the childhood of Arthur as he is raised by Kol, Guy, and Ector. All of these events occur under the threat of Saxon invasion.

A-1570 Masefield, John. “All Hallow Night.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 277. This poem tells a slightly different version of the Lady of the Lake and the sword she gives Arthur. Arthur visits a lake the night before the battle with the Saxons and meets a lady who gives him a sword. The sword does allow him to vanquish his enemies, but he does not keep the condition imposed returning to visit the lady each All Hallow night and so ultimately loses the sword.

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A-1571 Masefield, John. “An Art Worker.” Gautama the Enlightened and Other Verse. New York: Macmillan Co., 1941. 39–58. This lengthy poem describes in rhyming couplets the life of an artist’s model. Her work for an established artist is contrasted to the work her lover (a young artist) does. His planned paintings are described; two have Arthurian themes (the battle of Camlann and the love of Tristan and Iseult).

A-1572 Masefield, John. Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. This collection of Masefield’s Arthurian works includes the previously published poems “The Ballad of Sir Bors,” “The Love Gift,” “Tristan’s Singing,” “Tristan and Isolt,” “Tristan and Isolt: A Play in Verse,” as well as all but the last one from Masefield’s book of poems Midsummer Night and Other Tales in Verse. (The collection also includes drafts for three of the Midsummer Night poems.) This collection, however, also contains a number of previously unpublished works. The unpublished prose works are sketches, chronologies, and notes toward larger Arthurian texts (and so do not have individual entries in this bibliography). The completed, but previously unpublished, poems are as follows: “The Aftermath” (a draft of this poem is also included), “Brother Lot,” “Arthur’s Youth,” “Before the Darkness Came,” “The Coming of the Pirates,” “All Hallow Night,” “The Hunt is Up,” “Modred the Messenger,” and “Gareth’s Wake.” There is also a previously unpublished play, “When Good King Arthur.” (See also the entries for individual poems, plays, and for the book Midsummer Night.)

A-1573 Masefield, John. “Arthur’s Youth.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 272–74. This poem depicts Arthur as growing up surrounded by the threat of war and the training that he receives that makes him a champion and a leader. The poem ends with him in Caerleon.

A-1574 Masefield, John. Badon Parchments. London: Heinemann, 1947. This historical novel is set up as four reports written to Emperor Justinian and Empress Theodora (and thus makes this a sequel to Basilissa) by a man who accompanies Arthur back to Britain with information of new strategies of warfare. Aurelian is the king, with a young Owain as his heir; Arthur is a general who sets up new divisions of cavalry (called Tables) to meet the Saxon threat. Because the narrator leaves Arthur to investigate conditions in other parts of Britain, the middle portion of the book deals with the build-up to the battle of Badon Hill from the point of view of those who are with Cador, not part of Arthur’s troop.

A-1575 Masefield, John. “The Ballad of Sir Bors.” Poems and Plays. New York: Macmillan, 1919. 79–80. Rptd: Collected Poems. London: William Heinemann, 1923. 53–54. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 27–42. This poem of five quatrains expresses Bors’ longing to see the Grail and describes the hardships that he endures on the Quest. First line: “Would I could win some quiet and rest, and a little ease.”

A-1576 Masefield, John. Basilissa: A Tale of the Empress Theodora. New York: Macmillan Co., 1940. The focus of this novel is, as the subtitle suggests, Theodora. When she is first socializing with Justinian, one of the other members of the party is a “Count Atorius” who wishes the empire to provide aid for Britain. Theodora is impressed with this character; his role in the novel is admittedly minor, but Theodora’s championship of his cause with Justinian illustrates her ability to understand politics beyond local concerns.

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A-1577 Masefield, John. “Before Darkness Came.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 275. This nine-line poem does not mention Arthur specifically, but it compares the moment of sunset to the time when “captain kings were linkt” (8) against the threat of invasion.

A-1578 Masefield, John. The Box of Delights; or, When the Wolves Were Running. London: William Heinemann; New York: Macmillan Co., 1935. The sequel to The Midnight Folk. A young boy, Kay Harker, while travelling home on the train from London for Christmas becomes involved in marvellous adventures. He meets a variety of strange characters, including two card sharps, who call each other by a series of Arthurian names (Tristan, Lancelot, Merlin, Gawain, Dagonet), and a Punch and Judy man, who gives him “The Box of Delights.” This box can make him small or swift, or take him back in time; Kay visits Troy and watches a tournament at an Arthurian court. The setting of the story includes a place called Arthur’s Camp.

A-1579 Masefield, John. “Brother Lot.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 268–71. This poem is written in rhyming couplets. Like “The Aftermath,” it is set after Uther’s death. Lot swears revenge on Uther’s killers, but arrives too late to accomplish that vengeance.

A-1580 Masefield, John. “The Coming of the Pirates.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 276. This two-stanza poem imagines the people whom Arthur protects against the “pirates.” Camelot is mentioned as the pirates’ goal.

A-1581 Masefield, John. “The Fight at Camlan.” Midsummer Night and Other Tales in Verse. London: Heinemann; New York: Macmillan, 1928. 125–32. Rptd: “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 184–88. This poem begins with the truce talks between the two sides and ends with Mordred and his remaining men turning to face Arthur for the last time.

A-1582 Masefield, John. “Gareth’s Wake.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 283–87. This poem is set after Lancelot’s rescue of the queen. Three queens sit by Gareth’s bier and mourn him; Gawaine remembers his brother and swears vengeance on Lancelot; and Modred watches, waiting to take advantage of events.

A-1583 Masefield, John. “The Hunt is Up.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 278–80. The hunt of the title refers to Arthur’s hunting of the deer and Modred’s hunting of the lovers. The poem details Modred’s attempt to trap the lovers when they meet during Arthur’s absence hunting; it ends with Lancelot’s promise to Guinevere to rescue her if the king condemns her.

A-1584 Masefield, John. “The Love Gift.” Minnie Maylow’s Story and Other Tales and Scenes. London: William Heinemann, 1931. 32–43. Mark is given the fruit of immortality by the Oak Lady, and though he gives it to Iseult, it eventually returns to him and thus reveals that she loves another. His grief is contrasted to a little boy who grieves for his dying mother.

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A-1585 Masefield, John. The Midnight Folk. London and New York: Heinemann, 1927. Kay Harker, a young boy in modern England, is aided by the midnight folk (nocturnal animals, and his toys which come alive after the lights are off) in a search for the family treasure; in the process of his adventures, Kay meets Lancelot, Arthur, Merlin and Guinevere. The story of Kay Harker continues in The Box of Delights.

A-1586 Masefield, John. Midsummer Night and Other Tales in Verse. London: Heinemann; New York: Macmillan, 1928. This book contains twenty-two poems that together recount many of the episodes from Arthur’s begetting to the end of his reign. Some of the episodes have two poems using different sources; for example, “The Begetting of Arthur” has Igerne as the daughter of the king of Cornwall, while “The Old Tale of the Begetting” retells the more traditional version of Uther, Igerne and Gorlois. Some poems continue very closely from the events of the previous; “The Fight on the Beach” is a continuation of “The Fight at Camlan.” The last two poems are the least Arthurian, yet even those are set in Arthur’s reign or just after. The poem that gives the collection its name, “Midsummer Night,” has the poet speak; he takes a break from his writing and remembers stories of Arthur and his companions returning on midsummer nights. He encounters them in a cave and listens to each of them speak. Contents: “The Begetting of Arthur,” “The Birth of Arthur,” “The Taking of Morgause,” “The Begetting of Modred,” “Badon Hill,” “The Sailing of Hell Race,” “Arthur and his Ring,” “Midsummer Night,” “The Fight on the Wall,” “The Breaking of the Links,” “Gwenivach Tells,” “Arthur in the Ruins,” “The Fight at Camlan,” “The Fight on the Beach or the Passing,” “Gwenivere Tells,” “The Death of Lancelot,” “Dust to Dust,” “On the Coming of Arthur,” “The Old Tale of the Begetting,” “The Old Tale of the Breaking of the Links,” “South and East,” and “Fulfilment.”

A-1587 Masefield, John. “Modred the Messenger.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 281–82. The sequel to “The Hunt is Up.” Modred reports the lovers to the king, who condemns Guinevere to burn at the stake despite the pleas of Gawaine.

A-1588 Masefield, John. “The Sailing of Hell Race.” Midsummer Night and Other Tales in Verse. London: Heinemann; New York: Macmillan, 1928. 49–64. Rptd: “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 173–83. A version of Arthur’s sailing to Caer Siddi, though here his ship is called the Britain. The poem ends with his return and his meeting with Guenevere.

A-1589 Masefield, John. “Tristan and Isolt.” On the Hill. London: William Heinemann; New York: Macmillan Co., 1949. 77–88. This poem primarily uses rhyming couplets, although there are occasionally triplets and quatrains as well. Although the names of the lovers in the poem are Tristan and Iseult, the story does not follow the Arthurian tales. Tristan, a poet, is sent away by the king while the royal parents try to make Iseult marry Mark. Iseult takes a potion that enables her to fake her death, sending a bird with a message to Tristan. He returns to her and wakes her, and they successfully escape.

A-1590 Masefield, John. Tristan and Isolt: A Play in Verse. London: Heinemann; New York: Macmillan, 1927. This volume contains a list of cast members from the first performance “by the Lena Ashwell Players at the Century Theatre, Archer Street Bayswater, on Monday, Feb. 21, 1927.” Tristan and Iseult fall in love by accidentally drinking the love potion; at one point Tristan carries Iseult away to live in the woods because of the traps that Mark has set for them. Iseult, however, returns to

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Mark, and when Tristan, mad, appears again, she has him beaten and banished from the castle. Tristan dies nearby, waiting for Iseult to ride up on her black horse (an interesting play on the black and white sails). There are also comic interludes in the play, often provided by Kay and Bedivere (here Mark’s steward and bailey); one concerns Tristan’s disguise as a swineherd, so they are involved in a rather comic version of the boar hunt. Arthur, a visitor to Mark’s court, is also an important character.

A-1591 Masefield, John. “Tristan’s Singing.” Minnie Maylow’s Story and Other Tales and Scenes. London: William Heinemann, 1931. 44–61. This poem is divided into two parts. The first, set after Tristan and Iseult have quarrelled, tells of Tristan’s madness and the songs he learns from Nature. Tristan tries to return to Iseult to sing to her, but is prevented by Mark and Kay. In the second part of the poem, Tristan sings his song, and Iseult joins him only to vanish with him as spirits.

A-1592 Masefield, John. “When Good King Arthur.” Arthurian Poets: John Masefield. Arthurian Studies 32. Ed. David Llewellyn Dodds. Woodbridge: Boydell and Brewer, 1994. 288–330. This previously unpublished three-act play concerns a contest of poets. Owain and Geraint are the contestants, and the reward is the right to represent Arthur’s kingdom as poet laureate, but also marriage to Helen, Arthur’s ward. Geraint plots to assassinate Owain, Helen’s favourite, but is thwarted in the end. While the play uses Arthurian names, characters like Owain and Geraint are not modelled after the Arthurian characters.

A-1593 Mason, Charles Welsh. Merlin: A Piratical Love Story. London: Neville Beeman, 1896. (*) A novel.

A-1594 “Die Maske von Cole-Orton.” In Die englischen Maskenspiele. Ed. Rudolf Brotanek. Vienna: W. Braumüller, 1902. 328–37. The masque, commissioned by the Earl of Essex, was composed ca. 1618 (author unknown) and appears in London, Victoria and Albert Museum, MS Dyce 36. It is set in Spenser’s Fairyland, and presents a “debate” between the Male and Female Virtues, represented by six male and six female dancers, who in the end are reconciled and dance together. The character Favonius introduces the male virtues as Sir Vere (i.e., the host of the feast), Sir Arthur (“Prince Arthur” of Spenser’s Faerie Queene), Sir Sapient, Sir Artegall, Sir Guion, and Sir Calidore; there are also four additional characters from Spenser.

A-1595 Massie-Ferch, Kathleen M. “Touched by Moonlight and Sunshine.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 80–95. This short story is set in a magical forest where Merlin comes to learn and gain power, and where he and Arthur later return. Emmeline, who seems to be some sort of spirit of the woodland, narrates.

A-1596 Masson, Sophie. The Lady of the Flowers. The Ley Lines Trilogy 2. Sydney: Bantam, 1999. A historical fantasy novel whose protagonist is Marie de France. There are allusions to a number of Arthurian characters and episodes throughout the novel, particularly because some of its characters are descendants of people of Arthurian times, but the main characters also travel to Avalon and meet Morgan there. Excerpts from The Lay of Lanval by Marie are quoted.

A-1597 Masson, Sophie. Red City. Pymble, NSW: Harper Collins, 1998. (*) Juvenile fiction. (Information from OCLC WorldCat entry.)

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A-1598 Masters, Edgar Lee. “Ballad of Launcelot and Elaine.” Songs and Satires. New York: Macmillan Co., 1916. 140–48. Rptd: In “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 246–52. This ballad recounts the story of Galahad’s conception: how Lancelot rescues Elaine and is tricked by her so that she can conceive the son that has been foretold by her father and her maid.

A-1599 Masters, Edgar Lee. “The Death of Launcelot.” Smart Set XLVII (Sept. 1915): 265–268. Rptd: The Smart Set Anthology of World Famous Authors. Ed. Burton Rascoe and Groff Conklin. New York: Halcyon House, 1934. 584–88. – Songs and Satires. New York: Macmillan, 1916. 149–55. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 253–57. This ballad tells the story of Lancelot’s life after the death of Arthur. He visits the queen and is asked to leave her. He returns when she dies, retires to a monastery, and dies shortly after of grief.

A-1600 Mathews, Basil. The Splendid Quest: Stories of Knights on the Pilgrims’ Way. New York: Fleming H. Revell Co., [1910]. This book contains a frame narrative where the narrator speaks to his young friend, giving some of the history of Britain and introducing the idea of the “Pilgrim’s Way.” There follows a series of stories illustrating knightly and Christian ideals, based on historical or legendary figures. The first of these, “The Knight of the Quest,” is the story of Galahad’s arrival at Camelot, the appearance of the Grail there, and the subsequent Grail quest. It is much more condensed, but is essentially the story told by Malory. Later in the book, the author refers back to this story.

A-1601 Matthews, Andrew. King Arthur. Illus. Peter Utton. London: Orchard, 1996. (*) Juvenile retelling.

A-1602 Matthews, Caitlin. “The Lay of the Waters.” In The Household of the Grail. Ed. John Matthews. Wellingborough: Aquarian, 1990. 11–13. This poem begins with an invocation of the land as mother or goddess-figure; this leads to the image of the Cauldron or Grail. While no Arthurian characters are mentioned, some of the episodes of the nameless hero fit Arthurian patterns: the hero who does not ask the question when he sees the Grail; the hero who muses on the face of his beloved ignoring others who strike him. The rest of this anthology contains non-fiction essays.

Matthews, Edward Erskine: see Delabertouche, E. A-1603 Matthews, John. “The Abduction and Rescue of Gwenhwyfar the Queen.” In Warriors of Arthur. Ed. John Matthews and Bob Stewart. Illus. Richard Hook. London: Blandford Press, 1987. 94–97. Rptd: Tales of Arthur: Adventure Stories from the Arthurian Legend. London: Javelin Books, 1988. 47–53. – Legends of King Arthur and His Warriors. Illus. Richard Hook. Enderby: New Orchard / Bookmart, 1993. 94–97. This story appears at the end of the section entitled “Warriors Male and Female” and rewrites the story of the abduction of Arthur’s queen. In this version, Matthews has Arthur, supported by

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some of his best knights, go after the queen, and it is Arthur who fights in single combat to prove his right to her. It is Gwenhwyfar, however, who tricks Melwas into agreeing to Arthur’s claim. The first reprinted volume contains just the stories, with very short introductions and thus not nearly the amount of historical and literary background material as the original. The second reprint is exactly the same as the original, only with a new title.

A-1604 Matthews, John, ed. An Arthurian Reader: Selections from Arthurian Legend, Scholarship, and Story. Wellingborough: Aquarian Press, 1988. This anthology includes many non-fiction selections, translations, or reprintings of excerpts of medieval texts. The last section, however, has excerpts from some modern Arthurian works. For details of individual works, see Clemence Housman, “The Life of Sir Aglovale de Galis”; Edward [Percy] Frankland, “Medraut and Gwenhwyvar”; Arthur Machen, “Guinevere and Lancelot”; Katherine M[argaret] Buck, “Merlin and Vortigern”; and Fiona Macleod, “Beyond the Blue Septentrions.” Matthews also includes illustrations by Dora Curtis, A. G. Walker, Christian Loring, Ann Alexander, H. J. Ford, Frederic Lawrence, and Elizabeth Goodwin.

A-1605 Matthews, John. “Drustan’s Ghost.” In Legendary Britain: An Illustrated Journey. Ed. Bob [Robert J.] Stewart and John Matthews. Illus. Miranda Gray and (photographically) Tim Cann. London: Blandford Press, 1989. 10–15. Drustan tells his own story (that of “Tristan and Iseult”); as the title suggests, Drustan is in an Otherworld, waiting for Iseult to join him. In this version, Mark is Drustan’s father, whose finding of Iseult’s hair creates a madness in him and in Drustan.

A-1606 Matthews, John. “The Hidden Runes.” In Legendary Britain: An Illustrated Journey. Ed. Bob [Robert J.] Stewart and John Matthews. Illus. Miranda Gray and (photographically) Tim Cann. London: Blandford Press, 1989. 158–63. A man finds a cave with a guardian in this short story. One of the treasures of the cave is a sword in a stone; it is said that it will be wielded again.

A-1607 Matthews, John. “The Kingly Shadow.” In Legendary Britain: An Illustrated Journey. Ed. Bob [Robert J.] Stewart and John Matthews. Illus. Miranda Gray and (photographically) Tim Cann. London: Blandford Press, 1989. 21–27. Merlin arranges a meeting between two kings: Ambrosius, the present king, and Artorius, the king to be.

A-1608 Matthews, John. “Lugh Strong-Arm and the Three Queens.” In Warriors of Arthur. Ed. John Matthews and Bob Stewart. Illus. Richard Hook. London: Blandford Press, 1987. 36–41. Rptd: Tales of Arthur: Adventure Stories from the Arthurian Legend. London: Javelin Books, 1988. 11–20. – Legends of King Arthur and His Warriors. Illus. Richard Hook. Enderby: New Orchard / Bookmart, 1993. 36–41. This story appears at the end of the section entitled “The Legends of Arthur.” It rewrites the story of Lancelot’s imprisonment by Morgan, and ties that story, in the end, to the story of Elaine of Astolat. The story takes place before Lugh / Lancelot becomes part of Arthur’s court. The first reprint contains just the stories, with very short introductions and thus not nearly the amount of historical and literary background material as the original. The second reprint is exactly the same as the original, only with a new title.

A-1609 Matthews, John. Merlin in Calydon. Frome: Bran’s Head, 1981. (*) A poetry chapbook; limited edition of 325 copies.

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A-1610 Matthews, John. “Merlin’s Song of the Stones.” In The Book of Merlin: Insights from the First Merlin Conference, London, June 1986. Ed. R[obert] J. Stewart. London: Blandford / Cassell, 1987. 107–108. A fourteen-stanza poem where one stanza of questions about Merlin’s raising of the stones is followed by a stanza answering the questions.

A-1611 Matthews, John. “Owein of the Ravens.” In Warriors of Arthur. Ed. John Matthews and Bob Stewart. Illus. Richard Hook. London: Blandford Press, 1987. 179–84. Rptd: Tales of Arthur: Adventure Stories from the Arthurian Legend. London: Javelin Books, 1988. 85–92. – Legends of King Arthur and His Warriors. Illus. Richard Hook. Enderby: New Orchard / Bookmart, 1993. 179–84. This story is a rewriting of “The Dream of Rhonabwy” from the Mabinogion. It appears at the end of the section entitled “Celtic Frenzy.” Matthews includes the details of Arthur’s armour and makes the Ravens of the dream a company of men commanded by Owein. The first reprint contains just the stories, with very short introductions and thus not nearly the amount of historical and literary background material as the original. The second reprint is exactly the same as the original, only with a new title.

A-1612 Matthews, John. “The Perilous Bed.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 32–34. The subtitle says that this is from Broceliande: A Novel of the Forest, a work in progress. The bed is perilous because of the dream that Lancelot has while sleeping on it; the images of the dream suggest the Grail quest.

A-1613 Matthews, John, comp. The Song of Taliesin: Stories and Poems from the Books of Broceliande. Illus. Stuart Littlejohn. London: HarperCollins / The Aquarian Press, 1992. Rptd: The Song of Taliesin: Tales from King Arthur’s Bard. Wheaton, IL: Quest Books / Theosophical Publishing House, 2001. A collection of retellings of ancient Celtic tales and of original poems, framed by the story of the scribe who has written down some of Taliesin’s stories and poems and who has found others after Taliesin’s departure. Both the scribe and Taliesin lived in Arthurian times, although the scribe was never part of the court or their events. The stories that are retold here are mainly from Welsh sources and not all of them are Arthurian. The original of the tales are found in the Mabinogion (including “Kilhwch and Olwen”), the legends of Fionn Mac Cumhail, the Book of Taliesin, The Gododdin, and The Spoils of Annwn. Many fragmentary stories are “completed” (Introduction 5), and their “deeper meaning” (i.e., ideas of shamanism and pagan religion) is explored. There are various references to Arthur, Merlin, Morgan, Mordred, and other Arthurian characters. The Introduction states, “It is my hope that this selection will provide a key to the secret lore of Britain, where once the Grail and the Cauldron were sought, and where the Sleeping Lord still awaits the one-who-is-to-come, who will blow the horn three times in the Cave of the Sleepers” (6).

A-1614 Matthews, John. “The Story of Grisandole.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 6–9. Rptd: Merlin and Woman: The Second Merlin Conference. Ed. R[obert] J. Stewart. Illus. Miranda Gray. London: Blandford Press, 1988. 132–36. This short story takes place at the Emperor’s court; the identity of the narrator is revealed at the

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end to be Merlin, and he mentions that his days with Arthur are about to begin after the events of this story. Grisandole is a young woman disguised as a knight; Merlin plays the part of the wise old man of the forest who often appears to be mad.

A-1615 Matthews, John. “The Struggle for Spring.” In Legendary Britain: An Illustrated Journey. Ed. Bob [Robert J.] Stewart and John Matthews. Illus. Miranda Gray and (photographically) Tim Cann. London: Blandford Press, 1989. 86–92. The story of a monk and his meeting with Gwyn ap Nudd at Glastonbury; Gwyn is said to have loved Gwenevere’s sister, so there is some mention of the Arthurian past.

A-1616 Matthews, John. The Unknown Arthur: Forgotten Tales of the Round Table. Illus. Mark Robertson. London: Blandford Press, 1995. The introduction describes these as “retellings of the original stories in modern prose” (8). Matthews has included versions of twelve lesser-known medieval Arthurian texts: “The Vows of King Arthur and his Knights,” “The Fair Unknown,” “Arthur and Gorlagon,” “Guingamor and Guerrehes,” “The Story of Meriadoc,” “The Madness of Trystan,” “The Wedding of Sir Gawain and Dame Ragnell,” “The Adventure at Tarn Wathelyn,” “The Story of Grisandole,” “The Story of Lanval,” “The Mule without a Bridle,” and “The Knight of the Parrot.” Each of the stories is accompanied by a single full-page colour illustration by Mark Robertson.

Mavor, Osborne Henry: see Bridie, James. A-1617 Maxwell, Glyn. “Last Crossing of Isolde.” Gnyss the Magnificent: Three Verse Plays. London: Chatto and Windus, 1993. 199–312. Maxwell bases this play on the works of Gottfried and Thomas: the opening, where Tristan sends Cardin to Cornwall, and the ending, where Isolde of Brittany lies about the colour of the ship’s sails and precipitates Tristan’s death, are thus familiar. Most of the play, however, takes place on board the ship that brings Isolde of Ireland to Brittany to heal Tristan. Besides Cardin, Isolde, and Branwen (whom Cardin loves), the ship carries a captain with his own mysterious agenda, a young cabin boy, troubadours from France, and a group of English amateur actors. The troubadours and the actors have a competition, acting out different versions of the earlier parts of the Tristan and Isolde story; the play thus reflects on the construction of legend and uses traditional elements of the story in interesting ways.

Maxwell, Mary Elizabeth Braddon: see Braddon, Mary Elizabeth. A-1618 Maxwell, W. B. Vivien. London: Methuen, 1905. The protagonist of this long novel is Vivien; the narrator comments explicitly that Tennyson is the source of her name. Allusions to Tennyson’s poem occur only once more; a man who is in love with her accuses her of enchanting him, putting him under a spell similar to that used by Tennyson’s Vivien on his Merlin. Otherwise, it is a novel about the struggles of a young woman, brought up to be a lady, but left to support herself and protect her virtue in England at the turn of the twentieth century.

A-1619 Mayhar, Ardath. “The Weapon.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 307–17. When a building contractor uncovers Excalibur from what used to be ancient forest and bog, the whole world is changed. The sword pushes him to deliver it to its rightful owner.

A-1620 Maynard, Francis X. “The Grail.” Catholic Extension Magazine 37 (Jan. 1943): 6. (*) A poem.

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A-1621 Maynard, Theodore. “The Last Knight.” The Last Knight and Other Poems. New York: Frederick A. Stokes, 1920. 6–8. Because the poem refers to Avalon and “the hundred knights” there, and because the speaker is one of this group, the last knight is probably one of Arthur’s.

A-1622 Mayne, Elizabeth. Lady of the Lake. Harlequin Historicals 380. Toronto: Harlequin Books, 1997. This Harlequin recounts the battle of wills and romance between Tala, the Celtic princess, priestess and healer of Leam who is the niece of King Alfred, and Edon, the Viking Earl of Warwick and brother of King Guthrum. Because Tala is the latest in a long line of priestesses, she is said to remind the people of the days of Arthur, and so several Arthurian characters and places are alluded to at different points in the novel in order to establish this background, but the story does little with these allusions.

A-1623 Mayne, William. Earthfasts. London: Hamish Hamilton, 1966. Rptd: London: Hodder Children’s Books, 1995. Two twentieth-century Yorkshire boys hear a strange sound underground and release an eighteenth-century drummer boy from a cave. His search for the treasure of King Arthur has led him from his own time; the two boys try to help him, but also must restore a magical candle to the cave to make Arthur and his knights, as well as other supernatural creatures, return to their sleep.

A-1624 Mayne, William. “Sir Perceval.” In The Hamish Hamilton Book of Heroes. Ed. William Mayne. London: Hamish Hamilton, 1967. 75–91. In the introduction to this story, Mayne acknowledges, “I have followed the lines of the story as it is set out in the works of Thomas Bulfinch.” The story tells of Perceval’s childhood, his arrival at court, and his revenge upon Kay. Mayne sets Perceval’s childhood home in Scotland, and his speeches are written to suggest a Scottish accent. The anthology also appeared in some reprintings as A Book of Heroes.

A-1625 Mayse, Susan W. Merlin’s Web. Richmond Hill, ON: Irwin Publishing, 1987. In this political thriller, Welsh nationalists kidnap the child-heir to the British throne, but their plans do not work out as they intend, leading to unexpected violence and a stand-off. In negotiating with authorities, they use the codename “Merlin,” as a name that has Welsh associations, but no implications of illegitimate rule that might accompany a name like “Arthur.”

A-1626 Mayson, Walter H. Merlin and Nivienne: A Poem in Four Cantos. Privately published, 1900. (*) A-1627 Mazer, Anne. A Kid in King Arthur’s Court. New York: Disney Press, 1995. (*) Merlin’s attempt to acquire a knightly hero for Camelot retrieves a twentieth-century boy who plays baseball; novelization of the film of the same name. (Information from OCLC WorldCat entry.)

A-1628 McAuley, Paul J. “The King of the Hill.” In Interzone: The 2nd Anthology. Ed. John Clute, David Pringle, and Simon Ounsley. New York: St Martin’s, 1987. 132–49. Rptd: The King of the Hill and other stories. London: Victor Gollancz, 1991. 7–28. This futuristic story is set in Britain, in a time when the Americans have invaded in order to prevent the installation of a socialist government. The narrator lives near Cadbury, and he describes the geography of the place and some of the archaeological work that has been done there. The narrator’s nephew resents the imposition of American military rule, and he alludes to the idea of Arthur’s return. The Arthur that he envisions is connected to the land and thus to the old, violent gods. By the end of the story, he seems to have become an Arthur. The story first appeared in Interzone (Winter 1985/86).

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A-1629 McCaffrey, Anne. “Black Horses for a King.” In Camelot. Ed. Jane Yolen. New York: Philomel Books, 1995. 93–123. This short story introduces Galwyn, a young boy who would rather help Arthur create a cavalry troop than work for a cruel sea captain. The story was later expanded into a novel, Black Horses for the King.

A-1630 McCaffrey, Anne. Black Horses for the King. San Diego, New York, London: Harcourt Brace and Co., 1996. McCaffrey has expanded a short story that originally appeared in Jane Yolen’s anthology, Camelot. The young protagonist of the story, Galwyn, runs away from his apprenticeship with his cruel uncle in order to help Artos find and raise the large, black horses that they will need to make a victorious cavalry troop. McCaffrey includes a great deal of historical detail.

A-1631 McCaffrey, Anne. The Mark of Merlin. New York: Dell Publishing, 1971. Rptd: 1984. – Three Gothic Novels: “Ring of Fear,” “The Mark of Merlin,” “The Kilternan Legacy.” Novato, CA, and Lancaster, PA: Underwood Miller, 1990. 199–342. – South Yarmouth, MA: Curley Publishing, 1990. The Merlin of the title is a German Shepherd; a couple of characters refer to his “namesake” and his mother was named Morgan le Fay, but those are the only references to the legend. The main plot of the story is the romance between a young woman and her newly appointed guardian, which is complicated by their attempt to solve her father’s murder and the theft of various valuables by military personnel during World War Two.

A-1632 McCaffrey, Anne, and Richard Woods. A Diversity of Dragons. Illus. John Howe. New York: HarperPrism / HarperCollins Publishers, 1997. Anne McCaffrey, who has written several fantasy novels about dragons, is a main character in this book. Asked to tell a young man about dragons, she and a friend supply information drawn from myth and literature. Three of the stories that they retell are Arthurian: Tristan’s slaying the dragon to win Iseult for his uncle, Lancelot’s freeing Elaine from the spell and slaying the dragon in the tomb, and Merlin’s revelation of the dragons. The basis of these stories are works by Gottfried von Strassburg, Sir Thomas Malory, and Geoffrey of Monmouth.

A-1633 McCann, Janet. “Merlin.” CEA Critic 43.4 (May 1981): 15. This poem is divided into two parts: the first describes a stage magician and considers truth and illusion; the second part talks of Arthur’s return, but says that Merlin will not return.

A-1634 McCaslin, Nellie. “The Crowning of Arthur.” Legends in Action: Ten Plays of Ten Lands. Illus. Daty Healy. Evanston, IL: Harper and Row, 1963. Rptd: The Crowning of Arthur. Studio City, CA: Players Press, 1996. A children’s play divided into three scenes. The first scene is set at a tournament in London and ends when Arthur returns to Kay with the sword he pulled from the stone. In the second scene, set in the churchyard, Arthur repeats his feat for Ector and Kay. In the third scene, Arthur once again draws the sword, and Merlin appears to explain the mystery of Arthur’s origins; the story he tells of a baby washed ashore at the moment of Uther’s death resembles Tennyson’s account. (We have seen the item only as reprinted.)

A-1635 McCaughrean, Geraldine. “The Bronze Cauldron: A Welsh Legend.” In The Bronze Cauldron. Illus. Bee Willey. London: Orion Children’s Books,1997. 5–10. Rptd: New York: M. K. McElderry Books, 1998. 5–10. The story of Gwion, stirring the cauldron and receiving three drops of knowledge. The story ends when the reborn Taliesin arrives at the king’s court; that unnamed king is likely Elphin, but could be Arthur. The reprint is part of the Myths and Legends of the World series.

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A-1636 McCaughrean, Geraldine. King Arthur and the Round Table. Illus. Alan Marks. Hove, East Sussex: Macdonald Young Books, 1996. This book for children is an extensive retelling of the legend, incorporating most major episodes from Malory as well as the story of Sir Gawain and the Green Knight. While McCaughrean follows these medieval texts closely, she also adds details about the motivations of characters. The book is for older children, as there is a substantial amount of text as well as beautiful full-colour illustrations (one full-page picture at the beginning of each of the sixteen chapters, and other partial-page illustrations throughout).

A-1637 McCaughrean, Geraldine. “King Arthur Gives Back his Sword: A Celtic Legend.” In The Silver Treasure. Illus. Bee Willey. London: Orion Children’s Books, 1996. 98–102. Rptd: New York: M. K. McElderry Books, 1997. 98–102. A retelling of Arthur and Bedivere after the final battle; Bedivere, on the third try, throws Excalibur into the lake to be received by the mysterious hand, and three women arrive to take Arthur away. The origins of the battle are kept vague for this children’s retelling; Mordred is simply a rebel who challenges Arthur. The story appears in a multicultural anthology retelling twenty-three folktalkes, which is a companion volume to The Golden Hoard; the reprint is part of the Myths and Legends of the World series. There is also an audiobook version of the collection (unabridged), read by Nigel Lambert (3 audio cassettes; ca. 4 hours; Bath: Chivers Audio Books; Hampton, NH: Chivers North America, 1997; catalogue no. 3CCA-3425; ISBN: 074517390X).

A-1638 McCaughrean, Geraldine. The Legend of King Arthur and the Round Table. Illus. Nick Williams; paper engineering by Vic Duppa-Whyte and Damian Johnston. New York: Bonanza Pop Up / Brown Wells and Jacobs, 1987. This pop-up book incorporates details from a number of scenes on each page, as parts of the picture can be moved to reveal other pictures or to make characters move. The book summarizes the life of Arthur, focusing on major events like the sword in the stone, the love of Lancelot and Guenevere (though the extent of that love is left vague), the Grail quest, and the last battle. Mordred is here Arthur’s half-brother, and it is he who is credited with the theft of the scabbard.

McCay, William: see the entry for Young Indiana Jones and the Ghostly Riders under “Indiana Jones.” A-1639 McCloskey, George V. A. “The Flight of Guinevere.” The Flight of Guinevere and Other Poems. New York: Authors and Publishers Corporation, 1921. Rptd: The Flight of Guinevere and Other Poems. 2nd edn. revised and enlarged. New York: Authors and Publishers Corporation, 1928. 15–31. There are three sections in this poem. The first is spoken by Arthur to Bedivere; the second is spoken by Guenevere as she enters the nunnery; the third is spoken by Lancelot. Each speaker reflects on the love triangle and remembers their first meetings and Arthur and Guenevere’s wedding.

A-1640 McCloskey, George V. A. “Nimue to Merlin.” In A Bookfellow Anthology 1927. Ed. G. S. Seymour. Chicago, IL: Bookfellows, 1927. Rptd: The Flight of Guinevere and Other Poems. 2nd edn. revised and enlarged. New York: Authors and Publishers Corporation, 1928. 31–33. A poem spoken by Nimue. It seems to be her attempts to persuade Merlin to stay with her, apart from the world, in Broceliande.

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A-1641 McConchie, Lyn. “Other Agendas.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 115–26. Nimuë attempts to acquire Merlin’s magic and power but runs into unexpected difficulties. Various episodes from the legend make up the background of the story.

A-1642 McCormack, Patrick. Albion: The Last Companion. London: Raven Books / Robinson Publishing, 1997. (*) The first of a pair of novels of “Arthurian Britain.”

A-1643 McCormack, Patrick. Albion: The White Phantom. London: Robinson / Constable and Robinson, 2000. A sequel to Albion: The Last Companion that concerns Bedwyr’s search for Gwenhwyvar, who disappeared with a special chalice after Arthur’s final battle. Ten years after Arthur’s death, Bedwyr must find her to protect her. There are references to many other Arthurian characters, as the past is recalled.

A-1644 McCormack, Patrick. “Earthworks.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 306–38. A minor knight, Sir Villiars, goes off to seek adventure to win a seat at the Round Table. The adventure he finds involves great sorcery, and he is given a vision of the end of Arthur’s reign; nevertheless, he fights for Arthur’s cause.

A-1645 McCusker, Paul. The King’s Quest. Adventures in Odyssey 5. Colorado Springs, CO: Focus on the Family, 1994. A young American boy steps into a time machine called The Imagination Station and ends up in King Arthur’s Albion. He joins a knight on a quest to retrieve the Ring of Uther, a symbol of Arthur’s right to the throne. The story has a strong Christian element; Mark learns about doing his best to live according to God’s will.

A-1646 McCusker, Paul. Stranger in the Mist. Time Twists. Colorado Springs, CO: Lion, 1996. In twentieth-century Britain, Merlin calls Arthur, but the King appears in America, in the ruins of a British church that had been transported there. Two teenagers, Jeff and Elizabeth, along with Jeff ’s Uncle Malcolm and Elizabeth’s father, try to discover why Arthur has appeared. The search takes them to Britain where Arthur’s return affects the lives of a minister and his family. Because Arthur has been pulled from his world just before the battle of Camlann, and because the characters try to determine if he really is King Arthur, many Arthurian characters and episodes are mentioned; events leading up to the last battle and the circumstances of the Grail quest are the most important of these.

A-1647 McDaniel, Tim. “Le Morte d’Volkswagyn.” Fantasy and Science Fiction (June 2000): 68–70. This short story mimics Malory’s style and spelling to tell the tale of four knights and their marvellous adventure. The adventure is set along a “soupyrhyway” where they challenge a “Volkswagyne”; Gawain eventually is the winner in the encounter.

A-1648 McDermott, Gerald. The Knight of the Lion. Illus. Gerald McDermott. New York: Four Winds Press, 1979. This children’s retelling of the story of Yvain begins with a short poem summarizing the adventures. The rest of the book is told in the first-person by Yvain, beginning with his hearing the story of the fountain at Arthur’s court and ending with his final reunion with the Lady of the Fountain.

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McDermott’s illustrations are B&W, usually covering one page (of each two-page spread) and often spilling onto the opposite page.

A-1649 McDowell, Ian. “Chichevache.” Ares (Nov. 1981): 10. (*) A short story.

A-1650 McDowell, Ian. “The Feasting of the Hungry Man.” In Camelot Fantastic. Ed. Lawrence Schimel and Martin H. Greenberg. New York: DAW Books, 1998. 169–205. Mordred and Arthur, while out riding, take shelter from a storm in a hut. When the hut’s occupant, Huarwor, complains of being hungry, Arthur invites him to a feast at Camelot, not realizing that Huarwor is a supernatural creature who can eat anything and everything. At the feast, Guinevere challenges him to return in three months; she then sends Mordred to steal the Cauldron of Plenty for the feast.

A-1651 McDowell, Ian. Merlin’s Gift. New York: Avon Books, 1997. This sequel to Mordred’s Curse takes place ten years after the events of the first novel have ended. Waiting for the final battle with Arthur, Mordred writes this last segment of his story. The title is ironic; Merlin’s “gift” to them all has been the plots and magics that have led the characters to their doom.

A-1652 McDowell, Ian. Mordred’s Curse. New York: Avon Books, 1996. In the first sentence of the novel, the narrator Mordred declares that “this won’t be Mordred’s Life of Arthur, but Mordred’s Life of Mordred” (3). It begins with his first meeting with Arthur at the latter’s crowning and ends shortly after the wedding of Arthur and Guenevere. In this version, Mordred saves Arthur’s life twice, but Arthur initially rejects him because of Arthur’s Christian horror at the sin of incest (even unknowingly committed). Gawain is a major character, sympathetic to his brother’s situation; Morgause, Lot, and Merlin are portrayed as sexual predators and generally cruel (though Morgause is at times a more complex character). Mordred is Guenevere’s lover in this version; before her marriage they become friends because of a shared love of learning, and it is Mordred who rescues her from the Summer Kingdom. Two sections of the novel appeared earlier as short stories: “Son of the Morning” and “The Storming Bone.”

A-1653 McDowell, Ian. “Son of the Morning.” Illus. Val Lindahn. Isaac Asimov’s Science Fiction Magazine 7.12 (Dec. 1983): 112–33. Rptd: The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1990. 322–43. – In Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 141–66. Mordred’s story of meeting his father, Arthur, for the first time. At the age of 14, Mordred waits for “Uncle” Arthur to arrive in the Orkneys to dispense with a monster, the giant Cado. Morgan’s familiar, Gloam, tells Mordred that Arthur is his real father, not Lot. When Arthur goes out at dawn to meet Cado alone, Mordred goes along as guide. Arthur is defeated by the giant, but rescued by Mordred, who kills the giant with an arrow. Arthur declares that he wishes he had a son like Mordred; Mordred reveals that he is Arthur’s son. Then, rather than embracing his son and rescuer, Arthur flees from the bastard product of his incest. Thus was love lost and the slide towards hatred begun. The one illustration (p. 112) shows Mordred and several skulls. The story becomes a chapter in Mordred’s Curse.

A-1654 McDowell, Ian. “The Storming Bone.” Amazing Stories 66.5 (Sept. 1991): 15–25. Rptd: The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 57–78.

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This story continues the tale of Mordred’s youth in Orkney. It concerns Morgause’s death, Gawain’s invitation for Mordred to accompany him to Camelot, and Lot’s death by Mordred’s (and Morgause’s) sorcery. The story becomes part of the novel Mordred’s Curse.

A-1655 McElhinney, Peter. Knights Errant. Sale, Cheshire: Macum, 1998. The first novel of a trilogy. In 1977, Merlin searches for the “spiritual descendants” of Arthur and his knights to face a new threat from Morgan le Fay, but is somewhat surprised to discover that those for whom he seeks are a group of young boys and girls.

A-1656 McElhinney, Peter. Knights Quest 1: Search for Swords. Sale, Cheshire: Macum, 1998. A sequel to Knights Errant, being the continuing story of the modern children whom Merlin has gathered to fight the new threat of Morgan le Fay.

A-1657 McElhinney, Peter. Knights Quest 2: Larthingal. Sale, Cheshire: Macum, 1998. The third in the trilogy of novels which began with Knights Errant, being the continuing story of the modern children whom Merlin has gathered to fight the new threat of Morgan le Fay.

A-1658 McEvoy, Marjorie. Camelot Country. Garden City, NY: Doubleday and Co., 1986. A novel of romantic suspense set in Cornwall. The hero and heroine dress up for a costume ball as Lancelot and Guenevere, and there are a couple of other brief allusions to Arthurian characters, but no sustained comparisons.

A-1659 McGarvey, Margaret. “At Astolat.” D-Dawn and Other Poems. Darien, GA: Ashantilly Press, 1964. 28–29. A poem set during Lancelot’s time at Astolat; Elaine’s longing for him is the focus.

A-1660 McGinley, Phyllis [Mrs Charles L. Hayden]. “Launcelot, with Bicycle.” Good Housekeeping 138.4 (Apr. 1954): 115. This poem consists of five six-line stanzas to describe a young girl’s crush on a teenage boy. The seventh-grade girl is called a “lily maid,” her room is referred to as Astolat, and the older paper-boy is the “heroic” Lancelot.

A-1661 McGowen, Tom. Sir MacHinery. Chicago: Follett Publishing Co., 1971. Merlin and a robot are the main characters of this juvenile novel.

A-1662 McGraw, Eloise Jarvis. Joel and the Great Merlini. Illus. Jim Arnosky. New York: Pantheon Books, 1979. Joel is a young boy interested in learning real magic, and in response to a wish, The Great Merlini appears to help him. Besides the name, Merlini’s age (over seven hundred years old) suggests a Merlin-figure.

A-1663 McIntosh, J. T. “Merlin.” Fantastic: Science Fiction Stories 9.3 (Mar. 1960): 6–49. The premise of this science fiction story is that Earthmen discovered an alien culture on a far planet and called it Camelot, imparting enough knowledge of the legend so that characters are given Arthurian names and enough technology so that they have limited space travel. The story takes place primarily on the spaceship The Lady of Shalott. Merlin is a young engineer, Guinevere is a princess, Vivian is her companion, and Bedivere and Geraint are older “knights.” The story plays with the Merlin-Vivian story; here Vivian would like to seduce Merlin, but he is too much in love with Guinevere.

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A-1664 McKenzie, Nancy. The Child Queen: The Tale of Guinevere and King Arthur. New York: Del Rey / Ballantine Books, 1994. Rptd: London: Legend, 1997. – Queen of Camelot. New York: Del Rey / Ballantine, 2002. 1–262. This novel is narrated by Guenevere and begins with the prophecies spoken at her birth by a witch, and Guenevere’s childhood, including her fostering with Pellinore and his daughter Elaine. Guenevere falls in love with Lancelot, but goes through with her arranged marriage to Arthur; Elaine falls in love with Arthur and schemes ways to take Guenevere’s place. It is thus Elaine who arranges Guenevere’s abduction (she is saved from rape by Lancelot’s timely arrival) and tricks Lancelot to take her revenge on Guenevere and Arthur for refusing to let her be queen. The novel ends as Guenevere and Arthur decide to bring Mordred to Camelot to be raised as heir. The love triangle is handled quite well, as Guenevere loves Arthur no less than she loves Lancelot.

A-1665 McKenzie, Nancy. The High Queen: The Tale of Guinevere and King Arthur Continues. New York: Ballantine Books, 1995. Rptd: Queen of Camelot. New York: Del Rey / Ballantine, 2002. 263–623. This sequel to The Child Queen begins with Mordred’s and his brothers’ arrival in Camelot. The novel moves through various crises that Guenevere faces: accusations from the Orkney boys, accusations from Morgause (who is later killed by Gaheris), and accusations from Morgan (which lead to the duel between Arthur and Accolon). Mordred is represented as less of a villain than in other versions. He has a different vision of the kingdom (including making alliances with the Saxons) and that contributes to the final confrontation. The novel ends with the battle of Camlann.

A-1666 McKenzie, Nancy. Queen of Camelot. New York: Del Rey / Ballantine, 2002. An omnibus edition of The Child Queen and The High Queen with an added prologue to The Child Queen. This prologue takes place when the Queen is in the convent; Lancelot visits her, reports on Arthur’s death, asks Guenevere to go with him (which she refuses to do), and then delivers her a message from Merlin: to write her story. The novels that follow are thus set up more explicitly as Guenevere’s record of events, written so that others will know the “truth.” McKenzie has returned to the Arthurian legends with The Grail Prince (New York: Del Rey, 2003), a novel about Galahad.

A-1667 McKenzie, R. Brookes. “Arthur.” Ore 47 ([1994?]): 55–56(?). (*) A poem.

A-1668 McKenzie, R. Brookes. “Gwenhwyfar.” Ore 47 (n.d.): 46–47. (*) A poem.

A-1669 McKillip, Patricia A. The Tower at Stony Wood. New York: Ace Books, 2000. This fantasy novel rewrites Tennyson’s “The Lady of Shalott.” While the characters have different names, the motif of a lady weaving (or embroidering) in a tower, incorporating into her work all that she sees in a mirror, clearly parallels the poem. McKillip plays with such allusions to the poem, for example, through the lady’s decision to free herself from the curse and through various plot twists as a knight attempting to rescue the lady finds the story more complicated than he imagined.

A-1670 McLanathan, Mary Leland. Three Kings: A Christmas Legend of Long Ago. Illus. Rosina Emmet. New York: Anson D. F. Randolph and Co., 1886. This long poem is set in the time and country of King Arthur. While there is some description of the justness of Arthur’s reign and a few scenes set in his court, most of the poem concerns three brother kings and their dream of the Christ-child.

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A-1671 McMullen, K. H. Class Trip to the Cave of Doom. Illus. Bill Basso. Dragon Slayers’ Academy 3. New York: Grosset and Dunlap, 1998. Mordred takes the pupils of the academy on a search for dragon’s gold in the third novel of the series.

A-1672 McMullen, K. H. Countdown to the Year 1000. Illus. Bill Basso. Dragon Slayers’ Academy 8. New York: Grosset and Dunlap, 1999. A boy from the future shows up at the academy to help Wiglaf and his friends thwart the plans of Count Upsohigh to steal everyone’s gold during the fears of the new millennium. The eighth in the series.

A-1673 McMullen, K. H. Knight for a Day. Illus. Bill Basso. Dragon Slayers’ Academy 5. New York: Grosset and Dunlap, 1999. The academy students enter an essay contest, and, when Wiglaf wins, the great Lancelot comes to visit them. Wiglaf and his friends, however, soon realize that something is wrong. Fifth in the series.

A-1674 McMullen, K. H. Lancelot, Where Are You? Illus. Bill Basso. Dragon Slayers’ Academy 6. New York: Grosset and Dunlap, 1999. The sixth book in the series takes up where the fifth ends, as Wiglaf and his friends go on a quest to save the real Sir Lancelot from the evil spells of Morgan. On their quest, they visit Camelot and talk to Arthur and his knights.

A-1675 McMullen, K. H. The New Kid at School. Illus. Bill Basso. Dragon Slayers’ Academy 1. New York: Grosset and Dunlap, 1997. The first in a series of juvenile novels, this book begins the story of Wiglaf, who enters the academy and accidentally slays a dragon. Sir Lancelot is mentioned as a great hero (with his own line of dragon-fighting equipment); the headmaster’s name is Mordred.

A-1676 McMullen, K. H. Revenge of the Dragon Lady. Illus. Bill Basso. Dragon Slayers’ Academy 2. New York: Grosset and Dunlap, 1997. In the second novel of the series, Wiglaf must face the mother of the dragon he has slain. Lancelot as a great dragon fighter is mentioned, and Camelot is part of a candybar name.

A-1677 McMullen, K. H. A Wedding for Wiglaf? Illus. Bill Basso. Dragon Slayers’ Academy 4. New York: Grosset and Dunlap, 1998. In the fourth book of the series, a rich princess wants to marry a dragon slayer, and Mordred thinks Wiglaf is the perfect match.

A-1678 McMullen, K. H. Wheel of Misfortune. Illus. Bill Basso. Dragon Slayers’ Academy 7. New York: Grosset and Dunlap, 1999. Wiglaf and his friends represent the Dragon Slayers’ Academy at the All Schools Brain Power tournament. As in the rest of the series, there are references to Sir Lancelot as a mighty hero.

A-1679 McSpadden, J. Walker. “A Woman’s Wish.” Stories from Chaucer: Retold from the Canterbury Tales. Illus. Victor Prout. Told Through the Ages. London: George G. Harrap, 1910. 94–102. A prose rendering of The Wife of Bath’s Tale by Geoffrey Chaucer (though one of the speeches of the loathly lady to her new husband is quoted directly rather than retold). There is a full-page, B&W illustration of the knight meeting the lady.

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A-1680 Mead, Stella. “Merlin’s Lullaby.” The Land of Legends and Heroes. London: James Nisbet, 1929. (*) A poem.

A-1681 Mead, Stella. “Tristram.” The Land of Legends and Heroes. London: James Nisbet, 1929. (*) A poem.

A-1682 Meadley, Margaret. Sir Gawain and the Green Knight: Told for Children. Illus. Rogan Boon. York: Yorick Publications, 1975. Designed for older children, this is a prose retelling of the medieval poem. Comments by the narrator create a sense of the story being told orally. There are ten full-page, B&W drawings as illustrations.

A-1683 Meaney, Dee Morrison. Iseult: Dreams that are Done. New York: Ace / Berkley Publishing Corp., 1985. This novel focuses on Iseult, beginning when she is a young woman who helps her mother heal a wounded harper, Tantris. In this version, Mark is generally kind and loving; the novel explores the conflicts caused by contradictory emotions of love and loyalty in the three major characters. The love potion plays a major role; its binding of Tristan and Iseult is strong enough to cause her death when Tristan dies.

A-1684 Melling, O[rla] R. The Hunter’s Moon. The Chronicles of Faerie 1. Toronto: HarperCollins; Dublin: O’Brien Press, 1993. Rptd: The Chronicles of Faerie. Toronto: Penguin, 2002. The protagonist of this children’s fantasy novel is Gwen, and it is specified that her full name is “Gwenhyvfar,” from the Welsh. She is Canadian, but is visiting her cousin in Ireland; they spend the night at Tara and her cousin goes with the faerie court. Gwen then tries to save her cousin, but it turns into an attempt to save faerie itself. To do that, a company of seven (including her cousin and the faerie king) forms to fight the Great Worm. In the faerie realm, one of the company (Gwen’s boyfriend) is described as an “archetypal king” who carries Excalibur. The Arthurian allusions, then, are very brief; this book and the rest of the series draws more heavily on faerie lore and Irish myth. Book 2 of the series is The Summer King (1999) and Book 3 is The Light-Bearer’s Daughter (2001), but neither of these have Arthurian allusions; the first three books have been reprinted in an omnibus edition (The Chronicles of Faerie 2002), and a fourth installment, The Book of Dreams, appeared in 2003.

A-1685 Melling, O[rla] R. The Singing Stone. Markham, ON: Penguin Books Canada, 1986. In this fantasy novel, the protagonist, Kay, is a young orphan girl who never knew her parents. She studies the myths of Ireland, and while visiting that country travels back in time to ancient Ireland. By the end of the novel, she has developed magical powers that are compared to those of Merlin and Morgan.

A-1686 Mendel, Clarence Whittlesey. “Merlin has gone again to Brittany.” Yale Alumni Weekly 25 Feb. 1927: 605. (*) A poem.

A-1687 Menteath, Dora Stuart [Mrs G. F. S.]. Avalon: A Poetic Romance. London: J. Elliott, 1894. (*) A poem.

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A-1688 Merchant, Elizabeth Lodor. King Arthur and his Knights, Based on “Morte d’Arthur” of Sir Thomas Malory. Illus. Frank Godwin. Winston’s Clear-Type Popular Classics. Philadelphia: John C. Winston Co., 1927. Rptd: Illus. Frank Godwin, Norman G. Rudolph, and Edward F. Cortese. Children’s Classics. Philadelphia: John C. Winston Co., 1957. A modernization and abridgement of Malory (supplemented from other medieval sources); the story begins with Vortigern and Merlin and the two dragons. There are four full-page colour illustrations and twelve full-page B&W engravings.

A-1689 Meredith, Owen [pseud.], [i.e., Edward Robert Bulwer Lytton, Earl of Lytton (1831–1891)]. “Elayne le Blanc.” Clytemnestra and Other Poems. London: Chapman and Hall, 1855. 284–95. Rptd: Owen Meredith’s Poems: Clytemnestra and Other Poems. London: Chapman and Hall, 1867. This poem shows Elaine of Astolat singing in her tower, longing for a knight to be her champion. The songs she sings mention Joyous Gard and Tintagel; she dreams of Guenevere’s court. At the very end, she watches Lancelot ride by in the moonlight.

A-1690 Meredith, Owen [pseud.], [i.e., Edward Robert Bulwer Lytton, Earl of Lytton (1831–1891)]. “The Parting of Launcelot and Guenevere: A Fragment.” Clytemnestra and Other Poems. London: Chapman and Hall, 1855. 247–59. Rptd: Owen Meredith’s Poems: Clytemnestra and Other Poems. London: Chapman and Hall, 1867. In this poem, after Arthur has departed for a tournament, Guenevere and Lancelot meet; she rebukes him for staying behind, but they then reconcile. The poem shows the insecurity of the lovers at this stage of their affair (the poem is set after the Grail quest and before the Elaine of Astolat episode).

A-1691 Meredith, Owen [pseud.], [i.e., Edward Robert Bulwer Lytton, Earl of Lytton (1831–1891)]. “Queen Guenevere.” Clytemnestra and Other Poems. London: Chapman and Hall, 1855. 296–98. Rptd: Owen Meredith’s Poems: Clytemnestra and Other Poems. London: Chapman and Hall, 1867. 326–28. This lyric poem is a description of Guenevere as she sits by the window. The description emphasizes her beauty: a falcon from “strange lands” has flown a great distance just to see her.

A-1692 Merely Gene [pseud.], “A Newly-Discovered Idyl (Found Among Mr Mallory’s Effects).” The Daily Illini (Champaign, IL) 14 Mar. 1925. (*) A poem.

A-1693 Merington, Marguerite. “The Testing of Sir Gawayne: All Hallowe’en Play on the Arthurian Legend.” Festival Plays. New York: Duffield and Co., 1913. 209–62. Rptd: A Treasury of Plays for Children. Ed. Montrose J. Moses. Boston, MA: Little, Brown, 1921. A one-act play that takes place in Arthur’s court. Arthur has gone out on a quest, and Guenevere is worried about his safety. When he returns, he tells the knights of his adventures; he must answer a giant’s question or give up Guenevere and the kingdom to the giant. The question is the traditional “what do women want?” and Gawain’s pledge to marry an apparently old, ugly woman makes it possible for the kingdom to be saved.

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A-1694 “Merlin.” Celtic Time / An Aimsearr Ceiltiach Mar.-Apr. 1950: 2. Anonymous poem, in seven (uneven) stanzas. Merlin, standing by the sea, is interrogated by the narrator, and declares that he waits here for the “one of great power, / The one to deliver my country and me.”

A-1695 “Merlin Redivivus: A Dramatic Scene.” Monmouthshire Merlin 23 May 1829: 4. (*) A-1696 Merlin Reviv’d; or, An Old Prophecy Found in a Manuscript in Pontefract Castle in York-shire. London: Printed for S. S., 1681. [STC (Wing) M1828 (ESTC R1243); also 1682: M1830 (ESTC R35041).] A broadsheet, with a series of prophecies in verse for the years 1650–1682, attributed to Merlin (beginning: “When MDC shall joyn with L . . .”). A “note to the Reader” affirms that the prophecies did precede the events, and that at least one person claims to have seen a manuscript of these verses some twenty years before their publication.

A-1697 Merlin’s life and prophecies, Who flourish’d in the fifth century, and foretold the fates and fortunes of all the kings and queens that have sat on the British throne, from Vortigern down to his present Majesty, . . . His prediction relating to the late contest about the rights of Richmond Park. . . . London: Printed for M. Cooper, W. Reeve and C. Sympson, 1755. [ESTC T90064.] (*) Prophecies attributed to Merlin.

A-1698 “Merlin’s Prophecy for the Year 1831.” Monthly Magazine [London] ns 11 [no. 61] (Jan. 1831): 1–3. An unsigned satirical poem, published in the opening pages of the magazine in the first issue for the year 1831. The poem is in fifteen eight-line stanzas, with the first stanza addressed to Merlin, and the remainder being Merlin’s reply (beg.: “Wizard! dreaming in your cave, / Twice ten thousand fathoms deep”). Merlin’s response is to express a general cynicism about the state of the world (“Scoundrels still the soil will cumber, / Asses still give asses birth”), but also offers some more specific observations on recent events in Ireland, Italy, Poland, and Germany.

A-1699 “Merlins Prophesies.” In Nine Notable Prophesies wonderfully predicted and now partly come to passe and effected in these present yeares of calamitie, in this climate: 1. A prophesie of K. Richard the 3. 2. Mother Shiptons prophesie. 3. Mr Truswels, recorder of London. 4. Sibyllaes prophesies. 5. Ignatius phrophesie. 6. Merlins prophesie. 7. Otwel Bins prophesies. 8. Mr Brightmans prophesies. 9. An ancient prophesie in old meeter. Printed by an extant true copie with new marginall notes on Mother Shiptons prophesies. . . . [London]: Printed for Richard Harper, 1644. 7. [STC (Wing) N1160 (ESTC R43008).] An eight-page pamphlet, presenting a small collection of prophetic writings. “Merlins Prophesies” is a short poem (six couplets), beginning “On Boreas wings then hither shall be born, / Through week or Tweed, a Princely unicorn”; it predicts the coming of a “northern Thistle” to the throne of England, and that London will have cause to rue his ascension. The title-page includes a wood, with Mother Shipton in the foreground, centred; at the left, in the middle distance, is a tower, atop of which is a figure labelled “Wolsey”; at the right is a view of a city from outside the gate, labelled “Yorke”; in the sky above are various occultic symbols.

A-1700 Merrick, Williston [pseud.], [i.e., Williston Merrick Ford]. Quest: An Agelong Romance. New York: Exposition Press, 1953. This book begins with four prologues, containing brief scenes in ancient Egypt, Israel and Rome. The succeeding chapters are entitled according to various months, but each is a discrete episode taking place in a different setting and different century. The premise is that a pair of lovers recog-

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nize that love is eternal, that they have been lovers in different fashions in other lifetimes. Love is therefore the Grail and the eternal quest. One of the episodes refers to Arthurian characters, and the lovers are Tristan and Iseult (although rather different from usual depictions of these characters). A revised and much longer version of this novel, entitled Grail: An Agelong Romance and released under the name Williston Merrick Ford, was published in 1961 by the Christopher Publishing House of Boston.

Mertz, Barbara Gross: see Peters, Elizabeth. A-1701 Meyerstein, Edward Harry William. “In Merlin’s Wood.” Poems. Oxford: Blackwell, 1922. (*) A poem.

A-1702 Michaels, Philip. Grail. New York: Avon Books, 1982. This horror novel of the Grail in twentieth-century Boston does refer to the Grail’s Arthurian origins; a knight of Arthur’s court discovered it.

A-1703 Micheal, L. A. Book I, Spring 480–545. Great Neck, NY: Todd and Honeywell, 1986. At the beginning of this novel, Merlin is leaving King Arthur on his own because Arthur now has the strength to rule alone and because Merlin wants to pursue his own desire – to become a god. Angered by a vision which shows him entrapped by Nimue, the Lady of the Lake, Merlin bargains with his Druid god and becomes custodian of the god’s daughter, Gwendaene. The rest of the novel, mostly narrated by Gwendaene, tells of her upbringing, her ordination as high priestess, and her capture by Saxons. The novel resembles a historical romance, since she falls in love with Swithun, a Saxon prince, and abandons her mission. The Arthurian episodes are minor and often simply mentioned as background. Some Arthurian names are used (Yseult, Isolde, and Enid), but Micheal’s characters are very different from the Arthurian ones.

A-1704 Middleton, Christopher. The famous historie of Chinon of England with his strange aduentures for the loue of Celestina daughter to Lewis King of Fraunce. With the worthy atchiuement of Sir Lancelot du Lake, and Sir Tristram du Lions for fair Laura, daughter to Cador Earle of Cornewall, beeing all knights of King Arthurs round table. London: Printed by John Danter for Cuthbert Burbie, 1597. [STC (P&R) 17866 (ESTC S109998).] Rptd: The Famous Historie of Chinon of England by Christopher Middleton, to which is added “The assertion of King Arthure,” translated by Richard Robinson from Leland’s “Assertio inclytissimi Arturii,” together with the Latin original, edited from copies in the British Museum, with introduction, notes, and glossary. Ed. William Edward Mead. Early English Text Society, OS 165. London: Oxford University Press, for the Early English Text Society, 1925 [for 1923]. This prose romance is set in the time of Arthur and begins in Cornwall. Cador’s daughter, Laura, is beloved by Lancelot, and he goes off to France to do great deeds for her sake; Tristan is his companion in these adventures. A great deal of the story, however, tells of Chinon’s adventures; he is the son of Cador, and part way through becomes a knight of the Round Table. The Arthurian knights provide a standard of chivalric greatness against which to compare the title character; the usual stories associated with them are not part of this romance.

A-1705 Middleton, Haydn. The Collapsing Castle. London: Hamish Hamilton / Penguin Group, 1990. Rptd: New York: Ballantine, 1991. A lecturer in Oxford and his young lover help to recreate the true mystical meaning of the story of

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Vortigern and Rowena. The novel makes significant use of passages from Charles Williams’ poem “Mount Badon,” and is more generally reminiscent of Williams’ novels.

A-1706 Middleton, Haydn. Island of the Mighty. Illus. Anthea Toorchen. Oxford Myths and Legends. Oxford and New York: Oxford University Press, 1987. A subtitle appears on the dust-jacket but not on the title-page: “Stories of Old Britain.” A juvenile retelling of Welsh legends from the Mabinogion and other sources, drawing links between originally unconnected stories (Bran, Branwen, King Lud, “The Dream of Maxen,” etc.). The book is profusely illustrated in colour and B&W. The story of Vortigern’s tower and the need for a boy with no father is included, as is the story of “The Dream of Rhonabwy” in which Bran and “the King” play “chess.” In several of the stories, a “wise man of the wood” appears, identifying himself variously as “Chief Bard to Elphin,” known by some as Taliessin and by others as Merlin (34); in the final episode, the Bard makes a prophecy that “the King,” Arthur, is about to appear.

A-1707 Middleton, Haydn. The King’s Evil: Book 1 of the Mordred Cycle. London: Little, Brown and Co., 1995. (*) A novel of Mordred.

A-1708 Middleton, Haydn. The Queen’s Captive: A Mordred Cycle Novel. London: Little, Brown and Co., 1996. Morgan is the Queen of the title. This novel is set on Avalon, after Mordred kills Arthur, yet as “Mordred Cycle” suggests, time in the book circles around, repeating patterns of conception, birth, death. There are sexually explicit scenes.

A-1709 Middleton, Haydn. The Knight’s Vengeance: A Mordred Cycle Novel. London: Little, Brown and Co., 1997. This novel is about the transition from “Albion,” the old kingdom of Arthur, to “Logres,” the new kingdom that at the end is presided over by Mordred.

A-1710 Middleton, Thomas. Hengist, King of Kent or The Maior of Quinburough. London: Herringman, 1661. Rptd: Hengist, King of Kent; or, The Mayor of Queenborough. Ed. R. C. Bald. New York: Charles Scribner’s Sons, 1938. Likely written 1619–1620. The play begins with Vortigern putting Constantius on the throne as the people demand, only to usurp power by killing him. Hengist and his settlement of Kent is a major element; in this version, his captain Horsus is in love with Rowena. The play ends with Aurelius taking power.

A-1711 Milán, Victor. “Soldatenmangel.” In Dragons of Darkness. Ed. Orson Scott Card. New York: Ace, 1981. This short story plays with the idea that Merlin lives backwards in time. Here he is causing havoc in the eighteenth century, trying to prevent the progress that leads to industrialization and twentieth-century wars. The story casts him as the rather ridiculous villain, since the point of view used is that of the man who is sent to stop him.

A-1712 Miles, Rosalind. Queen of the Summer Country. Guenevere 1. New York: Crown Publishers, 1998. A story of Guenevere, retold by the author of The Women’s History of the World. This novel covers the period of Guenevere’s life from just before her meeting with and marriage to Arthur, to just after her rescue by Lancelot from Malgaunt. Miles has made Guenevere the queen of the Summer Country and of Camelot; her mother, queen before her, worshipped the Goddess, led her own army, and followed the practice of taking new consorts (also warband leaders) every seven years.

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Arthur’s appearance at a Beltain ritual rescues Guenevere from being forced to marry Malgant, her kinsman. The marriage of Guenevere and Arthur thus brings together the Middle Kingdom once ruled by Uther and the Summer Country. While Miles’ book presents itself as a feminist version of the legend, Guenevere does very little to earn the reader’s respect and many other major female characters in the novel (such as Morgan) are demonized.

A-1713 Miles, Rosalind. The Knight of the Sacred Lake. Guenevere 2. New York: Crown Publishers, 2000. This sequel to Queen of the Summer Country begins with Lancelot’s return to court, and ends once Mordred, a grown man, is recognized as Arthur’s son; the story continues in The Child of the Holy Grail (2001).

A-1714 [Millard, Frederick]. Tristram and Iseult. [London]: [Privately printed], [1870 (date of Preface)]. An English metrical version of the life of Tristram, based on the French romances and Breton legends (Preface). The author is not named within the publication, but his name is given in the British Library catalogue entry. The poem is about 900 lines in length, predominantly in blank verse, though with a number of lyrical passages in other metrical forms. It tells (in abbreviated form) the story presented by Béroul and Thomas, of Tristram’s birth, his triumph over Sir Marhaus to release Cornwall of tribute, the doomed love, the eventual death (including the deception about the sails).

A-1715 Millay, Edna St Vincent. “Elaine.” Second April. New York: Harper and Brothers, 1921. 56–57. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 242. Elaine of Astolat pleads with Lancelot to return to her.

A-1716 Millay, Edna St Vincent. “Sonnet I.” Second April. New York: Harper and Brothers, 1921. 99. The speaker compares her situation to those of Iseult and Guenevere; it is a recognition of the inevitability of forbidden love and its consequences.

A-1717 Millay, Edna St Vincent. “Tristan.” Mine the Harvest: A Collection of New Poems. New York: Harper and Brothers, 1954. 39–42. All four lyrics that make up this sequence are spoken by Tristan; each is at a different stage of the love affair with Iseult. In the first, he brushes aside the love potion. In the second, he remembers their passion on board ship. In the third, he describes another of their rendezvous, remembering the smell of herbs in the room. In the fourth, he lies beneath an oak; his reflections on the oak’s growth are ironic given his own fate.

A-1718 Miller, Emily Clark Huntington. “From Avalon.” From Avalon and other Poems. Chicago: McClurg, 1896. 7–8. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . Avalon is depicted in this poem as a place of healing, not just for the sleeping Arthur, but for the speaker, who can travel there in thought.

A-1719 Miller, J. Corson. “Dagonet Makes a Song for the King.” A Horn from Caerleon. New York: Harold Vinal, 1927. 57. In this poem, Dagonet warns of the fickleness of love, the scarcity of friends, and the general distresses of life. Only the title suggests that the speaker might be addressing Arthur.

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A-1720 Miller, J. Corson. “Dagonet Makes a Song for the Queen.” Cup of the Years. Boston, MA: Bruce Humphries, 1934. 66–67. Dagonet talks about love and life, but only the title suggests that this is addressed to Guenevere.

A-1721 Miller, J. Corson. “Guenevere.” A Horn from Caerleon. New York: Harold Vinal, 1927. 38. This Shakespearean sonnet depicts Guenevere at the moment when she is to enter the nunnery, reflecting on the end of her life with Lancelot and Arthur.

A-1722 Miller, J. Corson. “A Horn from Caerleon.” A Horn from Caerleon. New York: Harold Vinal, 1927. 105. A five-stanza poem depicting a sentry on duty in Arthur’s city. As sunset approaches, the horn is sounded, and the poet interprets this as a warning and a promise, a symbol for all that Arthur’s reign represents.

A-1723 Miller, J. Corson. “Sunset Pantomime.” Cup of the Years. Boston, MA: Bruce Humphries, 1934. 43. The colours of the sunset are compared to a tournament of Arthurian knights in this Petrarchan sonnet.

A-1724 Miller, Jeremy M. The Death of Arthur, the Play of Winter. Brookline, MA: Privately printed, 1982. The main character of this play is Lancelot; it retells the end of the Arthurian story, after Guinevere is rescued from the stake.

A-1725 Miller, R. E. “Against Time.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 13. This three-stanza poem reflects on time, poetry, Parzifal’s quest, and Wolfram von Eschenbach’s version of the legend.

A-1726 Miller, Randy. “The Scout, the Slugger and the Stripper.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 289–305. A short story about a baseball scout who finds an incredible player named Arturo; he gives him a special bat that seems to have almost magical powers (like Excalibur).

A-1727 Miller, Sasha. “King’s Man.” In The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1990. 78–88. The protagonist of this story is Merlin; when he is ordered by a brutish Arthur to find the king a bride, Merlin finds Guenevere and falls in love with her. The magic that he works in order to be her lover has unexpected consequences, and makes this an original story of Merlin’s disappearance and the love triangle of Camelot.

A-1728 Milman, Henry Hart. Samor, Lord of the Bright City: An Heroic Poem. London: John Murray, 1818. Rptd: Milman’s Poetical Works. 3 vols. London: John Murray, 1839. 2: 1–296. This twelve-book poem is set just after Vortigern has invited the Saxons (specifically Hengist) to Britain. Samor is one of the British lords who oppose their presence; his attempts to persuade Vortigern to send them away, and failing that, to act as avenger of the British himself and with other British lords, are the basis of the story. Emrys and Uther are two of the Britons with whom

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Samor joins; a young Arthur takes part in the action briefly; Merlin appears at various points to prophesy.

A-1729 Milton, John. Paradise Regain’d: A Poem in IV Books, to which is added “Samson Agonistes.” London: Printed by J. M. for John Starkey, 1671. [STC (Wing) M2152 (ESTC R299); 2nd edn. (1680): M2153 (ESTC R300); 3rd edn. (1688): M2154 (ESTC R2091).] Rptd: Many editions, including: The Poetical Works of John Milton. Ed. Helen Darbishire. Oxford English Texts. Oxford: Clarendon Press, 1952–1955. In Book 2 of Paradise Regained (see page 47 in 1671 edn.; 2: 25 in The Poetical Works), Milton describes the temptation of Jesus in the wilderness. Satan creates a feast to tempt Jesus from his fast, and that feast has as attendants beautiful men and women; the women are compared to “faery damsels met in forest wide / By knights of Logres, or of Lyones, / Lancelot, or Pelleas, or Pellenore” (ll. 359–61). While the allusion is rather slight, it is a reminder that Milton had announced plans to produce an epic poem on King Arthur – plans which were then abandoned when he decided to write Paradise Lost instead.

A-1730 Minnton, Janyce L. Legends of King Arthur. Illus. Bruno Frost. Sunrise Library. New York: Hart Publishing Co., 1965. Juvenile redaction of the opening sections of Malory, telling the story from the sword in the stone to the establishment of the Round Table. There are twenty-one B&W illustrations.

A-1731 [Mirror for Magistrates.] “The Complaint of Uter Pendragon.” [By Thomas Blenerhasset.] The seconde part of the Mirrour for magistrates conteining the falles of the infortunate princes of this lande, from the conquest of Caesar, vnto the commyng of Duke William the Conquerour. [By William Baldwin, John Higgins, Thomas Blenerhasset, and Richard Niccols.] London: Printed by Richard Webster, 1578. Ff. 31v-36. [STC (P&R) 3131 (ESTC S104601).] Rptd: A mirour for magistrates being a true chronicle historie of the vntimely falles of such vnfortunate princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age [i.e., A Mirror for Magistrates, Parts 1–4, complete.] [Ed. Richard Niccols.] London: Printed by Felix Kyngston, 1610. 212–18. [STC (P&R) 13446 (ESTC104065).] – The falles of unfortunate princes Being a true chronicle historie of the untimely death of such princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age. Whereunto is added the famous life and death of Queene Elizabeth, with a declaration of all the warres, battels and sea-fights, during her raigne: wherein at large is described the battell of 88. with the particular seruice of all such ships, and men of note in that action. London: Printed by Felix Kyngston for Thomas Adams, 1619. [STC (P&R) 13447.5 (ESTC R26027); also 13448 (ESTC S116210) and 13448.4 (ESTC S92988).] – Mirror for Magistrates, in Five Parts. 2 vols. in 3. London: Lackington, Allen, and Co., 1815. – Parts Added to the “Mirror for Magistrates.” Ed. Lily B[ess] Campbell. Cambridge: Cambridge University Press, 1946. 434–40. The Mirror for Magistrates is a collection of verse tales of princes who fall through misfortune, originally conceived as a supplement to John Lydgate’s Fall of Princes, itself based on Giovanni Boccaccio’s De casibus virorum illustrium. The Mirror was published in five parts, by different authors: Part 1 by John Higgins, Part 2 by Thomas Blenerhasset, Part 3 (the first to be written and published, in 1559) by William Baldwin, and Parts 4 and 5 by Richard Niccols. The second part by Blenerhasset covers English history before the Conquest, and includes the stories of two kings

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associated with Arthurian legend, Vortigern and Uther Pendragon. Uther, in twenty-four stanzas of rhyme royal verse, tells of his “fall” because of his lust for Igerne.

A-1732 [Mirror for Magistrates.] “The Complaynt of Vortiger.” [By Thomas Blenerhasset.] The seconde part of the Mirrour for magistrates conteining the falles of the infortunate princes of this lande, from the conquest of Caesar, vnto the commyng of Duke William the Conquerour. [By William Baldwin, John Higgins, Thomas Blenerhasset, and Richard Niccols.] London: Printed by Richard Webster, 1578. Ff. 24v-31. [STC (P&R) 3131 (ESTC S104601).] Rptd: A mirour for magistrates being a true chronicle historie of the vntimely falles of such vnfortunate princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age [i.e., A Mirror for Magistrates, Parts 1–4, complete]. [Ed. Richard Niccols.] London: Printed by Felix Kyngston, 1610. 203–12. [STC (P&R) 13446 (ESTC S104065).] – The falles of unfortunate princes Being a true chronicle historie of the untimely death of such princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age. Whereunto is added the famous life and death of Queene Elizabeth, with a declaration of all the warres, battels and sea-fights, during her raigne: wherein at large is described the battell of 88. with the particular seruice of all such ships, and men of note in that action. London: Printed by Felix Kyngston for Thomas Adams, 1619. [STC (P&R) 13447.5 (ESTC R26027); also 13448 (ESTC S116210) and 13448.4 (ESTC S92988).] – Mirror for Magistrates, in Five Parts. 2 vols. in 3. London: Lackington, Allen, and Co., 1815. – Parts Added to the “Mirror for Magistrates.” Ed. Lily B[ess] Campbell. Cambridge: Cambridge University Press, 1946. 422–33. The second part of the Mirror, by Blenerhasset, covers English history before the Conquest, and includes the stories of two kings associated with Arthurian legend, Vortigern and Uther Pendragon. Vortigern, in forty-four stanzas of rhyme royal verse, tells the tale of his tyrannies and his ultimate downfall.

A-1733 [Mirror for Magistrates.] “The Famous Life and Death of King Arthur.” [By Richard Niccols.] A mirour for magistrates being a true chronicle historie of the vntimely falles of such vnfortunate princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age [i.e., A Mirror for Magistrates, Parts 1–4, complete]. [By William Baldwin, John Higgins, Thomas Blenerhasset, and Richard Niccols.] London: Printed by Felix Kyngston, 1610. 561–84. [STC (P&R) 13446 (ESTC S104065).] Rptd: The falles of unfortunate princes Being a true chronicle historie of the untimely death of such princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age. Whereunto is added the famous life and death of Queene Elizabeth, with a declaration of all the warres, battels and sea-fights, during her raigne: wherein at large is described the battell of 88. with the particular seruice of all such ships, and men of note in that action. London: Printed by Felix Kyngston for Thomas Adams, 1619. [STC (P&R) 13447.5 (ESTC R26027); also 13448 (ESTC S116210) and 13448.4 (ESTC S92988).] – Mirror for Magistrates, in Five Parts. 2 vols. in 3. London: Lackington, Allen, and Co., 1815. The “Famous Life and Death of King Arthur” first appeared among the “Additions” in the 1610 edition of the Mirror; it is the life of Arthur, told in the first person; unlike most of the stories in the collection, Arthur is presented as an exemplary ruler and warlord, brought down through no

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fault of his own, but by the treachery of Mordred. Gawin’s loyal service to Arthur is emphasized, and Gawin thus serves in the story as a foil to his brother Mordred.

A-1734 [Mirror for Magistrates.] “How George Plantagenet third sonne of the Duke of Yorke, was by his brother King Edward wrongfully imprisoned, and by his brother Richard miserably murdered.” [By William Baldwin.] A myrroure for magistrates Wherein may be seen by example of other, with howe greuous plages vices are punished: and howe frayle and vnstable worldly prosperitie is founde, even of those, whom fortune seemeth most highly to fauour [i.e., A Mirror for Magistrates, Part 3]. [By William Baldwin, John Higgins, Thomas Blenerhasset, and Richard Niccols.] London: In aedibus Thomae Marshe, 1559. Ff. 75v-83. [STC (P&R) 1247 (ESTC S104522).] Rptd: A mirour for magistrates being a true chronicle historie of the vntimely falles of such vnfortunate princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age [i.e., A Mirror for Magistrates, Parts 1–4, complete]. [Ed. Richard Niccols.] London: Printed by Felix Kyngston, 1610. 380–91. [STC (P&R) 13446 (ESTC S104065).] – The falles of unfortunate princes Being a true chronicle historie of the untimely death of such princes and men of note, as haue happened since the first entrance of Brute into this iland, vntill this our latter age. Whereunto is added the famous life and death of Queene Elizabeth, with a declaration of all the warres, battels and sea-fights, during her raigne: wherein at large is described the battell of 88. with the particular seruice of all such ships, and men of note in that action. London: Printed by Felix Kyngston for Thomas Adams, 1619. [STC (P&R) 13447.5 (ESTC R26027); also 13448 (ESTC S116210) and 13448.4 (ESTC S92988).] – Mirror for Magistrates, in Five Parts. 2 vols. in 3. London: Lackington, Allen, and Co., 1815. – The Mirror for Magistrates, Edited from Original Texts in the Huntington Library. Ed. Lily B[ess] Campbell. Huntington Library Publications. Cambridge: Cambridge University Press, 1938. 220–35. In three stanzas of the story of George Plantagenet, Duke of Clarence, we are told of how Merlin used “beastes” as heraldic symbols for kings and lords (ll. 211–31).

A-1735 Mitchell, Adrian. “Lament for the Welsh Makers.” On the Beach at Cambridge: New Poems. London: Allison and Busby, 1984. 15–18. In each quatrain of this poem, the speaker names a Welsh poet and some writing or action that each is known for, but reflects that each is dead. Among the poets listed are Aneirin, Taliesin, and Myrddin; the latter’s insanity after a battle is mentioned, invoking the story of Merlin of the wood.

A-1736 Mitchell, Adrian. “The Owl Song.” On the Beach at Cambridge: New Poems. London: Allison and Busby, 1984. 19. A note at the beginning of the poem gives the setting as after a battle; after witnessing its horrors, Merlin becomes an owl, so the speaker of this song is Merlin.

A-1737 Mitchell, D. M. Sir Tristram: A Tragedy in Four Acts. London: Fowler Wright, 1927. The first act shows the beginning of the love affair on board ship as Tristan and Iseult drink the love potion. The second act takes place a year later at Tintagel as various lords try to make Mark suspicious of the lovers. In the third act, Tristan rescues Iseult from lepers, and the two live together in the forest until a chance encounter reunites them with Mark. The last act ends the

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story in Brittany where Tristan, married to the other Iseult, dies of a wound when he is told that Queen Iseult will not come to him.

A-1738 Mitchell, Mark J. Sir Gawain’s Little Green Book: Two Tales from the Middle Ages. [Philadelphia]: Xlibris, 2000. A retelling of the tale of Sir Gawain and the Green Knight, told in the first person by Gawain. A coda, “My Midsummer Marriage,” retells the story of “Gawain and the Loathly Damsel.” This is being sold in paperback and e-book formats on Xlibris website.

A-1739 Mitchell, Mary. The Birth of a Legend. London: Methuen and Co., 1956. A novelization of the Lohengrin story, but most of it focuses on Elsa’s life before Lohengrin arrives. The story is rationalized; for example, the Emperor doubts the story of Lohengrin’s origins.

A-1740 Mitchell, S. Weir. “How Lancelot Came to the Nunnery in Search of the Queen.” Collected Poems. New York: Century, 1896. 131–33. Rptd: Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 57–59. Mitchell’s note to the poem in this collection says that it was written in 1886, but he does not specify the volume in which it was first published. The poem begins with Lancelot weeping at Gawain’s tomb; he then goes in search of the queen, but when he finds her, she has retreated to a convent. She agrees to talk to him, bids him farewell, but refuses to grant him one last kiss.

A-1741 Mitchell, S. Weir. “The Shriving of Guinevere.” The Hill of Stones and Other Poems. Boston, MA: Houghton Mifflin, 1882. 33–39. Rptd: Collected Poems. New York: Century, 1896. 107–10. – Selections. London: Macmillan, 1901. The setting of this poem is obviously after Guenevere and Lancelot have been caught and accused of treason. As Guenevere waits to be judged, a white knight appears; from his words (he talks of his love for her as better and more constant than that of Arthur or Lancelot, and he challenges the knights to condemn her only if they themselves are sinless) this knight must be Christ.

A-1742 Mitchison, Naomi. To the Chapel Perilous. London: George Allen and Unwin, 1955. Rptd: N.p.: White Lion, 1976. – Cover art by Marc Fishman. Ed. Raymond H. Thompson. Oakland, CA: Green Knight Publishing, 1999. This satirical novel presents the Grail quest as it might have been reported by journalists.

A-1743 Mnookin, Wendy M. “Guenever Loses her Baby.” In Without Child: Experiencing and Resolving Infertility. Ed. Ellen Sarasohn Glazer and Susan Lewis Cooper. Lexington and Toronto: Lexington Books / D. C. Heath and Co., 1988. 87–88. Rptd: Guenever Speaks. Illus. Deborah Davidson. Rochester, NY: Round Table Publications, 1991. 32–34. A poem expressing Guenever’s anxiety and anticipation when she believes that she may be pregnant. Part of her anxiety concerns the paternity of the child.

A-1744 Mnookin, Wendy M. “Guenever Plots Against Elaine.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 19.

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Rptd: Guenever Speaks. Illus. Deborah Davidson. Rochester, NY: Round Table Publications, 1991. 27. This poem is set at the time when Elaine brings Galahad to Camelot; the queen’s plot is to bind Lancelot to herself.

A-1745 Mnookin, Wendy [M]. Guenever Speaks. Illus. Deborah Davidson. Rochester, NY: Round Table Publications, 1991. This collection of thirty-one poems is divided in four parts, but all use the voice of Guenever; together they form something of a narrative of Guenever’s life. Some have been published previously (see other entries). Malory is an important source text; Mnookin uses quotations from his text at the beginning of each section and as an epilogue.

A-1746 Mnookin, Wendy M. “Guenever Speaks.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 46–51. Rptd: Modern Arthurian Literature: An Anthology of English and American Arthuriana from the Renaissance to the Present. Ed. Alan Lupack. New York and London: Garland Publishing, 1992. 483–88. – Guenever Speaks. Illus. Deborah Davidson. Rochester, NY: Round Table Publications, 1991. 44–46, 48–50. A poem in four parts, on Guenever’s last days. The first portion, “Guenever Learns of Arthur’s Death,” is a short quotation from Malory; so too is the fourth section, “The Sisters tell Lancelot of Guenever’s Last Words.” The second portion, “Guenever Retreats to Almesbury,” and the third, “Guenever Speaks,” are included in revised form (and “Guenever Speaks” is retitled “Guenever Returns from the Garden”) in Mnookin’s book, Guenever Speaks.

A-1747 Mnookin, Wendy M. “Guenever Views the Corpse of Elaine.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 20. Rptd: Guenever Speaks. Illus. Deborah Davidson. Rochester, NY: Round Table Publications, 1991. 28. This poem is the sequel to “Guenever Plots Against Elaine.” The queen describes Elaine’s funeral barge and struggles with her own guilt. (Mnookin combines the figures of Elaine, Galahad’s mother, with Elaine of Astolat.)

A-1748 Mockler, Anthony. King Arthur and his Knights. Illus. Nick Harris. Oxford Illustrated Classics. Oxford: Oxford University Press, 1984. This children’s novel begins with the story of Uther’s reign and then continues with the story of Arthur’s. Mockler’s sources include Malory and Geoffrey of Monmouth, but also the Mabinogion, T. H. White, and J. R. R. Tolkien. The Grail quest is not included. Harris provided twelve full-page colour plates as illustrations.

Moffat, Derry: see Disney, Walt, Co. A-1749 Monaco, Richard. “Blood and Dreams.” In Elsewhere, Vol. 2: Tales of Fantasy. Ed. Terri Windling and Mark Alan Arnold. Illus. Terri Windling. New York: Ace Books, 1982. 231–69. (*) Rptd: Part of Blood and Dreams. New York: Berkley Books, 1985. A short story.

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A-1750 Monaco, Richard. Blood and Dreams. New York: Berkley Books, 1985. The fourth installment of Monaco’s series about Parsival, in which Parsival and his son Lohengrin quest for the Grail.

A-1751 Monaco, Richard. Broken Stone. New York: Ace Books, 1985. This sequel to Runes is set in the time of Antony and Cleopatra (and they are major characters). The struggles between forces of good and evil now affect the lives of a boy named Arturus, who has a magical sword, and his (supposed) half-sister Morga, who is a sorceress and who becomes his lover. At stake are stones of incredible power.

A-1752 Monaco, Richard. The Final Quest. New York: G. P. Putnam’s Sons, 1980. The third of Monaco’s novels about Parsival and the Grail, this begins right after the events of The Grail War and recounts the adventures of Parsival as he tries to find his son, of Lohengrin as he tries to recover his memory, and of Clinschor as he continues in his evil attempts to acquire the Grail. Gawain is also a major character.

A-1753 Monaco, Richard. The Grail War. New York: Pocket Books, 1979. The second novel in Monaco’s Grail series is set after Arthur’s death. Parsival starts out as a monk, becomes an adulterous lover, and eventually the knight of the Grail again, although it is not he but one of his companions who achieves the Grail and the Lance this time. Clinschor is the villain; Morgan and Mordred are major characters as well.

A-1754 Monaco, Richard. Parsival: or, A Knight’s Tale. Illus. David McCall Johnston. New York: Macmillan Co., 1977. Rptd: New York: Pocket Books, 1978. The first novel in Monaco’s Grail series recounts Perceval’s childhood and quest for the Grail, as well as his marriage and his final realization of what the Grail is.

A-1755 Monaco, Richard. Runes. New York: Ace Fantasy Books, 1984. This fantasy novel, the first in a series, is set in the time of Julius Caesar; he and Mark Antony are important characters. Power struggles on earth in Rome and in Britain are the result of a supernatural struggle between the forces of good and evil. The forces of good are represented by the Avalonians. That name is virtually the only Arthurian reference in this book, but the author’s note confirms that the child conceived by the main characters (a Roman soldier and a Celtic slave girl) will become the legendary Arthur.

A-1756 Moncrieff, A. R. Hope. Romance and Legend of Chivalry. Illus. “from Drawings and Famous Paintings.” London: Gresham Publishing Co., [1912]. Rptd: London: Bracken Books, 1986. This volume is divided into two sections. The first is a non-fiction discussion of the history of the form, considering romances of Arthur and of Charlemagne in particular. The second section is a series of retellings of famous romances. There are four Arthurian ones: “The Young Unknown” retells the story of Gareth; “The Knight of the Lion” retells the story of Yvain after he has married and left his wife for more than their agreed time; “Sir Gawayne and the Green Knight” retells the medieval romance in prose; and “Sir Lanval” is the story of the knight of Arthur’s court who falls in love with a fairy lady more beautiful than Guenevere. Although Moncrieff also includes a story called “Ogier the Dane,” there are no Arthurian elements (e.g. Morgan) in it.

A-1757 Moncrieff, A. R. Hope. “Sir Lanval.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 253–60. This is reprinted from Moncrieff ’s Romance and Legend of Chivalry and is based on the lay by Marie de France. Lanval is a knight of Arthur’s court who ends up as the lover of a faerie maiden.

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A-1758 Monroe, Douglas. The 21 Lessons of Merlyn: A Study in Druid Magic and Lore. St Paul, MN: Llewellyn Publications, 1992. Monroe’s purpose is to offer non-fictional, historically based lessons from Druidic practice. The prologue reviews the history of Druidism in Britain and the history of Arthurian legend; the main body of the book presents the lessons within the frame of brief stories, in either third- or first-person narration, of Arthur and his teacher Merlin.

A-1759 Montague, Lee. “Jack the Giant Killer.” Jack Stories. Illus. Paul Birkbeck. London: BBC, 1968. (*) From the “Jackanory” programme. (Information from OCLC WordCat entry.)

A-1760 Montgomery, L[ucy] M[aud]. Anne of Green Gables. Boston, MA: L. C. Page, 1908. This novel of the unwanted, red-haired orphan who comes to live with an elderly woman and her brother on Prince Edward Island has an Arthurian chapter, “An Unfortunate Lily Maid” (Chap. 28). Anne and her friends, having studied Tennyson’s “Elaine and Lancelot” in school, decide to act out the part where Elaine floats down to Camelot. Anne, despite her red hair, is chosen to be the lily maid, with hilarious results. Although only one chapter of the novel, the episode acts as a turning-point in Anne’s relationship with Gilbert Blythe; the chapter’s end also has Anne summing up the things she has learned from this and other episodes of the novel.

A-1761 “Monty Python” [i.e., Graham Chapman, Terry Jones, Terry Gilliam, Michael Palin, Eric Idle, and John Cleese]. Monty Python and the Holy Grail (Book): Monty Python’s Second Film, A First Draft. London and New York: Methuen, 1977. A draft of the screenplay for the film, including deleted scenes, still photographs, and other “bonus features.” (See also the entry for Monty Python and the Holy Grail in the “Film, Television, and Radio” section.)

A-1762 Moorcock, Michael. The City in the Autumn Stars. London: Grafton Books, 1986. Rptd: Von Bek. London: Millenium, 1992. 225–625. This fantasy novel, a sequel to The War Hound and the World’s Pain, is narrated by a descendant of the protagonist of the first novel; this narrator, too, becomes caught up in a search for the Holy Grail, as well as for a magical sword (the sword of Paracelsus). The Grail in this novel thus has more associations with alchemy than with Arthurian legend; there is, however, an extended comparison made between the city of Mirenburg and Camelot. Note that Moorcock also has a story called “Free States” (in New Worlds 4 in 1994) that features a Grail quest, but again, virtually no Arthurian connections are made.

A-1763 Moorcock, Michael. Gloriana; or, The Unfulfill’d Queen, Being a Romance. London: Allison and Busby, 1978. Rptd: New York: Avon Books, 1979. Queen Gloriana rules in Albion in its golden, chivalric age: a period of tournaments and romance, generally “Elizabethan” in character though with defamiliarizing twists (the “virgin” queen, for instance, is far from virginal though resisting her counsellors’ advice to marry). The romantic façade, however, is maintained by the machinations of Lord Montfallcon, Gloriana’s chancellor, whose network of spies and assassins help to deal with persistent suitors from abroad and with intrigue and scandal within: a crisis arises when Lord Montfallcon’s control begins to slip, as evidenced by a series of murders. The occupants of this court have names from Spenser, Ariosto, and medieval romance (including Sir Orlando, Sir Amadis, etc.; Gloriana’s lady-in-waiting is named Una, though her “truth” is falsehood), and there are several references to Arthurian legends as part of the romantic background: Sir Launcelot is mentioned as a source of information (25), there is a ship arriving in port named the “Tristram and Isolde” (several references,

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beginning on p. 27), there is a stained glass picture of Gloriana’s father, King Hern, in the manner of King Arthur (32), Queen Gwynifer is mentioned as someone who was protected by dragons (210), and Dr Dee is described as impersonating Merlin (271–72). Dr Dee is pursuing an idea of parallel worlds, having encountered “mad” people who have described to him in detail worlds which are similar but not identical to Gloriana’s (the theory is most fully presented in Chap. 4), worlds for instance in which Adolphus Hiddler was Emperor of Germany before, by alchemical means, he escaped into Gloriana’s world. In the final chapter Gloriana is preparing to marry a rogue, the renamed “Prince Arthur of Valentia,” when the Moon of Romance will wed the Sun of Reason and a true golden age be inaugurated.

A-1764 Moorcock, Michael. The War Hound and the World’s Pain: A Fable. New York: Timescape Books, 1981. Rptd: Von Bek. London: Millenium, 1992. 1–223. In this fantasy novel, the main character is sent by Lucifer on a quest for the Holy Grail; when he acquires it, its keeper talks about the others who have come before him in terms that are suggestive of Arthurian knights, although no Arthurian characters are named.

A-1765 Moore, George. Héloïse and Abélard. 2 vols. London: Cumann Sean-Eolais na h-Éireann; New York: Privately printed (Boni and Liveright), 1921. Rptd: Various later editions, including that in Vol. 14 of Works, Uniform Edition. London: Heinemann, 1927–1933. The story of two young lovers, living in France at the time of the Crusades, who by the end have entered the religious life. Abelard spends some time as a minstrel, and with other minstrels he debates the cases of courtly lovers; Eleanor of Aquitaine is mentioned as presiding over such cases. In Chap. 22, Abelard meets another minstrel, Jean Guiscard, who has spent time mad in a forest because of the unkindness of his loved one. Jean tells a story of finding a ruined hall where old men sat around a table; he recognized them as Arthur and his knights. Arthur asks him to blow on a horn at which the knights disappear. This is a relatively minor episode in a lengthy work.

A-1766 Moore, George. “Perronik the Fool.” Daphnis and Chloe; Perronik the Fool. The Collected Works of George Moore 21. New York: Printed for subscribers only by Boni and Liveright, 1924. Rptd: Kyoto: Rinsen Book, 1983. – “Perronik the Fool.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 324–59. A retelling of the Breton legend of Perronik, a Perceval-figure on a Grail quest. Author’s note: “In my narrative of Héloïse and Abélard . . . Héloïse wrote a story in French prose entitled Peronnik the Fool. . . . But the story . . . would have distracted the reader’s attention. . . . It may be that in some future edition of Héloïse and Abélard the story will be included. – G.M.”

A-1767 Moore, William Dyer. “King Arthur’s Return.” The Texas Review 5 (Oct. 1919): 4–9. (*) A poem.

A-1768 Moorman, Frederic William. “Potter Thompson.” Plays of the Ridings. London: Elkin Mathews, 1919. 47–71. This play is divided into three scenes. In the first, Potter Thompson is mocked for idling about, thinking of Arthur and legends. In the second scene, Potter finds the cave where Arthur and his knights sleep; he wakes him and speaks to him and his companions. There are references to a number of Arthurian stories at this point: Gawain and the Green Knight, the love triangle of Tristan and Iseult, and Elaine of Astolat. Arthur sends Potter away with ideas of peace. In the third scene, he convinces the townspeople to listen to Arthur’s wisdom; he reinterprets the throwing of

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Excalibur into the lake as a sign that swords should no longer rule. The play was first acted in 1913, by students of the University of Leeds.

More, Dennis: see Taylor, Keith. A-1769 Morgan, Charles. Sparkenbroke. London: Macmillan, 1936. The title character of this novel, Lord Sparkenbroke, is writing a novel about Tristan and Iseult. As he becomes involved with a younger woman, there are allusions to the legend; their feelings for one another are represented in terms of Tristan’s and Iseult’s experiences though their situations are not exactly parallel.

A-1770 Morgan, Chloris. The Last Dragon. Illus. Jude Morton-Gurr. London: Headquarters Publishing Co., 1987. The dragon of the title is a little one who refuses to go with all the other magical creatures to Annwn as King Arthur has decreed. Merlin and Taliesin, the ones responsible for leading the creatures home, trap the dragon in a Welsh hill for centuries. Only when he has learned the cost of being destructive can he finally go home. Because this takes some time, the book summarizes various episodes in British history. Each of the seven chapters begins with a full-page water-colour illustration.

A-1771 Morgan, Richard William. The Duke’s Daughter: A Classic Tragedy. London: Trübner, 1867. (*) A verse drama.

A-1772 Morland, Harold. The Matter of Britain. Intro. Kathleen Raine. London: Graal Publications, 1984. A book of Arthurian poems, written for the most part in stanzas which resemble haiku; the poems offer lyric reflections upon various incidents from Malory, together covering the whole story of Arthur’s life. Contents: “Prologue: Child-Minding” (1–2), “The Sacrifice” (3–13), “The Young Perceval” (14–38), “The First and Last of Merlin” (39–56), “The Ravelled Sleave” (57–65), “Morgan le Faye” (66–74), “This Mortal Coil” (75–83), “The Colour of Truth” (84–89), “Yseult of the White Hands” (90–107), “The Canker” (108–14), “The Lost Clew” (115–20). Two of the poems first appeared in Temenos 3 (1982).

A-1773 Morley, Olive J. “King Arthur and his Knights: Scenes from the legends of King Arthur.” Plays: The Drama Magazine for Young People 29 (Apr. 1970): 83–95. Rptd: In Dramatized Folk Tales of the World. Ed. Sylvia E. Kammerman. Boston, MA: Plays Inc., 1972. The seven scenes of this drama depict various episodes from Malory, such as the sword in the stone and Excalibur episodes, the arrival of Lancelot and later Galahad at Camelot, the end of the Grail quest, and the final battle. Much connecting detail is left out: Galahad’s and Mordred’s fathers are never identified; one scene shows Mordred planning to trap Lancelot and the Queen, but that actual moment and Lancelot’s rescue of her are not shown.

A-1774 Morpurgo, Michael. Arthur, High King of Britain. Illus. Michael Foreman. Pavillion Books, 1994. Rptd: San Diego, New York, and London: Harcourt Brace and Co., 1995. This beautifully illustrated children’s novel begins with a young boy trying to walk out to the Eastern Isles at low tide. He gets caught in bad weather and is rescued by Arthur Pendragon, who has been living a half-life in a cave, guarded by the Lady of the Lake. While the boy recovers, Arthur tells stories of his court, and Arthur is the principal narrator of the story. Morpurgo basically follows Malory but also includes the story of Sir Gawain and the Green Knight. He also makes some alterations especially in terms of motivations (Arthur, for instance, cannot bring himself to

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confront Mordred, but Mordred is killed by Arthur’s dog when Mordred attacks Arthur from behind). The novel is divided into two parts for an audio version: 1) Excalibur, Arthur, the High King of Britain 1; read by Michael Morpurgo, cover illus. by Michael Foreman (2 audio cassettes; ca. 3 hours; Hodder’s Children’s Audio; London: Hodder Headline, 1998; catalogue no. H320443). 2) Camelot, the Last Days, Arthur, the High King of Britain 2; read by Michael Morpurgo, cover illus. by Michael Foreman (2 audio cassettes; ca. 3 hours; Hodder’s Children’s Audio; London: Hodder Headline, 1998; catalogue no. H320818).

A-1775 Morrell, Beatrice M. “To Those Who have Passed On.” Excalibur: The Chronicle of the Fellowship of the Round Table 2.2 (Jan. 1933): 60. A ten-line poem in blank verse; the Grail continues to “call its knights / To follow with high Faith” while you watch on, who have achieved it in the past. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-1776 Morressy, John. Kingsbane. New York: Playboy Paperbacks, 1982. A sword and sorcery novel that takes place in an alternate world. However, the climax of the story involves a magical sword that has been thrust through a cairn of stones to bind an evil being; the protagonists must withdraw the sword in order to prevent the evil force from being unleashed. At the end of the novel, a wise magician foretells a time when a king, “a good man,” will “be tempted by a sword in a stone” and “if he draws [it] . . . disaster will follow. He and those he loves will suffer greatly. All the good he has accomplished will be undone.” This ending suggests that the Iron Angel (the magical sword in this novel) is modelled on the Arthurian sword in the stone.

A-1777 Morris, Brian. “Dinas Emrys.” Stones in the Brook. Llandysul: Gomer, 1978. 35. This three-stanza poem reflects on Merlin’s role in Welsh culture and the way that legends of Merlin and Vortigern are assigned to various areas of Wales by outsiders.

A-1778 Morris, Brian. “Six Songs of Bardsey.” Tide Race. Llandysul: Gomer Press, 1976. 30–39. This poem has six parts and traces the evolution of Christianity at Bardsey. Morris refers to Merlin twice in the poem: Merlin retreats with the thirteen treasures of Britain as the Christians approach; and he sleeps under Bardsey “in a palace of glass.”

A-1779 Morris, Brian. “Thule.” Stones in the Brook. Llandysul: Gomer, 1978. 19–20. In this poem, the speaker talks about his travels throughout Wales. At Tintagel, he relishes the “false fables”; he identifies with Arthur’s struggle against the Saxons.

A-1780 Morris, Dave. Knightmare: The Labyrinths of Fear. London: Corgi, 1989. A book combining an adventure story with a choose-your-own-adventure. Treguard is the protagonist of the story, which is set in the era of Richard the Lionheart and his brother John. Merlin appears in a dream to assist Treguard; he is also a character in the choose-yourown-adventure game, as is Mordred. The Knightmare series is based on a television show.

A-1781 Morris, Dave. Knightmare: The Sorceror’s Isle. London: Corgi, 1991. (*) Another adventure story and choose-your-own adventure.

A-1782 Morris, Gerald. The Savage Damsel and the Dwarf. Boston, MA: Houghton Mifflin, 2000. This novel rewrites the story of Gareth from the perspective of Linet, and in doing so, it answers the question of why Linet would marry Gaheris when she spent all that time with Gareth. Gareth is in disguise at Camelot because he made a vow that he would not take his place there again until he could restore Lancelot’s honour; Kay seems to be fully aware of the identity of his kitchen help and facilitates Gareth’s quest, though Gareth does not recognize this help. Lancelot appears once

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again; since his defeat in The Squire, His Knight, and His Lady, he is living in the woods, calling himself Jean, and enjoying life as a woodcutter.

A-1783 Morris, Gerald. The Squire, His Knight, and His Lady. Boston, MA: Houghton Mifflin, 1999. This sequel to The Squire’s Tale covers more of Gawain and Terence’s adventures during the Roman War and during the year that Gawain must search for the Green Knight in order to receive the exchange of blows. The Green Knight is part of the Otherworld, so time passes differently there, and when the adventurers return, seven years have passed. The novel also features Lancelot’s arrival at court and his dedication to the queen, but although he is acknowledged to be a marvellous fighter, he is mainly a comic figure. Arthur is portrayed as a very good fighter as well; Terence learns that when the king is supposedly meditating in a hermitage, he is actually out adventuring anonymously.

A-1784 Morris, Gerald. The Squire’s Tale. Boston, MA: Houghton Mifflin, 1998. The squire of the title is Terence, an orphan boy who becomes Gawain’s squire when that knight first goes to Camelot to be knighted by Arthur. Travelling with Gawain, Terence has many adventures, and Morris provides an interesting and often humorous perspective on many of the traditional episodes, including the quest of the hound, hart, and lady that begins at Arthur’s wedding, and the encounter with Pelleas and Etarre.

A-1785 Morris, Gilbert. The Sword of Camelot. The Seven Sleepers Series. Chicago: Moody Press, 1995. A novel set in a post-nuclear world. Seven children were saved in sleeping chambers and then awakened to help Goel, a supernatural figure, to fight against the Dark Lord; descriptions of Goel’s powers make him analogous to Christ. In this installment, the sleepers are sent to a kingdom that has been modelled on stories of Arthur’s Camelot. While no Arthurian characters appear, some of the characters in this kingdom play analogous roles: Gwin, a knight loyal to the king, would seem modelled on Gawain; Elendar, a seer, resembles Merlin. The most obvious example of this sort would be Mogen, an evil sorceress. The sword mentioned in the title is a name for the king himself. While there are ten books in the series, only this one appears to be Arthurian.

A-1786 Morris, William. “The Chapel in Lyoness.” Oxford and Cambridge Magazine no. 9 (Sept. 1856): 577–79. Rptd: The Defence of Guenevere and Other Poems. London: Bell and Daldy, 1858. 57–64. – The Hollow Land and Other Contributions to the Oxford and Cambridge Magazine. London: Longmans, Green, and Co., 1903. 328–31. – The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: 31–34. – The Defence of Guenevere, and Other Poems. Ed. Margaret Lourie. Garland English Texts 2. New York and London: Garland Publishing, 1981. 72–75. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 87–90. – Arthurian Poets: Matthew Arnold and William Morris. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 81–84. This poem, set at the beginning of the Grail quest, gives the thoughts and speeches of three knights as they watch in the chapel: Ozana, who dies by the end of the poem, Galahad, and Bors. (The poem has been set to music; see the entry under “Boughton, Rutland, The Chapel in Lyonesse” in the Music section.)

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A-1787 Morris, William. The Defence of Guenevere and Other Poems. London: Bell and Daldy, 1858. Rptd: London: Ellis and White, 1875. – Hammersmith: Kelmscott Press, 1892. – Early Romances in Prose and Verse. Intro. Alfred Noyes. London: J. M. Dent; New York: E. P. Dutton and Co., 1907. – And various other printings. A collection of Morris’ poems, including several Arthurian pieces: “The Defence of Guenevere,” “King Arthur’s Tomb,” “Sir Galahad: A Christmas Mystery” (reprinted from a booklet published earlier in 1858), “The Chapel in Lyoness” (which had previously appeared in Oxford and Cambridge Magazine for Sept. 1856, pp. 577–79), “A Good Knight in Prison,” and “Near Avalon.” The collection of Early Romances in Prose and Verse (1907) is a reprinting of the complete contents of Defence along with eight prose stories. The Kelmscott Press printing of 1892 is one of the earliest productions of Morris’ private press. It contained a revised version of the text, and was issued in a limited edition of 310 copies. It was printed in black and red, with decorative borders and initial letters (but without illustrations). (For other illustrated and fine press editions of Morris’ poems, see the entries in the Fine Art section for “Harrison, Florence: Early Poems”; “King, Jessie M[arion]: Defence of Guenevere” (two entries), “Mackintosh, Margaret Macdonald, and Frances Macdonald McNair,” “Rossetti, Dante Gabriel: Guenevere: Two Poems,” and “Traquair, Phoebe Anna: Defence.”)

A-1788 Morris, William. “The Defence of Guenevere.” The Defence of Guenevere and Other Poems. London: Bell and Daldy, 1858. 1–17. Rptd: The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: 1–10. – The Defence of Guenevere and Other Poems. Ed. Margaret Lourie. Garland English Texts 2. New York and London: Garland Publishing, 1981. 45–53. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 56–65. – Arthurian Poets: Matthew Arnold and William Morris. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 51–59. This poem, written in tercets, first sets the scene: the knights are judging Guenevere and want her to speak. Most of the poem, then, is her version of the events that led to the discovery of her with Lancelot; she addresses herself particularly to Gawain, who appears to be her accuser. At the end of the poem, she is rescued by Lancelot.

A-1789 Morris, William. Five Arthurian Poems. New Rochelle, NY: Clarke Conwell, 1902. Five poems from The Defence of Guenevere and Other Poems are reprinted as an “Arthurian” collection: “The Defence of Guenevere,” “King Arthur’s Tomb,” “Sir Galahad: A Christmas Mystery,” “The Chapel in Lyonesse,” and “A Good Knight in Prison.”

A-1790 Morris, William. “A Good Knight in Prison.” The Defence of Guenevere and Other Poems. London: Bell and Daldy, 1858. 148–54. Rptd: The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: 82–86. – The Defence of Guenevere and Other Poems. Ed. Margaret Lourie. Garland English Texts 2. New York and London: Garland Publishing, 1981. 116–19.

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Sir Guy is the titular knight, imprisoned in a pagan castle until rescued by Lancelot. Most of the poem consists of Sir Guy’s speeches, but Lancelot also speaks near the end.

A-1791 Morris, William. Guenevere: Two Poems. Illus. Dante Gabriel Rossetti. Fwd Gordon Bottomley. London: Franfrolico, 1930. An edition that brings together Morris’ poems “The Defence of Guenevere” and “King Arthur’s Tomb” with eight B&W drawings by Rossetti. This printing omits the stanza divisions in both poems. Although the illustrations are not titled, most of their subjects are recognizable; the most detailed illustrations are of Arthur’s death, of Lancelot in the queen’s chamber, and of Lancelot and the queen at Arthur’s tomb (several of these reproduced from the 1857 Moxon illustrated edition of Tennyson).

A-1792 Morris, William. “Guenevere” [fragment]. The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: xx. In the Introduction to Vol. 1 of Morris’ Collected Works, May Morris prints a 26-line poetic fragment which appears to be from an early draft of “The Defence of Guenevere.”

A-1793 Morris, William. “In Arthur’s House” [fragment]. The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 24: 316–28. May Morris indicates (24: xxxi) that this unfinished poem was composed around the same time as, and possibly for inclusion in, The Earthly Paradise (i.e., ca. 1870). The speaker of this poem is an old man who tells a story of Arthur’s court, being an adventure that befalls Arthur, Guenevere, Lancelot, and Gawain as they are riding in the woods.

A-1794 Morris, William. “King Arthur’s Tomb.” The Defence of Guenevere and Other Poems. London: Bell and Daldy, 1858. 19–42. Rptd: The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: 11–23. – The Defence of Guenevere and Other Poems. Ed. Margaret Lourie. Garland English Texts 2. New York and London: Garland Publishing, 1981. 54–64. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 67–79. – Arthurian Poets: Matthew Arnold and William Morris. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 61–72. This poem, written in quatrains, begins as Lancelot rides to Glastonbury, remembering Guenevere. It then gives Guenevere’s thoughts in her convent, and their last meeting over Arthur’s grave, when she refuses to leave with Lancelot.

A-1795 Morris, William. “The Maying of Queen Guenevere” [fragment]. The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: xix–xx. This poetic fragment, quoted by May Morris in her Introduction to the first volume of Morris’ Collected Works, is a description of Mellyagraunce in his castle, thinking of Guenevere.

A-1796 Morris, William. “Near Avalon.” The Defence of Guenevere and Other Poems. London: Bell and Daldy, 1858. 239–40. Rptd: The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: 140.

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– The Defence of Guenevere and Other Poems. Ed. Margaret Lourie. Garland English Texts 2. New York and London: Garland Publishing, 1981. 172. This poem of four quatrains describes a ship sailing; Guenevere is mentioned.

A-1797 Morris, William. “Ogier the Dane.” The Earthly Paradise: A Poem. 4 parts in 6 vols. London: F. S. Ellis, 1868. Rptd: Many reprints and later editions, including 3rd edn. 4 parts in 3 vols. London: F. S. Ellis, 1868–1870. 617–74 [of the first pagination sequence]. – 8 vols. Hammersmith: Kelmscott Press, 1896–1897. 4: 84–137. – The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 4: 210–55. – And various others. The Earthly Paradise is a series of twenty-four tales, two for each month of the year (one from a classical source and one from a medieval source). As the second of the two stories for the month of August, Morris included a retelling of the medieval romance of Ogier the Dane, who lived in the time of King Arthur and dwelt for some time in Avalon as the husband of Morgan le Fay. Merlin appears in the story.

A-1798 Morris, William. “Ogier the Dane.” Illus. Gertrude Demain Hammond. Stories from “The Earthly Paradise,” Retold from William Morris. Adapt. by Madalen Edgar. Told Through the Ages. London: George G. Harrap, 1909. 132–50. Rptd: The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 420–33. A retelling of William Morris’ version of the medieval romance of Ogier, who dwells for some time in Avalon. Merlin appears in the story. The volume is illustrated by various artists; there is one illustration (by Hammond) to the tale of Ogier (facing p. 136), showing Ogier kneeling in prayer.

A-1799 Morris, William. “Palomydes’ Quest” [fragment]. The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 24: 70–71. This fragmentary poem (of fifteen quatrains), which May Morris dates to ca. 1855, concerns Palomydes’ thoughts of glory as he pursues the Questing Beast; in the last quatrain, though, he begins to think instead of Iseult.

A-1800 Morris, William. “St Agnes’ Convent” [fragment]. The Collected Works of William Morris, with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 24: 68–69. Rptd: New York: Russell and Russell, 1966. A fragment of a poem, composed around 1855, in which Iseult (probably Iseult of Brittany, since that is the convent’s location) speaks of happier times in the past at the convent, and compares them to her current misery. Arthur is mentioned as one of the subjects of conversation at the convent. The poem breaks off abruptly after forty-four lines. This would appear to be the “interesting fragment from a poem on Iseult of Brittany” that May Morris refers to in the introduction of the first volume of the Collected Works (xix).

A-1801 Morris, William. Sir Galahad: A Christmas Mystery. London: Bell and Daldy, 1858. Rptd: “Sir Galahad: A Christmas Mystery.” The Defence of Guenevere and Other Poems. London: Bell and Daldy, 1858. 43–56. – Sir Galahad: A Christmas Mystery. Chicago: Blue Sky Press, 1904.

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– “Sir Galahad: A Christmas Mystery.” The Collected Works of William Morris with Introductions by His Daughter May Morris. Ed. May Morris. 24 vols. London: Longmans, Green and Co., 1910–1915. 1: 24–30. – The Defence of Guenevere and Other Poems. Ed. Margaret Lourie. Garland English Texts 2. New York and London: Garland Publishing, 1981. 65–71. – “Sir Galahad: A Christmas Mystery.” In “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 80–86. – Arthurian Poets: Matthew Arnold and William Morris. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 73–79. Galahad reflects on his isolation during the quest; unlike other knights such as Palomides or Lancelot, Galahad has no woman waiting for him. He then has a vision of Christ, who reassures him and directs him to continue the quest. (There are several illustrated fine press editions, on which see the entries in the Fine Art section for DePol, John; Hinton, Walter H.; and O’Kane, Helen Marguerite.)

A-1802 Morrow, Tommy. [An untitled story about Sir Gawain.] Champaign News-Gazette [Champaigne, IL] 20 Oct. 1926. (*) A burlesque story that appeared in the column “Bunking the Line.”

A-1803 Morton, H. V. “To T.C.T.” In Search of England. London: Methuen, 1927. v. In a dedicatory poem of three six-line stanzas, Morton talks of visiting Glastonbury and imagining being able to see Arthur and the Grail. The rest of the volume is travel writing, a commentary of a journey around England; there is some discussion of Arthur during the section on Tintagel. There have been many reprintings and editions of the volume.

A-1804 Motion, Andrew. “Tintagel.” In New Poems 1976–77: A P.E.N. Anthology of Contemporary Poetry. Ed. Howard Sergeant. London: Hutchinson, 1976. 113. A poem of four five-line stanzas that describes the speaker’s reaction to Tintagel as one of a group of “out of season tourists” (2). The references to Arthur are vague: Tintagel is noted as “the cradle of a King” (5) that once was the site of a “saviour” (16), but the speaker is obviously thinking of the “legends” (18) associated with Tintagel and Arthur.

A-1805 Mottram, R. H. “On a Cornish Headland.” Poems New and Old. London: Duckworth, 1930. 57. In each of the poem’s three stanzas, the poet observes the landscape, refers to it as “Lyonesse,” and while describing the present scene imagines the Arthurian past, particularly Arthur’s last battle. The stones remind him of bones of knights killed in battle, and he juxtaposes the idea of battle with the tranquillity of the scene now.

A-1806 Moultrie, John. “Sir Launfal.” Poems. London: William Pickering, 1837. 253–357. This burlesque poem is divided into three cantos. Most of the first canto concerns the state of boredom into which Arthur’s kingdom has fallen; Arthur himself has the “blue devils.” The second and third cantos concern Launfal’s situation at court, where he is snubbed by Guenevere and loses his wealth, and his meeting with Tryamour. The narrative, however, comprises only a part of the poem, as Moultrie digresses to talk about the state of poetry and politics, and make fun of his contemporaries. The poem is unfinished.

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A-1807 Mozley, Juliet. King Arthur and the Knights of the Round Table. London: Franklin Watts, 1971. A child’s picture-book; a few lines of text run at the bottom of each page below brightly-coloured pictures. The story is simplified. Nothing is said of Arthur before he draws the sword from the stone, Gareth’s quest is the only one told in detail, and the relationship between Lancelot and Guinevere is dismissed as Mordred’s lies.

A-1808 Muench, James F. “Arthur.” Arthurian Interpretations 4 (Fall 1989): 86–102. This short story describes the battle of Mount Badon. Arthur is the main focus.

A-1809 Muir, Edwin. “Merlin.” Journeys and Places. London: J. M. Dent and Sons, 1937. 33. Rptd: Collected Poems 1921–1951. London: Faber and Faber, 1952. 51. – Collected Poems. London: Faber and Faber, 1960. 73–74. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 202. A fourteen-line poem addressed to Merlin, asking questions about the limits of magic. The first line, which refers to Merlin in his “crystal cave,” is the source of the title of Mary Stewart’s novel (reported by both Beverly Taylor and Elisabeth Brewer, and by Mary Wildman).

A-1810 Muir, Edwin. “Tristram Crazed.” New Adelphi 2.2 (Dec. 1928-Feb. 1929): 100–101. Rptd: “Tristram’s Journey.” Journeys and Places. London: J. M. Dent and Sons, 1937. 13–16. – Collected Poems. London: Faber and Faber, 1960. 64–66. This poem recounts Tristan’s angry parting from Iseult, his resulting madness, and his eventual return to Mark’s court. Note that while the original printing (as “Tristram Crazed”) has nineteen quatrains, the poem as printed under the title “Tristram’s Journey” only has eighteen, with some other changes to individual words. According to the Author’s Note in Journeys and Places, the poem was one of six that appeared earlier in “a hand-printed edition by the Samson Press” called Six Poems; because of a fire that destroyed the available copies of that edition, Muir reprinted those six poems with nineteen new ones in Journeys and Places.

A-1811 Mullen, Caryl Cude. A Riddle of Roses. Illus. Kasia Charko. Toronto: Second Story Press, 2000. The protagonist of this children’s fantasy novel is Meryl, who wants to be a bard. After being punished by the Council of Bards for reading forbidden texts (Taliesin’s poems), Meryl goes on a quest to Avalon. Taliesin is known as a bard to King Arthur; both Taliesin and Arthur are historical characters in the setting of this novel, which also includes Gwyn ap Nudd and the cauldron of Ceridwen. Mullen is obviously drawing on Welsh sources for details of bardic training.

A-1812 Mumford, Ethel Watts. Merlin and Vivien: A Lyric Drama. New York: G. Schirmer, 1907. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . In Part 1, Morgan in Avalon plans a way to get rid of Merlin, and Vivian is thus her emissary, with a magic ring, to Arthur’s court in Part 2. Merlin, enchanted by her and the ring, leaves court for Joyousguard (which he builds by magic) and there Vivian learns his magic and performs the final enchantment. (See also the entry for “Hadley, Henry” in the Music section.)

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A-1813 Munn, H[arold] Warner. “King of the World’s Edge.” Weird Tales 34.3–6 (Sept.–Dec. 1939). Rptd: King of the World’s Edge. New York: Ace Books, 1966. – Merlin’s Godson. New York: Ballantine Books, 1976. 1–203. A serialized novel that begins after Arthur’s death. Merlin (here called Myrdhinn) and a centurion who followed Arthur voyage to the new world in Prydwen with the remnants of Arthur’s people and are eventually shipwrecked on the coast of America to have adventures there. The centurion is the narrator, and the novel is set up as a report to the Roman emperor; the centurion’s son is Gwalchmai, who becomes the protagonist of The Ship from Atlantis. The story of Merlin’s demonic sire and baptism at birth is repeated.

A-1814 Munn, H[arold] Warner. Merlin’s Godson. New York: Ballantine Books, 1976. This novel consists of two previously published works: King of the World’s Edge and The Ship from Atlantis. Please see those entries for further details.

A-1815 Munn, H[arold] Warner. Merlin’s Ring. New York: Ballantine Books, 1974. This novel continues on from The Ship from Atlantis, following Gwalchmai’s subsequent adventures and his use of Merlin’s ring.

A-1816 Munn, H[arold] Warner. The Ship from Atlantis. New York: Ace Books, 1967. Rptd: Merlin’s Godson. New York: Ballantine Books, 1976. 205–311. In its first publication, this novel was bound together with Emil Petaja’s The Stolen Sun; in its second publication, it was reprinted with King of the World’s Edge to which it is a sequel. Gwalchmai is the protagonist; he sets out for Rome carrying his father’s letter (in other words, the first novel), but has a series of adventures involving some of the villainous creatures that appeared in the first novel, as well as some new ones. The ship of the title belongs to a robot survivor / sorceress of Atlantis.

A-1817 Munn, H[arold] Warner. “The Sleeper and the Seer.” Weird Tales 34.3 (Sept. 1939). Rptd: The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 360–76. The episode of King of the World’s Edge that deals with the Battle of Camlann.

A-1818 Murdoch, Iris. The Green Knight. London: Chatto and Windus, 1993. Set in twentieth-century England, this novel tells the stories of a group of friends, including a man who has been acquitted of killing a man. As the novel gradually reveals that the supposed dead man is actually alive, it uses allusions to Sir Gawain and the Green Knight: the victim is often seen wearing green, and he wants restitution in a way that suggests the exchange of blows in the medieval romance. Near the end of the novel, these parallels are made explicit as one of the characters rereads the medieval story.

A-1819 Murray, Doug. “The Unholy.” In Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 30–51. The “unholy” of the title is a Devil’s Grail that began as Judas’ cup and was later embellished into a silver skull. Morgan and Mordred attempt to use this grail to gain power over the kingdom by sexually tormenting a young squire. Merlin and Lancelot rescue him, but the presence of this grail affects Lancelot in an unexpected way.

A-1820 Myers, John Myers. Silverlock. New York: E. P. Dutton and Co., 1949. The title character is a man who, when his ship sinks, finds himself cast ashore on “the Commonwealth.” It becomes clear that this land is populated with characters and events from literature,

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and several Arthurian allusions are included. Silverlock’s guide through this land has many names, one of which is Taliesin; Silverlock also encounters the Green Knight and watches his final testing of Gawain; he sees Tamlane being freed and becomes caught in his turn (the fairy lady is named Nimue and her husband refers to her past deeds of imprisoning Merlin and enchanting a knight named Accolon); he also briefly visits a perilous chapel, where reference is made to Lancelot.

A-1821 Nabokov, Vladimir. “Lance.” The New Yorker 27 (2 Feb. 1952): 21–25. Rptd: Nabokov’s Dozen. Garden City, NY: Doubleday, 1958. 197–212. – Stories From the New Yorker 1950–1960. New York: Simon and Schuster, 1960. 8–18. The title character in this short story is explicitly named after the Lancelot of Arthurian legend; the narrator comments on the medieval origins of the Lancelot character. Nabokov’s Lancelot lives in an unspecified, distant future; his quest concerns space exploration.

A-1822 Naddair, Kaledon. “Intimations of Hawk Sight.” Ore 36 ([1988?]): 8. (*) A poem, with references to Gawain.

A-1823 Nathan, Robert. The Elixir. Boston, MA: G. K. Hall and Co., 1971. An American historian vacations in Britain by visiting sites associated with King Arthur’s campaign and falls in love with a mysterious young woman. With her, he visits various places in various time periods; by the end, she appears to have been Merlin’s Nimue. There are numerous allusions to other Arthurian characters, such as Tristan, Lancelot, and Iseult.

A-1824 Nathan, Robert. The Fair. New York: Alfred A. Knopf, 1964. This novel begins at the time of the Battle of Camlann. After news of Mordred’s defection to the Saxons and Arthur’s death, the main characters (an abbot, a young boy, his nurse, a squire, a young girl, and her angel) set out to escape the Saxon advance. The novel thus is about their adventures, but the Arthurian events provide a context for them. Other stories, like Merlin’s entrapment and the love of Tristan and Iseult, are also mentioned.

A-1825 Needham, Violet. The Horn of Merlyns. Illus. Joyce Bruce. London: Collins, 1943. A novel about orphan twins who come to live with their uncle and aunt at an old house in the country. Family legend has it that Merlin saved their ancestor and provided him with a magical horn. When that horn disappeared in Elizabethan times, a curse fell on the family. The house’s name, Merlyns, is evidence of that tradition. The twins decide to find the horn and break the curse, helped by a wanderer who is probably Merlin in disguise. Various pets are given Arthurian names, and there are numerous references to Malory and Tennyson throughout.

A-1826 Neilson, Frederick Brooke. King Arthur and ye Knights of ye Table Rounde; or, The Women in Gray: A Burletta. Philadelphia: Avil Printing Co., [1894]. (*) Written for and presented by the University of Pennsylvania’s Mask and Wig Club. (Information from OCLC WorldCat.)

A-1827 Nesbitt, Patricia. “He Rides Out.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 17. This poem juxtaposes Arthur’s quest with the queen’s waiting and her love affair with Lancelot.

A-1828 Neville, Mary [pseud.], [i.e., Mary Neville Woodrich]. Arthur; or, A Knight of Our Own Day. London: Chapman and Hall, 1876. A love story of modern times influenced by Tennyson.

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A-1829 “A New Sonnet of a Knight and a Faire Virgin, To the tune of Salengers Round.” In A Crowne Garland of Goulden Roses Gathered out of Englands royall garden. Being the liues and strange fortunes of many great personages of this land. Set forth in many pleasant new songs and sonetts neuer before imprinted. Comp. Richard Johnson. London: Printed by G. Eld for John Wright, 1612. Sigs. F1v–F3r. [STC (P&R) 14672 (ESTC S119112).] This “sonnet” is a ballad, printed in eleven eight-line stanzas (beginning: “I Read how in King Arthurs time, / a Knight as he did ride”), a version of the story of “The Marriage of Sir Gawaine” or of The Wedding of Sir Gawain and Dame Ragnell (or Chaucer’s The Wife of Bath’s Tale). While the title-page seems to credit Johnson as author (“By Richard Johnson”), the book appears, in fact, to be a collection of broadside ballads by various hands which Johnson has collected. The Crowne Garland was reissued in at least three subsequent editions, but this poem appears only in the 1612 version. (See also the entry for “Walker, George” in the Fine Art section.)

A-1830 Newbold, Francis. “The Lost Knight.” In An Anthology of Contemporary Northern Poetry. Ed. Howard Sergeant. Intro. Thomas Moult. London: George G. Harrap, 1947. 85–86. The lost knight of Newbold’s poem is not any particular knight, but the heroic individual; the images used throughout the poem refer to various knightly figures, such as Roland and Don Quixote, as well as Arthur. Newbold’s conclusion suggests that increasing commercialism has banished the knight.

A-1831 Newbolt, Sir Henry. Mordred: A Tragedy. London: T. Fisher Unwin, 1895. Newbolt has unified the story in an interesting way. The five-act play begins after a tournament when both Pelleas and Mordred wish to be knighted; Arthur at first says that only one seat is available, but changes his mind when he realizes who the second candidate (Mordred) is. The Pelleas and Etarre episode precipitates a crisis; Gawain’s actions are investigated, proven, but Arthur cannot convict him because Mordred would then make public the occasion when Arthur’s own conduct did not match the law he now wishes to apply to Gawain. The court thus unravels as Arthur loses Guenevere’s respect and her love to Lancelot. The play ends with the battle of Camlann and the deaths of Arthur and Mordred. Agravain plays a major role as instigator of trouble.

Newcomen, George: see De Beverley, Thomas. A-1832 Newell, William Wells. Isolt’s Return. Illus. Marion L. Peabody. Wayland, MA: Privately published, 1907. The prelude of this poem (also in verse) sets the scene: a lady and her niece are sewing while a jongleur entertains them. The niece requests the story of Tristan and Iseult, but she has strong convictions about the way it should be told. The jongleur tells a slightly different version, where the love potion wears off, Iseult returns to Mark, and Tristan heads happily out for more adventures. Essays on the sources of the poem follow.

A-1833 Newell, William Wells. “Minstrel, thy lay responded to the brightness.” In King Arthur and the Table Round: Tales Chiefly after the Old French of Crestien of Troyes, with an Account of Arthurian Romance, and Notes. Ed. William Wells Newell. 2 vols. Boston, MA: Houghton, Mifflin and Co., 1897. n. p. Vol. 1 of this two-volume set begins with an original poem, untitled and placed before the table of contents, that addresses “Crestien” and therefore mentions some of the Arthurian characters of his romances (Enide, Ewain, Perceval, and Arthur). The larger work itself is a translation of those romances; Newell, in the notes, asserts that he is following closely the originals, and any changes or omissions are listed in his notes.

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A-1834 Newman, Robert. Merlin’s Mistake. New York: Atheneum Publishers, 1970. Rptd: London: Hutchinson, 1971. The main character of this novel is Tertius, Merlin’s godson, who accidentally has been given future knowledge, instead of the medieval magic that he wants.

A-1835 Newman, Robert. The Testing of Tertius. New York: Atheneum Publishers, 1973. A second novel of Tertius that features Arthur as well.

A-1836 Newman, Sharan. The Chessboard Queen. New York: St Martin’s, 1983. The second novel in Newman’s trilogy about Guinevere, this book introduces Lancelot and suggests his background with the Lady of the Lake. The love affair between Lancelot and Guinevere begins, explained in part because of the meeting of Lancelot and the unicorn. Merlin is also a major character.

A-1837 Newman, Sharan. Guinevere. New York: St Martin’s, 1981. This novel begins a trilogy by telling the story of Guinevere’s childhood. In this version, Guinevere is part of a Roman-descended land-owning family; Leodogrance, her father, wants the old, civilized traditions to continue. Arthur is also a major character, for the novel ends with his marriage to Guinevere. Guinevere’s innocence is emphasized in this novel, as her friendship with a unicorn attests.

A-1838 Newman, Sharan. Guinevere Evermore. New York: St Martin’s, 1985. This last novel of Newman’s trilogy recounts the end of Camelot. Newman includes the story of Sir Gawain and the Green Knight, Guinevere’s trial and near-burning until Lancelot rescues her, and Mordred’s marriage to Guinevere (here a forced marriage / rape that Guinevere endures in order to allow others to get to safety). Guinevere is a stronger character in this novel, taking action competently to survive her situation and to help Arthur.

A-1839 Newman, Sharan. “The Palace by Moonlight.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 201–21. This short story acts as a coda to Newman’s trilogy. A young bard, in the days after Arthur, wants to tell the true story of those glory days. He finds a monk who introduces him to Lancelot, now an old man in a monastery, and to Guinevere, still beautiful, living in a convent.

A-1840 Newson, Ranald. “Balin and Balan: A Dramatic Poem.” Poems. London: New Temple Press, 1930. 3–23. A dramatic poem divided into two acts. The first is set in Arthur’s court, where Balin successfully draws the sword that the nameless maiden bears. The second is set away from court, when Balin is challenged and refuses to have mercy on his opponent.

A-1841 Nibley, Michael. “Pendragon’s Son: A Drama in Two Acts and a Prologue.” Master’s Thesis for Brigham Young University, 1983. Nibley changes the traditional character of Uther by making him a Saxon; the conflict of different belief systems is a major concern of the play.

A-1842 Nichols, Ruth. The Marrow of the World. Illus. Trina Schart Hyman. Toronto: Gage Educational Publishing Co., 1972. Two young people are drawn into an alternate world. There the girl discovers that her biological mother was a witch named Morgan; she has been brought to this world by Morgan’s other daughter Ygerna to acquire some of the “marrow of the world,” a substance kept by the dwarves that will restore Ygerna to power. Morgan and Ygerna are destructive, malicious witch-characters

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(though Morgan is now dead), and so the names recall the worst aspects of Arthur’s sister, despite the fact that the story is not otherwise Arthurian.

A-1843 Nicoll, Gregory. “From Camelot to Deadwood.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 81–90. An undertaker, a journalist, and a missionary riding together in a stagecoach must cope with highwaymen and hostile natives. The journalist is Mark Twain, and the missionary has a cup he claims to be Joseph of Arimathea’s Grail. By the end, Twain has his idea for A Connecticut Yankee.

A-1844 Nicolson, J. U. “Before Dawn.” King of the Black Isles. Chicago: Covici-McGee Co., 1926. 52–60. This poem is divided into two parts; in the first, Guenevere speaks to Lancelot, and in the second, Lancelot replies. They are about to part forever and so refer to a number of characters and episodes who have affected their situation.

A-1845 Nicolson, J. U. “If.” King of the Black Isles. Chicago: Covici-McGee Co., 1926. 3. This four-stanza poem mentions “kings in Avalon” to suggest the legendary nature of their love.

A-1846 Nicolson, J. U. “Romance.” King of the Black Isles. Chicago: Covici-McGee Co., 1926. 22. In this four-stanza poem, the speaker mentions various famous, beautiful queens, including Guenevere, as he praises the beauty of a passing girl.

A-1847 Nimmo, Jenny. Gwion and the Witch. Illus. Jac Jones. Llandysul: Gomer / Pont, 1996. A picture book that rewrites the story of Ceridwen’s cauldron and Taliesin’s birth; Taliesin’s association with Arthur is not mentioned as the book ends when Elphin finds the baby in the weir. Each two-page spread has at least one full page of illustrations, most in full-colour. Nimmo adds to the characterization of Ceridwen and Morfran (her son), and the illustrations complement the characterization with humourous facial expressions and other comic details.

“The Noble Acts Newly Found of Arthur”: see Deloney, Thomas. A-1848 Noel, Roden. “Tintadgel.” The Collected Poems of Roden Noel. London: Kegan Paul, Trench, Trübner, and Co., 1902. 321–22. In this poem, the speaker describes Tintagel and muses on human relationship to the divine. There are allusions to numerous characters from the legend, such as Arthur, Guenevere, Lancelot, Galahad, and Mordred; the speaker wonders if they were real people or simply fictions.

Nolting, Karen Stray: see Stray, P. J. A-1849 Norman, Diana. King of the Last Days. London: Hodder and Stoughton, 1981. Rptd: Published in the USA as A Sword for a King. New York: St Martin’s, 1981. This novel is a sequel to Fitzempress’ Law (1980), which is not Arthurian. In King of the Last Days, monks at Glastonbury discover the grave of Arthur and Guenevere; with them in the grave is the sword Excalibur. In order to obtain the funds they need to rebuild the abbey, the monks send one of their order with the sword to France; he is to deliver it to King Henry II. Most of the novel concerns his adventures and the stories of the prioress and the crusader knight who become sword-bearers with him. There are references to medieval writers of Arthurian texts, such as Geoffrey of Monmouth and Wace, as well as to many anonymous prophecies of Merlin.

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A-1850 Norman, Elizabeth. Silver, Jewels and Jade. New York: Ballantine Books, 1980. The prologue and afterword of this novel connect its events to the rest of the Arthurian legend. It is the story of Igerne (here named Elaine) as she meets and marries the Prince of Tintagel. The novel uses fairy tale motifs, such as the wicked stepmother and stepsister, men turned into animals, a quest, and three gifts that prove the identity of the legitimate princess. Merlin is a magical helper for the protagonist.

A-1851 Norman, Lisanne. “The Wild Hunt.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 127–49. An interesting twist on the story of Nimue learning Merlin’s secrets and entombing him. In this futuristic story, Merlin is one of a long line of ArchDruids, and Nimue is the one chosen to guide his (unexpected) successor.

A-1852 Norman, Roger. Albion’s Dream. London: Faber and Faber, 1990. A young boy finds a game that has been in his family for many years; it appears to be able to manipulate real-life events, or so it seems to Edward and his cousin when they play it. The game includes a deck of cards with various mythic characters on them, some of which are Arthurian: Merlin, Pellinore, and Galahad play major roles in the games depicted in the novel and important characters are identified with them.

A-1853 Norris, Leslie. “Merlin and the Snake’s Egg.” Merlin and the Snake’s Egg: Poems by Leslie Norris. Illus. Ted Lewin. New York: Viking Press, 1978. 44–46. Rptd: Night Ride and Sunrise. Ed. Edward Lowbury. Aberystwyth: Celtion Publishing, 1978. 36–37. The last poem in this collection for children is Arthurian. In the poem, Merlin and his dog acquire the ingredients for a spell; Merlin turns into various animals to retrieve the items, but the dog is the only one to find the snake’s egg.

A-1854 Norton, André [Alice Mary Norton]. Dragon Magic. Illus. Robin Jacques. New York: Thomas Y. Crowell, 1972. Rptd: “Artos, Son of Marius,” part of the story “Pendragon,” was rptd in The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1990. 354–71. This novel consists of four parts, each one giving the adventures of one of four boys and then giving a parallel adventure from a traditional tale. “Pendragon” (110–23) is about a boy named Artie, and the traditional tale involves a young witness to the Battle of Camlann where Arthur meets Mordred (this was the section reprinted by Ashley). All the stories refer to dragons in some way.

A-1855 Norton, André [Alice Mary Norton]. Here Abide Monsters. New York: Atheneum Publishers, 1973. A novel set in a parallel world of Avalon; Merlin is a character. This is the same world as in Steel Magic.

A-1856 Norton, André [Alice Mary Norton]. “The Last Spell.” In Ancient Enchantresses. Ed. Kathleen M. Massie-Ferch, Martin H. Greenberg, and Richard Gilliam. New York: DAW Books, 1995. 27–35. A story of Merlin and Nimue.

A-1857 Norton, André [Alice Mary Norton]. Merlin’s Mirror. New York: DAW Books, 1975. Merlin is the protagonist of this science fiction novel. Norton tells the story of Arthur, including many of the traditional elements, such as Merlin’s encounter with Vortigern, Arthur’s birth and

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fostering, the sword in the stone episode, the conception of Mordred, and the final battle (instigated by Guenevere and Mordred as they usurp the throne, hoping Arthur to be dying). Despite such traditional elements, the novel is science fiction: Norton’s premise is that a highly advanced civilization had visited earth in the past, leaving behind certain technologies; Merlin and later Arthur are products of the genetic technologies, and have access to other knowledge and powers as well. Nimue is their adversary; she too is of an alien race, but one that would see humans remain locked in destructive wars. Arthur and Merlin end up in a cave “asleep” in some sort of stasis, waiting for their day to wake again.

A-1858 Norton, André [Alice Mary Norton]. “Root and Branch Shall Change.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 71–79. In an apocalyptic time, Nimuë sets out to undo the spell she had wrought lifetimes before, to free Merlin so that he might save the Earth. Nimuë’s original imprisonment of Merlin is portrayed here as a way of protecting him from Morgause’s plans, to save his powers for when they might later be needed.

A-1859 Norton, André [Alice Mary Norton]. Steel Magic. Illus. Robin Jacques. Cleveland: World Publishing Co., 1965. Rptd: The Magic Books: Fur Magic, Steel Magic, Octagon Magic. New York: Signet / New American Library, 1988. 135–232. Three children manage to enter Avalon and find they are needed to recover important objects from dark forces; the three children each has his or her own quest that involves his or her greatest fear. The objects recovered include Excalibur and Merlin’s Ring; Merlin is a major character, while Arthur appears only briefly.

A-1860 Norton, André [Alice Mary Norton]. Witch World. New York: Ace Books, 1963. Rptd: Annals of the Witch World. New York: Guild America Books, [1994]. One of the main characters of this novel, Simon Tregarth, is a man from our reality who is being hunted. He moves to another world by using the Siege Perilous, a relic from Arthurian times. At this point in the story a couple of Arthurian characters are mentioned, but these are the only Arthurian references.

A-1861 “Now why should we boast of Arthur and his knights?” In Windsor-Drollery; An exact collection of the newest songs, poems, and catches, in use at court. Collected by a person of quality. London: Printed for J. M., 1671. 280–83 [Song 154]. [STC (Wing) W2979D (ESTC R204067 and R222310); 2nd edn.: W2980 (ESTC R38692).] A poem, beginning “Now why should we boast of Arthur and his knights, / Knowing how many men have endur’d hot fights? / Or why should we speak of Sir Lancelot du Lake, / Or Sir Tristram du Leon, that fought for Ladies sake? . . .” The poem presents a catalogue of English heroes (only these opening lines name Arthurian characters), with a chorus declaring St George the greatest of all.

A-1862 Noyes, Alfred. “The Riddles of Merlin.” Collected Poems. 3 vols. New York: Frederick A. Stokes Co., [1913?]. 3: 182–84. Rptd: Collected Poems: In One Volume. Port Washington, NY: Clark McCutcheon, 1966. 353–54. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 169–71. – Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 282–85.

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There are two sections to this poem. The first consists of a dialogue between Merlin and the unnamed speaker; the second consists of the speaker’s questions to Merlin. Both sections reflect on the beauty of Nature.

A-1863 Noyes, Alfred. “The Visitant.” Collected Poems: In One Volume. Port Washington, NY: Clark McCutcheon, 1966. 353–54. This poem contains four six-line stanzas that reflect on love and the beauty of Nature. Merlin is mentioned as the one who has “taught” the speaker “To see the moment’s miracle” in Nature.

A-1864 Nyberg, Morfan. Galahad Schwartz and the Cockroach Army. Vancouver: Douglas and McIntyre, 1987. The names of characters are the Arthurian elements of this children’s fantasy novel. Galahad, the protagonist, is the son of Lancelot Schwartz; Galahad as the name of a knight who fights against evil is mentioned explicitly, and Galahad Schwartz has to do the same to save his grandfather’s town.

A-1865 Nye, Jody Lynn. “Sword Practice.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 339–61. This story is set after Arthur has drawn the sword from the stone (here called Excalibur); he is leading his men to victory, but still learning to be a leader. Merlin teaches him that he must rely on his own strength and not just on Excalibur, a lesson he puts to good use in claiming Lot’s allegiance.

A-1866 Nye, Robert. “Gareth to the Court.” Juvenalia I. Northwood: Scorpion Press, 1961. 56–57. Rptd: Poems: A Collection of Poems 1955–1988. London: Sphere, 1991. 16. This eight-line poem is Gareth’s reply to those who would scorn him for drinking in the gutter and smelling of the kitchen.

A-1867 Nye, Robert. Merlin. London: Hamish Hamilton, 1978. Nye takes the idea of a demon fathering Merlin to a logical extreme, making the devil himself Merlin’s sire. While most of the novel seems to be Merlin’s account of his conception, birth, and life, there are interruptions; the devil is constantly at war with Merlin as each tries to bring into being his vision (demonic or noble) of society, but Nye uses that to consider issues of storytelling and whose story is being told. Many of the usual events are covered here: Vortigern’s tower, Uther’s lust for Igerne, Arthur’s fostering, Morgan’s seduction of her half-brother, Guinevere’s affair with Lancelot, Merlin’s entrapment, the end of Arthur’s reign. Many scenes are sexually explicit.

A-1868 Nye, Robert. “Round Table Manners.” Poems: A Collection of Poems 1955–1988. London: Sphere, 1991. 17. There are six tercets in this poem, which appears to give advice to a newcomer at court. The court is portrayed as a chess-game whose players are often sacrificed.

A-1869 Nye, Robert. Taliesin. Illus. Sheila Hawkins. London: Faber and Faber, 1966. Rptd: Illus. Dorothy Maas. New York: Hill and Wang, 1967. A retelling of the story of Taliesin. He begins as the boy Gwion whom Ceridwen employs to stir the cauldron of inspiration she is brewing for her son; Gwion inadvertently gets the three drops of inspiration, is chased and consumed by Ceridwen, and is reborn later as Taliesin. The latter half of the book retells Taliesin’s childhood experiences with Elphin and his wife, particularly the way he helps the couple avoid the injustice of the wicked King Maelgwyn, his wife Enid and son Rhun. Arthur is mentioned only at the end of the book, in an explanation of where Taliesin might have gone after he left his foster-parents.

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A-1870 Nye, Robert. “To Hell with the Graal!” Juvenalia I. Northwood: Scorpion Press, 1961. 45. This poem, which has four stanzas followed by a two-line moral, is a conversation between Perceval and a mermaid. Perceval seeks the Grail, but the mermaid suggests that only by losing his life will he find what he seeks.

A-1871 Nye, Robert. “The White Fawn.” A Collection of Poems: 1955–1988. London: Hamish Hamilton, 1989. 1. The white fawn of the title has come from Avalon and is associated with the smell of apples. Those comments are the only Arthurian connections, except for the common use in many Arthurian tales of white deer instigating marvellous adventures.

A-1872 O’Brien, Barbara Joy. “To the Prince of Cappadocia.” Ore 35 ([1987?]): 31. (*) Grail poem.

A-1873 O’Brien, Judith. One Perfect Knight. New York: Pocket Books, 1998. This romance novel takes place in modern-day New York City and mythical Camelot. A young woman is magically transported to Camelot where she falls in love with Lancelot. When she, Lancelot, and the evil Malvern end up back in New York, she has to find a way to return Lancelot to Camelot. Camelot, in this version, is a game or place out of time, created by Merlin, and resembling Disney or the musical Camelot (both are mentioned) more than Dark Age Britain (which is also mentioned as the time of the historical Arthur). Aside from the love triangle, very little of the legend is used.

A-1874 O’Donnell, Charles L. “Launcelot’s Song.” Cloister and Other Poems. New York: Macmillan, 1922. 12. Rptd: London: Macmillan, 1923. 12. This poem of three six-line stanzas depicts Lancelot reflecting on the change in his life caused by his love for the queen.

A-1875 O’Donohoe, Nick. The Healing of Crossroads. New York: Ace, 1996. In this, the third novel set in Crossroads, the conflict with Morgan is referred to briefly. As B. J. teaches two young griffins, the Arthurian legend is referred to numerous times, since the griffins are deeply interested in chivalry and honour. Later in the novel, they apply what they have learned from their discussion of Arthur and of Sir Gawain and the Green Knight to find a solution to the danger that threatens their land.

A-1876 O’Donohoe, Nick. The Magic and the Healing. New York: Ace, 1994. B. J. Vaughan’s mother has just committed suicide, and B. J. thinks that she herself may have the same degenerative illness that her mother suffered. She has also just failed one of her courses in vet school. One of her professors insists that she become part of a team of students that he takes to Crossroads, a place not exactly in this world, and there the students meet and treat all sorts of mythical beings. Morgan is the villain of this book, and an Arthurian world and search for the Grail is also briefly mentioned.

A-1877 O’Donohoe, Nick. Under the Healing Sign. New York: Ace, 1995. The hero of this sequel to The Magic and the Healing is again young B. J. Vaughan, who is a veterinarian in Crossroads, a land filled with mythical creatures and accessed from the world we know by a series of shifting roads. Crossroads is threatened by Morgan, who wishes to conquer and destroy it. At one point Morgan boasts of having destroyed Arthur, and she resides in Anavalon, a wasteland once ruled by a crippled king.

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A-1878 O’Meara, Walter. The Duke of War. New York: Harcourt, Brace and World, 1966. (*) A novel whose title refers to Arthur.

A-1879 O’Neale, James S., Jr. “Sir Galahad.” Columbia Spectator 3 Aug. 1917. (*) A poem.

A-1880 “O second Arthur, bred in brittish brayne.” Ed. Janet Cowen and Joanna Udall. Notes and Queries ns 30.5 [228] (Oct. 1983): 402. The poem appears in an article entitled “The Critical Misfortunes of Arthur?” (402–405), published (for the first time) from British Library MS Add. 4152 (papers of Anthony Bacon), f. 394. The poem begins “O second Arthur, bred in brittish brayne / Well hath myne host: him self a prophet prou’d,” and consists of four six-line stanzas. According to the editors, it can be dated from internal references to 1598, and is a mock encomium of that “Brittish Bard” whose “surpassing Wark” was a tragedy, performed by “gentilmen of Grayan name” (men of Gray’s Inn, presumably), before “her highnes,” and which cause Arthur to come again; the final lines of the poem call on the “Bard” to abandon versifying. The tragedy to which the poem refers might be The Misfortunes of Arthur, attributed to Thomas Hughes, which was played before the queen by the men of Gray’s Inn at Greenwich, 28 Feb. 1588 (1587, old style); on the other hand, this poem of 1598 would seem rather a long-delayed response, so this identification of the target of the poem’s satire remains tentative.

A-1881 O’Shea, M. V., ed. “Jack the Giant Killer.” Old World Wonder Stories. Illus. J. L. Hollis. Boston, MA: D. C. Heath and Co., 1901. 23–50. The editor’s note says that, in adapting this story from chapbook versions, the language was simplified and some incidents made less gruesome. This version sets the story of Jack at the time of King Arthur, and Jack assists Arthur’s son in winning a bride.

A-1882 O’Shea, M. V., ed. “Tom Thumb.” Old World Wonder Stories. Illus. J. L. Hollis. Boston, MA: D. C. Heath and Co., 1901. 51–67. The editor’s note says that, in adapting this story from chapbook versions, the language was simplified and some incidents made less gruesome. This version sets the story of Tom Thumb at the time of King Arthur; Merlin’s magic is in part responsible for Tom’s existence, and Tom spends some time at Arthur’s court. He has to flee for his life, however, and ends his life in the court of King Thunstone.

A-1883 Oakley, Ruth Anderson. “Glastonbury.” Resurgence. London: Mitre Press, 1961. 9. Consisting of one octave, this poem’s description of Glastonbury in spring mentions Arthur, his Queen, and the Grail, explicitly linking Glastonbury with Avalon. A note at the bottom of the poem indicates that it was previously published in Aylesford Review, without mentioning when.

A-1884 Oates, David W. Heroes of Old Britain, Retold from Geoffrey of Monmouth. Illus. Stephen Reid. London: Harrap, 1912 (1935). (*) A novel, retelling several stories from Geoffrey of Monmouth, including that of King Arthur.

Oates, Joyce Carol: see Smith, Rosamond. A-1885 Odds Bodkins. The Hidden Grail: Sir Percival and the Fisher King [audiobook]. 2 audio cassettes. Bradford, NH: Rivertree Productions, 1997. A retelling of the story of Percival, including various common elements like his childhood away from the world of men, his trip to Camelot and defence of Guenevere, and his failure to ask the

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question when he is in the Grail castle. The story is told by Odds Bodkins, who begins and ends with a short piece on the nature of faith and fate. He provides all of the voices, music and various sound effects; the cover bills this as “a musical telling” for children ages 7 and up.

A-1886 Olfson, Lewy. “The Crowning of King Arthur.” In Dramatized Classics for Radio-Style Reading, Vol. 1. Boston, MA: Plays Inc., 1964. (*) A play.

A-1887 Oliver, Peter. The Sword in the Stone: The Legend of King Arthur. Illus. Rex Archer and Lynne Willey. Newmarket: Brimax Books, 1993. The title-page identifies Oliver as the one who has “adapted” the story. The book covers many of the major episodes in Malory as well as Sir Gawain and the Green Knight. Each page is covered by a full-page colour illustration; the text is written over parts of the illustrations. The book is designed for children from ages 6–11, since there is substantial text for each story.

A-1888 Olson, Charles. “followed his sow to apples.” The Maximus Poems: Volume 3. Ed. Charles Boer and George F. Butterick. New York: Grossman Publishers / Viking Press, 1975. 22. There are references in this poem to Glastonbury and its founding by Joseph of Arimathea; Arthur and Morgan are also mentioned.

“One of the Folk”: see Weston, Jessie L. A-1889 Orchard, William. Voices in the Wind: An Epic of Cornwall. Illus. Ilene. London: Regency Press, 1977. This book is a series of poems that together provide a history of Cornwall, beginning in prehistory, and moving through Celtic, Roman, Saxon, and Norman occupations of the place. Arthurian references occur in three of these poems. In “Bronze,” the poet mentions a cup that has been discovered and wonders if it might have been the Grail. Section II of “Tales of the Twilight” alludes to the story of Mark, Tristan, and Iseult. “The Splendid Interlude” refers to “Arthur’s court and myths of Avalon.” As a result, the Arthurian legends are presented as woven into the history of Cornwall.

A-1890 Ord, John Walker. England: An Historical Poem. London: Simpkin and Marshall, Baldwin and Cradock, 1834. (*) A poem.

A-1891 Ormerod, James. “Joseph of Arimathea.” Tristram’s Tomb and Other Poems. London: Elkin Mathews, 1928. (*) Verse play of one scene.

A-1892 Ormerod, James. “Meliagrance and Guinevere.” Tristram’s Tomb and Other Poems. London: Elkin Mathews, 1928. (*) Consists of three scenes.

A-1893 Ormerod, James. “Tristram’s Tomb.” Tristram’s Tomb and Other Poems. London: Elkin Mathews, 1928. 9–13. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . Mark arrives in Brittany to take the bodies of Tristram and Iseult of Ireland back to Tintagel. Both Mark and Iseult of Brittany mourn the circumstances of the lovers. The poem ends with the legend of the briar-tree that joins the graves.

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A-1894 Osborne, Mary Pope. Afternoon on the Amazon. Illus. Sal Murdocca. Magic Tree House 6. New York: First Stepping Stone Books / Random House, 1995. This is one of a long series of children’s books in which Morgan le Fay is a principal character. In the first portion of the series (of which this volume is a part), Morgan, under an enchantment, is aided by two modern children (Jack and Annie) and a magical tree house to collect, from various places and various periods of history, the items necessary to break the spell which binds her. In this installment, the magic tree house enables Jack and Annie to go to the Amazon rain forest. Later in the series, they help Morgan to release a dog from an enchantment (the dog turns out to be Morgan’s apprentice), and later still they help Morgan to collect for the Library in Camelot a series of special kinds of writing.

A-1895 Osborne, Mary Pope. Buffalo Before Breakfast. Illus. Sal Murdocca. Magic Tree House 18. New York: Stepping Stone Books / Random House, 1999. In this installment, the magic tree house enables Jack and Annie to go back in time to visit the Dakota Indians on the Great Plains.

A-1896 Osborne, Mary Pope. Civil War on Sunday. Illus. Sal Murdocca. Magic Tree House 21. New York: Stepping Stone Books / Random House, 2000. Morgan le Fay, described as a magical librarian, is aided by two modern children and a magic tree house to collect four kinds of writing for the library at Camelot, in order to save Camelot. In this installment, the magic tree house takes Jack and Annie back in time to the American Civil War.

A-1897 Osborne, Mary Pope. Day of the Dragon King. Illus. Sal Murdocca. Magic Tree House 14. New York: Stepping Stone Books / Random House, 1998. In this installment, the magic tree house enables Jack and Annie to go back in time to the Han dynasty in China.

A-1898 Osborne, Mary Pope. Dinosaurs Before Dark. Illus. Sal Murdocca. Magic Tree House 1. New York: First Stepping Stone Books / Random House, 1992. In this first installment of the series, the magic tree house enables Jack and Annie to go back in time to the age of the dinosaurs. The first four of the Magic Tree House books are available as a single audiobook, read by the author: The Magic Tree House Collection, Vol. 1, Random House, 2000 (2 cassettes, approx. 2 hours).

A-1899 Osborne, Mary Pope. Dolphins at Daybreak. Illus. Sal Murdocca. Magic Tree House 9. New York: First Stepping Stone Books / Random House, 1997. In this installment, the magic tree house enables Jack and Annie to go into the depths of the ocean.

A-1900 Osborne, Mary Pope. Ghost Town at Sundown. Illus. Sal Murdocca. Magic Tree House 10. New York: Stepping Stone Books / Random House, 1997. In this installment, the magic tree house enables Jack and Annie to go back in time to the American “Wild West.”

A-1901 Osborne, Mary Pope. Hour of the Olympics. Illus. Sal Murdocca. Magic Tree House 16. New York: Stepping Stone Books / Random House, 1998. In this installment, the magic tree house enables Jack and Annie to go back in time to ancient Greece to watch the original Olympic games.

A-1902 Osborne, Mary Pope. The Knight at Dawn. Illus. Sal Murdocca. Magic Tree House 2. New York: First Stepping Stone Books / Random House, 1993. In this installment, the magic tree house enables Jack and Annie to go back in time to the Euro-

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pean Middle Ages. The first four of the Magic Tree House books are available as a single audiobook, read by the author: The Magic Tree House Collection, Vol. 1, Random House, 2000 (2 cassettes, approx. 2 hours).

A-1903 Osborne, Mary Pope. Lions at Lunchtime. Illus. Sal Murdocca. Magic Tree House 11. New York: Stepping Stone Books / Random House, 1998. In this installment, the magic tree house enables Jack and Annie to go to Africa.

A-1904 Osborne, Mary Pope. Dingoes at Dinnertime. Illus. Sal Murdocca. Magic Tree House 20. New York: Stepping Stone Books / Random House, 2000. Morgan le Fay, described as a magical librarian, is aided by two modern children and a magic tree house to collect the items necessary to break the spell which binds a dog. In this installment, the magic tree house enables Jack and Annie to go to Australia where they save a young kangaroo from dingoes and a wildfire. At the end, Morgan herself appears; they have collected the gifts necessary to turn the dog back into a boy, who turns out to be Morgan’s apprentice in Camelot.

A-1905 Osborne, Mary Pope. Midnight on the Moon. Illus. Sal Murdocca. Magic Tree House 8. New York: First Stepping Stone Books / Random House, 1996. In this installment, the magic tree house enables Jack and Annie to go to a future time, to a human settlement on the moon.

A-1906 Osborne, Mary Pope. Mummies in the Morning. Illus. Sal Murdocca. Magic Tree House 3. New York: First Stepping Stone Books / Random House, 1993. In this installment, the magic tree house enables Jack and Annie to go back in time to ancient Egypt. The first four of the Magic Tree House books are available as a single audiobook, read by the author: The Magic Tree House Collection, Vol. 1, Random House, 2000 (2 cassettes, approx. 2 hours).

A-1907 Osborne, Mary Pope. Night of the Ninjas. Illus. Sal Murdocca. Magic Tree House 5. New York: First Stepping Stone Books / Random House, 1995. In this installment, the magic tree house enables Jack and Annie to go back in time to the Japan of the Ninjas.

A-1908 Osborne, Mary Pope. Pirates Past Noon. Illus. Sal Murdocca. Magic Tree House 4. New York: First Stepping Stone Books / Random House, 1994. In this installment, the magic tree house enables Jack and Annie to go back in time to the age of pirates. The character known as “M” up until this point in the series is now revealed to be Morgan le Fay. The first four of the Magic Tree House books are available as a single audiobook, read by the author: The Magic Tree House Collection, Vol. 1, Random House, 2000 (2 cassettes, approx. 2 hours).

A-1909 Osborne, Mary Pope. Polar Bears Past Bedtime. Illus. Sal Murdocca. Magic Tree House 12. New York: Stepping Stone Books / Random House, 1998. In this installment, the magic tree house enables Jack and Annie to go to the Arctic.

A-1910 Osborne, Mary Pope. Revolutionary War on Wednesday. Illus. Sal Murdocca. Magic Tree House 22. New York: Stepping Stone Books / Random House, 2000. In this portion of the series, Morgan le Fay, described as a magical librarian, is aided by two modern children and a magic tree house to collect four kinds of writing for the library at Camelot. In this installment, the magic tree house takes Jack and Annie back in time to the Revolutionary War. (While this is the last of the series to be published within the time frame designated by this bibliography, Osborne has continued the series, averaging two or three titles a year.

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Twister on Tuesday and Earthquake in the Early Morning complete the adventure of the missing writing, and the children actually travel to Camelot to meet King Arthur; Christmas in Camelot once again allows the children to visit King Arthur’s kingdom and thus is one of the more Arthurian works in the series.)

A-1911 Osborne, Mary Pope. Sunset of the Sabertooth. Illus. Sal Murdocca. Magic Tree House 7. New York: First Stepping Stone Books / Random House, 1996. In this installment, the magic tree house enables Jack and Annie to go back in time to the Ice Age.

A-1912 Osborne, Mary Pope. Tigers at Twilight. Illus. Sal Murdocca. Magic Tree House 19. New York: Stepping Stone Books / Random House, 1999. Morgan le Fay, described as a magical librarian, is aided by two modern children and a magic tree house to collect the items necessary to break the spell which binds a dog. In this installment, the magic tree house enables Jack and Annie to go to India where they free a tiger from a trap.

A-1913 Osborne, Mary Pope. Tonight on the Titanic. Illus. Sal Murdocca. Magic Tree House 17. New York: Stepping Stone Books / Random House, 1999. Still collecting the items necessary to break the spell which binds a dog, in this installment the magic tree house enables Jack and Annie to go back in time to the sinking of the Titanic.

A-1914 Osborne, Mary Pope. Vacation Under the Volcano. Illus. Sal Murdocca. Magic Tree House 13. New York: Stepping Stone Books / Random House, 1998. In this installment, the magic tree house enables Jack and Annie to go back in time to Pompeii as Vesuvius erupts.

A-1915 Osborne, Mary Pope. Viking Ships at Sunrise. Illus. Sal Murdocca. Magic Tree House 15. New York: Stepping Stone Books / Random House, 1998. In this installment, the magic tree house enables Jack and Annie to go back to a medieval monastery in Ireland threatened by the Vikings.

A-1916 Ostriker, Alicia. “Tristan Dying.” The Sewanee Review 73.1 (Winter 1965): 18. At the moment of his death, Tristan (the speaker of this poem) reflects on his oneness with Iseult and remembers when they drank the love potion.

A-1917 Owen, Francis. Tristan and Isolde: A Romance. Illfracombe: Arthur H. Stockwell, 1964. (*) A novel.

A-1918 Owen, Wilfred. “Hospital Barge at Cérisy.” The Collected Poems of Wilfred Owen. Ed. Edmund Blunden. London: Chatto and Windus, 1931. 93. This Petrarchan sonnet first describes a barge on the Somme moving into the locks. The whistle of the barge suggests to “one reading” nearby a death-barge, like that of Arthur moving to Avalon. Owen’s vision of that scene is one of agony, not peace or promise.

A-1919 Oxley, William. “Users of Myth.” Ore 35 ([1987?]): 17–18. (*) A poem.

A-1920 “An Oxonian.” “Lines Written After Reading the Romance of Arthur’s Round Table.” Blackwood’s Edinburgh Magazine 27 (May 1830): 705. This poem is divided into two stanzas of twenty-four and twenty-six lines respectively; it uses rhyming couplets throughout. The speaker compares Arthurian times to the current situation in England, commending the Arthurian dedication to England and to the use of “sober sense” (not the case now).

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A-1921 Padmore, E. S. The Death of Arthur, The Story of the Holy Grail. London: Herbert Jenkins, 1936. This five-act play begins when Arthur marries Guenevere and ends with the final battle. Merlin and Mark are conflated in this version (although mentioned separately in the list of characters in the text); they are in league with Mordred to destroy Arthur. Vivien is a Grail maiden, and at the end when all seems to have been destroyed, her child is depicted as the Grail. Arthur is explicitly a Christ-figure in this work.

A-1922 Paige, F. L. “Ode to the Fellowship.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.7 Apr. 1931): 291. Fifteen lines (in couplets, with one triplet), addressing Arthur, and asking whether he can see the Round Table fellowship which is being recreated, dedicated to keeping Christ’s two commandments, and taking “[n]o pride but what a good deed brings” (15). (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

Pakenham, Antonia: see Fraser, Antonia. A-1923 Palfrey, Sara Hammond. “King Arthur in Avalon.” King Arthur in Avalon and Other Poems. Boston, MA: W. B. Clarke Co., [1900]. 1–15. (*) A poem.

A-1924 Pallen, Condé Benoist. “The Death of Sir Launcelot.” The Death of Sir Launcelot and Other Poems. Boston, MA: Small, Maynard, and Co., 1902. 1–26. Rptd: Collected Poems. New York: P. J. Kennedy, 1916. This poem describes Lancelot’s parting from Guenevere, his seven years of penitence in a monastery, and the funeral rites after his death.

A-1925 Pardon, George Frederick. Boldheart the Warrior and his Adventures in the Haunted Wood: A Tale of the Times of Good King Arthur. Illus. Gustave Doré. London: James Blackwood, 1859. (*) A tale based on the Provençal romance Jaufre. Juvenile fiction. (Information from OCLC WorldCat entry.)

A-1926 Parker, Dorothy. “Guinevere at her Fireside.” Death and Taxes. New York: Viking Press, 1931. 42–43. Rptd: The Collected Dorothy Parker. London: Duckworth, 1973. 306. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 243–44. A poem of six quatrains; first line: “A nobler king had never breath.” Guinevere reflects upon the nature of her marriage to Arthur, her quiet desperation, and how (since “Tristram was busied otherwise”) she chose to help the brave man with “littlest brains” to forget “That chalky fool from Astolat / With all her dying and her pains!”

A-1927 Parker, Dorothy. “Iseult of Brittany.” Death and Taxes. New York: Viking Press, 1931. 39. Rptd: The Collected Dorothy Parker. London: Duckworth, 1973. 304–5. – “Arthur the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 244. This poem consists of two quatrains in which Iseult of Brittany reflects on the power (or lack thereof) in her white hands.

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A-1928 P[arker], M[artin]. The famous history of that most renowned Christian worthy Arthur King of the Britaines, and his famous Knights of the Round Table. [London]: Printed for Francis Coles, 1660. [STC (Wing) P437aA (ESTC R208466; Thomason Tracts E.1022[2]).] A short (twenty-page) booklet, offering a prose life of Arthur, beginning (as does Malory) with Uther and the death of Gorlois, and ending with the Battle of Camlann, Arthur’s death, and (no uncertainty here) his burial at Glastonbury. There is a table of the names of Arthur’s principal knights (14–15), which is accompanied by a woodcut illustration showing a small group of armed knights seated around a round table. There is no author named on the title-page, but the dedication is signed “M.P.,” which has led to the attribution of the work to Martin Parker.

A-1929 Parker, Robert B. Looking for Rachel Wallace. New York: Delacorte Press / Seymour Lawrence, 1980. In this hard-boiled detective novel featuring the private investigator, Spenser, there are allusions to Gawain, Lancelot, and Galahad. These allusions help develop an important theme in the novel – the code of honour that Spenser lives by, its benefits, and its shortcomings. (While much of the hard-boiled genre creates a knight / investigator parallel, Parker’s use of the Arthurian knights to make that comparison is particularly important in this book, where Rachel, the “damsel” to be rescued, is a lesbian feminist who questions that code, that narrative.)

A-1930 Paterson, Katherine. Park’s Quest. New York: Lodestar Books / Penguin Putnam, 1988. Park is a young American boy trying to come to terms with his father’s death in Vietnam shortly after Park’s birth. He often imagines himself as one of Arthur’s knights: the story of Gareth acts as an intertext in the first chapter when Park is doing kitchen chores, and at the end of the novel in particular Paterson uses Perceval’s story as Park visits his father’s family and has to decide which questions to ask to find the Grail, the truth about his father. Rosemary Sutcliff is mentioned as one of the authors that Park reads; Paterson quotes from The Sword and the Circle.

A-1931 Paterson, Katherine. Parzival: The Quest of the Grail Knight. New York: Lodestar Books / Penguin Putnam, 1998. Rptd: London: Puffin Books / Penguin Putnam, 2000. A juvenile retelling of Wolfram von Eschenbach’s Parzival.

A-1932 Patience, John. Little Merlin’s Book of Magic Pets: Pop-Up. Los Angeles: Price Stern Sloan, 1994. In this children’s book, a little king Arthur wants someone to play with him, but Guinevere, Lancelot and Merlin are too busy. Arthur tries to create friends from Merlin’s Book of Magic Pets, but they are either too scary or too messy. Finally Arthur buys a puppy instead. The names are the only Arthurian element.

A-1933 [Patten, William?]. A Letter, whearin part of the entertainment vntoo the Queenz Maiesty at Killingwoorth Castl in Warwik sheer in this soomerz progress 1575 is signified / from a freend officer attendant in coourt vntoo hiz freend a citizen and merchaunt of London. N.p.: n.p., 1575. [STC (P&R) 15190.5 (ESTC S2762); also 1585: 15191 (ESTC S108211); 1784: ESTC T61880.] Rptd: The Progresses and Public Processions of Queen Elizabeth. Ed. John Nichols. 4 vols. London: 1788–1805. 1: 420–84. – Captain Cox, his ballads and books, or, Robert Laneham’s Letter whearin part of the entertainment untoo the Queenz Majesty at Killingworth castl, in Warwik sheer in this soomerz progress, 1575, is signified; from a freend officer attendant in the court, unto hiz

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freend, a citizen and merchaunt of London. Ed. F. J. Furnivall. London: Printed for the Ballad Society by Taylor and Co., 1871. – Queen Elizabeth’s visit to Kenilworth Castle in 1575. [Coventry]: H. H. Thompson, n.d. – Robert Laneham’s Letter (1575): A General Critical Edition. Ed. R. J. P. Kuin. Leiden: E. J. Brill, 1983. This letter, known for centuries as “Laneham’s Letter,” has recently been proven to be something of a fraud perpetrated by William Patten and foisted on Robert Langham, Keeper of the Council Chamber. Patten’s motives for attributing the letter to Langham are not entirely clear, but the letter does include something of a “self-depiction” which could have been intended to embarrass Langham and, perhaps, to “punish” his social pretensions (he came of a Mercer family in London, but was now a gentleman of court). Nevertheless, as an account of the events at Kenilworth (which is the Letter’s primary historical value), the Letter seems factual enough, as can be demonstrated by a comparison of it with the account of events given by George Gascoigne (see the articles by David Scott and by Brian O’Kill, published more or less simultaneously in 1977). The letter is of “Arthurian” interest because it provides a detailed account of the entertainments devised for Queen Elizabeth’s visit to Kenilworth Castle in 1575, which included a variety of Arthurian elements, and a minstrel performance of the ballad “King Ryence’s Challenge” (six stanzas of the ballad are printed in the letter [53–54]). (See also the entries for “Elizabethan revels,” “Gascoigne, George,” and “King Ryence’s Challenge.”)

A-1934 Patterson, Meredith L. “How Sharper Than a Serpent’s Tooth.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 212–30. This story is told from Agravain’s point of view. He discovers the affair of Lancelot and Guenevere and asks Mordred for advice, only to have Mordred use the information for his own purposes. When Agravain confronts his mother, he finally acts in a way that she cannot predict or control. (The story is original to this anthology.)

A-1935 Patton, Fiona. “The Raven’s Quest.” In Camelot Fantastic. Ed. Lawrence Schimel and Martin H. Greenberg. New York: DAW Books, 1998. 14–50. When Nimue traps Merlin in a hawthorn tree, she also changes his companion, Corvus, one of Bran’s ravens. Corvus, in human form, must discover the answer to the question, “what is the greatest human virtue.” With Linet, he spends the years in Camelot, asking everyone his question. Dying at Camlann, he finally has his answer and bargains with Nimue to become a raven again.

A-1936 Paxson, Diana L. The Book of the Cauldron. The Hallowed Isle 3. New York: Avon Books, 1999. Rptd: The Hallowed Isle. Cover illus. Luis Royo. New York: SFBC Fantasy, 2000. 313–461. The third book of the Hallowed Isle series begins with an invocation to water. The cauldron is one of the treasures of the Island of Maidens and is in the keeping of the Lady of the Lake; when it is stolen (by Morgause, from her mother the Lady), Arthur and his men try to recover it.

A-1937 Paxson, Diana L. The Book of the Spear. The Hallowed Isle 2. New York: Avon Books, 1999. Rptd: The Hallowed Isle. Cover illus. Luis Royo. New York: SFBC Fantasy, 2000. 145–312. The second novel of Paxson’s series begins with an invocation to air. The story covers the first years of Arthur’s reign, up to the Battle of Badon, but it is mostly from the perspective of Oesc, Hengest’s grandson, and a hostage for a time at Arthur’s court.

A-1938 Paxson, Diana L. The Book of the Stone. The Hallowed Isle 4. New York: Avon Books, 2000. Rptd: The Hallowed Isle. Cover illus. Luis Royo. New York: SFBC Fantasy, 2000. 463–620.

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The last book of the series begins with an invocation to earth / stone. The novel tells of the end of Arthur’s reign, ending with the final battle between Arthur and Medraut (here the son of Arthur and Morgause, though neither knew the other’s identity at the time).

A-1939 Paxson, Diana L. The Book of the Sword. The Hallowed Isle 1. New York: Avon Books, 1999. Rptd: The Hallowed Isle. Cover illus. Luis Royo. New York: SFBC Fantasy, 2000. 1–144. The first of the Hallowed Isle novels opens with an invocation to fire, which forges the sword. The main story begins before the time of Vortigern, although he becomes king during the course of the novel, which ends with Arthur’s pulling of the sword from the stone. Two cousins receive a prophecy about a future warrior to protect the land; the Lady of the Lake bears Igierne, who herself bears Morgause and Arthur and becomes Lady in her turn; the Lady’s cousin becomes Merlin’s mother. Paxson combines stories of a Wild Man with those of Merlin’s mysterious parentage and powers.

A-1940 Paxson, Diana L. “Cauldron of Light.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 5–20. When the Grail appears in Camelot, Merlin returns from the wilds to discover what it is and what it means. His own Grail vision leads him to search out Taliesin to pass on his wisdom.

A-1941 Paxson, Diana L. “The God-Sword.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 3–28. This story of Excalibur is set before Arthur’s birth, but the guardian of the sword has the middle name of Artorius after a Roman leader.

A-1942 Paxson, Diana L. “Lady of Avalon.” In Return to Avalon: A Celebration of Marion Zimmer Bradley. Ed. Jennifer Roberson. New York: DAW Books, 1996. 58–79. A short story set in the world created by Marion Zimmer Bradley, after Arthur’s death. The current Lady of Avalon goes out into the world and makes a new alliance with a Saxon queen.

A-1943 Paxson, Diana L. The White Raven. New York: William Morrow and Co., 1988. This rewriting of the Tristan-Iseult story is narrated by Branwen who first aids the lovers, but then betrays them to Mark. The relationships are portrayed as destructive and, for the most part, selfish.

A-1944 Paxson, Diana L. “Wild Man.” In Camelot. Ed. Jane Yolen. New York: Philomel Books, 1995. 17–38. A maid to a queen must find the queen’s brother, who is a wild man. Here, Merlin has gone mad after the battle where Uther dies; the fact that he has hidden Arthur away is mentioned.

A-1945 Paxson, Diana L. “The Feast of the Fisher King: A Masque in Verse (with Narrative Inclusions).” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 36–59. This masque is divided into six scenes and dramatizes Perceval’s arrival at the Fisher King’s hall, the appearance of a maiden who gives Perceval a sword, and the procession of the Hallows where Perceval fails to ask the question. In one scene, Perceval recounts stories of his childhood and how he first became a knight. The last scene takes place in the Wasteland, with Perceval determined to find the Grail Castle again.

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A-1946 Payne, John. “The Romaunt of Sir Floris.” The Masque of Shadows and Other Poems. London: B. M. Pickering, 1870. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A poem in rhyming couplets. The introduction mentions the tradition of Grail quests for Galahad and Perceval (particularly the version of Wolfram von Eschenbach); the main part of the poem consists of Floris’ adventures as he becomes one of the Grail knights. Galahad is a guide during these experiences. (We have seen the poem only as reprinted.)

A-1947 Peach, Lawrence du Garde. Knights of the Round Table; Five Plays from the Arthurian Legend. Illus. Evelyn Simpson. [London:] Pitman, [1940]. (*) Plays for young people.

A-1948 Peach, Lawrence du Garde. “Malory and Morte d’Arthur.” In Story-tellers of Britain. London: University of London Press, 1941. 59–91. This play has six scenes, the first of which shows a fugitive Malory finding a copy of Merlin by Robert de Boron in a priest’s house; he becomes engrossed with copying it out. The remaining scenes dramatize Malory’s version of the story of Gareth. Peach says in the introduction that “dialogue has been taken from the stories . . . but much has necessarily been added.”

A-1949 Peacock, Thomas Love. “Calidore: A Fragment of a Romance.” Calidore and Miscellanea. Ed. Richard Garnet. London: J. M. Dent and Co., 1892. 32–47. Rptd: Calidore. The Works of Thomas Love Peacock. The Halliford Edition. Ed. H. F. B. Brett-Smith and C. E. Jones. 10 vols. London: Constable and Co.; New York: Gabriel Wells, 1934. 8: 303–41. This story was probably written about 1816, but it was left unfinished. The fragments that were published in 1892 are discontinuous, and the Arthurian section is abbreviated. In the later reprinting of the unfinished novel, Chap. 3 gives the history of Arthur, Guenever, Merlin, Bedivere, and others after the battle of Camlann; Merlin has cured them all and taken them to a mysterious island where Classical gods have also retreated. Calidore leaves this island and comes to modern Britain to seek a bride. There are numerous satirical comments on British history and current society.

A-1950 Peacock, Thomas Love. The Misfortunes of Elphin. London: Thomas Hookham, 1829. Rptd: The Works of Thomas Love Peacock, including his Novels, Poems, Fugitive Pieces, Criticisms, etc. 3 vols. Intro. Lord Houghton. London: Richard Bentley and Son, 1875. 2: 99–182. – The Works of Thomas Love Peacock. The Halliford Edition. Ed. H. F. B. Brett-Smith and C. E. Jones. 10 vols. London: Constable and Co.; New York: Gabriel Wells, 1926. 4: 1–155. – Nightmare Abbey, The Misfortunes of Elphin, Crotchet Castle. Ed. Charles B. Dobson. New York: Holt, Rinehart and Winston, 1971. 93–195. This novel is set in the time of Uther and Arthur. It begins when Elphin is a young man and chronicles his misfortunes and fortunes. His father’s kingdom is flooded, but Elphin meets a beautiful young woman whom he marries; the fish escape the weir, but he finds the young boy Taliesin; he is captured by Maelgwyn, but Taliesin effects his rescue. Taliesin spends some time at Arthur’s court and arranges for the return of Guenevere, who had been kidnapped. The novel, besides telling the stories of these characters, makes many satirical observations about nineteenth-century life. (See also the entry for “Bainton, Edgar Leslie” in the Music section.)

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A-1951 Peacock, Thomas Love. The Round Table; or King Arthur’s Feast. London: John Arliss, [1817]. Rptd: The Works of Thomas Love Peacock, including his Novels, Poems, Fugitive Pieces, Criticisms, etc. 3 vols. Intro. Lord Houghton. London: Richard Bentley and Son, 1875. 3: 213–21. – The Works of Thomas Love Peacock. The Halliford Edition. Ed. H. F. B. Brett-Smith and C. E. Jones. 10 vols. London: Constable and Co.; New York: Gabriel Wells, 1927. 6: 315–34. The Halliford Edition also includes notes (6: 349–51) on the poem’s publication history. Arthur, waiting for his time to return, is entertained by Merlin, who brings together all subsequent kings of Britain to meet Arthur. The poem is intended for children, to teach them British history.

A-1952 [Peacock, Thomas Love.] Sir Hornbook; or, Childe Launcelot’s Expedition: A Grammatico-Allegorical Ballad. London: Sharpe and Hailes, 1814. Rptd: The Works of Thomas Love Peacock, including his Novels, Poems, Fugitive Pieces, Criticisms, etc. 3 vols. Intro. Lord Houghton. London: Richard Bentley and Son, 1875. 3: 146–55. – The Works of Thomas Love Peacock. The Halliford Edition. Ed. H. F. B. Brett-Smith and C. E. Jones. 10 vols. London: Constable and Co.; New York: Gabriel Wells, 1929. 6: 261–76. This ballad of Childe Launcelot takes the reader through various grammatical obstacles. Note that “childe,” though said to be a synonym for “knight,” works here with a double meaning, given the intended, young, audience of the text. Launcelot is the only Arthurian name. The Halliford Edition includes information on publishing history and illustrations (6: 344–47).

A-1953 Peare, Catherine Owens. Melor, King Arthur’s Page. Illus. Paul Frame. London and New York: G. P. Putnam’s Sons, 1963. A young adult novel that tells the story of a thirteen-year-old boy who becomes King Arthur’s page. Melor has various adventures as he tries to prove himself worthy of Arthur’s trust; the book ends with Melor, having learned various lessons, becoming Arthur’s squire. In an interesting twist, Arthur and Guenevere in this version have a son, but he is being raised as an unknown, far from court.

A-1954 Peck, Brooks. “The Well-Made Knight.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 221–37. Merlin magically creates Lancelot out of clay in order to discredit Guenevere and get her sent away from court.

A-1955 Peele, George. Anglorum Feriae, Englandes Hollydayes, celebrated 17 Nov. last, 1595, beginninge happyly the 38 yeare of the raigne of our soveraigne ladie Queene Elizabeth. [Ipswich]: Printed by R. Root, 1830. Rptd: The Works of George Peele. Ed. A. H. Bullen. 2 vols. London: J. C. Nimmo; Boston, MA: Houghton, Mifflin and Co., 1888. 2: 339–55. Though composed in 1595, this remained unpublished until the nineteenth century (the 1830 edition was printed for the then owner of the manuscript, for private distribution, and limited to forty copies). Descriptions of Elizabethan revels appear in a number of George Peele’s works, and some of these ceremonies had Arthurian themes. This is a description (in verse) of the Accession Day tilt for the 37th year of Elizabeth’s reign, 17 Nov. 1595, with George, Earl of Cumberland, appearing as Knight of the Crown. Challenging Sir George was Sir Francis Knowles and his two sons, who appeared, says Peele, to be knights of Arthur or sons of Priam; they were like three Hectors (ll. 261–72). Peele does not explicitly state that they were in costume as Arthurian knights, but he uses the Arthurian comparison to indicate that they looked like heroes.

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A-1956 Peele, George. The Honour of the Garter Displaied in a poeme gratulatorie: entitled to the worthie and renowned Earle of Northumberland. Created Knight of that order, and installd at Windsore. Anno Regni Elizabethae. 35. die Iunij. 26. London: Printed by the widdowe Charlewood, for John Busbie, 1593. [STC (P&R) 19539 (ESTC S110386).] Rptd: The Works of George Peele. Ed. A. H. Bullen. 2 vols. Port Washington, NY: Kennikat Press, [1966]. 2: 315–37. The running title within the text of the work is “The honour of the honourable order of the Garter.” Descriptions of Elizabethan ceremonies appear in a number of George Peele’s works, and some of these ceremonies had Arthurian themes. This is a poeme gratulatorie for the Earl of Northumberland upon his creation as a Garter knight (26 June 1592). An account of the origins of the Order is given, and the poet notes that the book of famous knights includes not only all the Garter knights, but also Hector, Jason, Caesar, and Arthur and his knights (Sig. C2; ll. 260–61).

A-1957 Penceth, Vervain. “The Legacy of Merlin.” Ore 21 ([1977?]): 11. (*) A poem.

A-1958 Pennie, John Fitzgerald. “The Dragon King.” In Britain’s Historical Drama: A Series of National Tragedies. London: Samuel Maunder, 1832. 411–547. This five-act play dramatizes Arthur’s conflict with the Saxons and the betrayal of Arthur by his queen and Mordred (here called Mouric Medrawd). The conflict is made personal by the figure of Arthur’s sister (Imogenia), who as a captive of the Saxons falls in love with Cerdic’s son, much to the disgust of both Cerdic and Arthur; the lovers convert back and forth between their respective faiths before the end. Pennie also alters the queen’s punishment; Arthur turns her out so that she too is captured by the Saxons, though ultimately she is still threatened with death by burning.

A-1959 [Percy Folio Manuscript.] Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. Rptd: The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. Percy’s Folio manuscript (now British Library, MS Add. 27879) is a seventeenth-century manuscript, the contents of which are primarily romances and ballads (medieval and early modern); several of the items in the manuscript are on Arthurian themes, and the post-medieval ones are included in this bibliography (for more information, see the entries for these individual items): “Percy, Thomas: The Boy and the Mantle” (for “The Boy and the Mantle, as revised and altered by a modern hand”); “The Boy and the Mantle” (the unrevised version); “The Carle of Carlisle”; “Deloney, Thomas” (for “The Noble Acts,” also called “Sir Lancelot du Lake”); “The Greene Knight”; “King Arthur and King Cornwall”; “King Arthur’s Death”; “The Marriage of Sir Gawaine”; “Percy, Thomas: The Marriage of Sir Gawaine” (for Percy’s reworking of the fragmentary original); “The Turke and Sir Gawain” (the other Arthurian items in the manuscript are considered to be from before 1500, so have not been included in our bibliography.)

A-1960 Percy, Thomas. “The Boy and the Mantle, as revised and altered by a modern hand.” In Reliques of Ancient English Poetry: Consisting of old heroic ballads, songs, and other pieces of our earlier poets, (chiefly of the lyric kind.) Together with some few of later date. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 3: 314–23. [ESTC T84936 and N65532; also T83734, T83735, T82693, T84265, and T81998.] An early modern ballad (Child no. 29; first line: “On the third of May”), preserved in Percy’s Folio manuscript (now British Library MS Add. 27879); it appears in a portion of the manuscript which was badly damaged (half pages with which to start fires torn out before Percy rescued the manuscript) with much loss of text. Percy rewrote the ballad, modernizing the language but also replacing missing stanzas. A boy comes to Arthur’s court with a mantle which tests the faithful-

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ness of any woman who wears it, a boar’s head which could be carved by the knife of a man only if he were not a cuckold, and a horn from which only non-cuckolds could drink without spilling. Guenevere is embarrassed by the mantle, but Sir Cradock and his lady pass all three tests. See also the entry under “The Boy and the Mantle.”

A-1961 Percy, Thomas. “The Marriage of Sir Gawaine.” In Reliques of Ancient English Poetry: Consisting of old heroic ballads, songs, and other pieces of our earlier poets, (chiefly of the lyric kind.) Together with some few of later date. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 3: 11–24. [ESTC T84936 and N65532; also T83734, T83735, T82693, T84265, and T81998.] Rptd: Ancient Ballads, Selected from Percy’s Collection, with Explanatory Notes, Taken from Different Authors, for the Use and Entertainment of Young Persons, . . . with Plates. Ed. “A Lady.” London: Printed by W. Wilson for Vernor, Hood, and Sharpe, and for John Harris, and for E. Upham in Exeter, 1807. 97–114. – Percy’s Reliques of Ancient English Poetry. Ed. J. V. Prichard. 2 vols. London: George Bell and Sons, 1883. 2: 112–21. An early modern ballad (Child no. 31; first line: “King Arthur lives in merry Carleile / And seemely is to see”), based upon the medieval romance of The Wedding of Sir Gawain and Dame Ragnell, and preserved in Percy’s Folio manuscript (now British Library MS Add. 27879). It appears in a portion of the manuscript which was badly damaged (half pages with which to start fires torn out before Percy rescued the manuscript) with much loss of text. Percy, therefore, rewrote the ballad for inclusion in his Reliques, using portions of the original, re-arranging the order, adding much new matter, changing first-person recollection to third-person narration, and so on. Starting with the fourth edition (London, 1794), he also printed in an appendix, for comparison, a transcription of what remains of the original poem. See the entry for “The Marriage of Sir Gawaine” for the original, damaged poem.

A-1962 Percy, Walker. Lancelot. New York: Farrar, Straus, and Giroux, 1977. The title character is a twentieth-century man accused of murder; the novel uses some Arthurian names and love triangles as part of his explanation of events.

A-1963 Percy, William Alexander. “A Brittany Idyll.” The Collected Poems of William Alexander Percy. New York: Alfred A. Knopf, 1944. 265–70. This poem describes a peasant girl waiting for the return of the fishing fleet and her lover. She is compared to Iseult of Brittany, both in the song that she sings and in her unrequited love.

A-1964 Percy, William Alexander. “The Green Bird Seeth Iseult.” The Collected Poems of William Alexander Percy. New York: Alfred A. Knopf, 1944. 243–44. This six-stanza poem is a conversation between the green bird and a tree. The green bird describes what it has seen: two lovers (Tristan and Iseult) drinking the love potion on a ship.

A-1965 Percy, William Alexander. “In the Cold Bright Wind.” The Collected Poems of William Alexander Percy. New York: Alfred A. Knopf, 1944. 242. This five-stanza poem describes Merlin’s going away to fairyland. It is an interesting revisioning of the usual story of Merlin’s entrapment; Merlin here seems to be going quite willingly.

A-1966 Perham, Molly. King Arthur and the Legends of Camelot. Illus. Julek Heller. Viking Child Books. New York: Viking, 1993. Perham’s retelling of the legend begins with Merlin’s encounter with Vortigern, and includes many episodes from Malory embellished with little details; for example, Gorlois asks his daughters to avenge him (a request that accounts for Morgan’s later seduction of Arthur and the birth of Mordred). The chapters are as follows: “Merlin the Magician,” “King Uther and Igraine,” “The

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Sword in the Stone,” “Morgan le Fay,” “How Arthur Won Excalibur,” “The Round Table,” “The False Excalibur,” “Merlin Departs,” “Sir Lancelot of the Lake,” “Tristram and Iseult,” “Sir Gareth, Knight of the Kitchen,” “Lancelot and Elaine,” “The Grail Quest,” “Mordred’s Plots,” “The Decline of Camelot,” “The Queen’s Trial,” and “The Last Battle.” The story, however, is often secondary to the beautiful illustrations. Every two-page spread has illustrations of some kind, whether B&W or full-colour; some border the text, some take up a half-page, and at least thirty-eight take up a full page (or more). Heller’s depiction of Merlin imprisoned is particularly interesting, as Merlin blends into the background; Heller also has marvellous illustrations of battle scenes near the end of the book.

A-1967 Perowne, Victor Tait. “The Lady of Shallott.” In Wheels: An Anthology of Verse. Oxford: B. H. Blackwell; New York: Longmans, Green, and Co., 1916. 73–75. This poem is set up as the song the Lady of Shallott [sic] sings as she drifts in the boat. She has a vision of heaven, so a great deal of the poem is description, but she also regrets her one sin (love for Lancelot) and prays for him.

A-1968 Peters, Elizabeth [pseud.], [i.e., Barbara Gross Mertz]. The Camelot Caper. New York: Meredith Press, 1969. Rptd: New York: Tom Doherty Associates, 1988. This mystery novel uses many Arthurian names since the young female protagonist’s grandfather named his children after Arthurian characters and believed himself descended from Arthur. Archaeological discoveries – including the discovery of Camelot – contribute to the plot, part of which is set in Cornwall, not far from Tintagel.

Peters, Maureen: see Darby, Catherine. A-1969 Petrik, Mary Rose. “Parsifal (Wagner).” In American Voices, 1936. Ed. Margaret Nelson. New York: Avon House, Publishers, 1936. 295. This four-line poem reflects on the appearance of the Grail in Wagner’s opera.

A-1970 Petty, Noel. “Tristan and Isolde.” In How to Be Tremendously Tuned in to Opera. Ed. E. O. Parrott. Illus. Sue Shields. London: Viking / Penguin, 1989. 155–56. This poem is a comic summary of the opera; it ends with a number of light-hearted morals.

A-1971 Phelan, Laurel. Guinevere: The True Story of One Woman’s Quest for her Past Life Identity and the Healing of her Eternal Soul. New York: Pocket Books, 1996. A biography of Guinevere, as related by a Phelan, a reincarnation of the legendary queen. Phelan’s version (whatever one makes of her claim of it as “true” story) makes Guinevere the centre of the story, but Morgana is the traditional witch-figure.

A-1972 Phelps, Elizabeth Stuart. [Ward, Elizabeth Stuart Phelps]. “Afterward.” The Independent (New York) 32 [1651] (22 July 1880): 1. Rptd: “Guinevere.” Songs of the Silent World. Boston, MA: Houghton Mifflin and Co., 1884. 59–63. This poem begins by reflecting on reading the legend and what can and cannot be known through text. It then elaborates on a passage by describing Guenevere’s repentance in the convent. One night, though she cannot pray, she sings and comes to some sort of reconciliation with God that way.

A-1973 Phelps, Elizabeth Stuart [Ward, Elizabeth Stuart Phelps]. “The Christmas of Sir Galahad.” 1871. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. .

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This would seem a companion piece to Phelps’ story “The Lady of Shalott,” as she begins with an explanation of her belief that heroes of romance can be found in the everyday. This Galahad is a poor man with an insane wife whom he will not abandon, even when he falls in love with another. (We have seen the story only as reprinted.)

A-1974 Phelps, Elizabeth Stuart. [Ward, Elizabeth Stuart Phelps]. “Elaine and Elaine.” The Independent (New York) 35 [1801] (7 June 1883): 1. Rptd: Songs of the Silent World. Boston, MA: Houghton Mifflin and Co., 1884. 77–78. A two-part poem written in rhyming couplets. Each part describes an Elaine floating to Camelot and to Lancelot. In each case, the reader is commanded not to judge, but to be silent as she is.

A-1975 Phelps, Elizabeth Stuart. [Ward, Elizabeth Stuart Phelps]. “The Lady of Shalott.” Sealed Orders. New York: Houghton, Osgood and Co., 1879. 48–64. Rptd: The American Short Story Series 85. New York: Garrett Press, 1969. This short story takes the poem by Tennyson and plays with the idea of the woman trapped in the tower by a curse. In this case, the curse is poverty and illness, which keep her trapped in a small room. A doctor visits with intentions of doing something about her situation, but he is too late.

A-1976 Phelps, Elizabeth Stuart. [Ward, Elizabeth Stuart Phelps]. The Story of Avis. Boston, MA: James R. Osgood and Co., 1877. Rptd: Ed. Carol Farley Kessler. New Brunswick, NJ: Rutgers University Press, 1985. This novel of a female artist ends with the protagonist Avis not completely achieving her artistic goals, but feeling that her daughter might better be able to do so. There is a quotation from The Age of Chivalry (Thomas Bulfinch) at the beginning, and at the end, Avis reads to her daughter from that work about Lancelot and Galahad, the father who does not achieve the Grail, and the son who does; this story thus resonates with Avis’ own situation.

A-1977 Phelps, Elizabeth Stuart. [Ward, Elizabeth Stuart Phelps]. “The Terrible Test.” Sunday Afternoon 1 (Jan. 1878): 49. Rptd: Songs of the Silent World. Boston, MA: Houghton Mifflin, 1891. 92–93. A poem of seven quatrains. In the first four, the speaker reflects on the testing of Galahad, the achievement of the Grail, and what this story provides for us. The last three quatrains compare Galahad’s story to that of Christ.

A-1978 Phelps, Elizabeth Stuart. [Ward, Elizabeth Stuart Phelps]. “The True Story of Guenever.” Sealed Orders. New York: Houghton, Osgood and Co., 1879. 65–80. Rptd: Sealed Orders. The American Short Story Series 85. New York: Garrett Press, 1969. – The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 261–72. Phelps takes the love triangle of the legend and gives it a modern middle-class setting: Arthur is a carpenter, Guenevere is his wife, and Lancelot is a young bricklayer who boards with them. The love triangle is set up as a dream, essentially a warning for the young wife.

A-1979 Philbrick, Rodman. Freak the Mighty. New York: Scholastic / Blue Sky Press, 1993. This novel has two young protagonists, Kevin and Max, who live in an unidentified city. Kevin has a birth defect that has twisted his body; Max is a tall boy who has difficulty learning. The two become friends and have several adventures that Kevin compares to the actions of the Knights of the Round Table. There are allusions to Arthur and several of his knights, as well as to Excalibur and the Holy Grail. Kevin’s mother’s name is Gwen, and he often calls her Gwen of Air, or Gwen the Fair, thus alluding to Arthur’s queen. Max narrates the novel, so the focus is on the way he

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must deal with his own past and Kevin’s illness. The novel is the basis for the film The Mighty (see the entry in the “Film, Television, and Radio” section).

A-1980 Philbrick, Rodman. Max the Mighty. New York: Scholastic / Blue Sky Press, 1998. The sequel to Freak the Mighty once again has Max as the narrator and protagonist. He tries to help a girl who is being abused by her stepfather, and together they travel across the country to find her real father. There are not as many allusions to the legend in this novel as in the previous one; however, one of the books that the girl reads is The Sword in the Stone and the image of the young Arthur who, despite his nondescript appearance and beginnings, becomes a great hero is important in this novel as it was in the first.

A-1981 “An Philibin” [pseud.], [i.e., John Hackett Pollock]. Tristram and Iseult: A Dramatic Poem. Dublin: Talbot Press, 1924. (*) A-1982 Philip, Neil. The Tale of Sir Gawain. Illus. Charles Keeping. New York: Philomel Books, 1987. Gawain, having received his death wound in battle with Lancelot, tells to a scribe the story of his life in Arthur’s court.

A-1983 Phillifent, John T. [pseud.], [i.e., John Rackham]. Life with Lancelot. New York: Ace Books, 1973. An Ace Double, bound with William Barton’s Hunting on Kunderer. Phillifent’s novel is divided into three sections: “Stainless Knight,” “Logical Knight,” and “Arabian Knight.” The protagonist is Lancelot Lake, once a minor technician for “Galactopol,” who in a heroic attempt to save a ship is transformed by aliens into the legendary figure for whom he was named. He becomes a top agent for Galactopol and has James Bond-like adventures on various planets. The first story has the most Arthurian elements, as the world that he is sent to save has been modelled on the Arthurian legends.

A-1984 Phillifent, John T. [pseud.], [i.e., John Rackham]. “The Stainless-Steel Knight.” In Cosmic Knights. Ed. Isaac Asimov, Martin H. Greenberg, and Charles Waugh. New York: New American Library, 1985. (*) An early version of his Life with Lancelot.

A-1985 Phillips, Douglas. “Merlin’s Town.” Beyond the Frontier. Swansea: Christopher Davies, 1972. 41–43. This poem describes Carmarthen, invoking various legends that associate Merlin with the town’s buildings and oaks. The speaker also portrays himself, as a poet, to be a descendant of Merlin.

A-1986 Phillips, Edward. The Royal Chace; or, Merlin’s Cave, With several new comic scenes of action Introduced into the Grotesque Pantomime of Jupiter and Europa, As it is perform’d at the Theatre Royal in Covent-Garden. London: T. Wood, 1736. [ESTC T73441.] “Merlin’s Cave” and “The Hermitage” were follies built in the Royal Gardens at Richmond for Queen Caroline (by William Kent in the 1730s); they gained some notoriety, but also seem to have sparked something of a revival of interest in Merlin, including this verse drama (cf. Merriman, The Flower of Kings, 79). The play is a collection of loosely related six scenes, only one of which has Arthurian content. Scene 4 is set at Merlin’s Cave; Merlin first praises solitude, but when interrupted by Diana the huntress, he entertains her by summoning spirits to dance.

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A-1987 Phillips, Edward. The Royal Chace; or, Merlin’s Hermitage and Cave, As it is perform’d in Covent-Garden. [London]: n.p., [1736?]. [ESTC T73441.] (*) “Merlin’s Cave” and “The Hermitage” were follies built in the Royal Gardens at Richmond for Queen Caroline (by William Kent in the 1730s); they gained some notoriety, but also seem to have sparked something of a revival of interest in Merlin, including this verse drama (cf. Merriman, The Flower of Kings, 79).

A-1988 Phillips, Marti. Lancelot’s Crystal. The Road to Camelot 1. Brentwood, TN: Southern Press Publishers, 1998. The story of Janna of Graywick in the Scotland of Robert the Bruce, raised by her foster uncle, Emrys, who recalls the days of Arthur the warlord, and who owns the Crystal of Carbonek, once owned by Llancalot (a Welshman, not French). Janna finds herself transported to the days of Arthur, and, through various adventures (including a version of the “Knight of the Cart” story in which Janna takes the place of Guenevere as the captive of Lord Melwas), Janna uses the Crystal to find the Graal. The three novels of the series are quite separate stories, only loosely connected by their Arthurian themes. In each of the three novels of the trilogy, a different Arthurian “Camelot” is featured; the Arthurian fortress here is Carlisle.

A-1989 Phillips, Marti. Prince of the Mists. The Road to Camelot 2. Brentwood, TN: Southern Press Publishers, 1998. A sequel to Lancelot’s Crystal, also published as Sweet Defender (a electronic book, issued by New Concepts Publishing). Corinna Swift, a twentieth-century writer from San Francisco, finds herself transported through time to the final days of Camelot, threatened by the treachery of Mordred. There she meets Allwyn, son of Lancelot, the defender of Camelot, and the man of her dreams. At one point in the novel, Corinna is told the story of the Quest of the Holy Grail. In each of the three novels of the trilogy, a different Arthurian “Camelot” is featured; the Arthurian fortress here is Caerleon.

A-1990 Phillips, Marti. The Road to Camelot. Brentwood, TN: Southern Press Publishers, 1998. An omnibus edition of the three novels in the series.

A-1991 Phillips, Marti. Swords and Roses. The Road to Camelot 3. Brentwood, TN: Southern Press Publishers, 1998. The story of a forbidden love between the Duchess Alesandra, betrothed by her father to the Sherrif of Harwood, and Sir Geoffrey de Chaunce, in the year 1485. Merlin and the ghosts of Gawain and Gareth, sleeping at Cadbury, intervene on behalf of the lovers, offering to take the dispute to the King. In each of the three novels of the trilogy, a different Arthurian “Camelot” is featured; the Arthurian fortress here is Cadbury.

A-1992 Phillips, Stephen. “The Parting of Launcelot and Guinevere.” New Poems. London: John Lane / The Bodley Head, 1908. 105–107. This thirty-five-line poem describes Guenevere meeting Lancelot at the nunnery; though he wishes one last kiss, she refuses, and the two of them part with great sorrow.

A-1993 Picard, Barbara Leonie. “Gareth and Linette.” In Tales of Magic and Enchantment. Ed. Kathleen Lines. Illus. Alan Howard. London: Faber and Faber, 1966. 209–21. The book is a collection of children’s stories on the theme of magic and enchantment, including this one Arthurian item, a retelling of the tale of Gareth (Beaumains). The story is accompanied by one illustration (p. 214): a B&W drawing of a man and a woman riding horses side by side, she with her eyes closed; the horses, unlike the humans, gaze into each other’s eyes.

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A-1994 Picard, Barbara Leonie. Hero-Tales from the British Isles. Illus. John G. Galsworthy. London: Edmund Ward, 1963. (*) Includes Arthurian tales.

A-1995 Picard, Barbara Leonie. Stories of King Arthur and his Knights. Illus. Roy Morgan. Oxford Illustrated Classics. London: Oxford University Press, 1955. Rptd: One of Morgan’s illustrations is reproduced in Gaines, facing p. 116. A modernization and abridgement of Malory, supplemented from other medieval sources such as “Gawain and the Loathly Lady.” There are ten full-page illustrations (wood engravings, with a green wash), as well as additional illustrations at the heads of chapters.

Piggott, Mostyn: see “Testudo.” A-1996 Pilla, Michael L. Barbarian’s Quest: A Novel. Shippensburg, PA: Destiny Image Publishers, 1992. This novel begins with a framing device: King Richard rides into Wales to discover a manuscript about a Grail quest. The novel, then, is that manuscript, written by a Roman commander turned Christian, British prince. He is lifelong friends with Hengist, but also a champion of Christianity (he converts Hengist and numerous others) and of Britain. During one of many miracles, he is told that he will have a son named Arthur who will be king of all Britain. During another miraculous battle between Christians and Druid pagans, Marcus’ sword is embedded deep into a stone until the rightful king should pull it out again; in a postscript to his father’s manuscript, Arthur informs us that he has done this; Arthur and his friend Lancelot are about to battle Hengist to claim Hengist’s daughter, Brittany, as Arthur’s wife. A few traditional elements do appear in the novel, but they are changed considerably in order to accommodate the Christian hero and message of the text.

A-1997 Pitt-Kethley, Fiona. “The Lady of Shalott.” In How to be Well-Versed in Poetry. Ed. E. O. Parrott. London: Viking, 1990. 22. This six-line poem summarizes the poem by Tennyson in a mere fourteen words.

A-1998 Playhour Fairy Tales. London: Fleetway, n.d. (*) Includes Arthurian tales, including the story of young King Arthur, and of Tom Thumb. There are illustrations, though the illustrator is not named. (Information from OCLC WorldCat.)

A-1999 Pledger, Lynne. “Gwenhwyfar.” In Camelot. Ed. Jane Yolen. Illus. Winslow Pels. New York: Philomel Books, 1995. 63–76. An orphan girl who works in the dairy at a convent plans on taking vows. The Abbess, however, has other plans when the high king is looking for a new wife.

A-2000 Pocock, Isaac. King Arthur and the Knights of the Round Table: A New Grand Chivalric Entertainment, in Three Acts. London: John Miller, 1834. (*) See also the entry for “Cooke, Thomas Simpson” in the Music section.

Pollock, John Hackett: see Philibin, An. A-2001 Pomeroy, Florence Mary. Tristan and Iseult: An Epic Poem in Twelve Books. London: John Lane / The Bodley Head, 1958. This poem, written in blank verse, begins with Tristan’s fight with Marhault and ends with the burial of the lovers and the thorn bush that joins their graves. The twelve books are framed by a proem and an epilogue that establish this work as the tale a harper heard from Brangaene.

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A-2002 Ponsor, Y. R. Gawain and the Green Knight: Adventure at Camelot. New York and London: Macmillan, 1979. A prose adaptation of the medieval romance of Sir Gawain and the Green Knight. The author sometimes retains some of the rhythms of the language of the original, but details have been added and slightly rearranged in places. The basic story remains the same as in the poem: the Green Knight appears at Camelot and challenges the court; Gawain strikes off the Knight’s head and agrees to meet the Knight again in a year; Gawain finds Bertilak’s castle at Christmastime while searching for the Green Chapel, plays an exchange of winnings game, and finally meets the Knight as arranged.

A-2003 Pooler, Russell. Parsifal: A Play in Twelve Pictures. Botton Village, Whitby, N. Yorkshire: Botton Bookshop, 1983. This short play is divided into twelve “pictorial” scenes and is based on Wolfram von Eschenbach and Chrétien de Troyes. It begins with a summary of Parsifal’s childhood, his arrival at Arthur’s court, his time at the Grail castle, and his eventual achievement of the Grail. The play was originally performed in schools for handicapped children.

A-2004 Poor Robins collection of antient prophecyes Being twelve in number, some whereof were delivered long since by our famous English prophet Ambrosius Merlin and found in old manuscripts, now printed for the readers satisfaction, others were found ingraven on a marble stone, in the year 1520. being ingraved in Latine characters, some whereof were Englished by Mr William Lilly with alowance. London: Printed for Phillip Brooksby, 1672. [STC (Wing) P2879 (ESTC R218322).] An eight-page pamphlet presenting a series of prophecies attributed to Merlin. The prophecies are in verse (couplets, arranged in short stanzas), and each stanza is identified with a header indicating which king or queen is the subject (they run from Henry V to Elizabeth I); each prophecy is accompanied by a prose passage of interpretation. The first, for instance, is headed “Merlins first Prophesie of King Henry the Fifth,” and begins “Note a strange mixture in the Planets seed, / For now a Mercury a Mars shall breed” (2).

A-2005 Popkes, Steven. “Dr. Couney’s Island.” Isaac Asimov’s Science Fiction Magazine Illus. Laurie Harden. (Dec. 1994): 56ff. Rptd: Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 123–40. A bum living on Coney Island during the Depression believes that he is Merlin; he has memories of King Arthur (and also of being a Salem witch), and he has certain healing powers.

A-2006 Porteous, Frances. “Knight of the Grail.” Knight of the Grail. Driffield: Guild Press, 1962. 7–8. The speaker of the poem addresses Galahad, commanding him to ride forth. Galahad is associated with vision, purity, and spirituality, characteristics that the speaker believes the world has abandoned and needs again.

A-2007 “Potter Thompson.” In A Dictionary of British Folk-Tales in the English Language, Incorporating the F. J. Norton Collection. Comp. Katharine M[ary] Briggs. 2 vols. in 4. London: Routledge and Kegan Paul, 1970–1971. B.2: 319–20. A summary of a local legend: near Richmond Castle in Yorkshire is a cave called “Arthur’s Oven,” within which a local man, Potter Thompson, found a group of “sleepers” (presumably – given the name of the cave – these are King Arthur and his knights). (See also the entry for “King Arthur at Sewingshields.”)

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A-2008 Potter, David. “Glastonbury Oaks.” Ore 31 ([1984?]): 7. A poem, including a reference to Guinevere.

A-2009 Potter, Dennis. “Excalibur.” Bomb 27 (Spring 1989): 54–57. An aging father and his daughter partake in a ritual reading of Tennyson in this short story, so that lines from the first idyll of The Idylls of the King alternate with paragraphs describing the thoughts and emotions of the irritable listener (the father) and the bored but dutiful reader (the daughter). Suddenly, one of the lines inspires the daughter to an unexpected action.

A-2010 Potter, Millicent Pierce. Tales of the Round Table, Adapted for Young People from the “Morte D’Arthur” of Sir Thomas Malory. North Adams: Press of North Adams News, 1899. (*) A retelling of Malory for children.

A-2011 Pound, Ezra. “Canto 91.” Section: Rock Drill; 85–95 de los cantares. Milan: All’Insegna del Pesce d’Oro, 1955. 70–77. Rptd: Cantos. New York: New Directions Publishing Corporation, 1970. This particular canto alludes to Merlin and his parents, namely the mystery of his paternity and his mother’s vocation as a nun.

A-2012 Pound, Omar. “William.” The Dying Sorcerer. Antigonish, NS: Tarlane Editions, 1985. 74–75. This poem is set after Parsifal’s death and records the dying day of William, who had accompanied Parsifal on his quest. This poem appears as well in Pissle and the Holy Grail.

A-2013 Pound, Omar. Pissle and the Holy Grail. Revere, PA: Woolmer / Brotherson, 1987. This book-length poem is divided into nine sections, mostly narrated by William. He and Pissle (a horse) are Parsifal’s companions on a quest for the Grail that ends when Parsifal meets a young woman.

A-2014 Powell, Anthony. The Fisher King. London: Heinemann, 1986. The main character of this novel is a writer; while on a cruise with his wife and friends, he begins to see the other passengers in terms of characters from the Fisher King story. The “Fisher King” is a crippled photographer. In explaining his idea to his friends, the writer goes through the story of Perceval in some detail; by the end of the novel he recognizes that other stories may have been more suitable for these people, and mentions Tristan and Iseult as well.

A-2015 Power, Norman. The Forgotten Kingdom. Illus. Michael Jackson. London: Blackie and Son, 1973. This children’s novel is about the twin kingdoms of Firland and Borea, located north-east of Britain in the fifth century (it is suggested in the book that between that time and ours, they vanished). Firland is taken over by an evil sorceress who uses horrible monsters for her army and can control human minds. The king’s son grows up in neighbouring Borea and becomes determined to reclaim his kingdom. Merlin’s cousin Greylin, a wizard whose characterization suggests the Merlin of T. H. White, is a major character; the action is set during Arthur’s time with one chapter being spent at Camelot; and Galahad comes to help in the final battle.

A-2016 Powers, J. F. Morte D’Urban. New York: Macmillan, 1962. Urban is a priest in the order of St Clementine in Chicago and Minnesota. At the beginning of the novel he is a charismatic, ambitious man with various ideas of how to make the order better; by the end, when he finally is given leadership, he has been wounded and has lost much of that

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ability and ambition. The most explicit Arthurian content comes late in the novel; Urban is responsible for one of his colleagues undertaking a new edition Malory’s Le Morte Darthur that will focus on the Catholic aspects of the story (especially the Grail and Lancelot’s becoming a monk). There is some discussion of the degree of Lancelot’s and Guenevere’s guilt and of other aspects to the story.

A-2017 Powers, Tim. The Drawing of the Dark. New York: Ballantine, 1979. Brian Duffy, an Irish mercenary soldier, is the host for a reincarnated Arthur in sixteenth-century Vienna. The sorcerer Aurelianus (Merlin) draws Duffy to Vienna to protect an ancient brewery, where the dark beer (a magical, potent brew that has been aging for 700 years) is nearly ready. The power of this brew will restore the Fisher King and with him the West, but only if Ibrahim and the Eastern forces do not conquer Vienna and destroy the brewery first. Powers weaves several legends (in addition to the Arthurian story) together in this novel; Duffy’s fear of being subsumed by the personality of the reincarnated king within him makes for a compelling personal conflict within the more traditional conflict between Good and Evil.

A-2018 Powers, Tim. Earthquake Weather. New York: TOR, 1997. This sequel to Last Call takes place at the beginning of 1995. Scott Crane, the current Fisher King, is killed by a rival. The heir apparent is a young boy called Kootie. He and his friends undertake a quest to restore Crane’s body to life, opposed by a villainous psychiatrist, members of a cult, and even some of their own people. Like Power’s other works, this novel is full of quirky characters and magic, as well as references to viticulture and wine-making. There are also allusions to Shakespeare, Dickens, Greek tragedies, and the Arthurian legend. Besides the Fisher King story, Powers uses specific references to Sir Gawain and the Green Knight (Kootie is identified as Gawain for part of the novel), Arthur, Merlin, and Camelot.

A-2019 Powers, Tim. Last Call. New York: William Morrow and Co., 1992. This urban fantasy novel set in Las Vegas draws on the symbolism of Tarot cards and Egyptian myth, but there are noticeably Arthurian elements as well. Several characters are depicted as Fisher Kings. The hero draws a jackknife (sword) from a cement wall (stone); when he later throws the knife into the lake, he sees a hand retrieve it. Characters themselves refer to various Arthurian figures as analogues.

A-2020 Powys, John Cowper. A Glastonbury Romance. New York: Simon and Schuster, 1932. Rptd: London: John Lane / The Bodley Head; Toronto: S. J. Reginald Saunders, 1933. A long novel set in Glastonbury describing the conflict between two visions of that place: the industrial and the mystical. There are frequent allusions to Arthurian legends: characters perform a play at a festival featuring Arthur, Lancelot, Guenevere and the Lady of Shalott; one character spends the night in a place called “Mark’s Court” that is supposedly haunted by the ghost of Merlin; characters seek the Grail; one character believes he has seen Arthur’s sword thrown into the river. Chapter titles also suggest Arthurian parallels, such as the Dolorous Blow, for events.

A-2021 Powys, John Cowper. Maiden Castle. New York: Simon and Schuster, 1936. Rptd: London: Cassell and Co., 1937. – Maiden Castle: The First Full Authoritative Edition. Intro. Ian Hughes. Cardiff: University of Wales Press, 1990. This novel about a historical novelist who falls in love with a circus performer and discovers the secret of his parentage uses several Arthurian allusions. One of the most prominent is the story of the Questing Beast, which acts as an intertext for most of the novel. The other prominent allusion is to the character of Urien; one of the major characters has renamed himself “Urien” and takes that name as representing a mythic hero who has also been known as Pellam, Uther, and others. The version of the novel originally published was abridged by the publishers, substantially reducing its length, and according to Hughes, Powys had little control over these cuts.

A. Literature

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A-2022 Powys, John Cowper. Morwyn: or, The Vengeance of God. London: Cassell and Co., 1937. An older man, the young woman he loves, and her father descend into Hell, which is peopled by individuals famous for their love of cruelty and torture (including vivisectionists and inquisitioners). The two lovers, in order to escape, travel with Taliesin, who has been exploring the region in an attempt to find Merlin.

A-2023 Powys, John Cowper. Porius: A Romance of the Dark Ages. London: Macdonald and Co., 1951. Rptd: (with 600 pages restored) Ed. Wilbur T. Albrecht. Hamilton, NY: Colgate University Press, 1995. This novel concerns eight days in 499 C.E. during which King Arthur attempts to unite the Britons against the invading Anglo-Saxons. The book was originally to be published by The Bodley Head, but they demanded that it be cut by some 600 pages; Powys made the cuts and then The Bodley Head rejected the novel, and the abridged version was published by Macdonald in 1951. The 1995 edition is the first printing of the complete text as Powys intended it.

A-2024 Powys, John Cowper. Wolf Solent. New York: Simon and Schuster, 1929. Rptd: Wolf Solent: A Novel. Intro. Robertson Davies. New York: Random House, 1984. A young man moves from London to Dorsetshire, the place where his father died. Through the course of the novel, he discovers more about his father’s past and the complicated lives of the villagers; he is also in love with two of the local women. One of these women, Christie, says that her mother believed they were descended from Merlin, and the idea that Christie is bewitching the protagonist or is in some way magical is a repeated motif. The protagonist also creates Arthurian connections to the landscape, thinking particularly of Glastonbury and Cadbury (Camelot). For the most part these allusions are brief.

A-2025 Praed, Winthrop Mackworth. Lillian: A Fairy Tale. London: Charles Knight, 1823. Rptd: Selected Poems of Winthrop Mackworth Praed. Ed. Kenneth Allott. London: Routledge and Kegan Paul, 1953. This poem, which is divided into two cantos, is set “in Arthur’s times,” but there is otherwise little Arthurian about it. The main adventures have to do with a dragon, a fairy, and a cursed child. Merlin makes a brief appearance at the beginning of Canto II to interpret a portent.

A-2026 Pratchett, Terry. “Once and Future.” In Camelot. Ed. Jane Yolen. Illus. Winslow Pels. New York: Philomel Books, 1995. 41–60. Mervin, a time traveller, becomes marooned in 500 C. E. in a parallel world, Albion. When he realizes that Uther Pendragon was the last high king, he sets out to find an “Arthur” by rigging up a sword in the stone test, but the person he selects turns out not to be the “Arthur” he expected. There are allusions to A Connecticut Yankee in King Arthur’s Court by Mark Twain.

A-2027 Pratt, Laurence. “Ballad of White Magic.” New American Legends. Mill Valley, CA: Wings Press, 1958. 74–79. This narrative poem recounts Houdini’s trip through time and space to free Merlin from Vivien’s enchantments; the fight is depicted as “ordered reason and clear-eyed science” versus “superstition.”

A-2028 Pratt, Lenore Alexandra. “Iseult Meditates.” The Newfoundland Quarterly 53.3 (Sept. 1954): 33. In this poem of sixteen lines, Iseult of Ireland thinks about what might happen in the future and declares the undying strength of the passion begun by the love potion.

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A-2029 Pratt, Mara L. The Story of King Arthur. Educational Juvenile Series. Boston, MA: Educational Publishing, 1900. (*) A retelling of the legend for children, based on Malory and Tennyson.

A-2030 Preest, J. T. “Guinevere in Solitude.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.4 (July 1934): 131. A poem of six quatrains in which Guinevere expresses regret that Arthur and Lancelot are at war, and that she is responsible. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-2031 Presland, John [pseud.], [i.e., Gladys Skelton]. “The Quest.” Selected Poems. London: Linden Press, 1961. 75–139. The poem that acts as the prologue speaks of two Pentecosts: the first when tongues of fire touched the disciples, and the second when the Grail appeared at Camelot. This second scene is described in some detail; the speaker acknowledges that times and symbols have changed, but that people still continue to seek the Grail in various ways. The three dramatic episodes that follow demonstrate ways in which modern people (a missionary, a political prisoner, a nun) seek to follow the Grail through love and self-sacrifice.

A-2032 Presland, John [pseud.], [i.e., Gladys Skelton]. “Wisdom and Youth.” The Deluge and Other Poems. London: Chatto and Windus, 1911. 43–47. As Merlin dreams, he understands all living things and is able to see the connections between all things, but his dreaming (and thus his wisdom) stops when Vivian joins him.

A-2033 Price, Anthony. Our Man in Camelot. London: Victor Gollancz, 1975. This thriller involves a search by the CIA and KGB for the location of Badon. As the protagonists (CIA operatives) learn more about their mission, there is much discussion of Arthurian literature. Particularly the older, more historical texts, such as Gildas, Bede, and Nennius, are mentioned as characters discuss Arthur’s possible role in turning back the Saxons, and the significance of the battle of Badon in that attempt.

A-2034 Priestley, J[ohn] B[oynton]. The Thirty-first of June: A Tale of True Love, Enterprise, and Progress, in the Arthurian and Ad-Atomic Ages. London: William Heinemann, 1961. Part of the novel is set in a small kingdom that owes allegiance to Arthur, so Arthurian characters are mentioned often, though none ever participate in the story. The other part of the novel is set in a twentieth-century city, and characters cross between these worlds with the aid of magic. The main characters are a princess who falls in love with an artist who works for an advertising agency; many mishaps ensue before they can live happily ever after.

A-2035 Prince, Aelian [pseud.], [i.e., Francis Carr]. Of Joyous Gard. London: E. W. Allen, 1890. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . The sequel to Of Palomide. The poem begins in Joyous Gard, but both Tristram and Palomide need to ride out on adventures, some of which take Tristram to Arthur’s court. The poem ends with the lovers’ deaths and Palomide avenging them on Mark. (We have seen the poem only as reprinted.)

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A-2036 Prince, Aelian [pseud.], [i.e., Francis Carr]. Of Palomide, Famous Knight of King Arthur’s Round Table. London: E. W. Allen, 1890. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . Despite the title, a good deal of the poem is about Tristram: his childhood, his meeting with Iseult (here called Isonde), and various adventures. (We have seen the poem only as reprinted.)

Pringuer, H. T: see Stevens, Stanley. A-2037 Prochak, Michael. “Second Sight.” Ore 27 ([1981?]): 8–9. A poem, including a reference to Myrddin.

A-2038 A Prophecy by Merlyn, the famous British prophet; found written upon an old wall in Saxon characters; dated the year 482. about the time of the restoration of King Vortigern, to the British throne; faithfully transcrib’d from the original. [London]: n.p., [1718?]. [ESTC N66792.] (*) A broadside “slip-song” (the sheet measures 17.25 x 13.75 in.), beginning “When savage Goths from Rhine return”; “[a] Jacobite satire” (from the notes in the ESTC entry).

A-2039 A Prophecy of Merlin. London: Printed for W. Nicoll, 1762. [ESTC T89537.] A satirical and polemical work on the abuses of the age, prefaced with a declaration that it was found in a newly discovered Welsh manuscript of Merlin’s prophecies, unknown to Geoffrey of Monmouth. The prophecy begins “Woe! woe! thrice woe to all impostors who shall have deceived the good people of Britain!”; it continues with observations that these are “strange” times when a lord is hanged as a madman and a commoner is made minister of state, and so forth.

A-2040 Proud, Linda. Knights of the Grail: Based on the Legend of King Arthur. Illus. Hayley Simmons. London: Good Company for Children, 1995. (*) Retelling for a younger audience.

A-2041 Prys-Jones, A. G. “Merlin’s Hill (Carmarthen).” The Collected Poems of A. G. Prys Jones. Llandysul: Gomer, 1988. 52–53. This poem describes the wood outside the cave where Merlin and seven magicians sleep, and cautions the listener not to wake Merlin yet.

A-2042 Prys-Jones, A. G. “The Return of Arthur.” The Collected Poems of A. G. Prys Jones. Llandysul: Gomer, 1988. 54–55. This five-stanza poem imagines the return of Arthur as a golden time, creating peace and inspiring great poetry.

A-2043 Purcell, Sally. “After the partial, covered vision.” Lake and Labyrinth. Langley Park, Durham: Taxus Press, 1985. 42. This short poem records the King’s thoughts after the Grail appears in Camelot; he mourns the loss of his knights to the quest.

A-2044 Purcell, Sally. “Born between wood and water.” Lake and Labyrinth. Langley Park, Durham: Taxus Press, 1985. 16. The poem alludes to Tristan and to Lancelot, and the time that they spent as fugitives or madmen in the wilderness.

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A-2045 Purcell, Sally. Untitled poem: “A crown of iron & reddening bone.” Guenever and the Looking Glass. Illus. William Leaf. [Warwick]: Greville Press Pamphlets, 1984. 14. A fourteen-line poem in free verse describing an earth work, speculating on the royal castle that it might once have been, and on the king who ruled until “[b]eheaded, torn to rags, or pierced in battle, / in exile or in Avalon / to heal his wounds. . . .”

A-2046 Purcell, Sally. “Every detail of the city’s doom.” Lake and Labyrinth. Langley Park, Durham: Taxus Press, 1985. 35. This four-stanza poem comments on destiny and the Grail quest.

A-2047 Purcell, Sally. “From Cumae.” Guenever and the Looking Glass. Illus. William Leaf. [Warwick]: Greville Press Pamphlets, 1984. 15. This poem, eight lines in free verse, declares that, “Should the wandering holy island appear” various portents will occur, an “ever falling tower” will hang suspended, and Hades will come to fear the King of Castle Mortal (an allusion to the “Chastel Mortel” of the Perlesvaus, the king of which is the brother of but antithesis to the Fisher King).

A-2048 Purcell, Sally. “Frontispiece.” Dark of Day. London: Anvil Press Poetry / Rex Collings, 1977. 7. The dream described in this poem includes the Grail and Lancelot.

A-2049 Purcell, Sally. Guenever and the Looking Glass. Illus. William Leaf. [Warwick]: Greville Press Pamphlets, 1984. A collection of seventeen poems, in an edition limited to 100 copies. Three of the poems have Arthurian themes or allusions: “Guenever and the Looking Glass,” “A crown of iron and reddening bone,” and “From Cumae.”

A-2050 Purcell, Sally. “Guenever and the Looking Glass.” Guenever and the Looking Glass. Illus. William Leaf. [Warwick]: Greville Press Pamphlets, 1984. 5. A twelve-line poem, in free verse. The speaker regrets the decision of one of the knights to leave on the quest. The poem is accompanied by an illustration (a line drawing) showing two mounted knights in elaborately decorated armour in a joust.

A-2051 Purcell, Sally. “Lancelot at Almesbury.” Lake and Labyrinth. Langley Park, Durham: Taxus Press, 1985. 7. In this poem of nine lines, Lancelot speaks at Guenevere’s funeral.

A-2052 Purcell, Sally. “Lancelot Speaks.” The Holly Queen. London: Anvil, 1971. 17. Lancelot reflects on the Grail quest and his son’s achievement of the Grail.

A-2053 Purcell, Sally. “Loquitur Arthurus.” The Holly Queen. London: Anvil, 1971. 18. In this short poem, Arthur reflects on the patterns of events that have brought him to Camlann to face Mordred.

A-2054 Purcell, Sally. “Magician Meditating.” The Holly Queen. London: Anvil, 1971. 20–22. This poem is divided into three sections entitled “Logres,” “Nimuë,” and “After.” Merlin reflects upon the destiny of the kingdom he helped establish, the woman who will imprison him, and his own destiny.

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A-2055 Purcell, Sally. “Merlin.” Dark of Day. London: Anvil Press Poetry / Rex Collings, 1977. 16. Merlin is presented as the singer who sees differently, uses language differently from the rest of us, who can only glimpse certain ideas when he sings.

A-2056 Purcell, Sally. “Merlin (v).” Lake and Labyrinth. Langley Park, Durham: Taxus Press, 1985. 9. Merlin speaks this ten-line poem, reflecting on the moon and mirrors.

A-2057 Purcell, Sally. “One of the Lost Grail Knights Speaks.” Dark of Day. London: Anvil Press Poetry / Rex Collings, 1977. 34. The speaker of this poem reflects on and regrets the lack of belief that meant the abandonment of the quest.

A-2058 Purcell, Sally. “ripae ulterioris.” Lake and Labyrinth. Langley Park, Durham: Taxus Press, 1985. 20. Merlin is one of two examples given in this poem’s discussion of the knowledge discovered with love.

A-2059 Purcell, Sally. “Sarras.” The Holly Queen. London: Anvil, 1971. A sixteen-line poem reflecting on the end of the Grail quest.

A-2060 Purcell, Sally. “The Third Way.” Dark of Day. London: Anvil Press Poetry / Rex Collings, 1977. 22–23. The speaker of this poem recounts a journey from Camelot. The title refers to the “Road Without a Name”; the speaker and companions end up trapped in a Wasteland.

A-2061 Purcell, Sally. “Tristan.” Dark of Day. London: Anvil Press Poetry / Rex Collings, 1977. 11. Tristan is the speaker of this fifteen-line poem. In the forest of Broceliande, he reflects on his love for Iseult of Ireland.

A-2062 Purnell, Charles William. “The Modern Arthur.” The Modern Arthur and Other Poems. London: Simpkin, Marshall, Hamilton, Kent and Co., 1912. 3–21. (*) A poem.

A-2063 Pyle, Howard. The Merry Adventures of Robin Hood of Great Renown in Nottinghamshire. Illus. Howard Pyle. New York: C. Scribner’s Sons, 1883. Rptd: Ed. Jean Campbell. Illus. Mike Grell. Norfolk, VA: Donning Co., 1989. The story itself is about Robin Hood and his adventures; however, two Arthurian ballads are sung at different points in the book. The first, “The Good Knight and His Love,” is only seven stanzas (56) and is simply set in Arthur’s court. The second, “The Wooing of Sir Keith,” is much longer (80–84) and is a variation on the loathly lady story. A hideous-looking woman comes to court and begs a boon from the king: that one of the knights should kiss her in order to break her enchantment. The king cannot because he is married, but he goes through a list of knights known for their chivalry and all refuse. Sir Keith is a relative unknown who kisses the lady, breaks the spell, and is rewarded with marriage to a beautiful and wealthy woman. There are many reprintings of this text; the one noted above has an interesting history. Well-known illustrators of fantasy and science fiction were asked to name their favourite classics; this story was Grell’s, so he was asked to illustrate it.

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A-2064 Pyle, Howard. The Story of the Champions of the Round Table. Illus. Howard Pyle. New York: Charles Scribner’s Sons; London: George Newnes, 1905. Various reprintings. The second of four novels by Pyle that retell Malory, this one focusing on the stories of Launcelot, Tristram and Percival. The book includes thirty-one full-page illustrations (pen-and-ink drawings) by Pyle, as well as many decorations.

A-2065 Pyle, Howard. The Story of the Grail and the Passing of Arthur. Illus. Howard Pyle. New York: Charles Scribner’s Sons; London: Bickers and Son, 1910. Various reprintings. The fourth of four novels retelling Malory, this one recounts the Quest of the Holy Grail, the strife within Camelot, and the Battle of Camlann. The book includes twenty-five full-page illustrations (pen-and-ink drawings) by Pyle, as well as many decorations.

A-2066 Pyle, Howard. “The Story of King Arthur and his Knights.” Illus. Howard Pyle. St Nicholas 30 (Nov. 1902): 5–19; St Nicholas 30 (Dec. 1902): 102–11; St Nicholas 30 (Jan. 1903): 208–15; St Nicholas 30 (Feb. 1903): 328–40; St Nicholas 30 (Mar. 1903): 396–411; St Nicholas 30 (Apr. 1903): 518–31; St Nicholas 30 (May 1903): 617–30; St Nicholas 30 (June 1903): 697–709; St Nicholas 30 (Jul. 1903): 793–805; St Nicholas 30 (Aug. 1903): 908–21; St Nicholas 30 (Sep. 1903): 984–97; St Nicholas 30 (Oct. 1903): 1097–1110. Rptd: The Story of King Arthur and his Knights. Illus. Howard Pyle. New York: Charles Scribner’s Sons; London: George Newnes, 1903. Frequently reprinted. Five of the illustrations from the St Nicholas serialization are reproduced in Willard S. Morse and Gertrude Brincklé, ed., Howard Pyle: A Record of His Illustrations and Writings (Wilmington, DE: Wilmington Society of the Fine Arts, 1921), between 218 and 219, including “Vivien,” “Two Knights do battle before Camilard,” “Sir Kay overthroweth his Enemies,” “How one clad all in Black did a wonder before King Leodegrance of Camilard,” and “The Lady Guinevere.” “The Lady Guinevere” is also reproduced (B&W) in Whitaker, Legends, Fig. 67. Pyle’s novel is a modernization (in an artificial “archaic” language) and abridgement of Malory; this is the first of four volumes of Arthurian tales, and focuses on the story from the birth of Arthur to the Quest of the White Hart [Malory, Book 3, Chap. 8]). The twelve-part serialized version was accompanied by thirty-one pen-and-ink illustrations and many decorations by Pyle; the 1903 book version includes all of the illustrations from the magazine version plus another ten. Some portions of Pyle’s version have been issued on audio cassette: The King Arthur Audio Collection (4 audio cassettes), read by Ian Richardson (London: Harper Children’s Audio, 1975–1979), including “Excalibur,” “The Sword in the Anvil,” “The Story of Sir Lancelot,” and “The Story of Sir Galahad.”

A-2067 Pyle, Howard. The Story of King Arthur and his Knights, [and] The Merry Adventures of Robin Hood. Illus. Rowland Wheelwright and Howard Pyle. Classic Library Collection. New York: Smithmark Publishers, 1996. A combined edition of The Story of King Arthur and his Knights, first published 1903, and The Merry Adventures of Robin Hood, first published 1883.

A-2068 Pyle, Howard. The Story of Sir Launcelot and His Companions. Illus. Howard Pyle. New York: Charles Scribner’s Sons; London: Chapman and Hall, 1907. Various reprintings. The third of four novels retelling Malory, this one focusing on the story of Launcelot. The book includes thirty full-page illustrations (pen-and-ink drawings) by Pyle, as well as many decorations.

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A-2069 Pyle, Howard. “The Winning of a Sword.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 27–56. An extract from Pyle’s The Story of King Arthur and his Knights, printed as a short story, relating how Arthur gains his sword Excalibur after the battle with the Sable Knight.

A-2070 [Pyle: adaptations.] The Book of King Arthur. By Howard Pyle. Illus. Ron King. Chicago: Children’s Press, 1969. (*) Pyle’s text reissued with new illustrations.

A-2071 [Pyle: adaptations.] King Arthur. By Howard Pyle. Abridged by Don Hinkle. Illus. Jerry Tiritilli. Troll Illustrated Classics. Mahwah, NJ: Troll Associates, 1988. A heavily abbreviated and modernized retelling, profusely illustrated, of Pyle’s retelling of Malory. It contains the usual Arthurian stories of the sword in the stone, Morgan creating a false Excalibur and stealing the scabbard, and the final battle. Hinkle also incorporates some different elements: Arthur is wounded by the Black Knight and Guenevere heals him, and Arthur later goes to work for her disguised as a gardener so that she will love him for himself and not because he is king. The book was also released with an accompanying audiobook version, read by Peter Thomas (Troll Associates, 1989: book with one audio cassette).

A-2072 [Pyle: adaptations.] King Arthur and the Knights of the Round Table. By Howard Pyle. Abridged by Joshua E. Hanft. Illus. Pablo Marcos Studio. Great Illustrated Classics. New York: Playmore / Waldman Publishers, 1990. (*) Rptd: New York: Baronet Books, 1993. – Edina, MN: ABDO Publishers, 2002. A heavily abbreviated and modernized version of Pyle, with new illustrations. (Information from OCLC WorldCat entry.)

A-2073 [Pyle: adaptations.] King Arthur and the Knights of the Round Table. By Howard Pyle. Adapt. by Estelle B. Schneider. Illus. Jay Hyde Barnum. New York: Random House, 1954. This adaptation of Pyle’s rewriting of Malory tells the story from Arthur’s birth to his marriage, including the sword in the stone and obtaining of Excalibur episodes. The illustrations by Barnum were reused a year later in King Arthur and the Knights of the Round Table by Ann Barr (see the entry under “Barr”).

A-2074 [Pyle: adaptations.] King Arthur and the Magic Sword, Illustrated in Three Dimensions. By Howard Pyle. Designed by Keith Moseley. Illus. John James. New York: Dial Books for Young Readers, 1990. A pop-up book, with a text adapted from Howard Pyle’s chapter on “The Sword in the Stone” in his retelling of Malory. There are six main pop-up scenes and five minor ones (inside folds of the pages). The book includes the sword in the stone episode, with this twist to Pyle’s original: Ector, Kay, and Arthur meet Leodegrance and Guenevere on the way to London to the tournament, and Merlin appears and tests the knights present by driving a knife into the table; only Arthur, of course, can remove it. Kay is an accomplished knight in this version; his sword breaks in the tournament, leading to Arthur’s quest for a sword and the pulling of the sword from the stone. The main contender for the kingship is Leodegrance, but he accepts Arthur’s claim willingly.

A-2075 [Pyle: adaptations.] The Legend of King Arthur: A Young Reader’s Edition of the Classic Story. By Howard Pyle. Ed. David Borgenicht. Illus. Luigi Galante, Simone Boni and Francesca D’Ottavi. Philadelphia and London: Courage Books / Running Press, 1996.

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This adaptation of Howard Pyle’s story begins with Arthur as a baby with his parents, until Merlin’s warning forces them to send him away. In the tournament before the sword in the stone contest, Kay does well until his sword breaks, and then he sends Arthur to get a new sword. Kay lies about removing the sword from the stone until Arthur proves him wrong, but Arthur later makes him prime minister. Arthur is immediately accepted as king.

A-2076 [Pyle: adaptations.] The Story of King Arthur and his Knights. By Howard Pyle. Illus. Sergio Leone. New York: Grosset and Dunlap, 1965. (*) Pyle’s text reissued with new illustrations.

A-2077 [Pyle: adaptations.] The Story of King Arthur and his Knights: A Condensation of the Four-Volume Work by Howard Pyle. By Howard Pyle. Illus. Darrell Sweet. Best Loved Books for Young Readers. New York: Reader’s Digest / Choice Publishing, 1989. Pyle’s text reissued with eight plates by Sweet.

A-2078 “Q. V.” “At an Exhibition of Old Silver.” Westminster Gazette 14 Jan. 1903: 2. In this Petrarchan sonnet, the speaker has a vision of the Holy Grail while wearily gazing at a silver cup in an exhibition.

A-2079 Quest for Camelot: A Novelization. Adapt. by J. J. Gardner. New York: Scholastic, 1998. This novelization of the animated film “Quest for Camelot” is designed for older children than the “storybook” version. The book contains the full story of, along with eight glossy pages of photos from, the film. Excalibur plays a major role in the story; Arthur is mentioned often and has a small role; the principal characters, however, are not traditional ones. The screenplay by Kirk De Micco and William Schifrin, and the screen story by Jacqueline Feather and David Seidler were based on Vera Chapman’ The King’s Damosel. (For information on the film itself, see the entry for “Quest for Camelot” in the “Film, Television, and Radio” section.)

A-2080 Quest for Camelot: A Storybook. Adapt. by James Patrick. New York: Scholastic / Warner Bros., 1998. A children’s picture-book version of the motion picture of the same name, illustrated with stills from the animated film. The screenplay by Kirk De Micco and William Schifrin, and the screen story by Jacqueline Feather and David Seidler were based on Vera Chapman’ The King’s Damosel. (For information on the film itself, see the entry for “Quest for Camelot” in the “Film, Television, and Radio” section.)

A-2081 Quest for Camelot: The Battle for Camelot. Adapt. by Nancy E. Krulik. New York, Toronto, London, Auckland, and Sydney: Scholastic / Warner Bros., 1998. A children’s picture-book version of the motion picture of the same name, illustrated with stills from the animated film. The screenplay by Kirk De Micco and William Schifrin, and the screen story by Jacqueline Feather and David Seidler were based on Vera Chapman’ The King’s Damosel. (For information on the film itself, see the entry for “Quest for Camelot” in the “Film, Television, and Radio” section.)

A-2082 Quest for Camelot: The Search for Excalibur. Adapt. by Nancy E. Krulik. New York, Toronto, London, Auckland, and Sydney: Scholastic / Warner Bros., 1998. A children’s picture-book version of the motion picture of the same name illustrated with stills from the animated film. This book tells the first part of the story, from the time Kayley decides to find Excalibur until she and her friends have found the sword. The screenplay by Kirk De Micco and William Schifrin, and the screen story by Jacqueline Feather and David Seidler were based on Vera Chapman’ The King’s Damosel. (For information on the film itself, see the entry for “Quest for Camelot” in the “Film, Television, and Radio” section.)

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A-2083 Quiller-Couch, Arthur. “The Legend of Sir Dinar.” Wandering Heath. London: Cassell and Co., 1895. Rptd: The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 145–50. A young knight encounters a deadly enchantment as he searches for the Grail. Arthurian characters provide background for the story and some, such as the villainous Morgan, appear in it. (We have seen only the reprint.)

A-2084 Quiller-Couch, Arthur, and Daphne Du Maurier. Castle Dor. London: J. M. Dent and Sons; Garden City, NY: Doubleday and Co., 1962. Although the setting is Cornwall in the nineteenth century, Quiller-Couch and Du Maurier explicitly connect the story of their protagonists to the medieval Tristan and Iseult legends. A Breton fisherman, Amyot Trestane, is the Tristan-figure; an innkeeper, Mark Lewarne, is the betrayed husband with his wife Linnet as the Iseult-figure. Du Maurier completed the novel after Quiller-Couch died in 1944.

Quinton, John Purcell: see MacBride, Melchior. A-2085 Raab, Lawrence. “Merlin.” Mysteries of the Horizon. Garden City, NY: Doubleday and Co., 1972. 84–85. The title is the most obvious Arthurian allusion in this short poem, although occasional lines such as “he grew younger” or references to a “cave” suggest events from the legend.

A-2086 Rabe, Jean. “Last Flight Over Giant’s Dance.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 205–20. Merlin appears in Stonehenge during World War I and flies a plane on a bombing mission.

Rackham, John: see Phillifent, John T. A-2087 Radford, Irene. Guardian of the Balance. Merlin’s Descendants 1. New York: DAW, 1999. The protagonist of this historical romance novel is Merlin’s daughter Wren. She is good friends with Arthur (also called Curyll) and his companions (Cai, Lancelot, Bedewyr). The novel follows her from her childhood to her death, and thus with the rise and fall of Arthur’s kingdom. Morgaine and Nimue are the villains in this novel, using dark magic to control others and acquire power, but even Merlin is not entirely benevolent, for he marries Wren to Caradoc, a violent, incestuous man. Most of Wren’s children, who continue Merlin’s legacy of magic, are fathered by Arthur. The other books of the series (see individual entries) take place in medieval and Renaissance England.

A-2088 Radford, Irene. Guardian of the Promise. Merlin’s Descendants 4. New York: DAW, 2003. This novel begins only a few years after Guardian of the Vision and so is set during the early years of Elizabeth’s reign, before Mary’s execution, and includes the Armada against England. Griffin’s daughter, determined to set right the violence that her parents had allowed to begin, undertakes a quest that leads her and her cousin to France. Besides the usual references to Arthur and Merlin, there are also references to the Grail. This novel in the series adds even more fantastical and sexually graphic elements; one of the main characters is turned into a werewolf, and the main villain is the Master of a group of werewolves.

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A-2089 Radford, Irene. Guardian of the Trust. Merlin’s Descendants 2. New York: DAW, 2000. This historical romance novel is set at the time of King John. The female protagonist is the Pendragon: the heir of Merlin’s magical powers and Arthur’s guardianship of Britain. She receives Excalibur from the Lady of the Lake in order to battle John’s half-brother, a sorcerer who tries to acquire political and magical powers.

A-2090 Radford, Irene. Guardian of the Vision. Merlin’s Descendants 3. New York: DAW, 2001. A novel set in the mid-sixteenth century. The descendants of Merlin who are the protagonists in this volume are twins, one with magical powers and one without. Griffin, who possesses magic, rejects his heritage and goes to France to become a priest, but there he becomes involved with a descendant of Nimue, who works to destroy him because a demon possesses her. Donovan, who does not initially have magic powers, holds high political office, acting as a guardian of Britain as Arthur was supposed to have done.

A-2091 Radford, Maude L. King Arthur and his Knights. Illus. Walter J. Enright. Chicago: Rand, McNally and Co., 1903. Various reprintings, including some with the author’s name given as “Maude Radford Warren.” This children’s book begins with the sword in the stone story. Radford contextualizes events (for example, she points out that Arthur lived some thousand years before Columbus). She follows Malory and Tennyson (particularly in her account of the Holy Grail). The love of Lancelot and Guinevere is downplayed; Arthur goes off to punish a nameless traitor, leaving Mordred the opportunity to usurp the throne. There are fifteen full-page, B&W illustrations.

A-2092 Ramsden, Robert. “Tristan’s Secret.” Outposts 160 (Spring 1989): 6. This short poem comments on the secrets of Tristan’s origin, still undiscovered by scholars.

A-2093 Randall, Neil. Storm of Dust. A Crossroads Adventure. New York: TOR Books, 1987. A “choose-your-own adventure” novel set in the world of David Drake’s Dragon Lord (see also the entry under “Drake, David, Dragon Lord”). An Irish warrior is sent by Arthur and Merlin to find a mystical cup. Merlin suggests that the cup will save Arthur’s reign, but other characters suggest that Merlin would use it for destructive purposes.

A-2094 Rawe, Donald R[yley]. Geraint, Last of the Arthurians: A Play. Padstow: Lodenek Press, 1972. This play, which is based upon legends of a Cornish king, takes place after Arthur’s death. Geraint is dying, and although his status as one of Arthur’s warriors is mentioned several times, the focus of the play remains on his last days and the provision of an heir for Cornwall.

A-2095 Rawn, Melanie. “The Abbot of Croxton.” In Highwaymen: Robbers and Rogues. Ed. Jennifer Roberson. Illus. Elizabeth Danforth. New York: DAW Books, 1997. 199–211. Robin Hood, now a priest, visits the dying King John. There are two notable Arthurian allusions in this short story: John has hidden treasure behind an Arthurian-themed tapestry; part of that treasure is the Sword of Tristram.

A-2096 Read, Mike. “Lands End.” Elizabethan Dragonflies. Illus. Melissa Gaye Goodyer. Nuneaton: Goodyer Associates, 1988. (*) A poem.

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A-2097 Reade, John. “The Prophecy of Merlin.” The Prophecy of Merlin and Other Poems. Montreal: Dawson Brothers, 1870. 3–28. A poem set after Camlann. Bedivere mourns Arthur’s passing to Avalon and is comforted by Merlin, who prophesies Britain’s fate. A substantial portion of this prophecy concerns Victoria and Albert (who is constructed as a later image of Arthur) and there is also mention of their son, Arthur, as a potential King Arthur returned (from the details given, the poem was obviously composed after Albert’s death, but before Arthur’s). Excalibur is mentioned as a sign of Arthur’s kingship, though the sword that Bedivere throws into the lake is his own.

A-2098 Reed, Henry. “Tintagel.” A Map of Verona: Poems. London: Jonathan Cape, 1946. 44–51. This poem is in four parts, each one entitled with the name of a different character from the Tristan and Iseult story. In “Tristram,” the speaker reflects on the inevitability of the story, the way it occurs again and again. “Iseult Blaunchesmains” again refers to the story, speaking as a character who can never be fully a part of this love story, who never really belongs. “King Mark” describes the king’s finding of the lovers with a sword between them. “Iseult La Belle” has Iseult of Ireland as its speaker to comment on her role in the story.

A-2099 Reed, Ishmael. Flight to Canada. New York: Random House, 1976. Rptd: New York: Atheneum, 1989. This post-modern novel contains the stories of slaves fleeing the American South, but technologies and events from other time periods appear in the tales. The slave owner lives in a castle-like building that his ancestor built deliberately to be a replica of Camelot. There is discussion of the city, of the political and knightly values it is said to represent; there are also references to works of Arthurian literature such as Idylls of the King.

A-2100 Reed, John. “Guinevere.” The Complete Poetry of John Reed. Ed. Jack Alan Robbins. Intro. Granville Hicks. Freeman, SD: Pine Hill Press, 1973. 16. John Reed was an early twentieth-century American radical, best-known for his eye-witness account of the Russian Revolution, Ten Days that Shook the World. This sonnet was written while he was in college and was originally published in the Harvard Monthly in July 1907; first line: “A thousand years ago we two were young.” Guinevere is addressed by a lover (unnamed, but presumably Lancelot), reflecting upon events a thousand years past, back when they had “wrung” “Arthur’s soul with passion.” At that time a “dazzling presence” had revealed “its light to me”; it was not the Grail, but the smile of the Queen.

A-2101 Reedman, Janet P. “Morgan’s Lament.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 54. Morgan laments Arthur’s death believing that had he chosen her, they could have saved the kingdom. She refers to their son as one of the reasons Arthur rejected her.

A-2102 Reese, Lizette Woodworth. “Guinevere in Almesbury Convent.” A Handful of Lavender. Boston, MA, and New York: Houghton, Mifflin and Co., 1891. 55. Rptd: Vol. rpt. as A Handful of Lavender. Lyra Americana 2. Portland: T. B. Mosher, 1915. – A Handful of Lavender. Lyra Americana 2. 2nd edn. Portland: T. B. Mosher, 1919. – Poem rpt. in Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 35. This four-stanza poem portrays Guenevere at the convent, remembering her flight from Camelot.

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A-2103 Reeves, James. “Avalon.” Ragged Robin: Poems From A to Z. Illus. Emma Chichester Clark. Boston, MA: Little Brown, 1990. In this children’s book, each letter of the alphabet has a poem to go with it; A is represented by Avalon and Arthur.

A-2104 Reeves, James. “Launfal.” The Shadow of the Hawk. Illus. Anne Dalton. London: Collins, 1975. 49–83. Part of a collection of children’s stories representing Reeves’ retellings of some of the Lays of Marie de France, “Launfal” is set in Arthur’s court. Launfal falls in love with the fairy woman Rosamund, but when he is taunted by Guenevere, he reveals the secret love. Charged by the king for his insult to the queen, Launfal is rescued only by the appearance of his lady, though knights like Cador and Gawain try to aid him.

A-2105 Reeves, James. “Sir Percivale (After Parsifal by Paul Verlaine).” Poems and Paraphrases. London: William Heinemann, 1972. 44. Rptd: Collected Poems 1929–1974. London: William Heinemann, 1974. This fourteen-line poem appears in the section entitled “Paraphrases of French and German Poems.” It summarizes Perceval’s quest for the Grail and healing of the Fisher King.

A-2106 Reeves, James. “The White Doe.” The Shadow of the Hawk. Illus. Anne Dalton. London: Collins, 1975. 129–53. Included in Reeves’ collection of retellings of some of the Lays of Marie de France for children, “The White Doe” is set in Arthur’s time with Valdemar, the protagonist, said to be renowned at Arthur’s court. However, the main action of the story occurs elsewhere, and no other Arthurian characters appear. Valdemar, wounded when he himself fatally injures the white doe, has to find a maiden to heal him; they then have to find a way to be together.

A-2107 Rehm, Roger. Sonnets from Caer Caradoc. London: Winterson, 1960. (*) Arthurian poems.

A-2108 Reiff, Tana. “King Arthur.” Legends. Timeless Tales. Syracuse, NY: New Readers Press, 1991. 26–30. This book is accompanied by a cassette with the stories read aloud; readers can thus read the stories for themselves or learn to read them as they follow along with the voice on the tape. “King Arthur,” the only Arthurian story in the collection, briefly recounts the sword in the stone episode and ends with Arthur’s marriage to Guenevere. The series is suitable for adults learning English.

A-2109 Reinhard, John Revell. Mediaeval Pageant. London: J. M. Dent and Sons; New York: Harcourt, Brace, and Co., 1939. In the preface of the work, Reinhard admits that he has “made use of existing translations” of the medieval stories that he has collected into this volume, seven of which are Arthurian (or at least set in Arthur’s time). Those seven are “The Wedding of Sir Gawain and Dame Ragnell,” “Jeffrey’s Fight with the Giant Mezel,” “How Lancelot Fought with the Demon Cats,” “The Monster of Male Gaudine,” “Divorce by Death,” “The Maid of Astolat,” and “Merlin and Vivian.” However, the book is not just a series of discrete tales. In between the tales, there are short scenes in an inn where historical people (often writers such as Geoffrey of Monmouth and Chrétien de Troyes) and fictional characters debate such issues as true love; each debate leads into the next tale. In these conversations, Arthurian characters are mentioned as examples, and Lancelot is a participant in a couple of the conversations.

A-2110 Rendell, Ruth. Make Death Love Me. Garden City, NY: Doubleday and Co., 1979. The Arthurian allusions appear near the beginning and end of this crime thriller. One of the main

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characters is a bank manager who longs for a different, more romantic life; his reading of literature has made him discontented. He desires a love like Lancelot’s for Guenevere, or Tristan’s for Iseult, and he plays out in his mind the scene where Lancelot and Guenevere are caught and Lancelot fights his way free. A robbery gives him the opportunity to follow his dream, if only for a brief time.

A-2111 Renton, William. “La Belle Isoud.” Academy 69 (2 Dec. 1905): 1263. This 22-line poem is divided into two sections. In the first, the speaker asks a series of questions about characters like Palomides, Tristan, Mark and Iseult of Brittany; in the second, the speaker describes “La Belle Isoud” through a series of oppositions.

A-2112 Renzulli, Virgil. Caliburn: The Lost Saga of King Arthur. Philadelphia: Xlibris, 2000. This novel begins with two hunters taking shelter from a storm in a ruined castle that is said to be haunted. They meet a very old man who tells them the story of Arthur in return for some of their food. He purports to be Merlin, and his version of the beginning of Arthur’s reign is rather different: when Arthur draws the sword from the stone and gives it to Kay, Kay is accepted as king. Arthur becomes a warlord until his affair with Urien’s daughter drives him into exile. Eventually, he rescues Ector, Urien, and Kay from the Saxons and proves his right to be king.

A-2113 Resnick, Laura. “A Fleeting Wisp of Glory.” In Alternate Kennedys. Ed. Mike Resnick. New York: Tor, 1992. 4–15. In a post-nuclear future, an old man tells stories of the past to a young girl and young boy. The story told the most often (and one that the boy learns to tell himself) is about a golden age before the Apocalypse. The leader in this golden age is obviously John F. Kennedy, but details of his story are mixed with those of King Arthur and Christ. The boy does not entirely believe the story, particularly the possibility of the leader’s return, but it is presented as an important story to maintain hope and a vision of a better way of life.

A-2114 Resnick, Laura. “The Lily Maid of Astolat.” In Return to Avalon: A Celebration of Marion Zimmer Bradley. Ed. Jennifer Roberson. New York: DAW Books, 1996. 369–91. The story of Elaine of Astolat from her brother Torre’s point of view; he remembers what happened between her and Lancelot as he prepares to fight Lancelot for the wrong (here not just a broken heart but pregnancy) done to Elaine.

A-2115 Resnick, Mike. “Winter Solstice.” The Magazine of Fantasy and Science Fiction 81 (Oct.-Nov. 1991): 132–42. This short story is essentially a day of Merlin’s life in Camelot; he has written it down because of all that he is forgetting. Resnick explores the concept of living backward in time; his Merlin, like that of T. H. White, seems to have lived in the twentieth century as well as in Arthur’s time. Both Arthur and Lancelot consult with him; Arthur is trying to decide what to do about Lancelot’s affair with the queen.

A-2116 Resnick, Mike, and Linda Dunn. “Merdinus.” In Castle Fantastic. Ed. John de Chancie and Martin H. Greenberg. New York: DAW Books, 1996. 226–46. This story of Merlin plays with the idea of his living backwards in time. In this version, he must live backwards in order to secure his vision of Arthur’s reign while others, like Morgan, try to alter the past and thus the future.

Rewbush, Mrs Lora: see Tarkington, Booth.

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A-2117 Reyersbach, Anne. The Grail Quest: From Frost to Flower. Myths and Legends Series. London: John Murray, 1983. Morgan is one cause of the Wasteland in this version for children (aged 10–13), although the story of the Dolorous Stroke is also recounted. The protagonist is a young boy named Geoffrey, who, as companion to an old priest, is on hand to witness the beginning and the end of the knights’ quests for the Grail.

A-2118 Reynolds, Adrian. The Round Table Murders. New York: Phoenix Press, 1952. Professor Dennis Barrie happens upon mysterious circumstances and investigates. The Osmond family had a grandfather known for his interest in Arthurian matters; he discovered what he believed to be Excalibur, and he named all of his children and grandchildren after characters in the legend. The sword seems to be the motive for the series of murders that take place, and most of the main characters have Arthurian names, although the relationships between them are not based on the legend (as one of the characters makes clear).

A-2119 Reynolds, Ernest Randolph. Mephistopheles and the Golden Apples: A Fantastic Symphony in Seven Movements. Cambridge: W. Heffer and Sons, 1943. Mephistopheles tempts Guntram, a don, with unlimited knowledge. There are seventeen sections to this “fantastic symphony.” In the sixth, Merlin welcomes Mephistopheles and Guntram to Tintagel. In the seventh, Galahad, Lavaine, and Bedivere each speak. The eighth, like the previous two, is set at Tintagel and provides a bridge to the ninth, where a siren sings the story of Tristan and Iseult. These sections have the most Arthurian content, although there are occasional references to Arthurian characters elsewhere (the ghost of Dante Gabriel Rossetti mentions several in section twelve). Reynolds wrote this in 1941, though it was not published until two years later.

A-2120 Reynolds, Ernest [Randolph]. Tristram and Iseult. Nottingham: John Clough and Son, 1930. In the Author’s preface, Reynolds calls this “pictorial poetry. What respect I have preserved for the sequence of events is largely drawn from the Wagnerian treatment of the legend” (iii). The poem is divided into four parts, each one further divided into multiple sections of eight-line stanzas. The parts are as follows: “Tristram and Iseult: Prelude” (1–3); “The Love Dawn” (5–15); “Red Poppies” (17–23); “Liebestod” (25–26). Each of these parts is preceded by a short passage in French from Béroul’s Tristan). The main elements of the story that Reynolds uses are the slaying of Marhault, the love potion that brings the two together, the love affair itself, and Tristan’s death. The Publisher’s note (iii) says that “This poem was awarded the Kirke White Prize of Nottingham University for the year 1929–1930.”

A-2121 Reynolds, Marion Lee. Geraint of Devon. Boston, MA: Sherman, French and Co., 1916. The poem that acts as the foreword invokes the idea of romance from the past. The main poem is divided into two parts: “The Winning of Enid” (further divided into four sections) and “The Trial of Enid” (further divided into three sections). While few changes have been made to the traditional story, Reynolds gives some prominence to a character called Alarin, a harpist, and some of his songs form part of the poem.

A-2122 Rhodes, W[illiam] H[enry]. “Rosenthal’s Elaine.” Caxton’s Book: A Collection of Essays, Poems, Tales, and Sketches by the late W. H. Rhodes. Ed. Daniel O’Connell. San Francisco: A. L. Bancroft and Co., 1876. 171–73. Rptd: Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 60–62. The speaker of this poem imagines the scene as Elaine’s funeral barge arrives at Camelot.

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A-2123 Rhys, Ernest. “Arthur’s Grave: The Epitaph.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 63. This six-line poem reflects on the possibility of Arthur’s return.

A-2124 Rhys, Ernest. “The Battle of the Two Knights; or, The Lay of the Peron-Stone, and the Refrain of the Dead Lady, Columbe, Who Loved the King of Ireland’s Son.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 7–12. A ballad retelling the encounter between Lancelot and Tristan at the grave of the knight and the lady that Balin killed.

A-2125 Rhys, Ernest. “Broceliande.” Harper’s Magazine 112 (Jan. 1906): 265. A poem divided into three stanzas, each with ten lines. The first describes Merlin’s enchanted sleep and his dreams. The second refers to Barenton and modern children looking for traces of Merlin. The third draws these two stanzas together, reflecting on the other world that Merlin inhabits. Each of the stanzas ends with the desire to join Merlin.

A-2126 Rhys, Ernest. “The Castle of Carbonek.” The Leaf Burners and Other Poems. London and Toronto: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1918. 113–14. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 152–54. This poem is divided into eight numbered quatrains. An unnamed speaker recalls sailing to the castle, but being unable to reach it. The Fisher King and Grail are mentioned.

A-2127 Rhys, Ernest. “City of Sarras.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 41–44. Galahad, Bors, and Perceval see the Grail and are commanded to journey to Sarras.

A-2128 Rhys, Ernest. “Dagonet’s Love Song.” The Leaf Burners and Other Poems. London and Toronto: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1918. 109. Dagonet’s three-stanza poem about the beauty of an unnamed queen of the south (possibly Iseult?); aside from the title, there are no obvious Arthurian allusions.

A-2129 Rhys, Ernest. “The Death of Merlin.” Welsh Ballads and Other Poems. London: Nutt; Carmarthen: Spurrell; and Bangor: Jarvis and Foster, [1898]. 29–40. A poem divided into four sections. It describes the sightings of Merlin that lead Morial, a monk, to write Merlin’s history and eventually wake him.

A-2130 Rhys, Ernest. “Dedication.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. v-vi. In the dedication to this volume, Rhys presents the “Rose of old Romance” and alludes to Camelot, the Grail, Arthur and Guenevere.

A-2131 Rhys, Ernest. “The Dolorous Stroke.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 28. This three-stanza poem describes the conflict between a Saracen king and the king of Logres that led to the Dolorous Stroke and the Wasteland.

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A-2132 Rhys, Ernest. Enid: A Lyric Play Written for Music. Music by Vincent Thomas. First performed: London: Court Theatre, 24 Nov. 1908. London: J. M. Dent and Co., 1908. The play begins as Geraint rides into the town where the Sparrow-hawk tournament is to be held. In Act I, Geraint meets the old earl and his family, and defeats the evil Earl who has stolen their inheritance from them. In Act 2, Geraint believes that Enid loves his old enemy and the story is similar to the usual testing of Enid. Rhys has compressed the events, however, and made the villain of each act the Earl who first insulted the Queen. The first page of the volume gives the performance details; the title-page says that the music is by Thomas, although no music to accompany the songs appears in the book. (See also the entry for “Thomas, Vincent, Enid” in the Music section.)

A-2133 Rhys, Ernest. “The Giant of Saint Michael’s.” Fairy Gold: A Book of Old English Fairy Tales. Illus. Herbert Cole. Everyman’s Library 157. London and Toronto: J. M. Dent and Co.; New York: E. P. Dutton and Co., 1907. 96–101. Rptd: English Fairy Tales. By Ernest Rhys and Grace Rhys. Illus. Herbert Cole and R. Anning Bell. Tales for Children from Many Lands. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1913. 105–109. This retells the story of Arthur’s confrontation with the giant. Cole provided one illustration (99; an engraved drawing), showing the giant at his meal with King Arthur standing to one side; caption: “Therefore arise and dress thee, thou glutton; for this day thou shalt die of my hand.” In the 1913 reprinting, the drawing is replaced with a colour plate (facing 108; by Cole), which shows King Arthur dozing in a chair, with his hand on his sword; in a cloud above him appears the subject of his dream, a dragon attacking a boar (caption: “He fell in a slumbering, and dreamed a marvellous dream”; this illustration is reproduced (in colour) in Day, The Search for King Arthur, 46).

A-2134 Rhys, Ernest. “The Green Knight.” Fairy Gold: A Book of Old English Fairy Tales. Illus. Herbert Cole. Everyman’s Library 157. London and Toronto: J. M. Dent and Co.; New York: E. P. Dutton and Co., 1907. 19–36. Rptd: English Fairy Tales. By Ernest Rhys and Grace Rhys. Illus. Herbert Cole and R. Anning Bell. Tales for Children from Many Lands. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1913. 69–89. A retelling of the medieval romance of Sir Gawain and the Green Knight. Cole provided one illustration (33; an engraved drawing), showing Gawain with his hand on the hilt of his sword, facing a tall bearded man leaning on a staff at the entrance to a cave; behind him, within the cave, is an altar, and on the stone wall beside him is a carved Cross (caption: “Here we are alone: have off thy helmet and take thy pay at once”). In the 1913 reprinting, the drawing is replaced with a colour plate (facing 80; by Cole), which shows the Green Knight on his green horse confronting King Arthur and Queen Guenevere (caption: “The Green Knight entered the hall”).

A-2135 Rhys, Ernest. Gwenevere: A Lyric Play Written for Music. Music by Vincent Thomas. First performed: London: Coronet Theatre, 13 Nov. 1905. London: J. M. Dent and Co., 1905. (*) (See also the entry for “Thomas, Vincent, Gwenevere” in the Music section.) A-2136 Rhys, Ernest. “The History of Tom Thumb.” Fairy Gold: A Book of Old English Fairy Tales. Illus. Herbert Cole. Everyman’s Library 157. London and Toronto: J. M. Dent and Co.; New York: E. P. Dutton and Co., 1907. 88–95. Rptd: English Fairy Tales. By Ernest Rhys and Grace Rhys. Illus. Herbert Cole and R.

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Anning Bell. Tales for Children from Many Lands. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1913. 24–33. A retelling of the story of Tom Thumb, conceived through Merlin’s magic, and sometime knight of King Arthur’s court. Cole provided a tail-piece, showing Tom, holding a lance, riding a saddled mouse (95). In the 1913 reprinting, there is, instead, a headpiece (by Cole) which shows Tom Thumb with his lance standing on a thumb (24).

A-2137 Rhys, Ernest. “King Arthur’s Sleep: A Ballad of Bala Fair.” Welsh Ballads and Other Poems. London: Nutt; Carmarthen: Spurrell; and Bangor: Jarvis and Foster, [1898]. 20–26. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 164–68. A young boy with a hazel wand leads an old man to the grove of trees where he found it. They discover the cave where Arthur and his knights sleep, but when the boy tries to wake them, the old man intervenes. While the collection contains some paraphrases of Welsh poems, this one is an original by Rhys.

A-2138 Rhys, Ernest. “La Morte sans Pitie.” The Leaf Burners and Other Poems. London and Toronto: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1918. 110–12. This poem is set up as a dialogue between Dagonet and Morgause. Dagonet is dying and sees visions of a Black Knight (La Morte Sans Pitie), Death.

A-2139 Rhys, Ernest. “The Lady Called ‘White Hands.’” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 6. Tristan speaks the first two verses of this poem, regretting that his love for Iseult of Ireland has cost him the love of Iseult of Brittany. But as the third stanza suggests, Tristan is mourning his love more than the lady.

A-2140 Rhys, Ernest. “The Lament of Sir Ector de Maris.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 51–53. Ector, searching for Lancelot, finds him just after Lancelot’s death. Six stanzas of this sixteen-stanza poem are Ector’s eulogy for Lancelot.

A-2141 Rhys, Ernest. “The Last Sleep of Sir Launcelot.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 49–50. Bors’ dream and Lancelot’s death are described in this eight-stanza poem.

A-2142 Rhys, Ernest. “The Lay of King Mark.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 21–22. In this short narrative poem, Mark overhears Lamorak bemoaning his love for Morgause, but when he attempts to speak to him, Lamorak scorns Mark.

A-2143 Rhys, Ernest. “The Lay of Surluse.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 29–33. A ballad describing Lancelot and Breunor’s attack on the guarded land of Surluse.

A-2144 Rhys, Ernest. “The Lay that Had No End.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 60–61. In each stanza, one speaker attempts to tell the story of Arthur’s end, but is interrupted with questions from another speaker.

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A-2145 Rhys, Ernest. “L’envoi: The Mirror of Romance.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 94–96. This is the last poem in Rhys’ series “Grania’s Romance Book” and the last poem in this collection. The speaker reflects on the way that his and Grania’s love mirrors stories found in old romances, the way that “Today” can be known in “Yesterday.” Merlin, Arthur, and Guenevere are mentioned.

A-2146 Rhys, Ernest. The Masque of the Grail. London: Elkin Mathews, 1908. Rptd: The Quest of the Grail: A Masque by E. Rhys, the Music by Vincent Thomas. London: Blyth and Co., 1915. – In Arthurian Drama: An Anthology. Ed. Alan Lupack. Garland Reference Library of the Humanities 1276. New York and London: Garland Publishing, 1991. 293–310. The masque shows in five brief scenes stages of the Grail quest from the arrival of Christianity in Britain to Galahad’s achievement of the Grail. (See also the entry for “Thomas, Vincent, The Quest of the Holy Grail” in the Music section.)

A-2147 Rhys, Ernest. “Olwen (from ‘Kilhwch and Olwen’).” A London Rose and Other Rhymes. London: Elkin Mathews and John Lane, 1894. 45. This twenty-line poem uses rhyming couplets to describe Olwen. It emphasizes her beauty; anyone who sees her is destined to love her.

A-2148 Rhys, Ernest. “The Quest of the Grail: On the Eve.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 39–40. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 155–56. This poem describes the knights gathering around the Table and the appearance of the Grail.

A-2149 Rhys, Ernest. “Refrains from the Round Table: Alice la Belle Pilgrim.” English Illustrated Magazine 30 (Mar. 1904): 616. Rptd: “Alice La Belle Pilgrim.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 13–14. This five-stanza poem is a conversation between Morgan and Alexander the Orphan. She demands his affection in return for her healing skills, but he is in love with Alice.

A-2150 Rhys, Ernest. “The Ring of True Love.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 16–17. Lionors speaks this poem to Gareth. She has a magical ring that increases her beauty; if she gives it to him she will begin to lose her beauty, but it will increase his honour and knightliness.

A-2151 Rhys, Ernest. “The Sermon of the Gentlewoman the which was Sister to Sir Percivale; Shewing to Sir Galahad the Virtue of the Sword.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 25–27. Perceval’s sister describes the sword and scabbard and their properties, and cautions Galahad against misusing them.

A-2152 Rhys, Ernest. “Sir Launcelot and the Sancgreal.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 45–48. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 157–59. A ballad describing Lancelot’s encounter with the Grail and how it changed him.

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A-2153 Rhys, Ernest. “The Song of Dagonet.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 18. A two-stanza poem where Dagonet determines to abandon knightly adventures in favour of playing the fool.

A-2154 Rhys, Ernest. “The Song of Dinadan, and the Refrain of La Belle Isoud.” Gwenevere: A Lyric Play, Written for Music: The Music by Vincent Thomas. London: J. M. Dent and Co., 1905. Rptd: Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 4–5. In each of the four stanzas of this poem, Dinadan speaks the first four lines, wondering at the folly of lovers like Tristan. The last line of each stanza is spoken by Iseult, protesting Dinadan’s speeches. (See also the entry for “Thomas, Vincent, Gwenevere” in the Music section.)

A-2155 Rhys, Ernest. “The Song of the Four Knights.” Gwenevere: A Lyric Play, Written for Music: The Music by Vincent Thomas. London: J. M. Dent and Co., 1905. Rptd: Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 36–38. – In “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 160–62. Four unnamed knights tell the story of what happened at Camlann. (See also the entry for “Thomas, Vincent, Gwenevere” in the Music section.)

A-2156 Rhys, Ernest. “Song of the Seven Candles.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 56–59. Guenevere sings this song, imagining herself dead and commanding Kay to take the news to the king.

A-2157 Rhys, Ernest. “Timor Mortis.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 54–55. An unnamed speaker addresses the reader-as-knight, using Galahad as example of the fear and wonder of encountering the divine.

A-2158 Rhys, Ernest. “True Love.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 2–3. A poem of seven stanzas of five lines each. In it, Rhys paraphrases Malory as he likens true love to summer (in Caxton, Book 18, Chap. 25).

A-2159 Rhys, Ernest. “The Two Fools (Dagonet’s Song).” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 19–20. Dagonet’s song after he has encountered with a knight and been knocked off his horse.

A-2160 Rhys, Ernest. “The Unfinished Book of Bleise.” Lays of the Round Table and Other Lyric Romances. London: J. M. Dent and Co., 1905. 62. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 162. This poem describes Blaise’s writing of Arthur’s wars and reflects upon the fame that ensued, despite the unfinished book.

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A-2161 Rhys, Ernest. “The Waking of King Arthur.” Welsh Ballads and Other Poems. London: Nutt; Carmarthen: Spurrell; and Bangor: Jarvis and Foster, [1898]. 27–28. A poem of five quatrains describing Arthur’s strength and fame.

A-2162 Rhys, Grace. “Jack the Giant-Killer.” English Fairy Tales. By Ernest Rhys and Grace Rhys. Illus. Herbert Cole and R. Anning Bell. Tales for Children from Many Lands. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1913. 9–23. A version of Jack the Giant-Killer set in Arthurian times, in which Jack encounters the giant of the “Mount of Cornwall” (St. Michael’s Mount) and is made a Knight of the Round Table. Jack helps Arthur’s son to win a bride who has been possessed by demons (she visits Lucifer nightly until Jack intervenes). The story is accompanied by a headpiece (signed “W & L”), showing the young bride in the arms of a winged Lucifer (9); there is also a colour place (by Cole) showing a three-headed giant standing in front of a castle (facing 14; caption: “A huge and monstrous Giant with three heads”).

A-2163 Rice, Robert. The Last Pendragon. New York: Walker and Co.; Markham, ON: Thomas Allen and Son, Canada, Limited, 1991. The prologue of this novel describes the end of the battle of Camlann, but in this version, Bedivere fails to throw the sword into the lake, hiding it instead. The rest of the novel focuses alternately on Irion, son of Mordred, who envisions uniting Britain as his grandfather Arthur had done, and on Bedivere, who finally returns to Britain to fulfil his king’s last command.

A-2164 Rich, Moss. “I wonder how King Arthur felt. . . .” In The Penguin Book of Limericks. Ed. E. O. Parrott. Illus. Robin Jacques. London: Allen Lane, 1983. 82. This limerick plays on the Arthur-Guenevere-Lancelot love triangle.

A-2165 Richardson, Abby Sage. “Adventures of the Fair Florimel.” Stories from Old English Poetry. Boston, MA: Houghton, Mifflin; Cambridge, MA: Riverside Press, 1871. 68–94. Richardson here retells one of the stories from Spenser. Most Arthurian references occur at the beginning of the story, when Florimel’s love is supposedly killed by Britomart, and Arthur attempts to help Florimel in her despair.

A-2166 Richardson, Abby Sage. “The Knight’s Dilemma.” Stories from Old English Poetry. Boston, MA: Houghton, Mifflin; Cambridge, MA: Riverside Press, 1871. 33–40. A version of the story which was told by Chaucer as The Wife of Bath’s Tale. The knight, here called Ulric, must discover what it is that women want, and the only one who can help him is an old, hideous woman who demands that he marry her in return for her help.

A-2167 Richardson, Marjorie. “Lancelot’s Tower.” St Nicholas Magazine 19 (Nov. 1891): 56–59. Two boys, one whose name is Lancelot, are told stories by their uncle about King Arthur and the knights. They spend their summer pretending to be knights, with a red-haired neighbour girl playing Elaine, the Lily Maid. The tower of the title is an old mill where Elaine rescues Lancelot.

A-2168 Riethmüller, Christopher J[ames]. Launcelot of the Lake: a Tragedy in Five Acts. London: Chapman and Hall, 1843. This verse drama tells the Arthurian story from the time of Arthur’s wedding to the deaths of Arthur, Guenevere, Lancelot and Mordred. In this version, Morgan orchestrates the events, arranging meetings between Lancelot and Guenevere to make them appear guilty. Mordred kills Arthur, but is in turn killed by Lancelot when Mordred comes to the nunnery where Guenevere has taken refuge and died.

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A-2169 Riley, James Whitcomb. “Guinevere.” Complete Works II. Indianapolis: Bobbs-Merrill Co., 1913. 146. Rptd: The Complete Poetical Works of James Whitcomb Riley. Pref. Donald Culross Peattie. New York: Grossett and Dunlap, 1937. 156. This twenty-four-line poem consists of rhyming couplets. Guenevere speaks; it is night and she waits, prays, and reflects on her latest tryst with Lancelot and her duty to and love for Arthur.

A-2170 Riordan, James. King Arthur. Illus. Victor Ambrus. Oxford: Oxford University Press, 1998. Although the author and illustrator are the same, this is not just a reprinting of Tales of King Arthur (1982), but a new reworking of the legend. It is based on Malory but also includes the stories of Sir Gawain and the Green Knight and of Vortigern and the dragons – in this version, it is Arthur who is the fatherless boy who prophesies to Vortigern, and Arthur who meets the Green Knight’s challenge. The prologue provides a series of vignettes from the legend which come to Arthur in his dreams; the epilogue tells the story of a shepherd finding Arthur and his knights sleeping in a cave. There are twenty full-page colour illustrations, ten full-page B&W illustrations, and another fifteen smaller illustrations, mainly in B&W and mostly situated at the top or bottom margins.

A-2171 Riordan, James. Tales of King Arthur. Illus. Victor Ambrus. London: Hamlyn Publishing Group; Chicago: Rand McNally, 1982. Rptd: “King Arthur and the Round Table.” In An Illustrated Treasury of Myths and Legends. By James Riordan and Brenda Ralph Lewis. Illus. Victor Ambrus. New York: Exeter Books, 1987. 126–29. A retelling of Malory which also includes the story of Sir Gawain and the Green Knight. It provides notes for the reader at the end, giving some details of the author’s sources. The illustrations are all in bright colours; twenty-two are full-page, and thirty-six are partial-page. These are not the same illustrations used for Riordan’s King Arthur. The excerpt in the Illustrated Treasury uses Riordan’s chapter on Arthur’s marriage to Guenevere to represent the Arthurian legend in the collection.

A-2172 Robbins, Ruth. Taliesin and King Arthur. Illus. Ruth Robbins. Berkeley, CA: Parnassus Press, 1970. In this children’s story, Robbins combines the story of the young bard Taliesin with that of Arthur. Taliesin comes to the court of Arthur at Caerleon and impresses the king with his singing. At Yule, the king invites him to be a part of the bardic competition. Taliesin’s song for this occasion is the riddle of his birth; he appears in Ceridwen’s cauldron after Avagddu (Ceridwen’s son) and Gwion the shepherd disappear. Taliesin has the gift of prophecy and song that Ceridwen wanted for her son. Ceridwen puts him in a bag in the river and he is found in Elphin’s nets.

A-2173 Roberson, Jennifer. “Guinevere’s Truth.” In Return to Avalon: A Celebration of Marion Zimmer Bradley. Ed. Jennifer Roberson. New York: DAW Books, 1996. 395–98. The “truth” is that the love affair was a practical means of, they hoped, providing Arthur with an heir. Guenevere reflects on her relationships with Arthur and Lancelot and what the stories now make of the love triangle.

A-2174 Roberson, Jennifer. “Never Look at a Gift Sword in the Horse’s Mouth; or, The Horse who Would be King.” Illus. Alan Gutierrez. Marion Zimmer Bradley’s Fantasy Magazine no. 16. (Spring–Summer 1992): 4–11. Rptd: The Best of Marion Zimmer Bradley’s Fantasy Magazine Vol. 2. Ed. Marion Zimmer Bradley and Elisabeth Waters. New York: Warner Books, 1995. 143–63. – “The Horse who Would be King.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 137–54.

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The first-person narrator of this short story turns out to be a talking horse who has sword-shaped blaze; we later find out that his name is Excalibur. He helps his master, Merlin, provide a hero-king after Uther’s death by creating the sword in the stone. The hero they create is Artie, the servant; they concoct a story about Uther and Ygraine to make Artie seem legitimate.

A-2175 Roberson, Jennifer, ed. Return to Avalon: A Celebration of Marion Zimmer Bradley. New York: DAW Books, 1996. This anthology contains new short stories, written in memory of Marion Zimmer Bradley and the world she created in The Mists of Avalon. Not all stories are Arthurian; for details of individual Arthurian works, see Esther M. Friesner, “Sparrow”; Karen Haber, “The Spell Between Worlds”; Diana L. Paxson, “Lady of Avalon”; Laura Resnick, “The Lily Maid of Astolat”; Jennifer Roberson, “Guinevere’s Truth”; Susan Shwartz, “A Refuge of Firedrakes”; and Elisabeth Waters, “Trees of Avalon.”

A-2176 Roberts, Barrie. Sherlock Holmes and the Devil’s Grail. London: Constable and Co., 1995. Rptd: London: Allison and Busby, 2000. The second novel by Roberts who purports to be editing manuscripts by Dr Watson just recently uncovered. This particular mystery has an Arthurian connection. While the “Grail” involved is not the usual one (it turns out to be an ancient grimoire of evil magics), the search for it leads to Glastonbury and to Wales; a key clue to its location is a reference to the grave of Arthur’s son. A number of stories about Arthur are mentioned: Arthur’s battle against Mordred at Camlann; Arthur’s grave at Glastonbury; the deaths of Arthur’s sons Amr, Loholt, and Llachau; the burial of Uther and Ambrosius at Stonehenge. Medieval authors such as Nennius and Geoffrey of Monmouth are also mentioned, as are various theories about the historical Arthur, as Sherlock Holmes and Watson attempt to solve the puzzle.

A-2177 Roberts, Sir Charles G. D. “Launcelot and the Four Queens.” Orion and Other Poems. Philadelphia, PA: J. B. Lippincott & Co., 1880. 37–49. This poem is divided into five parts, each with multiple six-line stanzas. The first part describes the setting and the sleeping knight; the second narrates the queens’ discovery of Launcelot. In the third, Launcelot awakes in prison and sings a song to Guinevere. In the last two, Launcelot rejects the queens who hold him captive and escapes with the help of the damsel.

A-2178 Roberts, Dorothy. The Enchanted Cup. New York: Appleton-Century-Crofts, 1953. A novel about Tristan and Iseult.

A-2179 Roberts, Dorothy. Kinsmen of the Grail. Boston, MA, and Toronto: Little, Brown and Co., 1963. Rptd: Cover art by Michael Cohen. Oakland, CA: Green Knight Publishing, 2000. This novel intertwines the stories of Perceval’s quest for knighthood, justice, and the Grail with Gawain’s quest for the Grail and his quest to discover what has happened to Arthur’s son Loholt. Gawain is the protagonist who finds Perceval and tries to help and protect him. Ultimately Gawain’s failure to achieve the Grail stems from his loyalty to Arthur; he cannot give up his duty to the king for the mysteries (which at times seem to be imaginary) of the Grail.

A-2180 Roberts, Dorothy. Launcelot, My Brother. New York: Appleton-CenturyCrofts, 1954. This novel is narrated by Bors, and its main focus is the love of Lancelot and Guenevere and the events that lead to the downfall of Arthur’s reign. The Lot-Pellinore feud plays a major part in the action, since it gradually drives Gawain further from Arthur and Lancelot. The conflicts of the main characters (Lancelot, Arthur, Guenevere, Gawain) and Bors’ feelings of divided loyalties

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make these characters fairly sympathetic, though the narrative voice at the beginning is rather laboured.

A-2181 Roberts, Nora. Captivated. The Donovan Legacy [1]; Silhouette Special Edition 768. New York: Silhouette, 1992. A contemporary romance the female protagonist of which, Morgana Donovan, is a hereditary witch. In the only ceremony described, Morgana uses “a white cloth, edged in silver, that had been in her family for generations. Some said it had been a gift to Merlin from the young king he had loved” (129). Other than the protagonist’s name and the above allusion, there are no further Arthurian connections.

A-2182 Roberts, Nora. Charmed. The Donovan Legacy [3]; Silhouette Special Edition. New York: Silhouette, 1992. In this, the third novel of The Donovan Legacy, the female protagonist is Anastasia Donovan, a witch who has a special power to heal. As in the other novels in this series, there are artifacts with connections to the Arthurian legend; in this case, Ana receives for her birthday from her family an old, heirloom chest that Arthur had given to Merlin. The prologue also mentions “Merlin the enchanter,” “Ninian the sorceress,” and “the ambitious Morgan le Fay” as “forebears” and ancestors of the Donovans and their powers. As well, the male and female protagonists of this novel have a late-night conversation in which they discuss the Arthurian legend, particularly the love of Lancelot and Guenevere, and the role of Merlin in the story.

A-2183 Roberts, Nora. Entranced. The Donovan Legacy [2]; Silhouette Special Edition 774. New York: Silhouette, 1992. A contemporary romance whose male protagonist, Sebastian Donovan, is a witch; he has psychic powers. When his private study is described, it contains a “scrying mirror” which is “said to belong to Ninian” (158). Sebastian explains that “Ninian was a sorceress, reputed to have imprisoned Merlin” (158). Once again, Roberts is not using the legend extensively; she does use allusions to it, among other devices, to create the impression that the Donovan characters’ family and their magic have ancient, even legendary, sources.

A-2184 Roberts, Theodore Goodridge. “Castle Cavanaugh.” Blue Book Magazine 87.4 (Aug. 1948): 112–33. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 388–451. In Ashley’s arrangement, this is the fourth and last part of the unfinished novel, “Spur and the Prize,” featuring the young knight Dennys ap Rhys, King Torrice, and Sir Lorn, in the time of King Arthur.

A-2185 Roberts, Theodore Goodridge. “Daggers in Her Garters” [lost story]. This was part of the series of stories featuring Sir Dinadan, which Ashley entitles “The Merriest Knight”; this story, however, was never published and is lost. Ashley, in his Introduction to The Merriest Knight, indicates that it was submitted to The Blue Book Magazine, but because of a change of editors, it was not printed and no copy of it is now known (14).

A-2186 Roberts, Theodore Goodridge. “A Fairy’s Child.” The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 55–63. Previously unpublished; Ashley has edited it from a manuscript in the Harriet Irving Library of the University of New Brunswick. In Ashley’s arrangement, this is the third of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

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A-2187 Roberts, Theodore Goodridge. “For to Achieve Your Adventure.” Blue Book Magazine 93.6 (Oct. 1951): 2–11. Rptd: The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1990. 101–19. – The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 141–61. Roberts’ version of the story of Gareth’s quest gives Sir Dinadan a major role. In Ashley’s arrangement, this is the eighth of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

A-2188 Roberts, Theodore Goodridge. “The Goose Girl.” Illus. John Fulton. Blue Book Magazine 93.4 (Aug. 1951): 32–40. Rptd: The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 196–212. – The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 122–40. In searching for chivalric adventure to make some money, Sir Dinadan encounters that which he most fears. In Ashley’s arrangement, this is the seventh of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

A-2189 Roberts, Theodore Goodridge. “Love and the Young Knight.” The Leather Bottle. Toronto: Ryerson Press, 1934. 65. Rptd: That Far River: Selected Poems of Theodore Goodridge Roberts. Ed. Martin Ware. Pref. Malcolm Ross. Post-Confederation Poetry: Texts and Contexts. London, ON: Canadian Poetry Press, 1998. 64–65. A three-stanza poem, from a poetry sequence on chivalric themes entitled “Arcadian Vats,” in which personified Love speaks to a young knight, declaring that love is the means and the goal of all chivalric effort. Love makes a reference to King Arthur: “I am the favour of Arthur / Smiling down from his throne” (ll. 7–8).

A-2190 Roberts, Theodore Goodridge. “The Madness of Sir Tristram.” Blue Book Magazine 92.2 (Dec. 1950): 2–12. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 64–84. In Ashley’s arrangement, this is the fourth of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

A-2191 Roberts, Theodore Goodridge. The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Michael Ashley. Illus. Shane A. Holloway. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2001. “A collection of short stories, all originally published in the Blue Book Magazine between 1947 and 1951 except ‘A Fairy’s Child’ and ‘Quest’s End,’ previously unpublished” (Editor’s note). Contents: “The Merriest Knight” (Author’s introduction); “A Purfle for a King”; “The Quest of the Saracen Beast”; “A Fairy’s Child”; “The Madness of Sir Tristram”; “A Quarrel for a Lady”; “Sir Dinadan and the Giant Taulurd”; “The Goose Girl”; “For to Achieve your Adventure”; “Mountain Miracle”; “Quest’s End” (these first ten being the tales of Sir Dinadan). Spur and the Prize (an unfinished novel): “Young Wings Unfurling”; “Strike Hard! Bite Deep!”; “The Merlin Touch”; “Castle Cavanaugh.” The volume concludes with a separate tale, set in the time of the Norman Conquest: “Revolt in the Forest.” Each of the stories has a separate entry in this bibliography.

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A-2192 Roberts, Theodore Goodridge. “A Mountain Miracle.” Blue Book Magazine 94.2 (Dec. 1951): 42–51. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 162–82. In Ashley’s arrangement, this is the ninth of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

A-2193 Roberts, Theodore Goodridge. “Mountainy Madness.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 409–18. Ashley prints this story as an appendix to his anthology because it was never finished (nor previously published); Dinadan is again the main character as it is part of Robert’s planned work featuring that character.

A-2194 Roberts, Theodore Goodridge. “Palamides at the Well.” Literary World 34 1903. Rptd: That Far River: Selected Poems of Theodore Goodridge Roberts. Ed. Martin Ware. Pref. Malcolm Ross. Post-Confederation Poetry: Texts and Contexts. London, ON: Canadian Poetry Press, 1998. 60–61. A poem (in seven quatrains), in which Palamides reflects upon his past service for Isoud, which he now abandons since “Tristram wears your guerdon.” The poem is prefaced with a quotation from Malory’s version of this episode.

A-2195 Roberts, Theodore Goodridge. “A Purfle for a King.” Blue Book Magazine 91.3 (July 1950): 2–9. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 21–36. In Ashley’s arrangement, this is the first of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel). Sir Dinadan is a friend of Sir Tristram, something of a failed minstrel, and the most pragmatic of Arthur’s knights, fighting only when it is really necessary, and offering something of a cynical and satirical perspective on Round Table chivalry.

A-2196 Roberts, Theodore Goodridge. “A Quarrel for a Lady.” Blue Book Magazine 90.4 (Feb. 1950): 14–21. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 85–100. In Ashley’s arrangement, this is the fifth of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel). Raymond Thompson, who searched the author’s papers, found a reference to a story entitled “The Disputed Princess,” published in the Blue Book Magazine at about this date (accepted for publication in Apr. 1948); the correspondence of dates and similarity of titles would suggest that “A Quarrel for a Lady” is the same story, retitled by the editors.

A-2197 Roberts, Theodore Goodridge. “A Quest Must End.” Blue Book Magazine 86.6 (Apr. 1948): 104–24. Rptd: The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 265–321. – “The Merlin Touch.” The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 327–87. Also called “The Merlin Touch.” A novella, continuing the adventures of King Torrice and his

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companion, Sir Lorn, in the time of Arthur: Merlin aids them in the rescue of Lady Clara. In Ashley’s arrangement, this is the third of four parts of the unfinished novel, “Spur and the Prize,” featuring the young knight Dennys ap Rhys, King Torrice, and Sir Lorn.

A-2198 Roberts, Theodore Goodridge. “A Quest of the Saracen Beast.” Blue Book Magazine 92.1 (Nov. 1950): 42–50. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 37–54. In Ashley’s arrangement, this is the second of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

A-2199 Roberts, Theodore Goodridge. “Quest’s End.” The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 183–203. Previously unpublished; Ashley has edited it from a manuscript in the Harriet Irving Library of the University of New Brunswick. In Ashley’s arrangement, this is the tenth of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

A-2200 Roberts, Theodore Goodridge. “Revolt in the Forest.” Blue Book Magazine 89.5 (Sept. 1949): 118–43. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 455–523. A novella, being a first-person narration of Patrick Pendragon of Dragonland, in the time of the Norman Conquest, and illustrating the continuing influence of the Arthurian legends in that time.

A-2201 Roberts, Theodore Goodridge. “Sir Dinadan and the Giant Taulurd.” Blue Book Magazine 92.6 (Apr. 1951): 94–104. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 101–21. In Ashley’s arrangement, this is the sixth of ten Sir Dinadan stories, which he entitles “The Merriest Knight” (and which, at his death, Roberts was reworking as a novel).

A-2202 Roberts, Theodore Goodridge. “Sir Ector to the Dead Knight.” The Independent (1901). Rptd: That Far River: Selected Poems of Theodore Goodridge Roberts. Ed. Martin Ware. Pref. Malcolm Ross. Post-Confederation Poetry: Texts and Contexts. London, ON: Canadian Poetry Press, 1998. 59–60. A thirty-line poem in alternating three- and two-line stanzas, in which Ector addresses and laments the dead Launcelot, reflecting on past glories. The poem is prefaced with quotation from Malory’s version of this episode.

A-2203 Roberts, Theodore Goodridge. “Sir Palomides’ Lament.” The Leather Bottle. Toronto: Ryerson Press, 1934. 77. A poem of four quatrains, from a poetry sequence on chivalric themes entitled “Arcadian Vats,” in which Sir Palomides declares that, although Tristram wears Isoud’s favour publicly, he will “flaunt your guerdon down the lists of dream.”

A-2204 Roberts, Theodore Goodridge. “A Song for Isoud.” That Far River: Selected Poems of Theodore Goodridge Roberts. Ed. Martin Ware. Pref. Malcolm Ross.

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Post-Confederation Poetry: Texts and Contexts. London, ON: Canadian Poetry Press, 1998. 18. A fifteen-line poem, spoken by one (presumably Palamides) who is driven by love of Isoud but dares not kiss her. The poem, perhaps a companion piece to “Palamides at the Well,” is here published for the first time, from a manuscript in the Harriet Irving Library of the University of New Brunswick.

A-2205 Roberts, Theodore Goodridge. “Strike Hard! Bite Deep!” Illus. Frederick T. Chapman. Blue Book Magazine 86.2 (Dec. 1947): 28–50. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 259–326. A novella in which Sir Lorn le Perdu, the Mazed Knight, rescues a kidnapped princess with the aid of King Torrice of Har. In Ashley’s arrangement, this is the second of four parts of the unfinished novel, “Spur and the Prize,” featuring the young knight Dennys ap Rhys, King Torrice, and Sir Lorn. Raymond Thompson, who searched the author’s papers, found a reference to a story entitled “By My Halidom,” published in the Blue Book Magazine at this date; the correspondence of dates would suggest that “Strike Hard! Bite Deep!” is the same story, retitled by the editors.

A-2206 Roberts, Theodore Goodridge. “To Camelot.” The Leather Bottle. Toronto: Ryerson Press, 1934. 70. Rptd: The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. xiii. – That Far River: Selected Poems of Theodore Goodridge Roberts. Ed. Martin Ware. Pref. Malcolm Ross. Post-Confederation Poetry: Texts and Contexts. London, ON: Canadian Poetry Press, 1998. 63–64. A three-stanza poem, being the song of a knight who rides in quest of Beauty, remembering his encounter with “you” under a wishing-tree. He asserts that “I know the road to Camelot.”

A-2207 Roberts, Theodore Goodridge. “Young Wings Unfurling.” Blue Book Magazine 85.6 (Oct. 1947): 114–30. Rptd: The Merriest Knight: The Collected Arthurian Tales of Theodore Goodridge Roberts. Ed. Mike Ashley. Oakland, CA: Green Knight Publishing, 2001. 207–58. In Ashley’s arrangement, this is presented with, and as something of a prologue to, the three tales of “Spur and the Prize,” an unfinished novel, although the main characters of the other three tales (Dennys ap Rhys, King Torrice, and Sir Lorn), do not appear here. Rather, this is the first-person narration of a young man, Mark of the Lake, who was raised by one Brother Ambrose, but now strikes out on his own to seek his fortune. On his way to Camelot he has a variety of adventures, and gains the love of a young lady, finds his mother, and is given a crown as King Mark of the Marches.

A-2208 Robin Hood and Other Favourite Children’s Stories. Aylesbury: VFM, 1985. (*) Spoken word recording on audio cassette, including the stories of Robin Hood, Midas, and two Arthurian stories: “King Arthur and Excalibur” and “King Arthur’s Dream.” Narrators: Peter Whitbread and Gillilan Blake. (Information from OCLC WorldCat entry.)

A-2209 Robin, Harry. I, Morgain. Boston, MA: Branden Publishing Co., 1995. As the title suggests, this novel of Arthurian times is narrated by Morgain, Arthur’s half-sister.

Robins, Deri, and Jim Robins: see the entry for “Stone in the Sword” in the Games section.

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A-2210 Robins, Madeleine E. “Nimuë’s Tale.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 145–64. This short story is narrated by Nimuë; she remembers her (accidental) burial of Merlin, and her dismissal by the Lady of the Lake. When Pelleas returns to Broceliande with the Lady, Nimuë must recognize the Lady’s real powers, and use her own.

A-2211 Robinson, Corinne Roosevelt. “Amfortas.” The Call of Brotherhood and Other Poems. New York: Charles Scribner’s Sons, 1912. 9–10. Rptd: The Poems of Corinne Roosevelt Robinson. New York: Charles Scribner’s Sons, 1921. 9–10. In this seven-stanza poem, Amfortas reflects on his guardianship of the Grail and how much he has lost through his “sin.”

A-2212 Robinson, Corinne Roosevelt. “The Failure of King Arthur – Eight Sonnets.” The Call of Brotherhood and Other Poems. New York: Charles Scribner’s Sons, 1912. 65–72. Rptd: The Poems of Corinne Roosevelt Robinson. New York: Charles Scribner’s Sons, 1921. 65–72. A series of eight sonnets, some spoken by an unnamed woman, some by an unnamed man. The content of the poems suggests that Guenevere and Arthur are the speakers; Arthur’s failure would be the conception of Mordred that has “stained” him and his love for Guenevere. First line: “If some fierce wind of hot and alien breath.”

A-2213 Robinson, Edwin Arlington. Lancelot: A Poem. New York: Thomas Seltzer, 1920. Rptd: Collected Poems. New York: Macmillan, 1937. 363–449. – Arthurian Poets: E. A. Robinson. Intro. by James P. Carley. Woodbridge: Boydell Press, 1990. 95–179. Northup and Parry record that this was a “Special edition of 450 copies for the Lyric Society, New York.” This long poem focuses on the end of the Arthurian story, beginning the afternoon before Mordred entraps the queen and Lancelot and ending with Lancelot riding away from the abbey where Guenevere is determined to stay. Gawain is a major character here; his relationship with Lancelot, Guenevere, and Arthur is depicted as crucial to the unfolding of events. While the poem is set after the conclusion of the Grail quest, memories of his quest inform Lancelot’s reactions to the present situation and set up the ending of the poem. Note that Collected Poems appeared in various years (1921, 1929, as well as 1937). In each case, pagination is the same; later editions simply added more poems to the end. Page numbers for the edition given hold true for earlier editions as well.

A-2214 Robinson, Edwin Arlington. Merlin: A Poem. New York: Macmillan, 1917. Rptd: Collected Poems. New York: Macmillan, 1937. 233–314. – Arthurian Poets: E. A. Robinson. Intro. by James P. Carley. Woodbridge: Boydell Press, 1990. 15–94. – In The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York: Garland Publishing, 1990. 277–338. – Extracts. In Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 273–82. This long narrative poem views the fall of Camelot from a distance. Conversations between characters like Gawain, Bedivere, and Dagonet provide information about the happenings at Camelot, but the main focus is on Merlin and his retreat from the world in Broceliande. He wishes to remain there (Vivian’s “enchantment” of him seems to be quite voluntary on his part), but messages from Arthur call him back. Note that Collected Poems appeared in various years (1921,

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1929, as well as 1937). In each case, pagination is the same; later editions simply added more poems to the end. Page numbers for the edition given hold true for earlier editions as well.

A-2215 Robinson, Edwin Arlington. Modred: A Fragment. New York and New Haven: E. B. Hackett, 1929. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 261–65. – Arthurian Poets: E. A. Robinson. Intro. by James P. Carley. Woodbridge: Boydell Press, 1990. 383–87. Northup and Parry observe, “This deleted fragment of ‘Lancelot’ is published now for the first time with the author’s permission and with his corrections.” The poem mainly consists of dialogue between Mordred and his conspirators as they prepare to entrap Lancelot and Guenevere.

A-2216 Robinson, Edwin Arlington. “Siege Perilous.” The Man Against the Sky: A Book of Poems. New York: Macmillan, 1916. 87–88. Rptd: Collected Poems. New York: Macmillan, 1937. 41. A poem of five quatrains. An unnamed person (Galahad perhaps?) contemplates the Siege and eventually dares it despite the warnings. Note that Collected Poems appeared in various years (1921, 1929, as well as 1937). In each case, pagination is the same; later editions simply added more poems to the end. Page numbers for the edition given hold true for earlier editions as well.

A-2217 Robinson, Edwin Arlington. Tristram. New York: Macmillan, 1927. Rptd: Collected Poems. New York: Macmillan, 1937. 593–729. – Arthurian Poets: E. A. Robinson. Intro. by James P. Carley. Woodbridge: Boydell Press, 1990. 181–382. This poem begins and ends with Iseult of Brittany, in the first case waiting for Tristan to return, and at the end reflecting on his death. Morgan is given the role of villain here; the suggestion is that she encourages Andret to kill Tristan. Robinson has compressed events as well; Mark discovers his nephew’s love for Iseult of Ireland on the day of Mark’s wedding to her and exiles Tristan immediately. Note that Collected Poems appeared in various years (1921, 1929, as well as 1937). In each case, pagination is the same; later editions simply added more poems to the end. Page numbers for the edition given hold true for earlier editions as well.

A-2218 Robinson, Mabel Louise. King Arthur and his Knights. Illus. Douglas Gorsline. World Landmark Books W.5. New York: Random House, 1953. A modernization and abridgement of Malory, with a Preface on “King Arthur’s Place in the World.” There are twelve full-page illustrations (B&W engraving, with a red wash), as well as small illustrations at the heads of chapters.

A-2219 Robinson, Philip. “Lines of Tintagel.” Collected Poems. London: Fortune Press, 1967. (*) A poem on Tintagel, including references to its Arthurian associations.

A-2220 Roche, Judith. “Morganna La Fey: The Lessons.” Ghosts. Port Townsend, WA: Empty Bowl, 1984. 45. This poem takes place when Morgan is living in the nunnery, and imagines her restlessness there and her dreams of power.

A-2221 Rock, Nora. “Arthur before Verulamium.” Ore 21 ([1977?]): 15–16. There are four stanzas of different lengths in this poem. The first appears in quotation marks; it is

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a song sung by Bedivere. In the second stanza, Arthur surveys his surroundings, the ruins of the city being overrun with vegetation. In the third stanza, he reflects on his people, believing that to lead them into battle would be to destroy them; however, at the end of this stanza he finds a white horse. The poem ends with Arthur’s decision.

A-2222 Rock, Nora. “Uther.” Ore 20 ([1976?]): 13. This twelve-line poem reflects on Uther’s accomplishments, but at the mid-point of the poem, these reflections turn to questions about Arthur, who is seen as greater, “more than a son of his sire.”

Rodda, Percival Charles: see Holt, Gavin. A-2223 Rodgers, Alan. “Merlin and Viviane.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 166–78. An Arthurian story of the beginning of the love of Merlin for Viviane who is a powerful Fairy Queen (and who is not yet known as the Lady of the Lake). While it mentions a couple of traditional elements of Merlin’s story, it is generally set in a time outside of our world and stories.

A-2224 Rogers, Mark E[arl]. More Adventures of Samurai Cat. New York: T. Doherty, 1986. (*) One adventure with an Arthurian setting.

A-2225 Rojany, Lisa. King Arthur’s Camelot: A Pop-Up Castle and Four Storybooks (Includes 12 Stand-Up Figures). Illus. Làszlò Bàtki. Santa Monica, CA: Intervisual Books; New York: Dutton Children’s Books, 1993. The four storybooks are entitled In Which Arthur Becomes King, In Which Merlin the Enchanter Saves King Arthur, In Which Guinevere Becomes Queen, and In Which Lancelot Becomes a Champion of the Round Table. These books, therefore, cover the first part of the Arthurian story; there is no mention of the events that will destroy the realm. The castle that stands up is very elaborate; the figures include various types of castle inhabitants, like knights, ladies, and jesters, and there is room for them to be set up around the castle.

A-2226 Rolland, John. Ane Treatise Callit the Court of Venus, Devidit Into Four Buikis, Newlie Compylit Be Johne Rolland in Dalkeith. Edinburgh: Printed by Johne Ros, 1575. [STC (P&R) 21258 (ESTC S112993).] Rptd: Ed. Rev. W. Gregor. Scottish Text Society, OS 31. Edinburgh: Scottish Text Society, 1884. A long allegorical poem, in Spenserian stanzas. In a passage on the Nine Worthies in Book 2, there is one stanza on King Arthur (ff. 22–22v: beginning “Arthur the aucht, he was ane Christin king”).

A-2227 Rolleston, T. W. Parsifal; or, The Legend of the Holy Grail, Retold from Antient Sources with Acknowledgement to the “Parsifal” of Richard Wagner. Illus. Willy Pogàny. London: George G. Harrap, [1912]. Rptd: “Parsifal.” Three Love Tales after Richard Wagner: Tannhäuser, Lohengrin, Parsifal. London: George G. Harrap, 1920. 81–128. – Reproduced illustrations: “Parsifal with Spear, the Grail and the Dove,” reproduced (colour) in Day, The Search for King Arthur, 158. – A full set of the illustrations is reproduced on The Camelot Project Website. Ed. Alan Lupack. . A verse rendering of “the story of the Quest of the Cup and the Spear” (Introduction, [7]), divided into six parts: The Coming of the Grail, The Calling of Parsifal, Kundry, Parsifal the Fool, The Spear, The Deliverer. Rolleston’s preface indicates that the poem is primarily based upon

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Wolfram von Eschenbach, but with details supplied from other medieval sources and from Wagner’s opera; Rolleston has Kundry die at a relatively early stage, and introduces a new character, Blanid, as a “noble” love interest for the hero. The book is printed on coloured paper, each page with a decorative border (which changes from chapter to chapter). There are sixteen mounted colour plates, nine colour pictures printed on the page, twenty-seven full-page monochrome line drawings (some with portions in a second colour), and seven partial-page line drawings.

A-2228 Rolleston, T. W. The Tale of Lohengrin, Knight of the Swan. Illus. Willy Pogàny. London: George G. Harrap, [1913]. Rptd: “Lohengrin.” Three Love Tales after Richard Wagner: Tannhäuser, Lohengrin, Parsifal. London: George G. Harrap, 1920. 53–80. A ballad version of Wagner’s story of the swan knight. Rolleston has made some minor alterations, for example, to the end of the story where Elsa asks the forbidden question. The first edition was produced in a large format with only one stanza per page, so that a substantial portion of each page is devoted to designs or to illustrations of the story. There are several full-page colour illustrations and many pen-and-ink drawings.

A-2229 Roose-Evans, James. The Lost Treasure of Wales: An Odd and Elsewhere Story. Illus. Brian Robb. London: André Deutsch, 1977. The seventh and last book about Odd, a small bear, and Elsewhere, a clown. They visit their friend the Great Bear, who was Merlin’s apprentice at Arthur’s court. The lost treasure was left by Merlin in the mountain; the secret to it is in his book of prophecies.

A-2230 Roose-Evans, James. Odd and the Great Bear. Illus. Brian Robb. London: André Deutsch, 1973. The third in a series of children’s books about Odd (a small stuffed bear) and Elsewhere (a stuffed clown), this book has Odd searching for his ancestors and finding out about the Great Bear of Wales. The Great Bear lived in King Arthur’s time and was rescued once by Merlin. He became Merlin’s apprentice and after Arthur’s reign he went to sleep in a mountain until another bear should find and wake him. Odd is able, after many adventures, to find the Great Bear, but they never discover the fabulous treasure the Bear is supposed to be guarding.

A-2231 Roscoe, James. “The Iron Gates: A Legend of Alderley.” Blackwood’s Edinburgh Magazine 45 (Feb. 1839): 271–74. Rptd: The Ballads and Legends of Cheshire. Ed. Egerton Leigh. London: Longmans and Co., 1867. The speaker remembers fondly stories he used to hear from his grandmother, and then proceeds to tell one of them. A miller with a particularly fine horse is met one night by a monk who takes him into a cave where there are many knights sleeping, and into another cave where their horses sleep. The monk purchases the miller’s horse to be Arthur’s war horse when he and the knights awake. Merlin is said to be responsible for the enchanted sleep. This is the folktale of the Wizard of Alderley Edge, retold with the wizard replaced by a monk, and the farmer, who is going from Mobberley to Macclesfield to sell his horse, replaced by a miller, who has no intention of parting with his horse. The earliest known version of the legend appeared in correspondence in the Manchester Mail in 1805 (a report of a tale told by a servant, one Thomas Broadhurst); it was also the focus of a short pamphlet, reporting the tale as told by the local priest, Parson Shrigley, and printing a versified version of the tale, “The Legend of the Iron-Gates” (beginning: “The writhing mists of Autumn’s sky”): The Cheshire Enchanter; or, The Legend of the Iron Gates (Macclesfield: Printed by James Swinnerton, n.d.). It was further popularized by William E. A. Axon in his Cheshire Gleanings (Manchester: Tubbs, Brook and Chrystal, 1884). In the earlies versions, the king under the hill and the wizard are unnamed, though other versions, as here, identify the king as Arthur and the wizard as Merlin.

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A-2232 Rosen, Winifred. Three Romances: Love Stories from Camelot Retold. Illus. Paul O. Zelinsky. New York: Alfred A. Knopf, 1981. Rptd: Tadworth, Surrey: World’s Work, 1984. This book chooses three Arthurian couples and retells their stories: “The Marriage of Sir Gawain and Dame Ragnell,” “Enid and Geraint,” “Merlin and Niniane.”

A-2233 Ross, JoAnn. Untamed. Harlequin Temptation 605. Toronto and New York: Harlequin Books, 1996. Rptd: Richmond: Mills and Boon, 1997. There are a couple of direct references to Morgan le Fay, Merlin and Arthur, also allusions to the legend in the name of the cartoon character the male protagonist creates: Morganna, a witch. These references are rather slight, but they attempt to create a sense of real and ancient magic; the female protagonist, Tara, has magic powers.

A-2234 Ross, Maggie. “Gawain the Impossible.” The Transatlantic Review 40 (Summer 1971): 86–87. This poem of sixteen lines surveys Gawain’s characterization in various romances, particularly representations of him as a sun-god.

A-2235 Rossetti, Dante Gabriel. “God’s Graal.” The Works of Dante Gabriel Rossetti. Ed. William M. Rossetti. London: Ellis, 1911. 239. This unfinished poem has five stanzas, some incomplete. The two longest, most complete, stanzas concern Lancelot on his Grail quest. William Rossetti suggests that it was written in 1858, but it was first published in this collection.

A-2236 Rossetti, Dante Gabriel. “Lancelot and Guenevere.” The Works of Dante Gabriel Rossetti. Ed. William M. Rossetti. London: Ellis, 1911. 587. William Rossetti groups this in the prose section because it is an outline for a work (probably a poem) that was never completed. Each of the five points of the outline begins “How” (for example, the first begins “How Sir Lancelot was made a knight.”) Based on the outline, the proposed work would have concerned the Grail quest and the end of the story, when Lancelot and Guenevere are trapped by Mordred, and when they meet for the final time at Arthur’s tomb.

A-2237 Roth, Kurt. “The Gest of Sir Brandiles.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 148–64. Gawain comes to the Isles to recruit Sir Brandiles and falls in love with Ragnelle, Brandiles’ sister. The charm that Gawain wears, given to him by his Aunt Morgan, destroys that relationship and Brandiles swears to avenge his sister.

A-2238 Rotsler, William. Mr Merlin, Episode 1. New York: Simon and Schuster, 1981. In this novelization of the first episode of the TV series, Max Merlin tries to find a new apprentice. He chooses Zac, the boy who pulls the crowbar out of the pail of cement in front of the garage where Merlin works. Zac finally agrees to be an apprentice, and, after a disastrous attempt to create a love potion, he learns about responsibility and the use of magic. Merlin reflects fondly on his Arthurian past, and there are allusions to a number of other Arthurian works: T. H. White’s The Once and Future King, John Steinbeck’s The Acts of King Arthur and His Noble Knights, the comic strip Prince Valiant, and the films Excalibur, Camelot, and Monty Python and the Holy Grail. Note that Rotsler wrote this novelization based on a teleplay by Larry Tucker and Larry Rosen.

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A-2239 Rotsler, William. Mr Merlin, Episode 2. New York: Wanderer Books / Simon and Schuster, 1981. The title-page says this is “an original novel . . . based on characters created by Larry Tucker and Larry Rosen.” Zac, while out on a date, uncovers a plot to destroy the Oakland-Bay Bridge. He must figure out a way to save Julie, Merlin, and San Francisco. Because Mr Merlin suffers from a concussion part way through the rescue, he keeps getting confused and talking about various Arthurian characters. He even recites a few lines from Idylls of the King at one point.

A-2240 Rowe, David. The Illustrated History of the World: With Pictures Taken from the Pages of The Big Shiny Thing in the Sky. Stamford, Lincolnshire: Paul Watkins, 1990. This book imagines events from world history as they might have been reported by tabloids like the Sun newspaper. Each page has a different “front page” from a different time period, complete with large headlines and pictures (often nudes). Arthurian characters mentioned include Vortigern, Lancelot, Guenevere, Galahad, Arthur, and Merlin (who has an ad for magical products).

A-2241 Rowley, William, and William Shakespeare [attrib.]. The Birth of Merlin; or, The Childe hath found his Father. As it hath been several times Acted with great Applause. Written by William Shakespear, and William Rowley. London: Printed by Tho. Johnson for Francis Kirkman and Henry Marsh, 1662. [STC (Wing) R2096 (ESTC R7261).] Rptd: A Critical, Old-Spelling Edition of “The Birth of Merlin” (Q 1662). Ed. Joanna Udall. Modern Humanities Resarch Association (MHRA) Texts and Dissertations 31. London: Modern Humanities Resarch Association, 1991. – The Birth of Merlin; or, The Childe Hath Found His Father. In Arthurian Drama: An Anthology. Ed. Alan Lupack. Garland Reference Library of the Humanities 1276. New York and London: Garland Publishing, 1991. 3–65. – Extracts: In Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 159–65. The two main plots in this drama concern Merlin’s mother’s search for the unknown father of her baby, and Aurelius’ marriage to a Saxon princess who betrays him. Merlin is full-grown shortly after his birth, and he rejects the incubus who fathered him, choosing instead to help his mother and to prophesy for Uther. The title-page credits Shakespeare as a co-author, but there has been much debate about the likelihood or the degree of his involvement. Udall presents an edition of the play with a substantial introduction and notes, including a discussion of the question of authorship; she concludes that it is a composite work and that any playwright of the period could have had a hand in its composition.

Rowley, William: for The Mayor of Queenborough (sometimes attributed to Rowley, and with parallels to The Birth of Merlin), see the entry under Middleton, Thomas. A-2242 [Rugrats (T.V. programme).] The Quest for the Holey Pail. By Sarah Willson. The Rugrats Files 3: A Time Travel Adventure. New York: Simon Spotlight / Nickelodeon, 2000. A children’s story, using the characters from the animated television program “Rugrats.” The Rugrats travel back in time to Camelot, where they must achieve certain knightly adventures.

A-2243 Rusch, Kristine Kathryn. “Familiar Territory.” In Wizard Fantastic. Ed. Martin Harry Greenberg. New York: DAW, 1997. 256–67. An American wizard provides funeral rites for his cat (also his familiar), Buster. Buster has requested a Viking funeral because he has heard that Merlin created this type of funeral barge for King Arthur.

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A-2244 Rush, Alison. The Last of Danu’s Children. London: Allen and Unwin, 1981. (*) Rptd: New York: TOR, 1982. Children’s novel.

A-2245 Rutley, C[ecily] M[arianne]. Stories of King Arthur’s Knights. Illus. Alfred Pearse. Companion Stories for Boys. London: R[eligious] T[ract] S[ociety] Office, [1929]. Rptd: Dominion Library Series. London: Lutterworth Press, 1951. This book for children retells eight stories from the legend drawing on Malory and Tennyson. The stories have obviously been selected for their appropriateness for children; the Grail quest is retold but the various Arthurian love affairs are not. There is one half page, full-colour illustration of the last battle, but the artist is not named.

A-2246 Ryan, Lawrie. The Fairies’ Midwife. Rydalmere, NSW: Hodder Headline Australia, 1998. In this novel, a young woman tries to discover the identity of her father, and ends up living in a mysterious house with two elderly women who are being menaced by an unscrupulous nephew and a gang of thugs. While the majority of the book has no Arthurian allusions, the very end reveals that a piece of wood that is a family heirloom is reputed to be a piece of Arthur’s Round Table; as a result the family is protected by “Merlin’s curse,” a dragon who guards the family. The wood and the dragon do have recurring roles in the story.

A-2247 Ryan, W. P. King Arthur in Avalon. London: Andrew S. Curtis, [1934]. This one-act poetic drama is set in modern times. Merlin is teaching students to serve the Grail; it is a drama essentially of the students learning the mysticism necessary to achieve spirituality and selflessness. When students reach a certain stage in their education, they meet King Arthur who endorses them as Grail knights.

A-2248 Saberhagen, Fred. Dominion. The Dracula Series. New York: Pinnacle Books, 1982. Part of Saberhagen’s vampire series, this novel features some Arthurian characters (Artos, Medraut, Niniane).

A-2249 Saberhagen, Fred. Merlin’s Bones. New York: TOR Books, 1995. This Arthurian fantasy novel includes many characters and allusions to the legend, such as Merlin, Ambrosius, Vivian, and a man named Fisher who walks with a limp. There are a number of time shifts for readers and for the characters, so that there are chapters set just after Arthur’s death, but also chapters set in the twenty-first century.

A-2250 Sabuda, Robert. Arthur and the Sword. New York: Atheneum, 1995. This book retells the story of the sword in the stone. It begins with the sword’s appearance outside the cathedral, when “a glorious light blazed through the ancient stained glass windows.” The illustrations pick up on this detail, as all of them are brilliantly coloured and done in the style of stained glass. The story ends with Arthur about to become king.

A-2251 St Andre, Ken. “The Triple Death.” In Enchanted Forests. Ed. Katherine Kerr and Martin H. Greenberg. New York: DAW Books, 1995. 38–48. Waiting in vain for a marvel to begin a feast at Camelot, the court is relieved when Gawain offers to tell a story of a marvellous adventure. His story takes place before Arthur’s crowning, when Merlin visits Lot’s court. Lot tries to trick the enchanter to prove him a fraud and so puts Gawain in disguises to have his fate foretold. Merlin gives a different prophecy of the lad’s death each time, and of course the prediction comes true in an unforeseen way. As to why Gawain is not dead, he leaves that to be told the next time a feast is late in starting.

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A-2252 St John, Nicole [pseud.], [i.e., Norma Johnston]. Guinever’s Gift. New York: Random House, 1977. A search for the tomb of King Arthur in 1909 provides the opportunity, in this novel, for the recreation of the Arthurian love triangle with twentieth-century participants.

A-2253 Sale, James. “Nimue.” Ore 39 ([1990?]): 28. Nimue is the speaker of this nineteen-line poem, and she recognizes that “Only Merlin” could have prevented the end of Arthur’s kingdom. Nimue can try to deflect the death-blow, but cannot entirely succeed. There is a sense of her regret to be a witness of the inevitable fall of these characters.

A-2254 Salmon, Arthur L. “The Grail.” In Modern Poetry 1922–1934: An Anthology. Ed. Maurice Wollman. London: Macmillan, 1934. 201–2. A three-stanza poem, spoken in the first person. If that speaker is interpreted as a Grail knight (which the use of the word “questing” could support), then the poem is Arthurian; if the speaker is seen as a modern-day person seeking the Grail in twentieth-century life, then it is not Arthurian (by our earlier definition), as only the Grail is mentioned.

A-2255 Salmonson, Jessica Amanda. “Namer of Beasts, Maker of Souls: The Romance of Sylvester and Nimuë.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 322–59. “Sylvester” is another name for Merlin; Salmonsen rewrites the stories of Balin and Balan, Pelleas and Ettard, and Merlin and Nimuë.

A-2256 Sampson, Fay. Black Smith’s Telling. Daughter of Tintagel 3. London: Headline Book Publishing, 1990. The third book of the series is narrated by Teilo Smith, a blacksmith and leader of the old religion who sees Morgan on her wedding day and tries to impress her (with disastrous results). Besides telling us of Morgan’s marriage, Smith spends time in Nimue’s valley where Arthur is being raised, so we are given details of Arthur’s rise to power.

A-2257 Sampson, Fay. Daughter of Tintagel. London: Headline Book Publishing, 1992. An omnibus edition of the series: Wise Woman’s Telling, pp. 1–128; White Nun’s Telling, pp. 129–273; Black Smith’s Telling, pp. 274–442; Taliesin’s Telling, pp. 443–588; Herself, pp. 589–822.

A-2258 Sampson, Fay. Herself. Daughter of Tintagel 5. London: Headline Book Publishing, 1992. The last book in the “Daughter of Tintagel” series has two narrators. Morgan tells her own story, covering events already presented earlier in the series, but from her point of view. It also continues beyond the end of Taliesin’s Telling to show Morgan’s encounter with Arthur after Camlann, with Arthur giving up the sword and being taken to Avalon. The second narrator is a “meta-Morgan,” a character outside of this series, who comments on the development of her character in literature (and in this series).

A-2259 Sampson, Fay. “Just Cause.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 283–305. While this story of Sir Uwain is original to this anthology, the characters and events fit into the Arthurian world created by Sampson in her Daughter of Tintagel series. Sampson rewrites the story of Morgan and Accolon from Uwain’s point of view. He is changed by Morgan’s magic into the white hart that leads Arthur, Accolon, and Uriens to the magic ship. Morgan also sends Uwain

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to take the false Excalibur to Arthur. And it is Uwain, with Morgan, who seizes the scabbard and disposes of it, ensuring a limit to Arthur’s reign.

A-2260 Sampson, Fay. Taliesin’s Telling. Daughter of Tintagel 4. London: Headline Book Publishing, 1991. The narrator for this fourth book of Sampson’s series is Taliesin, bard of Urien. As the bard at Morgan’s court, he is able to relate events happening there, particularly since he becomes Morgan’s lover. Guenevere’s abduction in this version is resolved by Mordred’s rescue; they become lovers, and Guenevere attempts to usurp Arthur’s throne, claiming her right as queen, by the old ways. The novel ends just before the battle of Camlann.

A-2261 Sampson, Fay. White Nun’s Telling. London: Headline Book Publishing, 1989. The second book of the “Daughter of Tintagel” series is narrated by Luned, a nun, who is assigned to watch Morgan during their time at the convent at Tintagel, but ends up her unwilling servant and accomplice. The story ends with Morgan’s release from the convent; Mark has arranged for her marriage. Arthur is being raised by Merlin and Nimue, but Morgan is determined to find him.

A-2262 Sampson, Fay. Wise Woman’s Telling. Daughter of Tintagel 1. London: Headline Book Publishing, 1989. This first book of a five-book series is narrated by Gwennol, Morgan’s nurse. It covers the period of Morgan’s early childhood and Arthur’s conception and birth. Igerne, Morgause, and Elaine are major characters. Like several of the novels in the series, it is rather graphic in sexual description and birth scenes.

A-2263 San Souci, Robert D. Young Arthur. Illus. Jamichael Henterly. A Doubleday Book for Young Readers. New York: Delacorte Press / Bantam Doubleday Dell Publishing Group, 1997. Fourth in San Souci’s series of Arthurian stories for children, this book begins with Arthur’s birth and ends with his defeating the rebel kings at Caerleon. San Souci uses traditional elements such as Ector’s fostering of the boy Arthur, the tournament where Arthur, as Kay’s squire, pulls the sword from the stone to give to Kay, and the giving to Arthur of Excalibur. This latter incident occurs during the quelling of the rebellion: the sword which Arthur took from the stone breaks in battle, so Merlin magically spirits Arthur away to receive Excalibur, with which he is then able to win the battle. Kay’s jealousy is emphasized in this version; as well, the fosterage of Arthur is occasioned by Igerne’s death and Uther’s subsequent despondence.

A-2264 San Souci, Robert D. Young Guinevere. Illus. Jamichael Henterly. New York: Doubleday Books for Young Readers, 1993. Rptd: A Picture Yearling Book. New York: Picture Yearling / Bantam Doubleday Dell Books for Young Readers, 1996. The second in San Souci’s series of Arthurian stories for children. Guinevere, growing up in Cameliard, on the edge of the Perilous Forest, spends much of her time like the goddess Diana in the woods. Her father, King Leodogran, keeps Merlin’s Round Table for the future king, though he does not know who the king will be; in the opening scene of the story, an old wise woman tells Leodogran and Guinevere that the king will be Arthur, and he will seek Guinevere to be his bride. Years later, Cameliard is besieged by Rion, a baron who refuses to acknowledge Arthur as king; since they fear to go through the forest, the messengers, who are sent by Leodogran to inform Arthur of the siege and to seek his aid, repeatedly fail. Guinevere then volunteers to take the message to Arthur at Tintagel by passing through the Perilous Forest. She crosses the Perilous River, which she has never crossed before because of the Beast that dwells on the other side; in her encounter with the Beast, she is aided by a wolf-boy whom she came upon earlier in the story (wounding him when in the shape of a wolf, but extracting the arrow when she comes upon him again in the shape of a boy). She reaches Tintagel and delivers her appeal for aid, and Cameliard is

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saved. At the same time, Arthur and Guinevere meet for the first time, and Arthur, despite Merlin’s warnings, finds himself in love. The story ends as, one year later, Guinevere is escorted (by Merlin, not Lancelot) to Camelot to be married.

A-2265 San Souci, Robert D. Young Lancelot. Illus. Jamichael Henterly. A Doubleday Book for Young Readers. New York: Delacorte Press / Bantam Doubleday Dell Publishing Group, 1996. In this, the third of the series, San Souci tells of Lancelot’s birth, the death of his parents, his nurturing by the Lady of the Lake, and his first quests as a knight of Arthur’s Round Table. He goes to Arthur’s court when he is grown intending to prove himself the mightiest knight. During the course of his quests he learns to be less concerned with his own glory than with the welfare of others: through a testing at the Chapel Perilous, which he fails to achieve by strength of arm alone, he learns that sympathy is also necessary in order for him to be the greatest knight in the world. While Guinevere appears in the last scene of the book, there is no hint of their future relationship. An author’s note at the back of the book explains that this is based primarily upon the Old French Lancelot du Lac as well as several modern retellings (Sir James T. Knowles, Howard Pyle, Blanche Winder, and Roger Lancelyn Green).

A-2266 San Souci, Robert D. Young Merlin. Illus. Daniel Horne. New York: Doubleday Books for Young Readers, 1990. Rptd: A Picture Yearling Book. New York: Picture Yearling / Bantam Doubleday Dell Books for Young Readers, 1996. A children’s story of Merlin’s early life, from his birth to the death of Ambrosius and the raising of the Giants’ Dance (Stonehenge) over Ambrosius’ grave. Merlin’s birth is shrouded in some uncertainty, but is not necessarily supernatural: his father appears to be human, except for a certain light in his eyes; he abandons mother and child when Merlin is born, and villagers say that he may have been an elf or a demon. Merlin’s mother was not a nun, but she lives in the nunnery after the “stranger” leaves, and after her death Merlin is raised by the nuns as a ward of the Church. The orphan Merlin is mischievous and irreverent, and spends much of his youth in the woods, where he has charmed the animals and rides a stag as his mount. From an early time he shows himself to be a seer and prophet, wizard and shape-shifter. The central and longest episode in the story is the tale of Vortigern’s tower; San Souci incorporates three evidences of Merlin’s “sight” as he journeys as a captive of the soldiers on the way to meet Vortigern. Towards the end of the story, there is another triple display of Merlin’s power (now as a shape-shifter), when Uther seeks for Merlin in the woods.

A-2267 Sanderson, Jeannette. “Sir Gawain and the Green Knight.” The Middle Ages: 8 Short Plays for the Classroom with Background Information, Writing Prompts and Creative Activities. Read Aloud Plays. New York: Scholastic, 1998. 83–96. This book is aimed at Grades 4 to 8 (ages approximately 9–13) and contains plays about figures such as Rowland, Robin Hood, Joan of Arc and Griselda as well as Sir Gawain. The play follows the events of the medieval poem quite faithfully, through a number of fairly short scenes. A narrator fills in information, even the reactions of various characters (instead of stage directions indicating these).

A-2268 Sapir, Richard Ben. Quest. New York: E. P. Dutton and Co., 1987. An American businessman decides to sell his lucky piece – a golden chalice – only to be killed for it. The gold chalice does contain the original Grail. The resulting quest is explicitly compared to the Arthurian quest, with one of the searchers comparing himself to Galahad; another of the searchers is a Perceval-like fool. There are also references to and quotations from various Arthurian romances.

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A-2269 Sas, Zbigniew. “Epigraphs for a Lover.” Ore 43 ([1992?]): 4–5. The poem is divided into three sections, each one using different imagery to describe the lover and the relationship between the lovers. The end of the last section calls the lover “Gwen” and compares their love to “Lancelot’s rapture” and “Perceval’s pain.”

A-2270 Saul, G[eorge] B[randon]. “The Fair Esellt: A Play.” Hound and Unicorn: Collected Verse – Lyrical, Narrative and Dramatic. Philadelphia: Walton Press, 1969. 217–53. Saul’s note to the play says that it “eliminates the supernatural and magical accretions and extravagances of medieval romance” (219), but he has included many well-known parts of the story. The play begins when Tantris arrives wounded in Ireland after the fight with Marhault, and he is cured by Iseult. He slays the dragon to win her for Mark, but the two declare their love for each other before they reach Cornwall, so Iseult’s servant takes her place in Mark’s bed. The play ends with the episode of the black sails (the only scene that is set in Brittany). The play is divided into ten parts with a “Master of the Revels” who narrates between scenes.

A-2271 Saward, William T. “Tintagel, Part 1.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.1 (Oct. 1929): 6–7. “Tintagel, Part 2.” 1.2 (Jan. 1930): 45–49. “Tintagel, Part 3.” 1.3 (Apr. 1930): 72–76. This poem, in blank verse, celebrates the island of Tintagel as Camelot, where once Arthur and Guenevere dwelt, and which represents amid the crashing waves “King Arthur’s England! / The Great Hope of the World!” (ll. 20–21). In the second part, “Young men and maidens [who have] toyed with their golden Visions” here in Tintagel-Camelot are named: “Elaine, the Lily maid of Astolat – / Iseult, of the gentle hands, and Guinevere, / With a bevy of fair ladies in her train” (ll. 37–39); also, a number of the knights are named (Tristram, Percivale, Gawain, Gareth, Lancelot, and Galahad), as well as Merlin. The poet then recounts a pair of visions, which are narrated in some detail: the first is of the “fall” of Guinevere and Lancelot; the second is of the appearance of the Holy Grail in Camelot and the beginning of the Quest. In Part 3 the poet celebrates the many “pilgrims” who are coming to Tintagel “To stand in Arthur’s Hall – to vow the Vows, / To claim the Sanctuary of an Endless Life” (ll. 11–12); a description of the Hall and the ideals of the Fellowship are included, and the poem concludes with a declaration that the King – perhaps Arthur, perhaps Galahad – will come again. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-2272 Saxby, H. Maurice. “King Arthur: The Stuff of Heroes.” In The Great Deeds of Superheroes. Illus. Robert Ingpen. Newtown, NSW: Millennium Books; [London]: Dragon’s World / PaperTiger, 1989. 130–41. Rptd: New York: P. Bedrick Books, 1990. The book is a collection of retellings of the tales of King Arthur, Roland, Cú Chulainn, Samson, and Jason. The brief retelling of the story of Arthur focuses upon his birth, the sword in the stone episode, and the Battle of Camlann.

A-2273 Sayers, Dorothy L. Op. I. Oxford: B. H. Blackwell, 1916. (*) A collection of poems, some said to be Arthurian.

A-2274 Scales, Keith. A Fool in the Forest. Portland, OR: LEO, 1994. (*) Audiobook.

A-2275 Scarborough, Elizabeth Ann. “The Camelot Connection.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 47–82. When a twentieth-century self-help TV talk-show host decides to “fix” things in Camelot, he transfers his consciousness into Merlin, and tries to set things right with Arthur, Lancelot, and Guenevere. Morgan and Mordred attempt to capitalize on the mayhem that results, and only a

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maladjusted dragon can set things right again. The story is narrated by the self-help guru’s younger lover, who shares the experience with him.

A-2276 Scarborough, Elizabeth Ann. “The Queen’s Cat’s Tale.” In Catfantastic II. Ed. André Norton and Martin H. Greenberg. New York: DAW Books, 1991. 235–52. The narrator of this story is a witness to the events in the last days of Camelot: it is Guenevere’s cat who speaks. The cat tried to prevent Mordred from trapping Lancelot and Guenevere; the cat, unlike the people, realized that Mordred’s supposed cat was Morgan in disguise, casting spells on Lancelot and other knights. In this version, Arthur knows that the supposed affair has been caused by Morgan’s potions, but he cannot convince the other knights of that and must try the queen. There is no final battle, however; Arthur retires to Avalon.

A-2277 Schaller, Robert Clark. “Ballade of Avilion.” The Throne of Merlin. Chicago: Argus Books, 1937. 74. A poem whose three stanzas each compares the beauties of this world with the unimaginable beauties of a mystical place called Avilion. In the four-line envoi, the speaker commands his soul to set sail for this place and never rest until it is found. While the poem does not refer to the Arthurian legends in any other way, Schaller uses this spelling for Avalon in “The Throne of Merlin” (see below).

A-2278 Schaller, Robert Clark. “The Throne of Merlin.” The Throne of Merlin. Chicago: Argus Books, 1937. 98–102. This poem begins by summarizing Merlin’s many deeds in the Arthurian legend and then tells the story of his attempt to reach Avalon (here spelled Avilion). Merlin’s speeches about this place characterize it as the realm of the gods, and so his desire to reach it becomes a rather Promethean overreaching. He finishes a throne that will take him to Avalon, but destroys it after being warned by the Lady of the Lake.

A-2279 Scheltema, Daniel H. “Hope’s Edge.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 265–66. This poem dramatizes the cycle of hope and despair; the beginning stanzas are repeated (with slight variations) at the end in reverse order, so that one moves from the initial statement and then back to that statement. The central image of the poem is the hand of the Lady of the Lake holding aloft Excalibur (or taking it back).

A-2280 Schiller, Barbara. The Kitchen Knight. Illus. Nonny Hogrogian. New York: Holt, Rinehart and Winston, 1965. (*) Rptd: A Holt Owlet Book. New York: Holt, Rinehart and Winston, 1972. A retelling of the story of Gareth, based on Malory. (Information from library catalogues.)

A-2281 Schiller, Barbara. The Wandering Knight. Illus. Herschel Levit. New York: E. P. Dutton and Co., 1971. (*) A retelling based on Malory; the “wandering knight” of the title is Lancelot. (Information from library catalogues.)

A-2282 Schimel, Lawrence. “Belleus’s Demon.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 213–18. Schimel rewrites the story of Lancelot and the knight in the pavilion, Sir Belleus, who mistakes the sleeping Lancelot for his wife. The story is told from Sir Belleus’ perspective.

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A-2283 Schimel, Lawrence. “Nights of the Round Table.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 179–81. A poem about a boy growing up in the midst of his parents’ fights. On his birthday, he orders a drink that comes with a plastic sword to hold the garnish; he imagines pulling the sword from the stone. There are also allusions to Merlin’s imprisonment.

A-2284 Schimel, Lawrence, and Mark A. Garland. “Shrouded in Mist.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 178–84. One of Arthur’s knights, during the quest for the Grail, finds a mysterious stranger and is given the Shroud of Christ to heal the Wasteland. The name of the hero / narrator is never revealed, but other Arthurian characters are mentioned.

A-2285 Schimel, Lawrence, and Martin H. Greenberg, ed. Camelot Fantastic. New York: DAW Books, 1998. An anthology of seven previously unpublished novellas. All are set in Camelot, at least for part of the action. For details of individual works, see Mike Ashley, “The Bridge of Fire”; Rosemary Edghill, “The Sword of the North”; Gregory Maguire, “Builder of Keeps”; Ian McDowell, “The Feasting of the Hungry Man”; Fiona Patton, “The Raven’s Quest”; Nancy Springer, “The Queen’s Broidery Woman”; and Brian Stableford, “The Architect of Worlds.”

A-2286 Schubert, David. “Gawayn and the Green Knight.” Quarterly Review of Literature 19.1/2 (1974): 120–21. This poem uses the story of Sir Gawain and the Green Knight, particularly the encounter at the chapel, to reflect on a modern situation and the speaker’s own distaste for competition.

A-2287 Schwader, Ann K. “Merlin.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 12. In this Shakespearean sonnet, Merlin reflects on his fate in the crystal cave and wishes for Arthur’s more peaceful sleep in the “holy isle.”

A-2288 Schwader, Ann K. “She of the Lake.” Mythic Circle 8 (Early summer 1989): 33. A note at the end of the poem says that it is “from ‘Avalon and After.’” This Shakespearean sonnet is spoken by one of the “Three queens of faerie” who take Arthur to Avalon to be healed.

A-2289 Schwartz, Lynne Sharon. “King Arthur and His Sword.” Plays: The Drama Magazine for Young People 21 (Mar. 1962): 51–57. (*) A play.

A-2290 Schweitzer, Darrell. “The Dragon of Camlann.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 391–405. This story of Sir Artegall takes place during the battle of Camlann. Artegall and his brother must fight a supernatural dragon to determine the outcome of Arthur’s dream.

A-2291 Schweitzer, Darrell. “The Epilogue of the Sword.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 459–70. Lancelot emerges from the monastery to retrieve Excalibur and help Constantine. The White Lady who guides him is a vision of Guenevere.

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A-2292 Schweitzer, Darrell. “The Knight of Pale Countenance.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 391–407. A young monk records “preposterous” tales told by the aging Merlin, and he carries them to Camelot, where such tales might be believed.

A-2293 Schweitzer, Darrell. “Midnight, Moonlight, and the Secret of the Sea.” We Are All Legends. Ed. Hank Stine. Illus. Stephen Fabian. Virginia Beach: Donning Co., 1981. Rptd: Vol. rpt. as We Are All Legends. Ed. Hank Stine. Illus. Stephen Fabian. Starmont Popular Fiction 4. Mercer Island: Starmont House, 1988. – Story rpt. in The Pendragon Chronicles. Ed. Mike Ashley. London: Robinson Publishing, 1990. 385–401. This story is told by Julian, a knight of the Crusade; his quest on his return from the Crusades includes setting free twelve witches previously bound by Merlin, staying in Wasteland kingdom ruled by a wounded king, and meeting three Grail knights (Gawain, Galahad, Bedivere). (We have seen the story only as reprinted.)

A-2294 Schweitzer, Darrell. “Saxon Midnight.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 183–93. A story set two generations after Arthur’s death. The narrator tells his young son stories of Arthur, Lancelot, Guenevere, and Camelot, but goes mad when his son is killed by Saxons. He unburies a dead knight who goes on an endless ride of revenge until they finally reach Camelot where the Grail appears; the knight is revealed to be Mordred. (The story is original to this anthology.)

A-2295 Schweitzer, Darrell. “Told by Moonlight.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 374–79. This story takes place after the fall of Camelot and involves Lancelot and Mordred.

A-2296 Schweitzer, Darrell. “The Unwanted Grail.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 185–94. Theodorus, a peasant boy, finds a wounded knight and begins to steal from him, but Ufilias, the knight, commands him to become a knight and continue the Grail quest.

A-2297 Scieszka, Jon. Knights of the Kitchen Table. The Time Warp Trio. Illus. Lane Smith. New York: Viking Penguin, 1991. Rptd: New York: Puffin Books / Penguin Group USA, 1996. One of a series of time travel stories featuring a group of three young boys from modern New York (Joe, Fred and Sam), who have a magician’s book which grants wishes (other stories in the series take them onto a pirate ship, into the old west, back to the age of the neanderthals, and forward to the year 2095). In this story, which resembles in some general respects A Connecticut Yankee in King Arthur’s Court (three modern children raised on television encounter a quasi-medieval culture), the three are transported to the realm of King Arthur, and find themselves immediately under attack. By means of their ingenuity (and their advantage of speed over an armoured knight), they overcome the Black Knight, for which they are praised by Sir Lancelot, Sir Percival, and Sir Gawain, who conduct them to Camelot. There they meet Arthur and Guenevere, and they are challenged by Merlin as to their “magical” powers. They rescue Camelot from two besiegers, a dragon (Smaug) and a giant (Bleob), for which they are made Knights of the Round Table; they are then assisted by Merlin (and his magic book) to return home.

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A-2298 Scooby-Doo! and the Haunted Castle. By James Gelsey. A Little Apple Paperback. New York: Scholastic / W.B. [Warner Brothers] Worldwide Publishing, 1998. The “Cartoon Network” logo also appears on the title-page. A novelization of an episode of the animated children’s television series, in which four friends and a talking dog (Scooby-Doo) solve “mysteries,” usually offering rational explanations for ghostly apparitions. In this story, Fred, Daphne, Velma, Shaggy, and Scooby-Doo are in Scotland, and have a flat tyre outside Montgomery Castle; enquiring at the castle for a telephone, they are led into an investigation of the castle’s ghost. The castle’s collection of armour is frequently mentioned, leading to Shaggy making playful references to the Knights of the Kitchen Table, and at one point there is a sword-fight between Shaggy (giving himself the name Sir Loin of Beef) and the dog (Sir Scoobalot), battling over the dinner roast. See also the entry for “Scooby-Doo! and the Haunted Castle” in the “Film, Television, and Radio” section.

A-2299 Scott, Dennis. The Fantasy of Sir Gawain and the Green Knight. New Orleans: Anchorage Press, 1978. Rptd: Waterford, CT: O’Neill Press, 1979. A drama based on the medieval romance of Sir Gawain and the Green Knight, first performed at the National Theater of the Deaf (of the O’Neill Centre in Connecticut) in 1977.

A-2300 Scott, Sir Walter. The Bridal of Triermain; or, The Vale of St John: A Lover’s Tale in Three Cantos. Edinburgh: John Ballantyne and Co.; London: Longman, Hurst, Rees, Orme, and Brown; and Gale, Curtis, and Fenner; Philadelphia: Bradford and Innskeep, 1813. In the introduction to the poem, the author notes that part of this was published as a fragment in Edinburgh Annual Register in 1809 (see “The Vision of Triermain”). The poem begins with a lover imploring his love to accept his suit; he warns her against pride by telling a story of Triermain, who falls in love with a woman who has been cursed. Within this story, a sage tells a story of Arthur’s time. Arthur visits the Vale of St John and dallies with a woman there; she is an enchantress who later sends their daughter to him to hold him to the vows he made. Accordingly, Arthur holds a tournament that turns deadly for many knights, but the daughter refuses to stop the carnage. Merlin interrupts and casts a spell on her, which suggests it is Arthur’s daughter that Triermain loves. (See also the entries for “Aguilar, Emanuel”; “Close, Alan Parker”; and “Corder, Frederick, The Bridal of Triermain” in the Music section.)

A-2301 Scott, Sir Walter. Sir Tristrem: A Metrical Romance of the Thirteenth Century. Edinburgh: Archibald Constable and Co., 1804. A scholarly edition of a medieval poem, Sir Tristem by Thomas of Erceldoune (also called Thomas the Rhymer); Scott has divided the poem into three “fyttes” and provided a summary for each of them. However, the manuscript of the medieval poem is incomplete, and Scott has finished the story. The medieval poem recounts the history of Tristan’s parents, his childhood, his slaying of Marhault and his love of Iseult; Scott supplies the ending of the tale, where Tristan, wounded by a poisoned arrow, sends for Iseult to cure him and dies when his wife tells him that the ship’s sails are black. Scott maintains the verse form and diction of the original in this conclusion and draws on other medieval stories of Tristan.

A-2302 Scott, Sir Walter. “Thomas the Rhymer: Part Third.” Minstrelsy of the Scottish Border: Consisting of Historical and Romantic Ballads Collected in the Southern Counties of Scotland, with a Few of Modern Date, Founded upon Local Tradition. 3 vols. Kelso: Printed by James Ballantyne, for T. Cadell, jun. and W. Davies, 1802–1803. Rptd: Introduction by Alfred Noyes. London: A. Melrose, 1908. 121–27. – A portion of the poem is reprinted in Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 63–65.

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While many items in the Minstrelsy are traditional ballads collected by Scott, this poem is one written by him to supplement two existing poems about Thomas the Rhymer, a man who spends seven years in Fairyland. In Scott’s poem, Thomas plays an elfin harp at a feast; the song he sings is the tale of Tristan and Iseult, although other Arthurian characters are mentioned as well. At the end of the poem, messengers from Fairyland escort Thomas away, and he is never seen again.

A-2303 Scott, Sir Walter. “The Vision of Triermain.” Edinburgh Annual Register 2.2 (1811): 596–99. “The Vision” is one section of a work called “The Inferno of Altisidora.” The “Inferno” begins with a long preface (pages 582–91) about the supposed author and the experience that led him to a vision (and a source of the poems that follow). The first fragment (called “The Poacher”) appears on pages 591–95; the second fragment also appears on page 595. The third fragment is the poem “The Vision of Triermain,” which itself is divided into eight sections. The Baron has a vision of a beautiful woman, and he sends his page to consult a prophet who is said to be descended from druid bards of Arthur’s time. The fragment ends at that point, so there is little Arthurian content. See the complete work, The Bridal of Triermain.

A-2304 Seamon, Hollis Rowan. “Colors: 1964.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 36–37. In this short story, a woman colours a poster of “King Arthur and the Knights of the Round Table” and reflects on the activity of colouring, and the portrayal of Arthur, Merlin, and Guenevere in the poster, particularly the colours assigned to each of them.

A-2305 The Search for the Golden Puffin. Illus. Stuart Trotter. London: Penguin / Puffin Books, 1991. This anonymous book begins with a story about Anna, Ryan, their grandfather, and Merlin. During World War II, Grandpa met Merlin, who was rescuing a precious statue of a golden puffin; the statue was supposed to have some mystical power to help preserve Britain. Grandpa was commissioned to retrieve the puffin from its hiding place after fifty years. In order to complete the mission, Grandpa, Ryan and Anna must solve puzzles, each one set in a different year. Readers can complete the puzzles, determine where the puffin must be hidden, and thereby enter a competition to win a replica of the golden puffin. The puzzles are always set in the context of historical events of that year, not Arthurian ones.

A-2306 “The Searcher: The Song Used by the Searchers of Sir Tristram Branch when in Camp.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.9 (Oct. 1931): 372. A poem of four eight-line stanzas, with a four-line refrain, sung to the tune of “The Vicar of Bray.” The pages of Arthur’s court desired to learn from knights and grow up to become knights themselves; the pages stood steadfast beside any knight who resisted the evil Sir Mordred; in modern times, a man has again unfurled Arthur’s banner, and we follow him “In real Arthurian manner.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-2307 Seare, Nicholas [pseud.], [i.e., Rod Whitaker]. Rude Tales and Glorious; Being the Only True Account of Diverse Feats of Brawn and Bawd Performed by King Arthur and his Knights of the Round Table. Illus. William Bramhall. New York: Clarkson N. Potter, 1983. A baron, his wife, his daughter, and a priest are the audience for a series of bawdy tales told by a beggar and a hag who claim to be Lancelot and Elaine and to know the “truth” about Arthur and his court. Some of the tales are original; some build on tradition. The sword in the stone is one story told, though in this version Merlin is a charlatan and Arthur his apprentice. The Grail quest is the excuse for several of the adventures; Perceval as a rude, untaught and naive knight is often

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the protagonist. The novel derives its humour from exaggeration, and from dramatic irony as the confident baron, eager for tales of cuckolded husbands, does not realize the priest’s activities in his own house.

A-2308 Seavy, Marquita, and Susan Seavy. The Kindling of the Flame. New York: Franklin Watts, 1980. This novel is set in the first century B.C.E. and is therefore earlier than Arthurian times. However, the protagonist, Geraint, has the Sight and is destined to be a Druid; he meets a well-known Druid, Myrddin, who prophesies the importance of Geraint and his brother. The authors seem to be drawing on the Celtic stories of the wild man of the woods that are associated with Merlin / Myrddin. Taliesin appears briefly before voyaging to Britain.

A-2309 Seeger, Alan. “Broceliande.” Poems. Intro. William Archer. New York: Charles Scribner’s Sons, 1916. 107. The title of this three-stanza poem is the only Arthurian connection. The poem itself describes the forest, its uncanny presence, and its association with “the valleys of Fairyland.”

A-2310 Seeger, Alan. “Vivien.” Poems. Intro. William Archer. New York: Charles Scribner’s Sons, 1916. 86. A sonnet describing the enchantress’ beauty and her effect on animals and on knights. She is imagined sitting in Broceliande, beside a fountain.

A-2311 Self, David. Sir Gawain and the Green Knight. Basingstoke: Macmillan Education, 1979. A play adapted from the medieval romance of Sir Gawain and the Green Knight. It uses the device of the poet who “tells” the story, filling in certain parts between the dialogue of other characters. The notes to the book indicate that this play was “commissioned by the BBC Schools Radio and first broadcast (in two parts) on Radio 4 in October 1978” (see also the entry for “Sir Gawain and the Green Knight” (1978) in the “Film, Television, and Radio” section).

A-2312 Senior, Dorothy. The Clutch of Circumstance; or, The Gates of Dawn. London: Black; New York: Macmillan, 1908. (*) A novel, offering a historical reconstruction of the Arthurian story.

A-2313 Senior, Dorothy. The King Who Never Died: Tales of King Arthur. Illus. Frank Watkins. Color Books for Boys and Girls. London: Adam and Charles Black; New York: Macmillan, 1910. Rptd: Tales of King Arthur. London: A. and C. Black, 1930. An abridgement and modernization of Malory, accompanied by eight full-page colour illustrations.

A-2314 Serraillier, Ian. The Challenge of the Green Knight. Illus. Victor Ambrus. London: Oxford University Press, 1966. A poetic rendering of the medieval romance of Sir Gawain and the Green Knight. The author asserts that it is not simply a translation; it is shorter than the original and does not use alliterative verse. It is divided into eight “chapters” or sections. There are eight full-page, full-colour illustrations, as well as numerous smaller B&W drawings or designs, primarily at the beginnings and ends of sections.

A-2315 Serraillier, Ian. “The Queen’s Riddle.” The Road to Canterbury: Tales from Chaucer. Illus. John Lawrence. Harmondsworth: Kestrel Books, 1979. 110–15. In this collection, Serraillier retells Chaucer’s Canterbury Tales. While some sections (like the

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prologue) are presented in modernized poetry, this retelling of The Wife of Bath’s Tale is in prose and somewhat simplified from the original (by omitting, for example, the wife’s allusions to various authors to support her arguments). The setting remains Arthur’s court. Lawrence’s illustrations are small woodcuts; the two for this story depict the knight’s first meeting with the old woman and their conversation in bed on their wedding night.

A-2316 Service, Pamela F. Tomorrow’s Magic. New York: Atheneum, 1987. In this sequel to Winter of Magic’s Return, Merlin and Heather must come to terms with the nature of the magic powers that each possesses; for Merlin that means finding a scrying bowl in Glastonbury’s ruins and understanding how magic is different from Arthurian times (hence the title). There are also references to Merlin’s previous, disastrous love affair. Arthur makes an alliance with Margaret, Queen of the Scots, in order to face the greater threat of Morgan’s forces.

A-2317 Service, Pamela F. Winter of Magic’s Return. New York: Atheneum, 1985. A fantasy novel set five hundred years after the Devastation (a nuclear holocaust). In Britain, two schoolchildren make friends with a student who has no memory of his past; when he recovers his memory, he is Merlin, released from his imprisonment by an accident. The three must journey to Avalon to awaken Arthur, despite Morgan’s attempts to stop them.

A-2318 Service, Pamela F. Wizard of Wind and Rock. Illus. Laura Marshall. New York: Atheneum, 1990. Unlike Service’s other Arthurian works, this is a picture-book. It concerns early events of Merlin’s life.

A-2319 Seton, Anya. Avalon. Boston, MA: Houghton Mifflin Co., 1965. This historical novel is set in the late tenth century. The Arthurian content comes in the female protagonist’s belief that she is descended from King Arthur (a story repeated often throughout the novel), and in the male protagonist’s search for Avalon (he spends some time in Glastonbury).

A-2320 Seymour, Alan. Scenes from the Morte d’Arthur. London: E. Macdonald; Merton Press, [1922?]. (*) A-2321 Shacochis, Michael. “The Last Days of Arthur.” In Ariel, the Book of Fantasy, Volume Four. Ed. Thomas Durwood. Kansas City, MO: Ariel Books, 1978. (*) A short story.

A-2322 Shadwynn. “A Vision of the Grail.” The Crafted Cup: Ritual Mysteries of the Goddess and the Grail. St Paul, MN: Llewellyn Publs., 1994. vi. This poem faces the table of contents and is described as a “poetic adaptation” of one of the liturgies that appears later in the book. The poem associates the Grail with female goddess-figures; Ceridwen’s cauldron is mentioned as one image of the Grail. The rest of the book explains the teachings and traditions of the Ordo Arcanorum Gradalis and gives various rituals to be followed. The book itself, therefore, is non-fiction, and the liturgies themselves would not count as fiction either, but this poem is slightly different in character.

A-2323 shahar, eluki bes. “The New Britomart.” In Chicks in Chainmail. Ed. Esther M. Friesner. Riverdale, NY: Baen, 1995. 153–77. Set in 1821, this story alludes to Ivanhoe, A Midsummer’s Night’s Dream, and the Arthurian legend. Arthur Mallory, a main character, believes himself descended from the legendary king, calls his gothic castle Camelot Court, and names his children from the legend: Lancelot is one of his son Wilfred’s middle names; Elaine Guinevere is the daughter’s name. The blacksmith’s daughter Rowena is the Britomart-figure since she decides to compete in a tournament to win Wilfred’s heart.

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A-2324 Shakespeare, William. The history of Henrie the Fourth with the battell at Shrewsburie, betweene the King and Lord Henry Percy, surnamed Henrie Hotspur of the North: with the humorous conceits of Sir John Falstalffe. London: Printed by P[eter] S[hort] for Andrew Wise, 1598. Sigs. F2r–F2v. [STC (P&R) 22280 (ESTC S111128).] In 1 Henry IV, III.i.146–57, Hotspur complains of having to listen to prophecies of “the dreamer Merlin,” about “a dragon and a finles fish” and more, dismissing these as “skimble-skamble stuff.”

A-2325 Shakespeare, William. The Second part of Henrie the fourth, continuing to his death, and coronation of Henrie the fift. With the humours of sir Iohn Falstaffe, and swaggering Pistoll. As it hath been sundrie times publikely acted by the right honourable, the Lord Chamberlaine his seruants. London: Printed by V[alentine] S[immes] for Andrew Wise, and William Aspley, 1600. Sig. D3r. [STC (P&R) 22288 and 22288a (ESTC S111114 and S111115).] In 2 Henry IV, II.iv.31–33, Falstaff enters Mistress Quickly’s public house singing “When Arthur first in court . . . And was a worthy king”; this, presumably, is the ballad of Lancelot and Tarquin, attributed to Thomas Deloney, which begins “When Arthur first in Court began / And was approved king” (see the entry for “Deloney, Thomas: The Noble Acts Newly Found of Arthur of the Table Round” in this section).

A-2326 Shakespeare, William. King Lear. Mr William Shakespeares comedies, histories, and tragedies, Published according to the true originall copies [“The First Folio”]. London: Printed by Isaac Jaggard, and Ed. Blount, 1623. 296–97 [of the third sequence of page numbers]. [STC (P&R) 22273 (ESTC S111228).] At the end of Act 3, Sc. 2 of King Lear (in the Folio version; this does not appear in the Quarto version), the Fool speaks a fourteen-line prophecy which he attributes to Merlin, while noting that “I live before his time” – thus prophesying the coming of Merlin the prophet (III.ii.79–95).

Shakespeare, William, The Birth of Merlin: see Rowley, William, and William Shakespeare. A-2327 Shannon, Mark. Gawain and the Green Knight. Illus. David Shannon. New York: G. P. Putnam’s Sons, 1994. A sanitized version of the medieval story, with all references to the Virgin Mary and to Morgan le Fay removed, Christmas changed to Yuletide, and all magic, sex, and the hunting of animals eliminated. Gawain’s failure is changed to success, for he rejects Lady Bertilak’s girdle (and thus avoids beheading) because he already has a girdle – given to him before he left King Arthur’s court by somebody named Caryn.

A-2328 Sharmat, Marjorie Weinman. The Lancelot Closes at Five. New York: Macmillan Co., 1976. A young girl, Abbey, moves with her family to a housing development called Camelot; there are three possible housing styles called the “Lancelot,” the “Excalibur,” and the “Guinevere.” Abbey’s friend Hutch convinces her that they should run away for the night and stay in the Lancelot model home (hence the title, since the model home closes at five). Aside from the use of Arthurian names, there is little reference to the legend, but the origin of the names is made explicit. Abbey’s father talks about the sword Excalibur and its origin in the lake; his retelling of the story suggests that the author is drawing on Tennyson for this material.

Sharp, William: see Macleod, Fiona.

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A-2329 Sharpe, Ruth Collier. Tristram of Lyonesse, The Story of an Immortal Love. Illus. Richard Sharpe. New York: Greenberg, 1949. A long novel that focuses on Tristan as he grows up, meets Iseult for the first time, and falls in love. Sharpe introduces a number of characters and incidents: there is a rival for Iseult of Brittany’s affections, so Tristan never actually marries her, and there is an enemy kingdom whose threats to Lyonesse explain Tristan’s determination to win Cornwall as an ally by defeating Marhault. The most obvious change is the happy ending; Mark divorces Iseult so she and Tristan are reunited. There are nine full-page illustrations that accompany the story; the first, of Tristan, appears on the frontispiece and is in colour; the others, scattered throughout the text, are B&W.

A-2330 Sharpless, Stanley. “An Opera Lover’s Nightmare.” In How to Be Tremendously Tuned in to Opera. Ed. E. O. Parrott. Illus. Sue Shields. London: Viking / Penguin, 1989. 225–26. Among the operas appearing in the speaker’s dream are “Tristan and Isolde” and “Lohengrin.”

A-2331 Shaw, Helen. “Grail Song.” Ore 23–24 (1979): 38. Rptd: Ore 35 ([1987?]): 13. A poem. The later reprinting was part of a commemoration after Shaw’s death in 1985. The 23–24 double issue was to celebrate the 25th anniversary of the first issue in 1955.

A-2332 Shaw, Helen. “Parzival in a New World.” Ore 32 ([1985?]): 14. (*) A poem.

A-2333 Sheehan, Perley Poore. King Arthur: a Screen Play adapted . . . from the Arthurian Cycle of Legends in Le Morte d’Arthur, by Sir Thomas Malory. Los Angeles, CA: Mary Perks Bagg, 1936. (*) A screenplay, not filmed.

A-2334 Shelley, Percy Bysshe. “Charles the First.” The Works of Percy Bysshe Shelley. 2 vols. London: John Ascham, 1834. 1: 177–86. Rptd: The Poetical Works of Shelley. Ed. Newell F. Ford. Cambridge Edition. Boston, MA: Houghton Mifflin Co., 1975. 462–76. This verse tragedy about the execution of Charles I was incomplete when Shelley died in 1822. One of the fool’s speeches includes one of Merlin’s prophecies.

A-2335 Shepherd, E. G. H. “Tintagel.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.6 (Jan. 1931): 234. A sonnet, contrasting Tintagel Castle in the days of Merlin and Arthur with the ruins that now remain, but declaring that the influence of the Round Table still “[s]tirs men to goodly deeds” (13). (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-2336 Sheridan, Carrie Chase. “Tintagel.” University of California Chronicle 34 (July 1932): 260. In the first quatrain of this three-stanza poem, the speaker visits Tintagel and thinks of Guenevere and Igerne. In the following two stanzas, the speaker reflects on those stories and their effect today.

A-2337 Sherman, Josepha. “Ancient Magics, Ancient Hope.” In Weird Tales from Shakespeare. Ed. Katherine Kerr and Martin H. Greenberg. New York: DAW Books, 1994. 102–15. Sherman rewrites the story of Shakespeare’s Henry IV, Part II so that Owain Glyn Dwr has supernatural powers and is suggested to be an heir of Merlin. Merlin himself appears, filled with hate for the “Saxons”; he does not understand Owain’s reluctance to destroy the young Henry V.

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A-2338 Sherrell, Carl. Raum. New York: Avon Books, 1977. This fantasy novel is set in an Arthurian world, and various Arthurian characters appear, but the protagonist, Raum, is a demon.

A-2339 Sherrell, Carl. Skraelings. Illus. Harry Quinn. New York: Ace / New Infinities Productions, 1987. The sequel to Raum. Raum travels to Iceland, Greenland, and Vinland to rescue his lover Vivian, who has been kidnapped by one of his enemies. This is an Arthurian Vivian; early in the novel Raum remembers his first meetings with Morgan, Merlin, and Vivian. Since the action of the novel is set distant from any Arthurian places or characters, Vivian is the only Arthurian element.

A-2340 Sherriff, Robert Cedric. The Long Sunset: A Play in Three Acts. London: Elek Books, 1955. This play imagines how Romans in Britain might have felt and acted when the legions withdrew from Britain. The main focus is a family of Roman descent who have lived in Britain for hundreds of years; they refuse to leave with the legions and have a vision of a united Britain, based on a Roman model. They enlist a war-leader, Arthur, and his nephew Gawain. Arthur has two or three hundred fighters following him, and he learns something of a larger vision from this family, but the loss of their lifestyle appears inevitable by the end of the drama. Guenevere is mentioned as Arthur’s wife, though she never appears; the sword in the stone incident is mentioned, and Arthur carries that sword, which is reputed to be magical.

A-2341 Shorthouse, J. H[enry]. Sir Percival: A Story of the Past and Present. London and New York: Macmillan, 1886. The female narrator of the novel remembers a young man that she knew when she was younger. His name is Percival, and when they first meet, she mentions the Arthurian Perceval, particularly his good character. A portion of one chapter is devoted to reprinting a section of Malory that the characters read. The narrator also compares a small chapel to those perilous chapels that appear in Malory; the one she visits has a stained glass window of Perceval achieving the Grail. Her own Perceval dies nobly in the final chapter, “The Finding of the Grail.”

A-2342 Shuttle, Penelope. “‘King Arthur Wept and Swooned’ – Malory.” Poetry Review 57.2 (Summer 1966): 79. Shuttle uses this line from Malory to begin a reflection about King Arthur’s doom, the inevitability of the outcome of the story. The poem can be read as alluding to the love affair between Guenevere and Lancelot as the cause of this doom, or, since no names are mentioned, it can be read as alluding to the “deception” that led to Mordred’s birth.

A-2343 Shwartz, Susan. “Count of the Saxon Shore.” In Alternatives. Ed. Robert Adams with Pamela Crippen Adams. New York: Baen Publishing, 1989. 121–63. This anthology is a collection of alternate histories. Shwartz imagines what might have happened if Arthur had survived the battle of Camlann. The Count of the title is the narrator, Beorhtwold, a half-British half-Saxon warrior who fights against Arthur at Camlann, but who meets him in the aftermath and swears loyalty to him. Beorhtwold is thus present for important events of Arthur’s continued reign: he is sent to request Guenevere’s return, and he is requested by Arthur, on the latter’s deathbed, to bury his body near Camlann, looking over the sea, so that Arthur will act the part of Bran and guard Britain from further invasion.

A-2344 Shwartz, Susan. “Critical Cats.” In Catfantastic II. Ed. André Norton and Martin H. Greenberg. New York: DAW Books, 1991. 283–303. The narrator of this story is a cat called Puff who lives at a veterinarian’s. One of the cats brought in for treatment is named Merlin; he is presented as a Soulsinger, a cat with great wisdom and powers. He teaches Puff to “hunt” (by which he means to perceive what humans perceive), so he is

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associated with magic, and he knows the Arthurian origin of his name and explains it to a rather scornful Puff.

A-2345 Shwartz, Susan. “Diana’s Foresters.” In Highwaymen: Robbers and Rogues. Ed. Jennifer Roberson. Illus. Elizabeth Danforth. New York: DAW Books, 1997. 137–51. William Shakespeare, attempting to write his play about Henry V, wanders out on Midsummer’s Night and encounters the spirit of Geoffrey Chaucer and of Prince Hal himself. Shakespeare informs Chaucer that Elizabeth reigns, and mentions her descent from King Arthur; Chaucer responds by quoting the first lines of The Wife of Bath’s Tale about Arthur and the old days of Britain. Shakespeare also refers to Merlin’s prophecies.

A-2346 Shwartz, Susan. The Grail of Hearts. New York: TOR Books, 1992. This novel begins with Kundry’s seduction of Amfortas that leads to his unhealing wound; once Kundry has lured him away from his own territory, Klingsor is able to wound Amfortas with the Spear, which he then steals. The novel ends when Parsifal becomes the Grail king and heals Amfortas with the recovered spear. However, much of the story is not Parsifal’s, but Kundry’s, concerning her memories of her past (she has been alive since the time of the Crucifixion) and her redemption.

A-2347 Shwartz, Susan. Queensblade. New York: Popular Library, 1988. Rptd: Online: e-reads publications (), 1999. This continues the story begun in The Woman of Flowers, with many of the same characters and thus the same historical context. There is little explicit Arthurian content, however.

A-2348 Shwartz, Susan. “A Refuge of Firedrakes.” In Return to Avalon: A Celebration of Marion Zimmer Bradley. Ed. Jennifer Roberson. New York: DAW Books, 1996. 152–81. Shwartz rewrites the story of Vortigern’s tower by using a captured British girl as the narrator. She witnesses Merlin’s prophecy and is told her own future; her daughter will be Linet of later Arthurian stories. Vortigern here has been corrupted by Rowena, who is the main villain.

A-2349 Shwartz, Susan. “Seven from Caer Sidi.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 109–30. In this short story based on “The Spoils of Annwfn,” Arthur’s raid upon Caer Sidi, an Otherworld realm, comes about because Arthur has heard that a magic cauldron will mean his men will not die; missing those of his companions killed at Badon, he is determined to get this cauldron for Britain. Only seven return from the quest, and Arthur realizes different meanings of immortality with the help of Taliesin.

A-2350 Shwartz, Susan. “The Tenth Worthy.” In Immortal Unicorn. 2 vols. Ed. Peter S. Beagle and Janet Berliner. New York: HarperCollins, 1998. 1: 131–65. This futuristic short story takes place at the Cloisters in New York City during the Wasting, when the Soulless overrun the world and burn the cities. The main character is Michael Kaye, a junior researcher before the Wasting. He keeps remembering a time long ago; he is really Kay, Arthur’s brother. Jennifer, Arthur’s queen in times past, Merlin, and finally Arthur gather together; with the help of a unicorn, magically released from the tapestries, they restore the world.

A-2351 Shwartz, Susan. “Troubled Waters.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 399–425. A story set after the battle of Camlann. A grieving Lady of the Lake receives Excalibur and journeys to Avalon to take revenge on Arthur for the destruction of the realm (and particularly of the Lady’s fosterling Lancelot). The Lady and Morgan meet and duel over Excalibur and their visions of the realm.

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A-2352 Shwartz, Susan. The Woman of Flowers. New York: Warner Books, 1987. The second novel “in a series of books set in an alternative [Roman] empire,” as Shwartz describes it. In this book, the Imperial Princess, deprived of her throne, journeys to the north for refuge. She is told the tale of Arthur and Guenevere (though his queen is never named) several times; they are part of the history of the Britain that she encounters. Characters compare themselves to Arthur and Guenevere. Arthurian names and characters also appear: the protagonist takes refuge with Olwen who, like Olwen in the Mabinogion, is associated with flowers; Olwen’s brother is Geraint. The main conflict in this alternative Britain is still with the encroaching Saxons.

A-2353 “The Silver Horseshoe.” In A Dictionary of British Folk-Tales in the English Language, Incorporating the F. J. Norton Collection. Comp. Katharine M[ary] Briggs. 2 vols. in 4. London: Routledge and Kegan Paul, 1970–1971. B.2: 348–49. An account of a local legend from the area of South Cadbury, concerning evidence that each Midsummer’s Eve Arthur and his knights ride near Cadbury Castle (identified locally as Camelot, and the hill in which Arthur sleeps). Further it is said that someone once dug into the hill looking for the Round Table which is buried there, but, of course, the Table simply sank further down into the ground, out of reach. He did, however, uncover a horseshoe made of silver, which proves Arthur’s presence.

Sim, E. Howley: see Earle, Arthur W. and E. Howley Sim. A-2354 Simcox, George Augustus. “The Farewell of Ganore.” Poems and Romances. London: Strahan and Co., 1869. 4–20. Rptd: Poems and Romances. The Decadent Consciousness 34: A Hidden Archive of Late Victorian Literature. New York: Garland Pub., 1978. 4–20. The poem begins at the convent where Guenevere (here called Ganore) is staying. Lancelot takes leave of her, and then Guenevere also leaves the convent, seeking redemption.

A-2355 Simcox, George Augustus. “Gawain and the Lady of Avalon.” Poems and Romances. London: Strahan and Co., 1869. 67–81. Rptd: The Decadent Consciousness 34: A Hidden Archive of Late Victorian Literature. New York: Garland Pub., 1978. 67–81. This poem is a variation on the Loathly Lady story. A beautiful woman shows up at Arthur’s court, demanding that he fulfil his promise to marry her to one of his knights; Gawain is selected. He has to journey to her home, but the marriage ceremony is hellish (performed by Judas, for example). She turns into a loathly lady after the ceremony, and this leads, later, to Gawain’s choice. Instead of ending with the lady fair all of the time, however, the poem concludes with the lady storming out because Gawain has asked her name.

A-2356 Simmonds, Florence. Sir Thomas Thumb, or The Wonderful Adventures of a Fairy Knight. Illus. various artists. London: Thomas Nelson and Sons, 1907. (*) Children’s book.

A-2357 Simon, Heather. The Spaceman and King Arthur. London: New English Library, 1979. (*) A novelization of the Walt Disney film. (See also the entry for The Spaceman and King Arthur in the “Film, Television, and Radio” section.)

A-2358 Simpson, Margaret. Top Ten Arthurian Legends. Illus. Michael Tickner. London: Hippo, 1998. A light-hearted look at the legend. There are ten chapters that each retell one portion of the legend, but Simpson presents the material in a variety of formats (comics, tabloid news and so

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on). At the end of each chapter, there is a “top facts” section that explains various characters and often provides more stories. The chapter titles are as follows: “The Sword in the Stone,” “Excalibur!” “King Arthur and Queen Guinevere,” “Sir Gawain and the Green Knight,” “Merlin Goes Missing,” “Morgan le Fay Plots against Arthur,” “Sir Lancelot’s Lady,” “The Quest for the Holy Grail,” “Lancelot’s Other Lady,” “Civil War and the Death of Arthur.”

A-2359 Singer, Burns. “Tristran and Iseult.” Still and All. London: Secker and Warburg, 1957. 30–33. Singer applies legendary names to two modern lovers whose love ends in death, though the reasons for that death are not those of legendary romances.

A-2360 Singer, J[ames] M., Jr. “The Lady of the Lake.” The Fiddlehead 52 (Spring 1962): 24–25. The speaker addresses Vivian in this twenty-six-line poem, calling her. One possible interpretation is that the speaker is Merlin, trying to seduce the Lady of the Lake.

A-2361 Singer, Sarah. “Guinevere, the Nun.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 53. This villanelle imagines the queen’s grief and repentance in the convent; Arthur and Lancelot are mentioned.

A-2362 Sinor, Bradley H. “Central Park.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 192–204. Rptd: In the Shadows: A Collection of Works. Alma, AR: Yard Dog Press, 2002. 29–38. Merlin and Lancelot meet in twentieth-century New York. Lancelot is a vampire; Guenevere had been one, too, and was killed by Arthur and Merlin. Lancelot, with Merlin’s interference, finds a new Camelot.

A-2363 Sinor, Bradley H. “Final Score.” In Warrior Fantastic. Ed. Martin H. Greenberg and John Helfers. New York: DAW Books, 2000. 227–51. Rptd: In the Shadows: A Collection of Works. Alma, AR: Yard Dog Press, 2002. 49–64. Landon Ashe, in pursuit of the murderer of a young lady, attends a medieval fair in Norman, Oklahoma, and teams up with a second young lady. It gradually is revealed that Ashe is a) a vampire and b) Sir Lancelot (who has a ring given to him by Merlin which permits him to endure the sunlight). There are also reminiscences of how he helped to organize and train King Arthur’s army. The climax of the story is a duel between Ashe and Ian Chalker, the murderer, during which Chalker claims to be Galahad; Ashe’s response: “I knew Galahad, and you’re no Galahad.” (Note that there are two more Landon Ashe / Lancelot stories: “And the Wind Sang” in Knight Fantastic [2002] and “Season Finale” in Haunted Holidays [2004].)

A-2364 Sinor, Bradley H. “Oaths.” In Time of the Vampires. Ed. P. N. Elrod and Martin H. Greenberg. New York: DAW, 1996. 56–73. Rptd: In the Shadows: A Collection of Works. Alma, AR: Yard Dog Press, 2002. 9–22. The protagonist of this story calls himself Du Lane, but it is revealed that he is a vampire, and once was Lancelot. A girl working in an inn reminds him of Guinevere, so there are various occasions when the story presents his memories of Arthur and Guinevere.

A-2365 “Sir Hector de Marais.” In Arthur’s Knights: An Adventure from the Legend of the Sangrale. 2nd edn. Edinburgh: R. and R. Clark, 1859. 122–27. A poem, in a twelve-line stanza, telling of Sir Hector’s determined search for his brother Lancelot, and the various distractions that he ignores along the way, until he comes to a chapel where he

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finds Lancelot’s dead body lying upon a bier. The poet moralizes that the pursuit of beautiful ideals too often culminates in the embrace of a “lifeless form,” because “The spirit is beyond our grasp” (127).

A-2366 “Sir Lambewell.” In Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. Rptd: The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. An early modern version of the medieval romance of Sir Launfal. First line: “Doughty in king Arthures dayes.”

“Sir Lancelot du Lake”: see Deloney, Thomas. A-2367 “Sir Tarquin.” In A Dictionary of British Folk-Tales in the English Language, Incorporating the F. J. Norton Collection. Comp. Katharine M[ary] Briggs. 2 vols. in 4. London: Routledge and Kegan Paul, 1970–1971. B.2: 127. A summary of a local tradition in Lancashire that identifies the castle which Tarquin held against Lancelot as that at Manchester.

A-2368 Sisson, C. H. “In Insula Avalonia.” In the Trojan Ditch: Collected Poems and Selected Translations. Cheadle, Cheshire: Carcanet Press, 1974. 21–27. This poem is divided into ten sections. There are allusions to various myths throughout; only the title and one reference in Part 4 to Arthur and the Lady of the Lake make this poem Arthurian.

A-2369 Six Ballads about King Arthur. London: Kegan Paul, Trench, and Co., 1881. The six ballads contained here are “The Birth of King Arthur” (“To horse! To horse! My noble lord”); “Arthur Made King” (“When Uther passed away, the realm”); “The Message” (“On battlemented Camelot / The moon was softly sleeping”); “The Marriage of King Arthur” (“Then happed it on Allhallowmas”); “The Sancgreal” (“It chanced, when Lancelot du Lake / Had freed from durance vile”); “The Death of King Arthur” (“False Mordred spake to Guinever, / ‘Arthur, thy lord, is dead ‘“). While each of these poems can stand on their own, their arrangement is calculated to retell the Arthurian story, and this is further supported by the dedication of the book, which is addressed to “My dear Children” and says, “I strung the following lines together hoping to give you pleasure. The stories are taken from a book called “Morte d’Arthur” which you will read when you are older, and will see that I have often used the very words of the translator.” No author’s name is given, simply the closing, “Your loving Granny.”

Skelton, Gladys: see Presland, John. A-2370 Skinner, Margo. “Quest Now.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 342–43. The first stanza of this four-stanza poem talks about the Grail quest in the past; much time is spent listing knights of Arthur’s court who pursued the Grail. That society is then contrasted to our present; the speaker wonders if there are any champions to return to find the Grail and save us.

A-2371 Skinner, Martyn. Merlin, or The Return of Arthur: A Satiric Epic, Part I. London: Frederick Muller, 1951. Rptd: The Return of Arthur: A Poem of the Future. London: Chapman and Hall, 1966.

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In this, the first part of his satiric epic, Skinner begins with the last line of Tennyson’s Idylls of the King and takes the story from there. Arthur has been in Avalon, but is called out at the end of the twentieth century because of the lack of heroes. Merlin is released from his imprisonment to act as Arthur’s guide; the two of them descend into hell (remarkably like an underground station) and watch a film that informs Arthur of the things that have happened since his time. Skinner’s targets, besides epic poetry in general and Tennyson in particular, include mechanization, industrialization, and the society of his time. The 1966 reprinting publishes all three parts of the poem together.

A-2372 Skinner, Martyn. The Return of Arthur: A Poem of the Future, Part II. London: Chapman and Hall, 1955. Rptd: The Return of Arthur: A Poem of the Future. London: Chapman and Hall, 1966. The second part of Skinner’s epic sees Merlin and Arthur in twentieth-century England, meeting a variety of characters with names from Arthurian legend, such as K. K. Hengist and Morgana Marsh, while others take on Arthurian roles, like the triangle of George and Mary Alban and the poet Leo. The 1966 reprinting publishes all three parts of the poem together.

A-2373 Skinner, Martyn. The Return of Arthur: A Poem of the Future. London: Chapman and Hall, 1966. This printing is the first appearance of the third part of this poem, and so is the first publication of the entire work together. In Part 1, Merlin comes to Avalon to guide Arthur’s return; they visit hell to see a film to inform Arthur of historical events. Part 2 is set in 1999 in England and establishes the set of major characters for the rest of the poem. In Part 3, Merlin and Arthur accomplish their mission and disappear in a style suitable to the new millennium.

A-2374 Skinner, Martyn. Sir Elfadore and Mabyna: A Poem in Four Cantos. Oxford: Printed for the Author by Sanders and Co., 1935. A mock epic poem set in Avalon, a fairyland where everything is in miniature. Sir Elfadore must rescue his love Mabyna who has been kidnapped. Comparisons are made throughout the poem to Arthurian characters and episodes.

A-2375 Sladen, Douglas B[rooke] W[heelton]. “Camelford-Camelot.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 84. This sonnet appears in a section of the collection entitled “Sonnets of Arturian [sic] Cornwall.” Various Arthurian characters associated with this place are mentioned: Arthur, Mordred, the Lady of Shalott, Lancelot, Bedivere, and Tristan. The poet contrasts the image of “Camelot the towered” with the field of slaughter at Camlann. He describes the place and visualizes the characters acting out their stories here.

A-2376 Sladen, Douglas B[rooke] W[heelton]. “Camelford-Slaughter Bridge.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 85. This sonnet appears in a section of the collection entitled “Sonnets of Arturian [sic] Cornwall.” It describes an evening expedition where the speaker and others venture out to the valley where Arthur is supposed to have fought his last battle and visit the stone that is supposed to mark his grave.

A-2377 Sladen, Douglas B[rooke] W[heelton]. “Castle Chun.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 55–57. Three sonnets. In the first, the speaker describes the castle. In the second, he imagines legendary

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characters within the castle, mentioning “Round-Table knight” as one of the possibilities, though no one is named specifically. The third reflects more generally on old castles and old battles.

A-2378 Sladen, Douglas B[rooke] W[heelton]. “Cornwall.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 51–52. These are two sonnets that appear in a section entitled “Cornish Sonnets.” They are descriptive; in the introduction, Sladen suggests that such pieces are meant to be photographic. In the first, Sladen reflects on the history and legend associated with the landscape, mentioning Lyonnesse, Tintagel and Camelot as part of the legendary past of Cornwall.

A-2379 Sladen, Douglas B[rooke] W[heelton]. “On the Cornish Moors.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 53–54. Two sonnets. In the first, the speaker describes a walk across the moors when he is suddenly struck by inspiration. In the second, he reflects on the wealth of interesting adventures that the place has seen, including Tristan in his first fight and Arthur in his last.

A-2380 Sladen, Douglas B[rooke] W[heelton]. “Sir Tristram at Tintagel.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 38–50. This poem is set up like a play, a dramatized conversation between Tristan and Iseult of Ireland. It is set after Mark has been forced to accord with Tristan and bring him back to Tintagel. Iseult is concerned that Mark means to be treacherous. Their conversation also fills in other details of the story, like their original meeting and Tristan’s marriage to Iseult of Brittany; they also speak of Lancelot and Guenevere because Lancelot has been instrumental in returning Tristan to Cornwall.

A-2381 Sladen, Douglas B[rooke] W[heelton]. “St Michael’s Mount: September 25th, 1884.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 62–65. A series of four sonnets describing, reflecting upon, and imagining stories associated with this place. Arthurian references include Arthurian knights generally and Tristan and his love in particular. Other historical figures are also mentioned.

A-2382 Sladen, Douglas B[rooke] W[heelton]. “St Michael’s Mount, Cornwall, at Sunset.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 66–68. A series of three sonnets describing and reflecting upon this place. The first sonnet spends several lines talking about Tristan. The second talks more generally of knights of romance; the third describes the scene as the sun sets.

A-2383 Sladen, Douglas B[rooke] W[heelton]. “Tintagel.” In Cornwall and Across the Sea with Poems Written in Devonshire etc. London: Griffith, Farran, Okeden and Welsh, 1885. 80–83. A series of four sonnets; they appear in a section of the collection entitled “Sonnets of Arturian [sic] Cornwall.” Various Arthurian characters associated with this place are mentioned: Arthur, Uther, Igerne, Tristan, Iseult of Ireland, and Mark. The poet describes the setting and visualizes these characters acting out their stories here.

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A-2384 Slaten, Daniel. The Fallacy of the Thief. Leawood, KS: Leathers Publishing, 2000. This novel is a combination of science fiction, fantasy, and techno-thriller, written when the author was 14. Its main plot involves a wizard-warrior who must try to uncover a political conspiracy that threatens himself and his friends. Merlin is one of his allies; from descriptions (his age and long white beard), it is clear that this is the Arthurian character. Merlin steps in from time to time to act as the established wizard, the protagonist is compared to him in terms of potential powers, but the Arthurian content is relatively slight.

A-2385 Slatten, Evelyn. The Good, the Bad and the Rest of Us. New York: William Morrow and Co., 1980. This novel is set during the Depression, and its main character is a young girl and her family as they try to cope with increasingly hard times. Her favourite book is called King Arthur and the Knights of the Round Table. It is important to some of the events: the idea of setting up an order of knights leads the protagonist to accept a dare to stand on the railway tracks as a train approaches; the idea of courtly behaviour leads her as well to give away the book near the end of the novel and to recognize the understated heroism of her father.

A-2386 Smith, Arthur D. Howden. “The Last Legion and Gray Maiden the Sword.” Adventure 61.1 (31 Dec. 1926): 170–90. (*) A short story, in which Arthur is mentioned.

A-2387 Smith, Evelyn. “The Kitchen Knight.” In Form-Room Plays, Intermediate Book. King’s Treasuries of Literature. London: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1926. (*) Children’s drama, based on the tale of Sir Gareth, from Malory, Le Morte Darthur.

A-2388 Smith, George Henry. Druid’s World. New York: Avalon Books / Thomas Bouregy and Co., 1967. A fantasy novel set in Avalon. The premise of the novel is that there are three worlds somehow connected: Annwn, Earth, and Uffern. Arthur came to Avalon in Annwn and ruled; the protagonist of the novel is one of his descendants. There are numerous references to Arthur, and in the end the protagonist must use Excalibur to close the portal between the worlds.

A-2389 Smith, Harriet E. Lohengrin: a Musical Burlesque for Wax Figures. Lebanon, OH: March Brothers, 1907. Live actors imitate wax figures in this burlesque. Each has an attendant to apply oil and wind him / her up for the songs. The background of the story is read at the beginning of each of the three acts. The actors then sing to each other (the words are original to this script, but the tunes are common ones). There is no mention of Lohengrin’s background; except for that character, the Arthurian material has been omitted to simplify the story.

A-2390 Smith, Ken. Tristan Crazy. Newcastle-on-Tyne: Bloodaxe Books, 1978. This book is a series of ten poems whose speakers, though not explicitly named, are Tristan, Iseult, and Mark. The images in the poems suggest various events in the story.

A-2391 Smith, L[isa] J. Heart of Valor. New York: Macmillan Co., 1990. In this sequel to The Night of the Solstice Earth is again threatened by rebel sorcerers. The “Heart of Valor” is one of twelve supposedly lost gems of power. A sorceress frees Merlin from the tree where he has been held asleep and recruits him to help her steal the gems. Morgana and the four children must stop them. The oldest of the children, Alys, finds a sword in Morgana’s house that turns out to be Excalibur. As soon as she finds it, she begins having dreams that are actually a sharing of memories with Morgana. In this way, parts of the Arthurian story are told. In this

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version, Merlin takes on many of the characteristics usually given to Morgan. The children are revealed in the end to be descendants of Arthur and Guenevere.

A-2392 Smith, L[isa] J. The Night of the Solstice. New York: Macmillan Co., 1987. In this novel, four children in late twentieth-century California are recruited to help a sorceress named Morgana. Morgana is half-human and half Quislai (fairy folk from another world), and she has been captured by an evil sorcerer who intends to conquer Earth, moving from the other world to this one on the night of the solstice. While there is nothing explicit in this novel to connect this Morgana with the Arthurian Morgan, the sequel, Heart of Valor, makes her Arthurian identity explicit.

A-2393 Smith, Moyne Rice. “Arthur’s Sword: A Dramatization based on the Arthurian Legends.” Plays and How to Put Them On. Illus. Don Bolognese. New York: Henry Z. Walek, 1961. 33–46. This play is set near a tournament field; various ladies and their knights arrive after the end of the tournament so that the knights (including Kay) can try to draw the sword from the stone. Arthur arrives, having been unsuccessful in finding a sword for Kay, and then easily draws the sword.

A-2394 Smith, R. T. “The Uses of Enchantment.” Trespasser. Baton Rouge, LA: Louisiana State University Press, 1996. 41. The speaker of this poem imagines Merlin as an oak tree, trying to speak of Vivien’s cruelty and her beauty.

A-2395 Smith, Ray. The Quest for Olwen. Illus. Graham McCallum. London: BBC, 1971. A version of the Culhwch and Olwen story that begins with Culhwch’s birth and the dream that leads him to seek Olwen. Names have been spelled to approximate their sounds in Welsh. Smith first told this story on BBC 1’s storytelling programme Jackanory, and that series name appears on the cover above the actual title.

A-2396 Smith, Rosamond [pseud.], [i.e., Joyce Carol Oates]. You Can’t Catch Me. New York: Dutton, 1995. The protagonist of this novel, set in the twentieth-century United States, is called Tristram, and he has an alter ego whose last name is Markham. Like his Arthurian counterpart, Tristram is involved in a complicated love triangle with a young woman who has an older husband, although by the end he seems to be playing more Mark’s role (as his alter ego’s name suggests) to the woman and her younger lover. At a key meeting between Tristram and the husband, the husband quotes from Tennyson, choosing a passage from “Merlin and Vivien” about the source of Merlin’s spells to illustrate the possibility of men controlling women.

A-2397 Smith, Stevie. “The Blue from Heaven: A Legend of King Arthur of Britain.” Not Waving but Drowning. London: André Deutsch, 1957. 18–19. Rptd: Selected Poems. London: Longmans, 1962. 24–25. – The Collected Poems of Stevie Smith. Ed. James MacGibbon. London: Allen Lane, 1975. 309–10. Arthur and his knights ride out with Guenevere, but Arthur does not return. The blue referred to in the title is the colour of the cornflowers under which the king rides; he leaves his kingdom and “his reigning powers / . . . to ride in the blue light” of the cornflowers. First line: “King Arthur rode in another world.”

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A-2398 Smith, Stevie. “The Frozen Lake.” Selected Poems. London: Longmans, 1962. 10–12. The speaker of this poem visits the lake where Bedevere threw Excalibur. Most of the poem concerns the lady who lives in this lake; the speaker falls in love with her and, while lingering there, meets Bedevere searching for the sword.

A-2399 Smith, Sydney Goodsir. “Tristram.” Under the Eildon Tree: A Poem in XXIV Elegies. Edinburgh: Serif Books, 1948. A sixty-six-line poem in which Tristram thinks on Iseult.

A-2400 Smith, Sydney Goodsir. “Tristram and Ysonde.” The Don’t Know Boy. Anvil, 1983. ANV 656. (*) A recorded reading of the poem.

A-2401 Smithies, Richard H. R. The Pendragon Caper. New York: Carroll and Graf Publishers, 1991. This murder mystery is set in a small town in Connecticut called Pendragon. The local legend is that the person who founded the town was descended from Uther, and therefore brought the treasures that had been entrusted to that family, including the Holy Spear. A couple of characters believe that they were Arthurian characters in a past life. One of them, who believes he was Arthur, is killed, and the suspects include Satanists searching for the Spear as well as jealous lovers and greedy wives.

A-2402 Snell, Beatrice Saxon. “The Childhood of Sir Bors.” Excalibur: The Chronicle of the Fellowship of the Round Table 3.4 (July 1934): 137–41; 4.1 (Oct. 1934): 22–27; 4.2 (Jan. 1935): 52–58; 4.3 (Apr. 1935): 79–86; 4.4 (July 1935): 114–19; 5.1 (Oct. 1935): 29–36; 5.3 (Apr. 1936): 118–22. A serial novel, in seven parts; not completed at the time of the last issue of the journal (and not republished separately). The tale is a maturation story, beginning from the death of Bors’ father, King Bors; Bors and his brother Lionel are sent for fostering and training in arms to Sir Phariance; they go to Avalon to dwell with a Lady of the Lake, who introduces them to their cousin, Launcelot, and tells them something of the past of Sir Phariance; the story breaks off after Bors has a vision of meeting his mother, who promises him nothing but Sorrow: in the vision, Lionel declares himself the enemy of Sorrow, and Bors declares himself the friend of Sorrow. (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-2403 Snelling, John. “The Great Boar Hunt.” Celtic Myths and Legends. Illus. Margaret Theakston. Hove: Wayland, 1988. 40–49. A text for children, so each two-page spread is fully covered by a brightly coloured illustration, with the text printed over a portion of the illustration. The story is that of Culhwch and Olwen, but much simplified; its focus is the boar hunt.

A-2404 Sneyd, Ralph de Tunstall. “Arthur’s Court.” Poems, Vol. 1. Chesterfield, Derbyshire: Wilfred Edmunds, 1929. 41–42. A lyric poem of two six-line stanzas, as preface to the following three poems on three Arthurian couples. The author signs himself (at the end of the preface) “Taliesin Peredur Amadis (Knight and Bard of the Round Table).” “Vol. 1” seems to have been the only volume published.

A-2405 Sneyd, Ralph de Tunstall. “Elaine and Lancelot.” Poems, Vol. 1. Chesterfield, Derbyshire: Wilfred Edmunds, 1929. 42–66. A narrative poem, reminiscent of Tennyson.

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A-2406 Sneyd, Ralph de Tunstall. “Iseult and Tristram.” Poems, Vol. 1. Chesterfield, Derbyshire: Wilfred Edmunds, 1929. 66–73. A narrative poem, reminiscent of Tennyson.

A-2407 Sneyd, Ralph de Tunstall. “Vivian and Merlin.” Poems, Vol. 1. Chesterfield, Derbyshire: Wilfred Edmunds, 1929. 74–77. A narrative poem, reminiscent of Tennyson.

A-2408 Sneyd, Steve. “Day of the Bear.” Ore 31 ([1984?]): 19–20. A poem, which includes an astrological and etymological linking of the “Great Bear” with “Artos.”

A-2409 Sneyd, Steve. “Guinevere.” Ore 16 (1972): 13. Rptd: What Time Has Use For and other Arthurian Poetry. 3rd edn. Stamford, Lincs.: K. T. Publications, 1998. 25. A three-line poem reflecting on Guinevere, aging.

A-2410 Sneyd, Steve. “Pendragon in Eden.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 52–53. Rptd: What Time Has Use For and other Arthurian Poetry. 3rd edn. Stamford, Lincs.: K. T. Publications, 1998. 16–17. In this dramatic monologue, Hugh de Morville compares his refuge in his castle Pendragon with incidents from Arthurian legend. He remembers stories of the place that connect it with Uther; he also compares Lancelot’s situation (particularly the enmity with Arthur as a result of the love affair) with his own (the king’s attempts to punish those who killed Becket by, they thought, his command).

A-2411 Sneyd, Steve. The Rex Quondam File: 13 Poems on Arthurian Themes. Norwich: Excello and Bollard, 1976. (*) A poetry collection.

A-2412 Sneyd, Steve. “A Time of Buried Questioning.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 35–42. Rptd: What Time Has Use For and other Arthurian Poetry. 3rd edn. Stamford, Lincs.: K. T. Publications, 1998. 49–58. This long poem is based on early Latin and Welsh sources of the legend; Sneyd at times uses quotations from these sources as part of his poem. He also draws on the stories of the “king under the hill” tradition, reflecting on various geographical features that have been linked with Arthur.

A-2413 Sneyd, Steve. “Time of the Goatstar.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 12. Rptd: What Time Has Use For and other Arthurian Poetry. 3rd edn. Stamford, Lincs.: K. T. Publications, 1998. 10. This three-line poem images Merlin in the oak.

A-2414 Sneyd, Steve. “Tintagel: Uther and Arthur Meet in Merlin’s Dwelling.” In King Arthur and his Knights. Ed. Alan Lupack and Barbara Tepa Lupack. The Round Table: A Journal of Poetry and Fiction 4.1–2 (1987): 10–11.

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Rptd: What Time Has Use For and Other Arthurian Poetry. 3rd edn. Stamford, Lincs.: K. T. Publications, 1998. 8–9. An image of Uther and Arthur at Tintagel, with Merlin standing between them, separating them.

A-2415 Sneyd, Steve. What Time Has Use For: Arthurian Poems. Stamford, Lincs.: K. T. Publications, 1992. (*) The first edition of this work, later expanded and revised.

A-2416 Sneyd, Steve. What Time Has Use For: Arthurian Poems. 2nd edn. Stamford, Lincs.: K. T. Publications, 1996. The title-page calls this an “expanded second edition.” These same poems also appear in the third edition. At the end of the series of poems, there is a section called “Work to Do,” which has questions for students to consider, as well as a list of readings.

A-2417 Sneyd, Steve. What Time Has Use For and other Arthurian Poetry. 3rd edn. Stamford, Lincs.: K. T. Publications, 1998. The third edition is divided into two parts. The first section, “What Time Has Use For,” reprints the poems from the second edition. The second part contains a new long poem, “A Time of Buried Questioning” (previously printed; see individual entry.) At the end of the series of poems, there is a list of further reading.

A-2418 Snow, Alicia. The Song of Guinevere: A Defense of Arthur’s Wife in Verse. Illus. Robert Allen Gordon. San Francisco: Belgrave House, 1999. A long book-length narrative poem describing Guenevere’s life before and after her marriage to Arthur. Guenevere is a healer of some skill; Arthur is a charismatic leader who pushes all his people, including his wife, to achieve their limits and go beyond; Lancelot is a loyal follower who sympathizes with, then loves, the Queen. Snow alters the end of the story, for Arthur and Lancelot do not battle over the Queen, but many of the expected episodes and characters appear. There are six full-colour illustrations (full page). The book is accompanied by a set of sixteen audio CDs, being a recording of the author reading the work.

A-2419 Snydal, Laurence. “The End of the Quest.” In King Arthur and his Knights II. Ed. Alan Lupack and Barbara Tepa Lupack. A special issue of The Round Table: A Journal of Poetry and Fiction 5 (1989): 56. This eight-line poem imagines the knights, old, after the Grail quest.

A-2420 Sobol, Donald J. Greta the Strong. Illus. Trina Schart Hyman. Chicago: Follett Publishing Co., 1970. The protagonist of this young adult novel is the daughter of a prosperous farmer in post-Arthurian times. When the last knight of Arthur’s court arrives (Sir Porthal), she proves herself worthy to set out on a quest to find Excalibur. After many adventures, she does meet the Lady of the Lake with the sword, but Greta then makes a surprising choice.

A-2421 Solway, David. “Merlin on Nyneve.” Fiddlehead 204 (Summer 2000): 143. This poem begins with the image of Merlin locked in stone. He reflects on the contradictions of his previous life and present predicament but seems to accept his situation and does not condemn Nyneve.

A-2422 Somtow, S. P. “The Steel American.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992.

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Rptd: Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 107–25. Set in Asia in the twentieth century, this story is told by a village wise woman who discovers Perceval has appeared, looking for the Grail.

A-2423 The Song of Courtesy. Harper’s Weekly 30 July 1859: 486. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . This anonymous poem is in four twelve-line stanzas; it begins when Gawain weds the Loathly Lady and ends with her enchantment broken. (We have seen the poem only as reprinted).

A-2424 Southey, Robert. Madoc. London: Longman, Hurst, Rees, and Orme; Edinburgh: A. Constable and Co., 1805. Rptd: Poetical Works. 10 vols. London: Longman, Brown, Green, and Longmans, [1837]. Vol. 5. Madoc is a twelfth-century prince of North Wales. Because of a dispute over the succession, he leaves with a band of adventurers to sail west, and the second half of the poem is thus set in America where Madoc lives with the Aztecs. The Arthurian allusions occur in the first part of this long narrative poem. In Section 11, “The Gorsedd” (81–87), Madoc judges a poetic competition. Caradoc’s song about heroes journeying to the west mentions Merlin, who with the Bards discovered the Land of the Departed (84); Caradoc later alludes to Arthur (85). Madoc’s enterprise is therefore associated with heroic deeds of Arthurian times.

A-2425 Southworth, May Elizabeth. Galahad, Knight Errant. Boston, MA: Richard G. Badger, 1907. A relatively short prose retelling of the Grail story, focusing on Galahad. The author has combined various sources, so that this Galahad is really a combination of the usual Galahad and Perceval characters; no Perceval appears in the story.

A-2426 Sparrow, John. “Sir Lancelot.” In Other People’s Clerihews. Ed. Gavin Ewart. Illus. Nicola Jennings. Oxford: Oxford University Press, 1983. 49. This brief poem on Lancelot comments on his dancing.

A-2427 Sparshott, Francis Edward. “The Return of Arthur.” The Tamarack Review no. 15 (Spring 1960): 52. An eighteen-line poem divided into three six-line stanzas. The speaker thinks that he sees Arthur in the modern world, but concludes that he has not returned.

A-2428 Spenser, Edmund. The Faerie Queene, Disposed into twelue books, fashioning XII. morall vertues. [Books 1–3]: London: Printed for William Ponsonbie, 1590. [STC (P&R) 23080 (ESTC S125541); also 23081 (ESTC S121920).] [Books 1–6]: London: Printed for William Ponsonbie, 1596. [STC (P&R) 23082 (ESTC S117748).] Rptd: [All six books and the Mutability Cantos]: London: Printed by H. L. For Mathew Lownes, 1609. [STC (P&R) 23083 (ESTC S1728).] – Frequently reprinted, including The Faerie Queene. Ed. Thomas P. Roche, Jr. with the assistance of C. Patrick O’Donnell, Jr. The English Poets. New Haven: Yale University Press, 1981. – The Faerie Qveene. Ed. A. C. Hamilton, Hiroshi Yamashita, and Toshiyuki Suzuki. 2nd edn. Longman Annotated English Poets. New York: Harlow and Longman, 2001. – Excerpt: “Book 3, Canto 3.” In The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York and London: Garland Publishing, 1990. 181–201.

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– “Book 3, Canto 3.” In Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 134–49. The Faerie Queene is an epic-length allegorical poem illustrating twelve virtues; only six of the twelve planned books (and a fragment of a seventh) were completed. In the realm of Faerie, ruled by Queen Gloriana (in part an allegorical representation of Queen Elizabeth), various wandering knights (including one female warrior, Britomart) ride out on chivalric adventures in imitation of medieval romances. In a letter to Sir Walter Raleigh, which serves as something of an “argument” for the whole work, Spenser indicates that the twelfth of the twelve knights was to be Prince Arthur (this being prior to his coronation; Spenser proposed, if the reception of this work was favourable, to produce a second twelve-book epic of King Arthur, illustrating twelve political virtues). In Spenser’s story, Arthur was taken at birth by Merlin and given to an elf to raise and train in arms; the young Arthur here has not yet returned to Britain, but is on adventures in Faerie, intending to please and aid Queen Gloriana, whom he has seen in a vision and with whom he is in love. Arthur, as representing “magnificence,” which is a virtue itself but is also the perfection of all the other gentlemanly virtues, appears at moments of crisis in each of the adventures of the other knights, aiding and rescuing as necessary. The six books which are completed are Book 1, of the Red Cross Knight (St George), who represents Holiness (he becomes, in the course of the book, the perfect Christian knight); Book 2, of Sir Guyon, representing Temperance; Book 3, of Britomart, representing Chastity (Merlin plays a central role in Book 3); Book 4, of Cambel and Telamond, representing Friendship; Book 5, of Sir Arthegall, representing Justice; Book 6, of Sir Calidore, representing Courtesy. (For illustrated editions and for art works on Spenserian subjects, see the entries in the Fine Art section for “Ascot Races: Queen’s Gold Cup”; “Cosway, Richard”; “Crane, Walter: Britomart”; “Crane, Walter: Faerie Queene”; “Crane, Walter: Red Cross Knight”; “Eastlake, Charles”; “Etty, William”; “Fairfax-Muckley, Louis”; “Fortescue-Brickdale, Eleanor: Eleanor Fortescue Brickdale’s Golden Book of Famous Women”; “Fuseli, Henry”; “Hammond, Gertrude Demain”; “Jacomb-Hood, George Percy” (three entries); “Kent, William: Faerie Queene”; “King, Jessie M[arion]: Poems of Spenser”; “Mortimer, John Hamilton”; “Newill, Mary Jane”; “Opie, John”; “Paton, Joseph Noël: Cymochles and Phaedria”; “Paton, Joseph Noël: Una and the Lion”; “Raphael, Mary F.”; “Rivière, William, and Briton Rivière: Education of Arthur by Merlin”; “Shields, Frederick”; “Strudwick, John Melhuish: The Enchantress”; “Watts, George Frederic: Britomart and her Nurse”; “Watts, George Frederic: Una and the Red Cross Knight”; “West, Benjamin.”)

A-2429 Spenser, Edmund. “The Faerie Queene.” 101 of the World’s Greatest Books. 12 audio cassettes. Salt Lake City: Compact Classics, 1997. Abridgements of “great” stories, from the Odyssey and Aeneid, through the Canterbury Tales, to The Hunt for Red October and The Firm. Includes “Tales of King Arthur,” as well as a version of the Faerie Queene.

A-2430 [Spenser: adaptations.] Bradburn, Eliza W., adapt. Legends from Spenser’s “Fairy Queen,” for Children. London: John Mason, 1829. “The stories of ‘The Knight of the Red Cross’ and ‘Sir Guyon’ are related by a lady to her three children. She interrupts her narration at frequent intervals to explain the implications and answer the varied questions of her auditors” (Shefrin and Tenny, Told to the Children, p. 17).

A-2431 [Spenser: adaptations.] Dawson, Lawrence H., adapt. Stories from the “Fairie Queen,” Retold from Spenser. Illus. Gertrude Demain Hammond. London: George G. Harrap, 1909. A prose retelling of Spenser’s tales of Una, the Red Cross Knight, Prince Arthur, Sir Guyon, Britomart, Arthegall, and Calidore, arranged into forty-two chapters. There are sixteen full-page colour plates.

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A-2432 [Spenser: adaptations.] Macleod, Mary [Mary Macleod Banks], adapt. The Red Cross Knight and Sir Guyon. Illus. A[rthur] G[eorge] Walker. London: Wells Gardner, Darton and Co., 1908. Two tales from the Fairie Queene, retold for children, with illustrations by Walker.

A-2433 [Spenser: adaptations.] Royde-Smith, N[aomi] G[wladys], adapt. Una and the Red Cross Knight, and Other Tales from Spenser’s “Faery Queene.” Illus. T[homas] H[eath] Robinson. London: J. M. Dent and Co.; New York: E. P. Dutton and Co., 1905. (*) Tales from the Fairie Queene, retold for children. (Information from OCLC WorldCat.)

A-2434 [Spenser: adaptations.] Sturt, Mary, and E. C. Oakden, adapt. The Knights of the “Faerie Queene”: Tales Retold from Spenser. London: J. M. Dent and Co.; n.d. [ca. 1900]. (*) Tales from the Fairie Queene, retold for children. (Information from OCLC WorldCat.)

A-2435 [Spenser: adaptations.] Summerly, Felix [pseud.], [i.e., Sir Henry Cole], adapt. Tales from Spenser’s “Fairie Queen.” Home Treasury Series. London: Joseph Cundall, 1846. Tales of the Red Cross Knight, Sir Guyon, Sir Arthegall, Sir Calidore.

A-2436 Spicer, Jack. The Holy Grail. San Francisco: White Rabbit Press, 1964. Rptd: The Collected Books of Jack Spicer. Ed. Robin Blaser. Los Angeles: Black Sparrow Press, 1975. 187–215. – In “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 278–95. – A portion of the poem has been anthologized: “The Book of Galahad.” From the Other Side of the Century: A New American Poetry, 1960–1990. Ed. Douglas Messerli. Sun and Moon Classics 47. Los Angeles: Sun and Moon Press, 1994. 172–75. This poetic sequence, in a variety of metres and stanzaic forms, is divided into seven books: “Gawain,” “Percival,” “Lancelot,” “Gwenivere,” “Merlin,” “Galahad,” and “Death of Arthur”; each of these is further divided into seven short sections. The sequence moves between episodes and characters of the legend to modern events and concerns; the Grail, for example, becomes associated with poetry. “Gwenivere” and “Death of Arthur” resemble dramatic monologues.

A-2437 Spiers, Kaufmann. “The Madness of Launcelot.” Fortnightly Review 92 (2 Aug. 1909): 345–48. The poem begins with Lancelot’s departure from court and his recrimination of the queen’s treatment of him. Later parts of the poem recount Arthur’s response to Lancelot’s absence and the rumours of Lancelot’s madness that reach the court.

A-2438 Spirn, Michele. In Search of the Ruby Sword. Illus. Gene Feller. Fairlawn, NJ: January Productions, 1984. Twins from the twentieth century have a magic ring that allows them to go back in time. They arrive near Camelot and hear about a quest to find the ruby sword, a magical sword that makes its holder invincible. They find the sword and give it to Arthur, outwitting the evil wizard Cronin. The book is illustrated with many B&W drawings, mainly of the two children at the various stages of their adventures.

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A-2439 Springer, Nancy. I am Mordred: A Tale from Camelot. New York: Philomel Books, 1998. This novel is expanded from “The Raven,” a short story published in Jane Yolen’s anthology Camelot. Mordred narrates the novel, which primarily concerns his attempts to elude the doom he will bring to Arthur, according to Merlin’s prophecies. Nyneve, who imprisoned Merlin, is a major character, the only one who truly believes that Mordred might escape his doom. Springer begins with the episode of the May babies; Arthur, “the King,” places the children in a coracle and sends them out to sea. The rest of the novel is divided into four parts: the first tells of Mordred’s early life with the fisher folk and then in Lothian; the second tells of Mordred’s first years in Camelot; the third tells of Mordred’s quest to escape his doom; the fourth tells of Mordred’s solution to his dilemma. Through Mordred’s experiences and comments by various characters, Springer interrogates prejudice and gendered roles; interestingly, Mordred is very aware of the first (people are often prejudiced against him), but he cannot understand the problems caused by the second. Note that Springer has also published I am Morgan le Fay: A Tale from Camelot (2001).

A-2440 Springer, Nancy. “The Queen’s Broidery Woman.” In Camelot Fantastic. Ed. Lawrence Schimel and Martin H. Greenberg. New York: DAW Books, 1998. 51–71. Norrie, who sews for the queen, witnesses Guinevere’s flirtation with Lancelot and begins to sew different types of stitches, creating spells of doom. These spells affect Arthur as well, although Norrie does not intend him harm. As in her tales about Mordred, Springer here explores ideas about individuals and Fate.

A-2441 Springer, Nancy. “The Raven.” In Camelot. Ed. Jane Yolen. New York: Philomel Books, 1995. 137–51. This story is narrated by Mordred. It recounts his arrival at Camelot and his eventual solution to escape the pain of his doom. The story later appears as part of I Am Mordred.

A-2442 Sproston, S[amuel]. The Sword in the Stone: A Legend. London: Year Book Press, 1914. (*) A verse drama.

A-2443 Squire, Sir J[ohn] C[ollings]. “If Lord Byron had Written ‘The Passing of Arthur.’” Tricks of the Trade. London: Martin Secker, 1917. 71–77. Rptd: “The Passing of Arthur.” In The Brand-X Anthology of Poetry: A Parody Anthology, Burnt Norton Edition. Ed. William Zaranka. Cambridge, MA: Apple-Wood Books, 1981. 157–60. This parody, in 21 eight-line (“Don Juan”) stanzas, tells of Bedivere’s throwing of the sword into the lake; first line: “So all day long the noise of battle rolled.” The poem switches between a rather elevated style and bathetic modern comparisons and expressions.

A-2444 Stableford, Brian. “The Architect of Worlds.” In Camelot Fantastic. Ed. Lawrence Schimel and Martin H. Greenberg. New York: DAW Books, 1998. 72–123. A messenger dies just as he arrives at Camelot, and this sets the stage for court intrigue between the various factions (Saxons, Druids, Christians) and between Merlin and Morgan. In the end, Chance rather than these powerful magicians constructs the Fate of Camelot.

A-2445 Stableford, Brian. “The Lost Romance.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 394–406. This short story tells the adventures of a monk who meets an outlaw in medieval England, so it is mainly about the beginnings of the Robin Hood legend. However, the monk has been researching a rare Welsh manuscript about the location of the Grail and the story mentions Robert de Boron’s Joseph d’Arimathie and the connection between the Holy Grail and Arthur’s court.

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A-2446 Stableford, Brian. “My Mother, the Hag.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 380–90. This story is narrated by the nameless son of the Hag of Dunnottar as he recounts the reasons for his mother’s death at the hands of Sir Fergus. He also explains his means of vengeance at the battle of Camlann.

A-2447 Stang, JoAnn. Shadows on the Sceptered Isle. New York: Crown Publishers, 1980. A search for Arthur’s cross and tomb provides the opportunity for mystery and romance in this romantic thriller.

A-2448 Stanhope, Rosamund. “So I Looked Down to Camelot.” So I Looked Down to Camelot. Northwood, Middlesex: Scorpion Press, 1962. 10. This four-stanza poem alludes to Tennyson’s “The Lady of Shalott” most clearly in its title, in one of its lines (“The mirror cracked from edge to edge”), and in the speaker’s actions of building a boat in which she dies. From these allusions, the description contained in the poem can be read as the Lady’s view, modernized; what she sees is the ordinary events of an industrialized city. This is the only poem in the collection that is Arthurian.

A-2449 [Stead, William Thomas.] King Arthur and the Knights of the Round Table: Old Stories Re-Told. Illus. Brinsley Le Fanu. Books for the Bairns 43. London: “Review of Reviews” Office, 1899. (*) Rptd: Philadelphia: Penn Publishing, 1908. A retelling of Malory for children (Gaines, Item C9). This was later reworked by Robert S. Wood and reprinted in two volumes (see the entry for “Wood, Robert S.: Stories”). (Information from Gaines.)

A-2450 Stearns, Harold Crawford. “The Prayer of Iseult of the White Hands.” Contemporary Verse 5.1 (Jan. 1918): 9. Iseult of Brittany is the speaker of this four-stanza poem. She imagines what others will say of her death and reveals her own weariness of love and pain. Her desire to “never dream in vain” is quite poignant.

A-2451 Stedman-Jones, Fred. “Camlann.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 1–4. The note to the poem says that it was “originally published in Pendragon in 1989.” The poem consists of three-line stanzas, spoken by Taliesin. He describes both Mordred and Arthur, and then the devastation of the battle of Camlann.

A-2452 Stedman-Jones, Fred. “The Trial of Medrawd: Case Papers: Medrawd’s Testimony.” Pendragon 20 1 (Winter 1989): 16–19. A dialogue between a prosecutor and Mordred. Stedman-Jones bases his account mainly on Welsh sources such as the Triads. Mordred’s answers to the prosecutor’s questions show Mordred to be a good ruler, the one chosen by the queen to defend Britain. He is also supposed to have been buried with Arthur and Guenevere.

A-2453 Steedman, Marguerite. Refuge in Avalon. Garden City, NY: Doubleday and Co., 1962. A historical novel of Joseph of Arimathea and Jesus, that is connected to Arthurian Grail legends (hence the title). The novel begins when Jesus is twelve years old and has come to visit his kinsman Joseph, who takes the boy with him on a trading expedition to Britain. There, the

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Arch-druid Bran recognizes Jesus’ divinity. Jesus also becomes friends with a boy named Taliesin; Bran explains that one bard in each generation is given that name. At the end of the novel, Joseph returns to Britain carrying the cup of the Last Supper; when he plants his staff on Glastonbury Tor, it grows.

A-2454 Steinbeck, John. The Acts of King Arthur and His Noble Knights, from the Winchester Manuscript of Thomas Malory and Other Sources. Ed. Chase Horton. New York: Farrar, Straus and Giroux; London: William Heinemann, 1976. Rptd: A Del Rey Book. New York: Ballantine, 1977. Steinbeck began this work intending to produce a modernized version of Malory, particularly the “Winchester manuscript” version. He completed only seven sections: “Merlin”; “The Knight with the Two Swords”; “The Wedding of King Arthur”; “The Death of Merlin”; “Morgan le Fay”; “Gawain, Ewain, and Marhalt”; and “The Noble Tale of Sir Lancelot of the Lake.” By the last of these he was adding many more of his own touches to the story, particularly in the motivations and emotions of Lancelot and the queen, whose love affair begins in earnest just as the last book ends.

A-2455 Steinbeck, John. Tortilla Flat. New York: Grosset and Dunlap, 1935. This novel is set in Monterey, California. While the characters and events are not explicitly Arthurian, Steinbeck’s preface makes that association, comparing the main character and his friends to knights of the Round Table, and comparing the way their stories are repeated in Monterey to the way legends (such as that of Arthur) are developed. The chapter titles also mimic those in Caxton’s edition of Malory.

Stemple, Adam: see Yolen, Jane, “Amesbury Song.” A-2456 Stephens, G. Arbour. “Christmas Interlude at the Court of King Arthur.” In Cameo Plays, Book 2. Ed. G[eorge] H[enry] Holroyd. Glasgow: E. J. Arnold and Sons, 1939. 86–96. This play consists of three scenes. In the first, Sir Cleges discovers the miraculous fruit that appears in mid-winter while he prays; in the second, he encounters the gate porter and then the hall porter at King Arthur’s court, each of whom demand a third of his reward; in the third, the steward also demands a third, but does admit Cleges to Arthur where the gift is received and Cleges’ requested reward (twelve blows) are appropriately divided.

A-2457 Stephens, Genevieve. “The Dark Tower.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 5. The tower of the title imprisons Merlin; Vivian and her spell have not lasted.

A-2458 Sterling, Mary Blackwell. The Story of Sir Galahad, Retold from the “Le Morte d’Arthur” of Sir Thomas Malory and the Original Stories. Illus. William Ernest Chapman. New York: E. P. Dutton and Co., 1908. Rptd: London: Grant Richards, 1909. – The illustrations are reproduced at The Camelot Project Website. Ed. Alan Lupack. . While the focus of the title and of the preface is on the Grail quest, the book in fact contains several other episodes from Malory, including Arthur’s rise to the throne, his acquiring of Excalibur, his wedding to Guenevere, and the misadventures of Balin and Balan. The Prologue of the book tells the story of Joseph of Arimathea and his bringing of the Grail to England. The text in many places is very close to Malory, but has been edited and abridged considerably. Seven full-page, full-colour illustrations accompany the text.

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A-2459 Sterling, Sara Hawks. A Lady of King Arthur’s Court: Being a Romance of the Holy Grail. Illus. Clara Elsene Peck. Philadelphia: George W. Jacobs and Co., 1907. Rptd: London: Chatto and Windus, 1909. The protagonist of this novel is Anguish, son of the king of Ireland and brother to Iseult. He is in love with one of Guenevere’s maidens, but his first attempt to prove his valour ends shamefully. He regains reputation at a tournament and marries her, but she tells him a secret (apparently quite shameful, but the reader is never told what it is), and so he leaves her immediately after the wedding. He goes on a quest for the Grail and finally achieves it and a new understanding of love; his wife accompanies him, though he does not know that, disguised as a monk. The novel’s focus on Anguish means that many significant events, like the Battle of Camlann, are reported to him rather than shown, or, like the deaths of Tristan and Iseult by Mark’s hand, are briefly witnessed by him. The novel is illustrated with five full-page pictures; there are also a number of designs, particularly at beginnings and ends of chapters.

A-2460 Sterne, E[mma] G[elders], and Barbara Lindsay. King Arthur and the Knights of the Round Table. Illus. Gustaf Tenggren. Golden Illustrated Classic. New York: Golden Press, 1962. Rptd: Intro. Mary Pope Osborne. New York: Random House, 2002. This retelling of Malory begins with the sword in the stone story and ends after the Battle of Camlann. There are many of the traditional episodes included, and Perceval is given a greater role (and connected to the story of Merlin and Vivian). The chapters are short, and most are accompanied by a stylized, full-colour illustration, often full-page (though there are some two-page spreads, or two-page spreads that take up three-quarters of each page). The illustrations of Guenevere are particularly effective. The library at the University of Minnesota has a collection of some 34 preliminary sketches for the illustrations.

A-2461 Stevens, Lillian O., and Edward Frank Allen. King Arthur Stories from Malory, Done from the Text of Sir Thomas Malory’s “Morte Darthur.” Riverside Literature. Boston, MA: Houghton Mifflin, [1908]. (*) A retelling of Malory for children (Gaines, Item C25). Eight halftone illustrations are included, five of which reproduce paintings by Edwin Austin Abbey (see the entries for Abbey in the Fine Art section). (Information from Gaines.)

A-2462 Stevenson, Francis Seymour. Conflict and Quest. London: Longmans, 1923. (*) A long poem.

A-2463 Steward, Ada. Galahad’s Bride. Silhouette Special Edition Series 604. New York: Silhouette Books, 1990. A contemporary romance novel set in Savannah, Georgia. The Galahad of the title is Houston, the male protagonist, whose brother teases him about his need to rescue damsels in distress. This trait of rescuing people, of being the “white knight,” is explicitly linked to Galahad through the conversation between the brothers and by the title. No other Arthurian allusions occur; the book does not use the Arthurian allusion in any interesting way, nor is the romance plot handled well.

A-2464 Stewart, Mary. Arthurian Saga. 4 vols. New York: Fawcett, 1985. This edition is a collection of The Crystal Cave, The Hollow Hills, The Last Enchantment (often referred to as her “Merlin Trilogy”) and The Wicked Day. All four of the novels are available on audio cassette; the first was also made into a television film. (See the entries for individual novels for more details.)

A-2465 Stewart, Mary. The Crystal Cave. London: Hodder and Stoughton, 1970. Merlin narrates Stewart’s first Arthurian novel, telling his own story: in the time of King Vortigern, a young boy, bastard son of the daughter (Niniane) of the King of South Wales (in

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Maridunum, modern Carmarthen), discovers a cave (on a hill near Maridunum which comes to be known as Bryn Myrddin) lined with crystal, and there discovers an ability to see true visions. Galapas, residing hermit-like in the cave, tutors young Merlin, passing on to him much knowledge and some magic; at Galapas’ death, the cave becomes Merlin’s. The trilogy follows the outlines of the story as found in Geoffrey of Monmouth, with much added by way of motivation, realistic detail, explanation, and rationalization: much of the traditional story’s “magic” is explained as learning, engineering, or disguise, and Merlin’s power is primarily that of vision and prophecy. The first novel covers the story from the conception and birth of Merlin to the night of the conception of Arthur by Uther and Igraine at Tintagel. A significant innovation comes in the last part of the book: Igraine is a willing and co-operative adulteress, not deceived into mistaking Uther for Gorlois. She and Merlin plotted her own “seduction,” but Igraine set a condition that Gorlois should not be harmed: if harm were to come to Gorlois, she said, she would spend her life praying to any gods there are that Merlin should himself die betrayed by a woman. An abridged version of the story was released on audio cassette (2 cassettes: ca. 3 hours), read by Nicol Williamson; abridged by Elizabeth Crawford (Studio City, CA: Dove Books on Tape / William Morrow, 1989; catalogue no. 40810; ISBN 1558002243). There is also an unabridged audiobook, read by Stephen Thorne (12 cassettes; ca. 15.5 hours; Bath: Chivers Audio Books, 1992; catalogue no. CAB676). The Crystal Cave was dramatized for TV (and is available on video-cassette): Merlin of Crystal Cave, written by Steve Bescoby, based on the novel by Mary Stewart; BBC TV, 1991. (See the entry in the “Film, Television, and Radio” section for further details.)

A-2466 Stewart, Mary. The Hollow Hills. London: Hodder and Stoughton, 1973. This second novel in the series continues Merlin’s autobiography, begun in The Crystal Cave, covering the period from the morning after Arthur’s conception at Tintagel, throught the episodes of the sword in the stone and the beginning of Arthur’s reign, to the conception of Mordred. One of the innovations in this version of the story is the use of the story of “Maxen’s Dream” (from the Mabinogion); Merlin, in disguise as a minstrel, sings the tale in an inn, and thereafter decides to go in search for the sword of Maxen, which is found eventually under a stone altar, with an inscription stating that whoever takes the sword from the stone is the true king. Along with the sword, Maxen’s treasure also includes a cup and lance, which Merlin predicts will be the object of a later quest. Merlin then inherits a hermit’s cave near Ector’s hall, and Arthur comes to him: Merlin’s instruction in the cave of Galopas is repeated, as Merlin fosters Arthur. Uther, failing, summons Merlin and Arthur; Arthur fights alongside Uther in his first battle, and Uther, at a critical moment, throws his own sword to Arthur, who then leads the army to a great victory against the Saxons. After the victory, Arthur sleeps with Morgawse, not knowing that she is his half-sister. An abridged version of the story was released on audio cassette (2 cassettes: ca. 3 hours), read by Nicol Williamson, abridged by Elizabeth Crawford (Studio City, CA: Dove Books on Tape / William Morrow, 1989; catalogue no. 40860; ISBN 1558002278). There is also an unabridged audiobook, read by Stephen Thorne (12 cassettes; ca. 15 hours; Bath: Chivers Audio Books, 1992; catalogue no. CAB749; ISBN 0745140521).

A-2467 Stewart, Mary. The Last Enchantment. London: Hodder and Stoughton, 1979. The third book in her Merlin trilogy, this continues Merlin’s story from the time of Arthur’s coronation and the massacre of children (ordered by Lot, though it was rumoured to have been Arthur’s command) to Merlin’s retirement after Nimue succeeds him as prophet to the king. Much of this segment of the story has to do with Merlin’s love affair with Nimue, his supposed death and burial (a sleeping sickness brought on as an after-effect of an attempt by Morgause to poison him), only to re-emerge alive from his cave several months later. During Merlin’s absence, Nimue deals with Accolon and Morgan and the stolen sword, Caliburn; also, believing Merlin dead, Nimue marries Peleas and takes on the role of Goddess or Lady of the Lake in Ynis Witrin (Glastonbury). Maxen’s treasure, which will someday be the focus of a great quest, is brought to Camelot by Nimue and shown to Arthur; Merlin, after his re-emergence from the cave, discovers that it is missing, and, until he meets with Nimue and learns the truth, believes that Morgan has stolen it. Stewart also uses the idea that Arthur had two wives with similar names: the first

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Guenever dies in miscarriage; the second, Guinevere of Gwynedd, is barren. The second Guinevere is kidnapped by Melwas, King of Somerset, in whose kingdom Merlin built Camelot (the location is, by its description, obviously South Cadbury castle); she also has an affair (with Arthur’s knowledge) with Bedwyr. Before his second marriage, the culmination of the Saxon wars takes place in the decisive Battle of Badon. An abridged version of the story was released on audio cassette (2 cassettes: approx. 3 hours), read by Nicol Williamson, abridged by Elizabeth Crawford (Studio City, CA: Dove Books on Tape / William Morrow, 1989; catalogue no. 40870; ISBN 1558002286). There is also an unabridged audiobook, read by Stephen Thorne (12 cassettes; ca. 16 hours; Bath: Chivers Audio Books, 1993; catalogue no. CAB811; ISBN 0745141285).

A-2468 Stewart, Mary. The Prince and the Pilgrim. Cover illus. Mark Harrison. London: Hodder and Stoughton, 1995. A novel, based on the tale of Alexander the Orphan and Alys le Beall Pylgryme (cf. Malory, Book 10, Chaps. 32ff). The story is set in very much the same Arthurian world as Stewart’s “Merlin Trilogy”; there are references to significant elements of those stories, such as Maxen’s treasure. King Arthur is well settled on the throne, Merlin is gone, and Nimue is now the royal enchantress; Morgan le Fay has just recently failed in her attempt to destroy Arthur through Accolon and the theft of the sword Caliburn. The plot is developed in a pair of stories running in parallel: the story of Alexander the Fatherless, son of Baudouin, a Prince of Cornwall, and thus nearest relation (and presumed heir) to King March, who murdered Baudouin in a fit of jealous rage (Drustan, another nephew to March, aids in the escape of the infant Alexander and his mother from Cornwall; there are other incidental references to Drustan throughout the book); and the story of Alice, daughter of Ansirus, Duke of Rheged. The two principals are brought together through a confusion between two “grails,” pagan and Christian. The painting on the dust-jacket shows a lady, seated by a stream, with a man standing behind and holding the reins of a horse; in the background is a castle on a hill among trees. An abridged version of the story was released on audio cassette (2 cassettes: approx. 3 hours), read by Hannah Gordon, abridged by Derek Webb (London: Hodder Headline Audiobooks, 1995; catalogue no. HM-345; ISBN 1859984894).

A-2469 Stewart, Mary. The Wicked Day. London: Hodder and Stoughton, 1983. The paperback reprint identifies this as Vol. 4 of “The Arthurian Saga” (see the entry for the Saga), though it is not clear that Mary Stewart gave the series such a name, nor that she intended this novel to be a fourth part of the “Merlin Trilogy.” This story is set in the same world as the three novels of the Merlin Trilogy, but this one is not narrated by Merlin; instead, this is the story of the fall of Camelot from Mordred’s point of view, intended in part to explain his role and vindicate his choices. An abridged version of the story was released on audio cassette (2 cassettes: ca. 3 hours), read by Theodore Bikel (Beverly Hills, CA: Dove Books on Tape / Dove Audio, 1991; catalogue no. 41350; ISBN 1558003088). There is also an unabridged audiobook, read by Stephen Thorne (10 cassettes; ca. 14 hours; Bath: Chivers Audio Books, 1996; catalogue no. CAB1305; ISBN 074516689X).

A-2470 Stewart, R[obert] J. “The Beheading Game.” In Warriors of Arthur. Ed. John Matthews and Bob Stewart. Illus. Richard Hook. London: Blandford Press, 1987. 155–66. Rptd: Tales of Arthur: Adventure Stories from the Arthurian Legend. London: Javelin Books, 1988. 67–83. – In Legends of King Arthur and His Warriors. Illus. Richard Hook. Enderby: New Orchard / Bookmart, 1993. 155–66. Set in the time before Arthur, this story has a Merlin-figure telling the Emperor in Rome a story which resembles that of Sir Gawain and the Green Knight, but which takes place in Bran’s court. The story ends with Merlin looking ahead to the time of the heirs of Ambrosius. The first reprint contains just the stories, with very short introductions and thus not nearly the amount of histor-

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ical and literary background material as the original. The second reprint is exactly the same as the original, only with a new title.

A-2471 Stewart, R[obert] J. “The Blundering Hero.” In Warriors of Arthur. Ed. John Matthews and Bob Stewart. Illus. Richard Hook. London: Blandford Press, 1987. 63–77. Rptd: Tales of Arthur: Adventure Stories from the Arthurian Legend. London: Javelin Books, 1988. 21–45. – In Legends of King Arthur and His Warriors. Illus. Richard Hook. Enderby: New Orchard / Bookmart, 1993. 63–77. This story appears at the end of the section entitled “The Celtic Camelot.” Told by an old monk to his student, it is the story of Perceval as he grows up, ventures off to become a knight, meets the Fisher King, and finally gains his armour. The first reprint contains just the stories, with very short introductions and thus not nearly the amount of historical and literary background material as the original. The second reprint is exactly the same as the original, only with a new title.

A-2472 Stewart, R[obert] J. “The Fairy Harp.” In Magical Tales: The Story-Telling Tradition. Wellingborough: Aquarian, 1990. 115–36. In this story, the first-person narrator describes his talent at finding things. One of the things he has found in the past is a copy of William of Malmesbury’s History of Glastonbury that had been owned by the man, Frederick Bligh Bond, who excavated at Glastonbury early in the twentieth century. The main part of the story, however, tells the story of the narrator’s experiences after he finds an enchanted harp and four letters. At one point he describes finding a king and a queen with their warriors in a cavern beneath a hill, but these characters are not given explicitly Arthurian identities.

A-2473 Stewart, R[obert] J. “The Girl Who Met Merlin.” In Legendary Britain: An Illustrated Journey. Ed. Bob [Robert J.] Stewart and John Matthews. Illus. Miranda Gray and (photographically) Tim Cann. London: Blandford Press, 1989. 41–46. This story begins with the protagonist, Janet, wondering why a girl is always blamed for Merlin’s downfall; on a walk, she meets Merlin and gets an answer – of sorts.

A-2474 Stewart, R[obert] J. “Kei and the Giant.” In Warriors of Arthur. Ed. John Matthews and Bob Stewart. Illus. Richard Hook. London: Blandford Press, 1987. 119–24. Rptd: Tales of Arthur: Adventure Stories from the Arthurian Legend. London: Javelin Books, 1988. 55–65. – In Legends of King Arthur and His Warriors. Illus. Richard Hook. Enderby: New Orchard / Bookmart, 1993. 119–24. Stewart presents this as a tall tale told by an anonymous storyteller. Kei is a giant who takes on an even bigger giant who steals his supper. The story appears at the end of the section entitled “Battle on Land and Sea.” The first reprint contains just the stories, with very short introductions and thus not nearly the amount of historical and literary background material as the original. The second reprint is exactly the same as the original, only with a new title.

A-2475 Stewart, R[obert] J. “Merlin Invokes Barinthus.” The Mystic Life of Merlin. Illus. Felicity Bowers. London and New York: Arkana, 1986. xix. This poem appears at the beginning of the book, which is otherwise non-fiction. Merlin is the speaker of this sixteen-line poem; he invokes Barinthus as a spiritual guide.

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A-2476 Stewart, R[obert] J. “Merlin and Nimuë.” In Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 286–91. This short story rewrites the story of Merlin’s imprisonment; Merlin chooses his imprisonment in order to retrieve an object that can heal Arthur.

A-2477 Stewart, R[obert] J. “Merlin’s Gift.” The Prophetic Vision of Merlin. Illus. Felicity Bowers. London and New York: Arkana, 1986. ix-x. In this poem, Merlin sits on a high place and surveys the brokenness of the world and promises the possibility of healing.

A-2478 Stewart, R[obert] J. “Merlin’s Return.” Celtic Bards, Celtic Druids. Illus. Chris Down [colour plates and borders] and Sarah Lever [B&W drawings]. London: Blandford / Cassell, 1996. 128–32. On a November night, Merlin opens a secret gateway to permit a group of dead warriors to pass from the shadow world into the worlds of light.

A-2479 Stewart, R[obert] J. “Return.” In Magical Tales: The Story-Telling Tradition. Wellingborough: Aquarian, 1990. 149–55. In this story, Merlin performs a ritual that connects his time with our own; he helps spirits of twentieth-century soldiers find their way.

A-2480 Stewart, R[obert] J., and John Matthews, ed. Merlin Through the Ages. Fwd David Spangler. London: Blandford, 1995. This anthology includes extracts from medieval works as well as from modern poetry, drama, and prose works, arranged chronologically (as the list below indicates); there are also essays on folklore and the character of Merlin in the Arthurian tradition. For details of individual works that fit the parameters of this bibliography, see Thomas Heywood, extracts from The Life of Merlin; Edmund Spenser, extracts from The Faerie Queene; Ben Jonson, from The Speeches at Prince Henry’s Barriers; William Rowley, extracts from The Birth of Merlin; John Dryden, Merlin or the British Enchanter; Jonathan Swift, A Famous Prediction of Merlin; Joseph Jacobs, “Childe Rowland”; Alfred, Lord Tennyson, “Merlin and the Gleam”; Ralph Waldo Emerson, “Merlin I,” “Merlin II,” “The Harp,” and “Merlin’s Song”; Thomas Caldecott Chubb, “Merlin”; Robert Williams Buchanan, “Merlin and the White Death”; Edwin Arlington Robinson, extracts from Merlin; Alfred Noyes, “The Riddles of Merlin”; Arthur Symons, “Merlin and Mark”; R[obert] J. Stewart, “Merlin and Nimuë” (a story original to this anthology); and Michael de Angelo, “The Tintagel Vision of the Celtic Priesthood.”

A-2481 Stewart, R[obert] J., and Robin Williamson. Celtic Bards, Celtic Druids. Illus. Chris Down [colour plates and borders] and Sarah Lever [B&W drawings]. London: Blandford / Cassell, 1996. Includes printed versions of four of Williamson’s recorded retellings of Arthurian stories: “The Birth of Taliesin” (pp. 30–31), “The Spoils of Annwn” (pp. 44–45), “Culhwch and Olwen” (pp. 58–69; accompanied by two colour plates, one showing Olwen standing in a landscape of standing stones [p. 62], and one showing the face of Ysbaddaden, with his eyelids propped open [p. 65]), and “The First Prophecy of Merlin” (pp. 119–20), being the story of Vortigern’s tower, based upon Geoffrey of Monmouth. The volume also includes a story by R[obert] J. Stewart, “Merlin’s Return” (pp. 128–32); see relevant entry.

A-2482 Stewart, R[osalind] H. “The Perfect Stranger.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 36–64.

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The story of Sagremor, son of Palomides of Africa. He becomes a faithful companion of Arthur who refuses Guinevere’s attempts to seduce him and ends up in North Wales defending a small kingdom. He marries the lord’s daughter, whose deformity is cured by Sagremor’s friend, Morgan.

A-2483 Steynor, Morley. Lancelot and Elaine: A Play in Five Acts. London: George Bell and Sons, 1909. The verso of the title-page states that this play was first performed “at the Bijou Theatre, London, April 8, 1904.” The play is set after the Queen has been acquitted of treason in the death of Patrise, but its main story concerns Lancelot’s meeting of Elaine, her love for him, and her death. It ends after her body appears in a barge at Camelot with the letter for Lancelot. The action and characterization seem to be influenced by Tennyson.

A-2484 Steynor, Morley. Lancelot and Guenevere: A Play in a Prologue and Four Acts. London: Bell, 1909. This play was first performed “at the Bijou Theatre, London, April 8th, 1904.” The prologue is Arthur’s wedding to Guenevere and the arrival of Vivian, Lady of the Lake, with her foster-son Lancelot. The following acts depict Mordred’s entrapment of Lancelot and Guenevere and the battle between Lancelot’s forces and Arthur’s. A priest convinces Guenevere to retreat to a nunnery, but it is too late. Mordred and Arthur fight; Arthur dies in Guenevere’s arms, and she tells him that she will go to the convent.

A-2485 Stobie, Denise. Exploring King Arthur’s Britain. London: Collins and Brown, 1999. While most of this book is non-fiction prose on various sites associated with the legends, it also includes snatches of prose narrative and also of verse, some of the latter signed by Denise Stobie, some by Val Joice, and some by both.

A-2486 Stolzenbach, Mary M. “The Quest.” Mythlore 18 (Autumn 1978): n.p. The first stanza of this five-stanza poem describes Arthur’s knights when the Grail first appears to them; the rest of the poem applies their experience to modern life.

A-2487 Stone, [Eva] Eugenia. Page Boy for King Arthur. Illus. Rafaello Busoni. Chicago: Follett Publishing Co., 1949. A young boy, the son of a cowherd, dreams of becoming a knight. On the day of Arthur’s wedding, the king grants boons to several petitioners, including the boy’s father, and so Tor gets to work in the castle. He has several adventures, through which he becomes friends with Galahad, rescues Lancelot, and discovers the value of hard work and honesty. The alternate title is Page Boy of Camelot.

A-2488 Stone, [Eva] Eugenia. Squire for King Arthur. Illus. Rafaello Busoni. Chicago: Follett Publishing Co., 1955. A sequel to Page Boy for King Arthur continuing the story of Tor. Pellinore’s son Odo comes to Camelot to be a page, and Tor is asked to take care of him. When Odo is stolen by the Saxons, Tor sets off to find him and ends up saving the boy and warning King Arthur of a Saxon attack. Illustrations consist of fourteen full-page and eight partial-page B&W drawings.

A-2489 Storer, Ronald D. K. King Arthur and his Knights. Illus. William Stobbs. London: Oxford University Press, 1960. (*) Rptd: English Picture Readers Grade 1. London: Oxford University Press, 1962. An illustrated book for beginning readers. (Information from OCLC WorldCat entry.)

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A-2490 Stories from King Arthur. Great Writers for Young Readers. London: Oxford University Press, 1935. A volume for younger readers that draws on both Malory and Tennyson. The influence of Tennyson is most obvious in the use of Bellicent as the name for Gareth’s mother. The chapter titles are also reminiscent of Tennyson: “The Coming of Arthur,” “Gareth and Lynette,” “Merlin and Vivien,” “Lancelot and Elaine,” “The Holy Grail,” and “The Passing of Arthur”; the last chapter quotes two lines of Tennyson’s poetry. However, other sections derive from Malory, such as the first description of Nimue / Vivien. The stories have been edited so that no adultery is ever suggested. No illustrator’s name is given, but there are six full-colour, full-page illustrations, as well as various small, B&W drawings within the text.

A-2491 Storr, Catherine. King Arthur’s Sword. Illus. Susan Hunter. Great Tales From Long Ago. London: Belitha Press, in association with Methuen Children’s Books, 1985. Rptd: U.S. edition: The Sword in the Stone. Methuen’s Children’s Books. Milwaukee: Raintree Publishers, 1985. This picture-book retells the story of the sword in the stone. Each two-page opening has a couple of small sections of text; approximately three-quarters of each opening are given over to brightly coloured illustrations, which show the influence of medieval manuscript miniatures.

A-2492 Strauss, Jennifer. “Guenevere Dying.” Winter Driving: Poems by Jennifer Strauss. Fwd Rosemary Dobson. Carlton, South Victoria: Sisters Publishing, 1981. 18–20. Rptd: The Penguin Book of Australian Women Poets. Ed. Susan Hampton and Kate Llewellyn. Victoria: Penguin Books Australia, 1986. 126–28. Guenevere, in the nunnery and owing the abbess a “good death,” reflects upon certain incidents in her past that illustrate the “cages” of “Crown, Honour, Chivalry”; these are “men’s imperatives” which have kept her a long time in dying.

A-2493 Stray, P. J. [pseud.], [i.e., Jonathan P. Latimer and Karen Stray Nolting]. Lost in Merlin’s Castle. Cover illus. Doron Ben-Ami. Passport Mysteries Series 3. Parsippany, NJ: Silver Burdett Press, 1997. The cover illustration shows Merlin in a tall starred hat casting a spell. Some teenagers touring England find themselves in a mysterious castle and in the middle of a centuries-old battle between Merlin and Vivian. Merlin’s assistant Percival tells them of the end of Arthur’s reign.

A-2494 Strickland, Brad. “The Sword in the Net.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 319–23. This story of a young computer hacker uses imagery from the sword in the stone story. The computer is a “Merlin”; if the task is completed successfully an icon showing a sword pulled from a stone appears, and the programmer has acquired untold powers.

A-2495 Strickland, Edward. Corbenic. Toronto: Coach House Press, 1977. This long poem begins with a quotation from La Queste del Saint Graal and ends with one from Malory’s Le Morte Darthur; the poem sequence has sixteen sections. While Strickland names common Arthurian knights like Lancelot, Galahad, Perceval, and Bors, the main characters of this Grail quest are invented by Strickland, and their adventures usually involve imagery of our modern world.

A-2496 Stuart, Morna. “Song.” London Mercury 33 (1935–6): 110–12. There are four parts to this song: “Glastonbury Music,” “Kings,” “Shepherds,” and “Chorus.” The poem celebrates the birth of Jesus, combining allusions to Biblical stories of the birth with allusions to Arthurian legend (particularly in the first two sections); Avalon, Galilee, and Bethlehem seem to exist side-by-side. The Grail plays a prominent role.

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A-2497 Sturgeon, Theodore [pseud.], [i.e., Edward Hamilton Waldo]. “Excalibur and the Atom.” Illus. H. Dorset. Fantastic Adventures 13.8 (Aug. 1951): 8–51. This short story is structured as a detective story, as a lady named Morgan hires the protagonist to find a cup. The detective, Guinn, is a reincarnation of Galahad; the cup was kept by Perceval; other Arthurian characters, such as Merlin, Mordred, Gareth and Lynnette, also appear. The cup’s powers are effective against modern nuclear weapons.

A-2498 Sturm, Frank Pearce. “Launcelot Praises Guenevere with Rhymes.” Bon-Accord (Aberdeen) 38.1 (5 Jan. 1905): 9. Rptd: An Hour of Reverie. Vigo Cabinet Series 32. London: Elkin Matthews, 1905. 42–43. – Frank Pearce Sturm: His Life, Letters, and Collected Work. Ed. Richard Taylor. Urbana, Chicago, and London: University of Illinois Press, 1969. 205–206. – In Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 24. This poem is divided into two parts and reflects on Guenevere’s beauty.

A-2499 Sturm, Frank Pearce. “Launcelot Tells of the Enchanted Islands.” Bon-Accord (Aberdeen) 38.1 (5 Jan. 1905): 9. Rptd: An Hour of Reverie. Vigo Cabinet Series 32. London: Elkin Matthews, 1905. 44–46. – Frank Pearce Sturm: His Life, Letters, and Collected Work. Ed. Richard Taylor. Urbana, Chicago, and London: University of Illinois Press, 1969. 206–207. – In Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 25–26. Lancelot converses with Guenevere in this poem.

A-2500 Sturm, Frank Pearce. “The Monk Launcelot Remembers Guenevere.” Bon-Accord (Aberdeen) 38.1 (5 Jan. 1905): 9. Rptd: An Hour of Reverie. Vigo Cabinet Series 32. London: Elkin Matthews, 1905. 47–49. – Frank Pearce Sturm: His Life, Letters, and Collected Work. Ed. Richard Taylor. Urbana, Chicago, and London: University of Illinois Press, 1969. 207–208. – In Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 26–27. Lancelot’s memories reveal his continuing love for Guenevere.

A-2501 Sturm, Frank Pearce. “Palomide Remembers the Quest.” Bon-Accord (Aberdeen) 35.26 (24 Sept. 1903): 13. Rptd: An Hour of Reverie. Vigo Cabinet Series 32. London: Elkin Matthews, 1905. 28–30. – Frank Pearce Sturm: His Life, Letters, and Collected Work. Ed. Richard Taylor. Urbana, Chicago, and London: University of Illinois Press, 1969. 200–201. This poem is Palomide’s reflection on his quest; he compares this “fire within” to human love, specifically Lancelot’s feelings for the queen.

A-2502 Sturm, Frank Pearce. “The Questing Host.” Bon-Accord (Aberdeen) 32.19 (8 May 1902): 8. Rptd: An Hour of Reverie. Vigo Cabinet Series 32. London: Elkin Matthews, 1905. 11–12. – Frank Pearce Sturm: His Life, Letters, and Collected Work. Ed. Richard Taylor. Urbana, Chicago, and London: University of Illinois Press, 1969. 194, 350–51. The speaker of this poem is the poet himself, who thinks about the past and the way that “knight and saint and lady play their part.” Palomide’s “hopeless quest” is mentioned.

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A-2503 Stutts, Robert. “Fàth Mo Dhuilichinn (‘The cause of my sorrow,’ in Gaelic).” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 44. Despite its title, this poem is in English. Morgan laments Arthur’s death, mentioning the story of Excalibur’s return to the lake and Arthur’s being taken to Avalon.

A-2504 Stutts, Robert. “Passant D’Arthur.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 43. This poem is spoken by Arthur, after he has given up Excalibur and just before he dies. Morgan and Vivian are mentioned as being there to take him to Avalon.

A-2505 Styles, Showell. “The Cave of Knights.” Welsh Tales for Children. Illus. Bernadette Watts. Caernarfon: Gelert Press, 1974. 44–47. A goatherd reports finding a cave full of sleeping knights. An elderly villager then tells of his encounter with them. He identifies the knights as Arthur’s men and recounts the battle of Camlann.

A-2506 Styles, Showell. “The Giant Who Collected Beards.” Welsh Tales for Children. Illus. Bernadette Watts. Caernarfon: Gelert Press, 1974. 23–28. The giant of this story is Rhitta. He overcomes two foolish, boastful kings, and that starts his collecting of beards. When he faces Arthur, however, he is overcome; his own beard is shaven to finish his cloak, which becomes a badge of his service to Arthur.

A-2507 Sullivan, Jenny. Dragonson. Book of Gwydion 3. Llandysul: Gomer / Pont, 1997. In this, the third book of the series, Tanith and Gwydion have to return to Ynys Haf. Astarte has enlisted the help of the Spiderwitch, and Ynys Haf is once again under threat. This novel finally reveals that Gwydion is the “Dragonson”; his father is the “DragonKing” who was poisoned by Astarte’s family. Merlin has an active role in this novel, and he is Gwydion’s teacher.

A-2508 Sullivan, Jenny. Gwydion and the Flying Wand. Llandysul: Gomer / Pont, 2000. This book is much shorter than the others in the Book of Gwydion series and is not explicitly identified as part of that series. It is set some time before the series begins. Gwydion annoys his tutor Merlin so much that Merlin throws his wand; Gwydion is sent to retrieve it, but it has landed in twentieth-century Wales, so there are a number of amusing incidents where Gwydion learns about our technology.

A-2509 Sullivan, Jenny. The Island of Summer. Book of Gwydion 2. Llandysul: Gomer / Pont, 1996. Astarte, the villainous girl from the first novel of the series, returns and draws Tanith’s sister, cousins and aunt through time to Ynys Haf, the island of summer which is also Wales of the past. Tanith, her friend T. A., Gwydion, and Mr Howard / Taliesin must go after them to save Ynys Haf from the spells of the Great Druid. There are again references to Merlin, and Taliesin is now a major character.

A-2510 Sullivan, Jenny. The Magic Apostrophe. Book of Gwydion 1. Llandysul: Gomer / Pont, 1994. This first book in the series concerns Tanith, who on her thirteenth birthday is told by her mother that she is a witch; the apostrophe of the title refers to an alternate way of spelling her name that allows her access to her magical powers). Tanith joins the Circle of Seven (the other witches

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include her mother and her aunts), and in that circle they each have names from legend, one of which is Gwenhwyfar; Sullivan draws on the Mabinogion for many of these names. Tanith is also given a kitten who is the shape-shifter Gwydion; at the end of the book he is identified as Merlin’s mischievous apprentice, being punished for some comic misdeed. Another minor character, Mr Howard, is identified in a later book as Taliesin (he is, appropriately, a music teacher in Tanith’s world). The Arthurian allusions in this novel are slight, but add to the tradition of magic in which Tanith now participates.

A-2511 Summers, David L[ee]. Culhwch and Olwen: A Tale of King Arthur and his Warriors. Audio cassette (ca. 1 hour). Incidental music by Kevin Schramm. Mesilla Park, NM: Hadrosaur Audio Odysseys, 1995. Compact disk version: Hadrosaur Audio Odysseys, 2001. A retelling of “Kilhwch and Olwen,” from Lady Charlotte Guest’s Mabinogion, somewhat abridged and rephrased, but still close to the original.

A-2512 Surrey, Maud. “Ballad of Sir Bors.” Poems. London: W. R. Porter and R. G. Comfort, 1963. 27–28. Bors sits near the ocean and has a vision of the Crucifixion. The poem, composed of ten four-line stanzas, is full of imagery of the seascape and the dawn; only the character’s name and his designation as “Arthur’s knight” links this vision to the legends.

A-2513 Surrey, Maud. “Tristram and Iseult-1.” Poems. London: W. R. Porter and R. G. Comfort, 1963. 31. In this poem of four quatrains, Tristan remembers riding through the forest with Iseult and the joy of their love.

A-2514 Surrey, Maud. “Tristram and Iseult-2.” Poems. London: W. R. Porter and R. G. Comfort, 1963. 32–34. A poem with four parts. The first section consists of twenty-four rhyming couplets and is set when Tristan and Iseult have first arrived in Cornwall. Mark has sent a token that will confirm his engagement to Iseult, and though the lovers consider other options, Iseult really has no choice but to accept Mark. After this follow three short sections: “Tristram muses in Brittany,” “Iseult of Ireland muses far in Cornwall,” and “Iseult of Brittany muses.” These sections, written in quatrains not couplets, provide thoughts of each of the characters: Tristan thinks of Iseult of Ireland, Iseult thinks of him, and Iseult of Brittany realizes that Tristan does not notice her. All three of these sections use imagery of light, darkness, and sight.

A-2515 Surrey, Maud. “Tristram of Lyonesse.” Poems. London: W. R. Porter and R. G. Comfort, 1963. 30. This poem consists of eleven rhyming couplets and is set on the boat as Tristan and Iseult journey from Ireland to Cornwall. Tristan sings at his lady’s command; the coastline of Cornwall is described as gloomy and foreboding to the lovers.

A-2516 Sutcliff, Rosemary. King Arthur Stories: Three Books in One. London: Red Fox / Random House, 1999. (*) An omnibus edition of Sutcliff ’s Arthurian trilogy: The Sword and the Circle, The Light Beyond the Forest, and The Road to Camlann. (Information from OCLC WorldCat entry.)

A-2517 Sutcliff, Rosemary. The Lantern Bearers. London: Oxford University Press; New York: Henry Z. Walck, 1959. The novel concerns Ambrosius, Prince of Britain, and the band of Companions he creates to fight off the Saxons (led by Hengest); the main character is Aquila, one of those companions, who must

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come to terms with the fact that his sister chooses to remain with a Saxon man and their child. Arthur appears towards the end; he is Uther’s bastard son, being raised by his uncle Ambrosius (Uther dies before Ambrosius in this version). Vortigern and his sons are also important characters.

A-2518 Sutcliff, Rosemary. The Light Beyond the Forest: The Quest for the Holy Grail. Illus. Shirley Felts. London: John Lane / The Bodley Head, 1979. Rptd: New York: E. P. Dutton and Co., 1980. – London: Red Fox / Random House, 1992. Sutcliff follows Malory in this retelling of the Grail quest, beginning when Galahad arrives at Camelot. This was the first of her Arthurian trilogy to be written, though it is the second volume when the set is arranged in chronological order.

A-2519 Sutcliff, Rosemary. The Queen Elizabeth Story. Illus. C. Walter Hodges. London: Oxford University Press, 1950. This novel of Perdita, a young girl in Queen Elizabeth’s England, includes a retelling of “The Tale of Gawaine and the Loathly Lady.” A B&W illustration (page 63) shows King Arthur’s meeting with the Lady.

A-2520 Sutcliff, Rosemary. The Road to Camlann. Illus. Shirley Felts. London: John Lane / The Bodley Head, 1981. Rptd: London: Red Fox / Random House, 1992. This novel completes Sutcliff ’s retellings and is once again based on Malory (see also the entries for The Sword and the Circle and The Light Beyond the Forest). The first chapter of this book summarizes the previous two volumes; the main story then begins with the poisoned apple episode. The love of Lancelot and Guenevere is a main focus of the volume, and Guenevere proves her loyalty to Arthur by outwitting Mordred when he takes the throne.

A-2521 Sutcliff, Rosemary. The Shining Company. London: John Lane / The Bodley Head, 1990. This historical novel is set several generations after the time of Arthur; he is referred to several times, generally as a point of comparison for the characters in this story. The protagonist and narrator is Prosper, who becomes a shield-bearer for lords in a special company created by the king of Gododdin to fight the kingdoms of Deira and Bernicia, to prevent further Saxon advances. Arthur, then, is symbol of the possibility of uniting British kingdoms against an outside force successfully; while the company fights valiantly at Catraeth, all but a few are destroyed, and instead of holding back the invaders for fifty years, as Arthur is said to have done, their sacrifice will probably gain them only a few years. Aneirin is a main character; Sutcliff has based the novel on his The Gododdin.

A-2522 Sutcliff, Rosemary. The Sword and the Circle: King Arthur and his Knights of the Round Table. Illus. Shirley Felts. London: John Lane / The Bodley Head, 1981. Rptd: London: Red Fox / Random House, 1992. The first of Sutcliff ’s trilogy of Arthurian novels (the second to be written), the focus of this volume is the early part of the story from Arthur’s birth to the founding of the Round Table fellowship. Sutcliff ’s trilogy has many sources, including Geoffrey of Monmouth, Sir Gawain and the Green Knight, and the Mabinogion, but Malory is the primary source. A children’s dramatization of the story was broadcast on the BBC Radio program Cat’s Whiskers in 1987 (see the entry under “The Sword and the Circle” in the “Film, Television, and Radio” section).

A-2523 Sutcliff, Rosemary. Sword at Sunset. London: Hodder and Stoughton, 1963. This sequel to The Lantern Bearers recounts Arthur’s memories as he lies dying. His recollections begin just after Ambrosius has become High King, when Arthur begins to build his own group of

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companions to fight against the Saxons. Mordred’s mother in this version is called “Ygerna”; she sleeps with Arthur to revenge herself on him and on his father (also hers), who had abandoned her, but supported Arthur. Bedwyr is Arthur’s closest companion and Guenevere’s lover, and so is banished with her, but he returns to be with Arthur at the end, and to have his role (though somewhat altered as befits the historical, rather than fantastic, nature of the novel) of throwing sword into lake.

A-2524 Sutcliff, Rosemary. Tristan and Iseult. London: John Lane / The Bodley Head, 1971. A retelling of the Tristan and Iseult story including many familiar elements: Tristan’s killing of the Irish champion and later of a dragon, Iseult of Ireland’s curing of Tristan, Tristan’s marriage, and the deaths of the lovers. However, Sutcliff deliberately does not include a love potion, making the love a matter of character rather than magic.

A-2525 Sutton, David. “Midwinter.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 377–85. A story about Merlin, now old, set after Arthur’s time.

A-2526 Sutton, Harry T. Knights and Knaves: The Inside Story of King Arthur and the Round Table. The National Trust Series for Children. London: B. T. Batsford, and Heritage Books, 1978. This children’s book is a mix of fiction and fact. Sutton retells the story of Gareth and the Red Knight, paying more attention to the dwarf than most versions; also he tells the story of the Battle of Mount Badon as it might have happened; this is followed by facts about the legend and the places associated with it, especially those in the keeping of the National Trust.

Swan, D. K.: see West, Michael, and D. K. Swan. A-2527 Swanwick, Michael. “The Dragon Line.” Illus. N. Taylor Blanchard. Isaac Asimov’s Science Fiction Magazine (June 1989): 108ff. Rptd: Terry’s Universe. Ed. Beth Meacham. New York: TOR Books, 1988. 95–116. – In The Year’s Best Science Fiction, Sixth Annual Collection. Ed. Gardner Dozois. New York: St Martin’s, 1989. 423–37. – In Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 53–72. Mordred, now a wealthy capitalist in modern Philadelphia, has his grandfather, Merlin, awakened in an attempt to save the world from environmental self-destruction. Since it is not magic but persuasion that is needed, Merlin is robbed of his powers (by a knife-wound in the genitals) and turned into the consummate politician.

A-2528 Sweetman, Elinor. “Pastoral of Galahad.” Pastorals and Other Poems. London: J. M. Dent and Co., 1899. 38–44. This poem of thirteen nine-line stanzas shows Galahad rejoicing in the beauties of nature and praising God. When he returns to court, the other knights wonder at his lack of deeds of arms, but he argues that Christ first spent time in a stable and with shepherds.

A-2529 Sweetman, Elinor. “Pastoral of Lancelot.” Pastorals and Other Poems. London: J. M. Dent and Co., 1899. 45–53. This poem has sixteen nine-line stanzas. It begins with the knights riding out on the Grail quest and focuses on Lancelot’s torment; the beauties of nature tempt him away from the quest because they remind him of the queen. By the end of the poem, the focus has shifted to Galahad, who

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meets Lancelot; while the greatest of Arthur’s knights has collapsed by a thorn tree, Galahad prays over him and sees a vision of the Grail.

A-2530 Swift, Jonathan. A Famous Prediction of Merlin, the British wizard; written above a thousand years ago, and relating to the present year. With explanatory notes, by T. N. Philomath. London: Printed and sold by H. Hills, 1708. [ESTC T190615; also T190610, N8078, T132987.] Rptd: Dean Swift’s true, genuine, and authentic copy of that most strange, wonderful, and surprizing prophecy written by Saint Patrick, . . . translated from the Irish original . . . in the reign of K. Henry VII. Now publish’d with explanatory notes. The second edition. To which is subjoin’d, Æsculapius: An imitation of Lucian. 2nd edn. Dublin: Printed by W. Faulkener; London: Printed by E. Curll, 1740. [ESTC N8360.] – Bickerstaff Papers and Pamphlets on the Church. Ed. Herbert Davis. Oxford: Basil Blackwell, 1957. 165–70. – In Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 206–208. This is a supposedly “ancient” prophecy, attributed to Merlin on the title-page of the first edition, but to St Patrick in the second edition. The “prediction” is written in rhyme (beginning “Seven and Ten addyd to nyne, / Of Fraunce hir Woe thys is the sygne”) and is said to be from a manuscript discovered in a cave in the time of Henry VII. The bulk of the pamphlet, however, consists of a prose “defence” of such predictions, and an interpretation of this particular prophecy (the prophecy is on p. 4; the interpretation is on pp. 5–8). This all is intended, of course, in Swiftian fashion to mock the whole genre of predictions that used Merlin’s name. Swift uses the persona of T. N. Philomath for this piece. The 1740 edition was printed together with “The Hospital of Fools” (22 pp.) by William Walsh.

A-2531 Swinburne, Algernon Charles. The Day Before the Trial. La Jeunesse de Swinburne. Ed. Georges Lafourcade. 2 vols. Paris: Société d’édition Les Belles Lettres, 1928. 2: 52–53. Rptd: Arthurian Poets: Algernon Charles Swinburne. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 299–300. – The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . This poem is Arthur’s speech about Guenevere, “My wife who loves not me.” Written 1857–58. (We have seen the poem only as reprinted.)

A-2532 Swinburne, Algernon Charles. “Joyeuse Garde.” The Complete Works of Algernon Charles Swinburne. Ed. Sir Edmund Gosse and Thomas James Wise. “The Bonchurch edition.” 20 vols. London: William Heinemann; New York: Gabriel Wells, 1925. 1: 104–106. Rptd: Arthurian Poets: Algernon Charles Swinburne. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 291–93. Though written much earlier, this poem did not appear until the Bonchurch edition listed above. This poem depicts Iseult and Tristan at Joyeuse Gard reflecting on their situation and Mark’s enmity.

A-2533 Swinburne, Algernon Charles. “King Ban: A Fragment.” Lady Maisie’s Bairn and Other Poems. London: [Privately printed], 1915. Rptd: Posthumous Poems. London: Heinemann, 1917. 103–107. – The Complete Works of Algernon Charles Swinburne. Ed. Sir Edmund Gosse and Thomas James Wise. “The Bonchurch edition.” 20 vols. London: William Heinemann; New York: Gabriel Wells, 1925. 6: 383–86.

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– In “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 115–18. – Arthurian Poets: Algernon Charles Swinburne. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 291–93. This poem describes the flight of Lancelot’s father and mother from King Claudas, whose forces are taking over their lands. Arthur is mentioned as having become too ensnared by female beauty to come to the aid of his ally. The poem breaks off in the midst of Ban’s despairing speech.

A-2534 Swinburne, Algernon Charles. “Lancelot.” The Complete Works of Algernon Charles Swinburne. Ed. Sir Edmund Gosse and Thomas James Wise. “The Bonchurch edition.” 20 vols. London: William Heinemann; New York: Gabriel Wells, 1925. 1: 63–73. Rptd: Arthurian Poets: Algernon Charles Swinburne. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 301–11. Lancelot is the main speaker of this poem, but it also includes dialogue between Lancelot and an angel. The poem recounts his adventure on the Grail quest, when he sleeps and has a vision of the Grail maiden that is overlaid by memories of Guenevere. Although composed earlier, it was first published in the Bonchurch edition listed above.

A-2535 Swinburne, Algernon Charles. “Queen Yseult.” Undergraduate Papers Dec. 1857. Rptd: The Complete Works of Algernon Charles Swinburne. Ed. Sir Edmund Gosse and Thomas James Wise. “The Bonchurch edition.” 20 vols. London: William Heinemann; New York: Gabriel Wells, 1925. 1: 9–62. – Arthurian Poets: Algernon Charles Swinburne. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 301–11. Only one canto was printed in 1857, and only six were finished and published later. The entire poem is written in triplets and retells the story of Tristan and Iseult, beginning with Tristan’s birth and his first voyage to Ireland. The poem ends after Tristan’s marriage to Iseult of Brittany; the last canto is Iseult of Ireland’s reflections on that marriage.

A-2536 Swinburne, Algernon Charles. The Tale of Balen. London: Chatto and Windus, 1896. Rptd: The Complete Works of Algernon Charles Swinburne. Ed. Sir Edmund Gosse and Thomas James Wise. “The Bonchurch edition.” 20 vols. London: William Heinemann; New York: Gabriel Wells, 1925. 4: 169–246. – Arthurian Poets: Algernon Charles Swinburne. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 161–237. The story of Balen (Balin) from his first arrival at court to his death in battle with his brother.

A-2537 Swinburne, Algernon Charles. “Tristram of Lyonesse.” Tristram of Lyonesse, and Other Poems. London: Chatto and Windus, 1882. 3–169. Rptd: The Complete Works of Algernon Charles Swinburne. Ed. Sir Edmund Gosse and Thomas James Wise. “The Bonchurch edition.” 20 vols. London: William Heinemann; New York: Gabriel Wells, 1925. 4: 25–168. – Arthurian Poets: Algernon Charles Swinburne. Ed. James P. Carley. Woodbridge: Boydell Press, 1990. 13–159. A poem divided into a prelude (a discussion of love) and nine books. The main body of the poem begins when Tristram and Iseult are sailing from Ireland to Cornwall; the first book ends when they drink the love potion. The image of their kiss at that time recurs throughout the remaining books that detail the course of their love, Tristram’s marriage, his death, and then Iseult’s death.

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While the focus of the poem is on Tristram and Iseult, many other Arthurian characters and events are mentioned in their dialogue. Swinburne often juxtaposes one Iseult’s thoughts and experiences with those of the other.

A-2538 Swinburne, Algernon Charles. “Two Preludes.” A Century of Roundels, and Other Poems. New York: Worthington, 1883. 31–32. The poem that precedes this one in the volume is “The Death of Richard Wagner,” and the two preludes in this poem are “Lohengrin” and “Tristan und Isolde.” The first reflects on love, the second on fate; the titles suggest an Arthurian context for these reflections.

A-2539 Swithin, Antony. The Lords of the Stoney Mountains. The Perilous Quest for Lyonesse 2. London: Fontana / HarperCollins, 1991. The main character’s quest for Lyonesse continues. There are various Arthurian allusions; Swithin uses Arthurian names and has the main character make the source of those names explicit, for example when naming his “horses” Galahad, Lancelot, and Gawain (the latter carries him in a joust).

A-2540 Swithin, Antony. The Nine Gods of Safaddné. The Perilous Quest for Lyonesse 4. London: Fontana / HarperCollins, 1993. The fourth novel in Swithin’s series ends with the protagonist Simon Branthwaite reunited with his family; there is also a “Sir Arthur” who will likely become king in Lyonesse’s future.

A-2541 Swithin, Antony. Princes of Sandastre. The Perilous Quest for Lyonesse 1. London: Fontana / Collins, 1990. This fantasy novel is set in the fifteenth century, in England (Henry Hotspur is a main character) and a land called Sandastre (like Tolkien, Swithin makes up a “Sandastrian” language, and includes a glossary at the back of the novel). There are Arthurian allusions, not least of which is the name Lyonesse, a “lost” land.

A-2542 Swithin, Antony. The Winds of the Wastelands. The Perilous Quest for Lyonesse 3. London: Fontana / HarperCollins, 1992. The third novel in Swithin’s series continues Simon Branthwaite’s quest for the mysterious land of Lyonesse.

A-2543 “The Sword Excalibur: A Very Topsy-Turvied Arthurian Legend Up-to-Date.” Punch 103 (26 Jan. 1895): 39. A list of dramatis personae at the beginning of the poem links Arthurian characters to contemporary politicians. The poem is a satire, mocking the unwillingness of the Arthur-figure (the leader of a political party) to give up Excalibur despite his party’s disunity. A full-page cartoon (on page 38) illustrates the poem’s ending.

A-2544 Symons, Arthur. “Iseult of Brittany.” Cesare Borgia; Iseult of Brittany; The Toy Cart. New York: Brentano’s, 1920. 75–84. In this short one-act play, Iseult sits with her maids and discusses love, Tristan, and Iseult of Ireland (as in Symon’s longer play, Tristan and Iseult, the two Iseults are cousins). This play could be seen as taking place at the mid-point of the longer drama; Iseult of Brittany has met Tristan and fallen in love with him, but there seems no knowledge of Tristan’s love for her cousin.

A-2545 Symons, Arthur. “Merlin and Mark.” Jezebel Mort and Other Poems. London: William Heinemann, 1931. 35–37. Rptd: Merlin Through the Ages. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 285–86.

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In this five-stanza poem, Merlin is described living in a cavern by the sea near Tintagel, where he is visited by Tristan, Iseult, and Mark. During his encounter with Merlin, Mark realizes the truth about the lovers.

A-2546 Symons, Arthur. “Parsifal.” The Collected Works of Arthur Symons. Vol. 2: Poems. London: Martin Secker, 1924. 108. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 11. This poem contains two five-line stanzas. Parsifal’s purity is demonstrated by his effect on the roses of the garden, which die for shame of their joyfulness.

A-2547 Symons, Arthur. “Song for Iseult.” The Collected Works of Arthur Symons. Vol. 3: Poems. London: Martin Secker, 1924. 229. This twelve-line poem reflects on the nature of desire; only the title connects these musings to the Tristan-Iseult story.

A-2548 Symons, Arthur. Tristan and Iseult: A Play in Four Acts. New York: Brentano’s; London: William Heinemann, 1917. The first act takes place in Ireland and includes both Iseults (they are cousins); Iseult of Ireland confronts Tristan with her knowledge of his role in Marhault’s death, but the act ends with the arrangement of her marriage to Mark. Act 2 takes place on board the ship where Tristan and Iseult drink the love potion; they go from one extreme of emotion (anger and resentment) to the other (love). In the third act, Tristan is banished from court once Mark discovers the lovers, and the fourth act finds him dying in Brittany of a poisoned wound; Symons uses the black / white sails as part of this scene.

A-2549 Symons, Arthur. “Tristan’s Song.” The Collected Works of Arthur Symons. Vol. 3: Poems. London: Martin Secker, 1924. 35. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 11. This short poem of three quatrains has the speaker, apparently Tristan, musing on the relationship between love and death.

A-2550 Symons, Julian. “In the Bluebell Wood.” The Man who Hated Television and Other Stories. London: Macmillan, 1995. 19–37. The protagonist of this short story is named Lancelot by his father, who is an Arthurian enthusiast, especially for the poems of Tennyson, whose last name they share. The beginning of the story, set during Lance’s childhood in World War II, contains many allusions to Arthurian stories and paintings in general and Tennyson’s poems in particular. The action of the story, which relates Lance’s love for and betrayal by a woman named Gwyn, is driven by Lance’s romantic daydreams of an ideal woman: his own Guinevere.

A-2551 Taft, Linwood. Galahad: A Pageant of the Holy Grail. Frontispiece by Gladys M. Wheat. Pageants with a Purpose. New York: A. S. Barnes and Co., 1924. “This pageant is based largely upon Mallory’s version of the Grail legend. The Episodes are conceived in terms of the Abbey pictures in the Public Library, Boston, Mass.” (from title-page); in fact, the pageant is based entirely upon the pictures by Edwin Abbey, who conflated the tales of Galahad and Percival (thus Galahad fails to ask the question that would heal the Fisher King), and who gave Galahad a wife in the Blanchefleur with whom Percival slept (chastely) but did not marry. This is a series of ten tableaux vivants, corresponding to some of the fifteen pictures in the Boston Public Library, covering the story from Galahad’s birth to his final vision of the Holy Grail as King of Sarras. There is a cast of hundreds (great numbers of knights, ladies, etc. processing on

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stage), but there is only one speaking part: a narrator (the “Chronicler”) describes each scene in a few sentences (usually identifying the setting and pointing a moral). Episodes: “The infant Galahad visited by the Grail,” “Galahad’s vigil,” “The knighting of Galahad,” “Service of prayer for the Quest,” “Galahad and the procession of the Grail,” “Galahad meets the loathly damsel,” “Galahad overcomes the Seven Deadly Sins,” “Wedding of Galahad and Blanchefleur,” “Galahad delivers a people,” “The Quest achieved.” The frontispiece is a drawing which shows the arrangement of the stage (a wall with three arched and curtained doorways).

A-2552 Taggart, Marion Ames. “The Secret of Sir Dinadan.” Catholic World (May 1895): 248–49. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A four-stanza poem. The speaker muses on the way Sir Dinadan laughs at love and does not realize its power. The poem is based on the story in Malory in which Dinadan mocks Iseult of Ireland and declares that he will not love. (We have seen the poem as reprinted.)

A-2553 Talbott, Hudson. Excalibur. Illus. Hudson Talbott. Afterword by Peter Glassman. Tales of King Arthur 3. New York: Books of Wonder / Morrow Junior Books / William Morrow and Co., 1996. As the title suggests, this is the story of how Arthur acquires Excalibur, beginning with his concern that his knights have adventures when he does not, to his meeting with Pellinore, to Pellinore’s acceptance as a knight of the Round Table after Arthur returns with Excalibur. The water-colour illustrations take up virtually every two-page spread, with the text in small boxes or printed over the background.

A-2554 Talbott, Hudson. King Arthur and the Round Table. Illus. Hudson Talbott. Afterword by Peter Glassman. Tales of King Arthur 2. New York: Books of Wonder / Morrow Junior Books / William Morrow and Co., 1995. This beautifully-illustrated picture-book begins where Talbott’s King Arthur: The Sword in the Stone ends. Having taken the sword from the stone, Arthur now has to battle rebel kings and help his ally Leodegrance against Ryence. The book ends with Arthur’s marriage to Guenevere (whom he first met after a battle as she was helping nuns to care for the wounded) and the founding of the Round Table. The water-colour illustrations dominate the text, often covering two pages with the text inset in a small section; the two-page spread of Arthur as he rides into battle is particularly memorable (he charges straight at the reader) and has no text at all on those pages.

A-2555 Talbott, Hudson. King Arthur: The Sword in the Stone. Illus. Hudson Talbott. Afterword by Peter Glassman. Tales of King Arthur 1. New York: Books of Wonder / Morrow Junior Books / William Morrow and Co., 1991. A picture-book telling the story of the boy Arthur and the sword in the stone. The general plot follows Malory closely, with some addition of details and dialogue. One point of divergence is that Talbott states that Merlin and the Archbishop were of different religions, but had a mutual respect. And there’s a little joke when naming those who tried and failed to pull the sword, when Talbott refers to the dukes of “Winchester, Colchester, Worcester, and Hamcester” (33). The illustrations are vivid and detailed, and cover a range of subjects from Arthur wandering alone through the woods, to jousts, to the great gathering of the people to witness the pulling of the sword from the stone.

A-2556 Talbott, Hudson. Lancelot. Illus. Hudson Talbott. Afterword by Peter Glassman. Tales of King Arthur 4. New York: Books of Wonder / Morrow Junior Books / William Morrow and Co., 1999. This picture-book tells the story of Lancelot: his birth, his arrival at Camelot and his adventures, his madness, and his eventual reconciliation with Arthur and Guenevere. In this version, Lancelot

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ends up living happily with Elaine and Galahad, the Grail having cured his “madness” in more ways than one. Only one Elaine appears here, but the roles are combined; after Lancelot’s rescue of Pelleas’ daughter, she gives him a favour to wear at the tournament at Astolat where he rides in disguise.

A-2557 “Tales of King Arthur.” 101 of the World’s Greatest Books. 12 audio cassettes. Salt Lake City: Compact Classics, 1997. Abridgements of “great” stories, from the Odyssey and Aeneid, through the Canterbury Tales, to The Hunt for Red October and The Firm. Includes “Tales of King Arthur,” as well as a version of the Faerie Queene.

A-2558 Tappan, Eva March. “The Legend of King Arthur.” Heroes of the Middle Ages (Alaric to Columbus). Illus. various artists. Told Through the Ages. London, Bombay, and Sydney: George G. Harrap, 1911. 91–94. A very brief summary of Malory, in a collection of compressed versions of myriad hero legends, focused upon the life of Arthur (from his birth to death), and leaving out the tales of Tristan, Lancelot, the Kitchen Knight, and even Mordred: there are no references to betrayals of any sort, and even Arthur’s death is from a wound received in an anonymous “battle.” The story is accompanied by two partial-page illustrations (line drawings), on pp. 92 and 93 (one with initials--unreadable--and the other unsigned), which imitate, respectively, Maclise’s “Arthur Obtains Excalibur” and Archer’s “Le Morte d’Arthur.” See the entries for those paintings under “Maclise, Daniel” and “Archer, James” in the Fine Art section.

A-2559 Tappouni, Terry. “Once and Future.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 325–26. This poem addresses the “once and future king,” calling on Arthur to return.

A-2560 Tarkington, Booth [pseud.], [i.e., Lora Rewbush]. Penrod. Garden City, NY: Doubleday, Page and Co., 1914. Rptd: Penrod: His Complete Story. Illus. Gordon Grant. Garden City, NY: Doubleday and Co., 1931. A novel of a schoolboy and his misadventures; various of the episodes which constitute the novel had been previously published as short stories in Everybody’s Magazine, The Saturday Evening Post, Cosmopolitan Magazine, and Metropolotan Magazine. The first episode (Chaps. 1–6) tells of Penrod’s (unwilling) participation in a “Children’s Pageant of the Table Round” in the role of “the Child Sir Lancelot”; Chap. 5 is a description of the pageant itself, with many lines of bad verse, supposedly written by a local lady, Mrs Lora Rewbush. Penrod, embarrassed by the costume which his mother and sisters have prepared for him, dresses himself instead in a found set of overalls much too big for him, and the play is disrupted by the laughter which his new costume provokes. The other episodes in the story have no Arthurian connections. The novel has been dramatized for the stage, for radio, and for the screen. It also appears as the first part of Penrod: His Complete Story, which is a one-volume omnibus edition of the three Penrod novels: Penrod, Penrod and Sam, and Penrod Jashber. The Doris Day films On Moonlight Bay (1951) and By the Light of the Silvery Moon (1953) are based on the Penrod stories; in On Moonlight Bay, the Arthurian pageant is replaced by a Christmas choir going carolling in costume; when Wesley (“Penrod” is renamed “Wesley” in the movies) learns that his angel costume is made from his sister’s petticoats, he is determined not to appear in public in such a costume. Thus, the episode is used in the film but stripped of all Arthurian associations.

A-2561 Tarkington, Booth [pseud.], [i.e., Lora Rewbush]. “Penrod and the Pageant.” Everybody’s Magazine June 1913. Rptd: “The Boy Penrod.” The World’s One Hundred Best Short Stories. Ed. Grant Overton. 10 vols. New York, London: Funk and Wagnalls Co., 1927. 10: 7–36.

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– “Penrod’s Day.” Great American Parade. Ed. [not named]. Garden City, NY: Doubleday, Doran, and Co., 1935. 297–321. A short story (which corresponds to Chaps. 1–6 of the subsequently published novel, Penrod). The story recounts Penrod’s (unwilling) participation in a “Children’s Pageant of the Table Round” in the role of “the Child Sir Lancelot”; the pageant itself is described at length, with many lines of bad verse, supposedly written by a local lady, Mrs Lora Rewbush. Penrod, embarrassed by the costume that his mother and sisters have prepared for him, dresses himself instead in a found set of overalls much too big for him, and the play is disrupted by the laughter that his new costume provokes.

A-2562 Tarr, Judith. Kingdom of the Grail. New York: ROC, 2000. This fantasy novel rewrites the story of Charlemagne and Roland. Roland is a descendant of Merlin, who is still imprisoned in the wood; Merlin is, in this version, literally the son of a demon, bred to win the Grail for his “father” but instead working against him. This struggle, begun in Arthurian times, continues in the present of the novel, as Roland must protect the Grail and his king from the demon and set Merlin free at last.

A-2563 Tarr, Judith. “Silver, Stone, and Steel.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 227–39. Tarr sets up this story as a dream Merlin has while trapped in the oak. The first section of the dream concerns Christ’s betrayal and crucifixion; the second shows Joseph of Arimathea’s arrival in Britain with his staff and the cup of the Last Supper; the third section is Merlin’s memories of acquiring the sword in the stone to proclaim a new king and his vision of that king’s fall.

A-2564 Tattersall, Jill. Lyonesse Abbey. London: Collins, 1968. Set in Cornwall, this romantic suspense novel features an Arthurian-like love triangle involving a woman named Isolda.

A-2565 Tatum, Edith. “The Awakening of Iseult.” Neale’s Monthly 2 (Aug. 1913): 177–85. Rptd: The Awakening of Iseult. Oglethorpe: Oglethorpe University Press, 1933. A blank verse work divided into two main portions that have to do with the death of Marhaus at the hands of the Cornish champion and the healing of “Tramtrist” by Iseult. Tatum’s changes to the traditional story involve having Palamides the Saracen in Ireland as self-proclaimed champion of Iseult, though she has no affection for him; before “Tramtrist” arrives, Iseult’s maid Bragwaine has already described him in glowing terms to Iseult, and she is half in love with him before meeting him; when Tramtrist is healing, Iseult tells him of how she wishes to rid herself of Palamides and will give her hand to any knight who beats the Saracen – an unknown knight then appears in a tournament and Palamides is bested, and when Iseult discovers that it was Tristram (and that he has wounded himself again in the process), she declares her love. This, then, is the story of how Tristram and Iseult fall in love, but without magic potions and at a much earlier stage than in the usual story. In the final scene, however, Iseult and her mother the Queen have seen Tristram’s broken sword, and he is forced to flee for his life, though Iseult declares that she will wait for his return.

A-2566 Tax, E[rvin] H. The Wraith of Gawain. Prairie City, IL: Press of James A. Decker, 1948. An epic poem, in Miltonic blank verse, in eight books, partly written in action during World War II, focusing upon the final years of Arthur’s reign (the Grail quest is spoken of in the past tense, though Gawain meets the Fisher King in Book 2 and has a vision of the Grail procession). After several years away on a quest and witnessing the death of his beloved, Florie (whom Merlin from the tree then reveals was Morgan-Nimue in another disguise), Gawain returns to court and learns from Sir Kay that the adultery of Lancelot and Guenevere has been exposed and his brothers have

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been killed by Lancelot. The last several books narrate the story of the wars with Lancelot and Mordred, Gawain’s death (and Arthur’s dream in which Gawain’s wraith warns him), and Arthur’s passing to Avalon.

A-2567 Taylor, Anna. Drustan the Wanderer: A Novel Based on the Legend of Tristan and Isolde. Harlow: Longman, 1971. Rptd: New York: Saturday Review Press, 1972. The Author’s Note to the novel acknowledges the influence of modern archaeological information as well as literary sources such as Malory and Hilaire Belloc on her version of the story. This historical novel is narrated by Drustan (Tristan); at the end we realize he is telling the story to his wife as he lies dying. Many traditional elements are included: a love-hate relationship with his stepmother, a battle with Marhault that makes it necessary for him to seek out Iseult’s mother for healing, his love of Iseult of Ireland that leads to their living together in the forest for a year until her ill health prompts him to return her to Mark. These events are set against the backdrop of the larger realm: early in the novel, King Arthur goes to war with Lancelot over Guenevere; when King Arthur dies, Drustan is one of the ones who take him to Avalon to meet the three queens, and Drustan’s father with Bedivere returns the sword. Drustan also spends time with the druids learning to be a bard.

A-2568 T[aylor], B[ert] L[eston]. “A Ballade of Irresolution.” A Line-o’-Verse or Two. Chicago: Reilly and Britton, 1911. 68–69. Rptd: Motley Measures. 2nd edn. Fwd Ring Lardner. New York: Alfred A. Knopf, 1927. 97–98. The volume is a collection of verse by “B.L.T.,” from his “Line o’ Type” column in the Chicago Tribune and from the magazine Puck. This poem is in ballade form (three eight-line stanzas with a four-line envoy), in which the narrator laments that he is not as resolute and brave in love as were Tristan and Isolde when she gave him the love potion. The 1927 edition of Motley Measures combines the original Motley Measures (as Part 1) with A Line-o’-Verse or Two (as Part 2) in a single volume.

A-2569 T[aylor], B[ert] L[eston]. “Bread Puddynge.” A Line-o’-Verse or Two. Chicago: Reilly and Britton, 1911. 42–44. Rptd: Motley Measures. 2nd edn. Fwd Ring Lardner. New York: Alfred A. Knopf, 1927. 88–90. The volume is a collection of verse by “B.L.T.,” from his “Line o’ Type” column in the Chicago Tribune and from the magazine Puck. “Bread Puddynge” is a burlesque poem in fourteen ballad stanzas, in which King Arthur, Sir Launce, Sir Tris, and Sir Gal are anticipating a “bag pudding” which Guinevere has promised to bake, but which proves to be inedible because she has made it out of bread. First line: “When good King Arthur ruled our land”; as the first line and the concern with pudding suggests, this is closely related to the nonsense poem, “When good King Arthur ruled this land” (see the entry for that title in this section). The 1927 edition of Motley Measures combines the original Motley Measures (as Part 1) with A Line-o’-Verse or Two (as Part 2) in a single volume.

A-2570 T[aylor], B[ert] L[eston]. “The Eternal Bromide.” Motley Measures. Chicago: Laurentian Publishers, 1913. 118. The volume is a collection of verse by “B.L.T.,” reprinted primarily from his “Line o’ Type” column in the Chicago Tribune (the date of the original publication is not indicated in the book). The poem is of three eight-line stanzas, on “funny” weather and the exclamation that “the climate must be changing.” Stanza 1 indicates that the phrase was first used by Eve, “When Adam dolve and Eva span”; Stanza 2 indicates that it was repeated in the time of King Arthur, when “Guin with all her maidens gay / Went forth in flowery meads to sport, / . . . and Guinevere / And Miss Elaine exclaimed together, / ‘The climate must be changing, dear; / I never knew such funny

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weather.’” Stanza 3 concludes that the phrase has been repeated regularly “from neolithic days to now” as a “bromidic bleat.” (This poem was not included in the 2nd edition of Motley Measures

[1927].) A-2571 Taylor, Harry H. “Tristan.” Prism International 9.1 (Summer 1969): 4–13. A short story about an aging actor on a cruise ship, who is strongly attracted to a young woman (as if he had drunk a “love potion”), but he takes to bed another, older, woman. The title and the reference to a love potion suggests that these two are to be understood as the two Iseults, and that his “betrayal” of his “love” for the younger woman is that of Tristan. In the final scene, the man dies of a heart attack.

A-2572 Taylor, Katharine. “Tristram in the Wood.” Scribner’s Magazine 64 (Nov. 1918): 553. A poem, in eighteen lines of free verse, in which Tristram speaks of waking beside a pool in the wood to a vision of “thy face, thy curving throat” shining in the gloom (beginning: “I dreamed of a still gray pool / Within the wood”). The poem is accompanied by an illustration (charcoal drawing by F. Walter Taylor), showing Tristram naked in the woods, kneeling on one knee, holding a lance, and behind him the spirit of a lady (presumably Iseult) who looks off in another direction. The poem was set to music by Charles Vardell and recorded by Marilyn Taylor (see the entries under “Vardell” and “Taylor, Marilyn” in the Music section).

A-2573 [Taylor, Keith.] More, Dennis [pseud.], [i.e., Keith Taylor]. “The Atheling’s Wife.” Illus. Steve Fabian. Fantastic Stories 25.4 (Aug. 1976): 90–106. This later became Part 4 of the novel Bard, being the adventures of Felimid mac Fal, Bard of Erin, on the edges of the Romano-British lands now controlled by Count Artorius (“the Warlord”). In this story Cerdic appears, and we are introduced to Vivayn the Sorceress, wife of Cynric; in an authorial afterword to Bard III: The Wild Sea, a novel in which she plays a central role, Taylor identifies her as the Arthurian Vivian. The story is accompanied by a single, full-page illustration (on p. 91).

A-2574 Taylor, Keith. Bard. Cover illus. Don Maitz. New York: Ace Books, 1981. Rptd: Cover illus. Mike Posen. London: Headline, 1989. The first in a series of novels recounting the adventures of Felimid mac Fal, Bard of Erin, on the edges of the Romano-British lands now controlled by Count Artorius (“the Warlord”). The first novel is actually a series of five novellas (four of which appeared in Fantastic Stories between Oct. 1975 and Feb. 1977 under the pseudonym “Dennis More”). When Felimid is first introduced at the beginning of the story, we are told that he fought for Count Artorius at the Battle of Badon (pp. 3–4; this is mentioned again several times in the course of the story). In Part 4 (“The Atheling’s Wife”), we are introduced to Vivayn the Sorceress, wife of Cynric; in an authorial afterword to Bard III: The Wild Sea, in which she plays a central role, Taylor identifies her as the Arthurian Vivian. In Part 5, “Buried Silver,” a group of Artorius’ men (including Palamides the Thracian, Gareth, Gaheris, Balin, and Kehydi) join Felimid in a search for buried Roman treasure.

A-2575 Taylor, Keith. Bard II: The First Long Ship. New York: Ace Books, 1984. The second book in the series is again set in Arthurian times. Here Felimid joins Gudrun Ravenhair, a pirate, so the adventures do not concern Arthur’s court directly.

A-2576 Taylor, Keith. Bard III: The Wild Sea. Cover illus. Don Maitz. New York: Ace Fantasy Books, 1986. Rptd: London: Headline, 1990. The further adventures of Felimid mac Fal in Romano-Britain on the edges of the realms of Count Artorius (“the Warlord”). Felimid and his mistress Gudrun Blackhair, the pirate, journey to the Veiled Isles of the Children of Lir (the merfolk) seeking allies in a fight against Urbicus the

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Wreaker; there they link up with Vivayn, who has fled from her husband with the help of the Children of Lir but then was not permitted to leave their islands. Niamh is introduced as the leader of the Children of Lir (and makes a dramatic entrance walking out from a lagoon). The climax of the story involves the destruction of the Veiled Isles (and their Gate to the Otherworlds) and the departure of the Children of Lir, which results in the flooding of the Forest of Dol (the creation of Mounts Bay and the turning of Mount St Michael into an island). In an authorial afterword, Taylor identifies Vivayn as the Arthurian Vivian and Niamh as Morgan le Fay.

A-2577 Taylor, Keith. Bard IV: Ravens’ Gathering. New York: Ace Books, 1987. Cerdic and Cynric plan to move against Felimid and Gudrun, because Gudrun took Vivayn from Cynric. Count Artorius has only a minor role.

A-2578 Taylor, Keith. Bard V: Felimid’s Homecoming. New York: Ace Books, 1991. Rptd: Cover illus. Mike Posen. London: Headline Feature / Headline, 1991. In the conclusion of the series, Felimid returns to Ireland from his “exile” in Britain. There is nothing specifically Arthurian in this episode.

A-2579 Taylor, Keith. “The Brotherhood of Britain.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 128–98. This short story is set before the time of the battle of Badon. A young Felimid mac Fal has to act as a herald for Gwynn ap Nudd (whose queen is Morgan); the prophecy he brings to Arthur (here Count Artorius) comes true, though not as they expect. Lamorak is also an important character; he falls in love with the king’s wife (here called Questa) and is tricked into Gwynn ap Nudd’s realm.

A-2580 [Taylor, Keith.] More, Dennis [pseud.], [i.e., Keith Taylor]. “Buried Silver.” Illus. Steve Fabian. Fantastic Stories 26.1 (Feb. 1977): 58–82. This later became Part 5 of the novel Bard, being the adventures of Felimid mac Fal, Bard of Erin, on the edges of the Romano-British lands now controlled by Count Artorius (“the Warlord”). In this story a group of Artorius’ men (including Palamides the Thracian, Gareth, Gaheris, Balin, and Kehydi) join Felimid in a search for buried Roman treasure. The story is accompanied by a single, half-page illustration (on p. 59).

A-2581 Taylor, Keith. “The Castles of Testing.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 109–44. Gareth and Sir Ironsides ride out on the quest for the Grail and face three adventures in three different castles. The story is told from Gareth’s point of view, and what he learns about himself and Arthur’s court is the focus of the story.

A-2582 [Taylor, Keith.] More, Dennis [pseud.], [i.e., Keith Taylor]. “The Forest of Andred.” Illus. Steve Fabian. Fantastic Stories 25.5 (Nov. 1976): 92–117, 130. This later became Part 2 of the novel Bard, being the adventures of Felimid mac Fal, Bard of Erin, on the edges of the Romano-British lands now controlled by Count Artorius (“the Warlord”). The story is accompanied by a single, full-page illustration (on p. 93).

A-2583 [Taylor, Keith.] More, Dennis [pseud.], [i.e., Keith Taylor]. “Fugitives in Winter.” Illus. Laurence Kamp. Fantastic Stories 24.6 (Oct. 1975): 36–61. This later became Part 1 of the novel Bard, being the adventures of Felimid mac Fal, Bard of Erin, on the edges of the Romano-British lands now controlled by Count Artorius (“the Warlord”). When Felimid is first introduced at the beginning of the book (but not in this short story), we are told that he fought for Count Artorius at the Battle of Badon. In the story as published in Fantastic Stories, there is a reference to “The Warlord” on p. 46.

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A-2584 Taylor, Keith. “Tournament of Rogues.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 80–104. This short story is an early adventure of Lionel which takes place after Lancelot has rescued Lionel and other knights from Turquine. Lionel chances upon lavish preparation for a tournament only to find its hosts have ulterior motives.

A-2585 Taylor, T[homas] Hilhouse. Parsifal: A Romantic “Mystery” Drama. Pref. J. C. Williamson. Sydney: Angus and Robertson, 1906. Rptd: 2nd edn. Melbourne: Thomas C. Lothian, 1907. A play in two parts of two acts each, in Shakespearean blank verse (with some passages of lyric), based upon Wagner’s opera. The two parts present Parsifal’s two visits to the Grail castle, one as a young man and the other as the mature (but still pure) knight of the Round Table. The play was commissioned by J. C. Williamson of Her Majesty’s Theatre, Sydney, who also provides the Preface to the printed text.

A-2586 Taylor, Una Ashworth. The City of Sarras. New York: Henry Holt and Co. Publishers, 1887. The novel begins with one character reading the end of the story of Galahad to the female protagonist, Morgan. The Arthurian associations of her name are mentioned by her, but her friend dismisses them, believing that everyone can, like Galahad, achieve belief and closeness to God. The novel makes reference to Galahad and the Grail several times as emblematic of human striving after the ideal and the spiritual, but the lives of the main characters illustrate what happens when that striving is abandoned in favour of hate and revenge. The setting is a court, but time and place are unspecific.

A-2587 Teasdale, Sara. “At Tintagil.” Dark of the Moon. New York: Macmillan, 1926. 20. Rptd: The Collected Poems of Sara Teasdale. New York: Macmillan, 1937. 165. A poem, recollecting Iseult’s sadness in Tintagil when she “turned toward Brittany,” but would not exchange her lot for that of any other woman.

A-2588 Teasdale, Sara. “Galahad in the Castle of the Maidens (To the Maiden with the Hidden Face in Abbey’s Painting).” Helen of Troy and Other Poems. New York and London: Putnam, 1911. 83. Rptd: New York: Macmillan, 1922. 83. This sonnet was not included in Teasdale’s Collected Poems, although most of the contents of Helen of Troy and Other Poems are reproduced there. The poem describes the ladies in the Grail paintings by Edwin Abbey in the Boston Public Library (see our entry for his “Galahad Releases Twenty Beautiful Women” in the Fine Art section). The narrator imagines that the lady with the averted face may have been the most beautiful and may have loved Galahad best, “Yet for Love’s shame and sweet humility, / She dared not meet him with their queenlike grace.” (The volume includes a number of poems and a one-act play about ladies and their lover-knights; in most of these, however, no Arthurian names or details appear, so we have considered them to be “chivalric” but not “Arthurian.”)

A-2589 Teasdale, Sara. “Guenevere.” Helen of Troy and Other Poems. New York and London: Putnam, 1911. 14–16. Rptd: New York: Macmillan, 1922. 14–16. – The Collected Poems of Sara Teasdale. New York: Macmillan, 1937. 16–18. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York and London: Garland Publishing, 1988. 239–41.

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This poem is a dramatic monologue in blank verse, spoken by Guenevere a month after her fall from grace, when “[t]here is no other havoc left to do.” She reflects upon how her status has changed since a man turned the queen into a woman; she describes the moment when she first knew that she loved, and concludes with the declaration that the price of her love will now be borne by many. This is part of a set of six such monologues by females from several different historical periods: “Helen of Troy,” “Beatrice,” “Sappho,” “Marianna Alcoforando,” and “Erinna” (five of these, but not “Sappho,” are included in her Collected Poems.

A-2590 Teasdale, Sara. “Those Who Love.” Dark of the Moon. New York: Macmillan, 1926. 41. Rptd: The Collected Poems of Sara Teasdale. New York: Macmillan, 1937. 173. A poem, on women who suffer the pangs of love in silence. “Francesca, Guinevere, / Deirdre, Iseult, Heloise” are named as examples.

A-2591 Telep, Peter. Squire. Squire Trilogy 1. New York: HarperPaperbacks / HarperCollins, 1995. First of a trilogy, this novel relates the early life of Christopher of the Shores, who becomes (at the end of this book) King Arthur’s squire of the body. Christopher is born on the day that Arthur pulls Excalibur from a stone; most of the story concerns his military training and service with various masters (including Uryens of Gore), during the period of the Saxon invasions. There are several scenes in which Arthur appears: besides the sword in the stone scene, which is part of the Prologue, Arthur has a council of the baronage in Part 2, Chap. 10 (one of the barons, Mallory, proves rebellious when he grows tired of Arthur’s idealism). In the last section of the novel, Arthur is putting down Mallory’s rebellion, and Christopher slays Mallory; Arthur is about to dub Christopher a knight, but he refuses, pleading to be Arthur’s squire instead.

A-2592 Telep, Peter. Squire’s Blood. Squire Trilogy 2. Cover illus. Tim White. New York: HarperPrism / HarperCollins, 1995. Sequel to Squire, this is the story of the further adventures (in war, in treachery, and in love) of Christopher of the Shores, squire of the body to King Arthur, during Arthur’s Saxon wars. Few of the characters or incidents are from the traditional legends, though the names of some of the characters closest to Arthur are recognizable (Lancelot is his lieutenant, Merlin his advisor, etc.); Telep, in an author’s note, acknowledges an indebtedness to Shakespeare’s Henry V, Act 4, for significant aspects of the plot line of the first half of the novel. At the end, Christopher disobeys a direct command from Arthur in order to save a friend, and is stripped of his rank.

A-2593 Telep, Peter. Squire’s Honor. Squire Trilogy 3. New York: HarperPaperbacks / HarperCollins, 1996. Third and final novel in the series. Christopher, in disgrace and dismissed from Arthur’s service, is now in the service of a lord whom he has cuckolded. When his lord is murdered, Christopher flees, fearing to be accused of the murder. The bulk of the novel recounts Christopher’s attempts to prove his innocence. In the end he is restored to Arthur’s good grace and is invited to take knighthood and join the Round Table, which Arthur is about to establish, but Christopher declines and goes into a voluntary exile. In the final line of the novel, we are told that someday Christopher will return to his birthplace, once called Shores and now renamed Camelot.

A-2594 “The Temptation of Arthur.” Once a Week 21 NS 4 (5 Feb. 1870): 8–11. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A poem. Arthur finds a beautiful maid who seems to need help, but she leads him away from kingdom and duty; Tristram and the Lady of the Lake help him break the spell and escape. (We have seen the poem only as reprinted.)

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A-2595 Tennyson, Alfred Tennyson, Baron. Idylls of the King. The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. Rptd: A Variorum Edition of Tennyson’s Idylls of the King. Ed. John Pfordresher. New York and London: Columbia University Press, 1973. – The Poems of Tennyson . . . Incorporating the Trinity College MSS. Ed. Christopher Ricks. 2nd edn. 3 vols. Berkeley and Los Angeles: University of California Press, 1987. 3: 263–563, 602–603. The Poetical Works of 1886 printed together for the first time the final, revised versions of the several poems that make up the Idylls. Tennyson had suggested the reading order in other publications, but this confirmed that order and framed them with a Dedication and Epilogue: “The Coming of Arthur,” “Gareth and Lynette,” “The Marriage of Geraint,” “Geraint and Enid,” “Balin and Balan,” “Merlin and Vivien,” “Lancelot and Elaine,” “The Holy Grail,” “Pelleas and Ettarre,” “The Last Tournament,” “Guinevere,” and “The Passing of Arthur” (we have used that order for listing the individual idylls below). The Idylls have a long history of publication before and after this edition, and we give details of first publication (and some reprintings) for each of the idylls below. The Idylls also had a long and central place in Tennyson’s career: Hallam Tennyson, in his Alfred Lord Tennyson: A Memoir (published by Macmillan in 1897), prints some of his father’s notes for Idylls, including thoughts on a more allegorical approach to the legend, ideas for a musical masque, and prose sketches of some of the episodes later used in the Idylls (see Vol. 2, Chap. 5). Tennyson’s work influenced numerous other artists, whether authors, painters, or musicians. For details of some of the musical works based on the Idylls, see the entries for Barnett, John; Balfe, Michael; Capel, J. M.; Corder, Frederick: “O Sun”; Dempster, William R.; Dolores; Jasienski, J. de; Lear, Edward; Levien, E.; MacFarren, George A.; MacKenzie, A. C.; Pease, Alfred H.; Rowland, A. C.; Smith, Eliseo; Steed, Albert; and Urswick, Christopher in the Music section. Illustrated editions of the Idylls are listed in the Fine Art section by the illustrator’s name: Ball, Robert; Cameron, Julia Margaret; Colman, S., Jr., et al.; Doré, Gustave; Fortescue-Brickdale, Eleanor: Idylls; King, Jessie M[arion]: Elaine; King, Jessie M[arion]: Guinevere; Rhead, George Wooliscroft, and Louis Rhead; Richards, G. M.; Sandham, Henry; Shaw, [John] Byam [Liston] Shaw: Geraint and Enid; Shaw, [John] Byam [Liston] Shaw: Guinevere; and Sullivan, Edmund: “Dream of Fair Women.”

A-2596 Tennyson, Alfred Tennyson, Baron. “Extracts from ‘Idylls of the King.’” Excalibur: The Chronicle of the Fellowship of the Round Table 1.6 (Jan. 1931): 238. A three-line and a four-line quotation, the first beginning “About the founding of the Table Round” and the second “Fame with men, / Being but ampler means to serve mankind. . . .” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-2597 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 1.] “The Coming of Arthur.” The Holy Grail and Other Poems. London: Strahan and Co.; Boston, MA: Fields, Osgood, and Co., 1870. 9–34. Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 7: 5–37. This poem recounts different stories of Arthur’s birth; they are framed as stories told to Leodogran [sic] as he tries to decide on Arthur’s proposal to marry Guinevere. The idyll ends after the marriage and includes a brief mention of the wars that Arthur fights to claim his realm. Tennyson chooses to name Arthur’s sister Bellicent instead of Morgause; she is one of those who testifies to Arthur’s identity. The Holy Grail and Other Poems has a list of the proposed reading order of the Idylls. (See also the entries in the Music section under Cusins, W. G.; Gambogi, Elvira; and Joachim, Joseph.)

A-2598 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 2.] Gareth and Lynette. London: Strahan and Co.; Boston, MA: James R. Osgood and Co., 1872.

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Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 7: 39–126. This is the story of Gareth’s arrival, disguised, at Arthur’s court, his time in the kitchens, and his first quest. Gareth’s mother, whose request leads to his disguise, is named Bellicent instead of Morgause. In Britain this publication included “The Last Tournament,” but the American edition, though it retains the explanation of the placement of both of the idylls, only reproduces “Gareth.” An abridged audiobook version is available: Gareth and Lynette. 2 LPs. N.p.: Studidisc, 1949. (Studidisc C117-C118.) (There are also a number of musical works based on this idyll; see the entries for “Corder, Frederick, O Sun”; “Gray, Louisa”; “Heine, Carl”; “Mayo, Jane”; and “Molloy, James L.” in the Music section.)

A-2599 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Parts 3 and 4.] “Enid.” Idylls of the King. London: Edward Moxon and Co., 1859. 1–97. Rptd: as “The Marriage of Geraint” and “Geraint and Enid” as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 8: 127–76 and 177–234. The story of Geraint’s winning of Enid and then their adventures when he doubts her love. When the Idylls were put into their final form, the poem was divided into two. For details of musical works based on this idyll, see the entries in the Music section under Balfe, Michael: Fortune; Barnett, John: Fortune; Dempster, William R.: Turn; Dolores; Hullah, John; Jasienski, J. de; Lear, Edward: Turn; MacFarren, George A.: Fortune; MacKenzie, A. C.; Richmond, W.; Rowland, A. C.; Silas, E.; Urswick, Christopher. For an illustrated edition of the poem, see the entry in the Fine Art section under “Shaw, [John] Byam [Liston]: Geraint and Enid.”)

A-2600 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 5.] “Balin and Balan.” Tiresias and Other Poems. London: Macmillan and Co.; New York: Harper and Row, 1885. 117–54. Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 8: 1–38. A footnote to the original publication says that this is “an introduction to ‘Merlin and Vivien,’” and in the finished Idylls “Balin and Balan” precedes “Merlin and Vivien.” This idyll hints at the love between Lancelot and Guinevere; Balin’s worship of the queen turns to rage and despair when he suspects them, aided by Vivien’s lies. The idyll ends with Balin and Balan’s fatal fight.

A-2601 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 6.] “Vivien.” Idylls of the King. London: Edward Moxon and Co., 1859. 101–44. Rptd: as “Merlin and Vivien” as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 8: 39–97. – The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York: Garland Publishing, 1990. 221–46. Although the main character’s name was originally Nimue, Tennyson later changed it to Vivien. This idyll recounts Vivien’s arrival at court, where she seeks first to seduce Arthur, and failing that, ensnares Merlin, finding out his most powerful spell and turning it on him. (For musical works based on the idyll, see the entries for “Barkworth, Arthur,” “Barnett, John, Vivien’s Song,” “Dolores, ‘Vivien’s Song,’ ” and “Troup, Emily Josephine” in the Music section.)

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A-2602 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 7.] “Elaine.” Idylls of the King. London: Edward Moxon and Co., 1859. 147–222. Rptd: as “Lancelot and Elaine.” as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 8: 99–185. The story of Elaine of Astolat, who falls in love with Lancelot and dies for love of him. Lancelot’s relationship with the queen, Elaine’s relationship with Lancelot, and Arthur’s comments at the end raise questions about the nature of love. (The figure of Elaine inspired many artists and musicians; for details of musical works based on this idyll, see the entries in the Music section for “Barnett, John, Love and Death”; “Beauchamp, B.”; “Blockley, John”; “Blumenthal, Jacques”; “Davis, J. D.”; “Dempster, William R., Song”; “Edwards, Edwin, Sweet”; “Ewing, A.”; “Favara A.”; “Foote, Arthur”; “Fothergill, Helen”; “Gilchrist, William Wallace”; “Hay, Walter C.”; “Hoffman, Richard”; “Kuzuu, Chinatsu, Elaine the Fair”; “Lear, Edward, Song”; “Levien, E.”; “Lindsay, Maria, Song”; “Lushington, Cecilia”; “MacFarren, George A., Love”; “Nicholls, Frederick”; “Papini, Guido”; “Plumpton, A.”; and “Stanynought, E.”)

A-2603 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 8.] “The Holy Grail.” The Holy Grail and Other Poems. London: Strahan and Co.; Boston, MA: Fields, Osgood, and Co., 1870. 35–85. Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 8: 187–243. – The Holy Grail. Illus. W. L. Taylor. Boston, MA: D. Lothrop Co., 1887. This poem of the Grail quest begins in Camelot with the appearance of the Grail, and ends when the knights, reduced in number, return from the quest. Galahad, Percivale, Bors, and Lancelot are the main characters, although Gawain is important as the one whose rash vow begins the quest. The Holy Grail and Other Poems includes a note from the author on the proposed reading order of the Idylls. The 1887 Lothrop edition is illustrated with ten full-page and three partial-page drawings, as well as decorations, by W. L. Taylor.

A-2604 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 9.] “Pelleas and Ettare.” The Holy Grail and Other Poems. London: Strahan and Co.; Boston, MA: Fields, Osgood, and Co., 1870. 87–120. Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 9: 1–47. Although this poem is about Pelleas’ discovery of Ettarre’s and Gawain’s infidelity, it also concerns Lancelot and Guinevere; their love is becoming more public knowledge, and Pelleas’ reaction to the queen foreshadows the end of the story. The Holy Grail and Other Poems has a list of the proposed reading order of the Idylls.

A-2605 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 10.] “The Last Tournament.” The Contemporary Review 19 (Dec. 1871): 1–22. Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 9: 49–106. – Illus. Hammatt Billings. Boston, MA: J. E. Tilton, 1872. – Illus. Sol Eytinge, Jr. Boston, MA: James R. Osgood and Co., 1872. The poem begins and ends with Dagonet, the king’s fool; at the beginning he teases Tristram, and at the end he warns Arthur. The majority of the idyll, however, is taken up by Tristram’s story as he wins the tournament and returns with his prize to Iseult, only to be killed (in some very

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memorable lines) by Mark. For the 1872 Osgoode edition, Sol Eytinge provided three full-page illustrations and one part-page, all focused upon Dagonet the Fool. Two of these appear with captions indicating that they originally appeared in Harper’s Weekly. They reappear in several Boston and New York editions of Tennyson’s Poetical Works . . . with Numerous Illustrations in the 1880s and 1890s. (For a musical work based on this idyll, see the entry for “Lennard, Emma” in the Music section.)

A-2606 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 11.] “Guinevere.” Idylls of the King. London: Edward Moxon and Co., 1859. 225–61. Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 9: 107–57. This idyll is set after the queen’s affair with Lancelot has been discovered, and she is in a convent, remembering what has happened. Arthur comes to speak with her before leaving for his final battle. (For musical works based on Tennyson’s Guinevere, see the entries in the Music section for Barnett, John, Too Late; Casey, Samuel Ward; Deacon, H. C.; Dempster, William R., Late!; Edwards, Edwin, Late; Gaul, Alfred R.; Gilchrist, William Wallace; Guest, J.; Lear, Edward, Late; Lindsay, Maria, Too Late; MacFarren, George A., Late; Montgomery, William H.; Phillips, Henry; Phillips, Madge; Salaman, Charles; and Wade, J. A. For illustrated editions of the poem, see the entries in the Fine Art section under Harrison, Florence; and Shaw, [John] Byam [Liston]: “Guinevere.”)

A-2607 Tennyson, Alfred Tennyson, Baron. [Idylls of the King, Part 12.] “The Passing of Arthur.” The Holy Grail and Other Poems. London: Strahan and Co.; Boston, MA: Fields, Osgood, and Co., 1870. 121–46. Rptd: as part of Idylls of the King. London: Edward Moxon and Co., 1885. – The Poetical Works of Alfred Lord Tennyson. 10 vols. London: Macmillan and Co., 1886. 9: 159–95. This poem closes the Idylls with Bedivere’s story of the end of the battle of Camlann, the throwing of Excalibur into the lake, and Arthur’s passing to Avalon; it appeared in a slightly different form (including a closing frame narrative) as “Morte d’Arthur” in earlier editions of Tennyson’s poems. The Holy Grail and Other Poems has a list of the proposed reading order of the Idylls. (For details of musical works based on this idyll, see the entries for “Martin, Gilbert”; “McCormick”; “Powell, Charles Thomas”; “Roff, Joseph”; and “Warren, Elinor Remick” in the Music section.)

A-2608 Tennyson, Alfred Tennyson, Baron. “The Lady of Shalott.” Poems. London: Edward Moxon and Co., 1833. 8–19. Rptd: Poems. 2 vols. London: Edward Moxon and Co., 1842. 1: 77–86. – The Poems of Tennyson . . . Incorporating the Trinity College MSS. Ed. Christopher Ricks. 2nd edn. 3 vols. Berkeley and Los Angeles: University of California Press, 1987. 1: 387–95. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 45–50. – “The Lady of Shalott Hypertext.” Ed. Anjali Khurana. . Possibly one of Tennyson’s best known and most often anthologized (and painted) poems. The 1833 version was substantially changed for the 1842 collection. The ballad is divided into four sections: the first describes the Lady’s surroundings; the second describes the Lady’s situation in her tower and her increasing dissatisfaction with it; the third describes Lancelot’s appearance and the Lady’s reaction; the fourth recounts the Lady’s dying journey, by boat, to Camelot. (For musical works based on the poem, see the entries in the Music section under Andrews, Mark;

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Bendell, W. E., Lady; Bennett, Charles; Bliss, Arthur; Busch, Carl, Lady; Edmunds, Christopher Montague; Horrocks, Amy; Jacobson, Maurice; Kuzuu, Chinatsu, Lady; Lister, Anne, Lady; McKennitt, Loreena; Sibelius, Jean; and Tate, Phyllis. There are many pictorial works based on the story: see the entries in the Fine Art section for Burne-Jones, Edward: “Lady of Shalott”; Crane, Walter: “Lady” (two entries, one for book illustrations and one for an oil painting); Darvell, H.; Egley, William Maw; Fagan, Jas; Gaskin, Arthur Joseph: “Lady”; Goldie, Charles, and H. W. Brewer; Grimshaw, John Atkinson; Herbert, Susan; Horvitz, Shelah; Hughes, Arthur (two entries); Hughes, Edward; Hunt, William Holman (four entries); Johnson, Charles Howard; Keeping, Charles; La Farge, John; Lauder, R. S.; “Lady of Shalott” (for an illustration by “A Lady”); Leighton, Edward Blair: “Barge”; MacNab, Peter; Meteyard, Sidney Harold; Millais, John Everett; Paget, Henry Marriott; Paton, Joseph Noël: “A Study: The Lady of Shalott”; Phipps, Howard; Pyle, Howard; Robertson, George Edward; Robinson, Henry Peach; Rossetti, Dante Gabriel: “Lady of Shalott”; Rutland, Florence M.; Shaw, [John] Byam [Liston]; Siddal, Elizabeth; Slater, George; Smetham, James; Sullivan, Edmund: “Dream of Fair Women”; Warry, Inez; Waterhouse, J[ohn] W[illiam] (five entries); Wentzler, Teresa.)

A-2609 Tennyson, Alfred Tennyson, Baron. “The Lady of Shalott.” The Pied Piper of Hamelin and Other Favourite Poems. Selected by Jan Fielden and John Mole. Read by Anton Lesser, Anne Harvey, and Katinka Wolf. 2 audio cassettes or CDs. Junior Classics. Franklin, TN: Naxos Audiobooks, 1995. NA204514. Sixty stories in verse, read for children (available on audio cassette or audio CD), interspersed with selections of classical music. “The Lady of Shalott” (read by Anne Harvey) is the only Arthurian story included.

A-2610 Tennyson, Alfred Tennyson, Baron. “Merlin and the Gleam.” Demeter and Other Poems. London and New York: Macmillan and Co., 1889. 132–41. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 51–55. – In Merlin Through the Ages: A Chronological Anthology and Source Book. Ed. R[obert] J. Stewart and John Matthews. Fwd David Spangler. London: Blandford, 1995. 252–53. A poem divided into nine sections. Merlin urges an unnamed mariner to follow the “Gleam” that has in the past led Merlin to Arthur. (There are numerous musical works based on this poem; see the entries for “Holbrooke, Josef ”; “Naylor, Edward Woodall”; “Papale, Henry”; “Stanford, Charles Villiers, Merlin” in the Music section.)

A-2611 Tennyson, Alfred Tennyson, Baron. “Morte d’Arthur.” Poems. 2 vols. London: Edward Moxon and Co., 1842. 2: 4–18. This poem is printed with a frame narrative, “The Epic,” and returns to that frame at the end as the speaker, having listened to the poem, goes to sleep and dreams of Arthur’s return. The “Morte” begins with the end of the battle of Camlann. Bedivere takes Arthur away from the battle, eventually throws Excalibur into the lake, and witnesses Arthur’s being taken to Avalon. The “Morte” (without the frame narrative) was incorporated into “The Passing of Arthur” as part of the Idylls. (See also the entries in the Fine Art section under Hunter-Elsenbach, Annegret; and King, Jessie M[arion]: “Morte.”)

A-2612 Tennyson, Alfred Tennyson, Baron. “The Epic.” Poems. 2 vols. London: Edward Moxon and Co., 1842. 2: 1–3. This poem precedes “Morte d’Arthur” and acts as a frame narrative for that poem. The speaker’s friend has destroyed all but one book of his epic poem about King Arthur, but is urged to read from that book. “The Epic” thus shows Tennyson’s concerns about whether the Arthurian legend was appropriate material for a poet of his time. The frame narrative begun in “The Epic” is concluded at the end of (and as part of) “Morte d’Arthur.”

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Tennyson, Alfred Tennyson, Baron: illustrated editions of his poems. For illustrations on Arthurian subjects in editions of Tennyson’s poems, see the entries in the Fine Art section under Fortescue-Brickdale, Eleanor: Poems; Hunt, William Holman: “The Lady of Shalott” [Moxon]; Maclise, Daniel: “Arthur and the Three Queens”; Maclise, Daniel: “Arthur Obtains Excalibur”; Rossetti, Dante Gabriel: “The Lady of Shalott”; Rossetti, Dante Gabriel: “Mythic Uther’s Deeply Wounded Son”; Rossetti, Dante Gabriel: “Sir Galahad”; and Tennyson, Alfred Tennyson, Baron: The Poetical Works of Alfred Tennyson.

A-2613 Tennyson, Alfred Tennyson, Baron. “Sir Galahad.” Poems. 2 vols. London: Edward Moxon and Co., 1842. 2: 174–78. Rptd: The Poems of Tennyson. Ed. Christopher Ricks. Longmans’ Annotated English Poets. London: Longmans, Green and Co., 1969. 610–13. This poem is divided into seven sections. Galahad reflects on his prowess, his relationship to the world, his status as a virgin knight, and his quest of the Grail. (For musical settings of this poem, see the entries for “Baker, A. C.”; “Boughton, Rutland, Sir Galahad”; “Busch, Carl, Sir Galahad”; “Palmer, G. Molyneux”; and “Sealy, Frank Linwood, Sir Galahad” in the Music section.)

A-2614 Tennyson, Alfred Tennyson, Baron. “Sir Launcelot and Queen Guinevere: A Fragment.” Poems. 2 vols. London: Edward Moxon and Co., 1842. 2: 206–208. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 43–44. This poem uses the same ballad stanza as “The Lady of Shalott.” The poem consists of five stanzas, most of which describe the spring and Guinevere; she and Launcelot are riding in the woods. The last stanza particularly conveys Launcelot’s passion for the queen. (For a musical work based on the poem, see the entry for “Bunning, Herbert” in the Music section.)

A-2615 [Tennyson: adaptations.] Bailey, C. W., in collaboration with N. S. Millican and G. R. Hammond. “King Arthur and the Knights of the Round Table.” The Quest of the Golden Fleece and Other Plays from Epic Poetry. London, Edinburgh, and New York: Thomas Nelson and Sons, 1929. 45–76. Bailey has arranged various parts of Tennyson’s Idylls of the King into scenes to create a play, Part 1 of which covers the marriage of Arthur and Guenevere, Gareth’s arrival at Camelot, and Geraint’s marriage to Enid, and Part 2 of which contains scenes between Tristran and Dagonet, and Arthur’s meeting with Guenevere before the final battle. Part 2 begins with a chorus and tableau of “The Lady of Shalott” but no other reference to that poem is used and no mention is made of which part of the poem is to be enacted. Most of the lines of the play are Tennyson’s words; a few minor changes are made to fill in gaps in the condensed material, and the order of lines, particularly in the opening scene, is often rearranged. Some tableaux have been included; for example, the play ends with simply a tableau of the death of Arthur.

A-2616 [Tennyson: adaptations.] Bland, Joellen. “A Dramatic Reading of ‘Morte D’Arthur’ from Idylls of the King by Alfred Lord Tennyson.” Playing Scenes from Classic Literature: Short Dramatizations of the World’s Most Famous Literature. Colorado Springs, CO: Meriwether Publishing, 1996. 255–62. Bland adapts the last two-thirds of Tennyson’s last idyll into a short play for three characters (Arthur, Bedivere and a Narrator). The lines, with one exception, come straight from Tennyson’s poem, although Bland has omitted some, condensing the scene.

A-2617 [Tennyson: adaptations.] Bunning, Herbert. Sir Launcelot and Queen Guinevere. London: Enoch, 1906. (*) A dramatization of Tennyson’s Idyll.

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A-2618 [Tennyson: adaptations.] Byron, May [Clarissa Gillington]. “The Marriage of Geraint.” In The Children’s Tennyson: Stories in Prose and Verse from Alfred Lord Tennyson. Illus. N. M. Price. New York: Hodder and Stoughton: London: Oxford University Press, [1950?]. n.p. The one Arthurian tale in this collection is a retelling (in prose) of the idyll of Geraint and Enid; it begins with the insult to the queen that sends Geraint in pursuit of the strange knight and ends with Enid’s arrival at court to be married to Geraint. The end of the text has a small B&W illustration of two women looking at a dress, but the frontispiece illustration for the collection is a full-colour picture of Geraint’s first meeting with Enid; she stands by a chair near a fireplace facing the viewer, while Geraint in the foreground has his back to the viewer.

A-2619 [Tennyson: adaptations.] Chesson, Nora [pseud.], [i.e., Nora Hopper]. Children’s Stories from Tennyson. Illus. John H[enry] Bacon, Arthur A. Dixon, and others. The Raphael House Library. Ed. Edric Vredenburg. London, Paris, and New York: Raphael Tuck and Sons, [1890]. Rptd: Bacon’s illustration of “The Marriage of King Arthur and Queen Guinevere” is reproduced (colour) in Coghlan, Illustrated Encyclopedia, 41. A collection of retellings of stories from Tennyson, including “The Lady of Shalott” (19–29), “The Story of King Arthur” (30–37, covering Arthur’s life from birth to death), “Geraint and Enid” (38–52), and “The Lily Maid” (i.e., Elaine) (53–65). There are also six colour illustrations on Arthurian themes. Besides the colour plates, there are also in-text illustrations (drawings in B&W), signed “M.B.” or “M. Bowley”; in the Arthurian sections of the book, there are four full-page and thirty-six partial-page drawings.

A-2620 [Tennyson: adaptations.] Chesson, Nora [pseud.], [i.e., Nora Hopper]. Tales from Tennyson. Illus. Frances Brundage and M. Bowley. London: Raphael Tuck and Sons, n.d. Rptd: Illustrations reproduced at The Camelot Project Website. Ed. Alan Lupack. . A collection of retellings of stories from Tennyson, including “The Lady of Shalott.” Brundage provided an illustration for “The Lady of Shalott”: her Lady stands in front of her weaving, one hand holding the material, the other to her head. A circular yellow object (the mirror or window?) behind her head creates a halo-like effect. Bowley’s drawings illustrate a number of Arthurian characters from the Idylls as well as “The Lady of Shalott.”

A-2621 [Tennyson: adaptations.] The Children’s King Arthur: Stories from Tennyson and Malory. Illus. H[elen] S[tratton] [?]. London: Henry Frowde; New York: Hodder and Stoughton, [1909]. Rptd: Great Writers for Young Readers. London: Oxford University Press, 1935. A juvenile retelling of Tennyson’s “Idylls,” supplemented with details from Malory. There are eight full-page colour plates, and B&W drawings on almost every page; like the adaptor, the illustrator is not named (the pictures are signed “H.S.” and the artist may be Helen Stratton). Contents: “The Coming of Arthur,” “Gareth and Lynette,” “Merlin and Vivien,” “Lancelot and Elaine,” “The Holy Grail,” “The Passing of Arthur.”

A-2622 [Tennyson: adaptations.] The Children’s Tennyson, Arranged for Reading and Recitation in Elementary Schools. London: Macmillan, 1915. (*) Children’s retellings of stories from Tennyson.

A-2623 [Tennyson: adaptations.] Elias, Edith L. Tales from Tennyson. Illus. Brinsley Le Fanu. Books for the Bairns 161. London: W. T. Stead / Stead’s Publishing House, 1909. (*)

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Children’s retellings of stories from Tennyson; includes a retelling of “The Lady of Shalott.”

A-2624 [Tennyson: adaptations.] The Gateway to Tennyson: Tales and Extracts from the Poet’s Works. Intro. Mrs Andrew Lang. Illus. Norman Little. London, Edinburgh, Dublin, and New York: Thomas Nelson and Sons, 1910. Rptd: Abridged edition: Illus. Norman Little. London: Thomas Nelson and Sons, 1911. A collection of excerpts from and retellings of stories from Tennyson, most of which are his Arthurian stories (Idylls of the King and “The Lady of Shalott”), with additional story details taken from Malory and The Mabinogion. The book includes sixteen colour plates by Little (twelve of them illustrating Arthurian stories) and many B&W drawings (nearly every opening has a small illustration in the margin of one or other of the pages; there are eighty-two of these among the Arthurian stories); there is also one full-page B&W drawing, being a picture of King Arthur standing before a pavilion, holding Excalibur aloft for the cheering crowd. The 1911 abridged edition, Stories from Tennyson, includes six stories, five of which are Arthurian; they are accompanied by eight full-page colour and various small B&W illustrations.

A-2625 [Tennyson: adaptations.] Greene, Frances Nimmo. Legends of King Arthur and His Court. Illus. Edmund H. Garrett. Boston, MA: Ginn and Co., 1901. Rptd: Illustrations reproduced at The Camelot Project Website. Ed. Alan Lupack. . A retelling of tales from Tennyson, Idylls of the King, Tennyson having been chosen as the source because he “strips the stories of the barbarities found in the earlier writings on the subject, and brings to them the nobility of his own ideals” (Preface). While the narrative has been retold by Greene, much of the dialogue is taken verbatim from the Idylls. The retelling is accompanied by twelve full-page drawings by Garrett.

A-2626 [Tennyson: adaptations.] Holland, Grace Calvert. The King and his Knights: A Poetry Drama, Adapted from Lord Tennyson. French’s Plays for Juvenile Performers 3. London and New York: Samuel French, [1925?]. Part 1: The Coming of the King; a chorus gives background by way of prologue, then the curtain rises on the Hall of King Arthur, who is inaugurating the Order of the Round Table and announcing his plans to marry Guinevere; in a vision, Merlin crowns him and the Lady of the Lake gives him Excalibur; then, after the vision, he sends Lancelot to bring Guinevere. Part 2: The King and his Knight Gareth (Gareth and Lynette). Part 3: The Queen and the Knight Lancelot; Vivien informs Modred of what she has overheard; Modred then spies upon them. Part 4: In the Abbey at Almesbury (Guinevere has fled the court); Arthur meets with her there. Part 5: The Passing of the King; the chorus tells of the Battle of Camlann, and then the scene of Arthur, Bedivere, Excalibur, and the ship is enacted.

A-2627 [Tennyson: adaptations.] Jagendorf, Moritz Adolf. “Gareth and Lynette.” Plays for Club, School and Camp. Illus. Charlotte Mantell. New York: Samuel French, 1935. 79–99. This play for children is divided into three scenes: the first is between Gareth and his mother, the second takes place in the kitchen where Gareth works, and the third shows Gareth defeating the last two knights. The play is a very condensed version of the Idyll by Tennyson, since Gareth’s stay in the kitchen is cut short (his mother relents) and only two combats are shown.

A-2628 [Tennyson: adaptations.] King Arthur and his Knights. Arnold’s Junior Story Readers 5. London: Edward Arnold, [1909?]. A school reader that retells stories from Tennyson, specifically the sword in the stone story, stories of Gareth and of Elaine of Astolat, the story of Galahad’s arrival in Camelot (though the actual Grail quest is not included), and the story of Arthur’s last battle. The material has been made

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appropriate for young readers (the book is aimed at “Standard II” students); no illicit love affairs are mentioned. The two full-page pen-and-ink drawings have lines from Tennyson as captions.

A-2629 [Tennyson: adaptations.] Levey, Sivori. Guinevere and Arthur: Adapted from Tennyson’s “Idylls of the King.” The Pilgrimage Plays 4. London: Fountain Publishing Co., [1920]. (*) A drama based on the idyll “Guinevere.”

A-2630 [Tennyson: adaptations.] Levey, Sivori. Sir Gareth’s Quest: Adapted from Tennyson’s “Idylls of the King,” and Arranged for Costume Representation. The Pilgrimage Plays 3. London: Fountain Publishing Co., [1920]. Most of the lines of this play use Tennyson’s words; there are occasional changes made when a line that was narration in the original poem becomes spoken dialogue in the play. Levey has also incorporated a song from “The Coming of Arthur,” but otherwise deals exclusively with the idyll of Gareth’s first quest. One interesting change is that Gareth’s companions, who are nameless in Tennyson’s poem, are called here Balin and Balan, though they do not have the roles of these characters.

A-2631 [Tennyson: adaptations.] Malim, H[erbert]. King Arthur. Bombay and Madras: n. p. 1914. (*) Rptd: Illus. W. C. Roberts. London: Milford, 1918. A collection of prose stories based on Idylls of the King by Tennyson, intended for students in India. The 1918 edition has eight illustrations. (Information from OCLC WorldCat entry.)

A-2632 [Tennyson: adaptations.] Mantle, Margaret. “Gareth Triumphs.” In Creative Plays for Every School Month. Ed. Ruth Birdsall. Illus. Cynthia Amrine. Dansville, NY: F. A. Owen Publishing Co., 1957. 75–76. A short play, intended for upper grades, based on Tennyson’s “Gareth and Lynette.” The action is much compressed, however, and everything from Gareth’s appearance, to the quest to free Lionors, to Gareth’s successful return seems to take place in one day.

A-2633 [Tennyson: adaptations.] McFee, Inez N. The Story of “Idylls of the King,” Adapted from Tennyson. Illus. M[aria] L[ouise] Kirk. New York: Frederick A. Stokes Co., 1912. Rptd: Illustrations reproduced at The Camelot Project Website. Ed. Alan Lupack. . This is a retelling of the stories of the “Idylls” along with an edition of the poems. The stories are accompanied by eleven colour full-page illustrations by Kirk with a twelfth on the cover (a “Canadian edition for sale in Canada only” had only four plates plus the cover). The end-papers are decorated with a scene of a mounted knight between a forest and a stream with a castle high on a hill in the distance (signed “George Hood”).

A-2634 [Tennyson: adaptations.] Royle, Edwin Milton. Launcelot and Elaine: A Dramatization of Tennyson’s Poem in Prologue and Four Acts. New York: Samuel French, 1929. While it was not published until 1929, the play was performed in 1921 at the Greenwich Village Theatre. Royle uses lines from Tennyson but also expands on Tennyson’s poem and rearranges elements to make a complete drama; the prologue, for example, shows Arthur, Lancelot and other knights finding the jewels that are used for prizes in the tournament. There are consequences to turning Tennyson’s lines into dialogue, however; for example, Lancelot says about himself, “My honor rooted in dishonor stands, / And faith unfaithful keeps me falsely true!” giving him insight into his own character that the original poem does not necessarily suggest that he has. Gawain and Vivian are presented in the play as in league with Mordred.

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A-2635 Tentchoff, Marcie Lynn. “Surrendering the Blade.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 170–75. A poem set when Arthur is about to leave to go to war with Lancelot. He wonders if the magic is gone from his reign, but refuses to surrender to Mordred his sword and the magic it represents.

A-2636 Testudo [pseud.], [i.e., Mostyn Piggott]. “The Second Coming of Arthur (A Certain Past Adapted to a Possible Future).” The World (London) no. 1088 (8 May 1895): 29. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 70–71. This satiric poem of seven quatrains is written in imitation of Lewis Carroll’s “Jabberwocky” (“Beware the Aub-Aub Bird, and shun / The stumious Beerbomax”); its satire is directed at Aubrey Beardsley, Max Beerbohm, the Decadents, and The Yellow Book. The main Arthurian content is Excalibur, which is used against the Yallerbock from Headly Bod.

A-2637 Thackery, Anne. Ragnarok. Toronto, New York, London, Sydney, and Auckland: Bantam Books, 1989. The story of Rhianneth, a Romanized Celtic woman growing up on a remote farm in Bernicia, in the north of Britain, beginning from her twelfth year, shortly after the death of Arturius at Camlann. The remnants of the Brotherhood of Caer Melot are struggling to keep alive the memory of Artur while they face the threat of Saxon from the east and Pict from the north. Joining and assisting them is Rhianneth, who, though baptized, has inherited from her pagan grandmother the second sight, and from her father stories of Artur’s victories and military strategies. The Saxons, of course, come to dominate the country, and in the final scene of the novel Rhianneth, now herself an old woman, sits with a Latin manuscript in her lap and translates into English the story of Artur to inspire the boys of the next generation in what will become the Anglo-Saxon kingdom of Northumbria (where the last vestiges of Roman civilization are destined to be preserved). Various names from Geoffrey of Monmouth’s Historia appear throughout.

A-2638 Thelwall, John. “The Fairy of the Lake: A Dramatic Romance, in Three Acts.” Poems Chiefly Written in Retirement: “The Fairy of the Lake: A Dramatic Romance”; “Effusions of relative and social feeling”; and “Specimens of the Hope of Albion; or, Edwin of Northumbria: An Epic Poem.” Hereford: Printed by W. H. Parker, 1801. 1–92. Rptd: Ode to Science; John Gilpin’s Ghost; Poems; The Trident of Albion. Intro. Donald H. Reiman. Romantic Context: Poetry. New York and London: Garland Publishing, 1978. 1–92 (of the second pagination sequence). This drama combines elements and characters from various Arthurian stories: Vortigern in his tower, the role of the Lady of the Lake in Arthur’s reign, and Arthur’s love for Guenever. Rowena is the villain; she wishes to marry Arthur and schemes to have Guenever (Vortigern’s daughter) burned in the tower with Vortigern, who is pursued by British warriors angered at his alliance with the Saxons. Ambrosius here is a contemporary of Arthur, Tristram is his main companion, Taliessin is Chief of the Bards, and Vortigern is said to be in love with Guenever. The Lady of Lake intervenes at crucial moments to rescue Arthur and Guenever from Rowena’s schemes. First line: “Rowenna rise! Thy beauteous eyes. . . .”

A-2639 Theobald, Lewis. The vocal parts of an entertainment, call’d, Merlin; or, the devil of Stone-Henge. As it is perform’d by His Majesty’s Company of comedians at the Theatre-Royal in Drury-Lane. With a preface containing a succinct account of Stone-Henge and Merlin. Written by Mr Theobald, and set to musick by Mr Galliard. Music by John Ernest Galliard. London: Printed for J. Watts, 1734. [ESTC T67594.] (*)

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(See also the entry for “Galliard, John Ernest” in the Music section.)

A-2640 Thomas, D. Vaughan. “Parsifal Heard in Wales.” Welsh Outlook 7 (1920): 225. In the octave of this sonnet, Parsifal describes the landscape that surrounds him. In the sestet, he addresses this as a “healing land” and connects the peace he finds here with the healing and peace of the Grail.

A-2641 Thomas, Edward. “Bronwen.” Cloud Castle and Other Papers. Fwd W. H. Hudson. London: Duckworth and Co., 1922. 155–66. A story about Princess Bronwen that begins with her alone near her house. Agravain then arrives from Camelot. While the Arthurian context is repeated (the ending is set in Camelot), this is an original story of these characters (for example, Agravain is the perfect courtly lover).

A-2642 Thomas, Edward. “Isoud.” Cloud Castle and Other Papers. Fwd W. H. Hudson. London: Duckworth and Co., 1922. 79–89. The speaker of this prose piece is reading Malory outside, so it becomes a combination of landscape description, expansion of the story of Kehydius (the knight who loved Iseult), and reflection on Malory’s story. Note that the story “Morgan” in this volume is not Arthurian.

A-2643 Thomas, Frances. A Knot of Spells. Taliesin 1. Port Talbot: Barn Owl Press, 1983. (*) A novel set at Owain ap Urien’s court where Taliesin is the court poet. (Information from library catalogues.)

A-2644 Thomas, Frances. The Region of the Summer Stars. Taliesin 2. Port Talbot: Barn Owl Press, 1985. (*) A novel set at Owain ap Urien’s court where Taliesin is the court poet. (Information from library catalogues.)

A-2645 Thomas, Gwyn, and Kevin Crossley-Holland. The Quest for Olwen. Illus. Margaret D. Jones. London: Lutterworth Press, 1988. (*) A retelling of the story of “Kilhwch and Olwen.” (See also the entries for “The Quest for Olwen” in the “Film, Television, and Radio” section and for “Mathias, William” in the Music section.)

A-2646 Thomas, Gwyn, and Kevin Crossley-Holland. The Tale of Taliesin. Illus. Margaret D. Jones. London: Victor Gollancz, 1992. A retelling, in the form of a children’s book, of the legend of Taliesin; the opening line sets the story in the time “when King Arthur was still gathering his knights about the Round Table.” Illustrated with two double-page and two single-page colour plates, six full-page B&W drawings, and a number of other B&W illustrations (plus chapter head-pieces, etc.).

A-2647 Thomas, J. Craven. “The King’s Own Quest, or the Legend of Guenever.” Wales 2 (1895): 266–67. (*) A poem.

A-2648 Thomas, J. Craven. “The Pilgrimage; or, The Tale of the Mysterious Vesture.” Wales 2 (1895): 393–94 and 477–78; 3 (1896): 87–88, 99–100. (*) A poem with Arthurian characters.

A-2649 Thomas, John. The Story of Sir Lancelot. London: Frederick Muller, 1958. (*) A juvenile novel.

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A-2650 Thomas, Patrick Michael. The Pool of Aphrodite: The New Tristan. Lewiston / Queenston / Lampeter: Edwin Mellen Press, 1997. This book-length poem contains some prose passages of people’s thoughts. Merlin narrates the story of Tristan in answer to his student’s question about love. Thomas synthesizes various threads in this retelling: Mark has horse’s ears, Marhault ravages Ireland instead of protecting it, and Iseult of Brittany is a fairy scorned by Tristan’s father who takes her revenge by arranging Tristan’s death when he, like his father, prefers another woman to her.

A-2651 Thomas, R[onald] S[tuart]. “Taliesin 1952.” Song at the Year’s Turning: Poems 1942–1954. London: Rupert Hart-Davis, 1955. 105. In this poem of five quatrains, Taliesin lists all the things he has been, and compares himself to Merlin living in the woods.

A-2652 Thomas, R[onald] S[tuart]. “To the Tourist.” Dock Leaves 3.8 (Summer 1952): 4. Rptd: “A Welshman to Any Tourist.” Song at the Year’s Turning. London: Rupert Hart-Davies, 1955. 112. This twelve-line poem reflects on what Wales provides for tourists; one of the possibilities is the cavern where Arthur sleeps (though Thomas constructs it as Arthur’s having slept late, thus alluding to his supposed return).

A-2653 Thomas, Stanley J. “Kinge Arthure is Naet Daede.” Ore 17 ([1973?]): 13. (*) A poem.

Thomas, Vincent: see Rhys, Ernest: Enid; Gwenevere; The Quest of the Grail. A-2654 Thompson, Elizabeth Wyrick. “The Last Road.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 90–105. The story is told in retrospect by Sir Lucan’s squire. He remembers the war with Lancelot, particularly Gawain’s role, and the battle of Camlann. He is the one sent to take Gawain’s letter to Lancelot and so returns after the battle to find his lord dead and Arthur’s body missing. (The story is original to this anthology.)

A-2655 Thompson, Francis [Joseph]. “Epithalamium at the Marriage of Tristram and Isoude de les Blanches Mains.” The Lost Poems of Francis Thompson (1859–1907); Edited from the Original Manuscripts, with Glossary and Notes. Ed. Myrtle Pihlman Pope. Ann Arbor, MI: University Microfilms, 1966. 42–45. This wedding song has choruses of youths and of maidens singing as they prepare the bridal chamber. The poem is full of images of roses and lilies and light; there are no explicitly Arthurian references besides the title.

A-2656 Thomsen, Brian M. “Mouse and the Magic Guy.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 150–65. Drawing on the image created by T. H. White of Merlin living backwards in time, this comic piece is the story of a detective (the “Mouse” of the title) and the way he helps Merlin set up the sword in the stone. Various Arthurian names are used.

A-2657 Thomsen, Brian M. “Reunion.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992.

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Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 335–41. The premise of this story is that Perceval, after finding the Grail and thereby gaining immortality, goes off to experience everything he can. The present setting of the story is a twentieth-century hospital where, bedridden, he remembers bits of his past.

A-2658 Thomson, Clara L. “The Wife of Bath’s Tale.” Tales from Chaucer. Illus. Marian Thomson. London: Horace Marshall and Son, 1903. 191–203. Thomson has put Chaucer’s tales into “modern English prose” for young readers, specifically at the request of teachers. This is a prose paraphrase of The Wife of Bath’s Tale, with its quest to find out what women want. There is one full-page B&W illustration of the knight kneeling at the queen’s feet.

A-2659 Thomson, David Cleghorn. “Mother of Galahad.” I Would Be Acolyte. Edinburgh: Oliver and Boyd, 1960. 11. This three-stanza poem is spoken by Elaine who contemplates her son’s life and accomplishments. At the end of the second stanza, she compares herself to “God’s Mother . . . / When first the truth came to her”; at the end, the comparison to Christ’s Mother is once again suggested as Elaine’s “soul, rejoicing, magnifies the Lord.”

Thornton, Mrs Derek E: see Hunt, Enid Leigh. “The Three Rogues”: see “When Arthur first in court began.” A-2660 Tiedemann, Mark W. “All the Iron of Heaven.” In Camelot. Ed. Jane Yolen. Illus. Winslow Pels. New York: Philomel Books, 1995. 153–72. A young man reaches Arthur’s court after the final battle of Camlann. He spends some time helping Bors clean up the battlefield, but after seeing the consequence of battle he no longer wants to be a knight.

A-2661 Time-Life Books, Editors of. The Fall of Camelot. The Enchanted World. Alexandria, VA: Time-Life, 1986. A retelling of the Arthurian story. The prologue is the story of Arthur’s theft of the cauldron from Caer Siddi, but then the first chapter goes back to Arthur’s birth and the sword in the stone story; the book ends with the battle of Camlann and Arthur’s being taken to Avalon. The chapters are named after key characters: “Arthur,” “Morgause,” “Guinevere,” “Morgan,” “Lancelot,” “Mordred,” and “Gawain.” Most of the episodes are taken from Malory. The book is lavishly illustrated with reprintings of many famous artworks and book illustrations on Arthurian subjects.

A-2662 Time-Life Books, Editors of. “Kilhwch and Olwen.” Illus. Matt Mahurin. In Giants and Ogres. The Enchanted World. Alexandria, VA: Time-Life, 1985. 102–109. This retells the story from the Mabinogion though its beginning emphasizes Arthur’s role in taking on Ysbaddaden. The story summarizes the tasks that had to be performed, spending time only on the boar hunt. The text is printed in narrow panels on one side of one page, with the full-colour illustrations taking up the rest of each two-page spread; the illustrations use very dark colours to emphasize the danger and mystery in the story.

A-2663 Time-Life Books, Editors of. “The Tests of the Green Knight.” Illus. Alicia Austin. In Giants and Ogres. The Enchanted World. Alexandria, VA: Time-Life, 1985. 69–77. A retelling of the story of Sir Gawain and the Green Knight, but Morgan has no role in this version (perhaps because the purpose of the volume, and of this story in particular, is to show giants’

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interest in the human world). There are five full-page, B&W drawings showing the feast, the Green Knight with his head in his hand, Gawain’s approach to the castle, the lady as she gives the sash to Gawain, and Gawain’s final confrontation with the knight.

Time-Life Books: for other Time-Life Enchanted World titles, see Lehane, Brendan. A-2664 Timlett, Peter Valentine. “The Hedge of Mist.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 7–35. Timlett rewrites the story of Geraint and Enid. The first part is told by a bard, Tygry, who is visiting Enid’s father when Geraint comes in search of the Knight of the Kestrel who has insulted the Queen. The second part of the story occurs after Geraint and Enid wed and follows the traditional story of Geraint’s testing of Enid except for the resolution. Tygry takes Enid to a wise woman who sends Geraint a vision. He meets a green knight who represents his other, jealous self, and only after that battle recognizes his love for Enid and hers for him.

A-2665 Timlett, Peter Valentine. “Launcelot’s Grail.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 292–306. This story, based somewhat on Malory, is set after Galahad’s completion of his quest and the death of Arthur. It mainly concerns Lancelot’s life as a monk and his death, but the epilogue focuses on Morgan’s motives and the end of her story.

A-2666 Timlett, Peter Valentine. “Maidens of the Grael.” In The Chronicles of the Holy Grail. Ed. Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 34–57. A short story set in Glastonbury at the time when Rome is conquering Britain and the Druids. Although there are no direct Arthurian allusions, the events of the story are portrayed as the precursor to the Grail quest; the maidens of the Grail hide it so that the Romans cannot find it, and it will remain hidden “until a son of the Dragon shall find it” (57). Son of the Dragon suggests Arthur’s title, Pendragon.

A-2667 Timlett, Peter Valentine. “The Rite of Challenge.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 165–98. This short story is envisioned as part of a novel, not yet published, entitled Merlin and the Sword of Avalon. The story is about a confrontation between Merlin and Morgan. Merlin represents Arthur, who is Christian, and Morgan leads members of the “Elder Faith” associated with Glastonbury Tor.

A-2668 “Tintagel.” Chamber’s Journal 49 (24 Aug. 1872): 544. Rptd: Every Saturday 2.12 (21 Sept. 1872): 336. In this poem of sixteen four-line stanzas, the speaker observes the sunset from Tintagel and muses about the legendary characters associated with the place (namely Arthur and knights like Lancelot and Gawain), being inspired to honourable action by their example.

A-2669 Tiritilli, Jerry. Look and find Heroes and Legends: Pecos Bill, Tarzan, Johnny Appleseed, King Arthur, Hercules and More! Lincolnwood, IL: Publications, International, 1992. Each double-page spread in this book contains a short paragraph providing background to the story and then a list of characters or items to find in the pictures. The pictures are cartoon-like, crammed with small figures and all sorts of activities. The section for King Arthur is set at a castle; besides the characters and items listed to be found as friends or enemies of the king (Arthur, Excalibur, Merlin, Lancelot, Guenevere, Morgan, and Mordred), readers can also see knights

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playing poker at the Round Table and the king reading a book called Look and Find The Holy Grail.

A-2670 Todhunter, John. “Isolt of Ireland.” Isolt of Ireland: A Legend in a Prologue and Three Acts, and The Poison Flower. London and Toronto: J. M. Dent and Sons, 1927. 1–89. This play begins on the ship. Iseult hates Tristan for his killing of Marhault, who was her lover. She intends to share a poisoned drink with him, killing both of them, but Brangaene intervenes, so that the love potion is consumed instead. Iseult compels Brangaene to sleep with Mark in Iseult’s stead, and Brangaene and Mark eventually fall in love. In this version, Iseult of Brittany and her brother are the niece and nephew of Mark and are staying with him; this keeps much of the action together. In the last act, however, Tristan is banished, and when he lies dying, Iseult returns to him to die at his side.

A-2671 Todhunter, John. “The Song of Tristram.” In Poetry of the Nineties. Ed. Clarence Edward Andrews. Intro. C. E. Andrews and M. O. Percival. New York: Harcourt, Brace and Co., 1926. 174. In this two-stanza poem, Tristan compares his and Iseult’s love to a storm and a “passionate sea.”

A-2672 Tolmie, Sarah. “The Story of the Meeting of Cuculainn and Arthur.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 20–28. This poem is divided into five parts. In the first and second, Cuculainn chases a white stag from Ireland to an unknown shore; in the third, he is discovered by a white hound, who leads him across a lake to a cave where there is a sword. In the fourth, the young Arthur arrives and draws the sword, and in the fifth, Cuculainn gives Arthur the white stag he has killed and leaves for Ireland again.

A-2673 Tolstoy, Nikolai. The Coming of the King: The First Book of Merlin. New York: Bantam, 1988. The grandson of Urien decides to find the grave of Merlin to try and encounter the mage; Merlin appears and relates many events from his life while the two play gwyddbwyll. Tolstoy’s writing has the cadence of traditional tales.

A-2674 “Tom Thumb.” Dean’s Gift Book of Fairy Tales. Illus. Janet Grahame Johnstone and Anne Grahame Johnstone. London: Dean and Son, 1967. n.p. Rptd: Dean’s A Book of Fairy Tales. London: Dean and Son; New York: Playmore, 1977. 144–51. The two Ms Grahame Johnstones produced four picture books retelling traditional stories; one of these collections included the tale of Tom Thumb. The 1977 edition is an “omnibus” reprinting of the four originally separate collections in one volume. Merlin grants the wish of a childless couple, who declare that they would be happy to have a son, even if he were only the size of a thumb. Tom Thumb goes on to success in the court of the King (not named, but presumably Arthur); the King (with Tom Thumb on his open hand) is depicted in the illustration (p. 147 of the 1977 edn.).

A-2675 “Tom Thumb.” In The Golden Goose Book. Illus. L[eonard] Leslie Brooke. New York: F. Warne and Co., 1905. A retelling of the traditional folk tale, of the thumb-sized child, conceived with the aid of Merlin’s magic, who becomes the most valiant knight in Arthur’s court. The events at Arthur’s court take up about half of the story. While most of the story is in prose, there are occasional passages in

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verse; one short lyric ends the story and compares Tom’s chivalry to that of more famous knights like Tristan and Lancelot. The story is accompanied by fifteen partial-page, B&W drawings and eight full-page, full-colour illustrations. Included in these latter are a picture of Merlin when Tom father beseeches him for a child and a picture of Tom dancing in the Queen’s hand while Arthur looks on. (See also the entry for “Brooke, Leonard Leslie” in the Fine Art section.)

A-2676 Tom Thumb: A New Opera, to be Performed at the Theater of Politics, County Court House, Limerick. London: J. Dicks, [1830?]. (*) A burlesque.

A-2677 Tom Thumbe, his life and death wherein is declared many maruailous acts of manhood, full of wonder, and strange merriments: which little knight liued in King Arthurs time, and famous in the court of Great-Brittaine. London: Printed [by A. Mathewes?] for John Wright, 1630. [STC (P&R) 24115 (ESTC S101741).] Rptd: Old Ballads, Historical and Narrative, with Some of Modern Date, Collected from Rare Copies and MSS. 2nd edn. Ed. Thomas Evans; rev. R. H. Evans. 4 vols. London: W. Bulmer and Co., for R. H. Evans, 1810. 4: 1–15. – In The Legendary Ballads of England and Scotland. Ed. John S. Roberts. Illus. Walter Crane [?]. The Chandos Poets. London: Frederick Warne and Co.; New York: Scribner, Welford and Co., 1868. 82–87. A ballad, in forty-two eight-line stanzas. The first line of the ballad sets the story of the diminutive man in an Arthurian context: “In Arthurs Court Tom Thumbe did liue”; it is presented in a twenty-four-page booklet with eleven woodcuts.

A-2678 Tomlinson, Charles. “Three Wagnerian Lyrics: 1. Liebestod; 2. The Potion; 3. Good Friday.” Written on Water. London: Oxford University Press, 1972. 39–40. Three poems, reflecting upon Wagner’s operas; while “Liebestod” concerns Tannhauser and thus is not Arthurian, the other two poems are. “The Potion” describes Mark’s excuse for the lovers; “Good Friday” describes Kundry drying Parsifal’s feet. Each poem is quite short: “The Potion” is twelve lines; “Good Friday” is five.

A-2679 Tomlinson, Theresa. The Forestwife. New York: Orchard Books, 1993. This young-adult novel is a rewriting of the Robin Hood story from the point of view of Marian. Marian runs away to the forest and gradually builds a community of women who, like her, are concerned over the fate of the poor, or who have no other place to go. One of these women tells the story of King Arthur. While the allusion is rather slight, Tomlinson returns to that story near the end; the Robin Hood figure has been envisioning King Richard as another Arthur who would set up a golden age of justice and mercy, but Richard disappoints him.

A-2680 Tooke, Edgar A. “Cosmopolicy.” Pendragon 16.2 (Spring 1983): 2. This poem of six quatrains begins with “A toast to the propriety of most in our society” and continues to survey all of the varied approaches to Arthurian studies found in the Pendragon Society. As a result there are brief references to a number of characters and episodes of the legend, as well as to writers like Gildas, Malory, Nennius, and Tennyson. A later, revised version appeared in An Arthurian Miscellany under the title “Seekers of the Real (?) King Arthur.”

A-2681 Tooke, Edgar A. “Seekers of the Real (?) King Arthur.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 17–18. The first five stanzas of this six-stanza poem dismiss the legendary in favour of the historical and archaeological “facts” of Arthur; the last stanza then points out the importance of the mystery and romance of Arthur’s legend. There are allusions to numerous characters (like Merlin, Lancelot,

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and Perceval, as well as Arthur), items (like the Round Table or the Grail), and places (like Badon) associated with the legend. A note to the poem says that “an earlier version of this poem appeared in Pendragon”; this earlier version is entitled “Cosmopolicy,” but there are some significant differences between the two versions: “Seekers” uses six-line stanzas instead of quatrains, and the order of lines has been changed as well.

A-2682 Topping, Angela. “Hag.” Ore 42 ([1991?]): 50. A twenty-one-line poem spoken by the “hag,” presumably Morgan, from Sir Gawain and the Green Knight. She remembers when she was able to charm instead of horrify the wandering knights and believes that she was better at charming them than the current lady.

A-2683 Tower, Christopher. Oultre Jourdain; or, The High History of the Mantle and the Lance. Illus. Pauline Baynes. London: Weidenfeld and Nicolson, 1980. This book-length narrative poem begins with the Creator’s plans to punish humankind for stealing fire; however, once the punishment (a sprite named Pandevedil) is unleashed, she cannot be controlled and creation is at risk. The poem goes through two attempts of the Creator to solve the problem, but which end up in a religious conflict (Christianity vs Islam, though these terms are not used). The Arthurian content begins about halfway through; Arthur becomes the leader of the Christians when he receives a sword from the lake (his counterpart and one-time friend is recognized when he draws a sword from a stone). Both sides attempt to recover relics that will give them the ultimate advantage: a lance and a mantle. Sir Galilee, who seems modelled on Galahad, achieves the quest of the lance, but since the mantle is also found, the battle ends in a draw; Arthur and Saladin are taken by boat, wounded and flanked by the holy relics, away from the battle. Merlin and Blaise are important figures in stage-managing the quests. The poem is also notable for its treatment of female characters, for most of them are villains, and any male villains play that role because they have been corrupted by a female figure.

Townswend, Charles Barry: see the entries for “Merlin’s Catalog,” “Merlin’s Puzzle Pastimes,” and “Merlin’s Puzzler” (1–3) in the Games section. A-2684 Toynbee, Philip. Tea with Mrs Goodman. London: Horizon, 1947. Rptd: Prothalamium: A Cycle of the Holy Grail: A Novel. New York: Doubleday and Co., 1947. – Prothalamium: A Cycle of the Holy Grail: A Novel. Westport, CT: Greenwood Press, 1947. There are seven narrators of this book. Each narrator has a series of short monologues, each from a different moment in time during an afternoon tea. Each reflects on his or her own feelings, relationships to others, and past and present events. There are allusions to Perceval’s childhood, to Galahad’s sitting in the Siege Perilous, to Lancelot, and to the Grail.

A-2685 Tranter, Nigel. Druid Sacrifice. London: Hodder and Stoughton, 1993. This novel is set in Arthurian times; its protagonist is Arthur’s niece (daughter of Anna, Arthur’s sister, and Lot, and therefore sister to Gawain and Mordred.) Unlike the rest of her family, she is Christian and therefore a victim of the Druids; the novel is about her trials, not the traditional Arthurian story.

A-2686 Trask, Katrina. Under King Constantine. London: Kegan Paul, Trench, Trübner and Co., 1893. This book contains three long narrative poems; all are set in the days after Arthur’s death, when Constantine is king (hence the title). The first poem, “San Peur,” deals with a very Arthurian love triangle; San Peur is compared to Lancelot, the beloved lady is Gwendolaine, and her husband is the powerful knight Sir Torm. The love triangle is worked out quite differently, however. Gwendolaine flees her husband after he strikes her and seeks refuge with San Peur; they do not act

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on their love, and San Peur in fact takes a deathblow meant for his rival, causing Sir Torm to repent and mend his ways. The second poem, “Kathanal,” also features a love triangle; Kathanal is a young knight in love with his lord’s wife. She sends him on a quest for the Holy Grail; their love purifies them rather than leading to any destruction. Again, there are references to several characters from the legend, mainly as comparisons for the love of the two main characters; Tristan, Iseult, Lancelot, and Guenevere are mentioned and their examples are deliberately not followed. The third poem, “Christalan,” concerns a young man who wishes to achieve glory and honour and knighthood, to be known as valiant and true. An accident prevents him from bearing arms ever again, but he overhears a plot against Constantine and sacrifices his own life to save the king’s. Within each poem, there are brief references to the other poems, so while each could stand on its own, they also work together as a whole.

A-2687 Travers, P.L. “Le Chevalier Perdu.” Parabola 1987. Rptd: What the Bee Knows: Reflections on Myth, Symbol and Story. Wellingborough: Aquarian Press, 1989. 181–84. In this short story, Perceval is on his way to Arthur’s court to become a knight. He meets up with a hermit and receives advice on the three levels of knighthood: Induction, Action, Contemplation. When Perceval leaves, the reader realizes that the hermit is actually the great knight Sylvanus that Perceval’s mother had told him to seek. (We have seen only the story as reprinted.)

A-2688 Treece, Henry. The Eagles have Flown. London: John Lane / The Bodley Head, 1954. This novel, written for a young adult audience, concerns the beginning of Arthur’s reign.

A-2689 Treece, Henry. The Great Captains. London: John Lane / The Bodley Head; New York: Random House, 1956. The novel begins as the last legions leave Britain. Ambrosius, Count of Britain, is a feeble old man who travels with Mordred, a young man he has trained. Mordred expects to be named Ambrosius’ successor and receive the sword of office. When Ambrosius visits one of the kingdoms in an attempt to unite Britain against the Saxons, Arthur takes the sword and claims leadership (he sticks it in a log, soaks it, and then challenges others to draw it out). The relationship between Arthur and Guenevere is also different; by the time Mordred meets them, they have been lovers and are parents, but their love is forbidden because she is actually his half-sister (although they do not know this when they first meet). Arthur kills this Guenevere by accident. A second woman he names Guenevere betrays him with Mordred and is executed. The end of the story is also handled quite differently. Mordred’s attempt to join the Saxons ends in his mutilation, and many years later, when they are both old men, he attacks Arthur in a fit of madness, killing him just as rebels attack the fortress. Treece thus presents the relationship between Mordred and Arthur very differently; although the traditional jealousy is there at times, it is not worked out in the usual ways.

A-2690 Treece, Henry. The Green Man. London: John Lane / The Bodley Head; New York: Putnam’s, 1966. A historical novel of Amleth (Hamlet) that is set at the time of Beowulf and Arthur. Part 2 takes place in Britain, where Amleth spends time with Arthur, here an aging war duke. Some common Arthurian characters appear: Kei and Bedwyr as Arthur’s men; Cerdic as the Saxon leader Arthur is trying to keep in check; Medraut as a nephew by marriage whom Arthur suspects will be treacherous; and Gwenhwyvar as the promiscuous queen (her affair with Medraut is known to Arthur).

A-2691 Treece, Henry. “The Tragedy of Tristram.” The Exiles. Illus. Christine Price. London: Faber and Faber, 1952. 13–39. This play was produced by Dafydd Gruffydd for the BBC in 1950. There are only three characters, all of them ghosts. Tristan, Mark, and Iseult of Brittany continue to struggle with the consequences of love and betrayal and death. Having the characters as ghosts creates the sense of an

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endless cycle of recriminations and guilt for these legendary characters. Note that in this version, Tristan and his wife have had children. (See also the entry for “The Tragedy of Tristram” in the “Film, Television, and Radio” section.)

A-2692 Tremayne, Peter [pseud.], [i.e., Peter Berresford Ellis]. “Knight of the Golden Collar.” In The Chronicles of the Round Table. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1997. 65–79. In this short story, a knight from Ireland seeking Arthur stops at a Saxon inn to rest. There he meets a surly innkeeper and a mysterious woman and ends up in a dangerous fight that proves he is worthy to be part of Arthur’s band.

A-2693 Tremayne, Peter [pseud.], [i.e., Peter Berresford Ellis]. “The Singing Stone.” My Lady of Hy Brasil. Illus. Duncan Eagleson. West Kingston, RI: Donald M. Grant, 1987. This short story takes place in Brittany, at an archaeological dig. A professor who has previously found a Celtic stone with strange markings (the “singing stone” of the title) finds an altar. He believes that the stone is the original of the Grail; the Grail is explained in the story to have originally been an object “which represented the key of universal knowledge.” The professor believes that he can use the stone and the altar to open a passage between worlds, and only the reaction of his assistant averts disaster. The Arthurian Grail stories are mentioned when the professor’s theories about the stone are being explained, but the Arthurian content is slight.

A-2694 Tremayne, Peter [pseud.], [i.e., Peter Berresford Ellis]. “The Oath of the Saxon.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 79–103. This short story begins after a major battle in which Arthur defeats the Saxons. Finding one of the Saxon thanes alive, Mordred bargains with him, needing his services as a guide in order to retrieve the head of Bran from London. Mordred here is Arthur’s nephew, who believes he has a better right to the throne; he arranges for the disinterment of the head in order to discredit Arthur, but the plan backfires when his Saxon agent escapes with the head.

A-2695 Tremayne, Peter [pseud.], [i.e., Peter Berresford Ellis]. “The Temptations of Merlin.” In The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 36–109. A novella about a young Myrddin, just as he begins his role in the Arthurian story.

A-2696 Trench, John. Docken Dead. London: Macdonald, 1953. Rptd: New York: Macmillan, 1954. A murder mystery set near a British army training base post-World War II. An officer is killed, and that same night a top secret weapon is stolen. The amateur detective who ends up investigating is an archaeologist and historian; he is the one who realizes that these events are related to the rumoured find of the little book that Geoffrey of Monmouth claimed as his source. There are several references to Arthur, particularly the debates about his historicity. Some of the battles listed by Nennius provide clues for the investigation.

A-2697 Trentham, Winifrede. Merlin Limited. One Act Plays No. 46. London: J. Garnet Miller, 1948. A retired magician, Mr Fancy, has been defrauded by his son-in-law. When his daughter’s efforts to restore his money fail, Fancy takes matters into his own hands. He tricks his son-in-law into believing that Mr Fancy has perfected a new magical feat and will be starting a company to promote it; the company is the “Merlin Limited” of the title, since Fancy used Merlin’s name as

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part of his act in the past. The son-in-law wants to get in on a lucrative new venture and so pays back what he has taken; Fancy and his daughter thus escape. The Arthurian allusions are slight, although Merlin’s name is used to give credibility to the ideas of real magical powers.

A-2698 Trevelyan, Robert C[alverley]. The Birth of Parsival. London, New York, and Bombay: Longmans, Green, and Co., 1905. Rptd: Collected Works. London: Longmans, 1939. A four-act play, based loosely on Wolfram von Eschenbach and Wagner, in blank verse (with some lyric passages), presenting the story of Herzeloida and Frimutel (Gahmuret), and of the birth of Parsival.

A-2699 Trevelyan, Robert C[alverley]. The New Parsifal: An Operatic Fable. London: Printed for the Author at the Chiswick Press, 1914. Rptd: Collected Works. London: Longmans, 1939. In the introduction to the play, the ghost of Wagner condemns the way the present play uses the Grail story; the “Examiner of Plays” immediately approves it. The play itself is set on Circe’s island where Klingsor and his followers have arrived with the Grail. The Grail legends are combined with the story of the Phoenix; the Phoenix is shot by the Perceval figure (who arrives in a monoplane), and its death rejuvenates the Grail’s powers. The play satirizes various literary figures, Tennyson among others.

A-2700 Trevor, [Lucy] Meriol. The Last of Britain. London: Macmillan, 1956. This novel takes place in Bath, some time after Arthur’s death. The current inhabitants wish to maintain their sovereignty against the invading Saxons, so Arthur and his influence are mentioned several times, particularly his victory at Mount Badon. Because this is a historical novel, the references to Arthur suggest he is a war leader rather than a king. Gildas also appears in this novel. He is an old man who meets the protagonist; when Gildas dies, one of his followers appears at the court to deliver his last prophecies, mostly of doom for Britain. While these prophecies are dismissed by many, they are proven by subsequent events to be substantially true.

A-2701 Trevor, [Lucy] Meriol. Merlin’s Ring. Illus. Martin Thomas. London: William Collins Sons and Co., 1957. Felix, a young boy in twentieth-century Britain, discovers a ring in a Roman ruin in Bath. The ring is Merlin’s, and it allows Felix to take the place of another Felix, the young prince of Bath in Arthur’s time. The setting of the bulk of the novel, then, is the months just before the Battle of Badon. The power struggles in Bath have as a backdrop Arthur’s efforts to defeat the Saxons. Previous events, like Vortigern’s inviting of Saxons to Britain, and future events, like the battle of Camlann, are also mentioned.

A-2702 Trewin, J. C. “A Sword for a Prince.” A Sword for a Prince and Other Plays for a Young Company. London: Elek Books, 1960. 10–54. This play was first performed in Britain in Dec. 1954. By the end of the play, characters have taken on relatively conventional Arthurian roles, but the story is rather different. A young Arthur, disguised, is the prince of the title. He is fleeing a rival king who has killed his father (here called Leo). A faithful follower takes Arthur to his Cornish castle where his children and wards are; they play a role in the confrontation with the rival king. When the rival king suspects his identity, the local Lady of the Lake appears to give Arthur Excalibur, proclaiming him the rightful king. Lance, one of the children, is dubbed by Arthur Lancelot of the Lake, and Jenny (whose visions fill in a lot of background information for the play) is revealed to be named Guenevere; we are told in the epilogue that Arthur marries her and everyone lives happily ever after.

A-2703 Tristan and Iseult: An Ancient Tale of Love and Fate. Illus. Gilbert James. Boston, MA: Dana Estes and Co.; London: Thomas Nelson and Sons, 1911.

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A prose retelling of the story of Tristan and Iseult. It is set up as a story told by a minstrel, and throughout there are interjections where the type of music being played to accompany the story is described. There are eight full-page, full-colour illustrations.

A-2704 Troughton, Joanna. Sir Gawain and the Loathly Damsel. Illus. Joanna Troughton. New York: Dutton; London: Macmillan, 1972. A picture-book retelling of the late medieval romance of The Wedding of Sir Gawain and Dame Ragnell.

A-2705 Truett, Nelson Hill. The Search for the Holy Grail. New York: New York Literary Bureau, 1920. A motion-picture story: a description of plot and scenes intended for film. While the introduction (written by Mrs Wilson Woodrow) mentions King Arthur and his knights in connection with the Grail, the story does not. In the story, Joseph of Arimathea brings the Grail to England; it later disappears, and a fictitious king (Habachi) sends three counsellors and a hunchbacked woman on a quest for it. The Bible is shown to be the Grail.

A-2706 Tucker, Irwin St John. The Sangreal: A Play in Four Acts. Chicago: published by the author, 1919. Taylor and Brewer report that this play was “acted by the Cathedral Players of Chicago at St Luke’s Parish House in Advent, 1922.” The drama, set at the end of Arthur’s reign, makes several changes to tradition. Pinel is a significant character. He is physically deformed and acts as a Fool for the court. With poison given him by Merlin, Pinel poisons an apple, intending to revenge himself on Kay for the latter’s bullying, but it is mistakenly given by Guenevere to Patrice instead. Arthur is willing to defend his queen, even though Excalibur seems to have lost its magic after the appearance of the Grail at court; however, the archbishop is unwilling to have Arthur risk the country’s stability and so reveals the love affair between Guenevere and Lancelot. The news of the charges against Guenevere make Lancelot abandon just-given holy vows. Lancelot not only defends the queen, but claims her because Arthur was not willing to defend her. The last battle is thus between Lancelot and Arthur, and Arthur, while dying, gives the crown to Lancelot who in turn gives it up to Galahad in order to join the church as Guenevere has been tricked into doing. The most significant departures from tradition are the sustained speeches by Pinel and Galahad against chivalry and kings. These speeches are particularly anti-war, suggesting that leaders begin wars and send common folk to die for rewards that only the leaders will enjoy. The church is depicted as in collusion with the state in this regard.

A-2707 Tudor revels: Entry into London of Katharine of Aragon, 1501. The Receyt of the Ladie Kateryne. Ed. Gordon Kipling. Early English Text Society, Old Series 296. Oxford: Oxford University Press, for the Early English Text Society, 1990. The Receyt is a description of the Entry into London of Princess Katharine of Aragon, betrothed to Prince Arthur, in Nov. 1501; the drawing of parallels between Prince Arthur and King Arthur are an explicit part of the pageant verses. The verses (which were in English, though Katherine did not yet know the language) are preserved in two London chronicles as well as in the Receyt. The banquets for the wedding also included disguisings and tournaments, though no explicitly Arthurian themes are mentioned in the descriptions. The six pageants, presented at various stages along her route from London Bridge to St Paul’s Cathedral, have Katherine ascending through the spheres of moon and sun towards the heavens, where she is enthroned beside Arthur (who is associated here with the constellation Ursa Major) in the Thrones of Honour. In the First Pageant (in the middle of London Bridge) St Katherine and St Ursula address Katherine, and the speech by St Ursula (p. 15) includes references to King Arthur: Arthur is of her kin, and is in the heavens as Ursa major; Katherine should be like Ursa Minor, circling together with her Arthur around the North Star. The Fourth Pageant, beside the Great Conduit in Cheapside, has King Arthur standing in a chariot addressing Katherine from the sphere of the sun: rejoice, for here in the land of

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Arthur you will be joined to Arthur, who wears not only corporal armour but also the spiritual Armour of Justice. The Receyt also includes a description of the wedding and associated tournaments and masques, and concludes with an account of the death and funeral of Prince Arthur, five months after the wedding.

A-2708 Tudor revels: Masque of the Nine Worthies, at the Field of the Cloth of Gold, 1520. The Field of the Cloth of Gold was something of an Anglo-French “summit conference” between Henry VIII of England and Francis I of France, held in a valley on the border between France and the English territory of Calais, 7–20 June 1520. The meeting of the two kings was accompanied by tournaments, feasts, dances, and disguising – an outdoor festival of music and drama – including a masque of the Nine Worthies, among whom King Arthur appeared (see Jocelyne G. Russell, The Field of the Cloth of Gold). On the final day of the “Field,” King Henry rode to and fro dressed as Hercules, attended by the other Worthies, including Arthur.

A-2709 “The Turke and Sir Gawain.” In Syr Gawayne: A Collection of Ancient Romance-Poems, by Scotish [sic] and English Authors, Relating to that Celebrated Knight of the Round Table; With an Introduction, Notes, and a Glossary. Ed. Frederic Madden. Bannatyne Club Publications 61. London: Printed by R. and J. E. Taylor, 1839. 243–55. Rptd: Bishop Percy’s Folio Manuscript: Ballads and Romances. Ed. J. W. Hales and F. J. Furnivall. 3 vols. London: N. Trübner and Co., 1867–1868. 1: 88–102. – In The Percy Folio of Old English Ballads and Romances. From the text of J. W. Hales and F. J. Furnivall. 4 vols. The King’s Library. London: De la More Press, 1905–1910. 1: 47–58. – In Sir Gawain: Eleven Romances and Tales. Ed. Thomas Hahn. Middle English Texts. Kalamazoo, MI: Published for TEAMS in Association with the University of Rochester by Medieval Institute Publications, Western Michigan University, 1995. 337–58. This ballad (dated by Hahn as ca. 1650 in its present form, though composed ca. 1500; beginning: “Listen, lords great and small / What adventures did befall”) tells of how a gigantic Turk came to Arthur’s court to challenge the knights to an exchange of buffets game (parallel to the story of Sir Gawain and the Green Knight); when freed from his enchantment, the Turk turns out to be Sir Gromer, and in the final lines is made King of the Isle of Man by King Arthur. This was not printed in Percy’s Reliques, though it is preserved in Percy’s Folio manuscript (now British Library MS Add. 27879); it appears in a portion of the manuscript which was badly damaged (half pages with which to start fires torn out before Percy rescued the manuscript) with much loss of text.

A-2710 Turnbull, E. Lucia, and H. Dalwey Turnbull. “The Return of Arthur.” Through the Gates of Remembrance, First Series. Illus. Marjorie Quennell. [Bombay?]: Oxford University Press, 1931. (*) Rptd: Teaching of English no. 175. London and Edinburgh: Thomas Nelson, 1933. A play on the theme of the discovery of the grave of Arthur and Guenevere at Glastonbury, as part of a trilogy of plays on Glastonbury themes.

A-2711 Turner, Joanne. “Dragon Song.” The Sewanee Review 75 (Summer 1967): 458–59. Three stanza poem of Tristan and Iseult of Ireland. Images of dragons recur, referring to the dragon that Tristan killed in order to claim Iseult.

A-2712 Turner, Nancy Byrd. “At Tintagel.” Scribner’s Magazine 84 (Aug. 1928): 206. The sonnet’s rhyme scheme is Shakespearean, but it is physically divided into octave and sestet. The octave reflects on the dreams, associated with Tintagel, that have passed and died; the sestet asserts that those dreams continue “while Arthur’s England fronts the sea” (9). Galahad is also mentioned.

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A-2713 Turner, Roy. King of the Lordless Country. London: Dobson Books, 1971. In this historical novel, Emrys Arthur becomes a leader of “the Circle,” kinless warriors who become a trained warrior band. That group includes warrior women, like Gwenhwyfar, who marries Arthur and bears him a son. The novel avoids the tragic elements of the Arthurian story: although Bedwyr is a major character, Gwenhwyfar is faithful; Medrawd is simply Arthur’s nephew; and the story is only told up to the victory at Badon.

A-2714 Turtledove, Harry. “A Massachusetts Yankee in King Arthur’s Court.” In Alternate Kennedys. Ed. Mike Resnick. New York: Tor, 1992. 157–87. A modern-day British druid intends to teach John F. Kennedy a lesson and performs a spell that sends the president back to a Dark Age Camelot. Kennedy makes the most out of the experience, however, seducing Guenevere and convincing Merlin (here an Egyptian priest) to send him home.

A-2715 Turton, Godfrey Edmund. The Emperor Arthur. Garden City, NY: Doubleday and Co., 1967. “Historical” novel, presenting Arthur as “dux bellorum.”

Tuttiett, Mary Gleed: see Gray, Maxwell. A-2716 Twain, Mark [pseud.], [i.e., Samuel L. Clemens]. A Connecticut Yankee in King Arthur’s Court. Illus. Dan Beard. New York: Charles L. Webster, 1889. Rptd: A Yankee at the Court of King Arthur. Illus. Dan Beard. London: Chatto and Windus, 1889. – A Connecticut Yankee in King Arthur’s Court: An Authoritative Text, Backgrounds and Sources, Composition and Publication, Criticism. A Norton Critical Edition. New York: W. W. Norton, 1985. – Excerpts: The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York and London: Garland Publishing, 1990. 247–73 (“Merlin’s Tower” [250–53]; “The Holy Fountain” [253–60]; “The Restoration of the Fountain” [260–65]; “The Yankee’s Fight with the Knights” [265–72]; “A Postscript by Clarence” [272–73]). Hank Morgan is the “Yankee” who, through an accident, is thrown back in time to King Arthur’s court; he makes himself a rich and powerful man at that court by using his knowledge of history and modern technology. Twain questions the values espoused by both Morgan and Morgan’s arch-rival Merlin; both men are power-hungry, and the end of the novel vividly demonstrates the destructiveness of their ambition. Dan Beard provided decorative devices and some 220 illustrations for the first edition (engraved drawings); there are 58 full-page plates, some illustrating scenes from the book but most are full-length portraits of particular characters, and 162 partial-page illustrations (usually three or four per chapter). There are two audio-book versions of the novel read by Carl Reiner: the more substantial one is three hours long (Beverly Hills, CA: Dove Audio, 1993; ISBN 1558007393); the other is somewhat shorter (2 1/2 hours) and is designed for elementary or junior high schools (Beverly Hills, CA: New Millennium Audio, 2001; ISBN 193105648X). There have been numerous adaptations of the novel into dramatic form (stage and radio); for film versions of or inspired by A Connecticut Yankee in King Arthur’s Court, see the “Film, Television, and Radio” section entries for Astro Boy; Bosko’s Knight-Mare; Bugs Bunny Knight-Mare Hare and A Connecticut Rabbit in King Arthur’s Court; A Connecticut Yankee in King Arthur’s Court (1921, 1931, 1947, 1949, 1970, 1978, 1989, 1999); King Arthur and the Knights of Justice; A Knight in Camelot; MacGyver [Good Knight MacGyver]; Popeye; Studio One; and Unidentified Flying Oddball. See also the entry for “Rodgers, Richard” in the Music section for details of the musical. For a drama based on Twain, see “Kelly, Tim” in this section. See also the entries for Classics Illustrated and A Connecticut Yankee in King Arthur’s Court in the Comics section.

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A-2717 [Twain, Mark]. “From A Connecticut Yankee in King Arthur’s Court by Mark Twain.” In Playing Scenes from Classic Literature: Short Dramatizations of the World’s Most Famous Literature. Adapt. by Joellen Bland. Colorado Springs, CO: Meriwether Publishing, 1996. 157–61. Bland adapts the scene from Twain’s novel where Hank Morgan has been put in prison into a short play for two characters (Hank and the young page Clarence). Some of the lines are from the novel, but the organization of the scene and other lines have been invented by Bland.

A-2718 [Twain, Mark]. Vocal Selections from “A Connecticut Yankee at King Arthur’s Court.” By Herbert Fields, with Lorenz Hart and Richard Rodgers. New York: Warner Bros. Publications, 1984. This songbook contains the music and lyrics for various songs from the musical play based on Twain’s novel. Only two of the songs make specific reference to Arthurian characters: “I Blush” refers to the love of Lancelot and Guenevere, and of Tristan and Iseult; “On a Desert Island With Thee” is sung, in part, by Galahad. Herbert Fields is credited with the book, Richard Rodgers with the music, and Lorenz Hart with the lyrics.

A-2719 [Twain, Mark]. A Connecticut Yankee in King Arthur’s Court: A Comedy in Three Acts Based on Mark Twain’s Book of the Same Title. Adapt. by John G[rant] Fuller. Baker’s Royalty Plays. Boston, MA: Baker’s Plays / Walter H. Baker Co., 1941. A modernization and dramatization of Twain’s novel, in which the Yankee is a young engineer, just out of college, who is fascinated by the theory of relativity and the idea that, if one could travel faster than the speed of light, one might go backwards in time (and who believes that achieving this application of relativity is a mere engineering problem). His journey to Arthur’s court is caused by an electrical shock from a disassembled radio; when he regains consciousness (at the end of the play), he is told that he has been unconscious for only sixty seconds.

A-2720 [Twain, Mark]. “A Connecticut Yankee in King Arthur’s Court.” Adapt. by Lewy Olfson. In Radio Plays of Famous Stories. Ed. Lewy Olfson. Boston, MA: Plays Inc., 1956. 99–115. An adaptation of Twain’s novel to the format of a radio play. The plot, although greatly simplified, remains the same: Hank Morgan arrives by accident in Camelot, becomes the respected “Sir Boss” and ends up back where he came from after a final confrontation with Merlin. (It is not clear from the information in the book that this was ever broadcast.)

A-2721 Twohig, Patrick J. Of Hope and Glory: Being a History of England in Verse with Explanatory Footnotes. Cork: Tower Books, 1982. This poem moves through British history age by age (until the first century BC) and then century by century. In the poems for the fifth and sixth centuries, there are references to Arthur, Vortigern, and Guenevere. Each page contains about three stanzas (six lines each) and then a series of notes (usually five or six) that fill in historical facts, refer to published works on the subject, or add more reflections.

A-2722 Tyler, Mark. The Galahad Club. London: Robert Hale, 1986. A murder mystery that takes place at a Harvard class reunion. One of the clues is a charm in the shape of a small sword. It is eventually revealed to be the sign of a secret society, the Galahad Club, named after Galahad because “he was well-known for aiding ladies in distress” (231). The search for the solution is played out against the beginning of World War II but also against the amateur detective’s marriage that is to take place the next day.

A-2723 Tyler, Therese. The Dusty Road. Philadelphia: J. B. Lippincott and Co., 1915. This novel is set in early twentieth-century Philadelphia; its protagonist is a young woman whose

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family has been reduced to near poverty. The novel follows her troubles and heartbreaks as she grows up and is faced with choices of whom she should marry: a poor young artist of uncertain morality, a rich but brutish businessman, a well-meaning but narrow-minded minister, or an old friend of the family who has himself been disappointed in love. There are numerous allusions to versions of the Arthurian legend. The young artist makes his reputation by painting the scene of Morgan confronting Lancelot; he discusses the idea for this painting often with the protagonist and says he will model Morgan on her. A recitation of a poem about Pelleas and Melisande illustrates the hold that a woman exerts over the family friend. A crucial turning-point in the protagonist’s feelings (and subsequent fortunes) occurs when she is taken to a performance of Wagner’s Tristan; her reaction to the piece demonstrates the importance of an appreciation of art and illustrates that the man who is currently engaged to her is not suited to her.

A-2724 Tyler, Therese. In the Shadow of the Sangreal. Philadelphia: Campion and Co., 1911. (*) A novel.

A-2725 Tynan, Katharine. “The Chapel of the Grail.” Ballads and Lyrics. London: Kegan Paul, Trench, Trübner & Co., Ltd, 1891. 139–142. A poem describing the Grail Chapel. Joseph of Arimathea is imagined as the keeper of the Grail, and many stanzas are devoted to describing the idyllic woodland setting of the chapel; near the end of the poem, Galahad and Percivale are mentioned as models for modern seekers of the Grail.

A-2726 Tysoe, Gerald. King Arthur’s Knights: Ridiculous Stories. Illus. Jonathan Edwards. Oswestry, Shropshire: Sherbourne Publications, 1994. The paperback cover, but not the title-page, includes a subtitle: “(The Bits that Malory Left Out).” This is a collection of twelve short stories, mostly farcical (featuring Black Knights and chastity belts, a dragon in a building marked “Fire Station,” and many deliberate anachronisms). Contents: “The Real Round Table,” “Sir Prise,” “Sir Tain,” “Sir Cumference,” “Sir Veillance,” “Sir Molina,” “Sir Cular-Saw,” “Lady Constance,” Sir Ceptible,” “The Scullery Boy,” “Sir Mountable,” and “Sister Sarah.” Various of the traditional characters also appear, including King Arthur, Guinevere, Sir Perceval, and Merlin. According to the back cover, Gerald Tysoe is known as “Worcester Jerry” and tells such stories in folk clubs.

Underdown, Emily: see Chester, Norley. A-2727 Underhill, Evelyn. The Column of Dust. London: Methuen and Co., 1909. In this novel by the author of a standard academic text on Mysticism, the manager of a second-hand bookshop, Constance Tyrrel, becomes curious about some of the occult books which are on her shelves, and she begins to dabble in incantations; as a result, a lonely spirit (“the Watcher”) attaches itself to her. The spirit and the woman remain companions for the duration of her life, the spirit learning from her of human experience, and she learning from the spirit about the world of spirits, including confirmation of much that was taught in the writings of the ancient mystics. Midway through the novel, the pair come upon a chalice in a small church in rural Yorkshire; the spirit recognizes it immediately as the Holy Grail, which was once the subject of a quest by Sir Percival. The Grail is then used throughout the rest of the novel as a symbol of that which calls from the spirit world for reverence, love, and obedience. “The column of dust” of the title is the physical body which Constance ultimately must surrender. There is also a minor Arthurian allusion early in the novel: a book from the bookshop, a romance of Sir Gawain in Middle English, is briefly described.

A-2728 Updike, John. “Erotic Epigrams.” Telephone Poles and Other Poems. New York: Alfred A. Knopf, 1963. 79. The Acknowledgements of this collection point out that this poem was first published in The

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Commonweal. The short poem is divided into three parts; the second reflects on what Iseult of Ireland means to Tristan.

A-2729 Updike, John. “Tristan and Iseult.” The Afterlife and Other Stories. New York: Alfred A. Knopf, 1994. 148–53. This short story is told from the perspective of a man having his teeth cleaned by his dental hygienist. Only the title creates the Arthurian connection, although an image of a sword between the two of them used at the end reinforces that sense of hopeless passion that the main character feels.

A-2730 Updike, John. Brazil. New York: Alfred A. Knopf / Random House, 1994. This love story of two twentieth-century Brazilian characters, a poor boy and the rich girl he meets one day at the beach, is suggestive of the Tristan-Iseult legend. The boy’s name is Tristao and the girl’s Isabel; while she is not married, she does have older male figures (father and uncle) who try to keep them apart; and the ending alludes to the romantic story of Iseult’s death when she arrives to find Tristan dead.

A-2731 Updike, John. “Four Sides of One Story.” The Music School: Short Stories. New York: Alfred A. Knopf, 1966. 87–100. The story is that of the love of Tristan and Iseult; the “four sides” that Updike gives us are one letter each from Tristan, the two Iseults, and Mark. Updike mixes the traditional aspects of the story with modern: Mark is a king and lives with Iseult in a castle, yet there are references to twentieth-century technology as well.

A-2732 Upton, D. L. “King Arthur Alone of All Logres.” Ore 20 ([1976?]): 12. A three-stanza poem that uses Arthur as the speaker. He regrets the loss of Guenevere, the sacrifice of love for duty, and the loss of all the knights in the civil war that results.

A-2733 Upton, D. L. “Tristan’s Sonnet.” Ore 20 ([1976?]): 13. While this “sonnet” does not follow conventional rhythm and line-lengths, it is a fourteen-line poem. Tristan speaks to Iseult about their love using images of mirrors, chess games, and plants twining together.

A-2734 Uttley, Alison. “King Arthur’s Tree.” In Uncle Mac’s Children’s Hour Book. Ed. Derek McCulloch. London: Purnell and Sons, n.d. 8–19. A young boy and girl visit Tintagel and enter Merlin’s Cave beneath the castle to find King Arthur’s Trees (a type of sea-thorn that may wash ashore there and which are said to grant wishes). The girl wishes to see a mermaid, and the wish is granted. The boy, who has found a tree of silver and jade, wishes for Merlin to appear to show them the original inhabitants. Merlin comes out of the cave and takes them to meet Arthur. This story, like the others in the collection, was broadcast on the BBC on the “Uncle Mac’s Children’s Hour” radio programme.

A-2735 Vacca, Michele L. Excalibur!: The Story of Young King Arthur. Chicago: On Stage, 1975. This two-act play uses Merlin to provide connecting narration between scenes, so that we can witness his taking the baby Arthur to Ector, his teaching the boy Arthur, and then Arthur’s drawing of the sword from the stone. The play adds Elaine, Kay’s sister, to the scenes of Arthur’s life at Ector’s castle. Morgan appears several times during the play trying to discover Arthur (her nephew in this version). At the end she has a wizard’s duel with Merlin (they both do basic magic tricks) until he makes her vanish at the end of the play. The play was copyright, but not published, in 1973.

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A-2736 Van Asten, Gail. The Blind Knight. New York: Ace Books, 1988. A historical fantasy novel set in England during the reign of Henry II. The male protagonist is a Lord Pendragon, the blind knight of the title, who is supposedly descended from Arthur and carries Excalibur; the female protagonist is descended from Merlin.

A-2737 Vance, Jack. The Green Pearl. New York: Berkley Publishing Group, 1985. The sequel to Suldrun’s Garden continues the story of the power struggles of the Elder Isles, which include places like Lyonesse and “Avallon,” the home of Arthur’s ancestors.

A-2738 Vance, Jack. Madouc. Lancaster, PA: Underwood-Miller, 1989. The last novel of Vance’s trilogy involves a Grail quest; Vance uses footnotes that draw parallels between his novel and Arthurian legends.

A-2739 Vance, Jack. Suldrun’s Garden. New York: Berkley Publishing Group, 1983. Also titled Lyonesse, after the setting of this fantasy novel. The Prologue makes clear that this is the Avalon mentioned by chroniclers like Geoffrey of Monmouth; Uther comes from these Elder Islands, so the protagonists of the series are Arthur’s kin, though the series is set before his birth.

A-2740 Vansittart, Peter. Lancelot: A Novel. London: Peter Owen, 1978. This historical novel is divided into four sections, each corresponding to a stage in the narrator’s life. The narrator identifies himself as Ker Maxim at the beginning of the book, but by the end he reveals that he is now called Lancelot. He begins with his boyhood in a Roman villa in a Britain increasingly threatened by Saxon invaders. When his family flees to the Continent, he runs away to join Ambrosius, whom he serves as a clerk and as a warrior. In the third part of the novel he is part of Artorius’ court, but this court is a rough, brutish place. Artorius’ wife, Gwenhever, used to be a prostitute and the narrator’s lover; Medraut (sometimes the narrator’s friend) and Gawayne catch them at an innocent tryst. In the fourth part, the narrator escapes a Saxon and ends up in a monastery. The book is as much about the narrator’s reflections on the nature of memory and history as it is about these details of plot.

A-2741 Vansittart, Peter. Parsifal. London: Peter Owen, 1988. A supposed biography of Perceval. It is divided into five sections, set in different time periods: in the first the narrator is a contemporary of Wagner; the second tells Perceval’s story as though in a pre-Roman Britain; the third and fourth take place in medieval Europe; in the fifth, the narrator speaks to Hitler. Throughout the novel, Perceval is the wise fool, gentle and naive. Gawain is a major character, constructed as an almost mythical figure who is both protector and lover of Perceval.

A-2742 Veitch, John. “Merlin.” Merlin and Other Poems. Edinburgh: William Blackwood and Sons, 1889. 4–36. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 131–45. Veitch provides an introduction to this poem that explains the nature of the Merlin that he is using. He distinguishes between Merlin Ambrosius and Merlin Caledonius; the first he associates with Arthur, while the second, the basis of his poem, is the wild-man-of-the-woods figure. The poem itself enacts Merlin’s last hours; he, his sister, and his wife have speeches, and Merlin is attacked and drowned by enraged rustics.

A-2743 Vere, B. D. King Arthur: His Symbolic Story in Verse. Tintagel: King Arthur’s Hall, 1930. This verse drama is divided into a prologue and five acts. The prologue’s first scene shows Jesus and Joseph of Arimathea visiting Britain; its second scene shows Joseph returning after the Cruci-

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fixion. The fifth act is Galahad’s achievement of the Grail, so Vere has arranged the material to be framed by the Christian aspects of the legend. Acts 1 to 4 tell the main events of the legend from Arthur’s drawing of the sword from the stone to the battle of Camlann. A chorus is used at the beginning of some scenes to fill in information that is not dramatised, and characters like Merlin (particularly in the beginning acts) often expound the meaning of certain actions or items (like the sword in the stone and the virtues that it represents, or the Round Table and its connection to the Last Supper). Arthur promises to rule by the virtues of the sword: Purity, Humility, and Faith. He loses Purity when he sleeps with Morgause and engenders Mordred; he loses Humility during the affair of Lancelot and Guenevere; he nearly loses Faith during the last battle. The play was written for “The Fellowship of the Knights of the Round Table” which was headquartered in King Arthur’s Hall at Tintagel (see also the entry under “Glasscock, Frederick T.: King Arthur: His Symbolic Story in Verse”).

A-2744 [Verney, Frances Parthenope (Lady).] “King Arthur’s Great Boar Hunt: An Ancient British Fairy Tale.” “By the author of ‘Stone Edge.’” Illus. Arthur Hughes. Good Words for the Young 3 (1871): 249–54 and 329–33. The journal was edited by George MacDonald, and his “Princess and the Goblin” also appears in this volume. This is a retelling of the tale of “Kiluch” (Culhwch) and Olwen (apart from some abbreviation, and a brief prologue and a number of insertions which establish this as a tale told to “me” by an Ousel, this is a fairly straightforward translation of the original from the Mabinogion). There are two half-page engraved illustrations, at the head of each of the two parts (pen-and-ink on paper): 1) Kiluch sheathing his sword, the floor covered with severed heads, stands before Olwen and her father, Pencaur; 2) a boar and a wolf stand beside a fallen knight; a second knight, sounding a horn, rides by in the background. (Leonard Roberts, Arthur Hughes, Item B35.)

A-2745 Verniero, Joan C. “Arthurian Legends.” In One-Hundred-and-One Read-Aloud Celtic Myths and Legends: Ten Minute Readings from the World’s Best-Loved Literature. New York: Black Dog and Leventhal, 2000. 353–81. This anthology is a collection of short retellings of legendary stories, only a few of which are Arthurian; the last section is called “Arthurian Legends” and includes the following stories: “Arthur and Accolon” (the story of the stolen Excalibur); “Arthur and Gwynevere” (the story of their wedding and the quests that follow); “The Round Table” (the story of the founding of the table and Gawain’s unlucky beheading of a lady); “Sir Balin and Sir Balan” (the story of their final battle); “Sir Galahad and the Holy Grail” (a brief tale of the quest); “Sir Gareth” (the story of the kitchen knight and his first quest); “Sir Launcelot of the Lake” (the story of some of his adventures, including the Chapel Perilous); and “Sir Tristram, ‘Of Sorrowful Birth’” (the story of his boyhood, his battle with Marhaus, and his love of Iseult).

A-2746 Verniero, Joan C. “The Boy Merlin.” In One-Hundred-and-One Read-Aloud Celtic Myths and Legends: Ten Minute Readings from the World’s Best-Loved Literature. New York: Black Dog and Leventhal, 2000. 332–34. This anthology is a collection of short retellings of legendary stories, only a few of which are Arthurian; this story appears in the section “Wales.” This story concerns Vortigern’s tower and his search for the boy without a father; it ends with Merlin’s prophecy of the dragons.

A-2747 Verniero, Joan C. “Kilwich and Olwen.” In One-Hundred-and-One Read-Aloud Celtic Myths and Legends: Ten Minute Readings from the World’s Best-Loved Literature. New York: Black Dog and Leventhal, 2000. 338–41. This anthology is a collection of short retellings of legendary stories, only a few of which are Arthurian; this story appears in the section “Wales.” It is a retelling of the story of Kilwich’s youth, his reception at King Arthur’s hall, and his successful courtship of Olwen, with Arthur’s men helping him to accomplish her father’s unreasonable tasks.

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A-2748 Verniero, Joan C. “Taliesin.” In One-Hundred-and-One Read-Aloud Celtic Myths and Legends: Ten Minute Readings from the World’s Best-Loved Literature. New York: Black Dog and Leventhal, 2000. 350–52. This anthology is a collection of short retellings of legendary stories, only a few of which are Arthurian; this story appears in the section “Wales.” It is a retelling of the story of Gwion, who accidentally receives the three drops of inspiration from Caridwen’s cauldron; the story ends with his being found by Elphin in the weir, and with Elphin’s naming him Taliesin.

A-2749 Vincent, Karen. “The Keeper.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 13. The “keeper” referred to in the title is the Lady of the Lake; the poem imagines her sleeping in the lake with Excalibur beside her.

A-2750 Viney, Jayne. Bright-Helmed One. London: Robert Hale and Co., 1975. A historical novel of Arthur’s time. Viney has used characters associated with Arthur in the earliest stories. Instead of Guenevere, Arthur’s wife is a ward of Cerdic; instead of the love triangle with Lancelot, there is one with Kay, who covets Arthur’s wife though she does not love him once she meets Arthur. The book is divided into three parts, each the story of a main character: Anwas, Arthur’s wife Winifrith, and Kay. Through these stories we get the whole life of Arthur. Kay is an interesting figure here; he is both villain and sympathetic hero, in part because of his Lancelot-like role.

A-2751 W., H. “Loyalty.” Excalibur: The Chronicle of the Fellowship of the Round Table 1.7 (Apr. 1931): 291. A sonnet, in praise of loyalty, declaring in the last couplet that, like Galahad, loyalty loses “the lesser in the larger Soul.” (On the journal Excalibur, see the entry under “Glasscock, Frederick T.: Excalibur.”)

A-2752 Waggoner, Tim. “One Morning at the Stone.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 38–49. This story uses the popular belief that Merlin can see forward and backwards in time, by having two ghostly versions of the mage (Past and Future) conversing as Arthur goes to draw the sword. As the boy begins to free the sword, Merlin can foresee what is to come, and he takes a surprising action.

A-2753 [Wagner: adaptations.] Blyth, Alan. Lohengrin: The Story of Wagner’s Opera. Illus. Maria Antonia Gambaro. London: Julia MacRae Books, 1981. Blyth is an opera writer and music critic, so this retelling of the story gives the plot but also indications of what would be happening on-stage (movements of characters at key points) and what the music would contribute. As with any story based on Wagner’s opera, the Arthurian element is revealed when Lohengrin declares himself to be a knight of the Grail and son of Perceval.

A-2754 [Wagner: adaptations.] Capes, Bernard. The Romance of Lohengrin. Illus. Sarcadi Pogany. London: Dean and Son, 1905. The title-page indicates that this is “Founded on Wagner’s opera.” This prose retelling is divided into four parts, with two children as observers of some of the key action. The first part ends with the accusation of Elsa; the second has the arrival and acceptance of the swan knight; the third part details the growth of Elsa’s doubts; the last section contains the revelation that Lohengrin’s father is Perceval and that he is one of the knights of the Grail.

A-2755 [Wagner: adaptations.] Davidson, Gladys. “Lohengrin.” Stories from the Operas. London: T. Werner Laurie, [1906]. 1–15.

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A retelling of Wagner’s Lohengrin, the Swan Knight who rescues the princess and is ultimately revealed to be the son of Perceval as well as a Knight of the Holy Grail.

A-2756 [Wagner: adaptations.] Davidson, Gladys. “Tristan and Isolda.” Stories from the Operas. London: T. Werner Laurie, [1906]. 45–56. In this retelling of Wagner’s Tristan und Isolde, the lovers drink the love potion, not knowing its contents. When they are later betrayed and Tristan is wounded, Iseult goes to him and dies by his side. Mark forgives them both.

A-2757 [Wagner: adaptations.] Hadden, J[ames] Cuthbert. The Operas of Wagner, Their Plots, Music, and History. Illus. [John] Byam [Liston] Shaw. London: T. C. and E. C. Jack; New York: F. A. Stokes Co., [1908]. Hadden offers plot summaries of seven Wagnerian operas (including the complete Ring cycle) for “musical amateurs” who wish to know the story before they attend a performance. Three of the operas have Arthurian or Grail connections: Lohengrin (75–97), Tristan and Isolde (101–34), and Parsifal (221–46). For each of the operas with the exception of Parsifal, Shaw provides four full-page colour plates; there are, however, no illustrations to the retelling of Parsifal.

A-2758 [Wagner: adaptations.] Hall, Gertrude. The Wagnerian Romances. New York: Alfred A. Knopf, 1907. Rptd: Intro. Willa Cather. New York: Alfred A. Knopf, 1925. A retelling of the stories of Wagner’s operas (including the entire “Ring” cycle); includes retellings of Parsifal (pp. 1–34), Tristan and Isolde (263–313), and Lohengrin (315–56).

A-2759 [Wagner: adaptations.] Huckel, Oliver. Lohengrin, Son of Parsifal: A Mystical Drama by Richard Wagner, Freely Translated in Poetic Narrative Form. New York: Thomas Y. Crowell, 1905. A verse adaptation of Wagner’s opera, in which a mysterious knight appears to save a princess; when his name is finally revealed, he is Lohengrin, son of Parsifal and a knight of the Grail.

A-2760 [Wagner: adaptations.] Huckel, Oliver. Parsifal: A Mystical Drama by Richard Wagner, Retold in the Spirit of the Bayreuth Interpretation. New York: Thomas Y. Crowell, 1903. Rptd: Illus. Franz Stassen. New York: Thomas Y. Crowell, 1905. In the introduction, Huckel says that it is “not a close translation of the text, but rather a transfusion of the spirit” of Wagner’s work. The poem, in blank verse with lyrical passages, has the usual elements of Parsifal’s childhood, his quest, and the eventual healing of the Fisher King. The reprint has five engraved drawings by way of illustration: “Parsifal in Quest of the Holy Grail” (frontispiece); “Monsalvat, the Castle of the Grail” (facing p. 12); “The Communion of the Holy Grail” (facing p. 22); “Parsifal healing King Amfortas” (facing p. 58); and “Parsifal revealing the Holy Grail” (facing p. 66).

A-2761 [Wagner: adaptations.] McSpadden, J. Walker. “Lohengrin, the Swan Knight.” Stories from Wagner. London: George G. Harrap; New York: Thomas Y. Crowell, 1905. 139–68. A retelling of the Lohengrin story from Wagner. McSpadden says in the introduction that he follows the spirit of the original rather than creating a direct translation.

A-2762 [Wagner: adaptations.] McSpadden, J. Walker. “Parsifal the Pure.” Stories from Wagner. London: George G. Harrap; New York: Thomas Y. Crowell, 1905. 109–38. Arthur and the knights who quested for the Grail are mentioned near the beginning of this story, which is based on Wagner’s opera. Its main focus is Perceval’s appearance at the Grail Castle and

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his quest to heal the Fisher King. McSpadden says in the introduction that he follows the spirit of the original rather than creating a direct translation.

A-2763 [Wagner: adaptations.] McSpadden, J. Walker. “Tristan and Isolde.” Stories from Wagner. London: George G. Harrap; New York: Thomas Y. Crowell, 1905. 299–329. In this version of the Tristan story, based on Wagner’s opera, Iseult hates Tristan until they accidentally drink the love potion. While Mark is willing to pardon the lovers, it comes too late; a jealous knight wounds Tristan fatally and Iseult dies with him. McSpadden says in the introduction that he follows the spirit of the original rather than creating a direct translation.

A-2764 [Wagner: adaptations.] Smith, C. E. “Lohengrin.” Stories from Wagner. Illus. [John] Byam [Liston] Shaw. Told to the Children. London: T. C. and E. C. Jack; New York: E. P. Dutton and Co., 1909. 1–43. The book is a collection of retellings of the stories of three of Wagner’s operas; Lohengrin is the only Arthurian story included. Shaw provided three full-page colour plates to illustrate the story.

A-2765 [Wagner: adaptations.] Thurnam, Rowland. Parsifal: The Story of Wagner’s Opera. Catholic Truth Society, 1914. (*) A retelling of the plot of Wagner’s opera.

A-2766 [Wagner: adaptations.] Tilney, Frederick Colin. The Story of Wagner’s “Lohengrin.” Illus. Frederick Colin Tilney. London: Routledge, 1907. A straight-forward retelling of the Lohengrin story, from Wagner’s opera. Besides the retelling, Tilney also did six colour full-page illustrations.

A-2767 [Wagner: adaptations.] Young, Filson. “Lohengrin.” The Wagner Stories. New York: McClure, Phillips and Co., 1907. 50–76. Young’s purpose in this volume is to provide plot summaries of the operas so that people new to the opera can become familiar with characters and events. This retelling of the story of Wagner’s Lohengrin includes one lyric poem translated (by Eric Maclagan) directly from the opera.

A-2768 [Wagner: adaptations.] Young, Filson. “Parsifal.” The Wagner Stories. New York: McClure, Phillips and Co., 1907. 247–79. This prose retelling of Wagner’s opera contains several short lyrics translated (by Eric Maclagan) directly from the opera.

A-2769 [Wagner: adaptations.] Young, Filson. “Tristan.” The Wagner Stories. New York: McClure, Phillips and Co., 1907. 77–108. This retelling of the story of Wagner’s opera begins on board the ship with Iseult angry at Tristan for his killing of Marhault. The story of Marhault’s death is told, as well as Tristan’s time with Iseult as Tantris. Iseult is determined to kill Tristan and orders a special drink to be prepared, but a love potion is substituted. Their love is eventually discovered, and Tristan is wounded. When he dies in Brittany, Iseult dies too.

A-2770 Waite, Arthur [Edward]. The Book of the Holy Grail. London: J. M. Watkins, 1921. A collection of poems, being eighteen substantial pieces in blank verse with short lyrics (in a variety of stanza forms) between them. The poems present something of an allegory of the spiritual union of Quaestor Dei with his female counterpart, Beata Mea, according to the modern “Rosicrucianism” of Waite’s spirituality. The poems are filled with references to pilgrimage and quest, and images of bread and wine and chalices. The Holy Grail is mentioned several times in various poems as a symbol of the “goal” of spiritual quest, the achievement of a state of blessed-

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ness and gnosis. On p. 88, in the poem “The Way of the Waterside,” there is a passage on the union of Quaestor Dei and Beata Mea, describing how “The Holy Graal was going up and down / The world, as once it went in Arthur’s days”; further, the speaker wonders whether this is “The second advent of the Wounded King, / Himself made whole and bringing healing back / To a wounded world?”

A-2771 Waite, Arthur Edward. “Of Sleeping and Waking.” Strange Houses of Sleep. London: Philip Sinclair Wellby, 1906. 52–53. Rptd: The Collected Poems of Arthur Edward Waite. 2 vols. London: William Rider and Son, 1914. 1: 31. A poem of 20 lines, in couplets; first line: “That virgin peer who sought the Holy Grail.” The “virgin peer” (unnamed, but presumably Perceval) caught a glimpse of “the hallows” but then failed to ask the question that would break the enchantment and heal the Fisher King; similarly, we live in a “sad state,” catching only fleeting glimpses of “secret lights,” and so must strive with “great stress” to break “our long enchantment . . . / And to the word of life from sleep awake!”

A-2772 Walbank, Michael. “The Lady of Shallott.” The Fiddlehead 54 (Fall 1962): 33. This poem is based on the one by Tennyson (though with a different spelling), but consists of only three five-line stanzas. The poem considers the Lady’s separation from the world both in what she sees and in how she responds.

Waldo, Edward Hamilton: see Sturgeon, Theodore. A-2773 Wall, M. H. “The City of Sarras.” The City of Sarras and Other Poems. London: Henry Holt and Co., 1887. (*) A poem.

A-2774 Wall, M. H. “The Quest.” The City of Sarras and Other Poems. London: Henry Holt and Co., 1887. (*) A poem.

A-2775 Wall, M. H. “Song of the Sancgreal.” The City of Sarras and Other Poems. London: Henry Holt and Co., 1887. (*) A poem.

A-2776 Wallace, Trevor. Galahad of the Air. London: Wright and Brown, 1937. (*) A novel.

A-2777 Walsh, J[ohn] H[erbert]. Tales of King Arthur. Illus. Joan Kiddell-Monroe. Heritage of Literature Series A.47. London, New York, and Toronto: Longmans, Green, and Co., 1952. On the title-page, Walsh is identified as the editor; however, Walsh’s description of the book suggests it is a retelling, not merely a reproduction, of Malory. In the introduction Walsh states that “The stories in this book, with the exception of one from the Mabinogion, have been drawn from Malory’s compilation, though some of them would be more correctly described as ‘after Malory.’” The author uses “language of a somewhat archaic flavour,” though it “is certainly not the language of Malory.” Kiddell-Monroe provided pen-and-ink drawings, with echoes of Aubrey Beardsley; there are six full-page plates, as well as partial-page drawings (of tourneying knights, etc.) at the ends of chapters.

Walt Disney Co.: see Disney, Walt, Co.

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A-2778 Walton, Jo. The King’s Peace. New York: Tor / Tom Doherty, 2000. A novel concerning one Sulien ap Gwien, a seventeen-year-old female warrior in the time of King Urdo (Arthur), in an alternate ancient Britain. There is also a sequel (The King’s Name, 2001) and a prequel (The Prize in the Game, 2002).

A-2779 “The Wanderer” [pseud.], [i.e., Elim H. D’Avigdor]. Sir Tristram’s Axe. 1892. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A fairy tale about an unkind farmer who is taught to be kind. He reads a book about King Arthur, particularly the stories of Tristram, but he does not believe them, nor does he believe in fairies; consequently, the fairies send the spirit of Tristram (with his axe) to punish the man with a series of transformations (some of them into animals) and a journey to King Arthur’s court. (We have seen this item only as reprinted.)

A-2780 Ward, Christopher. “King Arthur.” Sir Galahad and Other Rimes: Pass-Keys to the Classics. Illus. Richard Taylor. New York: Simon and Schuster, 1936. 20–25. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 270–74. A poem retelling Arthur’s entire story in thirty-two rhyming quatrains. Arthur and Guenevere are a domestic couple squabbling over the number of knights to be fed at the Round Table.

A-2781 Ward, Christopher. “Sir Galahad.” Sir Galahad and Other Rimes: Pass-Keys to the Classics. Illus. Richard Taylor. New York: Simon and Schuster, 1936. 26–29. Galahad’s piety is exaggerated in this poetic send-up of the Grail quest.

A-2782 Ward, Christopher. “Sir Gareth.” Sir Galahad and Other Rimes: Pass-Keys to the Classics. Illus. Richard Taylor. New York: Simon and Schuster, 1936. 8–14. This poem uses eight-line, rhymed stanzas to retell the story of Gareth and Linet. Some details are changed; no one else is considered for the quest to save Linet’s sister because all the other knights are too drunk.

A-2783 Ward, Christopher. “Sir Lancelot du Lake.” Sir Galahad and Other Rimes: Pass-Keys to the Classics. Illus. Richard Taylor. New York: Simon and Schuster, 1936. 3–7. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 266–69. This poem recounts the love affair of Lancelot and Guenevere in a humorous way; the speaker does not understand why Lancelot does not stay with Elaine.

A-2784 Ward, Christopher. “Sir Tristram.” Sir Galahad and Other Rimes: Pass-Keys to the Classics. Illus. Richard Taylor. New York: Simon and Schuster, 1936. 15–19. A “burlesque” retelling of the story, seemingly based on Tennyson given the way Mark stabs Tristan at the end.

A-2785 Ward, Cynthia. “When the Summons Came from Camelot.” In The Ultimate Dragon. Ed. Byron Preiss, John Betancourt and Keith R. A. DeCandido. Illus. Lars Hokanson and Frances Cichetti. New York: Dell Publishing, 1995. 233–42. The Baron of Segreves, after twenty years of service, is asked to join King Arthur and his knights at Camelot and in quest of the Holy Grail. Although he has wished for this opportunity for many years, he has to decide if accepting it is the honourable thing to do. Lamorak is the only knight present in the story, but stories are told of others, especially the love of Lancelot and Guenevere.

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Ward, Elizabeth Stuart Phelps: see Phelps, Elizabeth Stuart. A-2786 Ward, Lauriston. “Tristan in Brittany.” Harvard Monthly (Mar. 1902): 12–13. Tristan is the speaker of this poem. He is forced to leave Iseult with Mark, and yet he vows that Mark’s triumph will not be complete, in part because Iseult still loves Tristan, and in part because Tristan imagines a scene in heaven where his sins will be forgiven by virtue of his great love and he will be reunited with Iseult at heaven’s gate.

A-2787 Warner, Willliam. Part 1: Albions England; or, Historicall map of the same island: prosecuted from the liues, actes, and labors of Saturne, Iupiter, Hercules, and AEneas: originalles of the Brutons, and English-men, and occasion of the Brutons their first aryuall in Albion. Continuing the same historie vnto the tribute to the Romaines, entrie of the Saxones, inuasion by the Danes, and conquest by the Normaines. With historicall intermixtures, inuention, and varietie: proffitably, briefly, and pleasantly, performed in verse and prose. London: Printed by George Robinson [and R. Ward] for Thomas Cadman, 1586. Parts 1 and 2: The first and second parts of Albions England. The former reuised and corrected, and the latter newly continued and added. Containing an historicall map of the same island: prosecuted from the liues, actes, and labors of Saturne, Iupiter, Hercules, and AEneas: originalles of the Brutons, and Englishmen, and occasion of the Brutons their first ariuall in Albion. Prosecuting the same historie vnto the tribute to the Romaines, entrie of the Saxones, inuasion by the Danes, conquest by the Normaines, restaurarion [sic] of the royall English blood, discention and vnion of the two linages Lancaster and Yorke. With historicall intermixtures, inuention, and varietie: profitably, briefly, and pleasantly performed in verse and prose. London: Printed by Thomas Orwin, for Thomas Cadman, 1589. [STC (P&R) 25079 (ESTC S111586); also 25080 (ESTC S119575).] This chronicle, in verse (rhyming couplets) and prose, begins with the Flood and moves through stories of the gods (Titan, Saturn, Jupiter, etc.) before briefly recounting incidents associated with various leaders up to Queen Elizabeth I (of twelve books, books nine to twelve deal with her reign). At the end of Book Three, the stories of Vortigern, Uther and Merlin are recounted, followed by that of Arthur, focusing mainly on his battles with the Saxons and the battle of Camlann. Warner occasionally says of the episodes that he relates, “these seem true: the rest I credit not.”

A-2788 Warton, Thomas. “The Crusade.” Poems. “New Edition, with Additions.” London: Printed for T. Becket in the Adelphi, 1777. 57–61. [ESTC T89125; also in subsequent editions: N11802, N11879, T125597, T127557, T206564.] Rptd: The Poetical Works of Thomas Warton, with the Life of the Author. Cooke’s Pocket Edition of . . . Select British Poets. . . . London: C. Cooke, 1800. 58–60. The ode is supposed to be the song composed by Richard I and his minstrel. Richard’s possession of “Kaliburn,” which a footnote identifies as Arthur’s sword, is mentioned as part of the song’s description of a heroic Richard. In some ways this ode seems a companion piece to “The Grave of King Arthur,” as both show later monarchs’ connections to Arthur. (This poem did not appear in Warton’s Poems on Several Occasions of 1748.)

A-2789 Warton, Thomas. “The Grave of King Arthur.” Poems. “New Edition, with Additions.” London: Printed for T. Becket in the Adelphi, 1777. 62–71. [ESTC T89125; also in subsequent editions: N11802, N11879, T125597, T127557, T206564.] Rptd: The Poetical Works of Thomas Warton, with the Life of the Author. Cooke’s Pocket Edition of . . . Select British Poets. . . . London: C. Cooke, 1800. 64–69. – The poem is included in English Romantic Poetry and Prose. Ed. Russell Noyes. New York: Oxford University Press, 1956. 62–63.

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A poem of 180 lines in couplets. King Henry, visiting a Welsh castle, hears a minstrel sing the story of Camlann (particularly of Arthur’s encounter with Mordred in that battle) and of Arthur’s burial at Glastonbury (Avalon). The ode ends with Henry’s plans to honour Arthur’s grave. First line: “Stately the feast, and high the cheer.” (This poem did not appear in Warton’s Poems on Several Occasions of 1748.)

A-2790 Warton, Thomas. “On King Arthur’s Round Table, at Winchester.” Poems. “New Edition, with Additions.” London: Printed for T. Becket in the Adelphi, 1777. 82. [ESTC T89125; also in subsequent editions: N11802, N11879, T125597, T127557, T206564.] Rptd: The Poetical Works of Thomas Warton, with the Life of the Author. Cooke’s Pocket Edition of . . . Select British Poets. . . . London: C. Cooke, 1800. 87. – The poem is included in The Sonnet: An Anthology; A Comprehensive Selection of British and American Sonnets from the Renaissance to the Present. Ed. Robert M. Bender and Charles L. Squier. New York: Washington Square Press / PocketBooks, 1987. 140. The octave of this Petrarchan sonnet describes the castle, the table, and the names engraved there. The sestet considers Time’s effect on the table and is consoled by the power of poetry to remember these heroes; Spenser is mentioned as an example. First line: “Where Venta’s Norman castle still appears.” (This poem did not appear in Warton’s Poems on Several Occasions of 1748.)

A-2791 Warton, Thomas. “To Mr Upton, on His New Edition of the Faerie Queene.” Poems. “New Edition, with Additions.” London: Printed for T. Becket in the Adelphi, 1777. 40–41. [ESTC T89125; also in subsequent editions: N11802, N11879, T125597, T127557, T206564.] Rptd: The Poetical Works of Thomas Warton, with the Life of the Author. Cooke’s Pocket Edition of . . . Select British Poets. . . . London: C. Cooke, 1800. 53. This ode of seven quatrains praises Upton for the new edition; his rescue of Spenser’s text is compared to Britomart’s actions; Una is also mentioned. (This poem did not appear in Warton’s Poems on Several Occasions of 1748.)

A-2792 Warton, Thomas. “Written at Stonehenge.” Poems. “New Edition, with Additions.” London: Printed for T. Becket in the Adelphi, 1777. 78. [ESTC T89125; also in subsequent editions: N11802, N11879, T125597, T127557, T206564.] Rptd: The Poetical Works of Thomas Warton, with the Life of the Author. Cooke’s Pocket Edition of . . . Select British Poets. . . . London: C. Cooke, 1800. 85. – The poem is included in The Sonnet: An Anthology; A Comprehensive Selection of British and American Sonnets from the Renaissance to the Present. Ed. Robert M. Bender and Charles L. Squier. New York: Washington Square Press / PocketBooks, 1987. 139. A Petrarchan sonnet musing on several possible origins for Stonehenge, including Merlin’s involvement in moving the stones there as a monument to those killed by Hengest. (This poem did not appear in Warton’s Poems on Several Occasions of 1748.)

A-2793 Waters, Elisabeth. “Trees of Avalon.” In Return to Avalon: A Celebration of Marion Zimmer Bradley. Ed. Jennifer Roberson. New York: DAW Books, 1996. 209–17. The story of Merlin’s imprisonment in a tree – from the tree’s point of view – and of the unexpected consequences to Nimue.

A-2794 Watkins, Vernon. “Camelot.” Cypress and Acacia. London: Faber and Faber, 1959. 65–67. A poem of ten octaves that invites the reader to imagine Guenevere in the present landscape that once was Camelot. It reflects on her passionate love and her retreat to a convent; there is also an allusion to her burial in Glastonbury.

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A-2795 Watkins, Vernon. “Sea Chant (Taliesin to Venus).” Fidelities. London: Faber and Faber; New York: New Directions, 1968. 38–39. This seven-stanza poem is a song addressed to Venus; only the subtitle connects it to Taliesin, and thus, tenuously, to the Arthurian legends.

A-2796 Watkins, Vernon. “Taliesin and the Mockers.” Affinities: Poems. London: Faber and Faber; New York: New Directions, 1962. 75–78. This poem is Taliesin’s speech; the context could be his song before the other bards, though that is not made explicit. Most of the song dwells on the power and might of God, but it also depicts Taliesin as a prophet (one who has observed all of these mighty things being done), and it mentions Elphin and the weir.

A-2797 Watkins, Vernon. “Taliesin and the Spring of Vision.” Cypress and Acacia. London: Faber and Faber, 1959. 20–21. Taliesin receives insight at the spring of vision. The imagery suggests the birth of Taliesin (trying to escape Ceridwen by shape-changing, for example), but there are no explicitly Arthurian allusions; whether Watkins’ various Taliesin poems are “Arthurian” or not, probably depends on the extent to which one sees Taliesin as an Arthurian character.

A-2798 Watkins, Vernon. “Taliesin at Pwlldu.” Fidelities. London: Faber and Faber; New York: New Directions, 1968. 37. A three-stanza poem spoken by Taliesin, with no explicitly Arthurian allusions. Since Watkins’ vision of Taliesin seems influenced by Williams (see the entry for Watkins’ “Three Sonnets for Charles Williams”), then his Taliesin is an Arthurian character, although some of his Taliesin poems, like this one, have little explicit Arthurian content beyond Taliesin’s presence as speaker.

A-2799 Watkins, Vernon. “Taliesin in Gower.” The Death Bell. London: Faber and Faber, 1954. 60–62. Taliesin observes the landscape and sea and is inspired to poetry. He mentions that he has “passed through a million changes” (43), perhaps a reference to Taliesin’s being chased by Ceridwen. Since Watkins’ vision of Taliesin seems influenced by Williams (see the entry for Watkins’ “Three Sonnets for Charles Williams”), then his Taliesin is an Arthurian character, although some of his Taliesin poems, like this one, have little explicit Arthurian content beyond Taliesin’s presence as speaker.

A-2800 Watkins, Vernon. “Taliesin’s Voyage.” Affinities: Poems. London: Faber and Faber; New York: New Directions, 1962. 73–75. The voyage referred to is that of Taliesin after his encounter with Ceridwen and before he is found by Elphin.

A-2801 Watkins, Vernon. “Three Sonnets for Charles Williams.” Affinities: Poems. London: Faber and Faber; New York: New Directions, 1962. 73–75. These are three Petrarchan sonnets. The first invokes Williams as muse; there are references to many of the Arthurian characters of Williams’ poems. The second mentions “Pelles’ castle” (1) and “Orkney’s rock” (2) as examples of the world that Williams created in his poetry. The third is more concerned with Williams’ spirituality as revealed in his poetry, but here again Taliesin and Dindrane are mentioned. Since Watkins’ vision of Taliesin seems influenced by Williams, then his Taliesin is an Arthurian character, although some of his Taliesin poems have little explicit Arthurian content beyond Taliesin’s presence as speaker. First printed in The Wind and the Rain.

A-2802 Watson, Richard Jesse. Tom Thumb. Illus. Richard Jesse Watson. San Diego: Harcourt Brace Jovanovich Publishers, 1989. In some ways, Watson provides the usual Tom Thumb story: Merlin grants his mother’s wish for a

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child, and Tom spends time in Arthur’s court. This story is different in the way that Tom gets to court; he is dropped by a raven near a giant, and startles the giant so badly that he breaks the seashell that keeps him happy. Tom is thrown into the ocean and eaten by a fish and so ends up in Arthur’s court. When the giant threatens the realm, however, Tom must come to the rescue by providing a new shell. The changes in the story make it less episodic. This is a picture-book; every two-page spread has one full-page, full-colour illustration, while its facing page contains the text and a smaller colour illustration. The illustrations are beautifully detailed. (This version has also been turned into a film; see the entry for “Tom Thumb” in the “Film, Television, and Radio” section.)

A-2803 Watt-Evans, Lawrence. “Visions.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 301–308. A man’s vision of the Holy Grail changes his life. There are allusions to the Arthurian Grail quest (to characters like Galahad and Arthur), although the setting is explicitly the twentieth century (as the comparison of the Grail’s glow to the “golden arches” makes clear).

A-2804 Watts, Alaric Alexander. “The Home of Taliessin.” Lyrics of the Heart, with Other Poems. London: Longman, Brown, Green, and Longmans; Philadelphia: E. H. Butler, 1851. 275–76. In this poem of five quatrains, the speaker stands where he believes the famous bard once lived and calls upon him.

A-2805 Watts, Alaric Alexander. “The Lady and Merlin. A Picture by [Stewart] Newton.” Gentleman’s Magazine (Feb. 1826): 168. Rptd: Minor Arthurian Poetry of the Nineteenth Century. Ed. G. Daniel Dockery and Charles Wyatt. Illus. Jonathan A. Dockery. Vista, CA: Green Chapel Books, 1989. 66–67. Northup and Parry say that this was reprinted from The Literary Magnet. The four stanzas of the poem describe the beauty of the Lady and meditate upon her power over “him”; she is compared to a huntress and he to a hawk, “fetter’d.”

A-2806 Waugh, Evelyn. “The Return of Launcelot.” Evelyn Waugh, Apprentice: The Early Writings, 1910–1927. Ed. Robert Murray Davis. Norman, OK: Pilgrim Books, 1985. 87–93. This “Prize Poem,” although written in 1921, was not previously published. The full title given in the manuscript is “English Verse, by Lavernia Scargill” (after an epigram, the title continues), “The Return of Launcelot after the Siege of Joyous Gard. Malory: Book 21, Chapters VIII, IX, X; Told by Sir Bors, now in the holy land, many years later” (Lavernia Scargill being a pseudonym chosen for this poem). The poem, which uses Spenserian stanzas, is set after Arthur’s death; Bors remembers Launcelot and his attempt, after the war with Arthur and the latter’s death at Camlann, to persuade Guenevere to leave the convent. In Waugh’s autobiography, A Little Learning, he talks about writing a Prize Poem: “the subject set was an incident from Malory to be composed in Spenserian stanzas. . . . I chose . . . the nostalgic, disillusioned musings of Sir Bedivere after the death of Arthur” (137). This description, except for the name Bedivere, describes “The Return of Launcelot,” but we are not completely certain that they are the same poem.

A-2807 Weatherhill, Craig. The Lyonesse Stone: A novel of West Cornwall. Padstow: Tabb House; Cincinnati: Seven Hills, 1991. A brother and sister come to visit their uncle’s farm in Cornwall. Shortly after their arrival, they discover the lost crownstone of Lyonesse, for they are the direct descendants of that royal line. They must prevent an evil sorcerer from obtaining the stone’s powers for himself. The destruction

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of Lyonesse is retold and later re-enacted in the novel: after Arthur is wounded at Camlann, Mordred pursues the remnants of Arthur’s army into Lyonesse; Merlin appears and causes the submergence of the land, destroying Mordred and his followers; his prophecies also direct much of the action. Tristan, as one of the princes of Lyonesse, is also mentioned several times, and his sword is crucial to the final defeat of the evil forces.

A-2808 Weaver, Ellis H. A Line of Light in the Days of King Arthur. Illus. H. Dix and A. Dix. London: Marshall Brothers, [1889]. (*) (Information from OCLC WorldCat and the British Library catalogue.)

A-2809 Webb, Christopher. Eusebius, the Phoenician. New York: Funk and Wagnalls, 1969. The title character escorts a ship of Viking sailors back to their homeland and then seeks their aid on a quest. He has heard of the Cup of the Last Supper and believes it to be in Britain; he wishes to find it, to drink from it, and therefore acquire immortality. When they arrive in Britain, they meet Arthur, and several chapters show them in his employ. The novel takes place after the battle of Camlann; Arthur was taken to Avalon to be healed and has returned, only to find that he has little force to accomplish his aims of uniting the Britons. The Vikings agree to work for him in return for land and for advice on the quest of the Cup. Eusebius eventually travels to Avalon and sees the Cup, but the accomplishment of the quest has different results than he anticipated.

A-2810 Webb, Harri. “Camlann.” The Green Desert: Collected Poems 1950–1969. Llandysul: Gwasg Gomer, 1969. 48. This short poem reflects on Arthur’s battle and continuing legend.

A-2811 Webb, Harri. “Merlin’s Prophecy 1969.” The Green Desert: Collected Poems 1950–1969. Llandysul: Gwasg Gomer, 1969. 32. A two-line poem (a single couplet), presented as a prophecy of Merlin, predicting that Wales will be free, prosperous, and envied.

A-2812 Webb, Holly. “Carmen Sine Nomine.” In Arthurian Miscellany. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1998. 14–16. The poem is Pellinore’s reflection on his past glories and his present pursuit of the Questing Beast.

A-2813 Webb, Peggy. Night of the Dragon. Loveswept 892. New York: Bantam Books, 1998. This romance novel, one of the Loveswept line, involves time-travel. A Californian woman from the twentieth century takes over an old bookstore and discovers a very old book about King Arthur and a dragon-shaped ring. She falls asleep one night while reading the book and ends up in Camelot, here set in the fourteenth century. She is discovered and romanced by Dragon, one of Arthur’s most trusted knights; by the end of the book, they are both in the twentieth century so that the Arthurian story can play itself out as it was meant to. During their time in Camelot, Arthur marries Guenevere. Merlin is a major character as the two lovers try to figure out how to return Lydia to the twentieth century; this Merlin, who calls Arthur “Wart,” is obviously based on the character by T. H. White.

A-2814 Webber, Collin. Merlin and the Last Trump. London: Victor Gollancz, 1993. The prologue of this novel has Geoffrey of Monmouth feverishly rewriting his history of Arthur. The rest of the book concerns Merlin’s attempts to prevent the destruction of humankind by Nemestis (Lucifer’s second-in-command) and to maintain the balance in the universe between Good and Evil. In these attempts he is helped by Uther’s ghost, Sir Griswold (a knight of Arthur’s court who is even better than Lancelot), and James Dimmot (a suicidal twentieth-century

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computer programmer). The action shifts from Arthur’s time to the twentieth, twenty-first, and thirty-eighth centuries, which creates some humorous scenes, especially of Sir Griswold and Merlin in late twentieth-century London.

A-2815 Webber, Collin. Ribwash. London: Victor Gollancz, 1994. A sequel to Merlin and the Last Trump. Having failed in the attempt to destroy humankind with the Last Trump, Lucifer sends a new evil force (an ex-banker) to try again. Meanwhile, an old enemy of Merlin finds a way out of his prison in another dimension and threatens Uther’s new kingdom in 4097. Characters who reappear in this sequel include Merlin, Uther, Sir Griswold (who wields Excalibur), and James Dimmot.

A-2816 Weeks, Stephen, and Henry Whittington. Sword of the Valiant: The Legend of Sir Gawain and the Green Knight. London: Robert Hale, 1984. A novelization of the film. While the story is based on the two encounters of Gawain and the Green Knight, Weeks has added other stories to fill up the year between them. Gawain is caught in a castle after killing its guardian and only escapes with the help of a maiden, which usually happens to Yvain. Gawain has a riddle to solve (though not the one about what women want). The members of the court at the beginning of the film are quite old; Weeks emphasizes that Arthur’s knights are past their prime. At the end of the book there is a short essay describing the making of the film. (See also the entry for Sword of the Valiant in the “Film, Television, and Radio” section.)

A-2817 Wein, Elizabeth E. “Fire.” Illus. Yuri Gallitsin. In L. Ron Hubbard Presents Writers of the Future, Volume IX. Ed. Dave Wolverton. Los Angeles: Bridge Publications, 1993. 3–33. A sequel to Wein’s novel The Winter Prince, the story assumes that Arthur has two sons, Mordred and Lleu, and that both fight for Arthur against the Saxons at Camlann. Lleu is the protagonist. Captured at Camlann, he is made a thrall by a Saxon lord who is impressed by his skill with a sword and wants him to train Saxon warriors. Eventually, he regains his freedom.

A-2818 Wein, Elizabeth E. The Winter Prince. New York: Atheneum; Toronto: Maxwell Macmillan Canada, 1993. A novel written in the first-person with Mordred as the narrator. It reads like a letter, and it becomes clear that the person addressed by Mordred is his mother, Morgause. The novel is thus his description of his struggle to separate himself from her, to come to terms with his birth, with Morgause’s desire for power, and with Arthur’s legitimate heir, here called Lleu. Camlann is Arthur’s holding here; while he is a king, he is described in a way that makes him seem part engineer and part farmer.

A-2819 Weinberg, Robert E. A Logical Magician. Today’s Sorcery 1. New York: Ace Books, 1994. Rptd: A Modern Magician. London: Raven Books / Robinson Publishing, 1995. The first of a series of novels involving one Jack Collins, a young man in the late twentieth-century United States, who is half-human and half-immortal (the son of a human father and magical mother). While doing a graduate degree in mathematics, he answers a job advertisement from an investment firm of Ambrose and Associates, and leaves academia; Mr Ambrose, it turns out, is Merlin the Magician, and Jack becomes involved in a world of mythological beings who are working within the US (Loki, the last surviving Amazon, the Wandering Jew, and many others). In this first adventure, Jack has to defeat Dietrich von Bern, the Lord of the Wild Hunt. This was to be a series of four novels, but was abandoned with only two published.

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A-2820 Weinberg, Robert E. “Seven Drops of Blood.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 373–90. A new age detective is hired to find the Grail in Chicago. There are allusions to the Arthurian Grail quest and to Joseph of Arimathea who brings the Grail to England; these provide context to the history of this story’s Grail.

A-2821 Weinberg, Robert E. A Calculated Magic. Today’s Sorcery 2. New York: Ace Books; London: Raven Books / Robinson Publishing, 1995. The second of a series of novels involving one Jack Collins, a young man in the late twentieth-century United States, who is half-human and half-immortal (the son of a human father and magical mother), and who is in the employ of Mr Ambrose (Merlin the Magician). In this second adventure, Jack has to confront the Old Man of the Mountain, to rescue his fiancée, Megan Ambrose (Merlin’s daughter), and to prevent a plague of anthrax. This was to be a series of four novels, but was abandoned with only two published. An excerpt of the third novel, Subtract One Sorcerer (in which the mythological world rises up in a conspiracy to destroy Collins), can be read on Weinberg’s webpage, .

A-2822 Weinberger, Mildred. “Elaine: A Poetic Drama.” Poet-Lore 34 (1923): 72–110. Elaine and Lancelot meet at a masked ball in modern times; this frames their memories of what happened at Arthur’s court. The play includes scenes with Guinevere (she refuses to acknowledge or welcome Elaine as Lancelot’s wife and father of Galahad his child, thus driving Lancelot mad), with Vivien and Merlin (she enspells him), and with Geraint and Enid as they try to help Lancelot and Elaine. In this version, Elaine and Lancelot are truly in love, and Guinevere is vengeful.

A-2823 Weiss, Jim. King Arthur and his Knights. Benicia, CA: Greathall Productions, 1990. 1124–06 (cassette); 1124–006-CD (CD). Audio recording; approximately 60 minutes. Title on container insert: “Greathall Productions, Inc., Presents a Storyteller’s Version of King Arthur and his Knights.” Sir Bedivere, an old man and the last surviving knight of the Round Table, narrates the story of Arthur’s reign (though “The Sword in the Stone” is narrated by Arthur himself, Bedivere remembering the story as Arthur told it). Based on Malory, this is a carefully pared down and sanitized version of the story, with a few small elaborations and the addition of realistic details. There is no magical conception of Arthur (he is simply the son of Uther and his wife, sent to Sir Ector for safety); there is no adultery of Lancelot and Guinevere; no Tristan and no Isolde; no Holy Grail (the Percival story does not get as far as his coming to the Grail Castle); no Mordred and no Battle of Camlann and passing of Arthur. Morgana is mentioned once, and described as a benevolent sorceress who uses her powers for healing; Morgawse, by contrast, with her husband Lot, has an eye on Arthur’s throne, and leads a rebellion. Contents: “Sir Bedivere” (Bedivere introduces himself and offers to tell the story); “The Sword in the Stone” (Bedivere remembers Arthur’s account of the sword in the stone episode); “King Arthur” (Arthur quells rebellions and receives Excalibur from the Lady of the Lake); “Guinevere” (Arthur weds Guinevere and receives the Round Table); “The Round Table” (the knights undertake a solemn oath); “Sir Lancelot’s Journey” (Lancelot kills Sir Caradoc and takes his castle; later he encounters Caradoc’s brother Tarquine, who has vowed to kill Lancelot to avenge his brother); “Sir Percival Meets a Lady, a Queen, Two Rude Knights, Two Noble Knights” (the story of Percival, up to his reuniting with his lady and the reunion with his brother Sir Lamorak); “Merlin’s Magic” (Merlin entertains the court with illusions, but Arthur declares that a peacable kingdom is the result of a greater magic; Merlin declares that Arthur will outlast all and will return when most needed); “Afterword” (Bedivere invites the listener to “keep the dream alive”).

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A-2824 Weller, June. The Wizard: The Legend of Alderley Edge Retold for Children. Illus. Elaine Jones. Gawsworth Series. Stone: Panda Press, 1979. (*) A children’s version of the Cheshire folktale having to do with a cave in which Arthur and his knights sleep, and a horse which Merlin obtains from a farmer.

A-2825 Wells, Catherine. “A Hermit’s Tale.” In The Doom of Camelot. Ed. James Lowder. Cover illus. Marc Fishman. Pendragon Fiction. Oakland, CA: Green Knight Publishing, 2000. 9–19. Bedivere narrates this tale after Arthur’s death. His version of Arthur’s reign is more realistic than romantic; the final battle against Mordred is depicted as less for Guenevere than for the sake of fighting in itself, and while the sword is thrown in a lake, nothing magical happens as a result. The story surveys many incidents from the legends, but Arthur’s battles against the Saxons and the tensions between Mordred, Guenevere, and Arthur have the most detail. (The story is original to this anthology.)

A-2826 “Welsh War Song.” Carmarthen Journal (9 Mar. 1827): 4. (*) A poem.

A-2827 West, Michael. King Arthur and the Knights of the Round Table, written within the vocabulary of the “New Method Reader 1.” Illus. Rosemary Brown. New Method Supplementary Readers, Stage 1. London: Longmans, Green, 1955. Rptd: 2nd edn. Revised by D. K. Swan. London: Longmans, Green, 1976. – Illus. John James. Longman Classics. London: Longman, 1987. A short (38-page) version of Malory, with a simplified vocabulary for beginning readers of English, and with a series of tests of comprehension at the end. The first edition was illustrated by Rosemary Brown; the second edition was illustrated with still photographs from film versions; the 1987 edition had six full-page illustrations by John James, five of them in colour.

A-2828 West, Michael. “Quest of the Saint Graal.” Clair de Lune and Other Troubadour Romances. Illus. Evelyn Paul. London: George G. Harrap, 1912. 76–81. Rptd: Whitefish, MT: Kessinger Publishing, 2005. – Evelyn Paul’s illustration, “It is indeed the Cup,” is reproduced on The Camelot Project Website. Ed. Alan Lupack. . The book is a collection of “troubadour” stories – imitations of medieval romance narratives – which are decorated and illustrated in imitation of a medieval manuscript. “The Quest of the Saint Graal” tells of one Sir Renand and his wife, Lady Yvain; the knight is obsessed with finding the Holy Grail, but this causes him to neglect his wife. He does, in fact, achieve the Grail, and brings it home, but in his chapel its brightness quickly fades, and he is brought to the realization that he has sacrificed love in order to obtain an object. The story is accompanied by one full-page colour illustration by Evelyn Paul, “It is indeed the Cup” (facing p. 80), which shows Sir Renand arriving home, mounted on a white horse, riding across a stone bridge towards the entrance to the castle, holding aloft the shining Grail. In the entrance to the castle, a group of monks shield their eyes from the sight.

A-2829 West, Michelle. “Return of the King.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 283–308. A story set in contemporary times. A Merlin-figure seems to be summoning a king / god even if he does not really want that return. Various Arthurian episodes are recalled by this character.

A-2830 Weston, Jessie L. “Knights of King Arthur’s Court.” The Rose-Tree of Hildesheim and Other Poems. London: David Nutt, 1896. 49–58. Rptd: Arthur, the Greatest King: An Anthology of Modern Arthurian Poems. Ed. Alan

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Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 147–51. The poem begins and ends with a few stanzas describing the knights riding; in the middle of the poem are the songs of Gawayne, Tristram, Lancelot, and Perceval.

A-2831 [Weston, Jessie L.] Lohengrin Fifty years After. By “One of the Folk” [pseud.]. London: David Nutt, 1895. This poem consists of a series of quatrains. It is framed by an older speaker, a witness of the events, who retells the story of the swan knight.

A-2832 Westroppe, John Jayne. “The Finding of Gwenever.” Here and There: Now and Then: 1937–1954. Loughton, Essex: L. Forster-Jones, 1955. 50. The poem’s title has underneath it, in brackets, “Geraldus Cambrensis,” which suggests that he is the speaker. The poem briefly describes one monk going mad at the sight of Guenevere’s golden hair in the tomb and the way that the hair turns to dust.

A-2833 Westwood, Thomas. “The Quest of the Sancgreall.” The Quest of the Sancgreall: The Sword of Kingship, and Other Poems. London: John Russell Smith, 1868. 1–75. This blank verse poem is divided into six sections. In “The Vow,” Galahad arrives at Camelot. This section of the poem sets up the adventures; its perspective is that of the people who remain behind in Camelot and the news that they hear. “The Legend of King Evelake” goes back in time to explain the Grail’s presence in Britain and the reason for Galahad to ride without a shield. “The Legend of the Shield” then tells the story of Galahad’s acquisition of the shield with the red cross on it. In “The Legend of the Syren Isles,” Galahad and Lancelot, together on the ship, are tempted by beautiful women; only Galahad resists. In “Corbonek,” Galahad visits that city and faces a fiend in a graveyard. In “The Sancgreall,” Galahad achieves the quest and journeys to Sarras.

A-2834 Westwood, T[homas]. The Sword of Kingship. A Legend of the “Mort d’Arthure.” London: Printed for private circulation by Whittingham and Wilkins, 1866. Rptd: The Quest of the Sancgreall: The Sword of Kingship, and Other Poems. London: John Russell Smith, 1868. 77–104. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 15–26. This poem is written in blank verse and retells the story of Arthur’s birth and fostering, of Uther’s death, and the sword in the stone episode. Arthur is compared to Christ at the beginning of the poem and to David when he faces competitors for the sword.

A-2835 Wheatcroft, John. “Gawain.” The Literary Review 14.3 (Spring 1971): 320–21. This thirty-five-line poem portrays Gawain dying after fighting Lancelot. He remembers Lot and Agravain, and is mourned by Arthur.

Wheatley, Parker: see Kaplan, Freda, and Parker Wheatley. A-2836 “When Arthur first in Court began” (also known as “When Arthur ruled this land”; “The Three Rogues”; “King Arthur”; “King Arthur he had three sons”). In Sportive Wit: The Muses Merriment, A new spring of lusty drollery, joviall fancies, and a la mode lamponnes, on some heroic persons of these late times, never before exposed to the publick view, collected for the publick good by a club of sparkling wits, viz. C.J., B.J., L.M., W.T., cum multis alsis. London: Printed for Nath. Brook, 1656. 75. [STC (Wing) P2113 (ESTC R36677 and R233446).]

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Rptd: Windsor-Drollery; An exact collection of the newest songs, poems, and catches, in use at court. Collected by a person of quality. London: Printed for J. M., 1671. 219–20 [Song 66]. [STC (Wing) W2979D (ESTC R204067 and R222310); 2nd edn.: W2980 (ESTC R38692).] – Colman, George. The Battle of Hexham: A Comedy in three acts, as performed at the Theatre-Royal, Crow-Street. Dublin: Printed by P. Byrne, 1790. 25–26. [ESTC T21416, N54788, N15716 and T21417; also N37023, T177573, T199337, N37040, W37854, and T191157.] – English County Songs: Words and Music. Ed. Lucy E. Broadwood and J. A. Fuller Maitland. London: Leadenhall Press, J. B. Cramer and Co., and Simpkin, Marshall, Hamilton, Kent, and Co.; New York: Charles Scribners’ Sons, 1893. 20–21. – Folk-Songs of the Upper Thames, with an Essay on Folk-Song Activity in the Upper Thames Neighbourhood. Ed. Alfred Williams. London: Duckworth and Co., 1923. 194. An anonymous modern song (the earliest known version of 1656 begins: “When Arthur first in court began / And was approved King-a” [one common variant begins from the second stanza: “When Arthur first in court began, / His men wore hanging sleeves-a”]). The song recounts how Arthur had three associates (sometimes they are called his sons), the Miller, the Weaver, and the Tailor (sometimes they are an Irishman, a Scot, and a Welshman); each was a thief (or a drunkard), and they were ejected from the court or otherwise came to a bad end. A variant version begins “King Arthur was a valiant knight, / And a great and mighty king,” before going on to describe the three rogues. A version of the song, by John Wall Callcott, was used to open Act 2 of George Colman’s play The Battle of Hexham (London, 1789) (see also the entry for Callcott, John Wall, in the Music section). Another variant version, in which King Richard is substituted for Arthur, concludes Act 1, Scene 3 of Thomas Dibdin’s 1820 play Ivanhoe: “When Lion Richard ruled, why then / The Saxons wore long robes, / He entertained three serving men, / And all of them were rogues: / The first he was a miller bold, / The next he was a weaver, / The third he was a taylor, good lack, / And they were all rogues together” (London: Roach and Co.). William Thomas Thomas (i.e., W. T. Moncrieff), in “A Batch of Ballads: Second Encore” (An Original Collection of Songs, London: John Duncombe, 1850) has “‘When Arthur first in Court began’ – / ‘I cannot marry Krout, sir’ – / ‘Young Ben he was a nice young man’ – / ‘Does your mother know you’re out, sir?’ ” A variant of the song is also used in Thomas Hardy’s novel Under the Greenwood Tree (London: Tinsley Brothers, 1872); in Part 4, Chap. 2, Frederick Shiner sings a song beginning “King Arthur he had three sons,” being the miller, etc. The Oxford Song Book (collected by Percy C. Buck, London: Oxford University Press, 1921), includes a version beginning “King Arthur ruled the land – that he did,” identified as a traditional song from Dorsetshire (Song 67, pp. 110–11, reprinted from the Scottish Students’ Song Book). (For a musical setting of “King Arthur ruled the land – that he did,” see the entry for Roberton, Hugh, in the Music section.) Cecil J. Sharp, One Hundred English Folksongs (Boston, MA: Oliver Ditson, 1916), includes a version under the title “The Three Sons” (beginning “There was a farmer had three sons”; Song 80, pp. 180–81).

A-2837 “When good King Arthur ruled this land” [nonsense verse]. Rptd: “Ye Good King Arthvr.” In The Baby’s Opera: A Book of Old Rhymes with New Dresses by Walter Crane; Engraved, and Printed in Colours by Edmund Evans; the Music by the Earliest Masters. Illus. Walter Crane. London and New York: George Routledge and Sons, [1900?]. 32–33. – “King Arthur.” In A Nonsense Anthology. Ed. Carolyn Wells. New York; Charles Scribner’s Sons, 1902. 73. – “When good King Arthur ruled this land.” In Over the Hill and Far Away: A Book of Nursery Rhymes. Illus. Alan Marks. London: Picture Book Studio, 1993. 76–77. A three-stanza nonsense song or nursery rhyme, beginning “When good King Arthur ruled the land, / He was a goodly king: / He stole three pecks of barley meal, / To make a bag-pudding”; the subsequent stanzas tell of the feast that the court made of the pudding, and how next morning the

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queen fried the remnant. Aside from naming the king Arthur, there is no Arthurian content. Walter Crane’s version includes the tune and a full-page colour illustration showing Arthur bringing “pecks of barley meal” to the Queen (presumably from the windmill which can be seen in the distance through the window). Arthur is depicted with very curly hair and beard, wearing a sword, while the queen wears a crown but also an apron; Crane’s illustration thus picks up the incongruities of the rhyme itself. Alan Mark’s version is accompanied by a full-page colour illustration of the king stealing the meal; on the page on which the poem appears there is a black silhouette of the queen with a frying pan. Sir Patrick Laird rewrote this poem in the style of Tennyson (see the entry under “Laird, Patrick”); Laura E. Richards rewrote the story as an operetta (see the entry for “Richards, Laura E.” in the Music section); Ernest Newton wrote a modern musical setting for the poem (see the entry for “Newton, Ernest Richard” in the Music section). Bert Leston Taylor’s burlesque poem “Bread Puddynge” is closely related to this (see the entry for “Taylor, Bert Leston: Bread Puddynge” in this section).

Whistlecraft, William, and Robert Whistlecraft: see Frere, John Hookham. A-2838 Whitaker, Dorothy H. “Land’s End.” Ore 19 ([1975?]): 6. This fourteen-line poem describes the sea at Land’s End and imagines the vessels that have passed by that spot. One of the imagined mariners is Tristan, bringing Iseult to Cornwall and to her marriage.

Whitaker, Rod: see Seare, Nicholas. A-2839 Whitcher, Susan. Enchanter’s Glass. New York: Harcourt Brace (Jane Yolen Books), 1996. This young adult fantasy novel has chapter epigraphs from The Faerie Queene by Spenser, and the action of the novel draws heavily on Spenser’s poem. The fourteen-year-old female protagonist, Phoebe, is named after Belphoebe from the poem; she takes on the role of Britomart during her adventures. She makes reference particularly to the episode where Britomart first sees her love in a glass, and to the episode where Arthur conquers Pride only to have the creature vanish. Phoebe discovers that an evil sorcerer, in the guise of an antique dealer, has been trapping people’s true selves in glass paperweights; her adventure takes her into the realms of the mind where what is imagined reveals the true image of people as they see themselves. Phoebe and her friend find out about themselves and others in their community before they finally break free of the enchantment.

A-2840 White, Anne Terry. King Arthur and the Knights of the Round Table. Illus. Shane Miller. A Golden Stamp Classic A367. London: Simon and Schuster, and the Artists and Writers Guild, 1956. Rptd: London: Adprint, 1957. The cover gives the title as “King Arthur” and includes a description: “The Legends of King Arthur and His Valiant Knights of the Round Table, with 48 Colour Stamps and Drawings to Colour.” This is a short (32-page) version of the story of Arthur from birth to his passing to Avalon (mostly a simplified version of Malory, but it includes Sir Gawain and the Green Knight as well as Béroul’s version of Tristan and Iseult). It is an activity book, including four sheets of gummed and perforated “stamps,” presenting forty-eight illustrations to the story, which are to be cut apart and glued on the appropriate pages. There are also line drawings on most pages which can be coloured with crayon.

A-2841 White, Anne Terry. Knights of the Table Round. Illus. Paul Frame. A Reading Shelf Book. Champaign, IL: Garrard Publishing Co., 1970. A retelling of the Arthurian story, beginning just after Arthur’s birth. It includes episodes from Malory such as the sword in the stone, the story of Gareth and others, but also includes a couple

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of chapters based on Sir Gawain and the Green Knight. It ends with Arthur’s battle with Mordred, as the king is taken to Avalon.

A-2842 White, Anne Terry. “Tristram and Iseult.” In The Golden Treasury of Myths and Legends, Adapted from the World’s Great Classics. Illus. Alice Provensen and Martin Provensen. A Giant Golden Book. New York: Golden Press, 1959. 102–17. Rptd: Myths and Legends, Adapted from the World’s Greatest Classics. Illus. Alice Provensen and Martin Provensen. London: Hamlyn, 1964. The book is a collection of retold myths, mostly classical, but also including Beowulf, the Battle of Roncevaux, and other medieval heroic tales. The tale of “Tristram and Iseult” (from the birth of Tristram to his death) is retold.

A-2843 White, Gail. “The Taking of Lancelot in the Queen’s Chamber.” Ore 20 ([1976?]): 21. This is a three-stanza poem, and in the first stanza, Guenevere is described using comparisons to vegetables and fruits; this is obviously the point of view of the kitchen staff. The second stanza describes Guenevere in her chamber, and the third describes Mordred’s trapping of the lovers.

A-2844 White, Gail. “The Testament of Guinevach.” In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 46–47. A dramatic monologue spoken by Guenevere’s sister just before her death. She remembers Guenevere’s marriage to Arthur, the love affair with Lancelot, and her own relationship with Mordred.

A-2845 White, Gail Brockett. “Camelot.” St Andrews Review 2.1 (Autumn-Winter 1972): 17. A short poem reflecting on the way moments of revolutionary importance are derailed by private jealousies. The title and the ending of the poem apply these reflections to Arthur’s reign, but they could also apply to a number of other historical moments.

A-2846 White, Steve. Debt of Ages. Riverdale, NY: Baen Publishing Enterprises; New York: Simon and Schuster, 1995. This is the third novel by White; characters in this novel appear in The Disinherited and Legacy, the latter also Arthurian. In Debt, Sarnac, a human man from the future, is brought through time and through dimensions into an alternate reality where Arthur became Emperor. Accompanied by the Arthur from his own history, Sarnac playing the part of Bedivere must intervene in the alternate reality in order to save the evolution of humanity in that reality. While the main action takes place after most of the commonly known Arthurian events have already happened, there are numerous references to events of the legend. There are also some twists: Cerdic, for example, is Arthur’s illegitimate son. White follows the Riothamus theory (Riothamus is one of Arthur’s titles) and suggests the Sarmartian origin of the legendary characters.

A-2847 White, Steve. Legacy. Riverdale, NY: Baen Publishing Enterprises; New York: Simon and Schuster, 1995. This sequel to The Disinherited begins with a prologue set in Gaul in 469 AD; Riothamus, whose common name is Artorius, has arrived with his calvary. The first half of the novel, however, is set in 2261 when humans are at war with an alien race; the last half of the novel takes place in 469 as the protagonist, Sarnac, and others become part of the Arthurian story through time travel. Sarnac takes on the identity of Bedwyr, fights with Artorius against the Visigoths, and throws the

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sword into the lake for a dying Arthur, who is taken to a town called Avallon. White is influenced in his portrayal of Arthur by the theory of the Sarmartian origin of the legendary characters. Debt of Ages, the third novel of the series, also has Arthurian content.

A-2848 [White, Terence Hanbury.] Arthur: The Future King. Adapt. by Gail Erwin. Cover illus. Gregory Hill. Orem, UT: Encore Performance Publishing, 1989. EPP 0049. Musical children’s play, based on T. H. White. First performed under the title “The Sword of the Stone and How Arthur became King.”

A-2849 White, T[erence] H[anbury]. The Book of Merlyn. Austin: University of Texas at Austin Press, 1977. Rptd: New York: Berkley, 1978. The fifth, and previously unpublished, book of The Once and Future King. The novel was completed in 1942, but White’s publishers found its anti-war theme made the book too controversial to be published at the time; the manuscript was discovered among White’s papers at the University of Texas and published posthumously in 1977. Arthur, an old man, seated in a tent on Salisbury Plain on the night before the Battle of Camlann, and feeling that his application of the teachings of Merlin through his life has had regrettable consequences, is visited by Merlin. Merlin declares that two essential elements had been left out of Arthur’s original education (the story with which The Once and Future King began), and Arthur spends the night back in the Badger’s Sett, with Merlin and the Animal Council, learning further lessons on human behaviour (and misbehaviour, particularly the “unnaturalness” of human warfare) through comparisons with animals. An audio cassette with incidental music from Sir Arnold Trevor Bax’s Tintagel to accompany excerpts from the novel read by Christopher Plummer was issued by Caedmon Records (New York: Caedmon Records, 1978, item CDL 51582; and New York: Caedmon Records, 1980, item CDL 51630).

A-2850 White, T[erence] H[anbury]. The Ill-Made Knight, with Decorations by the Author. New York: Putnam, 1940. The knight of the title is Lancelot, the protagonist of this novel, which concerns Lancelot’s role in Arthur’s idea of chivalry and the love triangle of Arthur, Guenevere, and Lancelot.

A-2851 White, T[erence] H[anbury]. “Madame Mim.” In Alfred Hitchcock’s Witch’s Brew. Ed. Alfred Hitchcock. Illus. Stephen Marchesi. New York: Random House, 1977. 48–69. A reprinting of an excerpt from The Sword in the Stone, beginning as Wart and Kay go off hunting and lose Wart’s arrow to a crow, and ending when Merlyn has defeated Madame Mim by turning into microbes in their wizard’s duel. There is a full-page B&W illustration at the beginning of the story; one figure blends into another, so that it consists of a series of animal shapes with the neck and shoulders of a woman being the highest figure, a reference to the shape-changing duel.

A-2852 White, T[erence] H[anbury]. “Merlyn vs. Madame Mim.” In Kingdoms of Sorcery. Ed. Lin Carter. Garden City, NY: Doubleday and Co., 1976. 121–36. This excerpt from The Sword in the Stone begins at the moment that Wart shoots an arrow that is then stolen by the crow and ends after Merlyn defeats Madame Mim by turning into microbes during their wizard’s duel. Carter has a brief introduction to the excerpt at the beginning.

A-2853 White, T[erence] H[anbury]. “Might and Right.” In Little Victories, Big Defeats: War as the Ultimate Pollution. Ed. Georgess McHargue. New York: Delacorte Press, 1974. 19–27. An excerpt from The Once and Future King (“The Queen of Air and Darkness”) in which Arthur and Merlyn discuss the problem of Might and Right.

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A-2854 White, T[erence] H[anbury]. The Once and Future King. London: Collins; New York: Putnam, 1958. Rptd: Frequently reprinted. – Also excerpts (“The Wart Meets Merlin” [343–52]; “The Castle Moat” [352–58]; “Might isn’t Right” [371–76]; “Merlyn Foresees his Fate” [376–78]) reprinted in The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York: Garland Publishing, 1990. 339–78. This omnibus volume contains four books: The Sword in the Stone, The Queen of Air and Darkness, The Ill-Made Knight, and The Candle in the Wind. The first three of these were separately published earlier, the second as The Witch in the Wood (see relevant entries); White revised the first two for their inclusion in this edition. The Candle in the Wind has its first publication here; it tells the end of Arthur’s reign. Just before the battle of Camlann, Arthur sends away a page (Thomas Malory) to remember the story. (This series was the basis of a musical and films; see the entry for “Lerner, Alan J.” in the Literature section, for “Loewe, Frederick” in the Music section, and for Camelot in the “Film, Television, and Radio” section.)

A-2855 White, T[erence] H[anbury]. The Sword in the Stone, with Decorations by the Author and End Papers by Robert Lawson. London: Collins, 1938. Rptd: New York: Philomel Books, 1993. – Excerpts (“Madame Mim” [358–62]; “Galapas” [362–71]) rptd in The Romance of Merlin: An Anthology. Ed. Peter Goodrich. Garland Reference Library of the Humanities 867. New York: Garland Publishing, 1990. 339–78. This novel of “the Wart” (as Arthur is called) describes his childhood with Ector and Kay, and his education with Merlyn (who lives backwards in time). Education is an important theme throughout the novel, which also introduces questions about Might and Right that White continues to explore in the later novels. The Sword in the Stone was significantly revised for its appearance in The Once and Future King (see separate entry). (Walt Disney’s animated film has made the figures of Wart and Merlyn even more widely known; for more details, see the entry for “The Sword in the Stone” (1963) in the “Film, Television, and Radio” section; for the various book versions of the film, see the entries under “Walt Disney Corporation” in this section.) For a radio dramatization (with music by Benjamin Britten) see the entry for “The Sword in the Stone” (1938) in the “Film, Television, and Radio” section, as well as the entry under “Britten, Benjamin, The Sword in the Stone” in the Music section.

A-2856 White, T[erence] H[anbury]. The Witch in the Wood, with Decorations by the Author. London: Collins; New York: Putnam, 1939. This novel is about the Orkney boys as they are growing up; the witch of the title is their mother Morgause. It was revised to appear in The Once and Future King as The Queen of Air and Darkness.

A-2857 White, Tiffany. Naughty Talk. Harlequin Temptation 465: Lovers and Legends. Toronto: Harlequin Books, 1993. This Harlequin rewrites the Gawain story in which the knight must discover what it is that women want. Here, Gawain’s role is played by Anthony Gawain, a talk-show host the rest of whose family (particularly his father and uncle) are into politics. For a series of shows he asks the question; he becomes involved with one of his guests, an aspiring screenwriter who is pretending to be a sex therapist in order to be on the show. The storyline allows for some explicit discussion of the changing roles of women in our society; some of these sections contain material similar to critical discussions about the popularity of romance fiction. The novel, however, does not consistently or credibly create motivation for characters’ actions, causing gaps in an unnecessarily convoluted plot.

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A-2858 Whitney, Helen Hay. “When Tristan Sailed.” Gypsy Verses. New York: Duffield and Co., 1907. 25–26. Rptd: Forgotten Arthurian Poetry. Ed. Phillip C. Boardman and Charles E. Wyatt. Illus. Kathleen A. Boardman. Vista, CA: Green Chapel Press, 1989. 29. This three-stanza poem reflects on Tristan and Iseult’s sailing towards their doomed love; it associates the two with youth that dares the impossible because it does not know the consequences.

A-2859 Whittemore, Reed. “Abbreviated Interviews with a Few Disgruntled Literary Celebrities.” An American Takes a Walk and Other Poems. Minneapolis: University of Minnesota Press, 1956. 58–59. The poem is divided into three sections, each consisting of questions to and answers from a different female literary character. The third section (the only Arthurian one) is an interview with the Lady of Shalott, asking about her motivation for getting into the boat. According to the acknowledgements in the collection, the poem first appeared in Chicago Review.

A-2860 Whittemore, Reed. “Guinevere.” Heroes and Heroines. Illus. Irwin Touster. New York: Reynal and Hitchcock, 1946. 51. A poem of four quatrains. While waiting to be burned for treason, the queen thinks about previous charges against her and prays for mercy for herself and for the knights.

A-2861 Whittemore, Reed. “Merlin.” Heroes and Heroines. Illus. Irwin Touster. New York: Reynal and Hitchcock, 1946. 49. In this three-stanza poem, Merlin seems satisfied with the results and accuracy of his prophecies, but is glad to be led away by “Minue.”

A-2862 Whittemore, Reed. “Sir Bedivere.” Heroes and Heroines. Illus. Irwin Touster. New York: Reynal and Hitchcock, 1946. 52–54. A short dialogue between Bedivere and Arthur before the latter is taken to Avalon. While Bedivere’s lines are in keeping with the tragic grandeur of the moment, Arthur’s are more ironic.

Whittington, Henry: see Weeks, Stephen, and Henry Whittington. A-2863 The whole prophesie of Scotland, England, and some-part of France, and Denmark, prophesied bee meruellous Merling, Beid, Bertlingtoun, Thomas Rymour, Waldhaue, Eltraine, Banester, and Sibbilla, all according in one. Containing many strange and meruelous things. [London?]: Printed by Robert Waldegraue, printer to the Kings most Excellent Majestie, 1603. [STC (P&R) 17841.7 (ESTC S123226): “Not printed by Waldegrave; possibly a London piracy”; regularly reprinted down to 1800: ESTC S94170, S103097, S94171, R234912, R229733, R186547, R186548, T85899, T85466, T85465, T180395, T180396, T85467, T180397, N25842, T119114, T17228, T180398, T180399, T27895, T180400, T120642, T195981, T205556 (all editions later than 1603 have “Whole prophecies” in the plural).] A collection of prophecies, most of them in verse, including several attributed to “Merling” (i.e., Merlin). The first poem in the book (in blank verse) begins “Merling saies in his booke who will reade right, / Althoght his sayings be uncouth, they shalbe true found” (Sigs. Aii–Av); again, “The prophesie of Merling” (in blank verse), beginning “It is to fel when they it finde, / That fel on face is faine to flee” (Sigs. Aviv–Aviiv). In “The Prophecie of Bertlington” (Sigs. Aviiv–Bi) there is a reference to “Meruelous Merling” (on Bi). In the prophecies attributed to Waldhave (Sigs. Bv–Civ and Civ–Civv) there are references to Merlin (Sigs. Ci, Ciii), and to Merlin, Uther, and Arthur (Civ). In “The Prophecie of Sibilla and Eltraine” (Sigs. Cvii–Cviii), there are two references to Merlin in the opening lines.

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A-2864 Whyte, Jack. The Eagles’ Brood. A Dream of Eagles 3 [“Camulod Chronicles” in US]. Toronto: Viking / Penguin, 1994. The third book of Whyte’s series is narrated by Merlyn and is the story of Merlyn and Uther, who in Whyte’s series are cousins. It ends shortly after Arthur is born.

A-2865 Whyte, Jack. The Saxon Shore. A Dream of Eagles 4 [“Camulod Chronicles” in US]. Toronto: Viking / Penguin, 1995. The fourth book of the series begins where the third left off, with Merlyn’s rescue of Arthur and fostering of him at Camulod.

A-2866 Whyte, Jack. The Singing Sword. A Dream of Eagles 2 [“Camulod Chronicles” in US]. Toronto: Viking / Penguin, 1993. This second book of Whyte’s series is also narrated by Varrus, the smith; the sword of the title is Excalibur. By the end of the novel, Varrus has made the sword and used it (against the villainous Seneca, who also appeared in the first book); he now keeps it for one of two children, Uther or Merlin (Uther is Varrus’ grandson; Merlin is the grandson of Caius). Camulod (Whyte’s version of Camelot) has also been established. The legions officially withdraw from Britain.

A-2867 Whyte, Jack. The Skystone. A Dream of Eagles 1 [“Camulod Chronicles” in US]. Toronto: Viking / Penguin, 1992. Whyte begins his Arthurian series a couple of generations before Arthur, in the last days of the Romans in Britain. Varrus is the narrator of this book; he is an ironsmith and makes weapons. The skystone of the title is metal smelted from a meteorite; by the end of the book Varrus has shaped it into a statue of a Lady. This is a historical series that rationalizes many of the fantastic elements.

A-2868 Whyte, Jack. The Sorcerer, Book 1: The Fort at River’s Bend. A Dream of Eagles 5.1 [“Camulod Chronicles” in US]. Toronto: Viking / Penguin, 1997. This fifth book of the series was split into two parts, of which this is the first. The sorcerer of the title is Merlyn, who narrates this novel (the prologue establishes the story as his memories of events). Merlyn educates the young Arthur.

A-2869 Whyte, Jack. The Sorcerer, Book 2: Metamorphosis. A Dream of Eagles 5.2 [“Camulod Chronicles” in US]. Toronto: Viking / Penguin, 1997. This fifth book of the series was split into two parts, of which this is the second. The sorcerer of the title is Merlyn, who narrates this novel. The metamorphosis of the subtitle can be seen as referring to both Merlyn and Arthur, as the first acquires his reputation for sorcery and as the latter becomes first a warrior and then a king, with the drawing of the sword from the stone.

A-2870 Whyte, Jack. Uther. Toronto: Viking / Penguin Books Canada, 2000. A novel of Uther’s life story. Unlike the books in the Dream of Eagles series, Whyte uses third person narration, but it does give Uther’s perspective on the events already related by Merlyn in previous novels. Whyte handles the love of Uther and Ygraine somewhat differently from tradition, probably in order to rationalize events and leave Arthur in Merlyn’s sole charge.

A-2871 Wibberley, Leonard. The Quest of Excalibur. New York: G. P. Putnam’s Sons, 1959. Rptd: San Bernardino, CA: Reginald, The Borgo Press, 1979. A novel set in the 1970s. A ditch digger, discontented with his society, brings Arthur back. Wibberley is the author of The Mouse that Roared.

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A-2872 Widdemer, Margaret. “Merlin is Wise.” Ballads and Lyrics. New York: Harcourt, Brace and Co., 1925. 104–105. A poem of six quatrains. The speaker questions Merlin’s wisdom, suggesting that his power isolates him from the rest of humanity. The poem ends with his taking “the small greedy clutching hand” of, presumably, Nimue (she is unnamed) and heading off to Broceliande.

A-2873 Widdows, Richard, and Nigel Flynn ed. The Legend of King Arthur and Other Classic Adventures. Look, Listen and Read Bedtime Stories. Illus. Peter Dennis, Oliver Frey, Alan Baker, and Paul Bonner. New York: Chatham River Press / Crown Publishers, 1986. A juvenile retelling of three tales of King Arthur, plus the stories of Theseus and the Minotaur, St George and the Dragon, and the theft of Thor’s hammer by the giants. The thirty-two-page booklet is a compilation of material originally published in Storyteller in 1982, 1983, and 1984. The printed text with illustrations is accompanied by an audio cassette (55 mins.) which includes the complete text of the stories read aloud, with music and sound effects; the three tales of Arthur are read by Mick Ford, “The Monster in the Labyrinth” by Dermot Crowley, “George and the Dragon” by Steven Pacey, and “Stolen Thunder” by Tim Curry (the audio cassette was recorded at The Barge Studios, Little Venice, London; “A Creative Radio Production”). The three Arthurian stories (filling one side of the audio cassette and the first half of the booklet) are: “The Swords of King Arthur” (pp. 1–6), being the episodes of Arthur’s birth, the sword in the stone, Arthur’s encounter with Pellinore the giant (in which his first sword is destroyed), and the granting to Arthur of Excalibur by the Lady of the Lake; “The Treachery of Morgan” (pp. 7–11), being the episode of Morgan’s theft of Excalibur and Arthur’s encounter with Sir Accolon; “Arthur Gives Back his Sword” (pp. 12–16), being the episodes of the Battle of Camlann, and the returning of Excalibur to the Lady of the Lake by Sir Bedivere, with the carrying of Arthur to Avalon. Though based on Malory, the characterization and motives have been made straightforward and consistent: Arthur is purely good and Morgan is purely wicked; Merlin’s white magic protects Arthur while Morgan’s black magic attempts to destroy him. Morgan’s armies join Mordred in the Battle of Camlann, but when it is apparent that Arthur will win, she flees the field, and “withered away and died” (the three queens who carry Arthur to Avalon at the end do not include Morgan). There is violence (in both texts and pictures), but no sex (Igraine is never mentioned, and Mordred appears fully grown as Arthur’s nephew, whom Arthur appoints as regent during the “wars in France”); there are no references to Lancelot or Guinevere, no Gawain, and only a few passing references to the Knights of the Round Table.

A-2874 Wilber, Rick. “Greggie’s Cup.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 368–84. A boy with Down’s Syndrome pretends to be a knight while playing in old ruins; he is able to meet Lancelot and gives him a special cup because Lancelot is looking for the Grail. The boy’s story alternates with that of the father, who parallels Lancelot in some ways.

A-2875 Wilbur, Richard Purdy. “Merlin Enthralled.” The New Yorker 29.5 (21 Mar. 1953): 38. Rptd: Poems 1943–1956. London: Faber and Faber, 1957. 103–104. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Garland Reference Library of the Humanities 830. Ed. Alan Lupack. Fwd Raymond H. Thompson. New York: Garland Publishing, 1988. 299–300. This nine-quatrain poem begins with Arthur and his knights (of whom only Gawen is named) riding out to find Merlin after he has disappeared. Later stanzas describe Merlin’s sleep and

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dreaming, until the last stanza, which comes back to Arthur’s understanding of what the loss of Merlin means to their society.

A-2876 Wilcox, Don. “Blueflow.” In The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 104–27. Blueflow is an artist who has (it is increasingly evident) a magical ability to paint portraits, from his own memory or from the memories of others. In using this gift while painting a portrait of Guenevere, he paints beside her, not Arthur, but Lancelot; repainting the panel with Arthur’s portrait does not undo the damage.

A-2877 Wilde, Jane Francesca (Lady). “King Arthur Versus the Great Cat.” In Mysterious Cat Stories. Ed. John Richard Stephens, and Kim Smith. New York: Carroll and Graf Publishers, 1993. 57–59. The story appears in The Vulgate Merlin of the thirteenth century. In Wilde’s version, Merlin brings Arthur to Lausanne to help the people there who are plagued by a giant cat. Arthur finally defeats the cat and keeps its giant paws as souvenirs of the battle.

A-2878 Wilkes, Angela. The Adventures of King Arthur. Illus. Peter Dennis. Picture Classics Series. London: Usborne Publishing, 1981. Rptd: Usborne Book of Children’s Classics: Robinson Crusoe, Treasure Island, Gulliver’s Travels, King Arthur. Children’s Classics. Ed. Heather Amery. “New expanded edition” [to which “Arthur” has been added]. Illus. Peter Dennis. London: Usborne Publishing, 1989. 97–128. A highly compressed version of the legend, based on Malory, and profusely illustrated. Includes the sword in the stone, the fight of Arthur and Sir Pellinore, the grant of Excalibur by the Lady of the Lake, marriage to Guinevere, the founding of the Round Table, the battle of Arthur and Sir Accolon, Morgan le Fay’s theft of the scabbard, Morgan’s imprisonment of Lancelot, Lancelot’s battle with Sir Tarquin, Lancelot and Guinevere’s betrayal by Mordred, war with Lancelot, Gawain’s death, the Battle of Camlann, Bedivere and the return of Excalibur to the Lady of the Lake, and Arthur carried away on the barge, possibly to Avalon.

A-2879 Wilkie, E. M. The Tales of King Arthur: From Legendary Stories of Wales. Cardiff: Diamond Dragon, 1991. (*) Audio cassette with stories (Ray Smith, narrator) and music (Dyfrig Jones, composer and performer). (Information from library catalogues.)

A-2880 Wilkinson, Barry. The Diverting Adventures of Tom Thumb. Illus. Barry Wilkinson. London: John Lane / The Bodley Head, 1967. This brightly-coloured picture-book retells the Tom Thumb story. Merlin’s magic enables Tom’s mother to conceive a son, and Tom spends much time at Arthur’s court.

A-2881 Williams, Antonia. Isolt: A New Telling. London: Published by the Author, [1900]. Northup and Parry, as well as Wildman, identify the date as 1900, with another edition in 1915. This is a symbolic drama; the play is preceded by a page stating the “ideas in conflict” (love and fear) and how they are at work in the two relationships dramatised by the play: that between Mark and Tristan, and that between Tristan and Iseult of Ireland. This version does not end with the deaths of the lovers.

A-2882 Williams, Charles [Walter Stansby]. The Arthurian Poems of Charles Williams. Cambridge: D. S. Brewer, 1982.

A. Literature

465

This volume reprints first Taliessin through Logres followed by The Region of the Summer Stars, each complete and with its own table of contents. (See individual entries for these poetry cycles.)

A-2883 Williams, Charles [Walter Stansby]. Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. This volume brings together both the previously published poem sequences Taliessin through Logres and The Region of the Summer Stars, plus various unpublished poems that fill in different aspects of the legend; as a result, it stands as its own work. Twenty-four of the poems are grouped together as the sequence The Advent of Galahad.

A-2884 Williams, Charles [Walter Stansby]. “The Crowning of Arthur.” Taliessin through Logres. London: Oxford University Press, 1938. 19–21. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 197–99. – Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 35–37. A poem of fifteen five-line stanzas that describes the festivities of Arthur’s crowning, ending with Guinevere’s presentation to Arthur.

A-2885 Williams, Charles [Walter Stansby]. “The Departure of Merlin.” Taliessin through Logres. London: Oxford University Press, 1938. 75–77. Rptd: “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 200–201. – Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 80–81. Merlin’s departure to Broceliande is here connected to the arrival of Galahad.

A-2886 Williams, Charles [Walter Stansby]. “Epilogue in Somerset: A Song of the Myths.” Three Plays. London: Oxford University Press / Humphrey Milford, 1931. 197–200. This poem, dedicated to “Anne, Diana, Jean, and Mary,” is about Williams’ writing of the poems of Taliessin, and various characters from the myth are mentioned. The plays in this collection are not Arthurian, but the poems interspersed with the plays are.

A-2887 Williams, Charles [Walter Stansby]. Heroes and Kings. Illus. Norman Janes. London: Sylvan Press, 1930. (*) Some Arthurian lyrics printed in a small, limited edition volume, illustrated with wood engravings. Poems: “Tristram’s Song to Iseult”; “Palomide’s Song to Iseult”; “Lamoracke’s Song to Morgause”; “Percival’s Song to Blanchfleur”; “A Song of Palomides”; “Taliessin’s Song of a Princess of Byzantion”; and “The Song of the Riding of Galahad” (Lupack, Camelot Project).

A-2888 Williams, Charles [Walter Stansby]. “Percivale’s Song.” In New English Poems. Ed. Lascelles Abercrombie. London: Victor Gollancz, 1931. 345–46. Rptd: Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 235–36. A poem of eight six-line stanzas that is Percivale’s song about love.

A-2889 Williams, Charles [Walter Stansby]. The Region of the Summer Stars. London: Editions Poetry London, 1944. Rptd: London: Oxford University Press, 1950.

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– Taliessin through Logres and the Region of the Summer Stars. Grand Rapids, MI: William B. Eerdmans Publishing Co., 1974. 113–79. – Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 95–145. The eight poems in this book focus on the beginning and the end of the realm. Taliessin’s birth and meeting with Merlin and his sister Brisen; Taliesin’s love for Dindrane, Percival’s sister who becomes a nun (and is called Blanchefleur in the first book); and the collapse of the realm as Mordred usurps the throne while Arthur besieges Lancelot are major episodes around which Williams weaves his images. C. S. Lewis provides a commentary on Williams’ poems, as well as a prose fragment that Williams wrote about the Arthurian legend, in Arthurian Torso (1948).

A-2890 Williams, Charles [Walter Stansby]. “Taliessin in the Rose Garden.” Dublin Review (Jan. 1941): 82–86. Rptd: The Region of the Summer Stars. London: Editions Poetry London, 1944. 21–28. – Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 114–19. Taliessin composes poems as he walks in the garden, inspired by the sight of Guinevere and Dindrane.

A-2891 Williams, Charles [Walter Stansby]. Taliessin through Logres. London: Oxford University Press, 1938. Rptd: Taliessin through Logres and the Region of the Summer Stars. Grand Rapids, MI: William B. Eerdmans Publishing Co., 1974. 15–112. – Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 19–93. The twenty-four poems in this book elaborate images and themes based on the Arthurian legends. Williams is particularly interested in the circumstances surrounding the Grail, but he alludes to other episodes, like the story of Palomides, or the story of Morgause and Lamorak. Taliessin is the protagonist for many of the poems. C. S. Lewis provides a commentary on Williams’ poems, as well as a prose fragment that Williams wrote about the Arthurian legend, in Arthurian Torso (1948).

A-2892 Williams, Charles [Walter Stansby]. “Taliessin’s Song of Byzantion.” Three Plays. London: Oxford University Press / Humphrey Milford, 1931. 65–68. Rptd: Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 171–73. Taliessin prays for Logres to be saved and is shown a vision of Arthur. The plays in this collection are not Arthurian, but the poems interspersed with the plays are.

A-2893 Williams, Charles [Walter Stansby]. “Taliessin’s Song of Lancelot’s Mass.” In New English Poems. Ed. Lascelles Abercrombie. London: Victor Gollancz, 1931. 340–44. Rptd: Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 246–49. Taliessin remembers old conflicts and sees them resolved as Lancelot celebrates Mass.

A-2894 Williams, Charles [Walter Stansby]. “Taliessin’s Song of Logres.” Three Plays. London: Oxford University Press / Humphrey Milford, 1931. 1–4. Rptd: Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 167–70. Taliessin’s song describes Logres after Uther’s death, as it is “in desolate woe” and chaos. The plays in this collection are not Arthurian, but the poems interspersed with the plays are.

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A-2895 Williams, Charles [Walter Stansby]. “Taliessin’s Song of the King’s Crowning.” Three Plays. London: Oxford University Press / Humphrey Milford, 1931. 135–37. Rptd: Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 177–78. This poem of six stanzas has Taliessin’s questions about the king and the replies he receives. The plays in this collection are not Arthurian, but the poems interspersed with the plays are.

A-2896 Williams, Charles [Walter Stansby]. “Taliessin’s Song of the Setting of Galahad in the King’s Bed.” Three Plays. London: Oxford University Press / Humphrey Milford, 1931. 193–95. Rptd: Charles Williams. Ed. David Llewellyn Dodds. Arthurian Poets. Woodbridge: Boydell Press, 1991. 222–24. Taliessin’s song describes the procession that accompanies Galahad, including Arthur, Guinevere, and Lancelot. The plays in this collection are not Arthurian, but the poems interspersed with the plays are.

A-2897 Williams, Charles [Walter Stansby]. War in Heaven. London: Gollancz, 1930. Rptd: New York: Pellegrini and Cudahy, 1949. The main characters of this novel are a retired publisher, an archdeacon, a young Duke, and one of the publisher’s employees. The archdeacon’s church has in its possession the Graal; the publisher wishes to use it for black magic, and so much of the novel is the tug-of-war between publisher and arch-deacon, each trying to recover the chalice from the other. Although the novel is set in modern times, and although the Graal’s power comes from its origins as the cup of the Last Supper, there are various Arthurian allusions. The publisher’s employee characterizes himself and his two companions as Bors, Galahad and Perceval, and he remarks at other occasions on the Arthurian associations of the cup.

A-2898 Williams, Herbert. Stories of King Arthur. Illus. Jonathan Ward. Ruthin: John Jones, 1990. A note on the Table of Contents page says, “My friend and publisher John Idris Jones suggested that I write these stories after hearing some Arthurian tales I wrote for BBC Wales schools broadcasts. My thanks to Gwynn C. Griffith, who commissioned those scripts.” A line on the cover of the book advertises these as “Nine stories about the famous Celtic hero, told for young children.” The stories cover the usual events of Arthur’s reign, concentrating more on the earlier parts of the story. The chapters are “The Two Dragons,” “The Sword in the Stone,” “The First Britons” (one of Merlin’s lessons to Arthur about Brutus), “The Angry Knight,” “The Lady of the Lake,” “Crowned at Caerleon,” “A Wicked Plot” (Morgan’s stealing of the scabbard), “The Quest for the Grail,” and “Arthur and the Sleeping Knights.” One slight change made is that Merlin’s powers are inherited from his grandfather who is both a king and a magician. Most chapters have one full-page B&W illustration as well as two or three smaller B&W pictures interspersed with the text.

A-2899 Williams, J. Price. “Olwen.” In A Bangor Book of Verse. Ed. Sam Jones. Bangor: Jarvis and Foster, 1924. 16. Olwen is described as an elusive maid who has flowers spring up in her footprints; there are no other Arthurian references in this four-quatrain poem.

A-2900 Williams, J. Price. “Sing a Song of Avalon.” In A Bangor Book of Verse. Ed. Sam Jones. Bangor: Jarvis and Foster, 1924. 8. This poem of three quatrains mainly describes Avalon as a place of “heart’s desire,” but the reference to “magic bark and muffled oars” does suggest the way that Arthur is transported to Avalon. Originally published in The Western Mail.

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A-2901 Williams, Jay. The Sword of King Arthur. Crowell Hero Tales. Illus. Louis Glanzman. New York: Thomas Y. Crowell, 1968. A retelling based mainly on Malory, although the author’s notes also mention the Mabinogion and the story of Merlin found in the Huth manuscript. Williams’ book begins with the sword in the stone episode and continues through Arthur’s reign, detailing some of Gawain’s and Lancelot’s exploits, the Grail quest and then the final battle between Arthur and Mordred. It is a “sanitized” retelling: there is no incest or adultery.

A-2902 Williams, Marcia. King Arthur and the Knights of the Round Table. Illus. Marcia Williams. Cambridge, MA: Candlewick Press, 1996. Children’s adaptation of several legends, from Malory and other sources, in something of a cross between a children’s illustrated storybook and a comic book: there are on each page between about four and ten pictures, set out in rows almost like a sequence of comic book frames, but there is a continuous narrative text running underneath the pictures. Every two-page opening presents a separate “incident” with its own title: “King Arthur” (from Uther’s death to Arthur’s coronation, especially the sword in the stone episode); “Excalibur” (Arthur overcomes the recreant knight Sir Pellinore and receives Excalibur from the Lady of the Lake); “Morgan le Fay” (the theft of Excalibur and the scabbard, the battle with Sir Accolon, the poisoned cloak); “Guinevere and the Round Table” (the wedding of Arthur and Guinevere and establishment of the Order of the Round Table); “Sir Lancelot of the Lake” (a knight who cannot be healed [not here named, but elsewhere is Sir Urry] is brought to Arthur’s court, Merlin introduces a squire named Lancelot and Arthur knights him, he meets Guinevere and they fall in love, Lancelot heals the wounded knight); “Sir Lancelot’s First Quest” (Lancelot rescues Princess Elaine, daughter of King Pelles, from a tower and slays the dragon besieging the town); “Princess Elaine” (conception and birth of Galahad; death of Elaine); “Sir Galahad” (filling of the Siege Perilous and the appearance of the Holy Grail); “Sir Lancelot’s Grail Quest,” “Sir Percival’s Grail Quest,” “Sir Galahad’s Grail Quest,” “Camelot” (the story concludes with a single picture over two pages showing a tournament, held in celebration of the success of the Grail Quest and “the crowning of a new Grail King and the restoring of Britain’s prosperity”).

A-2903 Williams, Meta. Hawthorn-Hair, the Chief of the Giants: A Welsh Tale of King Arthur. Books for the Bairns. London: W. T. Stead / Stead’s Publishing House, [ca. 1910?]. (*) A retelling of “Kilhwch and Olwen.”

A-2904 Williams, Robert, ed. Adventures of King Arthur’s Knights of the Round Table in the Quest of the Holy Greal and on Other Occasions. Gwynedd: Jones (Wales) Publishers, 1986. (*) Welsh and English.

A-2905 Williams, Ursula Moray. Castle Merlin. Nashville, TN: T. Nelson; London: G. Allen and Unwin, 1972. (*) The castle in this novel’s title may be named after birds, not the Arthurian character, but time travel also seems to be involved, so possibly Arthurian. (Information from OCLC WorldCat entry.)

A-2906 Williams-Ellis, Amabel [pseud.], [i.e., Mary A. N. W. Ellis]. “The Ill-Formed Bride.” Fairies and Enchanters: A New Book of Old English Stories. Illus. Wilma Hickson. London and New York: Thomas Nelson and Sons, 1933. 9–20. A retelling of the story of the knight whose life is forfeit if he cannot discover what it is that women want (the same basic story as The Wife of Bath’s Tale by Chaucer). It is set in Arthur’s court; Guenevere sets the knight his task: a quest to learn what women want. It is illustrated with one full-page, full-colour picture of the judgement at court.

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A-2907 Williams-Ellis, Amabel [pseud.], [i.e., Mary A. N. W. Ellis]. “King Arthur and King Cornwall.” Fairies and Enchanters: A New Book of Old English Stories. Illus. Wilma Hickson. London and New York: Thomas Nelson and Sons, 1933. 300–11. Guenevere tells Arthur of a kingdom with a more impressive Round Table. Arthur and four of his knights seek out this kingdom and subdue its magical spirit, which allows them to take as well its magical sword, horn, horse, and the king’s beautiful daughter. The story is illustrated with one full-page, full-colour picture of the encounter with the spirit.

A-2908 Williamson, Robin. “Arthur, the Early Legend.” The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. 52–55. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. 52–55. Robin Williamson, a musician and singer (with “The Incredible String Band” and “The Merry Band”), spent a number of years as a solo performer doing songs and versions of traditional stories, some of which have been recorded; some of the stories that he has performed have been transcribed and printed, as in the collection The Craneskin Bag. “Arthur, the Early Legend” is the complete story of Arthur (from Merlin’s erection of Stonehenge to the Battle of Camlann), briefly retold, based upon the “early” version of the story as found in Geoffrey of Monmouth; it is accompanied by an illustration of a body wrapped in grave clothes lying on a platform, surrounded by men with spears (p. 55). The recorded version can be found on Williamson’s Five Legendary Histories of Britain (Los Angeles: Pig’s Whisker Music, 1985). (See also the entries for “Williamson, Robin” in the Film and Music sections.)

A-2909 Williamson, Robin. “The Birth of Taliesin.” The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. 74–76. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. 74–76. – Celtic Bards, Celtic Druids. Illus. Chris Down [colour plates and borders] and Sarah Lever [B&W drawings]. London: Blandford / Cassell, 1996. 30–31. The Birth of Taliesin” is the traditional story of Ceridwen’s cauldron and Gwalchmai’s accidental obtaining of the wisdom intended for Ceridwen’s son; the story is said to begin in the days of King Arthur, but the discovery of the bag in which the babe Taliesin has been preserved takes place well after Arthur’s time. The recorded version can be found on Williamson’s Five Celtic Tales of Enchantment (Los Angeles: Pig’s Whisker Music, 1985). (See also the entries for “Williamson, Robin” in the Film and Music sections.)

A-2910 Williamson, Robin. The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. This is a collection of Williamson’s retellings of Celtic stories, transcribed from his recordings. Hutcheson’s illustrations are pen-and-ink drawings (partly in silhouette), of battle scenes, individual warriors, etc. The following stories with Arthurian connections appear: “The Wooing of Isolde” (pp. 3–5), accompanied by an image of a person, presumably Tristan, playing a harp (p. 5); “Culhwch and Olwen” (pp. 15–31), accompanied by a picture of a mounted warrior with shield and spears (p. 31); “The Spoils of Annwn” (pp. 40–41), “Vortigern’s Tower” (pp. 50–51), “Arthur, the Early Legend” (pp. 52–55), accompanied by an illustration of a body wrapped in grave clothes lying on a platform, surrounded by men with spears (p. 55); “The Story of the Gododdin” (pp. 56–58), accompanied by an illustration of a standing warrior with spears and shield (p. 58); and “The Birth of Taliesin” (pp. 74–76). The US edition lacks the page of acknowledgements, the Hutcheson illustrations, and the explanation of the title “Craneskin Bag” which appeared near the

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end of the Foreword on p. xii. (See also the entries for “Williamson, Robin” in the Film and Music sections.)

A-2911 Williamson, Robin. “Culhwch and Olwen.” The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. 15–31. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. 15–31. – Celtic Bards, Celtic Druids. Illus. Chris Down [colour plates and borders] and Sarah Lever [B&W drawings]. London: Blandford / Cassell, 1996. 58–69. This is the story of the wooing of Olwen, from the Mabinogion. In The Craneskin Bag, it is accompanied by a picture of a mounted warrior with shield and spears (p. 31). In Celtic Bards, Celtic Druids, it is accompanied by two colour plates, one showing Olwen standing in a landscape of standing stones (p. 62), and one showing the face of Ysbaddaden, with his eyelids propped open (p. 65). The recorded version can be found on Williamson’s Gems of Celtic Story 1 (Chesterfield: Pig’s Whisker Music, 1998). (See also the entries for “Williamson, Robin” in the Film and Music sections.)

A-2912 Williamson, Robin. Five Denials on Merlin’s Grave: A Poem With Annotations. Illus. Janet Williamson. Chesterfield, Derbyshire: Pig’s Whisker Music, 1979. [ii]-[xi]. A poem in free verse, affirming the truth of the “poetic” and “mythic” history of Britain as opposed to merely “historical” ways of knowing. Merlin is mentioned twice, first as the subject of much of the speaker’s youthful reading, and secondly as having turned “in his river grave / where Powsail Burn meets Tweed” at the time when the youthful speaker was reading on the river bank. There are several pen-and-ink drawings to illustrate the poem, primarily of animals, generally in groups of three. The poem was also set to music and issued as a song on the album A Glint at the Kindling by Robin Williamson and the Merry Band (Chicago: Flying Fish Records, 1979), and again on The Merry Band’s Farewell Concert at McCabe’s (Chesterfield: Pig’s Whisker Music, 1997). (See also “Williamson, Robin” in the Music section.)

A-2913 Williamson, Robin. “The Spoils of Annwn.” The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. 40–41. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. 40–41. – Celtic Bards, Celtic Druids. Illus. Chris Down [colour plates and borders] and Sarah Lever [B&W drawings]. London: Blandford / Cassell, 1996. 44–45. This is a retelling of the story of Arthur’s raid on the Otherworld. The recorded version can be found on Williamson’s Five Bardic Mysteries (Los Angeles: Pig’s Whisker Music, 1985). (See also the entries for “Williamson, Robin” in the Film and Music sections.)

A-2914 Williamson, Robin. “The Story of the Gododdin.” The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. 56–58. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. 56–58. This is a retelling of the ancient poem of the Gododdin of Aneirin, in which Arthur’s name is mentioned; the story is accompanied by an illustration of a standing warrior with spears and shield (p. 58). The recorded version can be found on Williamson’s Five Legendary Histories of Britain (Los Angeles: Pig’s Whisker Music, 1985). (See also the entries for “Williamson, Robin” in the Film and Music sections.)

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A-2915 Williamson, Robin. “Vortigern’s Tower.” The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. 50–51. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. 50–51. – “The First Prophecy of Merlin.” Celtic Bards, Celtic Druids. Illus. Chris Down [colour plates and borders] and Sarah Lever [B&W drawings]. London: Blandford / Cassell, 1996. 119–20. This is a retelling of the story of Vortigern’s tower and Merlin’s prophecy of Arthur, based upon Geoffrey of Monmouth. The recorded version can be found on Williamson’s Five Legendary Histories of Britain (Los Angeles: Pig’s Whisker Music, 1985). (See also the entries for “Williamson, Robin” in the Film and Music sections.)

A-2916 Williamson, Robin. “The Wooing of Isolde.” The Craneskin Bag: Celtic Stories and Poems, as Told and Sung by Robin Williamson. Illus. James Hutcheson. Edinburgh: Canongate, 1989. 3–5. Rptd: The Wise and Foolish Tongue: Celtic Stories and Poems, Collected and Told by Robin Williamson. San Francisco: Chronicle Books, 1991. 3–5. The Wooing of Isolde” is a retelling of the Welsh “Ystoria Trystan” in which Arthur intervenes to settle the love triangle by declaring that Mark and Tristan should share Isolde. Mark chooses to have her during that part of the year when the “trees are bare” – however, Isolde points out that there are three trees which never shed their leaves, so she will stay with Tristan perpetually. The story is accompanied by an image of a person playing a harp, presumably Tristan (p. 5). The recorded version can be found on Williamson’s Five Celtic Tales of Enchantment (Los Angeles: Pig’s Whisker Music, 1985). (See also the entries for “Williamson, Robin” in the Film and Music sections.)

Willis, Anthony Armstrong: see Armstrong, Anthony. A-2917 Willis, Connie. To Say Nothing of the Dog. New York: Bantam Books, 1998. This very funny novel involves two time travellers who must try to correct an “incongruity” that could alter history. They spend most of their time in 1888 near Oxford, and various characters quote from popular Victorian poems of the time. Tennyson’s “The Lady of Shalott” is quoted several times, particularly to allow characters to express feelings of love and despair.

A-2918 Wills, W. G. King Arthur. In W. G. Wills: Dramatist and Painter. Ed. Freeman Wills. London: Longmans, 1898. 233–62. Sir Henry Irving commissioned this play and, according to Freeman Wills, paid eight hundred pounds for it. However, it was not staged in Wills’ lifetime, and when Irving intended to put it on, he approached J[oseph] Comyns Carr to revise it, but Carr wrote his own play instead. While we normally would not include in this bibliography a work that had not been published, in this case, Freeman Wills provides excerpts and extensive summaries of the plot. While the plot was supposed to draw on the poems of Tennyson, Wills’ vision of the story is quite different, particularly in the relationship of Arthur and Guenevere. When Arthur discovers, with the prompting of Morgan, the love of Lancelot and Guenevere, Arthur asks Merlin for a boon and is granted it. Arthur no longer remembers who he is, a twist perhaps on the usual episode of Lancelot’s madness. Only when Arthur appears in time to champion her cause before she is burnt at the stake, does he remember who he is and what has happened. He challenges Mordred to single combat, thus leading to the usual ending.

A-2919 Wilmer, Lambert A. “Merlin: A Drama in Three Acts” (Act 1). North American 1 (18 Aug. 1827): 110; “Merlin: A Drama in Three Acts” (Act 2). North American 1 (25

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Aug. 1827): 118; “Merlin: A Drama in Three Acts” (Act 3). North American 1 (1 Sept. 1827): 126. Rptd: Merlin. Ed. Thomas Ollive Mabbott. New York: Scholar’s Facsimiles and Reprints, 1941. A poetic drama with Merlin as a figure of great power. He guards the lives of two lovers when the Furies would separate and doom them. Aside from Merlin as a magician living and studying in a cave, there are no Arthurian characters or situations; the play seems more influenced by The Tempest than by the usual Arthurian texts. The play, however, has another interpretation for those familiar with the life of Edgar A. Poe. As Mabbott, the editor of the 1941 reprint, explains, Wilmer was friends both with Poe and with his brother, William Henry Leonard Poe. E. A. Poe was engaged to Sarah Elmira Royster, and her parents broke up the match. The female character of Wilmer’s play is named Elmira, and the male character, although named Alphonso, represents Poe. The 1941 reprint has “Baltimore 1827” following the title; it also contains “Recollections of Edgar A. Poe.”

A-2920 Wilmot-Buxton, E[thel] M[ary]. Kilhugh and Olwen, and Other Stories from the “Mabinogion.” Illus. H. Radcliffe-Wilson. The World’s Romances. London and Edinburgh: Thomas Nelson and Sons, [1913?] This contains a four-stanza poem, “Taliessin’s Prophecy of the Fate of the Britons,” as a preface, and then the retellings “The Story of Kilhugh and Olwen; or, The Quest of the Seven Champions”; “The Lady of the Fountain”; and “The Dream of Rhonbwy: A Vision of the Last Days of King Arthur.” Eight full-page colour plates.

A-2921 Wilmot-Buxton, E[thel] M[ary]. “The Lady of the Fountain.” Britain Long Ago: Stories from Old English and Celtic Sources. Told Through the Ages. London: George G. Harrap, 1906. 75–91. Rptd: Old Celtic Tales. London: George G. Harrap, 1909. 47–70. The story is divided into three parts: Cynon’s adventures at the fountain, Yvain’s adventures there, and then Yvain’s later adventures with the lion.

A-2922 Wilmot-Buxton, E[thel] M[ary]. “Olger the Dane.” Illus. Evelyn Paul. Britain Long Ago: Stories from Old English and Celtic Sources. Told Through the Ages. London: George G. Harrap, 1906. 105–27. Rptd: Old Celtic Tales. London: George G. Harrap, 1909. 87–116. In Britain Long Ago, this story is accompanied by a full-page B&W illustration of Olger and Morgan; the illustration is signed “Evelyn Paul.” The story is set in France at the time of the Emperor Charles; Olger is one of his champions. Morgan is one of the fairies who bless Olger at his birth; when he grows old he stays with her for two hundred years in Avalon, meeting Arthur, Lancelot, and Tristan. Eventually he returns to help France.

A-2923 Wilmot-Buxton, E[thel] M[ary]. “The Story of King Fortager.” Britain Long Ago: Stories from Old English and Celtic Sources. Told Through the Ages. London: George G. Harrap, 1906. 128–36. Rptd: Old Celtic Tales. London: George G. Harrap, 1909. 117–28. The story of Vortigern’s usurping of the throne. Merlin plays a major part, revealing the dragons, prophesying the future and building Stonehenge.

A-2924 Wilmot-Buxton, E[thel] M[ary]. “The Story of Sir Gawayne and the Green Knight.” Britain Long Ago: Stories from Old English and Celtic Sources. Told Through the Ages. London: George G. Harrap, 1906. 183–202. Rptd: “Sir Gawayne and the Green Knight.” Tales of Early England. All Time Tales. London: George G. Harrap, 1909. 91–117.

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This prose retelling is quite faithful to the medieval poem, although the lady of the house gives Gawain gifts (kerchief, ring, and then the girdle) instead of kisses, and Morgan’s role is diminished.

A-2925 Wilmot-Buxton, E[thel] M[ary]. “The Story of the Quest of the Seven Champions.” Illus. Gertrude Demain Hammond. Britain Long Ago: Stories from Old English and Celtic Sources. Told Through the Ages. London: George G. Harrap, 1906. 48–72. Rptd: “The Quest of the Seven Champions.” Old Celtic Tales. London: George G. Harrap, 1909. 13–46. – “The Seven Champions.” In The Merlin Chronicles. Ed. Mike Ashley.London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 231–47. In Britain Long Ago, the story is accompanied by two full-page B&W illustrations, one of Culhwch and Olwen, and one of Prince Gwyther. This short story is a detailed version of the story of Culhwch’s winning of Olwen; Arthur, Kay, and Merlin play major roles in achieving the impossible tasks.

A-2926 Wilmot-Buxton, E[thel] M[ary]. “The Tale of Sir Cleges.” Britain Long Ago: Stories from Old English and Celtic Sources. Told Through the Ages. London: George G. Harrap, 1906. 168–71. Rptd: Tales of Early England. All Time Tales. London: George G. Harrap, 1909. 72–75. A brief retelling of the Cleges story, focusing on the ill-treatment he receives from the porter, usher and steward of Uther’s castle, and the way he outwits them to teach them a “lesson in charity.”

A-2927 Wilmot-Buxton, E[thel] M[ary]. “The Tale of Taliesin.” Britain Long Ago: Stories from Old English and Celtic Sources. Told Through the Ages. London: George G. Harrap, 1906. 97–104. This story retells the story of Ceridwen’s cauldron and her pursuit of the boy who accidentally receives the powers she intended for her son. The story also spends some time on Taliesin’s attempts to make the evil king free Elphin.

A-2928 Wilmot-Buxton, E[thel] M[ary]. Tales of Early England. All-Time Tales. London: George G. Harrap, 1909. Selections from her larger collection, Britain Long Ago, including retellings of the tales of Sir Cleges, Sir Eglamour, Gawain and the Green Knight, Bevis of Hampton, and Sir Isumbras.

A-2929 Wilner, Eleanor. “Minor Epic.” Sarah’s Choice. Phoenix Poets. Chicago and London: University of Chicago Press, 1989. 13–14. Rptd: Reversing the Spell; New and Selected Poems. Port Townsend, WA: Copper Canyon Press, 1998. 160–61. A poem, in 50 lines of free verse, on the occasion of the raising of Henry VIII’s ship, the Mary Rose; first line: “The rock where the sword was stuck.” The speaker reflects that raising the ship is, ultimately, as futile as seeking Excalibur at the bottom of that lake which took it “to its heart,” for the “dream” is now “vacant.” “[T]hey will never find [it] / in the mud and murk and weeds / down there, its silver blade impaled / in the lady, neatly nailed / to the bottom of the lake.”

A-2930 Wilson, Alan, and A. T. Blackett. Arthur, the War King, Founder of Britain, and His People in the Dark Ages. Cardiff: M. T. Byrd Co., 1981. This novel is historical fiction, by the owners of St Peter’s Super Montem Church, who have been very vocal in claiming it as the premier Arthurian site (burial place of “Arthur II”). Their concept of the historical Arthur means that there are differences from the usual stories. The book begins with the marriage of Arthur’s parents, who are not Uther and Igerne in this version. Arthur is sent

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to be fostered and educated by Merlin, an acclaimed war-leader. The numerous battles against the Saxons, the kings of the north, and others are detailed as Arthur unites Britain under his rule; the last couple of chapters describe Arthur’s various encounters with pompous and manipulative clergy, whom he invariably outwits. The book ends rather abruptly; this is supposed to be only the first volume, though there is no sign that a novel of the end of Arthur’s reign was ever published. The same authors have a number of non-fiction publications.

A-2931 Wilson, Barbara Ker. Legends of the Round Table. Illus. Maria Calati. London: Paul Hamlyn, 1966. This retelling is adapted from the Vulgate Lancelot, and like the medieval text, it has been divided into five sections. The first section, “The Coming of the Holy Grail,” tells the story of Joseph of Arimathea who brings the Grail to England. The second section, “Merlin the Good Enchanter,” begins with Merlin’s birth and continues with stories of Vortigern’s tower, the creation of the Round Table, Arthur’s birth, and the sword in the stone; it ends when Merlin is entrapped by Vivian shortly after Arthur’s marriage. The third part, “Launcelot of the Lake,” begins with his childhood with Vivian and recounts his various adventures as Arthur’s knight. The fourth part retells “The Quest of the Holy Grail,” beginning with Galahad’s conception. The last section, “The Departing of Arthur,” tells of the dissolution of the court due to the love triangle. The illustrations are richly coloured; there are ten full-page and thirty-eight partial-page illustrations.

A-2932 Wilson, Heilmann. “Merlin and Vivien.” The Century 49 (Dec. 1894): 320. A poem of one quatrain that compares Merlin to the oak and Vivien to “gracious Spring.”

A-2933 Wilson, John Grosvenor. “Echoes of Eld.” Lyrics of Life. New York: Caxton Book Concer, 1886. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A sequence of Arthurian poems: “Ballad of Sir Launcelot” (Launcelot on the Grail quest thinking of Guinevere); “The Death of Guinevere” (Guinevere’s repentance at the hour of her death); “Excalibur” (Arthur as Christian knight is granted the sword); “Isolt at the Tomb of Tristram” (Isolt of Ireland mourns her lover and recounts Mark’s treachery); “Morgain” (an non-traditional tale of her marriage); “Sir Boris” (a knight seduced away from his life and true love); and “Sir Palamides” (the knight and his love for Isolt). (We have seen these poems only as reprinted.)

A-2934 Wilson, Katharine M[argaret]. The Book of Knights, Adapted and Translated from Malory’s “Le Morte d’Arthur.” Illus. T[homas] H[eath] Robinson. 2 vols. Kingfisher Books 4th ser. D2. London: Blackie and Sons, 1952. (*) A retelling of episodes from Malory for children, with illustrations (Gaines, Item C58). (Information from Gaines.)

A-2935 Wilson, Peter Lamborn. “Glatisant and Grail: An Arthurian Fragment.” In At the Table of the Grail: Magic and the Use of Imagination. Ed. John Matthews. London: Routledge; Boston, MA: Kegan Paul, 1984. 219–42. The first two pages are an explanation of sources and the rest are the story itself. While this story of Palamydes is based on Malory, Wilson gives “the ‘Saracen’ point of view” (221). The story begins with the Grail knights, who meet Palamydes in a forest. He tells them his story, which includes some history of the Questing Beast (Glatisant) and Arthur’s encounter with it, and Palamydes’ own pursuit of it. He represents himself as having two loves, Iseult and Glatisant, but the quest for Glatisant is like the Grail quest, and both are described in alchemical terms. Note that this is the only short story in the collection; the rest are essays.

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A-2936 Wilson, Thaddeus Howard. Launcelot and Guinevere Cycle. Quest Everlasting 3. Los Angeles: House-Warven, 1950. (*) Poems.

A-2937 Winder, Blanche. Stories of King Arthur. Illus. Harry G. Theaker. The Prince Charming Colour Books for Children. London: Ward, Lock and Co., [1925]. Rptd: King Arthur and his Knights. Illus. Harry G. Theaker. London: Ward, Lock and Co., 1935. – Without Winder’s name: Chicago: Goldsmith Publishing Co., [1935]. – Again, without Winder’s name: Illus. Mary Royt. Chicago: M. A. Donohue and Co., n.d. – Airmont Classics. New York: Airmont, 1968. Winder draws on various sources: Geoffrey of Monmouth, Malory, the Mabinogion and Tennyson; this retelling, then, covers a great many Arthurian adventures. The ending of the story is notable for its lack of detail; the love of Lancelot and Guenevere and the usual villainy of Mordred are absent here. The king is wounded in an anonymous battle against an anonymous enemy; old age more than treachery seems to cause his end. Merlin’s beginning is also made more appropriate for children; his father is a bad fairy-man. The first edition was illustrated with forty-eight colour plates by Theaker; later reprints used fewer illustrations. The Theaker illustrations were replaced in the Donohue edition with four plates by Mary Royt; the Airmont Classics edition has a series of line drawings (artist not identified).

A-2938 The Winds of Truth. 5th edn. n.p.: Lodge of the Silver Leaf of the White Brotherhood, 1956. (*) A series of psychic communications, including some related to King Arthur.

A-2939 Winn, O. Howard. “Merlin.” The Remington Review 2.1 (Apr. 1974): 24. Only the title of this poem is explicitly Arthurian, but it suggests that the speaker is in fact Merlin. The speaker concentrates on a flower, imagining a summer wealth of flowers “growing out over all / my existence in this wintering / world.”

A-2940 Winter-Damon, T. “Echoes of the One Sword.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 107–109. This poem is divided into seven parts and reflects on the different traditions associated with Excalibur / Caliburn, particularly its source.

A-2941 Winters, Yvor. “Sir Gawayne and the Green Knight.” New Republic 91 (2 June 1937): 98 and 104–105. Rptd: “Sir Gawaine and the Green Knight.” In his Poems. Los Altos, CA: Gyroscope Press, 1940. 49. – In his The Giant Weapon. New York: New Directions, 1943. n.p. [24]-[25]. – In his Collected Poems. New York: A. Swallow, 1952. 113–14. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 275–77. – In The Voice that is Great Within Us: American Poetry of the Twentieth Century. Ed. Hayden Carruth. A Bantam Classic. Toronto, New York, and London: Bantam Books, 1970. 228–29. – And in many other anthologies. A poem of nine quatrains (originally eight), in which Gawain retells in outline the story of Sir

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Gawain and the Green Knight, focusing on the greenness of the knight (and describing the lady in vegetation terms as well). The imagery of growth is emphasized throughout; first line: “Reptilian green the wrinkled throat.” For the original publication, editors asked for clarification, so there is included a letter by Winters describing his approach to the story as vegetation myth. He also comments that his inspiration came from a version of the story by Ernest Rhys which he was reading to his child. In the 1940 Poems, Winters includes a note ([59]) indicating that the poem “reresents the confl[i]ct between two aspects of human nature – the conscious, or intelligible[,] and the sub-human.” The poem was revised for the 1940 Poems, with some words changed and with an extra stanza inserted between the original stanzas five and six; the added stanza emphasizes the speaker’s identity and his resistance to the lady’s temptations.

A-2942 Winterson, Jeanette. Oranges are Not the Only Fruit. London and Boston, MA: Pandora Press, 1985. A novel about a young woman growing up, coming to terms with her homosexuality in a very evangelical community. Winterson uses many allusions to literature; the end of the novel in particular contains a series of dreams with imagery of Perceval and the Grail Quest.

A-2943 Winterson, Jeanette. The Passion. London: Pandora Press, 1987. Arthurian allusions are less prominent in this sequel to Oranges are Not the Only Fruit. The two main characters are Henri and Villanelle; Villanelle’s lover’s husband has, supposedly, maps locating the Grail and goes on a Grail quest. We are told nothing of this quest, but near the end of the novel, Henri, in an insane asylum, equates the nature of passion and the Grail, and thinks of Perceval’s character and success. The novel is set at the time of Napoleon.

A-2944 Winterson, Jeanette. The Power Book. London: Jonathan Cape, 2000. This post-modern novel has one character creating stories for another; in the chapter called “Search,” the story told is that of Lancelot and Guenevere, beginning with Lancelot’s breaking into her room when she has been abducted by Meleagaunt, and referring to various instances where he rescues her from burning. The chapter ends with their last meetings at the convent and her death. The beginning of the following chapter puts these stories in the context of other pairs of “great and ruinous lovers” that includes Tristan and Iseult.

A-2945 Wisniewski, Kay Newburger. “Mordred.” Ore 44 ([1992?]): 33. The title of this four-line poem is the only explicitly Arthurian allusion; the poem reflects on innocence and lust.

A-2946 Wisniewski, Kay Newburger. “Percivale.” In A Round Table of Contemporary Arthurian Poetry. Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 12. A five-stanza poem describing Percivale in terms of colours; the last stanza pictures Percivale in the forest on his quest.

A-2947 Witer, M. A. “Sanc Grail.” Ave Maria 34 (5 Dec. 1931): 299. This poem of six quatrains imagines the scene in Camelot when the Grail appears; it also reflects on the origins of the Grail in Christ’s life and crucifixion.

A-2948 “Wizard of Alderley Edge.” In A Dictionary of British Folk-Tales in the English Language, Incorporating the F. J. Norton Collection. Comp. Katharine M[ary] Briggs. 2 vols. in 4. London: Routledge and Kegan Paul, 1970–1971. B.2: 398–99. A summary of a traditional folktale: a farmer on his way past Alderley Edge to sell a horse at market encounters an old man who predicts that he will fail to sell the horse. As the farmer is returning home (with his horse), he again encounters the old wizard, who shows him the sleepers

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in a cave, and their horses, to the number of which the farmer’s horse is to be added. Though unnamed here, the wizard associated with Alderley Edge is usually Merlin.

A-2949 Wodehouse, Sir P[elham] G[renville]. “Sir Agravaine: A Tale of King Arthur’s Round Table.” Illus. Milo Winter. Collier’s: The National Weekly 49 (29 June 1912): 18–19; 28–29. Rptd: Illus. “Esmond” [i.e., “Mrs Clement Esmond,” a.k.a. Ethel Paxson?]. Pearson’s Magazine 16 (Dec. 1912): 580–89. – “Sir Agravaine: A Blithesome and Knightly Tale, Throwing New Light upon the Mystery of Affinities.” Illus. J. H. Hammon. The American home Journal Section of the Chicago Evening American 7 July 1923: 6–7; 16. – The Man Upstairs and Other Stories. London: Methuen, 1914. 231–45. – Sir Agravaine. Illus. Rodger McPhail. Poole, Dorset: Blandford Press, 1984. – The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 287–300. A humorous and satirical short story, which purports to be an account, found in an old manuscript, of the adventures of one of Arthur’s knights, Sir Agravaine the Dolorous, a terrible misfit in a chivalric world of strong and handsome men. Various Arthurian characters – Arthur, Lancelot, Galahad, and others – make brief appearances, but the principal characters (Agravaine, Yvonne, Earl Dorm of the Hills) are invented by Wodehouse. Milo Winter’s illustrations in Collier’s appear one on p. 18 and two on p. 19 (where there are also two decorative helmets in the corners). Hammon illustrates the story with one pen-and-ink illustration per page: 1) the king at feast, he and Agravaine listen to Yvonne; 2) Sir Agravaine departs, as Yvonne encourages him from the door; 3) Agravaine, in armour, speaks with the wise man. The illustrations by Rodger McPhail in the 1984 picture-book version are clever and witty, and nearly as much fun as the story itself. The collection The Man Upstairs and Other Stories (including the story of “Sir Agravaine”) has twice been produced as an audiobook: as read by Robin Browne (Oxford: Isis Audio Books, 1992 [IAB 92042], unabridged, on eight cassettes [ca. 12 hours]); as read by Frederick Davidson (Ashland, OR: Blackstone Audiobooks, 1997, on seven cassettes [10.5 hours]).

A-2950 Wolf, Joan. Born of the Sun. New York: New American Library, 1989. The novel takes place about eighty years after the end of Arthur’s reign, but the conflict between Britons and Saxons continues, so there are references to events from Arthur’s day, particularly the battle of Badon. The main characters are a British princess, Niniane, and a Saxon prince, Ceawlin, who in particular is compared to Arthur.

A-2951 Wolf, Joan. The Edge of Light. New York: NAL Books, 1990. In this, the third novel of a trilogy about Dark Age England, Wolf ’s protagonist is Alfred the Great. The novel begins when he is a child, returning with his father from a pilgrimage to Rome. It ends with his successful defeat of Guthrum the Dane in 878. Alfred’s unconventional wife is also a major character. There are a couple of brief references to Cerdic as an ancestor, but no Arthurian content. However, in her Afterword, Wolf compares Alfred with Arthur, “for Alfred holds in real history the place which romance gives to Arthur . . . one might even say that Alfred is Arthur reincarnated.” In light of such comments, Alfred’s battles against the Danish invaders, particularly his concern for the welfare of his kingdom and his Christian determination to refuse to submit to pagan opponents, do resemble the common Arthurian motif of Arthur’s resistance against the Saxons. The other two novels in the trilogy, The Road to Avalon and Born of the Sun, have more explicit Arthurian content.

A-2952 Wolf, Joan. The Road to Avalon. New York: New American Library, 1988. This romantic rewriting of Arthur’s life alters a number of key relationships. Merlin is Igraine’s and Morgan’s father; Morgan is much younger than Igraine, a year younger than Arthur. Arthur

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was sent with a serving woman to be raised; when Merlin retrieves him at the beginning of the novel, Arthur has obviously been neglected and abused. These alterations allow Wolf to focus on the love of Morgan and Arthur, which remains a strong, constructive force throughout their lives, despite its secret and forbidden nature, and despite Arthur’s marriage.

A-2953 Wolfe, Amber. The Arthurian Quest: Living the Legends of Camelot. Llewellyn’s Celtic Wisdom Series. St Paul, MN: Llewellyn, 1996. A New Age book on spirituality drawing inspiration and models from Arthurian stories. Wolfe includes her own retellings of several medieval texts, such as The Knight of the Cart, the story of Tristan and Iseult, Sir Gawain and the Green Knight and the story of the sword in the stone. Sections often begin with poems written by Wolfe, many with allusions to Arthurian characters. Meditation exercises also place the reader into Arthurian settings and episodes.

A-2954 Wolfe, Gene. Castleview. New York: T. Doherty Associates, 1990. Morgan is a key character in this fantasy novel that takes place in twentieth-century Illinois.

A-2955 Wood, Robert S. Stories of King Arthur’s Knights. Illus. Brinsley Le Fanu. 2 vols. Books for the Bairns 43 and 43A. London: Stead’s Bairns’ Library, [after 1899]. (*) A retelling of Malory for children (Gaines, Item C9.b). This is based upon an earlier version by W. T. Stead (see the entry for “Stead, William Thomas”). (Information from Gaines.)

A-2956 Wood, Robert S. Wonders of the Round Table: Some Stories of King Arthur’s Knights, Arranged for School and Home. London: W. T. Stead / Stead’s Publishing House, n.d. (*) A retelling of episodes from Malory. (Information from OCLC WorldCat.)

A-2957 Woodley, George. Cornubia: A Poem in Five Cantos. Truro: Mitchell and Co., 1819. Rptd: Inside Merlin’s Cave: A Cornish Arthurian Reader. Ed. Amy Hale, Alan M. Kent, and Tim Saunders. London: Francis Boutle Publishers, 2000. 81–82. The poet associates Arthur, Merlin, and Mordred with the area around Tintagel in this long poem describing Cornwall.

Woodrich, Mary Neville: see Neville, Mary. A-2958 Woodward, Sean. “The Perilous Chapel.” Pendragon 16.2 (Spring 1983): n.p. No Arthurian characters are explicitly mentioned, but the poem depends on the story of the Grail quest and Lancelot’s encounter at the chapel. The poem cautions that “there will be no glory,” only “the pain” of the search for the chapel and for self-knowledge.

Woolf, Wendy: see Lydersen, Pat. A-2959 Woolley, Persia. Child of the Northern Spring. New York: Poseidon Press, 1987. The first in a trilogy of novels that gives the Arthurian story from Guinevere’s perspective. This novel is concerned with Guinevere’s life before Arthur and ends shortly after their marriage. Events that Guinevere has not witnessed, like Arthur’s fostering and rise to power, are told to her by Bedivere.

A-2960 Woolley, Persia. Queen of the Summer Stars. New York: Poseidon Press, 1990. This is the second in a trilogy begun by Child of the Northern Spring and marks the first appearance of Lancelot, though the love affair has not begun by the end of the book. Morgan becomes more open in her enmity for Guinevere, arranging various incidents to discredit the queen or to

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try to overthrow Arthur (Accolon is her ally in this scheme) after Guinevere’s kidnapping. Various other stories are also recounted to Guinevere, such as Tristan’s affair with Iseult and Morgause’s deception of Arthur that leads to Mordred’s conception.

A-2961 Woolley, Persia. Guinevere: The Legend in Autumn. New York: Poseidon Press, 1991. This novel ends Woolley’s trilogy. She begins it with Guinevere waiting for the morning to come when she is to be burnt at the stake; most of the novel is thus set up as her recollections of the past (including the Grail quest), with her comments in italics periodically. Lancelot rescues her, of course, and so the last chapters are the end of Arthur’s reign and Guinevere’s comments on her life in a convent. Morgan and Mordred are the villains.

A-2962 Wordsworth, William. “Artegal and Elidure.” The Miscellaneous Poems in Four Volumes. London; Longman, Hurst, Rees, Orme, and Brown, 1820. 1: 265–78. Rptd: The Poetical Works of William Wordsworth. Edited from the Manuscripts with Textual and Critical Notes. Ed. E. de Selincourt (vols. 3–5 are ed. E. de Selincourt and Helen Darbishire). 2nd edn. 5 vols. Oxford: Clarendon Press, 1952–1967. 2: 14–22. Nine stanzas introduce the main poem about Artegal, summarizing stories from Geoffrey of Monmouth. The seventh stanza (ll. 49–56) mentions Merlin and Arthur and the hope of Arthur’s return.

A-2963 Wordsworth, William. “The Egyptian Maid; or, The Romance of the Water Lily.” Yarrow Revisited, and Other Poems. London: Longman, Rees, Orme, Brown, Green and Longman [etc.], 1835. 47–68. Rptd: The Poems. Ed. John O. Hayden. 2 vols. Penguin English Poets. Harmondsworth: Penguin, 1977. 2: 652–63. – “Arthur, the Greatest King”: An Anthology of Modern Arthurian Poetry. Ed. Alan Lupack. Fwd Raymond H. Thompson. Garland Reference Library of the Humanities 830. New York: Garland Publishing, 1988. 3–14. A narrative poem, in 59 six-line and 8 four-line stanzas; first line: “While Merlin paced the Cornish sands.” The Egyptian Maid arrives at Caerleon, much as did Elaine of Astolat, in a barge (named the “Water Lily”), but, here, Merlin has each of the knights touch her hand; at Galahad’s touch she is revived.

A-2964 Wordsworth, William. “Miscellaneous Sonnets No. 23 (With how sad steps, O Moon, thou climb’st the sky).” The Poetical Works of William Wordsworth, Edited from the Manuscripts with Textual and Critical Notes. Ed. E. de Selincourt (vols. 3–5 are ed. E. de Selincourt and Helen Darbishire). 2nd edn. 5 vols. Oxford: Clarendon Press, 1952–1967. 3: 31–32. First published in 1807. The poet wishes for the powers of Merlin.

A-2965 Wordsworth, William. “Struggle of the Britons against the Barbarians.” Ecclesiastical Sonnets, Part 1, No. 10. The Ecclesiastical Sonnets of William Wordsworth: A Critical Edition. Ed. Abbie Findlay Potts. New Haven, CT: Yale University Press, 1924. 124. Rptd: The Poetical Works of William Wordsworth, Edited from the Manuscripts with Textual and Critical Notes. Ed. E. de Selincourt (vols. 3–5 are ed. E. de Selincourt and Helen Darbishire). 2nd edn. 5 vols. Oxford: Clarendon Press, 1952–1967. 3: 346. First published in 1822. This Petrarchan sonnet celebrates the deeds of those Britons, like Arthur and Urien, who fought the Saxons. There is a reference to Arthur’s carrying of the image of the Virgin Mary on his shield.

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A-2966 Wray, Kit. King Arthur: A Hidden Picture Story. Illus. Kit Wray. Honesdale, PA: Boyds Mills Press, 1992. This book retells a variety of common episodes from the legend, summarizing many events quite briefly. Each section of text, however, is accompanied by large, detailed, B&W illustrations, and under the illustrations are lists of items (not necessarily Arthurian) hidden in the pictures. An answer key is provided at the back of the book.

A-2967 Wright, Christopher. The Merlins. Eastbourne: Victory Press, 1975. The title refers to a group of four children. Three of them live in The Merlin Guesthouse across from Merlin Park; the fourth lives on an adjacent street called King Arthur’s Rise. The children call themselves the Four Merlins and build a model boat called The Pride of Avalon. While they wonder why parts of their town use Arthurian names, no explanations are given. The main plot concerns their attempts to stop two youths from shooting ducks on the canal; another important plot element is their acceptance of Jesus.

A-2968 Wright, Katrina. Pendragon. Newcastle-under-Lyme: Anecdotes, 1999. Rptd: Issued in two volumes for large print edn.: Pendragon: The Wizard’s Daughter and Pendragon: The Hand of Glory. Linford Romance Library. Leicester: Linford, 2000. This romance novel features a young woman in Elizabethan England whose father was an astrologer and wizard; she is named Nimue and also has some magical abilities. The first half of the novel (later reprinted as The Wizard’s Daughter) begins after her father’s death as Nimue travels to Wales and meets the man who becomes her husband, Merlin Pendragon. The Arthurian precedents of the names are discussed, particularly the story of Nimue’s imprisoning of Merlin. In the second half (later reprinted as The Hand of Glory), Nimue is called back to England by Queen Elizabeth I in order to fight against an evil magical force. Nimue’s role as advisor and helper to the queen is compared to Merlin’s role in Arthur’s time. Nimue spends part of her time with William Shakespeare.

Wright, S. Fowler: see Fowler Wright, S. A-2969 Wurdemann, Audrey. “Merlin.” The Bookman (New York) 66 (Dec. 1927): 371. (*) A poem.

A-2970 Wurts, Janny. “That Way Lies Camelot.” In Grails: Quests, Visitations and Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. Atlanta, GA: Unnameable Press, 1992. Rptd: Grails: Quests of the Dawn. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: ROC, 1994. 264–88. – That Way Lies Camelot. Cover and frontispiece by Janny Wurts. New York and London: HarperCollins, 1994. 255–75. The protagonist of this story, Lynn, is the aunt of a twelve-year-old boy, Sandy, who is dying of cancer. Sandy is enthralled by the Arthurian legends; he has posters on the walls of his room for a “Camelot” stage production, and his dog is named Grail. When a wish foundation asks him to name his greatest wish, he indicates a desire to visit Camelot. Subsequently, Lynn, while trying to recapture the runaway dog Grail in the woods, finds a leprechaun; since he has to grant her a wish, she asks for Sandy’s wish to be fulfilled. Sandy is transported into an Arthurian world to take the place of the young Perceval riding towards Camelot; Perceval, meanwhile, in Sandy’s dying body, gets his wish to meet angels.

A-2971 Yarbro, Chelsea Quinn. “Night Mare.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 166–99. Young Mordred (here the son of Annce, whose husband is Uriens) is determined to find out who

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his real father is. The “night mare” is a Wish Horse that appears when offerings are left at the Mother Stone; the phrasing of Mordred’s wish suggests that his desire to be declared Arthur’s son will have tragic results.

A-2972 Yeames, James (Rev.). Sir Gawain and the Green Knight: Play in Five Acts. Detroit: Knights of King Arthur, 1911. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A play designed for young people to perform, based on Sir Gawain and the Green Knight. Yeames has made some additions to the usual story, like a scene at Hallowe’en. (We have seen the play only as reprinted.)

A-2973 Yeames, James (Rev.). The Young Knight; or, How Gareth Won his Spurs: A Play Founded upon Tennyson’s “Gareth and Lynette” in the “Idylls of the King.” [Potsdam, NY]: Masseck, n.d. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . This play is based on the poem by Tennyson with some of the lines close to his; there are, however, various additions, such as riddles asked of Kay.

A-2974 Yeatman, Linda. King Arthur and the Knights of the Round Table. Illus. Llewellyn Thomas. London: Heinemann, 1991. A retelling incorporating many major stories from the legend. The Author’s Note states, “I have used [Malory’s] book, Morte d’Arthur as my main source,” but supplemented it from other sources for the stories of “Gawain and the Green Knight, Sir Gawain’s Marriage and part of Sir Percival’s adventures. . . . My version of the story of Tristan and the Fair Iseult, is drawn from several sources” (172). There are nineteen full-page colour illustrations, and pen-and-ink headand tailpieces to the chapters.

A-2975 Yeats, W[illiam] B[utler]. “Time and the Witch Vivien.” The Wanderings of Oisin. London: Paul, Trench, and Co., 1889. 53–57. The witch of the title is the woman who has imprisoned Merlin; despite that display of power, she is no match for Time.

A-2976 Yeats, W[illiam] B[utler]. “Under the Moon.” In the Seven Woods, Being Poems Chiefly of the Irish Heroic Age. Dundrum: Dun Emer Press; New York: Macmillan, 1903. 21. Rptd: [Shannon]: [T. M. MacGlinchey], 1970. The speaker declares that it is a burden too great to be borne to dream of Brycelinde, Avalon, or Joyous Isle, of Lancelot crazed, or of women, like Branwen and Guinevere, in dismay.

Yeoman, John: see Hartas, Leo, and John Yeoman. Yermakov, Nicholas: see Hawke, Simon. A-2977 “The Ylle Cutt Mantell: A Romaunt of the Tyme of Gud Kynge Arthur, Done into Modern English from an Authentic Version.” The Democratic Review. ns 14.71 (May 1844): 465–76. This rhyming narrative poem is a version of the chastity test story: a stranger comes to court with a mantle made by the fairy Morgue; when the women try it on, it does not fit them because of their infidelity. Only Coralie, a poor scorned Norman girl, is proven to be virtuous; her lover, who had believed lies about her, is reconciled with her.

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A-2978 Yolen, Jane. The Acorn Quest. Illus. Susanna Natti. New York: Thomas Y. Crowell, 1981. Five animal “knights” go on a quest to save Woodland in this children’s story. While no Arthurian names are used, the golden acorn that is the object of the quest resembles the Grail; its appearance, in a giant paw in the middle of a lake, parallels Excalibur’s origin.

A-2979 Yolen, Jane. “Amesbury Song.” Mythlore 50 (Summer 1987): 63. Rptd: “Amesbury Song.” Music by Adam Stemple. In Camelot. Ed. Jane Yolen. Illus. Winslow Pels. New York: Philomel Books, 1995. 176–78. A song sung by Guenevere in the convent that alludes to her marriage, her childlessness, her affair, and her flight to Amesbury. The version in the anthology includes music.

A-2980 Yolen, Jane, ed. Camelot. Illus. Winslow Pels. New York: Philomel Books, 1995. This anthology of short stories (and one song) includes ten full-page, full-colour illustrations. (For details of individual works, see Greg Costikyan, “Our Hour of Need”; Anne E[liot] Crompton, “Excalibur”; Kathleen Kudlinski, “The Changing of the Shrew”; James D. Macdonald and Debra Doyle, “Holly and Ivy”; Anne McCaffrey, “Black Horses for a King”; Diana L. Paxson, “Wild Man”; Lynne Pledger, “Gwenhwyfar”; Terry Pratchett, “Once and Future”; Nancy Springer, “The Raven”; Mark W. Tiedemann, “All the Iron of Heaven”; and Jane Yolen and Adam Stemple, “Amesbury Song.”)

A-2981 Yolen, Jane. The Dragon’s Boy. New York: Harper and Row, 1990. This children’s novel is an expanded version of Yolen’s short story of the same name that appeared in The Magazine of Fantasy and Science Fiction in 1985 and that was reprinted in Yolen’s collection of short stories, Merlin’s Booke, in 1986. The young Artos lives with Sir Ector, Lady Marian, their son Cai, and their other fosterlings Bedvere and Lancot; he discovers a dragon in a cave one day and becomes the dragon’s pupil. The jewel the dragon gives him allows him to commission a sword to be made for him (the smith calls it a “sword from a stone”). Eventually he discovers that the dragon is really Old Linn, the Druid apothecary.

A-2982 Yolen, Jane. “Dream Reader.” Merlin’s Booke. Illus. Thomas Canty. New York: Steel Dragon Press, 1985. 38–59. Rptd: The Merlin Chronicles. Ed. Mike Ashley. London: Raven Books / Robinson Publishing; New York: Carroll and Graf, 1995. 16–35. – The Ultimate Dragon. Ed. Byron Preiss, John Betancourt, and Keith R. A. DeCandido. Illus. Lars Hokanson and Frances Cichetti. New York: Dell Publishing, 1995. 101–25. In this short story, Merlin as a young boy falls in with a magician named Ambrosius and a bard named Viviane. While with them, he dreams of Vortigern’s tower and tells the dream before the duke and his Saxon wife-to-be. Yolen later used this story as part of Hobby.

A-2983 Yolen, Jane. Hobby. The Young Merlin Trilogy 2. Orlando: Harcourt Brace, 1996. Rptd: New York, Toronto, London, Auckland, Sydney: Apple Fantasy / Scholastic, 1998. This sequel to Passager concerns Merlin’s adventures when he is on his own again. His prophetic dreams are more pronounced as he falls in with a thief, and then a magician (Ambrosius, with an assistant named Viviane). The “hobby” of the title refers to a type of falcon. Note on verso of title-page: “This book is loosely based on the short story ‘Dream Reader’ from the collection Merlin’s Booke, but has been significantly expanded, refocused, and changed.”

A-2984 Yolen, Jane. “In the Whitethorn Wood.” The Whitethorn Wood and Other Magicks. Illus. Donna Gordon. Intro. John Crowley. Ottawa: Triskell Press, 1984. 15–19. A chapbook, with several poems and stories by Yolen, “[p]ublished to coincide with the Tenth

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World Fantasy Convention in Ottawa, Canada, October, 1984.” Edition limited to 250 copies, 200 of which, signed by the author and numbered, were for general sale. Merlin, trapped in the tree, asks questions and receives responses in a female voice which he eventually recognizes as that of Nimue. (This is not the same story as Yolen’s “Meditation in a Whitethorn Tree.”)

A-2985 Yolen, Jane. “Meditation in a Whitethorn Tree.” In Invitation to Camelot. Ed. Parke Godwin. New York: Ace Books, 1988. 223–42. Entrapped in a tree, Merlin contemplates his relationships with three women: Igraine, Morgaine, and Gwenhwyfar. Niniane is also mentioned, though Merlin does not see her imprisonment of him as a betrayal.

A-2986 Yolen, Jane. Merlin. The Young Merlin Trilogy 3. Orlando: Harcourt Brace, 1997. Rptd: New York, Toronto, London, Auckland, Sydney: Apple Fantasy / Scholastic, 1998. The continuation of Passager and Hobby (and conclusion of the trilogy) tells the story of Merlin’s journey to, and stay with, the wild folk. He dreams more often now, and Yolen incorporates stories similar to the lessons of T. H. White, as Merlin experiences the life of fish, ants, and dogs. The Wild Folk accept him as their dreamer, which leads to his imprisonment. He escapes only with the help of a young boy, Cub or Artus. Note that the “merlin” of the title refers to a small British falcon.

A-2987 Yolen, Jane. Merlin and the Dragons. Illus. Li Ming. New York: Cobblehill Books / Dutton Children’s Books / Penguin Books / Lightyear Entertainment, 1995. Arthur, the boy king, is troubled by dreams and by doubts of his right to the crown; he visits Merlin, who tells him stories of a young and apparently fatherless boy named Emrys, of his encounter with King Vortigern (of Vortigern’s tower and the battle of the two dragons in the underground lake below it), and of King Uther – thus revealing to Arthur that he is Uther’s son and the legitimate heir to the throne, and relieving his doubts. Arthur in the end comes to recognize that Emrys is Merlin; he declares that he will no longer have disturbing dreams, but Merlin tells him that great men have great dreams. This story is also available as an audio cassette and compact disk [New York: Lightyear Records, 1991] and on video [New York: Lightyear Video, 1991]; both feature Kevin Kline as narrator.

A-2988 Yolen, Jane. Merlin’s Booke. Illus. Thomas Canty. New York: Steel Dragon Press, 1985. The thirteen short stories and poems of this collection are connected by the character of Merlin, and although his characterization differs in each, the selections are organized to move from the earlier parts of his life to the later parts. Quotations from medieval texts precede each selection. Some selections were previously published; some were later expanded into novels (see, for example, the Young Merlin series). The collection includes “The Ballad of the Mage’s Birth” (poem), “The Confession of Brother Blaise” (story), “The Wild Child” (story), “Dream Reader” (story), “The Annunciation” (poem), “The Gwynhfar” (story), “The Dragon’s Boy” (story), “The Sword and the Stone” (story), “Merlin at Stonehenge” (poem), “Evian Steel” (story), “In the Whitethorn Wood” (story), “Epitaph” (story), and “L’Envoi” (poem). Although Yolen was reported to have planned collections based on other Arthurian characters, these have not been published.

A-2989 Yolen, Jane. “Old Merlin Dancing on the Sands of Time.” In Merlin. Ed. Martin H. Greenberg. New York: DAW, 1999. 3–4. This poem reflects on Merlin’s life; no characters, places or items are mentioned by name, but references to episodes like the sword in the stone and Merlin’s imprisonment make the Arthurian connection clear.

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A-2990 Yolen, Jane. Passager. The Young Merlin Trilogy 1. Orlando: Harcourt Brace, 1996. Rptd: New York, Toronto, London, Auckland, Sydney: Apple Fantasy / Scholastic, 1998. This children’s story is the first part of a trilogy and has been developed from “The Wild Child” that appeared in Merlin’s Booke. In this part of the story, the eight-year-old Merlin is left in the forest to survive on his own (learning from the animals and dreaming portentious dreams), until he is found and “tamed” by a falconer, Master Robin (the title of this book refers to a young falcon caught in the wild and trained, thus playing on Merlin’s name).

A-2991 Yolen, Jane. “The Question of the Sword.” In Excalibur. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E. Kramer. New York: Warner Books, 1995. 1–2. This short poem about Excalibur lists a number of associated images of that sword.

A-2992 Yolen, Jane. “The Quiet Monk.” Illus. Anthony Bari. Isaac Asimov’s Science Fiction Magazine 12.3 (Mar. 1988): 60–71. Rptd: The Camelot Chronicles: Heroic Adventures from the Time of King Arthur. Ed. Mike Ashley. Cover illus. C. Luis Rey. London: Robinson Publishing; New York: Carroll and Graf, 1992. 380–92. – Isaac Asimov’s Camelot. Ed. Gardner Dozois and Sheila Williams. New York: Ace Books, 1998. 73–87. Lancelot, like the Wandering Jew, goes about the land seeking Guinevere’s grave and her forgiveness; in 1191, as “Brother Denneys,” he arrives in Glastonbury. His confessional tale of his affair with the queen contradicts tradition: Guinevere was devoted to her husband, and sought from Lancelot only the child that she had failed to conceive with her husband, but Lancelot fell in love with her. It is Brother Denneys, then, who discovers the grave of Arthur and Guinevere, the discovery being much as is recounted by Giraldus Cambrensis and other chroniclers; however, he is led to doubt the veracity of his discovery, and thereafter wanders on still seeking Guinevere.

A-2993 Yolen, Jane. The Sword and the Stone. Eugene, OR: Pulphouse Publishing, 1991. (*) Limited edition.

A-2994 Yonge, Charlotte M. The Heir of Redclyffe. 2 vols. London: J. W. Parker and Son, 1853. Rptd: Everyman’s Library 362. Intro. by Alice Meynell. London and Toronto: J. M. Dent and Sons; New York: E. P. Dutton and Co., 1909. This novel focuses on the growth of the young Sir Guy, and the fortunes of the Edmonstone sisters as they, too, grow up and marry. About a quarter of the way through the book, Guy confesses that his favourite literary character is Sir Galahad, and favourite book Le Morte Darthur. Allusions to Galahad occur several times afterwards; in one case, a painter wishes to use Sir Guy as a model for Sir Galahad when he sees the Grail. These allusions to Galahad reinforce Yonge’s emphasis on the spirituality of Guy and his growth as a Christian; his achievement of Christ-like qualities mirrors Galahad’s achievement of the Grail, and the painter’s vision of the young man as a model for Galahad foreshadows the completion of Guy’s Christian growth.

A-2995 Yonge, Charlotte M. The History of Sir Thomas Thumb. Illus. J[emima] B[lackburn]. Edinburgh: Thomas Constable and Co., 1855. Rptd: Illustrations reproduced at The Camelot Project Website. Ed. Alan Lupack. . Yonge includes the usual elements of the Tom Thumb story, but she has also added to these from common Arthurian stories. For example, since Merlin is instrumental in Tom’s birth, the story of Merlin’s entrapment is told. Tom also accompanies King Arthur on the quest that leads to the

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meeting of the loathly lady. The passing of Arthur to Avalon is also recounted. Tom spends much of his life trying to be a Christian knight and trying to resist the temptations that the fairies, including their Queen Mab, put in his path. He is kept away from court for seven years by them and returns just in time to witness the end of Arthur’s reign. Blackburn illustrates Yonge’s version of the Tom Thumb story with engraved drawings, four full-page plates, nine partial-page illstrations, and four historiated initials which include scenes from the story. Several of the illustrations include representations of Merlin, and one includes Arthur; the animals in these drawings (such as the mice upon which Tom rides or which are harnessed to his cart) are particularly realistic.

A-2996 Yorgason, Brenton G., and Margaret Yorgason. Family Knights. Salt Lake City: Bookcraft, 1986. Rptd: Dirty Socks and Shining Armour: A Forever Family in Camelot. Orem, Utah: Keepsake paperbacks, 1990. At the end of the acknowledgements, the authors invite readers to “a Camelot of our own making.” The Camelot of this novel and its Arthurian characters are quite different from tradition; only the names connect them to the legend. The novel is narrated using, for the most part, the perspective of Arthur and Guinevere’s eldest son (they have four children, none of them resembling children given to the couple in traditional versions of the legend). The novel in many ways is a domestic account about how the royal couple raise their children and relate to one another.

Youd, Christopher Samuel: see Ford, Hilary. A-2997 Young Waters: An Ancient Scottish Poem, Never Before Printed. Glasgow: Printed and sold by Robert and Andrew Foulis, 1755. [ESTC T86550.] Rptd: Reliques of Ancient English Poetry. Ed. Thomas Percy. 3 vols. London: Printed for J. Dodsley, 1765. 2: 172–74. [ESTC T84936 and N65532.] – Minstrelsy: Ancient and Modern, with an Historical Introduction and Notes. Ed. William Motherwell. Glasgow: J. Wylie, 1827. 82–85. – Ancient Ballads and Songs of the North of Scotland, hitherto unpublished, with Explantory Notes. Ed. Peter Buchan. 2 vols. Edinburgh: W. and D. Laing, and J. Stevenson, 1828. 2: 78–80. – The English and Scottish Popular Ballads. Ed. Francis James Child. 5 vols. Boston, MA, and New York: Houghton, Mifflin and Co., 1883–1898. 2: 342–45 (frequently reprinted). – The Oxford Book of Ballads. Ed. Arthur Quiller-Couch. Oxford: Oxford University Press, 1910. 321–23. – The Traditional Tunes of the Child Ballads, with their Texts, According to the Extant Records of Great Britain and America. Ed. Bertrand Harris Bronson. 4 vols. Princeton, NJ: Princeton University Press, 1959–1972. 2: 446–47. A traditional ballad, in fourteen ballad stanzas (Child no. 94; beginning: “About Yule, when the wind blew cule”), first printed (in 1755) as a seven-page pamphlet. A comely young man arrives at court at Yuletide, identified as the season when “round tables” begin. The queen (unnamed) declares him to be the more handsome than any lord or knight; this causes the king (unnamed), out of jealousy, to have Young Waters executed. The tale, then, has some broad parallels with the medieval romances of Sir Launfal and Libaeus Desconnus. The version of the ballad printed by Buchan is much longer than the ones printed in the eighteenth century, and explicitly identifies the king as King James, who has the Earl of Mar execute Young Waters.

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A-2998 Young, Ella. “The San-Grail.” The Rose of Heaven: Poems. Dublin: Candle Press, 1920. 25–26. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . Lancelot on the Grail quest encounters the Grail maiden; at the end of the poem, he realizes she looks like Guenevere.

A-2999 Young, Ella. “A Song that Trostan Made.” The Weird of Fionavar. Dublin: Talbot Press, 1922. 13. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . The speaker lists the gifts he would give his love if he were a king’s son; the title is the only Arthurian element.

A-3000 Young, Ella. “Trostan Made This.” The Weird of Fionavar. Dublin: Talbot Press, 1922. 14. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . A short poem reflecting on love and death; the title is the only Arthurian element.

A-3001 Young, Francis Brett. “Hic Jacet Arthurus Rex Quondom Rexque Futurus. . . .” The Island. London and Toronto: William Heinemann, 1944. 56–57. Rptd: 1955. This collection consists of a series of poems, of varying styles, that cover all periods of British history. This is the only Arthurian poem. It has twelve quatrains, and it reflects on the fact that all of these storied knights and ladies are gone; it therefore lists a number of characters and alludes to various episodes from the legend. The speaker asks what remains and reflects on Arthur’s importance to British history and identity.

A-3002 [Young, J. W.] “An Old Harrovian” [pseud.], [i.e., J. W. Young]. “Lady Enid Geraint.” Lady Enid Geraint and Other Productions. London: Thomas Bosworth, 1865. 1–20. The subtitle to this poem calls it a “serio-comic fragment” and identifies the date of composition as 1861. The poem retells the story of Enid and Geraint beginning when Geraint overhears Enid’s lament and sets out on a quest with her. Another section goes back to fill in how they met, but this section turns into a reflection on the danger of beautiful women and then details of an imaginary source for the story. The tone suggests this is a burlesque, but it jumps from one part to another so that it seems unfinished.

A-3003 Young, Robert F. “A Knyght Ther Was.” In Cosmic Knights. Isaac Asimov’s Magical Worlds of Fantasy 3. Ed. Isaac Asimov, Martin H. Greenberg, and Charles G. Waugh. New York: New American Library, 1985. 201–49. First published in Analog Science Fiction in 1963. A thief ’s travels through time to steal the Grail have humorous results. Young uses various quotations from Malory in the course of the story.

A-3004 Young, Robert F. “The Quest of the Holy Grille.” Illus. Adragna. Amazing Stories 38.12 (Dec. 1964): 72–103. This short story uses the point of view of a car, Housing, to tell the story of his quest. While no explicitly Arthurian characters appear, the characterization and events suggest that the story is modelled loosely on the Arthurian Grail stories. Housing is a Perceval or Galahad-like character, pure and devoted to holy mysteries. He gets advice from “hermithicles” during the quest that he takes with two other cars to find the Holy Grille. Only he can truly see it, however, because he is

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the only one who remains pure. Dyna, one of his companions, is initially like Perceval’s sister in that she has the vision of the Grille that sets the adventure going; by the end, however, she is no longer a “virginhicle” and therefore cannot achieve the Quest.

A-3005 Young, Stark. Guenevere: A Play in Five Acts. New York: Grafton Press, 1906. Rptd: The Camelot Project, The University of Rochester. Ed. Alan Lupack and Barbara Tepa Lupack. . This play is set at the end of Arthur’s reign, beginning with Mordred’s plans to trap Lancelot and Guinevere and ending with Guinevere in a convent. (We have seen the play only as reprinted.)

A-3006 Yunge-Bateman, Elizabeth. The Flowering Thorn. London: Privately published, 1961. A group of children visit Caerleon, Glastonbury, and other Arthurian sites, and hear the legends; as a result, they form a chivalric order, The League of the Flowering Thorn, and attempt to live the ideals of Arthurian knights. There are various references to Tennyson and his versions of the legends. Also running through the novel is a motif of a Merlin-like prophecy, that the birth of a white foal during a waxing moon will precede the return of Arthur’s knights: an older member of one of the families in the story has a horse (which he rides in jumping competitions) named Merlin, and a mare called Mona early in the book gives birth to a white foal, which they name Guinevere; the children come to a “spiritual” understanding of the Holy Grail, and come to see their own chivalric order as the fulfilment of the prophecy.

A-3007 Zelazny, Roger. The Courts of Chaos. Garden City, NY: Doubleday and Co., 1978. The novel introduces Corwin’s son Merlin, but the focus is still on Corwin’s adventures.

A-3008 Zelazny, Roger. The Guns of Avalon. Garden City, NY: Doubleday and Co., 1972. This novel, sequel to Nine Princes in Amber (1970) is the second in Zelazny’s series of “Amber” novels and the most explicitly Arthurian. The main character, Corwin, travels to a parallel world to gain a tactical advantage in his own powerstruggle for the throne of Amber; this parallel world is named Avalon and has Arthurian characters. Most notable of these are Lancelot and Ganelon (the invisible knight in Malory), although Uther is also mentioned. Corwin’s adventures continued in The Sign of the Unicorn (1975), The Hand of Oberon (1976), and The Courts of Chaos (see below). (See also the entry for The Guns of Avalon in the Comics section.)

A-3009 Zelazny, Roger. “The Last Defender of Camelot.” Illus. Frank Borth. Asimov’s Science Fiction Magazine 1.3 (Summer 1979). Rptd: Isaac Asimov’s Camelot. Ed. Gardner Dozois, and Sheila Williams. New York: Ace Books, 1998. 1–26. – The Last Defender of Camelot. New York: Pocket Books, 1980. 271–94. – In Cosmic Knights. Isaac Asimov’s Magical Worlds of Fantasy 3. Ed. Isaac Asimov, Martin H. Greenberg, and Charles G. Waugh. New York: New American Library, 1985. 177–200. In this short story, Lancelot, still alive and seeking the Grail in twentieth-century San Francisco, meets Morganna le Fay and learns from her that Merlin is about to awaken. Lancelot hastens to Cornwall, explains to Merlin that the ideals of Camelot will not work in the complex modern world, but finds that Merlin wishes to right all wrongs. Lancelot is forced to defend the legend of Camelot against Merlin who is determined, inappropriately, to try to revive it. (The other stories in The Last Defender of Camelot collection are not Arthurian.) “The Last Defender of Camelot” has also been issued on audio cassette (1 cassette; approx. 1.5 hours, also including “The Horses of Lir” on the tape), read by Rene Auberjonois (Niagra Falls, NY, and Burlington, ON: Paperback Audio / Durkin Hayes Publishing, 1995; DHP 7737; ISBN 0886467373). (“The Last Defender of

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Camelot” was adapted for television, as an episode of the revived Twilight Zone, in 1979; see the entry for “The Last Defender of Camelot” in the “Film, Television, and Radio” section. It was also adapted as a comic book; see the entry for “The Last Defender of Camelot” in the Comics section.)

A-3010 Zelazny, Roger. Trumps of Doom. Garden City, NY: Doubleday and Co., 1985. This novel begins Merlin’s adventures. He ends up locked in a cave of blue crystal by his (male) cousin. In Blood of Amber (1986), he escapes, so the parallel between this Merlin and the Arthurian Merlin is not sustained.

B. Comic Books and Graphic Novels B-1 The Adventures of Sir Lancelot. Illus. John Buscema. New York: Dell Publishing Co., 1957. (*) Based on the television series. (Information from Stewart, “Camelot in Four Colors.”) (See also the entry for The Adventures of Sir Lancelot in the “Film, Television, and Radio” section.)

B-2 Arthur, King of Britain. By Michael Fraley. Illus. Michael Fraley. 5 issues. Plymouth, MI: Caliber / Tome Press, 1993–1994. (*) The complete life of Arthur, loosely based on Geoffrey of Monmouth. (Information from the Caliber comics website: .)

B-3 Avengers: The Morgan Conquest. By Kurt Busiek and George Pérez. New York: Marvel, 2000. (*) A graphic novel collecting various Arthurian issues of Avengers. (Information from OCLC WorldCat entry.)

B-4 Avengers: The Yesterday Quest. By Mark Gruenwald, Steven Grant, and David Micheline. New York: Marvel Comics, 1994. (*) Graphic novel collecting the Arthurian issues (issues 181–182, 185–187) of The Avengers. (Information from Torregrossa.)

B-5 Batman: The Chalice. By Chuck Dixon. Illus. John Van Fleet. New York: DC Comics, 1999. Batman has had various encounters with Arthurian characters in single episodes of various, otherwise non-Arthurian series (for example, “Sir Batman at King Arthur’s Court” in Batman Comics 36.3 [1946]); however, the whole of this graphic novel concerns Batman and the Grail. Bruce Wayne / Batman (a character originally created by Bob Kane) must make tough choices when a mysterious man gives him the Grail (the Chalice of the title) to keep and protect. The Grail’s history, including its Arthurian history, is outlined at that time, with the suggestion that Bruce’s family name has not always been “Wayne” and that the family has been guardians in past generations, perhaps even as far back as Arthur’s time.

B-6 Batman: Dark Knight of the Round Table. By Bob Layton. Illus. Dick Giordano and Bob Layton. 2 issues. Elseworlds. New York: DC Comics, 1999. (*) Batman’s story as if he lived in Arthur’s time. (Information from OCLC WorldCat entry.)

B-7 The Black Dragon. By Chris Claremont. Illus. John Bolton. 6 issues. New York: Marvel, 1985. (*) Rptd: Milwaukie, OR: Dark Horse Comics, 1996. Morgan is a character in an otherwise non-Arthurian story. (Information from Stewart, “Camelot in Four Colors.”)

B-8 Black Knight. By Stan Lee, et al. Illus. Joe Maneely, et al. 5 issues. New York: Margood, 1955–1956. (*) The Black Knight is a hero of Arthur’s court. (Information from Torregrossa.)

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B-9 Black Knight. By Roy Thomas and Dann Thomas. Illus. Tony DeZuniga. 4 issues. New York: Marvel Comics, 1990. (*) A continuation of Stan Lee’s Black Knight.

B-10 The Books of Magic. By Neil Gaiman. Illus. John Bolton, Scott Hampton, Charles Vess, and Paul Johnson. 4 issues. New York: DC Comics / Vertigo, 1990–1991. Rptd: The Books of Magic. By Neil Gaiman. Intro. by Roger Zelazny. Illus. John Bolton, Scott Hampton, Charles Vess, and Paul Johnson. New York: DC Comics, 1991. Four mysterious men find a young boy, Tim Hunter, who has the potential to become a powerful magician. Each of the four books concerns one of the realms where he is taken with one of the men as a guide, in order to be educated about his powers and the choices he must make. The four books are “The Invisible Labyrinth,” “The Shadow World,” “The Land of Summer’s Twilight,” and “The Road to Nowhere.” The Arthurian content appears primarily in the first and third books. In the first, where Tim travels to the past, one of the people he talks to is a young Merlin who foresees his (Merlin’s) future. In the third book, Tim meets Thomas the Rhymer, who sits in a cave with a sleeping king, singing songs of that king’s exploits; the sleeping king has been known as Arthur.

B-11 Camelot 3000. By Mike Barr. Illus. Brian Bolland. 12 issues. New York: DC Comics, 1982–1985. Rptd: Camelot 3000. Intro. Don and Maggie Thompson; Preface Mike W. Barr. New York: DC Comics, 1988. Futuristic comics with many traditional Arthurian characters, working on the premise of Arthur’s return in the year 3000.

B-12 Camelot Eternal. By J. Caliafore. Illus. J. Caliafore; Inking and covers (issues 1–4) Wayne Reid. 8 issues. Westland, MI: Caliber Press, 1990–1991. (*) Based on the premise that Arthur and Mordred survive the Battle of Camlann and continue their struggle for political control (Caliber comics website: ).

B-13 Captain Britain. By Chris Claremont. Illus. Herb Trimpe, et al. 39 issues. New York: Marvel Comics International, 1976–1977. (*) A character with Arthurian origins. (Information from OCLC WorldCat entry.) (See also the entry for Excalibur.)

B-14 Classic Comics 24. “A Connecticut Yankee In King Arthur’s Court.” Adapt. by Ruth A. Roche and Tom Scott. Illus. Jack Hearne. Letterer Louis L. Goldklang. New York: Gilberton Publications, 1945. (*) Rptd: Classics Illustrated Study Guides: A Connecticut Yankee in King Arthur’s Court by Mark Twain. Adapt. by T. Scott. With an essay by Andrew Jay Hoffman. New York: Acclaim Books, 1997. Based on Mark Twain’s novel. (Information from OCLC WorldCat entry.) (See also the entries for A Connecticut Yankee in King Arthur’s Court in this section, and for “Twain, Mark” in the Literature section.)

B-15 Classics Illustrated 108. “Knights of the Round Table.” Illus. A[lex] A. Blum. New York: Gilberton Publications, 1953. Rptd: 1967. This comic book retells the story of Arthur’s reign, from the time of his birth when Uther gives him to Merlin for fostering, to his death after his battle with Mordred. The comic includes the stories of the sword in the stone, of Arthur’s acquiring of Excalibur and the Round Table, of

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Gareth in the kitchen and his first quest, of Galahad and the Grail, of Lancelot and Elaine of Astolat, of the war with Lancelot, and of the final battle. Any hint of an improper love affair is omitted: Galahad’s parents remain nameless and are said to be dead; Launcelot’s desire to ride in disguise has no reason, and he simply tells Elaine that he has made a vow not to marry; Launcelot kills Gawain’s brothers because, in disguise, they were attacking and robbing unarmed men. Guenevere, in short, has little role in this retelling.

B-16 A Connecticut Yankee in King Arthur’s Court. Pendulum Illustrated Classics no. 64–2634. West Haven, CT: Pendulum Press, 1973–1978. (*) Based on Mark Twain’s novel. (See also the entries for Classics Illustrated in this section, and for “Twain, Mark” in the Literature section.)

B-17 A Connecticut Yankee in King Arthur’s Court. By Mark Twain. Adapt. by John Norwood Fago. Illus. Francisco Redondo. Now Age Illustrated Series. West Haven, CT: Pendulum Press, 1977. A book that retells Twain’s novel (in approximately 60 pages) for young readers (or for English-as-a-Second-Language readers) using B&W comic format. The introduction to the series at the beginning of the book makes its educational aims clear, as do the lists of words to know and questions to answer at the back of the book. (See also the entries for Classics Illustrated in this section, and for “Twain, Mark” in the Literature section.)

B-18 A Connecticut Yankee in King Arthur’s Court. King Comics no. 1. New York: King Features, 1977. (*) Based on Mark Twain’s novel. (See also the entries for Classics Illustrated in this section, and for “Twain, Mark” in the Literature section.)

B-19 Excalibur. By Chris Claremont. Illus. Alan Davis (penciller) and Paul Neary (inker). 125 issues. New York: Marvel Comics, 1988–1998. Captain Britain, Meggan, Phoenix, NightCrawler and ShadowCat continue to fight evil in various forms.

B-20 “Excalibur: The Sword is Drawn.” Excalibur Special Edition, 1987. By Chris Claremont. Illus. Alan Davis (penciller) and Paul Neary (inker). London: Marvel Comics, 1987. In this comic book (a spin-off from the X-Men series), Captain Britain, Meggan, Phoenix, NightCrawler and ShadowCat must fight the Technet. By the end of the comic they have decided to join forces to continue the work of the X-Men. Their purpose is described in Arthurian terms: they compare their team and its vision with that of Arthur and his knights, hence the name of the comic. Other Arthurian works appear in the background of some of the drawings: posters advertise The Once and Future King, Malory or Camelot 3000.

B-21 The Guns of Avalon. Adapt. by Terry Bisson. Illus. Christopher Schenck and Andrew Pepoy. New York: Byron Preiss Productions, 1996. (*) Based on the novel by Roger Zelazny. (See also the entry for “Zelazny, Roger” in the Literature section and the entry for The Last Defender of Camelot in this section.) (Information from .)

B-22 Hellblazer Annual 1: The Bloody Saint. By Jaime Delano. Illus. Bryan Talbot. Colourist Lovern Kindzierski. Letterer Todd Klein. New York: DC Comics, 1989. In part one, we are introduced to John Constantine, who has been released once again from an institution for the dangerously deranged. The setting is the beginning of the Falklands War. In part two, we are introduced to Constantine, heir of Arthur and student of Merlin, during the last

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days of his life. Although a worshipper of old gods, Constantine becomes a Christian king and abbot in order to subvert Christianity in Britain. Merlin, or rather his head, tells the story of Constantine’s life beginning with the story of the end of Arthur’s reign. In part three, John Constantine finds a music video he recorded in the late seventies. The connection between the two Constantines is suggested but not made explicit.

B-23 Hellblazer: Last Man Standing. By Paul Jenkins. New York: DC Comics, Feb.-June 1997. (*) A continuation of John Constantine’s story, with history of Arthurian characters. (Information from Torregrossa.)

B-24 Indiana Jones and the Last Crusade. Adapt. by David Micheline. 4 issues. New York: Marvel Comics, 1989. (*) Rptd: Also magazine edition: Indiana Jones and the Last Crusade. New York: Marvel Comics, 1989. B&W comic-book version of the film. (Information from Torregrossa.) (See also the entry for Indiana Jones and the Last Crusade in the “Film, Television, and Radio” section.)

B-25 Indiana Jones and the Spear of Destiny. By Elaine Lee. Illus. Dan Spiegle. 4 issues. Portland, OR: Dark Horse Comics, 1995. Indiana’s adventure in this four-issue comic book series resembles the Last Crusade in that his father participates in the adventure, the Nazis are their opponents, and the quest object is the Spear of Longinus. Discussion of legends about the Spear connect it to the Arthurian Grail stories, as well as to other Celtic and Christian stories. One character is analogous to Galahad in that he experiences a vision of the Spear much like Galahad’s vision of the Grail.

B-26 King Arthur and the Knights of Justice. By Mike Lackey. Illus. Keith Wilson and Marie Severin. 3 issues. New York: Marvel Comics, 1993–1994. (*) Based on the television series. (Information from OCLC WorldCat entry.) See the entry for King Arthur and the Knights of Justice in the “Film, Television, and Radio” section.

B-27 Knewts of the Round Table. By Brian Fitzgerald. Illus. Nirut Chamsuwan. 4 issues? Pan Entertainment, 1998. (*) A B&W comic book series set in Camelot. The knewts of the title are common Arthurian characters (Lancelot, Percival, Galahad, and G’wain) who have been magically transformed by the villain into giant newts who must nevertheless save Camelot. (Information from review on the Cosmic Comix and Toys webpage: .)

B-28 The Knights of Pendragon. By Dan Abnett and John Tomlinson. Illus. Gary Erskine, et al. 18 issues. London: Marvel UK, July 1990 to Dec. 1991. This series of comics combines Arthurian legends with environmental causes. The villains in the series (representing the “Bane”) are usually exploiting or destroying nature; the Pendragon spirit which infuses the various heroes of the series seeks to protect nature represented by the Green Knight. Towards the end of the series, Arthur’s spirit is awakened in one of the heroes.

B-29 The Knights of Pendragon. By Dan Abnett and John Tomlinson. Illus. Phil Gascoigne, et al. 15 issues. London: Marvel UK, July 1992-Sept. 1993. (*) A continuation of the first series.

B-30 Knights of the Round Table. Four Color no. 540. New York: Dell Publishing Co., 1954. (*) Based on the film. (Information from OCLC WorldCat entry.) (See also the entry for Knights of

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the Round Table [1954] in the “Film, Television, and Radio” section. A novelization of the story of the film is listed under Knights of the Round Table in the Literature section.)

B-31 Knights of the Round Table. By Joe Martin. Illus. Various artists. Plymouth, MI: Tome Press / Caliber Comics, 1998. (*) Provides text and illustrations to introduce knights of Arthur’s realm, both “notable figures” and “lesser known members of the Round Table” (Caliber comics website: ).

B-32 Lady Pendragon. By Matt Hawkins. Illus. Hector Gomez, et al. Anaheim, CA: Maximum Press, 1996; Berkeley, CA: Image Comics, 1998–1999. The premise of the first comic is that Guinevere takes the sword Excalibur after Arthur’s death and attempts to unite Britain against the invading Saxons and the power-hungry forces at home. Percival, who survives the battle against Mordred, is a major supporter of the queen. When she travels to Avalon, she receives the “Holy Regalia” of the Goddess, and so becomes Lady Pendragon (Hawkins cites Marion Zimmer Bradley’s The Mists of Avalon as one source; see the entry for Bradley’s novel in the Literature section.) After a hiatus, and with a different publisher, Hawkins continued the story of Lady Pendragon.

B-33 Lancelot and Guinevere. Movie Classics. New York: Dell Publishing Co., 1963. (*) A comic-book adaptation of the 1963 film. (Information from Stewart, “Camelot in Four Colors.”) (See also the entry for Lancelot and Guinevere in the “Film, Television, and Radio” section.)

B-34 The Last Defender of Camelot. Adapt. by James B. Zimmerman. Illus. James B. Zimmerman, with Bill Cavalier, Lew Hartman, and John Bergerud. Zim Graphics, 1993. (*) This is an adaptation, in a single (B&W) issue, of the short story by Roger Zelazny. (See also the entry for “Zelazny, Roger” in the Literature section and the entry for The Guns of Avalon in this section.) (Information from .)

B-35 Legends of Camelot. Plymouth, MI: Caliber Comics, 1999-. (*) A series retelling assorted Arthurian episodes; Caliber Comics website advertises it as “One shot issues that spotlight different events and characters of the Arthurian Age” (website: ). Issue titles: “Excalibur”; “Quest for Honor”; “Merlin”; “The Enchanted Lady”; “Sir Balin & The Dolorous Stroke.” (Information from Stewart, “Camelot in Four Colors.”)

B-36 Mage: The Hero Defined. By Matt Wagner. 15? issues. Fullarton, CA: Image Comics, 1998-. Rptd: as Mage: The Hero Defined. Fullarton, CA: Image Comics, 1998. Kevin Matchstick returns to battle evil once again as various heroes are collecting in Montreal. Kevin is often referred to as Pendragon.

B-37 Mage: The Hero Discovered. By Matt Wagner. 15 issues. Norristown, PA: Comico the Comic Co., 1985–1986. Rptd: Magebook. 4 vols. Norristown, PA: Comico the Comic Co., 1985–1986. – Mage: The Hero Discovered. 3 vols. Norfolk, VA: Starblaze Graphics / Donning, 1987–1988. Kevin Matchstick is the hero who is “discovered” by Mirth the World Mage to fight evil forces, represented by the Umbra Sprite. By the end of the series, Kevin has realized his identity as Arthur (he pulls a magical baseball bat from a dumpster). Other characters have Arthurian parallels as

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well: Mirth plays the role of Merlin; Edsel, a young woman, acts as the Lady of the Lake by keeping the baseball bat / sword for Kevin until he needs it; the Fisher King is being sought by the Umbra Sprite; and the forces of evil employ an ogre called “the Marhault.”

B-38 The Magic Sword: Quest for Camelot. By Jesse Leon McCann and Robert Graff. Illus. David A. Roach and Michael Collins. Stamford, CT: Burghley, 1998. Based on the Warner Bros film (screenplay by Kirk De Micco, William Schifrin, Jacqueline Feather, and David Seidler; based on Vera Chapman, The King’s Damosel.) (See also the entries for Quest for Camelot in this section, as well as in the Film and Literature sections.)

B-39 Merlin. By R. A. Jones. Illus. Rob Davis and Bruce McCorkindale. 6 issues. Newbury Park, CA: Adventure Comics / Malibu Graphics, Dec. 1990 to May 1991. Merlin’s story beginning with his childhood. Some incidents and material are traditional; for example, Merlin goes mad and spends some time as a wild man in the woods in Issue 4, and throughout Merlin has powers of prophecy traditionally associated with the Arthurian character. Some relationships between characters have been changed, however; for example, Vortigern is here Merlin’s grandfather and a good king.

B-40 Merlin: Idylls of the King. By R. A. Jones. 2 issues. Westlake Village, CA: Adventure Comics, 1992. (*) A sequel to Jones’ Merlin 1990–1991. (Information from Torregrossa.)

B-41 MerlinRealm in 3D. By Mark Wayne Harris. Illus. Nicholas Koenig, et al. Blackthorne 3D Series 2. ElCajon, CA: Blackthorne, 1985. (*) The world of the story is said to have been created by Merlin.

B-42 The New Wave. By Mindy Newell. Guerneville, CA: Eclipse Comics, 1986. (*) Includes Avalon and Morgan in an otherwise non-Arthurian story. (Information from Stewart, “Camelot in Four Colors.”)

B-43 Parsifal. By Patrick C. Mason. Illus. P. Craig Russell. Star*Reach Productions, 1978. (*) Rptd: Adaptations of Parsifal, Ariane and Bluebeard, I Pagliacci, and songs by Mahler. New York: Nantier, Beall, Minoustchine, 2003. Comic based on the opera by Wagner. (Information from OCLC WorldCat entry.)

B-44 Pendragon. By Barry Blair. Illus. Barry Blair. Westlake Village, CA: Aircel Comics, Nov. and Dec. 1991. (*) A young woman is the last Pendragon to face Mordred.

B-45 Pendragon. 4 issues. London: Marvel Comics UK, 1992. (*) This comic ran for four issues (from July to Oct. 1992) and was succeeded by Knights of Pendragon (see the entry in this section). (Information from OCLC WorldCat entry.)

B-46 “Prince Valiant” [newspaper comic strip]. New York: Syndicated to newspapers by King Features Syndicate. 13 Feb. 1937, to the present. Rptd: Prince Valiant: An American Epic. By Harold Foster. Ed. Rick Norwood. 3 vols. Wayne, NJ: Manuscript Press, 1982. Prince Valiant has had many adventures, but the premise of the series is that he lives in an Arthurian world, and some of his adventures involve members of King Arthur’s court. Harold Foster created the character and produced the strip from 1937 until 1980; John Cullen Murphy has illustrated the strip from the early 1970s. This comic has appeared in several forms besides the

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original strips: the reprint noted above contains the first three years of Prince Valiant strips and related artwork; Fanatgraphics Books has published the Foster strips as graphic novels (beginning in 1987); Blackthorne Press published the Murphy strips in 1986; there have been various comic book versions; and there are film and television versions as well (see the entry for Prince Valiant in the “Film, Television, and Radio” section; also in the Fine Art section).

B-47 Prince Valiant. By Charles Vess and Elaine Lee. 4 issues. New York: Marvel Comics, 1994–1995. (*) A separate series based on the world and characters created by Foster.

B-48 Quest for Camelot. By Jesse Leon McCann and Robert Graff. Illus. David A. Roach and Michael Collins. Ed. Constance M. Baldwin and Peter Tumminello. New York: DC Comics, 1998. A comic book version of the motion picture of the same name (screenplay by Kirk De Micco, William Schifrin, Jacqueline Feather, and David Seidler; based on Vera Chapman, The King’s Damosel.) (See also the entries for Quest for Camelot in the Film and Literature sections, and for The Magic Sword in this section.)

B-49 Sir Lancelot. Movie Classics 4. Manchester: World Distributors (Manchester) Ltd., 1954. Contents: “Sir Lancelot and the Castle Dangerous”; “Sir Lancelot and Ordeal by Battle.”

B-50 “Sir Lancelot.” Four Color 606. New York: Dell Publishing Co., 1954. (*) An adventure featuring Lancelot. (Information from Stewart, “Camelot in Four Colors.”)

B-51 Sláine: Treasures of Britain. By Pat Mills. Illus. Dermot Power. London: Hamlyn, 1997. From the comic book series 2000 AD. Sláine is commissioned by Merlin and Morgan to recover the Treasures of Britain for Arthur.

B-52 StarGods. By Dean Zachary. Illus. Scott Clark. San Antonio, TX: Antarctic, 1998. (*) A science-fiction comic, but includes a Galahad-figure. (Information from Stewart, “Camelot in Four Colors.”)

B-53 Uther, the Half-Dead King. By Bo Hampton and Dan Abnett. New York: Nantier, Beall, Minoustchine Publishing, 1994. This graphic novel is narrated by Uther as he lays dying from poisoned water in an old Roman villa. The broken tiles of the mosaic floor upon which he rests become symbols for the fragments of memories that he retells. He talks of Vortigern’s usurping of the throne from Constans, the initial deals with the Saxons, the return of Aurelius and Uther from Armorica to defeat Vortigern and meet the Saxons, the moving of Stonehenge, Uther’s lust for Ygrain (here an unknowing partner), and Uther’s final battle where he fights tied to his saddle because he is “half-dead” from poison. Merlin figures prominently. Although he is Uther’s ally, Merlin becomes a rather sinister figure, seeking to create the perfect king and eliminating (or arranging for the elimination of) imperfect kings such as Uther. This retelling has some effective moments, but there are weaknesses, such as the dialogue given to Saxon characters and the use of too many awkward similes.

B-54 Walt Disney’s The Sword in the Stone. Gold Key 30019–402. Poughkeepsie, NY: K. K. Publications, in co-operation with Golden Press, 1963. Rptd: Simultaneously also issued as “The Sword in the Stone.” March of Comics 258 Poughkeepsie, NY: K. K. Publications, 1963.

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The Disney film, turned into a comic book. It includes most of the story (a few details are omitted) and even some of the lyrics of the songs; the illustrations are the same as the animation. (See also the entry for The Sword in the Stone in the “Film, Television, and Radio” section and entries for novelizations of the film under “Disney, Walt, Co.” in the Literature section.)

B-55 Walt Disney’s Wart and the Wizard. Poughkeepsie, NY: K. K. Publications, 1963. (*) Based on the characters (Arthur and Merlin) from the Walt Disney film of The Sword in the Stone.

B-56 The Waste Land. By Martin Rowson. Illus. Martin Rowson. New York: Harper and Row, 1990. (*) Combines T. S. Eliot’s poem and Raymond Chandler’s detective fiction. (See also the entry for “Eliot, T. S.” in the Literature section.)

B-57 The Wizard of 4th Street. By Simon Hawke. Illus. Phil Normand. 2 issues. Portland, OR: Dark Horse Comics, 1987–1988. (*) A comic-book version of Hawke’s novel; see the entry for “Hawke, Simon” in the Literature section. (Information from OCLC World Cat entry.)

C. Film, Television, and Radio C-1 Aaahh!!! Real Monsters. “Quest for the Holy Pail.” Dir. Igor Kovalyov. Story by Steve Skrovan and Mark Palmer; written by Mark Palmer. Nickelodeon Network, 18 Nov. 1995. (*) Reissued: Klasky-Csupo, 1996. An animated television show; in this episode, Ickis, one of the main characters (voiced by Charlie Adler), has to find the “holy pail,” a monstrous counterpart to the Grail. (Information derived from and ).

C-2 The Adventures of Shirley Holmes. “The Case of King Arthur’s Alibi.” Credo Entertainment Productions. YTV Network, 30 Apr. 2000. King Arthur (a high school history teacher and president of the Arthurian society) locks up Guenevere (another member of the society) one night before the Arthurian pageant is to begin. Shirley Holmes must unravel the mystery to find out if King Arthur really is dangerous, or whether he was framed; Lancelot and Morgan are both suspects.

C-3 The Adventures of Sir Galahad. Dir. Spencer Bennett. Producer: Sam Katzman. Written by David Mathews, George H. Plympton and Lewis Clay. With George Reeves. Columbia, 1949. (*) This fifteen-episode serial revolves around Galahad’s attempt to recover the stolen Excalibur in order to prove his worthiness for knighthood.

C-4 The Adventures of Sir Lancelot. Producers: Hannah Weinstein, Dallas Bower, Sidney Cole, and Bernard Knowles. With William Russell, Jane Hylton, and Ronald Leigh-Hunt. Sapphire Films, 1956–1957. A British television series in thirty half-hour episodes. There were various directors and writers for the series, but each week Sir Lancelot would face another adventure or solve another problem; the series did not confine itself to traditional characters and situations. (See also the entry for The Adventures of Sir Lancelot in the Comics section. See also the several entries for The Adventures of Sir Lancelot [novelizations of the television series] in the Literature section.)

C-5 Alfred, Lord Tennyson, “The Lady of Shalott.” Produced and directed by Peter Griffiths. Films for the Humanities and Sciences, 1992. Cat. no. BVL3246. A video (26 minutes) offering a reading by Charlotte Cornwell of Tennyson’s poem, using as a backdrop reproductions of the illustrations to the poem by Charles Keeping; the reading is accompanied by responses from “an artist, a historian, and a former prison inmate.”

C-6 The All-New Super Friends Hour. “The Ghost.” Dir. William Hanna and Joseph Barbera. ABC; Hanna-Barbera Studios, 17 Dec. 1977. (*) The “Super Friends” include various cartoon heroes, including Superman, Wonder Woman, Batman, and others. In this episode, Superman and Wonder Woman are turned into ghosts, and their companions use the Rods of Merlin to rescue them. (Information from the Big Cartoon Database: .)

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C-7 Animaniacs. “Sir Yaksalot.” Dir. Barry Caldwell. Written by Paul Rigg. Warner Bros., 21 Oct. 1993. (*) Reissued: Animaniacs Stew. Warner Home Video, 1994. A “Pinky and the Brain” segment in which Pinky and the Brain (being a pair of mice), in a quest for world domination, terrorize King Arthur’s kingdom with a mechanical fire-breathing dragon. (Information from the Big Cartoon Database: .)

C-8 Animaniacs. “Spell-Bound.” Written by John P. McCann. Warner Bros., 10 Nov. 1993. (*) A “Pinky and the Brain” segment: Pinky and the Brain are mice in Merlin’s laboratory in the year 1194; while Merlin is temporarily out of the lab, the Brain casts a “Take Over the World” spell which he found in Merlin’s book. (Information from the Big Cartoon Database: .)

C-9 Anne of Green Gables. Dir. Kevin Sullivan. Written by Kevin Sullivan and Joe Wiesenfeld. With Megan Follows, Colleen Dewhurst, and Richard Farnsworth. Sullivan Films, 1985. This made-for-television film of the novel by L. M. Montgomery includes the episode in which Anne pretends to be Elaine of Astolat (with disastrous results). Sullivan extends this allusion, however; Anne reads from Tennyson’s “The Lady of Shalott” at the beginning of the film, refers to the Lady in one of her first conversations with Matthew, and recites it again while she is pretending to be Elaine. The poem is thus an intertext for the film. There are also one or two references to the poem in the second film, Anne of Green Gables: The Sequel, though they do not have the same recurring role as in the first. (See also the entry for “Montgomery, L. M.” in the Literature section.)

C-10 Arthur. “The Return of the King.” Dir. Greg Bailey. Producers: Geoff Adams, Marc Brown, Cassandra Schafhausen, and others. Story by Marc Brown. CINAR Animation. PBS, 5 Nov. 1998. An animated TV programme, in a series about the adventures of Arthur the Aardvark; in this episode, Arthur and his friends go to a medieval fair with an Arthurian theme (including “Merlin’s Maze,” etc.), and Arthur pulls a sword from a stone. (See also the entry for “Brown, Marc: King Arthur” in the Literature section.)

C-11 Arthur and the Sword. English Folk Heroes 1. Dir. Greg Beeson. Producer: Donald Thompson. Universal City, CA: Milliken Publishing, 1986. (*) One of a series of “video storybooks” for children (other stories in the series include Beowulf, St George, and Robin Hood), this retells the story of the Sword in the Stone. These were originally created as filmstrips with accompanying recordings, and were later remastered as video-cassettes. See also the entry in this section for “The Table Round,” another story in this series. (Information from OCLC WorldCat.)

C-12 Arthur of the Britons. Dir. Patrick Dromgoole, Sidney Hayers, Patrick Jackson, and Peter Sasdy. Written by Terence Feely, Robert Banks Stewart, and others. Producers: Patrick Dromgoole, Peter Miller, and John Peverall. With Oliver Tobias, Brian Blessed, Rupert Davies, and Peter Firth. HTV (Harlech Television), 1972–1973. A British television series in twenty-four half-hour episodes (orig. broadcast 6 Dec. 1972–28 Nov. 1973). The television series was based on the idea of a “historical” Arthur as the chief of a small Celtic tribe in fifth-century Britain, resisting the invasions of the Angles and Saxons. In 1975 five episodes of the television series were edited together into a film under the title King Arthur, the Young Warlord (see the entry under King Arthur, the Young Warlord, below). Two novelizations of episodes of the television series were published (see the entries under Arthur of the Britons in the Literature section).

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Arthur the King see Merlin and the Sword. C-13 Arthur’s Quest. Dir. Neil Mandt. Producers: Steven Paul and Patrick Ewald. Written by Lance W. Dreesen, Clint Hutchison, and Gregory Poppen. With Eric Christian Olsen, Arye Gross, and Catherine Oxenberg. A-Pix, 1999. An inversion of Mark Twain’s “Connecticut Yankee”; here Arthur is transported by Merlin forward in time to twentieth-century America, in order to escape from Morgana. When Merlin comes to fetch him home, Arthur is not interested in returning.

C-14 Astro Boy. “The Terrible Time Gun.” Mushi Productions, ca. 1963. (*) Reissued: Astroboy. The Right Stuff, 1993. In this episode of the animated series, Astro Boy has a “Connecticut Yankee” adventure. (See also the entries for “Twain, Mark” in Literature section.)

C-15 Babylon 5. “Grail.” Written by Christy Marx. Dir. Richard Compton. Babylonian Productions. Turner Network, 6 July 1994. The series Babylon 5, created by J. Michael Straczynski, ran for five seasons and was set on a twenty-third-century space station, a meeting place of different alien cultures, about ten years after the Earth-Minbari war. The war began from a misunderstanding when a Minbari ship met an Earth vessel for the first time; the legacy of that war is a continuing thread throughout the series. In this first-season episode, a man (played by David Warner) comes to the station looking for the Holy Grail; when he first arrives and announces his mission, Commander Sinclair mentions the Arthurian connection.

C-16 Babylon 5. “A Late Delivery from Avalon.” Written by J. Michael Straczynski. Dir. J. Michael Straczynski. Babylonian Productions. Turner Network, 22 Apr. 1996. The series Babylon 5, created by J. Michael Straczynski, ran for five seasons and was set on a twenty-third-century space station, a meeting place of different alien cultures, about ten years after the Earth-Minbari war. The war began from a misunderstanding when a Minbari ship met an Earth vessel for the first time; the legacy of that war is a continuing thread throughout the series. In the third-season episode “A Late Delivery from Avalon,” a man (Michael York) from the Earth ship that started the war arrives on the station, but he has lost most of the memories of the event, instead believing himself to be King Arthur; he carries Excalibur and feels that he must return it to the Lady of the Lake. The regular characters attempt to help him in various ways, listening to his version of the Arthurian story and eventually allowing him to play out the fantasy (by giving the sword, as he lies injured, to the Minbari ambassador Delenn); he recovers his own identity having dealt with the past in this way. His presence on the station causes some of the regular characters to recall bits of the legend and to see themselves in Arthurian terms; Marcus Cole, the Ranger liaison to Babylon 5, assigns them all Arthurian identities, seeing himself as Galahad (Straczynski plays on this idea in a later episode, when Marcus reveals to the woman he loves that he is a virgin). While this is the most explicitly Arthurian episode, those Arthurian parallels are suggested again at the end of the fourth season in “A Deconstruction of Falling Stars,” an episode that moves through the future, with each new generation assessing the value of the Babylon 5 past; in a new Dark Age, tales of earlier residents on Babylon 5 (Sheridan, Delenn, Ivanova and others) are told as if about a legendary Golden Age, much in the way that Arthurian times are often constructed. Music from this episode has been released on CD: see the entry in the Music section.

C-17 Babylon 5: Crusade. Created by J. Michael Straczynski. Babylonian Productions. Turner Network, June–Sept 1999. Set in the same universe as Babylon 5, but five years later than that series, Crusade was, like its parent show, conceived as a five-year series; only thirteen episodes were aired because of conflicts between Straczynski and the network as to content and approach. The premise of the show is that

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an alien plague has been released into Earth’s atmosphere; all living things having contracted the plague will die by the end of five years. The setting of the show is the ship Excalibur, commissioned for deep space exploration; its crew is to discover a cure for the plague by investigating alien cultures and little-known worlds. In addition to the Arthurian associations of the name of the ship (emphasized by a sword upright through the show’s title), the opening of the show also invokes the legend. One voice (that of the techno-mage Galen played by Peter Woodward) asks questions that the voice of the captain (played by Gary Cole) answers; the last questions, “Who do you serve and who do you trust,” remain unanswered. Note that a made-for-television film, The Legend of the Rangers (2002), has a few, brief allusions to the Arthurian legend.

Baillie, Bruce: see To Parsifal. Barbera, Joseph: see All-New Super Friends Hour; Flintstones; Huckleberry Hound Show; Yogi’s Treasure Hunt; The Scooby-Doo Show; The Smurfs; The World’s Greatest Super Friends; The Super Globetrotters; The Challenge of the Super Friends. Barron, Steve: see Merlin (1998). C-18 Batfink “Nuts of the Round Table.” Dir. Hal Seeger. Hal Seeger Productions, 1967. (*) Batfink is a series of short animated episodes; this particular episode included knights. (Information from .)

Bennett, Spencer: see The Adventures of Sir Galahad. Berman, Ted: see The Black Cauldron. Berton, Kenneth J.: see Merlin’s Shop of Mystical Wonders. C-19 The Black Knight. Dir. Tay Garnett. Written by Alec Coppel. With Anthony Bushell, Jean Lodge, and Peter Cushing. Columbia, 1954. (*) The main character is a blacksmith’s son who wants to be a knight, but the film also includes traditional Arthurian characters, if not traditional situations. (Information from the Internet Movie Database.)

C-20 Blazing Dragons. Teletoon Network, 1998. A children’s animated serial, set in a medieval world in which the talking dragons are good and committed to the highest standards of chivalric behaviour, and the knights are not. The aging king of the dragons is King All-fire, who long ago became king by pulling Excalibur from a stone. His companions are the Order of the Square Table.

Boorman, John: see Excalibur. Borgnine, Ernest: see Merlin’s Shop of Mystical Wonders. C-21 Bosko’s Knight-Mare. Warner Bros., 1933. A short animated film. Bosko reads about King Arthur’s knights and then has a dream which is reminiscent of A Connecticut Yankee in King Arthur’s Court. (See also the entries for “Twain, Mark” in Literature section.)

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C-22 The Boy Merlin. Dir. Joe Boyer, Darrol Blake, and Vic Hughes. Producer: Pamela Lonsdale. Written by Stewart Farrar. With Ian Rowlands. ITV, 1979. (*) A made-for-televison mini-series. (Information from the Internet Movie Database.)

Bridges, Jeff: see The Fisher King. C-23 Bugs Bunny. “A Connecticut Rabbit in King Arthur’s Court.” Dir. Chuck Jones. Warner Bros., 1977; CBS, First aired 23 Feb. 1978. Reissued: Bugs Bunny in King Arthur’s Court. 1979. Bugs Bunny, following directions given to him by Ray Bradbury, ends up in the court of King Arthur. Mistaken for a dragon by Sir Elmer of Fudd, Bugs avoids execution in Camelot by predicting an eclipse. He eventually pulls a sword from a stone to become king. The first part is derived from Mark Twain, as Chuck Jones – who wrote, produced, and directed the episode – acknowledges in the credits. (See also the entry for “Twain, Mark” in the Literature section.)

C-24 Bugs Bunny. “Knight-Mare Hare.” Dir. Chuck Jones. Producer: Edward Selzer. Written by Tedd Pierce. Warner Bros. Cartoons, 1955. (*) Reissued: Bugs Bunny’s Hare-Raising Tales. Warner Home Video, 1988. – Looney Tunes, the Collector’s Edition: Wabbit Tales. Warner Home Video, 2001. Bugs Bunny in King Arthur’s court. (Information from the Big Cartoon Database.) (See also the entries for “Twain, Mark” in Literature section.)

C-25 Bugs Bunny. “Knights Must Fall.” Dir. I. Freleng. Producer: Edward Selzer. Written by Tedd Pierce. Looney Tunes / Warner Bros., 1949. (*) Bugs Bunny jousts with the Black Knight. (Information from the Big Cartoon Database.)

C-26 Bugs Bunny. “Knighty Knight Bugs.” Dir. Fritz Freleng. Producer: John W. Burton Sr. Written by Warren Foster. Looney Tunes / Warner Bros., 1958. (*) Reissued: Friz Freleng’s Looney Looney Looney Bugs Bunny Movie. Warner Bros., 1981. This animated adventure of Bugs Bunny and the Singing Sword won an Academy Award. (Information from the Big Cartoon Database.)

Burton, Richard: see Love Spell. Butler, David: see A Connecticut Yankee (1931). Callner, Marty: see Camelot (1982). C-27 Camelot. Dir. Joshua Logan. Producer: Jack Warner. Written by Alan Jay Lerner. Music by Frederick Loewe. With Richard Harris, Vanessa Redgrave, and Franco Nero. Warner Bros., 1967. A film based on the stage play of the same name (see the entry in the Music section) and thus on T. H. White’s The Once and Future King (see the entry under “White, Terence Hanbury” in the Literature section). Like the stage play, it is a musical; like White’s books, it includes Arthur’s consideration of Might vs Right, though only his memories of Merlyn’s teaching methods. Arthur’s consideration of that theme is perhaps most powerful in the scene where he (Harris) first realizes the love of Lancelot (Nero) and Guenevere (Redgrave). A made-for-television film version was also made of the revival of the stage musical (see below).

C-28 Camelot. Dir. Marty Callner. Written by Alan Jay Lerner. Music by Frederick Loewe. With Richard Harris, Meg Bussert, and Richard Muenz. HBO Theatre. HBO, 1982. (*)

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A film of the 1980 revival of the stage musical. (Information from the Internet Movie Database.)

C-29 Camelot. Dir. Richard Slapczynski and Peter Jenning. Written by Paul Leadon; story by Roddy Lee and Roz Phillips. With Alastair Duncan, Robyn Moore, Lee Perry. HGV Video Production and Anchor Bay Entertainment, 1997. This fifty-minute children’s animated film rewrites the sword in the stone story. Merlin is commanded by the dying King Gerdlach (Arthur’s father) to hide the baby Arthur until the boy is old enough to wield Excalibur and rule Camelot. Merlin raises Arthur but does not tell him what his specific destiny is to be, so for some time Arthur wants to be a magician. Instead, Cynthia, a foundling girl, becomes Merlin’s apprentice. When Arthur leaves to seek his fortune, Merlin sends Cynthia, in the shape of a falcon, with her animal friends after Arthur to help him; they rescue him from the evil (and stupid) Sir Baldric in time for him to return to Stonehenge to draw Excalibur from the stone. There are several gaps in the logic of the story, and the animation and music are also uninspiring.

C-30 Camelot. Producer: Diane Eskenazi. Written by Peter S. Beagle. Sony Wonder / Golden Films, 1998. (*) An animated film for children, drawing upon Marion Zimmer Bradley, T. H. White, and Malory. (Information from OCLC WorldCat.)

C-31 Camelot: An Animated Adventure for Children. New Pacific Pictures, 1990. (*) C-32 Camelot: The Legend. Dir. William R. Kowalchuk. Producers: Seth M. Willenson. Written by Lisa Moricoli Latham and Elizabeth Logan. Music by Jim Latham. Tundra Productions, 1998. (*) An animated film for children. (Information from OCLC WorldCat.)

Campbell, Colin: see Grail (1923). C-33 Carry on Laughing. “Short Knight – Long Daze.” 23 Nov. 1975. (*) One of two episodes of the “Carry On” television series which are set in Camelot; like the “Carry On” films, these are farcical stories drawing heavily on outrageous puns and sexual double entendres.

C-34 Carry on Laughing. “Under the Round Table.” 16 Nov. 1975. (*) One of two episodes of the “Carry On” television series which are set in Camelot; like the “Carry On” films, these are farcical stories drawing heavily on outrageous puns and sexual double entendres.

C-35 The Centurions. “Merlin.” Written by Herb Engelhardt and Kip Gordy. Syndicated TV. Ruby-Spears Enterprises, 5 Nov. 1986. (*) A professor claims to have a map showing the location of Merlin’s tomb within Stonehenge. Doc Terror, hoping to acquire Merlin’s powers, steals the map. The Centurions work to stop Doc Terror, but he succeeds to the extent that he is able to seize Arthur’s crown. Merlin himself, however, joins the Centurions to ensure that Terror fails to find Excalibur. (Information from .)

C-36 The Challenge of the Super Friends. “The Time Trap.” Hanna-Barbera Studios, 1978. (*) The Super Friends (the Justice League of America, including Superman, Wonder Woman, and others) battle Lex Luthor and the Legion of Doom. In this episode of the animated television series, the Legion use a time travel device to raid the treasures of ancient times, including visits to

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Julius Caesar’s Rome and King Arthur’s Britain. (Information from the Big Cartoon Database: .)

C-37 The Changes. BBC, 1970s. (*) A television series based on the novels by Peter Dickinson (see related entries in the Literature section).

Chelsom, Peter: see The Mighty. Christie, Agatha: see The Mirror Crack’d From Side to Side. Cohen, Rob: see DragonHeart. C-38 A Connecticut Yankee. Dir. David Butler. Written by William Conselman. With Will Rogers, Maureen O’Sullivan, and Myrna Loy. Fox, 1931. (*) Based on the novel by Mark Twain (see the entry under “Twain, Mark” in the Literature section).

C-39 A Connecticut Yankee in King Arthur’s Court. Dir. Emmett J. Flynn. Written by Bernard McConville. With Martin Cavendish, William V. Mong, Charles Clary, and Karl Formes. Fox, 1921. A silent film based on Twain’s novel. (See the entry for “Twain, Mark” in the Literature section.)

C-40 “A Connecticut Yankee in King Arthur’s Court.” By Mark Twain. Adapt. by George Zacharoff. Ford Theater of the Air. NBC Radio, 5 Oct. 1947. (*) A radio drama of Twain’s novel.

C-41 A Connecticut Yankee in King Arthur’s Court. Dir. Tay Garnett. Written by Edmund Beloin. With Bing Crosby, Rhonda Fleming, Sir Cedric Hardwicke, and William Bendrix. Paramount Pictures, 1949. Reissued: British title: A Yankee in King Arthur’s Court. Similar to the novel of the same title by Mark Twain on which it is based, this film involves an American blacksmith, Hank Martin (Crosby) who suffers an accident and ends up in King Arthur’s England, passing himself off as a magician. However, there are substantial alterations: the film focuses more on the romance between Martin, or Sir Boss, and the Lady Alisande or Sandy (Fleming); the frame narrative, set in the castle of Lord Pendragon (Sir Cedric Hardwicke) in 1912, reinforces this theme by focusing upon a painting of Alisande and upon the initial meeting between Martin and Lord Pendragon’s niece (also played by Fleming). Relationships between characters have also been changed: Alisande and Morgan (Virginia Field) are nieces of King Arthur (also played by Hardwicke); Alisande is betrothed to Lancelot (Henry Wilcoxin); Morgan is the aging king’s heir and is in league with the evil Merlin (Murwyn Vye) who is the younger power behind the throne and Martin’s opponent. The film also features several songs sung by Crosby and others. (For Twain’s novel, see the entry under “Twain, Mark” in the Literature section.)

C-42 A Connecticut Yankee in King Arthur’s Court. Dir. Zoran Janjic. Written by Michael Robinson. With Orson Bean. Air Programs International (Australia). CBS; first aired 26 Nov. 1970. This animated film version of Mark Twain’s novel covers many of the major events, such as the eclipse, the quest with Sandy, and various magical tests against Merlin. It does, however, omit some of the darker aspects of Twains’ novel, such as Sir Boss’ use of firearms. The ending has Sir Boss (Bean) waking in his own time, realizing that he did alter the past. (See also the entries for “Twain, Mark” in Literature section.)

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C-43 “A Connecticut Yankee in King Arthur’s Court.” Once Upon a Classic. Adapt. by Richard Stadin. Dir. David Topper. With Richard Basehart, Roscoe Lee Browne, Frederick Coffin, Tovah Feldshuh, Paul Rudd, and Dan Shor. PBS, 1978. Reissued: VHS release: Mastervision Humanities Series, Family Classics 713. New York: Mastervision, 1978. An adaptation of Mark Twain’s novel to a 60-minute television programme, broadcast as part of the PBS series “Once Upon a Classic,” with host Bill Bixby (produced at WQED Pittsburgh). (See also the entries for “Twain, Mark” in Literature section.)

C-44 A Connecticut Yankee in King Arthur’s Court. Dir. Mel Damski. Teleplay by Paul Zindel. With Keisha Knight Pulliam. NBC, 1989. (*) A young girl travels back to Camelot after suffering a fall. (Information from the Internet Movie Database.) (See also the entries for “Twain, Mark” in Literature section.)

C-45 “A Connecticut Yankee in King Arthur’s Court.” Adapt. for radio and directed by Neil Munro. Music composed and performed by Jeff Riches. With Graham Abbey, Peter Donaldson, Robert Benson, Joyce Campion, Richard Curnock, Jennifer Gould, Duncan Ollerenshaw. CBC RadioOne, 1999. This is a radio dramatization of Twain’s story; it was recorded before a live audience at the Glenn Gould Studio in Toronto on 2 Dec. 1999, as part of the Bank of Montreal Stratford Reading Series; it was broadcast on the CBC radio programme “Richardson’s Roundup” on 29 Dec. 1999. It has been released on audio cassette (1 audio cassette; 55 minutes; Toronto: CBC Audio, 2000).

Connery, Jason: see Merlin: The Magic Begins. Connery, Sean: see DragonHeart; First Knight; Indiana Jones and the Last Crusade; Sword of the Valiant. Cowland, Dorian: see Excalibur (1982). Crosby, Bing: see A Connecticut Yankee in King Arthur’s Court (1949). Crosland, Alan: see Knights of the Square Table. Crusade: see Babylon 5: Crusade. C-46 Crusader Rabbit. Dir. Bob Bemiller and Sam Nicholson. Jerry Fairbanks / Creston Studios, 1950–1957. (*) An animated T.V. series, with Arthurian references.

Damski, Mel: see A Connecticut Yankee in King Arthur’s Court (1989). C-47 Dane, Clemence [pseud.], [i.e., Winnifred Ashton]. The Saviours: Seven Plays on One Theme. London: Heinemann; Garden City, NY: Doubleday, Doran, and Co., 1942. A series of radio plays, narrated by Merlin, presenting Arthur in various reincarnations as the ever-returning “saviour” at several key points in English history. (We do not have information about the original broadcasts. See also the entry for this book in the Literature section.)

Darlow, Michael: see Merlin of the Crystal Cave.

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Dickinson, Peter: see Changes. Disney, Walt, Co.: see The Black Cauldron; Duck Tales; Four Diamonds; Gargoyles; A Kid in King Arthur’s Court; A Knight in Camelot; The Sword in the Stone; Unidentified Flying Oddball. C-48 Doctor Who. “Battlefield.” Written by Ben Aaronovitch. Dir. Michael Kerrigan. With Sylvester McCoy, Sophie Aldred, Jean Marsh, and Nicolas Courtney. BBC, 6–27 Sept. 1989. A four-part episode in which Morgan and Mordred seek to recover Excalibur and to wreak havoc upon the world. Doctor Who, using his time machine, arrives to stop them; he is recognized by Morgan, Mordred and Lancelot as Merlin, although this role is in what he considers his future. (For Doctor Who related stories, see “Doctor Who” in the Literature section.)

Donner, Clive: see Merlin and the Sword. Donovan, Tom: see Love Spell. Doyle, Sir A[rthur] Conan: see Sir Arthur Conan Doyle’s The Lost World. C-49 DragonHeart. Dir. Rob Cohen. Written by Charles Edward Pogue. With Dennis Quaid, David Thewlis, Pete Postlethwaite, Dina Meyer and Sean Connery. Universal City Studio, 1996. In this film set in the time after Arthur, a knight (Quaid) of the Old Code tries to teach a young prince about valour, justice and truth, but when the prince becomes a king, he follows his father’s evil ways and ignores the gift of the dragon’s heart that saved him from death. The knight undertakes to kill all dragons, until he is convinced to fight for the Old Code once more. A monk who befriends the knight is on pilgrimage to Avalon; he makes comparisons between the knight and King Arthur and calls his mule “Merlin.” Later in the film, four of the main characters actually reach Avalon and speak of the code of the Round Table. Sean Connery provides the voice of the dragon. There are various novelizations (see Literature section under “DragonHeart”) and an album of music from the film (see the entry for “Edelman, Randy” in the Music section).

C-50 Duck Tales. “Sir Gyro de Gearloose.” Dir. Steve Clark. Written by Mark Zaslove. Walt Disney, 1987. (*) C-51 The Eddie Capra Mysteries. “Nightmare of Pendragon’s Castle.” With Vincent Baggetta and Wendy Phillips; guest star: Robert Vaughn. NBC, 8 Sept. 1978. (*) This was the pilot for a television series featuring Eddie Capra, an attorney from Los Angeles, who each week investigated a bizarre murder. In this episode, a wealthy man is murdered in his mansion, which is filled with Arthuriana.

C-52 The End of the Affair. Dir. Neil Jordan. Producers: Neil Jordan, Kathy Sykes, and Stephen Woolley. Written by Neil Jordan. With Ralph Fiennes and Julianne Moore. Columbia, 1999. A film adaptation of Graham Greene’s novel. The protagonist, Bendrix, hires a private detective to find out if his friend’s wife (Bendrix’s own lover until recently) is having an affair. The detective’s son is named Lancelot; the detective named him believing that Lancelot achieved the Grail, but Bendrix informs him that was Galahad. The boy’s name is seen by the characters as significant, since he helps his father seek the truth, or at least information. His Galahad-like purity might also be suggested by the miracle that befalls him.

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English Folk Heroes: see Arthur and the Sword; also The Table Round. Eskenazi, Diane: see Camelot (1998). C-53 Excalibur. Dir. John Boorman. Producers: Edgar F. Gross, Robert A. Eisenstein, and John Boorman. Written by John Boorman and Rospo Pallenberg. With Nigel Terry, Helen Mirren, and Nicholas Clay. Orion / Warner, 1981. This film is adapted from Malory and retells the entire Arthurian story, beginning with Arthur’s conception at Tintagel. The Grail quest here is in aid of an ailing Arthur and his land.

C-54 Excalibur: The Raising of the Sword. Dir. Dorian Cowland. Whaddon Boys Club Film Unit, 1982. (*) C-55 The Excalibur Kid. Dir. James Head. Producer: Cris Andrei. Written by Antony Anderson. With Jason McSkimming. Kushner-Locke; Distributed by Full Moon Releasing, 1998. (*) The film has a twentieth-century boy time-travelling to Arthur’s kingdom, where he has to help Merlin and Arthur by acquiring Excalibur. (Information from OCLC WorldCat.)

C-56 The Famous Adventures of Mr Magoo. “Mr Magoo’s King Arthur.” Adapt. by Sloan Nibley. Dir. Abe Levitow. With Jim Backus (as voice of Mr Magoo). UPA Pictures, 1964. (*) Reissued: Video-cassette: King Arthur / The Count of Monte Cristo. Mr Magoo’s Literary Classics 4. Hollywood, CA: Paramount, 1984. An animated television program featuring Mr Magoo, a very nearsighted and bumbling fellow, in a series of misadventures; in this episode, he is Merlin, trying to prepare Arthur for kingship. (Information from OCLC WorldCat.)

Farrar, Stewart: see The Boy Merlin. Ferrer, Mel: see Knights of the Round Table (1953). C-57 First Knight. Dir. Jerry Zucker. Producers: Jerry Zucker and Hunt Lowry. Written by Lorne Cameron, David Hoselton, and William Nicholson. With Sean Connery, Richard Gere, Julia Ormond, and Ben Cross. Columbia Pictures, 1995. This film version of the legend departed significantly from tradition in several ways, particularly with Arthur’s Viking funeral and the suggestion of a happily-ever-after for Lancelot (Gere) and Guenevere (Ormond). Arthur (Connery) marries a much younger Guenevere and struggles to maintain his ideal of the Round Table against the villainy of Malagant (Cross). For details of the film’s soundtrack album, see the entry for “Goldsmith, Jerry” in the Music section; see also “Chadwick, Elizabeth, First Knight” in the Literature section.

C-58 The Fisher King. Dir. Terry Gilliam. Producers: Debra Hill and Lynda Obst. Written by Richard LaGravenese. With Jeff Bridges and Robin Williams. Hill / Obst Productions / Tri-Star, 1991. The film is set in contemporary New York City, where a radio talk-show host (Bridges) meets Parry (Williams). It tells the story of their growing friendship that eventually brings redemption for the talk-show host and healing for Parry. Parry believes in the story of the Grail and believes that it is in New York; he is thus a Perceval-figure as well as the Fisher King who must be healed. There is a soundtrack album for the film (see the entry for “Fisher King” in the Music section) and screenplays and novelizations of the film (see the entry for “LaGravenese, Richard”; also the entry for “Fleischer, Lenore” in the Literature section.)

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C-59 The Flintstones. “Time Machine.” Hanna-Barbera Studios, 1964. (*) Flynn, Emmett J.: see A Connecticut Yankee (1921). Ford, Harrison: see Indiana Jones and the Last Crusade. C-60 The Four Diamonds. Dir. Peter Werner. Producers: Joe Byrne, Jean Higgins, and Jeb Rosebrook. Written by Christopher Millard and Todd Robinson. With Tom Guiry, Christine Lahti, and Kevin Dunn. Disney Channel, 1995. A made-for-TV film about the Arthurian fantasies of a boy dying of cancer.

Freleng, I.: see Bugs Bunny. C-61 G. I. Joe. “Excalibur.” Dir. John Gibbs and T. C. Lennon. Producers: Jim Duffy, Sam Weiss, Dan Thompson, and others. Written by Dan Di Stefano. Marvel Productions / Claster Television Productions, 1985. (*) An animated television show based upon the military action figure G. I. Joe. In this episode, Storm Shadow has found the sword Excalibur. (Information from the Big Cartoon Database.)

Gardner, Ava: see Knights of the Round Table (1953). C-62 Gargoyles. “Avalon.” Buena Vista Television, 20–22 Nov. 1995. (*) A three-part episode of the animated series set on Avalon; a search for Arthur, said to be sleeping, is part of the plot. (Information from .)

C-63 Gargoyles. “A Lighthouse in the Sea of Time.” Buena Vista Television, 7 Sept. 1995. (*) This episode of the animated series involves scrolls belonging to Merlin and containing details of Arthurian times. (Information from .)

C-64 Gargoyles. “Pendragon.” Buena Vista Television, 12 Feb. 1996. (*) This episode of the animated series involves Arthur, a Lady of the Lake, and a search for Excalibur. (Information from .)

C-65 Gargoyles. “Sentinel.” Buena Vista Television, 19 Feb. 1996. (*) Garnett, Tay: see The Black Knight and A Connecticut Yankee in King Arthur’s Court (1949). C-66 The Gerald McBoing-Boing Show. “The 51st Dragon.” UPA Studios, 1956–1957. (*) Gerald McBoing-Boing is a character from a Dr. Seuss book who subsequently became the main character in a comic book serial and thirteen episodes of an animated television show. This particular episode of the television show was based on the short story “The 51st Dragon” by Heywood Broun, about “Gawaine le Coeur-Hardy,” who graduates from knight school trained to battle dragons. (See also the entry for “Broun, Heywood” in the Literature section.)

Gere, Richard: see First Knight. Gilliam, Terry: see The Fisher King; Monty Python and the Holy Grail.

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Goldberg, Whoopi: see A Knight in Camelot. C-67 The Goon Show. “The Childe Harolde Rewarde.” Written by Spike Milligan. BBC Home Service, 8 Dec. 1958. Reissued: Needle Nardle Noo: The Goon Show Classics, Vol. 14. BBC Radio Collection. London: BBC Audiobooks, 1998. The “Goon Show” was a series of farcical dramas featuring Spike Milligan, Peter Sellers, Harry Secombe, and Michael Bentine, broadcast on BBC Radio from 1951 (originally entitled “Crazy People”) to 1960. In this episode, Major Dennis Bloodnok is seeking King Arthur’s sword, hoping to retrieve it from the bottom of the lake in which it rests. Neddy Seagoon, as “Childe Harolde,” joins the search, pulls a sword from a stone (with the aid of a blacksmith), and declares himself king, but it turns out to be a false Excalibur.

C-68 The Goon Show. “The Spectre of Tintagel.” Written by Spike Milligan and Larry Stephens. BBC Home Service, 1 Nov. 1956. Reissued: Ned’s Atomic Dustbin: The Goon Show Classics, Vol. 19. BBC Radio Collection. London: BBC Audiobooks, 2001. In this episode, Neddy Seagoon, as “King Arthur Seagoon,” goes to Tintagel seeking proof of his descent from “King Morte d’Arthur,” and hoping to find King Arthur’s buried treasure.

Gottlieb, Michael: see A Kid in King Arthur’s Court. C-69 The Grail. Dir. William Worthington. Scenario by L. V. Jefferson. 1915. (*) Silent film. (Information from the Internet Movie Database.)

C-70 The Grail. Dir. Colin Campbell. Written by Charles Kenyon, based on an unpublished play by George Scarborough. With Dustin Farnum, Peggy Shaw, and Carl Stockdale. Fox Film Corp., 1923. (*) Silent film; a western. A Texas Ranger is sent to arrest two outlaws; he pretends to be an itinerant preacher, and his sermon causes one of the outlaws to repent and surrender. (It is not clear from the published description how the story is related to the “Grail” theme.) (Information from the American Film Institute Catalog.)

C-71 Great Moments in History. “A Visit with King Arthur.” Vol. 12. Dir. Denny Fisher. Written by William David and Richard Ellis. With Marty Allen and Dian Hart. Produced for Century Video Corp. by Coome-Grove Productions, 1983. The series involves a group of puppet animals as students in 5th Street School, whose goal is to learn history, not from dusty books, but by imagining earlier times. In this installment, Laura (a poodle) wants Toby (a turtle) to be more chivalrous. Eventually she has a dream where she meets King Arthur (played by Marty Allen) and learns that chivalry is not all that she had thought that it would be. While the video cover uses the title Great Moments in History, in the video itself, the title Imagine That appears.

C-72 Guinevere. Dir. Jud[son] Taylor. Written by Ronni Kern, based on the novels of Persia Woolley. With Sheryl Lee, Donald Pleasance, Sean Patrick Flanery and Noah Wyle. Hearst Entertainment, 1993; Lifetime Network, 7 May 1994. This made-for-television film is based on the novels by Persia Woolley, but does not follow them closely, unless perhaps in the piling of incident upon incident. The film tries to create strong female characters (sword-fighting and so on), but is not really successful.

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C-73 Guinevere. Dir. Audrey Wells. Producers: Jonathan King and Brad Weston. Written by Audrey Wells. Original music by Christophe Beck. With Stephen Rea and Sarah Polley. Miramax Films in association with Millennium Films, 1999. Stephen Rea plays Connie Fitzpatrick, an aging and once famous photographer, who finds in Harper Sloane (a Harvard Law student, played by Sarah Polley) his “Guinevere,” an ideal young woman, who is as much his Lolita as his queen. She moves in with him as mistress, pupil (he sets her to reading his extensive library on art and photography), and apprentice, until apparent financial setbacks cause them to separate and she establishes herself independently as a photographer. While he refers to her as “Guinevere,” and in one scene “Queen Guinevere” proclaims certain regulations which her faithful subject swears to uphold, the plot is more of a “Merlin and Nimuë” (or “sorcerer’s apprentice”) story than a “Guinevere” story.

Hanna, William: see All-New Super Friends Hour; Flintstones; Huckleberry Hound Show; Yogi’s Treasure Hunt; The Scooby-Doo Show; The Smurfs; The World’s Greatest Super Friends; The Super Globetrotters; The Challenge of the Super Friends. Harris, Ed: see Knightriders. Harris, Richard: see Camelot (1967, 1982). Head, James: see The Excalibur Kid. C-74 Hercules: The Legendary Journeys. “Once Upon a Future King.” With Kevin Sorbo and Michael Hurst. 1 May 1999. Hercules meets and helps a young Arthur.

Hescott, Bob: see Wail of the Banshee. C-75 Highway to Heaven. “A Divine Madness.” Dir. Michael Landon. Written by Dan Gordan. With Michael Landon, Victor French, and Jonathan Frakes. NBC, 7 Nov. 1984. Jonathan Smith (an angel, played by Landon) works as a handyman for a rich businessman who has, over the years, built a commercial empire; this businessman, Arthur Krock, Sr., has taken to wearing robes and a crown, and he believes himself to be King Arthur. He calls his son, Arthur Krock, Jr. (Frakes), “Lancelot,” and calls the woman who wants to make a shelter for stray dogs “Guenevere” because he intends to court her (but there is here no Guenevere-Lancelot connection). The son sues to have King Arthur deemed incompetent so that the son can take over the business. Jonathan acts as the counsel for the King, as the “knight” who defends him in court; in the end, of course, the case is settled and father and son are reconciled.

C-76 Huckleberry Hound Show. “Knight School.” Dir. William Hanna and Joseph Barbera. Written by Warren Foster. Hanna-Barbera Studios, 1960. (*) Huckleberry Hound as a knight in King Arthur’s court. (Information from the Big Cartoon Database.)

C-77 I Was a Teenage Thumb. Warner Bros., 1963. (*) An animated film, retelling the Tom Thumb story; Merlin, King Arthur, and Mordred appear.

Imagine That: see Great Moments in History. C-78 Indiana Jones and the Last Crusade. Dir. Steven Spielberg. Producers: George Lucas and Frank Marshall. Written by Jeffrey Boam (from a story by George Lucas and

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Menno Meyjes, from characters created by George Lucas and Philip Kaufman). With Harrison Ford, Sean Connery, and Denholm Elliott. UIP / Paramount / Lucasfilm, 1989. Indiana Jones, an archaeologist and adventurer, appeared in two films before this one, but only in this one is there Arthurian content. Indy (Ford) must rescue his father (Connery), who has been kidnapped by Nazis because of his work seeking the Holy Grail. There are references to various Arthurian stories of the Grail, and Indy meets one of the Grail knights and finds the Grail by the end of the adventure. The films about Indiana Jones have numerous novelizations and original novels; those with Arthurian content are listed in the Literature section under “Indiana Jones.” (See also the entry for “Williams, John” in the Music section; also the entry for Indiana Jones and the Last Crusade in the Comics section.)

C-79 Jack the Giant Killer. Dir. Nathan Juran. Producer: Edward Small. Written by Orville H. Hampton and Nathan Juran. United Artists, 1962. (*) Jones, Chuck.: see Bugs Bunny. Jones, Terry: see Monty Python and the Holy Grail. Jordan, Neil: see The End of the Affair. Juran, Nathan: see Jack the Giant Killer; Siege of the Saxons. Kent, Charles: see Launcelot and Elaine. C-80 A Kid in King Arthur’s Court. Dir. Michael Gottlieb. Written by Michael Part and Robert L. Levy. With Thomas Ian Nicholas, Joss Ackland, and Art Malik. Walt Disney, 1995. The latest in many cinematic versions of Mark Twain’s Connecticut Yankee, this one featuring a clever Little Leaguer. (See also the entries for “Twain, Mark” in the Literature section.)

C-81 Kids of the Round Table. Dir. Robert Tinnell. Written by David Sherman and Robert Tinnell. With Malcolm McDowell, Michael Ironside, and Johnny Morina. Cabin Fever, 1995. (*) Twentieth-century children, Excalibur, and Merlin. (Information from the Internet Movie Database.)

C-82 “King Arthur and the Knights of the Round Table: Episodes 1 and 2.” By David Taylor. Los Angeles: American Radio Features Syndicate, 1933. (*) Radio drama. (Information from Northup and Parry.)

C-83 King Arthur and the Knights of Justice. Dir. Stephen Martiniere and Charlie Sansonet. Written by Jean Chalopin. Bohbot Golden Films, 1992. Some of the episodes of this animated series have been issued on video: King Arthur’s Camelot (UAV Enterprises, 1997) includes “Quest for Courage,” “The Search for Guinevere,” and “Warlord Knights”; Return to Camelot (UAV Enterprises, 1997) includes “Opening Kickoff,” “Even Knights have to Eat,” and “The Way Back.” As in Twain’s Connecticut Yankee (see the entry under “Twain, Mark” in the Literature section), this involves Americans travelling to the Arthurian past, in this case with Merlin’s help. (See also the entry for King Arthur and the Knights of Justice in the Comics section.)

C-84 King Arthur and the Knights of the Round Table. New Agency, 1910. (*) Silent film.

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C-85 King Arthur and the Knights of the Round Table. ZIV International / Toei Animation, 1981. (*) An animated film. Merlin and Arthur appear, and the story of Arthur proving himself to be king is retold, but there are also various non-traditional episodes and characters. (Information from OCLC WorldCat.)

C-86 King Arthur and the Magic Sword [filmstrip with accompanying audio recording]. Adapt. by Virginia Stumbough. Illus. Albert Walker. Hero Legends of Many Lands [2]. Rev. ed. Chicago: Society for Visual Education / Singer Educational and Training Products, 1967. (*) Reissued: Issued in book form in 1980 (book with audio cassette): King Arthur and the Magic Sword. Ed. William Clark. Illus. Chauncey Maltman. Hero Legend Books. Chicago: Society for Visual Education, and Churchill Media, 1980. First edn.: 1956. Audiovisual: a filmstrip (41 frames of 35mm film, in colour) with audio cassette (ca. 9 min.). Retells the story of the sword in the stone. (Information from library catalogues.)

C-87 King Arthur, the Young Warlord. Dir. Sidney Hayers, Patrick Jackson, and Peter Sasdy. Written by Terence Feely and Robert Banks Stewart. With Oliver Tobias, Brian Blessed, Rupert Davies, and Peter Firth. Heritage Enterprises, 1975. Various releases on video-cassette: Heritage Enterprises, 1975; Congress Video, 1986; Quality Video, 1995; Front Row Entertainment, 1996; etc. This film is based on the television series Arthur of the Britons (see the entry, above): five episodes of the series are here edited together into a 90-minute film. The film, like the television series, is an attempt at a realistic portrayal of a “historical” Arthur (Tobias) as a Celtic chieftain in fifth-century Britain, fighting the Angles and Saxons, and trying to unite the several Celtic tribes against the common enemy (despite the resistance of Mark of Cornwall [Blessed], and others). Few of the usual characters appear (Kai and Ludd are Arthur’s principal companions; Arthur’s love interest is named Rowena), and few of the traditional episodes are included: there is a sword and stone scene, with all magical elements removed by placing the sword under the stone: only by the cooperation of all the competing chieftains can the stone be moved so that Arthur can seize the sword.

C-88 King Arthur was a Gentleman. Dir. Marcel Varnel. Written by Val Guest and Marriott Edgar. With Arthur Askey, Evelyn Dall, Anne Shelton, and Peter Graves. Gainsborough, 1942. A soldier in modern Africa believes that he has found Arthur’s sword, Excalibur, and uses it to attempt a daring rescue.

C-89 King Leonardo and his Short Subjects. “Knight of the Square Table.” Leonardo / Total Television, ca. Nov. 1960. (*) Animated show with Tooter Turtle and Mr Wizard. (Information from the Big Cartoon Database.)

Kline, Kevin: see Merlin and the Dragons. C-90 A Knight in Camelot. Dir. Robert Young. Producer: Nick Gillot. Written by Joe Wiesenfeld. With Whoopi Goldberg, Michael York, and Ian Richardson. Disney Television, 8 Nov. 1998. The film opens with a twentieth-century scientist (Goldberg) completing her “Kablooey” Project; in testing it out, she ends up in Camelot. The plot is “inspired” by Twain’s novel A Connecticut Yankee in King Arthur’s Court (see the entry under “Twain, Mark” in the Literature section), including the scientist’s name in Camelot (Sir Boss), her helper there (Clarence), and her use of

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the eclipse to prove magical powers. The film, unlike the novel, ends happily in Camelot; the scientist, returned to the twentieth century, then has the opportunity to become Merlin’s apprentice (Merlin is played by Richardson; Arthur by York).

C-91 Knightriders. Dir. George A. Romero. Producer: Richard P. Rubenstein. Written by George A. Romero. With Ed Harris, Gary Lahti, Tom Savini, Amy Ingersoll, and Patricia Tallman. United Film, 1981. The story focuses upon a motorcycle gang who joust and do other stunts at medieval fairs, living by a strict code of honour defined by their “king,” and who then find themselves involved in a real-life crisis. Also released with the title The King is Dead.

C-92 Knights of the Round Table. Dir. Richard Thorpe. Producer: Pandro S. Berman. Written by Talbot Jennings, Jan Lustig, and Noel Langley. With Mel Ferrer, Ava Gardner, Robert Taylor, and Anne Crawford. MGM, 1954. The film begins with Morgan and her “knight champion” Mordred meeting Arthur at the sword in the stone to test which of them will be king; Morgan and Mordred thus are Arthur’s opponents throughout. It is supposedly based on Malory, but Galahad’s vision of the Grail takes place when he is with Lancelot after the latter has killed Mordred and thus avenged Arthur. (See also the entries for Knights of the Round Table in the Comics section and the Literature section.)

C-93 The Knights of the Round Table. Dir. Isaie Disenhaus. Script by Jay Maurence and John Sidgwick. Illus. Vicky Girard. Music by Couperin. Atlas, 1960. (*) A recording and booklet of stories, focusing on Lancelot. (Information from OCLC WorldCat.)

C-94 Knights of the Square Table. Dir. Alan Crosland. Written by James Wilder and Sumner Williams. With Paul Kelly, Thomas F. Blake and Yale Boss. Thomas A. Edison Inc., 1917. (*) Silent film; working title: “The Grail.” A group of delinquent boys are inspired by the Round Table knights, and form a gang calling itself the “Wharfrats Motherless Knights Erring of the Square Table”; they come into conflict with the local Boy Scout Troop, but then the two groups are reconciles and the members of the gang join the Scouts. (Information from the American Film Institute Catalog.)

Kovalyov, Igor: see Ahhh!!! Real Monsters. Kowalchuk, William R.: see Camelot (1998). Kurti, Richard: see Seaview Knights. C-95 The Lady of Shalott. Dir. Elwin Neame. Written by Elwin Neame; based on the poem by Alfred, Lord Tennyson. With Ivy Close as the Lady. Hepworth / Ivy Close, 1912. (*) Silent film, retelling Tennyson’s “The Lady of Shalott.”

C-96 The Lady of Shalott. Dir. C. J. Williams. Written by Cecily B. Peterson. With Constance Talmadge. 1915. (*) Silent film (apparently a comedy), with reference to Tennyson’s poem. (Information from the Internet Movie Database.)

C-97 Lancelot: Guardian of Time. Dir. Rubiano Cruz. Producer: Jed Nolan and George Peirson. Written by Patricia Monville. With Marc Singer, Adam Carter, Leonard Auclair, and John Saxon. Alpine Pictures, 1999. (*)

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A film in which Lancelot is sent by Merlin to protect the young Arthur from the machinations of another wizard, Wolvencroft, who intends to capture Arthur and to change history for his own advantage; Lancelot, Arthur, and Wolvencroft are accidentally hurled forward in time to twentieth-century California. (Information from the Internet Movie Database.)

C-98 Lancelot and Elaine. Dir. Edwin Porter. 1910. (*) Silent film.

C-99 Lancelot and Guinevere (US title: Sword of Lancelot). Dir. Cornel Wilde. Producers: Cornel Wilde and Bernard Luber. Written by Richard Schayer and Jefferson Pascal. With Cornel Wilde, Jean Wallace, and Brian Aherne. Emblem, 1963. (*) A film retelling of the story of the love triangle of Lancelot (Wilde), Guinevere (Wallace), and Arthur (Aherne). (See also the entry for Lancelot and Guinevere in the Comics section.)

C-100 “Lancelot and Guinevere” (radio drama). Adapt. by Gordon Honeycombe. Producer: Martin Jenkins. BBC Radio, 1981. ECN127/1 and ECN127/2. A radio presentation (broadcast in 1980?) of Books 20–21 of Malory (from Lancelot’s return from the Grail quest to the final “Amen” after call for prayer for the knight-prisoner). The text is Malory, presented in a dramatic reading (actors reading the various parts; some incidental music), but not substantially altered, and most of the presentation is in the voice of the narrator – i.e., it is more narration than drama – and even the colophon identifying the Malory as the author is included. Voices: Norman Rodway (Sir Lancelot), Anna Massey (Queen Guinevere), Peter Jeffrey (King Arthur), Timothy West (Thomas Malory), and others. The programme has been released on audio cassette (2 audio cassettes: ca. 2 hours; Guilford, CT: Audio-Forum / Jeffrey Norton Publishers).

Landon, Michael: see Highway to Heaven. C-101 “The Last Defender of Camelot.” The Twilight Zone. Dir. Jeannot Szwarc. Written by George R. R. Martin. CBS, 1981. Reissued: The Twilight Zone: A Day in Beaumont [and] The Last Defender of Camelot. CBS, 1986. The revived Twilight Zone series included an episode in 1979 based on Roger Zelazny’s story, “The Last Defender of Camelot,” about Lancelot and Morgan pitted against an awakened Merlin. (See also the entry for “Zelazny, Roger” in the Literature section.)

C-102 Launcelot and Elaine. Dir. Charles Kent. With Charles Kent and Florence Turner. Vitagraph, 1909. (*) Silent film, based on Tennyson’s poem. (Information from the American Film Institute Catalog.)

C-103 Legend of King Arthur. Dir. Rodney Bennett. Producer: Ken Riddington. Written by Andrew Davies. Music by Dudley Simpson. With Robert Eddison, Andrew Burt, Maureen O’Brien, Felicity Dean, and David Robb. BBC 1. BBC / Time-Warner / Austrian Broadcasting Commission, 1974. Also aired in 1979. A television mini-series, in four one-hour episodes, telling the story of King Arthur (Burt) from his conception in Tintagel to the final meeting of Lancelot (Robb) and Guinevere (Dean) after Arthur’s passing (based primarily on Malory). The story is presented largely as a contest between Merlin (Eddison) and Morgan le Fay (O’Brien), his pupil, who seeks vengeance on Arthur for the killing of her father, Gorlois, by Arthur’s father, Uther; thus it focuses upon episodes involving Morgan’s treachery: the theft of Excalibur and Arthur’s battle with Sir Accolon; the poisoned apple and the death of Sir Patrise; Sir Agravaine’s spying upon Lancelot and Guinevere. Andrew

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Davies, who conceived and wrote the series, also published a novelization of the story (see the entry for “Davies, Andrew” in the Literature section).

C-104 The Legend of Percival: The Search for the Holy Grail. Gateway Films, 1993. (*) A thirty-minute film, telling the story of Percival’s search for the Grail, based on Wolfram von Eschenbach. (Information from OCLC WorldCat.)

The Legend of Prince Valiant: see Prince Valiant. Levinson, Barry: see The Natural. C-105 The Little Lulu Show. “Lancelot Jr.” Cinar Animation. HBO-TV, 28 June 1996. “The Little Lulu Show,” based on characters from a 1940s newspaper comic strip, is an animated television show which originally ran for four seasons from 1995–1999. In this episode, Mr Van Snobbe (father of Lulu’s friend Wilbur), a collector of medieval antiques, has just acquired the “Lancelot Jr.” suit of armour, thus completing the set of three suits of armour made for Lancelot at different stages of his life. “According to legend,” when all three suits are reunited, the spirit of Lancelot will return; this appears to happen when Mr Van Snob brings his collector friends to view the new acquisition, and the three suits of armour begin to move (Lulu and two of her friends are inside them).

Logan, Joshua: see Camelot (1967). Lost World: see Sir Arthur Conan Doyle’s The Lost World. C-106 Lovespell. Dir. Tom Donovan. Written by Claire Labine. With Richard Burton, Kate Mulgrew, and Nicholas Clay. Clar Productions, 1979. Reissued: Released on video-cassette under the title Tristan and Isolt. This is the story of the love of Tristan (Clay) and Iseult (Mulgrew), but Mark (Burton) gets enough screen time to take some of the focus and sympathy away from the lovers.

Lovey, Alex: see Merlin the Magic Mouse. C-107 The Mabinogi. By Robin Williamson. BBC TV, 1984. A televised version of Williamson’s theatrical adaptation of the Mabinogion. “The Mabinogi” is a multi-media theatre piece, in Welsh and English, and includes some of the Arthurian tales from that collection. It was first performed by the dance company “Moving Being” in an open-air production in Cardiff Castle in 1981, and again in Caernarfon and Cardiff Castles in 1983 (and then broadcast on BBC 4 in 1984). Another version, “The Mabinogion: The Arthurian Romances,” was performed in St David’s Hall, Cardiff, in 1986. (This information from a Robin Williamson website: .) (See also the entries for “Williamson, Robin” in the Literature and Music sections.)

C-108 MacGyver. “Good Knight MacGyver.” Dir. Michael Vejar. Producer: Hilary Bevan Jones. Written by John Considine. With Richard Dean Anderson and Time Winters. 4 and 11 Nov. 1991. After finding out that his family tree can be traced back to the seventh century, MacGyver (Anderson) is hit on the head and ends up in Camelot. He defends Galahad against another knight, Duncan. Later, he saves King Arthur (who bears a remarkable resemblance to Mac’s friend Pete) from poisoning and, by proving Duncan the villain, defends Merlin (Winters) when he is charged with attempting Arthur’s murder. In the second episode, MacGyver and Merlin find their way to Morgana’s realm to rescue Cecilia (Galahad’s lady) and to prevent Morgana from

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perfecting gunpowder. A second blow restores MacGyver to his proper time, leaving him to wonder if it was all a dream. The episode obviously draws on Twain’s A Connecticut Yankee in King Arthur’s Court (see the entry for “Twain, Mark” in the Literature section), although Merlin and MacGyver do work together for the most part.

C-109 MacGyver. “The Legend of the Holy Rose.” Dir. Michael Caffey. Written by Stephen Downing. With Richard Dean Anderson. 18 and 25 Sept. 1989. (*) This two-part episode of the series is a Grail quest, perhaps inspired by Indiana Jones and the Last Crusade. (Information from .)

Matthews, Paul: see Merlin: The Return. Mayberry, Russ: see Unidentified Flying Oddball. McDowell, Malcolm: see Kids of the Round Table; Merlin and the Sword. McSkimming, Jason: see The Excalibur Kid. C-110 Merlin. Dir. Paul Hunt. Producers: Peter Collins and Paul Hunt. Written by Paul Hunt and Nick McCarty. With Peter Phelps, Richard Lynch, James Hong, and Nadia Cameron. October 32nd Productions, 1992. Reissued: Hemdale Communications, 1994. This film is set in twentieth-century California, where the protagonist, Christy, discovers that she is Merlin’s daughter and must protect the Sword of Power. All of this involves many different scenes, from memories of Arthurian times (in a lush countryside setting) to consultations with mystical Chinese sages, and so on; thus the film seems at times a fantasy, a western, and a kung-fu film.

C-111 Merlin. Dir. Steve Barron. Teleplay by David Stevens and Peter Barnes; story by Edward Khmara. With Sam Neill, Helena Bonham Carter, John Gielgud, Rutger Hauer, James Earl Jones, Miranda Richardson, Isabella Rossellini, and Martin Short. NBC, 26–27 Apr. 1998. Reissued: Hallmark Home Entertainment / RHI Entertainment, 1998. This made-for-television film begins with Merlin’s birth and covers the entire Arthurian story (including the Grail quest, which Arthur himself pursues). In this version, Queen Mab is the enemy, who wishes to bring the people back to worship of her; Merlin is supposed to help in this, but works against her instead. While there were many things that worked in this version, the ultimate defeat of Mab is rather unsatisfying. There was a shooting script published (see below), but also novelizations of the film; for those, see the entry for “Mallory, James” in the Literature section. For details of the soundtrack, see the entry for “Jones, Trevor” in the Music section.

C-112 Merlin: The Magic Begins (also known as Merlin: The Quest Begins). Dir. David Winning. Written by Tom Richards and Christopher A. Roosen. With Jason Connery and Debra Moore. Kaleidoscope Media Group, 1998. (*) A made-for-television film about the young Merlin. (Information from the Internet Movie Database.)

C-113 Merlin: The Return. Dir. Paul Matthews. Written by Paul Matthews. With Rik Mayall, Tia Carrere, Patrick Bergin, Adrian Paul, and Craig Sheffer. Peakviewing Productions, 1999. (*) Arthur (Bergin), Merlin (Mayall), and the rest are awakened in the twentieth century by a scientist, and must again battle Mordred and Morgan. (Information from the Internet Movie Database.)

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C-114 Merlin: The Shooting Script. Teleplay by David Stevens and Peter Barnes; story by Edward Khmara. Fwd Robert Halmi, Sr. A Newmarket Shooting Script Series Book. New York: Newmarket Press, 1998. The script for the NBC television film, accompanied by a synopsis, stills from the film, interviews with some of the principals, and brief biographies of the actors.

C-115 Merlin and the Dragons. Dir. Dennis J. Woodard and Hu Yihong. Story by Jane Yolen. Narrated by Kevin Kline. Lightyear Entertainment, 1990. An animated 27-minute film version of Yolen’s novel of the same name. Kevin Kline performs all of the voices. (See also the entry for “Yolen, Jane: Merlin and the Dragons” in the Literature section.)

C-116 Merlin and the Sword. Dir. Clive Donner. With Malcolm McDowell, Candice Bergen, Edward Woodward, and Dyan Cannon. Comworld Productions, 1982. Reissued: Arthur the King. 1985. This film of the Arthurian legend spends some time on the rivalry between Morgan (Bergen) and Merlin (Woodward). The film is framed by a twentieth-century woman (Cannon) who finds Merlin’s cave at Stonehenge and thus hears the whole story.

C-117 Merlin and the Toothless Knights. British General Dental Council / I. D. Television, 1974. (*) C-118 “Merlin, Maestro of Magic.” By Stanley Baird Reed. 1932. (*) Radio drama, in nine episodes.

C-119 Merlin of the Crystal Cave. Dir. Michael Darlow. Adapt. by Steve Bescoby, based on the novel by Mary Stewart. With George Winter and Robert Powell. BBC-TV, 1991. BBC Video / CBS-Fox Video, 1993. Mary Stewart’s novel The Crystal Cave was presented as a series of six 30-minute programmes, aired Sunday afternoons on BBC-1 from 17 Nov. to 22 Dec. 1991: “The Cave,” “The Flight,” “Ambrosius,” “The Return,” [one other: title not listed], and “The Raising of the Stones.” Subsequently, these were edited into a single continuous motion picture and issued on video-cassette as a 159 min. film. Winter played Merlin, with Powell as Ambrosius.

C-120 Merlin the Great (Moojahalla), Episodes 1 and 2. By David Ahria Leonard. 1932. (*) Radio drama. (Information from Northup and Parry.)

C-121 Merlin the Magic Mouse. Dir. Alex Lovey. Written by Cal Howard. Warner Bros., 1967. (*) A mouse that does magic tricks. (Information from the Internet Movie Database.)

C-122 Merlin’s Magic Cave. Dir. Hal Sutherland. Embassy Home Entertainment, 1977. (*) Only the framing of this film’s story has Arthurian characters. (Information from OCLC WorldCat.)

C-123 Merlin’s Magic of Learning. Gilbert Altschul Productions, 1979. (*) C-124 Merlin’s Mistake. BBC-TV, 1978. (*)

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C-125 Merlin’s Shop of Mystical Wonders. Dir. Kenneth J. Berton. With Ernest Borgnine, George Milan, and Bunny Summers. Berton Films / Monarch Home Video, 1995. Kenneth J. Berton wrote, produced and directed this film which tells two stories of Merlin’s Shop. Ernest Borgnine plays a grandfather telling his grandson a story about Merlin in northern California in the twentieth century. Merlin intends to make people realize the presence of magic in the world. The stories told about two of his “gifts” to people are like something out of the Twilight Zone series; they involve horror, demons, and destruction. Merlin is not portrayed as a villain, however, but as a genial, ancient man. There are references to Arthur, Lancelot and Morgan, but Merlin is the only Arthurian character with an active role in the stories.

C-126 The Mighty. Dir. Peter Chelsom. Written by Charles Leavitt. With Sharon Stone, Gena Rowlands, Harry Dean Stanton, Elden Henson and Kieran Culkin. Miramax Films / Alliance Atlantis Video, 1998. A film about two young boys, Kevin and Max, who live in a modern US city. Both are teased by other children, but they become friends and model their actions on the Knights of the Round Table. A reproduction of the Winchester Round Table is used in at least one scene; mounted knights appear at crucial points in the film, although whether they are real or a product of the boys’ imaginations is left ambiguous. When tutoring Max in reading, Kevin gives him a copy of King Arthur and his Knights by Sir James T. Knowles and Max reads some of this aloud. At the end of the film, Max repeats the line about Arthur being the once and future king and finds consolation in it. The film is based on the novel Freak the Mighty; see the entry for “Philbrick, Rodman” in the Literature section.

Milligan, Spike: see The Goon Show. C-127 The Mirror Crack’d from Side to Side. Dir. Norman Stone. Written by T. R. Bowen. With Joan Hickson and Claire Bloom. Produced by BBC TV in association with the A&E Network, 1992. This film version of Christie’s novel is quite faithful to the original, including the allusions to Tennyson’s “The Lady of Shalott.” The quotation used at the end has its context changed slightly, so the Lancelot-comparison is not made. The poem remains an important component of the story. (See also the entry for “Christie, Agatha” in the Literature section.)

C-128 Mr Merlin. Dir. John Astin and Bill Bixby. Producers: Larry Rosen and Larry Tucker. With Barnard Hughes, Clark Brandon, Elaine Joyce, and Jonathan Prince. Columbia Pictures Television, and Larry Larry Co. CBS, 1981–1982. (*) A television series set in twentieth-century San Francisco, with Merlin as an automobile mechanic who is teaching magic to his young apprentice, Zac. (Information from the Internet Movie Database.)

C-129 Monty Python and the Holy Grail. Dir. Terry Gilliam and Terry Jones. Written by Monty Python (i.e., Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones and Michael Palin). With Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, and Michael Palin. Python (Monty) Pictures / EMI, 1975. A farcical film which spoofs nearly every aspect of the traditional Arthurian story, and several aspects of contemporary British society besides. Possibly the most memorable of the Arthurian films produced to date. A number of dolls and figurines and other memorabilia associated with the film have also been produced.

C-130 The Moon Stallion. Dir. Dorothea Brooking. Written by Brian Hayles. With Sarah Sutton, David Haig, and James Greene. BBC-TV, 1978.

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Reissued: BBC Enterprises 1990. Set at the beginning of the twentieth century, this film tells the story of Diana, a young blind girl, who arrives with her father and brother at an estate near the Chalk Horse. She has the ability to communicate with the Moon Stallion, the messenger of the Moon Goddess. The father of the protagonist is in the area searching for evidence of the historical King Arthur; Diana has visions of Arthur and speaks with Merlin. (For details of the novel, see the entry for “Hayles, Brian” in the Literature section.)

C-131 “Morte d’Arthur.” Music composed by Peter Racine Fricker. BBC Radio, 1952. (*) A radio play. (See also the entry for “Fricker, Peter Racine; Morte d’Arthur” in the Music section.)

C-132 The Morte d’Arthur. Dir. Gillian Lynne. BBC 2, 1984. (*) Television drama.

C-133 Muppet Babies. “The Pig Who Would Be Queen.” Marvel / Jim Henson Productions, 1988. (*) An animated versio of Jim Henson’s Muppets; here Miss Piggy and Kermit the Frog (as Sir Kermalot) seek a magic sword.

C-134 The Natural. Dir. Barry Levinson. Producers: Roger Towne and Philip M. Breen. Written by Roger Towne and Phil Dusenberry. With Robert Redford, Robert Duval, Glenn Close, and Kim Basinger. Tri-Star Pictures, 1984. This film of the novel by Bernard Malamud (see the entry in the Literature section) ends on a potentially more hopeful note, but incorporates many aspects from the novel, including the Arthurian allusions. Early in the film, a young woman talks to Roy about Lancelot and other heroes; the suggestion is that sports stars are now our legendary heroes. As in the novel, Roy Hobbs plays for the Knights and “Pop” Fisher, trying to turn around the team’s fortunes with the almost magical bat Wonderboy. If anything, Roy is more of an Arthur-figure in the film, which emphasizes his illegitimate son (who is not, however, a treacherous Mordred-figure).

Neame, Elwin: see The Lady of Shalott. Neill, Sam: see Merlin (1998). C-135 The New Adventures of Superman. “Merlin’s Magic Marbles.” Dir. Hal Sutherland. Producers: Norm Prescott and Lou Schemer. Written by Mort Weisinger. Filmation Associates. CBS, 1966. (*) An episode (6 minutes) of the animated television serial; Lex Luthor tricks Merlin into supplying him with magic marbles that will provide him with perfect disguises while commiting crimes. (Information from the Big Cartoon Database.)

C-136 The New Batman Adventures. “The Demon Within.” Dir. Atsuko Tanaka. Producers: Alan Burnett, Bruce Timm, and Paul Dini. Written by Stan Berkowitz; story by Rusti Bjornhoel. Warner Bros. Television Animation. Kids WB Network, 1998. (*) An animated television show; in this episode, Batman must encounter the demon Etrigan, who is a servant of Merlin. (Information from the Big Cartoon Database.)

C-137 Passings (radio drama). By Ian Weir. BBC, 1984. (*) A radio drama, reviewing Arthur’s life from the perspective of the moment of his “passing.”

Peabody’s Improbable History: see Rocky and his Friends.

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C-138 Popeye. “The Black Knight.” Jack Kinney Productions / King Features, ca. Oct. 1960. (*) An animated television series; in this episode (5 1/2 minutes), Popeye is sent back to King Arthur’s court, as was Twain’s Connecticut Yankee (see the entry under “Twain, Mark” in the Literature section). (Information from the Big Cartoon Database.)

C-139 Possession. Dir. Neil LaBute. Producers: Paul Weinstein, and Barry Levinson. Based on the novel by A. S. Byatt. Written by David Henry Hwang, Laura Jones, and Neil LaBute. With Gwyneth Paltrow, Aaron Eckhart, Jeremy Northam, Jennifer Ehle, Lena Headey, Toby Stephens, and Tom Hollander. USA Films and Warner Bros. Pictures, 2002. Reissued: (DVD and VHS video-cassette): Universal City, CA: Universal Pictures, 2003. 60733. A film of Byatt’s story, which includes various references to Arthurian themes, especially to the story of Merlin and Vivien, and especially to the interest in Arthurian themes in Victorian literature and art (these references, however, are not prominent in the film version). See the entry for “Byatt, A. S.” in the Literature section.

C-140 Pound Puppies and the Legend of Big Paw. Dir. Pierre DeCelles. Producer: Donald Kushner and Peter Locke. Written by Jim Carlson. TriStar Pictures / Family Home Entertainment / Tonka, 1988. (*) A full-length animated film based on characters (a pack of dogs) from a television cartoon series; the film begins with a scene in which Arthur’s dog, Digalot, assists Arthur in drawing the sword from the stone. (Information from the Big Cartoon Database.)

C-141 Prince Valiant. Dir. Henry Hathaway. Written by Dudley Nichols. With James Mason, Janet Leigh, and Robert Wagner. Twentieth-Century Fox, 1954. A film based on Hal Foster’s comic strip (see the entry for “Prince Valiant” in the Comics section and in the Fine Art section). The film begins when Prince Valiant (Wagner) is sent by his exiled father to Arthur’s court to become a knight. On the way, he discovers a plot by the Black Knight to invade Britain with the help of the Vikings (led by the man who has usurped Valiant’s father’s throne). The action is thus partly driven by Valiant’s attempt to become a knight with Gawain as his mentor, partly by his love for a beautiful princess (Leigh) and all the comic romantic entanglements that ensue, and partly by his attempts to thwart the Black Knight’s plans in order to save Arthur’s kingdom and his father’s.

C-142 [Prince Valiant.] The Legend of Prince Valiant. Written by David J. Corbett. Hearst Entertainment Distribution. Family Channel, 1991–1993. (*) Reissued: The Legend of Prince Valiant. King Features, 1991. An animated television series based on the comic strip (see the entry for “Prince Valiant” in the Comics section and in the Fine Art section). There is a soundtrack recording for the series (see the entry for “Exchange” in the Music section).

C-143 Prince Valiant. Dir. Anthony Hickox. Written by Michael Frost Beckner, Anthony Hickox, and Carsten Lorenz. With Stephen Moyer, Katherine Heigl, Thomas Kretschmann, Joanna Lumley, and Edward Fox. Twentieth-Century Fox, 1997. A live-action film, with some segments of animation; it is based on the long-running comic strip by Harold Foster, set in the days of King Arthur. Valiant (Moyer), the squire and protégé of Sir Gawain (Hickox), is an orphan of unknown parentage, but he is “valiant” and driven by a strong sense of honour (in the opening scenes, he dons the armour of a fallen Sir Gawain so as to defend Gawain’s honour, and continues in this disguise for some time at King Arthur’s request). Morgana le Fey (Lumley) opens Merlin’s tomb, steals from it Merlin’s book of spells, and follows certain

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instructions or prophecies found within it, sending Vikings from the kingdom of Thule to Camelot to steal Excalibur. The sword, however, can only be wielded by a “true king,” so it embeds itself into a stone floor when the leader of the Vikings, Sligon the Usurper (Kier), attempts to use it. The story as a whole, then, focuses upon Valiant, how he discovers that he is, himself, the true heir to the throne of Thule (thus a “true king” who can pull the sword from the stone floor), and works towards the recovery of Excalibur which he returns to Arthur. Valiant loves, and is accompanied by (and repeatedly rescued by), a female as “valiant” as he, the Princess Ilene (Heigl), who dies in the battle of the true Thulians against the Vikings, but is restored to life through Valiant’s prayer and the power of Excalibur. A German-British-Irish co-production, the film was released simultaneously in a German-language version (Prinz Eisenherz). (There is a novelization of the film; see the entry for “Delrio, Martin” in the Literature section. See also the entry for “Prince Valiant” in the Comics section and in the Fine Art section.)

C-144 Princess Gwenevere and the Jewel Riders. Dir. Robert Mandell. Producers: Winnie Chaffee and Eleanor Kearney. New Frontier Entertainment and Enchanted Camelot Productions, 1995. (*) An animated television series (in eight episodes), set in Avalon, telling of young Princess Gwenevere’s adventures; Merlin and Morgana are recurring characters. (Information from the Big Cartoon Database.)

C-145 Quest for Camelot (UK title: The Magic Sword: Quest for Camelot). Dir. Frederik du Chau. Producer: Dalisa Cooper Cohen. Written by Kirk De Micco, William Schifrin, Jacqueline Feather, and David Seidler; based on Vera Chapman’s novel The King’s Damosel. With Jessalyn Gilsig, Cary Elwes, Pierce Brosnan, Gary Oldman, Jane Seymour, Sir John Gielgud, Don Rickles, Eric Idle. Songs by David Foster and Carole Bayer Sager; musical score by Patrick Doyle. Warner Bros., 1998. . A full-length animated film, set in a “medieval” time, in which a young female, who desires to be a knight, and her young male companion search for the lost Excalibur in order to restore it to King Arthur. The release of the film was accompanied by a host of marketing spin-offs, including a soundtrack recording (see the entry for “Quest for Camelot” in the Music section), several children’s story-books based on the screenplay with illustrations from the film (see the entries for “Quest for Camelot” in the Literature and Comics sections), collectors’ cards, and toys.

C-146 The Quest for Olwen. Dir. Valeri Ugarov. Script by Gwyn Thomas. Produced by Metta (Llangollen) and Soyuzmultfilm (Moscow) for S4C and HTV (Wales), 1990. (*) An animated version of Culhwch and Olwen. (See also the entry for “Mathias, William” in the Music section.) (Information from reviews.)

C-147 “The Quest for the Holy Grail.” Music composed by Peter Racine Fricker. BBC Radio, n.d. (*) A radio play. (See also the entry for “Fricker, Peter Racine; Quest for the Holy Grail” in the Music section.)

C-148 Raven. Dir. Michael Hart. Producer: Colin Shindler. Written by Jeremy Burnham and Trevor Ray. With Phil Daniels, Michael Aldridge, and Shirley Cheriton. ATV (Associated Television), 1977. (*) A British TV mini-series; a cave, which is to be used for the storage of nuclear waste, is found to be filled with symbols having to do with the Arthurian legend; Raven works to preserve the cave, having realized that it is the cave in which Arthur and his knights sleep. (See also the entry for the novelization of the television series, under “Burhham, Jeremy, and Trevor Ray” in the Literature section.)

Reeves, George: see The Adventures of Sir Galahad.

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Reitherman, Wolfgang: see The Sword in the Stone. The Richie Rich / Scooby-Doo Show: see the entry for The Scooby-Doo Show. C-149 Rocky and his Friends / Fractured Fairy Tales. “Sir Galahad; or, The Tomorrow Knight.” ABC, 13 Mar. 1960. (*) A spoof of the story of Galahad. (Information from the Big Cartoon Database.)

C-150 Rocky and his Friends / Fractured Fairy Tales. “Tom Thumb.” ABC, 4 Feb. 1960. (*) A version of the Tom Thumb story. (Information from the Big Cartoon Database.)

C-151 Rocky and his Friends / Peabody’s Improbable History. “King Arthur.” ABC, 1961. (*) The animated television series of Rocky the Flying Squirrel and Bullwinkle the Moose regularly included a segment concerning a dog named Peabody and his pet boy Sherman; in this episode they travel by time machine to the court of King Arthur. (Information from the Big Cartoon Database.)

Rogers, Will: see A Connecticut Yankee (1931). Romero, George: see Knightriders. Russell, William: see The Adventures of Sir Lancelot. C-152 [The Scooby-Doo Show.] The Richie Rich / Scooby-Doo Show. “Excalibur Scooby.” Producers: William Hanna and Joseph Barbera. ABC, 16 Sept. 1981. (*) The Scooby-Doo Show is an animated children’s television series, in which four friends and a talking dog (Scooby-Doo) solve “mysteries,” usually offering rational explanations for ghostly apparitions. This episode involves a magician attempting to pull a sword from a stone.

C-153 The Scooby-Doo Show. “Scared a Lot in Camelot.” Producers: William Hanna and Joseph Barbera. ABC, 13 Nov. 1976. At Camelot Castle, which has been moved stone by stone from England to New England by a wealthy uncle of one of the main characters, the four friends encounter the curse of Camelot and the ghost of Merlin.

C-154 Scooby-Doo! “Scooby-Doo! and the Haunted Castle.” Cartoon Network, n.d. In this episode, the four friends are in Scotland and have a flat tyre outside Montgomery Castle; enquiring at the castle for a telephone, they are led into an investigation of the castle’s ghost. The castle’s collection of armour is frequently mentioned, leading Shaggy to make playful references to the “Knights of the Kitchen Table”; at one point there is a sword-fight between Shaggy (giving himself the name Sir Loin of Beef) and the dog (Sir Scoobalot), battling over the dinner roast. A novelization of this episode was also produced: see also the entry for “Scooby-Doo! and the Haunted Castle” in the Literature section.

C-155 Seaview Knights. Dir. Richard Kurti. Producer: Lois A. Wolffe. Written by Bev Doyle and Richard Kurti. With Clive Darby, Sarah Alexander, and James Bolam. Seaview Knights Productions, 1994. (*) A film in which Arthur and the Round Table knights wake up and have adventures in modern Blackpool. (Information from the Internet Movie Database and from Film Indexes Online.)

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C-156 The Secret Adventures of Jules Verne. “Secret of the Realm.” Dir. Mark Roper. Written by Alan Drury. With Chris Demetral, Michael Praed, and Francesca Hunt. Filmline International. CBC-TV and the Sci-Fi Channel, 2 Dec. 2000. (*) This (live-action) television series has to do with Jules Verne in an alternate nineteenth-century (in which many of the technologies imagined in the stories of the real Verne are part of the narrative’s reality); Verne and his companions have various adventures as they travel in his hot-air balloon. In this episode the wicked Count Gregory and the League of Darkness create imposters of two of Verne’s companions as part of a plot to steal the Holy Grail; the Grail is said to have been brought to England by Joseph of Arimathea, given by him to Queen Boadicea, and from her it has passed down with the crown of England to Queen Victoria, the current Grail Keeper. (Information from .)

Seeger, Hal: see Batfink. Shyamalan, M. Night: see The Sixth Sense. C-157 The Siege of the Saxons. Dir. Nathan Juran. Written by John Kohn and Jud Kinberg. With Mark Dignam and John Laurie. Columbia, 1963. (*) The film is more about Arthur’s daughter than Arthur; she requires the help of Merlin (Laurie) to prevent the throne from being usurped. (Information from the Internet Movie Database.)

C-158 Sir Arthur Conan Doyle’s The Lost World. “Camelot.” Dir. Peter Fitzgerald. Written by James Thorpe. The Space Channel, 2 Sept. 2000. Four adventurers (two women and two men) come upon a Camelot in the jungle. The ancestors of this Camelot’s people were lost in the quest for the Grail and established a new kingdom, a new Camelot. Gawain is the name of the present king; he wishes to marry one of the adventurers. There are references to the love triangle of Arthur, Lancelot, and Guenevere.

C-159 “Sir Gawain and the Green Knight.” Adapt. by David Self. BBC Radio 4, 1978. (*) This radio dramatization of the medieval romance of Sir Gawain and the Green Knight was “commissioned by the BBC Schools Radio and first broadcast (in two parts) on Radio 4 in October 1978.” For the printed version of the radio play, see the entry for “Self, David” in the Literature section.

C-160 Sir Gawain and the Green Knight. Dir. John Michael Phillips. Producer: Ian Martin. Written by David Rudkin. Music by Walter Fabeck. With Jason Durr as Gawain, Malcolm Storry as the Green Knight, Marc Warren as King Arthur. Thames Television, 1991. This screen adaptation of the medieval story of Sir Gawain and the Green Knight begins as Gawain is about to leave on his quest to find the Green Chapel; his journey to the chapel is interwoven with his memories of the Green Knight’s arrival at Arthur’s court the year before. The film’s music is effective in highlighting the tension of the “game” that Bertilak plays with his guest. Originally a made-for-television film, the video is available through Films for the Humanities and Sciences ().

C-161 [Sir Gawain and the Green Knight.] Gawain and the Green Knight. Dir. Stephen Weeks. Written by Philip M. Breen and Stephen Weeks. With Murray Head as Gawain, Nigel Green as the Green Knight, Robert Hardy as Sir Bertilac, Anthony Sharp as King Arthur. Sancrest / United Artists, 1973. (*) A film adaptation of the medieval romance of Sir Gawain and the Green Knight as retold by Rosemary Sutcliff, with an additional scene from Chrétien de Troyes’ Yvain. Weeks attempted the same

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idea again, with a changed script and different cast, in his Sword of the Valiant (for which, see

the separate entry in this section). (Information from OCLC WorldCat.) C-162 “Sir Gawain and the Green Knight, Adapted for Radio.” American School of the Air. Adapt. by William Ford Manley. 9 Feb. 1931. (*) A radio dramatization of the medieval romance of Sir Gawain and the Green Knight.

C-163 Sir Lancelot. New World Productions / Mel-o-Toons, 1959. (*) Reissued: Issued on video-cassette as part of Kids Klassics: Treasure Island. Goodtimes Home Video, 1993. Animated short film (6 minutes). A boy falls asleep reading a book in which Lancelot displays his courage against dragons and robbers; the boy then dreams that he, inspired by Lancelot, stands up to bullies in his neighbourhood. A number of Mel-o-Toons shorts were released together on a single video-cassette under the title Treasure Island. (Information from OCLC WorldCat.)

C-164 The Sixth Sense. Dir. M. Night Shyamalan. Written by M. Night Shyamalan. With Bruce Willis and Haley Joel Osment. Buena Vista, 1999. A film about a young boy who can see and communicate with ghosts. The only Arthurian allusion occurs near the end, after the boy has started to learn to cope with his ability. Instead of being the outcast kid in the class, he is the one who gets the role of the stable-boy who turns out to be Arthur in the school play, “The Young King Arthur.” There is a scene where he comes forward to draw a sword from a stone and be proclaimed by his classmates.

C-165 The Smurfs. “Smurfs of the Round Table.” Dir. Don Lusk, Jay Sarbry, Carl Urbano, and Rudy Zamora. Producer: Paul Sabella. Written by Creighton Barnes, John Bates, and others. Hanna-Barbera Studios / SEPP International. NBC, 9 Dec. 1989. (*) An episode (15 minutes) of an animated television show, in which the Smurfs rescue Excalibur from Morgan le Fay. (Information from the Big Cartoon Database.)

Spielberg, Steven: see Indiana Jones and the Last Crusade. C-166 Star Trek: Deep Space Nine. “The Sword of Kahless.” Dir. Levar Burton. ABC, 20 Nov. 1995. Warf and Dax help a famous Klingon warrior in his quest to find the Sword of Kahless. Kahless is a legendary Klingon hero who united his people and drove invaders from their world; the lost sword, it is felt, would unite the Klingon peoples once again. The Klingon legend here parallels the Arthurian in several ways.

Stewart, Mary: see Merlin of the Crystal Cave. Stone, Norman: see The Mirror Crack’d From Side to Side. Stone, Sharon: see The Mighty. Straczynski, J. Michael: see Babylon 5. C-167 Studio One. “A Conneticut [sic] Yankee in King Arthur’s Court.” Dir. Frank Schaffner. Producer: Donald Davis, with Dorothy Mathews. Screeplay: Alvin Sapinsley. With Thomas Mitchell, and Boris Karloff. 19 May 1952. (*) A television adaptation of Mark Twain’s story. (Information from OCLC WorldCat.) (See also the entries for “Twain, Mark” in Literature section.)

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C-168 Super Chicken. “Merlin Brando.” Dir. Gerard Baldwin, Frank Braxton, and others. Producers: Jay Ward, Bill Scott, and Ponsonby Britt, O.B.E. Written by George Atkins, Al Burns, and others. Jay Ward Productions, 10 Oct. 1967. (*) An animated television show; in this episode (6 minutes) Super Chicken encounters the sorceror Merlin Brando. (Information from the Big Cartoon Database.)

C-169 The Super Globetrotters. “The Super Globetrotters vs. Merlo the Magician.” Hanna-Barbera Studios. NBC, 1979. (*) An animated television show featuring the Harlem Globetrotters basketball team as superheroes; in this episode they encounter Merlo the Magician. (Information from the Big Cartoon Database.)

Sutherland, Hal: see Merlin’s Magic Cave; The New Adventures of Superman. C-170 “The Sword and the Circle.” By Rosemary Sutcliff. Cat’s Whiskers (radio program). BBC Radio 4, 3–31 Aug. 1987. (*) A five-part radio dramatization of Sutcliff ’s novel. See the entry for “Sutcliff, Rosemary: The Sword and the Circle” in the Literature section.

C-171 The Sword in the Stone. With original music by Benjamin Britten. BBC Radio, 1938. A radio play, based on the novel by T. H. White, with original music by Benjamin Britten. The music was revived and turned into a concert piece in the 1980s (see the entry under “Britten, Benjamin, The Sword in the Stone in the Music section. For the original novel, see the entry under “White, Terence Hanbury, The Sword in the Stone” in the Literature section).

C-172 The Sword in the Stone. Dir. Wolfgang Reitherman. Story by Bill Peet. Walt Disney, 1963. A feature-length animated film, being Disney’s version of the novel by T. H. White (see the entry for “White, Terence Hanbury, The Sword in the Stone” in the Literature section). While some of the issues of White’s novel remain intact, such as the importance of education and the dilemma of Might and Right, a great deal has been changed, including the animals that Wart (Arthur) becomes, and the characters of Ector and Kay; there is here no sense that Wart matures in the course of the story. (See also the entry for “Sherman, Richard” in the Music section; also the entry under “Walt Disney” in the Comics section; also four entries under “Disney, Walt, Co.” in the Literature section.)

Sword of Lancelot: see Lancelot and Guinevere. C-173 Sword of the Valiant. Dir. Stephen Weeks. Written by Stephen Weeks, Howard C. Pen, and Philip M. Breen. With Sean Connery, Miles O’Keefe, and Trevor Howard. Cannon Group, 1985. This film is based on Sir Gawain and the Green Knight but includes incidents from Chrétien de Troyes’ Yvain to fill in the year between Gawain’s first meeting with the Green Knight and their second encounter; in addition, the Green Knight gives Gawain a riddle to solve as a way of avoiding the return blow. Weeks emphasizes the difference in age between Arthur (Howard) and Gawain (O’Keefe), though, in making Gawain look younger, the film also makes him look somewhat ridiculous. The Green Knight (Connery) is the bright spot in what is otherwise a rather weak film. For details of the novelization of the film, see also the entry for “Weeks, Stephen” in the Literature section. For Stephen Weeks’ earlier film version of the same story, see the entry for his Gawain and the Green Knight earlier in this section.

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C-174 The Table Round. English Folk Heroes 2. Universal City, CA: Milliken Publishing, 1975. (*) One of a series of “video storybooks” for children (other stories in the series include Beowulf, St George, and Robin Hood), this retells the story of Sir Galahad. These were originally created as filmstrips with accompanying recordings, and were later remastered as video-cassettes. See also the entry in this section for “Arthur and the Sword,” another story in this series. (Information from OCLC WorldCat.)

C-175 “Tales of Magic and Romance.” By Beryl M. Jones. BBC Radio, 1964(?). A series of radio broadcasts retelling eight tales from the Mabinogion. These retellings were also published as a book: see the entry under “Jones, Beryl M.” in the Literature section.

Taylor, Judson: see Guinevere. Taylor, Robert: see Knights of the Round Table (1953). Terry, Nigel: see Excalibur. C-176 That Hideous Strength. By C[live] S[taples] Lewis. Dramatised by Stephen Mallatratt. Dir. Nigel Bryant. BBC Radio 4, 2–25 Feb. 1990. (*) A radio dramatization of the novel in four episodes. For the novel, see the entry for “Lewis, C[live] S[taples]: That Hideous Strength” in the Literature section.

Thorpe, Richard: see Knights of the Round Table (1953). C-177 Thundercats. “Excalibur.” Producers: Peter Bakalian and Lee Dannacher. Written by Peter Lawrence. Rankin-Bass Productions / Telepictures Corp., 2 Dec. 1985. (*) An animated television show; in this episode the sword Excalibur is used by the evil character Mumm-Ra, but it is then restored by Merlin to the Lady of the Lake to await the return of Arthur. (Information from .)

C-178 The Time Tunnel. “Merlin the Magician.” Dir. Harry Harris. Written by William Welch. Irwin Allen Productions / Kent Productions / 20th Century-Fox Television. ABC, 1967. (*) “The Time Tunnel” television series was predicated upon an idea that the US government was sponsoring a massive, secret research project to produce a time machine; during tests, the scientists involved in the project have adventures in different periods of history. In this episode, they encounter Merlin who needs their help to rescue Guinevere from Vikings. (Information from .)

C-179 Timon and Pumba. “Be More Pacific.” Dir. Tony Craig, Robert Gannaway, and Brad Neave. Walt Disney Television Animation / Buena Vista Television, 1 Dec. 1995. An animated television show, featuring the characters of Timon and Pumba from The Lion King. In this episode, Pumba rescues a magical wishing whale, but their wishes keep being misinterpreted. One scene involves a “sword in the stone” reference.

Tinnell, Robert: see Kids of the Round Table. C-180 Tiny Toon Adventures. “Day for Knight.” Dir. Rich Arons. Producers: Richard Arons and Sherry Stoner. Written by Earl Kress, Tom Minton, and Jim Reardon. Warner Bros. Television Animation / Amblin Entertainment. Fox Network, 18 Feb. 1991. (*)

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An animated television show featuring Buster Bunny and Babs Bunny; in this episode (10 minutes) Buster is a knight and Babs the court jester. The episode includes allusions to Monty Python and the Holy Grail.

C-181 To Parsifal. Dir. Bruce Baillie. Canyon Cinema Co-operative, 1963. (*) Reissued: Canyon Cinema, 2001. A film, the story of which is set in contemporary America, but with some allusions to the Grail legends, and using music from Wagner’s opera Parsifal. (Information from OCLC WorldCat.)

C-182 Tom and Jerry Kids Show. Hanna-Barbera Studios / Turner Entertainment. Fox Network, 1990. The characters of Tom and Jerry (Tom being a cat, Jerry a mouse) go back to animated theatrical short films of the 1940s; “The Tom and Jerry Kids Show” was a series of television episodes broadcast in the early 1990s having to do with the adventures of Tom and Jerry when they were kids. One episode is set in Camelot, where Tom is knighted by King Arthur as “Sir Tomalot of Camelot” as a reward for having saved the city from Jerry, the fire-breathing mouse.

C-183 Tom Thumb. Dir. Gary Delfiner. Based on the story by Richard Jesse Watson. With Dom DeLuise. Video One Canada / World Vision Home Video, 1991. (*) A film of Watson’s story; see the entry for “Watson, Richard Jesse” in the Literature section. (Information from OCLC WorldCat.)

C-184 Tom Thumb in King Arthur’s Court. Coronet, 1963. (*) An animated film of the life of Tom Thumb. (Information from OCLC WorldCat.)

Topper, David: see A Connecticut Yankee in King Arthur’s Court (1978). C-185 The Tragedy of Tristram. By Henry Treece. Producer: Dafydd Gruffydd. BBC-TV, 1950. A play in which the ghosts of Tristram, Mark, and Yseult of Brittany are the principal characters. (See also the entry for “Treece, Henry” in the Literature section.)

C-186 Transformers. “A Decepticon Raider in King Arthur’s Court.” Marvel Production, 1985. (*) Tristan and Iseult: see Lovespell. Twain, Mark: For versions of or works inspired by A Connecticut Yankee in King Arthur’s Court, see Astro Boy; Bosko’s Knight-Mare; Bugs Bunny Knight-Mare Hare and A Connecticut Rabbit in King Arthur’s Court; A Connecticut Yankee in King Arthur’s Court (1921, 1931, 1947, 1949, 1970, 1978, 1989, 1999); King Arthur and the Knights of Justice; A Knight in Camelot; MacGyver (“Good Knight MacGyver”); Popeye; Studio One; Unidentified Flying Oddball. C-187 The Twisted Tales of Felix the Cat. “Middle-Aged Felix.” Film Roman Productions. CBS, 1995. (*) An animated television show; in this episode (7 minutes), Felix the Cat discovers a book of magic spells. One of the spells transports him back in time to the age of Merlin. (Information from the Big Cartoon Database.)

C-188 Uncle Mac’s Children’s Hour. “King Arthur’s Tree.” By Alison Uttley. BBC Radio. A story of two children who visit Merlin’s Cave at Tintagel and have wishes granted, including a

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wish to meet Arthur. The story was subsequently published in Uncle Mac’s Children’s Hour Book; for the published version, see the entry for “Uttley, Alison” in the Literature section.

C-189 Unidentified Flying Oddball (UK title: The Spaceman and King Arthur. Dir. Russ Mayberry. Written by Don Tait. With Dennis Dugan, Kenneth More, Ron Moody, and Jim Dale. Walt Disney Productions, 1979. An updating of Mark Twain’s Connecticut Yankee in King Arthur’s Court (see the entry under “Twain, Mark” in the Literature section). A spaceship is invented by NASA which can travel faster than the speed of light. On its maiden voyage it is supposed to be manned only by a robot, but through a series of misadventures, Tom Trimble, an engineer with NASA, is on board with Hermes the robot when the rocket-ship unexpectedly takes off, and, through further mishaps, they end up going back in time to Camelot to meet Arthur and Merlin. (A novelization of the film is listed under “Simon, Heather” in the Literature section.)

Varnel, Marcel: see King Arthur was a Gentleman. C-190 Wail of the Banshee. Dir. Brian Lighthill. Written by Bob Hescott. ITV, 1992. (*) A television programme in which Merlin recruits schoolchildren to help to save the earth from ecological disaster.

Watson, Richard Jesse: see Tom Thumb. Weeks, Stephen: see Sir Gawain and the Green Knight; Sword of the Valiant. Wells, Audrey: see Guinevere (1999). Werner, Peter: see The Four Diamonds. C-191 While the City Sleeps. “King Arthur.” By Roy A. Sorenson. Episode 154. 1936. (*) An episode of a radio drama. (Information from Northup and Parry.)

Wilde, Cornel: see Lancelot and Guinevere. Williams, C. J.: see The Lady of Shalott. Williams, Robin: see The Fisher King. Winning, David: see Merlin: The Magic Begins. Woolley, Persia: see Guinevere. C-192 The World’s Greatest Super Friends. “Space Knights of Camelon.” Dir. Ray Patterson, Carl Urbano, Oscar Dufau, and George Gordon. Producer: Don Jurwich. Written by Jeff Scott. Hanna-Barbera Studios. ABC, 1979. (*) This animated television series features the Super Friends, including Superman, Batman, and Wonder Woman. In this episode, the Super Friends travel to the planet Camelon where a rebellion against King Arthur VII is being led by an amnesiac Superman as the Black Knight. (Information from the Big Cartoon Database.)

Worthington, William: see Grail (1915).

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C-193 Yogi’s Treasure Hunt. “Merlin’s Lost Book of Magic.” Producers: William Hanna and Joseph Barbera. Hanna-Barbera Studios, 28 Oct. 1985. (*) An animated television series featuring the character of Yogi Bear; in this episode, Yogi and his friends assist Merlin in finding his lost magic book so that he can save the earth from a comet which is on a collision course.

Yolen, Jane: see Merlin and the Dragons. York, Michael: see A Knight in Camelot; Babylon 5. Young, Robert: see A Knight in Camelot. Zucker, Jerry: see First Knight.

D. Music D-1 Ad Dios. Album: Avalon. Ingarö, Stolkholm, Sweden: Theta Music, 1998. JBCD030. Ad Dios is a New Age instrumental duet from Sweden. The songs on the album are “Winter of Tintagel”; “Above the Lake”; “Spiral Dance”; “Lady of the Lake”; “Excalibur”; “Castle Chariot”; “The Sacrifice”; “Gwenhwyfar”; “Avalon”; “Elaine”; “Myrddin.”

D-2 Adair, James, composer. Printed music: Isolde and the Shortstop: A Comic Opera in One Act (Op. 48). Words by Thomas K. Baker and James Adair. N.p.: J. Adair, 1977. (*) An operetta with some reference to Iseult. (Information from OCLC WorldCat entry.)

D-3 Adams, John, composer. Album: Harmonielehre. Perf. San Francisco Symphony Orchestra. New York: Nonesuch Digital, 1985. 9 79115–2. This album was produced as part of the “Meet the Composer Orchestra Residency Series.” The composition is divided into three parts, the second of which is entitled “The Anfortas Wound.” That part begins with very slow, melancholy strings (in contrast to the much louder, dramatic opening of the piece as a whole, or the more playful tone of the third part where “harmony” is restored); it builds to intense, almost discordant notes and rumbling drums. The second section as a whole, Adams notes in an interview, is intended to represent the frustration of a period of creative inactivity, using the Fisher King as a symbol for the artist, who is eventually healed by the Grail, or the return of inspiration (interview with Jonathan Cott provided as part of the liner notes to the album).

D-4 Ager, Laurence, composer. Printed music: King Arthur. London: B. Feldman, 1969. (*) A six-page score: a song with music for piano. (Information from OCLC WorldCat entry.)

D-5 Aguilar, Emanuel, composer. Printed music: The Bridal of Triermain. Words by Sir Walter Scott. London: n.p., 1884. (*) A musical setting of Scott’s poem. See also the entry for “Scott, Walter, The Bridal of Triermain” in the Literature section. D-6

Akers, Howard E., composer. Printed music: Enid. N.p.: Carl Fischer, 1921. (*)

D-7 Akhurst, William Mower, composer. Printed music: Arthur the King, or the Knights of the Round Table and other funny-ture: A burlesque extravaganza. London: T. H. Lacy, 1871. (*) A burlesque drama with music. (Information from OCLC WorldCat entry.) (See also the entry for Akhurst in the Literature section.)

D-8 Albéniz, Isaac, composer. Printed music: King Arthur: A Trilogy of Lyrical Dramas Founded on the Morte d’Arthur of Sir Thomas Malory / Le Roi Arthus: trilogie lyrique tiree de la Mort d’Arthur de Thomas Malory. Libretto by Francis Burdett Money Coutts. Paris and New York: Edition Mutuelle; Breitkopf et Haertel, 1906. Reissued: Album: Merlin. Perf. Carlos Álvarez, Plácido Domingo, et al. 2 CDs. London: Decca, 2000. 467–096–2.

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This is a musical setting by a Spanish composer of an English libretto which was originally published without music in 1897 (London: John Lane); French and Spanish translations have also appeared. Albéniz had been commissioned to compose music for all three of Coutts’ operas, but he died before the project was completed. “Merlin: drame en trois actes”: vocal score with piano accompaniment, completed ca. 1898 and published Paris, 1906; the orchestration was completed but not published; only the Prelude to Act One was performed publicly during the composer’s lifetime. “Launcelot” was left incomplete; “Guenevere” was not composed. Albéniz was a devotee of Wagner, and there are many Wagnerian elements in his music; the libretto also has Wagnerian elements, and it is said that Coutts wanted “King Arthur” to be “both the English equivalent of the German Nibelung saga, and the basis of an English national opera” (Jacinto Torres, in the booklet accompanying the CD release of “Merlin,” p. 18). Merlin’s theft of gold from the gnomes, for instance, may owe something to the Nibelungleid or to Wagner’s adaptation of it. Act 1: the sword in the stone episode; Morgan le Fay lays a claim to the throne on behalf of her son, Mordred. Act 2: Merlin and Arthur, in the throne room, receive Morgan, Mordred and Pellinore, captured in the rebel wars; Arthur grants them a pardon, but Morgan and Mordred are already hatching new plots against him. Act 3: in a forest, Arthur remembers Guenevere, and asks Merlin to arrange a marriage; Nivian dances for Merlin and he gives her his wand; when Merlin then enters the gnomes’ deserted cave to steal more gold, Nivian seals the entrance, and Morgan proclaims her triumph. A 1996 revision of “Merlin” by José de Eusebio was recorded and released in 2000 (a “World Premier Recording”: according to the booklet accompanying the CD, it was first performed in a concert form in 1996; it had not yet been staged as of 1999), with Álvarez as Merlin, Plácido Domingo as King Arthur, Jane Henschel as Morgan le Fay, and Ana Maria Martínez as Nivian (with the Coro Nacional de España, the Coro de la Comunidad de Madrid, and the Orquestra Sinfónica de Madrid). See also the entry for “Coutts, Francis, King Arthur” in the Literature section.

D-9 Albert, Stephen, composer. “TreeStone.” Album: Violin Concerto (In Concordiam) and TreeStone. Perf. Lucy Shelton, soprano; David Gordon, tenor; New York Chamber Symphony; Gerard Schwarz, conductor. Hollywood, CA: Delos International, 1989. B0000006WJ. The album “Treestone” is described by Albert as a “song cycle” and consists of six pieces: “I am Leafy Speaking,” “A Grand Funferall,” “Sea Birds,” “Tristopher Tristian,” “Fallen Griefs,” and “Anna Livia Plurabelle.” This work was inspired by Finnegan’s Wake, particularly the use that James Joyce makes of the Tristan legend in that novel. Albert describes the process of writing the cycle which began with his reading the novel: “After a few days jotting down isolated paragraphs, sentences and phrases that seemed associated with their story, a fairly coherent text emerged that centered Tristan and Iseult in a cluster of related themes and images” (liner notes to album). The cycle is composed for soprano, tenor and chamber orchestra.

Aldington, Richard: see Rummel, Walter Morse. D-10 Alkaemy. Album: The Merlin Mystery. Music by Julia Taylor-Stanley. West Hollywood, CA: Earthtone, 1998. Julia Taylor-Stanley composed this music to accompany the book, The Merlin Mystery. Some of the songs are instrumental only; others have vocals. While there are allusions to a number of episodes of the legend, the focus is on Merlin and the idea of changed perception and mystical knowledge.

D-11 Allwood, Peter, composer. Performance: Pendragon. Lyrics by Peter Allwood, Joanna Horton, Jeremy James Taylor, and Frank Whately. Dir. Peter Allwood, Joanna Horton, Jeremy James Taylor, and Frank Whately. Perf. National Youth Music Theatre, with Andrew Hewitt, Matt Katon, Rebecca Lock, Katie Wilson, et al. (Première: Edinburgh: Edinburgh Fringe Festival, 1994.)

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This musical drama has two acts. The first act begins with Arthur being taken from his parents by Merlin and ends with the battle in which Uther dies; its focus is the childhood of Arthur and Morgan. The second act begins with Arthur drawing the sword from the stone, and shows the way Arthur gradually loses those things that make him king: his best friend (Kay), his queen, and his sword. The act ends with Arthur’s regaining of these things: he grants Kay’s desire to marry a commoner, allows the loathly lady her own choice (Guenevere has been changed into this lady by Morgan, though Arthur does not know this), and regains the sword. The finale is thus the triumphant founding of the Round Table fellowship; the drama does not cover the end of Arthur’s reign. Some characters and episodes seem to be influenced by T. H. White, particularly the character of Pellinore. Others, like the episode of the loathly lady, have been influenced by Chaucer.

D-12 Allwood, Peter, composer. Printed music: Pendragon: A Musical in Two Acts. Lyrics by Peter Allwood, Joanna Horton, Jeremy James Taylor, and Frank Whately. London: Josef Weinberger, 1997. The vocal score with piano for the musical drama.

D-13 Allwood, Peter, composer. Album: Pendragon. Lyrics by Peter Allwood, Joanna Horton, Jeremy James Taylor, and Frank Whately. Dir. Peter Allwood, Joanna Horton, Jeremy James Taylor, and Frank Whately. Perf. National Youth Music Theatre, with Andrew Hewitt, Matt Katon, Rebecca Lock, Katie Wilson, et al. [S.I.]: Jay Records, 2000. ADY-5642. A recording of all the songs and dialogue of the music drama.

D-14 Amorphis. Album: Karelian Isthmus. Millersville, PA: Relapse Records, 1992. The song “Grail Mysteries” is the most obviously Arthurian, with references to the boar of Cornwall, but several of the other songs also use images of Celtic warriors.

D-15 Andrews, Mark, composer. “The Lady of Shalott.” Words by Alfred, Lord Tennyson. Printed music: Three Choruses for Men’s Voices. New York: G. Schirmer, 1906. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’ ” in the Literature section.

D-16 Arkenstone, David, composer. “Guinevere’s Tears.” Perf. David Arkenstone (percussion, vocals), Linda Edelstein (English horn), Tena Hess (flute), Bill Cowart (French horn). Album: Wind and Reed. Milwaukee, WI: Narada Productions, 1993. ND-61037. This song is a rather haunting instrumental piece performed by an English horn, a French horn, and a flute, with some percussion and background vocals. There are no words, so the only Arthurian content is the title. The song appears on an album which contains music by a variety of composers; all of the songs use primarily wind instruments. Note that Narada Productions copyrights the entire album; copyright for the song is 1993 Nara Music (BMI).

D-17 Arne, Thomas, composer. Printed music: Arthur and Emmeline; A Dramatic Entertainment, in two acts, taken from the Masque of King Arthur, by Dryden. And now performed at the Theatre-Royal in Drury-Lane, with variety of scenes and machinery. The music by Purcel, and Dr. Arne. Libretto by David Garrick. London: Printed and sold by J. Jarvis, 1784. [ESTC T22490.] (Première: London: Drury Lane, 13 Dec. 1770.) Reissued: The Dramatic Works of David Garrick, Esq., to which is prefixed a life of the author. 3 vols. London: Printed for A. Millar, 1798. 3: 109–34. [ESTC T34930.] David Garrick’s revision of John Dryden’s King Arthur, with music by Thomas Arne, abridges Dryden’s original. Arthur is fighting the Saxons, but the main interest of this version is his love for

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Emmeline and his attempt to free her (with Merlin’s help) from a Saxon enchanter. The work ends with a prophecy that Saxons and Britons shall be one people, followed by a song to St George.

D-18 Arne, Thomas, composer. Printed music: St George: A Soldier and a Saint. Words by John Dryden. London, n.p., 1856. (*) A musical setting for a song from the last scene of Dryden’s play King Arthur (Act 5, Scene 2). See also the entry for “Dryden, John” in the Literature section.

D-19 Arne, Thomas, and John Frederick Lampe, composers. Printed music: The Opera of Operas; or, Tom Thumb the Great: Alter’d from The Life and Death of Tom Thumb the Great, and Set to Musick after the Italian Manner, as it is Performing at the New Theatre in the Hay-Market. Words by Henry Fielding. London: Printed for J. Roberts, 1733. [ESTC N10671.] (Première: London: Little Theatre, 1733.) Reissued: Tom Thumb the Great. An opera. Set to music after the Italian manner, by Mr Arne. As it is performed at the Theatre-Royal. Dublin: Printed for Richard Watts, 1757. [ESTC T51456.] Music for the popular drama where Tom Thumb ends up at Arthur’s court. See also the entry under “Fielding, Henry” in the Literature section.

Ashton, Sir Frederick: see Bax, Arnold, Picnic. D-20 Austin, Frederic, composer. “When I Set Out for Lyonnesse.” Printed music: Three Wessex Songs. Words by Thomas Hardy. London: Boosey and Hawkes, 1927. (*) See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section. D-21 Axelrod, David. “Merlin’s Prophecy.” Words by William Blake. Album: Song of Innocence. Hollywood, CA: Capitol Records, 1968. Reissued: Album: Anthology II. [France]: EMI, 2002. This is a “rock symphony” written by a well-known producer-arranger of late 60s rock albums. The songs on the album have titles borrowed from poems by William Blake; “Merlin’s Prophecy” is the only one with an “Arthurian” connection (and that being only the mention of Merlin in the title). See also the entry under “Blake, William, Merlin’s Prophecy” in the Literature section.

D-22 Ayreon. Album: The Final Experiment. By Arjen Anthony Lucassen. [Netherlands]: Transmission Records, 1995. TM001. Reissued: Album: The Final Experiment: Special Edition. By Arjen Anthony Lucassen. Pittsburgh, PA: InsideOut Music, 2005. SPV 085–40832 DCD. A progressive rock album (combining the talents of a number of performers and various musical styles) with a prologue and four acts. The premise is that a computer in 2084 sends visions back in time to Ayreon, a medieval musician. Act 2 “King Arthur’s Court” consists of three songs, two of which are explicitly Arthurian: “Ye Courtyard Minstrel Boy” sends Ayreon to Arthur’s court and refers to Arthur, Guenevere, and the Round Table; “Sail Away to Avalon” calls the listener to journey to the island and find the Grail. Act 4 “Merlin’s Will and Ayreon’s Fate” depicts Merlin as a rival, jealous of Ayreon’s prophetic abilities, though by the last song Merlin has understood the experiment and regrets his actions.

D-23 Ayreon. Album: Into the Electric Castle: A Space Opera. By Arjen Anthony Lucassen. [Netherlands]: Transmission Records, 1998. TM-014. Reissued: Album: Into the Electric Castle: Special Edition. By Arjen Anthony Lucassen. Pittsburgh, PA: InsideOut Music, 2004. 6 93723 01132 5.

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A progressive rock album combining a variety of musical styles. The science-fiction premise is that eight characters are brought together from different points in time. One of these characters, a Knight, makes numerous references to Avalon and his quest for the Grail; in “The Castle Hall,” the Arthurian allusions are most explicit as he speaks of Excalibur, the knights of the Round Table, and Merlin.

D-24 Bad News. “Excalibur.” Album: Bad News. Burbank, CA: Rhino, 1989. R4 70931. Reissued: EMI, 2004. A mock heavy-metal band, whose songs, inlcuding “Excalibur,” have a large component of bickering between band members.

D-25 Baez, Joan. “Sweet Sir Galahad.” Album: One Day at a Time. Vanguard Records, 1970. VSD-79310. Reissued: Album: Joan Baez: The First 10 Years. 2 record set. Vanguard Records, 1970. VSD-6560 and 6561. – Album: The Joan Baez Lovesong Album. 2 record set. Vanguard Records, 1976. VSD-79/80. – Album: Ring Them Bells. (Recorded live at the Bottom Line Cabaret, New York, Apr. 1995.) Guardian, 1995. 72438–34989. A song (written by Baez) about an illicit love affair in a modern setting; “Sweet Sir Galahad” visits the speaker at night. There are numerous recordings of the song besides the ones we’ve listed; Gary and Randy van Scruggs also recorded it on All the Way Home.

D-26 Bailey, Judith, composer. Printed music: When I set out for Lyonesse: from Seascape. Words by Thomas Hardy. [S.I.]: Mor Press, 1994. (*) Vocal score “for female chorus and orchestra” (British Library). See also the entry for “Hardy, Thomas” in the Literature section.

D-27 Bainton, Edgar Leslie, composer. Printed music: Merlin’s Apple Trees: Two-Part Song. Words by Thomas Love Peacock. London: Oxford University Press, 1934. Song for two voices and piano, with words from a lyric included in Thomas Love Peacock’s The Misfortunes of Elphin. See also the entry for “Peacock, Thomas Love: The Misfortunes of Elphin” in the Literature section.

D-28 Baker, Augusta Catherine, composer. Printed music: Sir Galahad. Words by Alfred, Lord Tennyson. London: n.p., 1875. (*) According to the British Library, this is a song that begins, “My good blade carves the casques of men.” See also the entry for “Tennyson, Alfred Tennyson, Baron, Sir Galahad” in the Literature section.

Baker, Thomas K.: see Adair, James. D-29 Balfe, Michael, composer. Printed music: Fortune and Her Wheel. Words by Alfred, Lord Tennyson. London: Boosey and Hawkes, 1865. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-30 Balfe, Michael, composer. Printed music: Song of Love and Death. Words by Alfred, Lord Tennyson. London: Boosey and Hawkes, 1860. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

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D-31 Bantock, Granville, composer. Printed music: Morgan le Fey. Words by S. Kaye-Smith. London: J. B. Cramer, 1927. (*) A song.

D-32 Barkworth, Arthur, composer. Printed music: Vivien’s Song. Words by Alfred, Lord Tennyson. Liverpool: n.p., 1874. (*) A song beginning, “In love, if love be love” (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Vivien” in the Literature section.

D-33 Barnett, John, composer. Printed music: Love and Death. Words by Alfred, Lord Tennyson. London: Leader and Cock, 1859. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-34 Barnett, John, composer. Printed music: Vivien’s Song. Words by Alfred, Lord Tennyson. London: Leader and Cock, 1859. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Vivien” in the Literature section.

D-35 Barnett, John, composer. Printed music: The Song of Fortune. Words by Alfred, Lord Tennyson. London: Leader and Cock, 1859. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-36 Barnett, John, composer. Printed music: Too Late. Words by Alfred, Lord Tennyson. London: Leader and Cock, 1859. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

Baron, Barclay: see Shaw, Martin. Barrett, Ruth: see Smith, Cyntia, and Ruth Barrett. D-37 Bath, Hubert Charles, composer. Printed music: Elaine. Words by D. EardleyWilmot. London: Chappell, 1913. (*) Batton, James: see Hinze, Chris. D-38 Bax, Arnold, composer. Performance: Picnic at Tintagel [ballet]. Choreographer: Sir Frederick Ashton. Perf. Francisco Moncion, Diana Adams, Yvonne Mounsey, et al. (Première: New York: New York City Center, 28 Feb. 1952.) (*) The music for this ballet is Bax’s Garden of Fand (New York City Ballet website: ).

D-39 Bax, Arnold, composer. Performance: Tintagel, For Orchestra. First performed 1917. Reissued: Printed music: London: Chappell, 1943. – Album: Tintagel. Perf. Ulster Orchestra. Conducted by Bryden Thomson. Colchester: Chandos, 1983. CHAN 8312. A symphonic score. In the one-paragraph preface, Bax describes his intention to produce “a tone-picture of the castle-crowned cliff of Tintagel” and mentions the Arthurian connections he has in mind, particularly Arthur, Mark, Tristan, and Iseult. There are numerous recordings of this work besides the one we have listed. See also the entry for “Cook, Paul” in the Literature section, for a novel that alludes to Bax’s work.

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D-40 Baxter, Lionel, composer. Printed music: “Valse Elaine: Hesitation.” Cleveland, OH: Sam Fox Publishing Co., 1914. (*) A waltz. (Information from OCLC WorldCat entry.)

D-41 Bayly, Thomas Haynes, composer. The British Legion: A Burletta in One Act. London: Chapman and Hall, 1838. (*) This drama included various popular songs. (Information from OCLC WorldCat entry.)

D-42 Beagle, Peter. “Good King Christian.” Album: Peter Beagle . . . Live! Portland, OR: Firebird Arts and Music, 1986. FAM-11008. (*) A song, by the author of The Last Unicorn and other fantasy novels, in which there is a comparison of Arthur with King Christian X of Denmark.

D-43 Beauchamp, B., composer. Printed music: Song of Love and Death. Words by Alfred, Lord Tennyson. Brighton: JWC, 1879. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-44 Bedford, David, composer. Printed music: Ronde for Isolde. Novello wind band and wind ensemble series. London: Novello, 1988. (*) Reissued: Album: The Wind Music of David Bedford. Perf. The Royal Northern College of Music Wind Orchestra. Manchester: Doyen, 1998. DOY CD 082. A piece for wind / brass ensemble, commissioned by the Scottish Amateur Music Association in 1985.

D-45 Behrend, John Arthur, composer. Printed music: Little Elaine. Words by F. L. Stanton. London: Boosey and Hawkes, 1901. (*) D-46 Bellamy, Peter, composer. Printed music: Merlin’s Isle of Gramarye. Words by Rudyard Kipling. London: Robbins Music, 1972. (*) Reissued: Album: Merlin’s Isle of Gramarye. London: Argo, 1972. ZFB 81. Bellamy, a British folk singer and songwriter, was known for his musical settings of Kipling’s poetry. This is a setting of “Puck’s Song” from Puck of Pook’s Hill. See also “Kipling, Rudyard” in Literature section.

Bellamy, W. H: see Smart, Henry T. D-47 Bendell, W. E., composer. The Lady of Shalott: A Cantata for Women’s Voices. Words by Alfred, Lord Tennyson. London: Novello, Ewer and Co., 1891. Reissued: G. Schirmer’s Collection of Oratorios and Cantatas. New York: G. Schirmer, n.d. W. G. McNaught transcribed the music for the Novello “tonic sol-fa” edition released about the same time as the original. This is Tennyson’s poem set to music for solo voice (soprano) and chorus (female voices), with piano accompaniment. See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section.

Bendell, W. E.: see also Sullivan, Sir Arthur, King Arthur. D-48 Bennett, Charles, composer. Printed music: The Lady of Shalott. Words by Alfred, Lord Tennyson. Boston, MA: O. Ditson, 1925. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section.

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D-49 Berghout, Johann, composer. Printed music: “Tristan and Isolde” (Fantasia for Violin and Pianoforte. Opus 41). London: Augener, 1907. (*) Based on Wagner’s opera. (Information from British Library catalogue entry.)

D-50 Bernstein, Elmer, composer. Printed music: Merlin: The Magical Musical. Words by Don Black. Winona, MN: Hal Leonard Corp., 1983. (Première: New York: Mark Hellinger Theater, 1983.) (*) D-51 Birtwistle, Harrison, composer. Gawain. Words by David Harsent. London: Universal Edition, 1991. (Première: London: Royal Opera House, Covent Garden, May 1991.) Reissued: An extract, “Gawain’s Journey.” London: Universal, 1991. – Album: Gawain. Conducted by Elgar Howarth. London: Collins Classics, 1994. 70412. This operatic interpretation of the Sir Gawain and the Green Knight story suggests that Arthur’s court is unwilling to accept people as they are; Morgan’s scheme reveals, even frees, Gawain from his name and his legend, but she is generally portrayed as villainous.

Black, Don: see Bernstein, Elmer. D-52 Blackford, Richard, composer. Sir Gawain and the Green Knight: An opera in six sections. Words by John Emlyn Edwards. London: Oxford University Press, 1982. (Première: Blewbury, Oxford: 1978.) (*) Reissued: Album: Sir Gawain and the Green Knight. London: Argo, 1979. ZK 85. Opera written for younger performers, based on Sir Gawain and the Green Knight.

D-53 Blacklight Braille. Album: The Avallon Album. Cincinnati, OH: Vetco, 1990. Vetco 723. (*) An album with songs of Arthurian content, including “Avallon Towers,” “Passing through the wastelands,” “Arthur’s serpent song,” “Forever on questingbeast,” “Fluttering flags over Carlion,” and “Dancing at joyous guard.” (Information from OCLC WorldCat entry.)

D-54 Blacklight Braille. Album: Avallon Tower. Cincinnati, OH: Vetco, 1996. Vetco 611. (*) An album with songs of Arthurian content, including “The battle at Douglas River,” “The battle of the birds,” “The flight of the dragon from the battle of Camlan,” and three songs about Avalon: “Avallon towers,” “Towers of Avallon,” and “The gate of Avallon.” (Information from OCLC WorldCat entry.)

D-55 Blacklight Braille. Album: Camelot Palace. Cincinnati, OH: Vetco, 1993. Vetco CD-605. (*) An album concerned with Yule rituals; Owen Knight, one of the members of Blacklight Braille, identifies Arthur with Yule. Some of the song titles are explicitly Arthurian: “The man in the moon and Morgan the Fay,” “The good King Arthur,” “Mighty spears against Camelot,” and “Dancing at joyous guard.” (Information from the Blacklight Braille webpage and OCLC WorldCat.)

D-56 Blacklight Braille. Album: The Car Ochren Album. Cincinnati, OH: Vetco, 1990. Vetco 721. (*) Some of the song titles refer to Ochren Castle, but there are more explicitly Arthurian titles as well: “The Battle of Duglas River” and “The Good King Arthur.” (Information from library catalogues.)

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D-57 Blacklight Braille. Album: Carbonek. Cincinnati, OH: Vetco Records, 1991. Vetco 610. (*) This rock album contains a number of songs with Arthurian titles including “Passing through the wastelands,” “Forever on questing beast,” “The cup at Carbonek,” “The bottomless pit of the cup,” “The white sail,” and “The gift from Galahad.” (Information from OCLC WorldCat entry.)

D-58 Blacklight Braille. Album: The Carbonek Album. Cincinnati, OH: Vetco Records, 1991. Vetco 727. (*) This album contains slightly different songs from Carbonek: “The fountain falling from the ace of cups,” “The cup at Carbonek,” “The bottomless pit of the cup,” “The gift for Galahad,” “The return of fruitfulness,” “Guinhwyvare the tall and fair,” “Mighty spears against Camelot,” “The battle of the birds,” “The towers of Avallon,” “Going dancing,” and “Moonshadow song.” (Information from library catalogues.)

D-59 Blacklight Braille. Album: Carmarthen. Cincinnati, OH: Vetco, 1994. CD 603. (*) An album with a number of songs associated with Merlin, including “The building of Stonehenge by Merlin,” “Mayhem at Mount Baden,” “Nimue creates a spirally spire of glass,” and “Arthur’s serpent song.” (Information from the Blacklight Braille webpage and OCLC WorldCat.)

D-60 Blacklight Braille. Album: The Carmarthen Album. Cincinnati, OH: Vetco, 1999. Vetco 719. (*) Some of the songs differ from the earlier Carmarthen. Arthurian titles include “The golden dragon of the sword and stone,” “At the round table in Ogrevan’s Great Hall,” “The building of Stonehenge by Merlin,” “Nimue creates a spirally spire of glass,” “The flight of the dragon from the Battle of Camlan,” and “The gate of Avalon.” (Information from OCLC WorldCat entry.)

D-61 Blacklight Braille. Album: Zauzomank Castle. Cincinnati, OH: Vetco Records, 1993. Vetco 604. (*) A rock album that retells the story of Arthur; Owen Knight, one of the members of Blacklight Braille, identifies Zauzomank as a place towards which Arthur quests. Songs include “Out of the stars she came with the wind of all winds,” “Guinhwyvare the tall and fair,” “The golden dragon of the sword and stone,” “Fluttering flags over Carleon,” “Glem warriors,” “Aurora borealis,” “At the round table in Ogrevans [sic] great hall,” “Zauzomanks [sic] last castle,” “Monks in ancient walls,” “Song for the dying wind,” “Zauzomank among the shadows,” “Mirage mist and will of the wisp,” “The silent castle,” and “The forgotten city.” (Information from the Blacklight Braille webpage and OCLC WorldCat.)

D-62 Blackmore, Richie, composer. “Avalon.” Album: Under a Violet Moon. Perf. Blackmore’s Night. Downers Grove, IL: Platinum Entertainment, 1999. 15095–3741–2. Blackmore’s Night, the group performing the album, consists of Richie Blackmore and Candice Night. The speaker wishes to return “to the days of Avalon / Where magic rules as king”; references to battles and treason suggest an Arthurian Avalon, a refuge after the battles of the kingdom.

Blake, William: see Parry, C. Hubert H.; also Searle, Humphrey. D-63 Blind Guardian. “Bright Eyes.” Words by Hansi Kürsch. Music by Hansi Kürsch and André Olbrich. Album: Imaginations From the Other Side. London: Virgin Records, 1995. 724384033729. In this song, the speaker laments that he has “no Merlin . . . by [his] side” as he faces the world; this implies that the speaker is also comparing himself to Arthur, particularly as the song is about vision and action, or lack thereof.

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D-64 Blind Guardian. “Imaginations from the Other Side.” Words by Hansi Kürsch. Music by Hansi Kürsch and André Olbrich. Album: Imaginations From the Other Side. London: Virgin Records, 1995. 724384033729. The title song of this heavy metal album lists a number of characters from fairytales and fantasy novels; Merlin is one of them.

D-65 Blind Guardian. “Mordred’s Song.” Words by Hansi Kürsch. Music by Hansi Kürsch and André Olbrich. Album: Imaginations From the Other Side. London: Virgin Records, 1995. 724384033729. Mordred is the speaker of this song. He rages against his fate and the pain that it has caused him. He refers to “his father’s blood” on his hands.

D-66 Blind Guardian. “A Past and Future Secret.” Words by Hansi Kürsch. Music by Hansi Kürsch and André Olbrich. Album: Imaginations From the Other Side. London: Virgin Records, 1995. 724384033729. A witness to the end of Arthur’s reign is the speaker in this song. The song begins very quietly and grows more loud as the speaker talks to a “crowd,” giving them details about the sword in the stone and then the end with its “darkening clouds.”

D-67 Bliss, Arthur, composer. Performance: The Lady of Shalott [ballet]. (Première: Berkeley, CA: University of California, 1958.) (*) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section.

D-68 Blockley, John, composer. Printed music: Sweet is True Love. Words by Alfred, Lord Tennyson. London: John Blockley, 1870. (*) “Elaine’s Song,” from Tennyson’s Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-69 Blumenthal, Jacob, composer. Printed music: “Elaine: Funeral March.” San Francisco, CA: Sherman and Hyde, 1875. (*) D-70 Blumenthal, Jacques, composer. Printed music: Sweet is True Love. Words by Alfred, Lord Tennyson. London: Boosey and Hawkes, 1860s. (*) “Elaine’s Song,” from Tennyson’s Elaine. Exact date uncertain. (Information from OCLC WorldCat entry.) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-71 Bogle, Eric. “Lancelot and Guinevere.” Album: Singing the Spirit Home. Chicago, IL: Flying Fish Records, 1987. FF447. The singer asks a woman to be his “Guinevere,” to make a new Camelot. The simple, quiet melody adds to the reflective tone of the piece, which considers the present in contrast to the legendary past.

D-72 Bond, Graham, composer. “Return of Arthur.” Album: Holy Magick. Mercury Records, 1970. SR61327. A song retelling various parts of the Arthurian story, from Merlin’s finding of Arthur, to the knights of the Round Table, to the hope of Arthur’s return.

D-73 Borders, William, composer. Printed music: Elaine: Elegy for Violin and Pianoforte. London: Opus Music, 1913. (*) “Op. 90.”

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D-74 Bornschein, Franz, composer. Printed music: The Vision of Sir Launfal (Cantata). Words by James Russell Lowell. New York: J. Fischer, 1927. (*) A cantata based on the poem by Lowell. See also the entry for “Lowell, James Russell” in the Literature section. (Information from OCLC WorldCat entry.)

D-75 Boughton, Rutland, composer. Avalon. Words by Rutland Boughton. 1944–1945. This opera was not performed in Boughton’s lifetime, nor has it been published, but Boughton’s work (published, performed, or not) has been the subject of much scholarly criticism and description (see, for example, Michael Hurd’s Rutland Boughton and the Glastonbury Festivals.)

D-76 Boughton, Rutland, composer. “Avalon.” Printed music: Hour of Beauty. Words by Fiona Macleod [pseud. of William Sharp]. London: Stainer and Bell, 1924. (*) A setting of Macleod’s song.

D-77 Boughton, Rutland, composer. The Chapel in Lyonesse. Words by William Morris. 1904. (Première: Glastonbury: Glastonbury Festival, 15 Aug. 1914.) A “chamber cantata” based on the poem by William Morris and performed at the Glastonbury Festival in 1914 and 1921. Many of Boughton’s Arthurian works are described in reviews or in accounts of the Glastonbury Festival (in which he had an important role), but are not published (see, for example, Michael Hurd’s Rutland Boughton and the Glastonbury Festivals.) See also the entry for “Morris, William, The Chapel in Lyoness” in the Literature section.

D-78 Boughton, Rutland, composer. Printed music: Evensong: No. 2 of Tristram’s Three Songs from Thomas Hardy’s The Queen of Cornwall. Modern Songs. London: J. Williams, 1926. A musical score of four pages for one of Hardy’s poems. See also the entry for “Hardy, Thomas, The Famous Tragedy of the Queen of Cornwall” in the Literature section.

D-79 Boughton, Rutland, composer. Printed music: Foreboding: No. 3 of Tristram’s Three Songs from Thomas Hardy’s The Queen of Cornwall. Modern Songs. London: J. Williams, 1926. A musical setting for one of Hardy’s poems. See also the entry for “Hardy, Thomas, The Famous Tragedy of the Queen of Cornwall” in the Literature section.

D-80 Boughton, Rutland, composer. Galahad. Words by Rutland Boughton. 1943–1944. This opera was not performed in Boughton’s lifetime, nor has it been published, but Boughton’s work (published, performed, or not) has been the subject of much scholarly criticism and description (see, for example, Michael Hurd’s Rutland Boughton and the Glastonbury Festivals.)

D-81 Boughton, Rutland, composer. “Guenevere’s Song, from the ‘Round Table’ Music-Drama.” Words by Reginald R[amsden] Buckley. Printed music: Curwen Press Miscellany. Ed. Oliver Simon. London: Curwen Press, 1931. 8 pp. inserted between pp. 88–89. (*) Song from Boughton and Buckley’s 1916 music drama. See the entry for “Round Table,” below. (Information from OCLC WorldCat.)

D-82 Boughton, Rutland, composer. “King Arthur had Three Sons.” Printed music: The Barkshire Tragedy and King Arthur had Three Sons: Two Sets of Unaccompanied Choral Variations upon English Folk Songs. New York: H. W. Gray Co., 1899(?).

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Reissued: London: William Reeves, 1909. A 48-page musical score, including a new setting for a comical song. See also “When Arthur first in court began” in the Literature section.

D-83 Boughton, Rutland, composer. The Lily Maid. Words by Rutland Boughton. 1933–1934. (Première: Stroud: Summer Festival, 10 Sept. 1934. Conducted by Rutland Boughton. Perf. Bernard Hall Bailey, Jeffrey Lambourne, Nellie Palliser, Augustus Milner, Steuart Wilson, Frederick Woodhouse.) This musical drama was begun in 1917, completed and performed in 1934. It survives in manuscript only: many of Boughton’s Arthurian works are described in reviews or in accounts of the Glastonbury Festival (in which he had an important role), but are not published; Galahad (1943–1944) and Avalon (1944–1945) were not performed. (See Michael Hurd’s Rutland Boughton and the Glastonbury Festivals.)

D-84 Boughton, Rutland, composer. Music-Drama of the Future: Uther and Igraine, Choral Drama. Words by Reginald R[amsden] Buckley. London: William Reeves, 1911. (Première: Glastonbury: Glastonbury Festival, 16 Aug. 1920. Conducted by Edgar Bainton. Perf. Hamilton Harris, Arthur Jacques, Herbert Langley, Edith Finch, Tom Goodey.) Reissued: The Birth of Arthur (Uther and Igraine): Choral Drama. London: William Reeves, 1914. – Also forms the first part of Arthur of Britain: A Poem of Festival Choral Drama in Four Parts. By Reginald R[amsden] Buckley. London: Williams and Norgate, 1914. The first of Boughton and Buckley’s Arthurian collaborations, a choral drama with a focus on the beginning of the story. While various scenes were performed from 1913 on, it was not performed in full, according to Hurd, until 1920, and it was never published in its final form (there is only an early version that was published in 1914 as part of Arthur of Britain, see the entry for “Buckley, Reginald R[amsden]” in the Literature section). The prelude to the second act has also been performed as a separate orchestral work, “Tintagel.” (See Michael Hurd’s Rutland Boughton and the Glastonbury Festivals.)

D-85 Boughton, Rutland, composer. The Queen of Cornwall. Words by Thomas Hardy. London: Joseph Williams, 1926. (Première: Glastonbury: Glastonbury Festival, 21 Aug. 1924. Conducted by Rutland Boughton. With Leyland White, Ruby Boughton, Frederick Woodhouse, Harry Carter, Gladys Fisher, Frank Phillips, Elena Goeminne.) A musical drama based on Hardy’s play, to which Boughton added six additional Hardy poems. An orchestral overture was added in 1926. See also the entry for “Hardy, Thomas, The Famous Tragedy of the Queen of Cornwall” in the Literature section.

D-86 Boughton, Rutland, composer. The Round Table. Words by Reginald R[amsden] Buckley and Rutland Boughton. 1915–1916. (Première: Glastonbury: Glastonbury Festival, 14 Aug. 1916. Conducted by Rutland Boughton. Perf. Percy Hemming, Frederic Austin, Arthur Jordan, David Scott, William Bennett, Percy Snowden, Herbert Anderton, Louis Godfrey, Stanley Merriott, Frank Gloyne, William Waite, Muriel Boughton, Gwen Ffrangcon-Davies, Irene Lemon, Bernard Lemon.) A muscial drama written for the Glastonbury Festival and performed there in 1916, 1919, 1920 and 1925. (See Michael Hurd’s Rutland Boughton and the Glastonbury Festivals.)

D-87 Boughton, Rutland, composer. Printed music: Sir Galahad. Words by Alfred, Lord Tennyson. 1898. London: J. and W. Curwen, 1910. A setting for chorus and orchestra of Tennyson’s poem, first performed by the Glastonbury

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Choral Society on 2 Apr. 1913. See also the entry for “Tennyson, Alfred Tennyson, Baron, Sir Galahad” in the Literature section.

D-88 Boughton, Rutland, composer. Printed music: A Song of Lyonesse: No. 1 of Tristram’s Three Songs from Thomas Hardy’s The Queen of Cornwall. Modern Songs. London: J. Williams, 1926. A musical score of four pages for one of Hardy’s poems. See also the entry for “Hardy, Thomas, The Famous Tragedy of the Queen of Cornwall” in the Literature section.

Braham, A.: see MacFarren, George A., “Sir Lionel.” D-89 Bridgewater, Ernest Leslie, composer. “Legend of Lancelot.” Train of Events. Ealing Studies Production, 1949. (*) Song from an otherwise non-Arthurian film. (Information from OCLC WorldCat entry.)

D-90 Brierton, Tom, composer. Printed music: “Arthur, Reflections of a Pendragon: Symphony in Four Movements.” Diss. Southern Illinois University at Carbondale, 1993. Musical score, presented as a thesis towards a Master of Music degree.

D-91 Britten, Benjamin, composer. The Sword in the Stone. Words by Marianne Helwig. BBC Radio, 1939. Reissued: Suite from “Sword in the Stone.” First performance: Aldeburgh: Aldeburgh Festival, 14 June 1983. – Musical score: The Sword in the Stone: Concert Suite for Chamber Ensemble. London: Faber and Faber, 1989. – Album: Phaedra; Lachrymae; Sinfonietta; The Sword in the Stone; Movement for Wind Sextet; Night Mail, End Sequence. London: Hyperion, 1989. CDA66845. A radio play with music by Britten, broadcast in 1939. It was performed again in 1983 at Aldeburgh, and there have been numerous recordings and arrangements, some of which we have listed above. See also the entry for “Sword in the Stone” (1938) in the “Film, Television, and Radio” section, and the entry for the original novel under “White, Terence Hanbury, The Sword in the Stone” in the Literature section.

D-92 Brough, William, composer. King Arthur; or, The Days and Knights of the Round Table. Ed. Thomas Lacy. Lacy’s Acting Edition of Plays, Drama, Farces, and Extravaganzas 61. London: Thomas Hailes Lacy, 1863. (Première: London: 1863.) (*) A Christmas pantomime. (Information from OCLC WorldCat entry.)

D-93 Browne, John Lewis, composer. Printed music: Elaine, the Troubadour’s Song. Words by R. E. Dormer. Philadelphia: T. Presser, 1908. (*) Bryan, Robert: see Evans, David. Buckley, Reginald R[amsden]: see Boughton, Rutland (“Guenevere’s Song,” MusicDrama of the Future, and The Round Table). D-94 Budgen, L., composer. “Good King Arthur.” Songs for Children. London: Joseph Williams, 1906. (*) A setting of a traditional song; the other five songs in the collection are not Arthurian, but are likewise traditional nursery rhymes. (Information from British Library.)

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D-95 Bullard, Frederic Field, composer. King Arthur. Words by Richard Hovey. First performed 1900. Boston, MA: O. Ditson, n.d. (*) Hovey began a cycle of Arthurian dramas, only some of which were completed by the time of his death. For more details, see the entries for “Hovey, Richard” in the Literature section.

D-96 Bullard, Frederic Field, composer. Printed music: King Arthur: A Hunting Song. Words by Richard Hovey. Boston, MA: O. Ditson, 1900. (*) See also the entries for “Hovey, Richard” in the Literature section.

D-97 Bullard, Frederic Field, composer. Printed music: Oh, Who Would Stay Indoor, Indoor. Words by Richard Hovey. Boston, MA: O. Ditson, 1907. (*) Hovey began a cycle of Arthurian dramas, only some of which were completed by the time of his death. For more details, see the entries for “Hovey, Richard” in the Literature section.

D-98 Bunning, Herbert, composer. Printed music: Sir Lancelot and Queen Guinevere. Words by Alfred, Lord Tennyson. London: Enoch and Sons, 1906. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Sir Launcelot” in the Literature section.

D-99 Busch, Carl, composer. Printed music: The Lady of Shalott: A Secular Cantata for Soprano Solo and Mixed Chorus [Opus 21]. Words by Alfred, Lord Tennyson. Boston, MA, New York, and Chicago: White-Smith Music Publishing Co., 1894. Vocal score. Tennyson’s poem set to music, in the form of a cantata. See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section.

D-100 Busch, Carl, composer. Printed music: Sir Galahad. Words by Alfred, Lord Tennyson. Boston, MA: O. Ditson, 1921. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Sir Galahad” in the Literature section.

D-101 Buskin, David, and Robin Batteau, composers. “Lancelot’s Song.” Album: Buskin and Batteau. N.p.: Single Records, 1988. CD2012. (*) A folk song.

D-102 Byrd, Donald, composer. “King Arthur.” Album: A City Called Heaven. Perf. Donald Byrd, Joe Henderson, Bobby Hutcherson, Donald Brown, Rufus Reid, and Carl Allen. Berkeley, CA: Landmark Records, 1991. A jazz album, and the first song, “King Arthur,” Byrd says, “is dedicated to Art Blakey.” It is an instrumental piece, so while the intent appears to have been to invoke the Arthurian legend, the listeners are left to make their own associations.

D-103 Cadman, Charles W., composer. Printed music: The Vision of Sir Launfal (Cantata). Words by James Russell Lowell. New York: G. Schirmer, 1910. (*) A cantata based on the poem by Lowell. See also the entry for “Lowell, James Russell” in the Literature section. (Information from OCLC WorldCat entry.)

D-104 Callcott, John Wall, composer. “When Arthur First in Court Began.” A Collection of Glees, Canons and Catches, Composed by the Late John Wall Callcott, Mus. Doc. Oxon.; including some pieces never before published; the whole selected, and arranged with an accompaniment for the piano-forte, ad libitum, together with A memoir of the author, by William Horsley, Mus. Bac. Oxon., organist of the Asylum and Belgrave chapels. 3 vols.

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London: Published for the author’s widow, by Birchall, Lonsdale, and Mills [Vol. 3: Published for the proprietor, by Cramer, Addison, and Beale], 1824. 1: 77–81. A version of the traditional song “When Arthur first in Court began” (also known as “When Arthur ruled this land”; “The Three Rogues”; “King Arthur”; “King Arthur he had three sons”: see the entry for “When Arthur first in Court began” in the Literature section). Callcott’s version was used to open Act 2 of George Colman’s play The Battle of Hexham (London, 1789).

D-105 Calloway. “Sir Lancelot.” Lyrics by Reggie Calloway and Cino-Vincent Calloway. Album: All the Way. Solar / Epic Records, 1989. This song uses the image of Sir Lancelot as the ultimate lover. The speaker wants to be like Lancelot, to win his lover, who is compared to the queen.

D-106 Calverley, Roger. Album: Avalon. Cover art by David Rankine. Toronto: Oasis Productions, n.d. OASCD 1006. A collection of instrumental pieces (instruments such as piano, flute and bass). Most of the song titles are not specifically Arthurian; the last two, “Dreamquest” and “Avalon,” are exceptions. Stephen Bacchus, the producer, connects the album title to King Arthur, noting that “Avalon is the mythical land of Arthurian legends,” and Rankine’s cover art includes a sword and a depiction of Stonehenge. Calverley’s first album was Celtic Mysteries. Note that Russell Tubbs performs “Dreamquest” and Bruce Mitchell performs “Avalon.”

D-107 Capel, J. M., composer. “Song of Love and Death.” Words by Alfred, Lord Tennyson. Printed music: Six Songs. London: E. Acherberg and Co., 1889. (*) The second song in the collection. While three of the six songs have words by Tennyson, with poems by Poe, Shelley, and the composer making up the other three, this is the only Arthurian piece. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section. (Information from British Library.)

D-108 Carter, Dave, and Tracy Grammer. “Lancelot.” Album: When I Go. Red River (Burnside), 2000. Reissued: Whately, MA: Signature Sounds, 2002. SIG 1272. The story of Lancelot and Elaine is transferred to the American west in this folksong. Lancelot is a broken-down cowboy who cannot “tell a Grail from a glass of beer.” He rides into Broken Bow and ends up with Elaine. The song wonderfully blends allusions to the legend with its own story. The album was self-produced in 1998, and then released more widely.

D-109 Casey, Samuel Ward, composer. Printed music: Late, late, so late. Words by Alfred, Lord Tennyson. London: West & Co., 1913. (*) From Tennyson’s Idylls. See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-110 Caudel, Stephen, composer. Album: The Earth in Turquoise. Brampton: Dark Sea Records, 1996. DSR1CD. A “rock symphony” based on episodes in the life of King Arthur (though one could not know this without the liner notes). The performances involve up to seventy multi-track parts, all performed by Caudel.

Caxton: see Evans, George T. D-111 Chaminade, Cecile, composer. Printed music: “A Piano Study of Enid.” New York: G. Schirmer, 1899. (*)

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Chorley, Henry F.: see Sullivan, Sir Arthur, Kenilworth. D-112 Clark, June, composer. Printed music: “King Arthur and the Knights of the Round Table.” London: Ascherberg, 1963. (*) Suite for piano.

D-113 Close, Alan Parker, composer. The Bridal of Triermain. Words by John Joscelyn Coghill. London: G. Drought, 1862. (*) Based on the work by Sir Walter Scott, this is a burlesque opera in three acts. (Information from OCLC WorldCat entry.) See also the entry for “Scott, Walter, The Bridal of Triermain” in the Literature section.

D-114 Cocteau Twins. “Grail Overfloweth.” Album: Garlands. N.p.: Beggars Banquet Music, 1983. AEA-6797. The Cocteau Twins includes Robin Guthrie on guitar, Will Heggie on bass, and Elizabeth Fraser for vocals; this combination creates, in “Grail Overfloweth,” a rather eerie quality as both words and musical motifs repeat.

D-115 Coe, Peter, and Chris Coe. “The Wizard of Alderley Edge.” Words and music by Peter Coe. Open the Door and Let Us In. Leader Sound / Trailer Records, 1972. LER 2077. A ballad based on a Cheshire folktale of the “king under the hill” (often identified as Arthur), asleep, and watched over by a wizard. See also the entry under “Coe, Peter” in the Literature section.

D-116 Coerne, Louis Adolphe, composer. Printed music: “Excalibur: Symphonic Poem.” Opus 180. Boston, MA: O. Ditson, 1931. (*) Reissued: Album: Excalibur [symphonic poem]; op. 180. New York: Society for the Preservation of the American Musical Heritage, 1968. MIA 141. Coghill, John Joscelyn: see Close, Alan Parker. D-117 Collier, J. W., composer. Harlequin and Good King Arthur; or, The Enchanter Merlin and the Queen of Fairyland. Words by T. L. Greenwood. London: James Turner, 1842. (Première: London: Sadler’s Wells, 1842.) (*) Advertised as the “new grand comic xmas pantomime.” (Information from OCLC WorldCat entry.)

Collins, Mortimer: see Woodgate, Leslie. D-118 Cooke, Thomas Simpson, composer. King Arthur and the Knights of the Round Table. Words by Isaac Pocock. London: John Miller, 1834. (Première: London: Drury Lane Theatre, 1834.) (*) A musical drama. See also the entry for “Pocock, Isaac” in the Literature section.

D-119 Coombes, Douglas, composer. Performance: Scatterflock and the Glastonbury Thorn. Words by John Emlyn Edwards. (Première: St Albans: 1980.) (*) D-120 Cooper, Simon. Album: Celtic Heart: The Story of Tristan and Iseult. Eindhoven, Holland: Oreade Music, 1996. OMM 54412. (*) An album of nine songs to tell the story of Tristan and Iseult: “In search of Iseult,” “Dance of celebration,” “The loving cup,” “Forbidden love,” “Ride to freedom,” “The moonlit forest,” “Parting,” “Black sails,” and “Hazel and honeysuckle.” (Information from OCLC WorldCat entry.)

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D-121 Corder, Frederick, composer. Printed music: The Bridal of Triermain (Cantata). Words by Sir Walter Scott. London: Novello, Ewer, and Co., 1886. (*) A cantata based on Scott’s poem. See also the entry for “Scott, Walter, The Bridal of Triermain” in the Literature section.

D-122 Corder, Frederick, composer. Performance: Morte d’Arthur. Libretto by Frederick Corder. (Première: London: 1877.) (*) D-123 Corder, Frederick, composer. Printed music: O Sun, that Wakenest. Words by Alfred, Lord Tennyson. London: S. Lucas, Weber, and Co., 1880. (*) A song. See also the entry for “Tennyson, Alfred Tennyson, Baron, Gareth” in the Literature section.

D-124 Court, Susan. “Sir Galahad.” Album: High Relief. Seattle, WA: Fundeling Productions, 1998. (*) Folk song.

D-125 Coward, Sir Henry, composer. Printed music: Gareth and Linet (Cantata). Words by Frank Kirk. London: Novello, 1902. (*) A vocal score “for soli, chorus, and orchestra” (British Library). This “musical romance” is based on Malory.

D-126 Cowles, Colin. Printed music: The Legends of Avalon. London: Ricordi, 1995. (*) A suite divided into five parts: “King Arthur and Sir Lancelot”; “Guinevere”; “Merlin-The Magician”; “Holy Grail”: and “Across the Waters.” The piece is written for saxophone and piano (Catalogue of Stagepass.com).

D-127 Cradle of Filth. “Haunted Shores.” Album: Dusk and Her Embrace. Swansea: Fierce Recordings, 1996. 11096. Arthur (Arcturius) is the speaker of this heavy-metal song, which is set as he waits wounded on the shore to be taken to Avalon. He reflects on his accomplishments and plans for his return. Morganna, the Grail, and Caliburn are mentioned.

D-128 Crawley, Christopher, composer. Printed music: The Sir Gawain Carols. Words by John Weeks. Oxford: Oxford University Press, 1973. (*) Choral piece.

D-129 Crook, John, composer. “Merlin the Prophet” [a song from the burlesque Lancelot the Lovely]. Libretto by Richard Henry. London: C. Jefferys, 1890. (Première: London: Avenue Theatre, 1892.) (*) A score for voice and piano of one piece “sung by Mr E. D. Ward from the ‘Avenue’ burlesque ‘Lancelot the lovely.’.” Begins: “I am Merlin the prophet who is never at a loss.” Unpublished musical play; see the review in Athenaeum 4 May 1889, p. 578. (Information from OCLC WorldCat.)

D-130 Crosby, Stills, and Nash. “Guinnevere.” Words by David Crosby. Album: Crosby, Stills, and Nash. New York: Atlantic Recording, 1969. 8229 Atlantic. Reissued on Crosby, Stills, Nash, and Young. So Far. New York: Atlantic Records, 1974. – A live version was included on Woodstock: Three Days of Peace and Music; The 25th Anniversary Collection. New York: Atlantic Records, 1994 (recorded in 1969).

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A lady’s beauty is compared to that of Guinnevere, presumably the wife of Arthur, though there are no other explicit Arthurian references.

D-131 Crosse, Gordon, composer. Potter Thompson. Words by Alan Gardner. Performed in 1975. London: Oxford University Press, 1985. (*) An opera in one act.

Crown, Christopher: see Raymond, Joseph. Crowthers, M.: see Whitehead, Gillian. D-132 Cusins, W. G., composer. “The Song of King Arthur’s Knights (Blow Trumpet, for the World is White with May).” Words by Alfred, Lord Tennyson. In Songs from the Published Writings of Alfred Tennyson, Set to Music by Various Composers, . . . with a Portrait and Original Illustrations. Ed. W[illiam] G[eorge] Cusins. Illus. Winslow Homer, C. S. Reinhart, A[lfred] Fredericks, and Jessie Curtis. New York: Harper and Brothers Publishers, 1880. Item 15. The book is a collection of forty-five songs, all with words by Tennyson; some of them have been previously published. Each song is separately paginated. “The Song of King Arthur’s Knights” is a four-page score, for four voices (counter-tenor, tenor, and two bass) and piano. (None of the illustrations in the volume is Arthurian.) See also the entry for “Tennyson, Alfred Tennyson, Baron, Coming of Arthur” in the Literature section.

D-133 Dalby, Martin, composer. Printed music: Whisper Music. Words by T. S. Eliot. London: Novello. [1971.] (*) A musical setting for large chamber ensemble of a portion of T. S. Eliot’s “The Waste Land.” It was commissioned by the Nash Concert Society and first performed in London by the Nash Ensemble in May 1971 (see Dalby’s website at ). See also the entry for “Eliot, T. S., The Waste Land” in the Literature section.

D-134 Dale, Heather. Album: The Trial of Lancelot. Toronto: Amphisbaena Music, 1999. AM 741. The songs on this album are composed, written (between 1996 and 1999), and sung by Heather Dale; they use instruments such as piano, guitars, flutes, fiddle, cello and drums of various kinds. “The Lily Maid” consists of Elaine of Astolat’s instructions to Lancelot. In “The Trial of Lancelot,” various knights speak about Lancelot’s guilt and fate, each one influenced by his own relationship to the knight; Lancelot’s replies make up the chorus. In “Miles to Go,” Guenevere voices her thoughts as she chooses to enter a nunnery. “The Prydwen Sails Again” is a song about the quest to Caer Siddi. “Mordred’s Lullaby” is a haunting, disturbing lullaby sung by Morgan (here Mordred’s mother) as she trains him from the cradle to seek revenge. “Hawthorn Tree” is the story of Merlin and Vivian, while “Culhwch and Olwen” retells that story. “Tarnished Silver” is a song about Lancelot and Guenevere years later. The last song, “Measure of a Man,” is about Arthur’s death.

D-135 Dancing Fantasy. “Avalon.” Words by Curtis McLaw and Chris W. Williams. Album: Worldwide. Diepholz, Germany: Innovative Communication, 1993. IC 2202–2. (*) Jazz song.

D-136 Darcy, Thomas F., Jr, composer. Printed music: “King Arthur” (a March). New York: Bourne, 1949. (*)

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D-137 Davies, Hugh, composer. Printed music: Arthur. Words by W. G. Williams. Rhosymedre: Yr Awdwr, 1890. (*) A cantata.

D-138 Davis, J. D., composer. Printed music: The Maid of Astolat. Words by Alfred, Lord Tennyson. London: Novello, 1910. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-139 Deacon, H. C., composer. Printed music: Too Late. Words by Alfred, Lord Tennyson. London: Duncan Davison and Co., 1864. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-140 Dempster, William R., composer. Printed music: Late! So Late. Words by Alfred, Lord Tennyson. New York: Wm. A. Pond and Co, 1864. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-141 Dempster, William R., composer. “The Song of Love and Death.” Words by Alfred, Lord Tennyson. Printed music: The Songs in The Idylls of the King. London: Metler and Co., 1866. (*) (Information from OCLC WorldCat entry.) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-142 Dempster, William R., composer. Printed music: Turn Fortune, Turn. Words by Alfred, Lord Tennyson. London: Composer, n.d. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-143 Dibdin, Charles, composer. The Institution of the Garter; or, Arthur’s Roundtable Restored. Words by David Garrick. London: Longman, Lukey and Co., 1771. (Première: London: Drury Lane, 28 Oct. 1771.) (*) A masque with music composed by Dibdin first presented “as an afterpiece to The School for Rakes” (Fahrner 36). It was comprised of three parts. Garrick based his words on a poem by Gilbert West also called “The Institution of the Garter” (Fahrner 36).

D-144 [Dibdin, Charles], composer. The Life, Death, and Renovation of Tom Thumb: A Legendary Burletta, in One Act, as it is Performed at the Royal Circus. [London]: n.p., 1785. [ESTC T67572.] (Première: London: 1782.) A one-act burlesque opera, in which the King (unnamed), over the objections of Queen Dollalolla, rewards the valiant Tom Thumb by promising to him in marriage their daughter, Huncamunca; when Tom Thumb informs Huncamunca that they are to marry, she tells him that she is already betrothed to O’Grizzle. In the final scene, a messenger arrives at court with the news that Tom Thumb has been eaten by a cow; everyone on stage then proceeds to stab each other, leaving the king finally to stab himself. At this point Merlin appears and calls on them all to arise, since he will not permit any deaths in the castle (though Tom Thumb’s fate cannot be reversed). This is closely related to Henry Fielding’s “Tom Thumb,” on which see the entry in the Literature section.

Dickson, Elizabeth: see “Dolores.” D-145 DiLorenzo, Anthony, composer. “Of Kingdoms and Glory.” Album: Of Knights and Castles. Perf. Burning River Brass. Troy, NY: Dorian, 1999. CD-90277. DiLorenzo composed this instrumental piece specifically for this recording. It has five parts: “Fanfare and Victory Processional to Camelot,” “Merlin’s Magic,” “Guinevere and the Lair of the

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Dragon,” “Contest and Victory of the Black Knight,” and “Guinevere’s Rescue and the Battle with the Red Dragon.” In the liner notes of the album, DiLorenzo describes the story that he imagines with these pieces. Lancelot and Arthur return from winning a battle, and Merlin entertains the court with his magic. A dragon arrives, however, and carries off Guenevere. A contest is held to determine who will go after her, which the Black Knight wins. He rescues the queen. The liner notes contain an illustration, also by DiLorenzo, to go with this piece, showing the dragon, Merlin, a knight, and a castle.

D-146 Dinn, Freda, composer. Printed music: Sir Eglamore. London: Schott and Son, 1956. (*) For recorders, strings, percussion, and voices (British Library).

Dixon, W. M.: see Somervell, Arthur. D-147 Doan, John, composer. “Castle Dinas Bran Procession of the Holy Grail.” Album: Wayfarer. Perf. John Doan. San Francisco, CA: Hearts o’ Space, 1999. 11095–2. An instrumental piece played on the harp guitar, with keyboard, cymbals and background vocals.

D-148 Doan, John, composer. “St Joseph Arrives in Avalon.” Album: Wayfarer. Perf. John Doan. San Francisco, CA: Hearts o’ Space, 1999. 11095–2. An instrumental piece played on the harp guitar, with cello and cymbals in the background.

D-149 Dobbs, J. P. B., composer. Printed music: King Arthur’s Servants. Words by W. G. Whittaker. London: Curwen, 1953. (*) Reissued: Album: Blow the wind southerly. London: Viking, 1979. VRW002. Folk song. From Whitaker’s “North Countrie Folk Songs” (British Library).

D-150 Dolores [pseud.], [i.e., Elizabeth Dickson]. Printed music: Turn Fortune, Turn. Words by Alfred, Lord Tennyson. London: Jeffreys, 1861. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-151 Dolores [pseud.], [i.e., Elizabeth Dickson]. Printed music: Vivien’s Song. Words by Alfred, Lord Tennyson. London: n.p., 1861. (*) Begins: “In love, if love be love” (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Vivien” in the Literature section.

D-152 Donovan. “Guinevere.” Album: Sunshine Superman. New York: Epic Records, 1966. BN26217. Reissued: Printed music: “Guinevere.” From Sunshine Superman to Mellow Yellow. New York: Peer International, 1968. A song, offering a description of Guinevere.

Dormer, R. E.: see Browne, John Lewis. Douglas, Sallie Hume: see Miller, Helen Hill. D-153 Duke, John, composer. Printed music: When I set out for Lyonnesse. Words by Thomas Hardy. Boston, MA: R. D. Row, 1953. (*) See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

Eardley-Wilmot, D.: see Bath, Hubert Charles.

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D-154 Eastman, Donna Kelby, composer. Printed music: “Sir Gawain and the Green Knight.” D.M.A. diss.: University of Maryland at College Park, 1992. (*) A composition for woodwind quintet, based on Sir Gawain and the Green Knight, and divided into six sections: “The Challenge”; “Quest”; “Bercilak’s Castle”; “Temptation”; “The Green Knight”; and “Camelot.” This composer is also writing an opera by the same name. (Information from OCLC WorldCat entry.)

D-155 Edelman, Randy, composer. Album: Dragonheart (Film Soundtrack). Universal City, CA: MCA, 1996. B000002P19. One of the songs on this instrumental soundtrack is “Flight to Avalon.” For details of the film, see the entry for “Dragonheart” in the “Film, Television, and Radio” section.

D-156 Edmunds, Christopher Montague, composer. Printed music: The Lady of Shalott. Words by Alfred, Lord Tennyson. London: Stainer and Bell, 1926. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’ ” in the Literature section.

D-157 Edwards, Edwin, composer. Printed music: Late, Late, So Late. Words by Alfred, Lord Tennyson. London: Novello, 1870. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-158 Edwards, Edwin, composer. Printed music: Sweet is True Love. Words by Alfred, Lord Tennyson. 1892. (*) “Elaine’s Song,” from Tennyson’s Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

Edwards, John Emlyn: see Blackford, Richard; also Coombes, Douglas. D-159 Elend. “Dancing Under the Closed Eyes of Paradise.” Album: Les Ténèbres du Dehors. Jouarre, France: Holy Records, 1996. Holy17CD. This gothic rock song is in English, and according to Elend’s website, it adapts part of Purcell’s King Arthur.

D-160 Elgar, Edward, composer. Arthur. Words by [Robert] Laurence Binyon. London: William Heinemann, 1923. (Première: London: Victoria Hall, 1923.) Reissued: Album: King Arthur. Recorded by Bournemouth Sinfonietta, conducted by George Hurst. London: Polydor, 1973. 2382 224. For details of the drama, see the entry for “Binyon, [Robert] Laurence, Arthur” in the Literature section. (Music not seen.)

D-161 Elgar, Edward, and Anthony Payne, composer. Printed music: The Sketches for Symphony No. 3. New York: Boosey and Hawkes, 1998. Reissued: Album: The Sketches for Symphony No. 3. Perf. BBC Symphony Orchestra, conducted by Andrew Davis. NMC Recordings, 1998. NMC D053. Elgar was working on this symphony when he died in 1933; his heirs later commissioned Anthony Payne to “elaborate” the existing sketches. According to Payne’s essay in the liner notes to the album, Elgar incorporated into this symphony “episodes from his incidental music for Laurence Binyon’s historical drama, Arthur” (9).

D-162 Ellerton, J[ohn] L[odge], composer. Printed music: The Bridal of Triermain: Opera in 5 Acts. Words by J[ohn] L[odge] Ellerton, based on the poem of Sir Walter Scott. Marlboro, MA: New England Micrographics, 1987. (*)

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An opera based on the poem of the same name by Sir Walter Scott, composed in the 1830s though not published. The manuscript is in the Boston Public Library; a microfilm reproduction has been produced by New England Micrographics. (Information from OCLC WorldCat entry.)

D-163 Erwin, Gail. Arthur, the Orphan King. Arrangements by Kate Schrader. Melville, NY: ProArt Publications, 1992. (*) A vocal score for a musical drama, with piano accompaniment. (Information from OCLC WorldCat.)

D-164 Evans, Chris, and David Hanselmann. “Camelot.” Album: Stonehenge. New York: WEA Music, 1980. (*) D-165 Evans, David, composer. Printed music: “The Coming of Arthur.” Words by Robert Bryan. Oxford: Oxford University Press, 1932. (*) D-166 Evans, David, composer. Printed music: The Bells of Cantre’r Gwaelod. Words by J. J. Williams and W. J. G. London: Oxford University Press, 1932. (*) Choral work for mixed voices, with both Welsh and English words (British Library).

D-167 Evans, Geo[rge] T., composer. Printed music: Lancelot’s Lament for Elaine. Words by “Caxton.” 2nd edn. San Francisco: Sherman and Hyde, 1875. Musical score for voice and piano (6 pp.). On cover: “As sung by Master John W. McKenzie, the celebrated young baritone.” Begins: “Fresh as the waters in the fountain, / Fair as the lily by her side.” In Lancelot’s remorse, Elaine has become “an angel,” his “Spirit Bride.”

D-168 Eversole, Rose Mansfield, composer. Printed music: Lynette. Words by Anna Swan Reynolds. Cincinnati, OH: W. H. Willis Co., 1904. (*) D-169 Ewing, A., composer. Printed music: The Song of Love and Death. Words by Alfred, Lord Tennyson. London: Boosey and Hawkes, 1872. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-170 Exchange [i.e., Steve Sexton and Gerald O’Brien], composer. Album: The Legend of Prince Valiant: Soundtrack. Perf. Exchange, Marc Jordan, and Amy Sky. Burbank, CA: Rhino / WEA, 1991. 79040. The soundtrack of the 1992 television film of Prince Valiant. Of the eighteen tracks on the album, fifteen are instrumental: “Celebration Dance,” “Sir Bryant,” “Guinevere,” “Search and Journey,” “In the Shadows,” “Valiant’s Theme,” “A Monk’s Evil Drone,” “Ending Title Theme,” “The Majesty’s Feast,” “The Serenade,” “Valiant amp Rolf,” “Victory March,” “All Alone,” “Danger is Near,” and “Valiant Leaves Home.” The other three songs have vocals and were composed by Exchange and Marc Jordan; Jordan provides the vocals for “Where the Truth Lies” and “Where the Truth Lies (reprise)”; Jordan and Amy Sky provide vocals for “Love Called Out My Name.” See also the entries for “Prince Valiant” in the Film and Comics sections.)

D-171 Fates Warning. “Fata Morgana.” Album: Awaken the Guardian. El Segundo, CA: Enigma, 1986. ST-73231. (*) Heavy metal music.

D-172 Fates Warning. “The Sorceress.” Album: Awaken the Guardian. El Segundo, CA: Enigma, 1986. ST-73231. (*) Heavy metal music.

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D-173 Favara, A., composer. Printed music: Two Lyrics by Tennyson . . . for . . . voice and piano. (i. Lancelot and Elaine. ii. Dainty little maiden). Words by Alfred, Lord Tennyson. New York: G. Schirmer, 1919. (*) Two songs from Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

Ferry, Bryan: see Roxy Music. D-174 Fervant, Thierry, composer. Album: Légends of Avalon. Sausalito, CA: Real Music, 1988. RM 1831. (*) A series of new-age songs on Arthurian themes. Contents: “Avalon,” “Ynis Gutrin,” “Merlin the Magician,” “Morgan Le Fay,” “Sacred wells,” “The Lady of the Lake,” “Beltane fire,” “Vale of no return,” “Broceliande forest,” “Round table,” “The crescent moon,” and “King Arthur’s dream.” (Information from OCLC WorldCat entry.)

D-175 Fielitz, Alexander von, composer. Printed music: The Lily Maid. Words by Gertrude Rogers. Cincinnati, OH: John Church Co, 1906. (*) Fink, Michael: see Purcell, Henry, and Michael Fink. D-176 Finzi, Gerald, composer. Printed music: “When I Set Out for Lyonnesse.” In Earth and Air and Rain. Words by Thomas Hardy. London: Boosey and Hawkes, 1936. Reissued: Album: Earth and Air and Rain: Five Song Cycles by Gerald Finzi to Words by Thomas Hardy. Sung by Martyn Hill and Stephen Varcoe; piano accompaniment by Clifford Benson. London: Hyperion, 1984. CDA66161/2. Finzi created musical settings for a number of Hardy’s poems, including “When I Set Out for Lyonnesse”; its music is faster-paced, creating a sense of energy as the speaker sets out on his quest. For the recording, Stephen Varcoe, baritone, sings the first song cycle (“Earth and Air and Rain”) which includes “When I Set Out” as its second song. Note that there is also a brief mention of Camelot in “Channel Firing,” a song included in Finzi’s cycle “Before and After Summer”; sung by Varcoe, this is a very dramatic song about war.

D-177 Album: The Fisher King (Film Soundtrack). New York: MCA, 1991. MCAD 10249. Includes “Quest for the Grail,” “Red Knight Suite,” “Story of the Fisher King” (instrumental pieces by George Fenton) and other songs and instrumental pieces by various artists. For details of the film, see the entry for “The Fisher King” in the “Film, Television, and Radio” section.

D-178 Fisher, Marvin, composer. Printed music: You Don’t Learn That in School. Lyrics by Roy Alfred. [1940s]. Reissued: There are many recordings, including “You Don’t Learn That in School” / “I Believe” [78 RPM audio recording]. Perf. Louis Armstrong and his Orchestra. 1947. – “You Don’t Learn That in School” / “Meet Me at No Special Place” [78 RPM audio recording]. King Cole Trio. 1947. The song was a standard part of the repertoire of both Louis Armstrong and Nat King Cole, both of whom recorded it numerous times, as have other artists since. It is a humorous song, outlining various things that one does not learn in school, and it includes references to Robin Hood and King Arthur. The second stanza runs: “King Arthur was a hero / Who was famous everywhere / He had a big round table / Cause he couldn’t stand a square / No you don’t learn that in school. . . .”

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D-179 Fletcher, Percy, composer. Printed music: Song of the Apple Trees. Words by Fiona Macleod [pseud. of William Sharp]. London: Novello, 1924. (*) A four-part song.

D-180 Fly, Leslie, composer. Printed music: King Arthur’s Knights. London: Forsyth Bros, 1923. (*) Nine “miniatures for pianoforte” (British Library).

D-181 Foerster, Adolph Martin, composer. Printed music: Tristram and Iseult. Words by Matthew Arnold. Boston, MA: O. Ditson, 1904. (*) See also “Arnold, Matthew, Tristram and Iseult” in the Literature section.

D-182 Foote, Arthur, composer. Printed music: Elaine’s Song. Words by Alfred, Lord Tennyson. Boston, MA: Arthur P. Schmidt, 1890. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-183 Forbush, W[illiam] B[yron], composer. “Songs of the Knights of King Arthur.” Words by W[illiam] B[yron] Forbush. Detroit, MI: Knights of King Arthur, 1911. (*) Forbush founded “The Knights of King Arthur,” a boys’ club modelled on the Round Table fellowship; this is a collection of songs for the use of members of the club.

D-184 Fothergill, Helen, composer. Printed music: Sweet is True Love. Words by Alfred, Lord Tennyson. New York: Augener, 1920. (*) “Elaine’s Song,” from Tennyson’s Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-185 Franke, Christopher, composer. Album: Babylon 5: A Late Delivery from Avalon (Incidental music from the TV Episode). West Hollywood, CA: Sonic Images, 1998. SID-0312. An album of music from this particular episode of the television show Babylon 5. See the entry for Babylon 5, “A Late Delivery from Avalon,” in the “Film, Television, and Radio” section.

Freedman, Melvin: see Legg, James. D-186 Fricker, Peter Racine, composer. “Morte d’Arthur.” BBC Radio, 1952. (*) Music for a radio play. See also the entry for “Morte d’Arthur” (1952) in the “Film, Television, and Radio” section.

D-187 Fricker, Peter Racine, composer. “The Quest for the Holy Grail.” BBC Radio, n.d. (*) Music for a radio play. See also the entry for “The Quest for the Holy Grail” in the “Film, Television, and Radio” section.

D-188 Fripp, Robert, and the League of Crafty Guitarists. “A Connecticut Yankee in the Court of King Arthur.” Album: Show of Hands. New York: EG Records, 1991. EEG 2102–2. (*) Reissued: Album: Sometimes God Hides: The Young Person’s Guide to Discipline. Wiltshire: Discipline Global Mobile, 1996. DGM9605.

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D-189 Fromings, Kevin, and Matthew Duboski, composers. Printed music: Shadows: The Life of Joseph of Arimathea. Words by Kevin Fromings. Kent: Lynton PCP, [1992]. (First performed 1992.) (*) A children’s musical.

D-190 Galahad. “Sir Galahad.” Album: Not All There. Ferndown: Avalon Records, 1994. GAQ1CD. (*) First track on this “acoustic quintet” album. (Information from group’s website: .)

D-191 Galahad. “Sir Galahad (Scene Two).” Album: Not All There. Ferndown: Avalon Records, 1994. GAQ1CD. (*) Last track on this “acoustic quintet” album. (Information from group’s website: .)

D-192 Gallant, Lennie. “The Fisher King.” Album: Lifeline. Halifax, NS: Force Ten Records, 1997. 02–50735. Besides the title, there are several lines in the song that evoke the Arthurian Grail quest. The speaker (the Fisher King? Perceval?) remembers “a cup, too full to drink” and follows a light hoping it will lead to a door where a question will be asked that will give him a second chance.

D-193 Gallatly, James M., composer. Printed music: “Guinevere. Valse.” London: Francis, Day, and Hunter, 1913. (*) A waltz written for the piano (British Library).

D-194 Galliard, John [Ernest], composer. Merlin; or, The Devil of Stone-henge. Words by Lewis Theobald. London: J. Watts, 1734. (Première: London: Drury Lane, 1734.) (*) See also the entry for “Theobald, Lewis” in the Literature section.

D-195 Gambogi, Elvira, composer. Printed music: Coronation Song [“Blow, Trumpet”]. Words by Alfred, Lord Tennyson. London: Metzler and Co. 1901. (*) From Tennyson’s The Coming of Arthur. See also the entry for “Tennyson, Alfred Tennyson, Baron, Coming of Arthur” in the Literature section.

D-196 Gardiner, Henry Balfour, composer. Printed music: Sir Eglamore: Words from ‘The melancholy knight’ (1615); tune from Playford’s ‘Pleasant musical companion’ (1687). London: Novello, 1917. (*) Gardiner has arranged this song for piano and voices. (Information from OCLC WorldCat entry.)

Gardner, Alan: see Crosse, Gordon. D-197 Gardner, Kay, composer. Album: Avalon. Perf. Kay Gardner. Durham, NC: Ladyslipper Records, 1989. LRC 106. The seven songs on this album all have flute as the only instrument. The liner notes inform us that Gardner, while visiting Glastonbury, went out to various places around the Tor and recorded herself playing these songs inspired by the surroundings. The title of the album connects Glastonbury with the Arthurian Avalon; the liner notes mention Morgan in connection with two of the places that inspired songs.

Garrick, David: see Arne, Thomas; also Dibdin, Charles.

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D-198 Gaul, Alfred R., composer. Printed music: Too Late. Words by Alfred, Lord Tennyson. London: Novello, 1890. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

Gerard, Richard H.: see Henry, S. R. D-199 Gibbs, Cecil Armstrong, composer. “King Arthur.” Suite of Songs from the British Isles. London: Oxford University Press, 1960. (*) “King Arthur” is the fifth item in Gibb’s collection, and the only Arthurian song. It is arranged for piano and baritone solo or chorus (British Library).

D-200 Gibbs, Cecil Armstrong, composer. Printed music: Lyonnesse. Words by Thomas Hardy. London: Boosey and Hawkes, 1921. (*) Musical setting of Hardy’s poem. See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

D-201 Gibson, Arthur John, composer. Printed music: Two Contrasts. London: Ashdown, 1973. (*) The title refers to contrast between the two pieces arranged by Gibson: the first is a Bach sonata, and the second presents two trumpet pieces from Henry Purcell’s King Arthur (British Library). See also the entry for “Purcell, Henry” in this section.

D-202 Gilchrist, William Wallace, composer. Printed music: Two Tennyson Songs. Words by Alfred, Lord Tennyson. Boston, MA: O. Ditson, 1908. (*) The songs are “Late, late, so late” and “Sweet is true love.” See also the entries for “Tennyson, Alfred Tennyson, Baron, Guinevere and Elaine” in the Literature section.

D-203 Gillette, James R., composer. Printed music: Joseph of Arimathea. (Easter Cantata for Choir and Narrator). New York: G. Schirmer, 1963. (*) Score is written for organ accompaniment (British Library).

Girard, Bessie: see Kerr, James A. D-204 Gitbox Rebellion. “A Connecticut Yankee in the Court of King Arthur.” Album: Pesky Digits. Newton, NZ: Rattle, 1991. RATD001. This group consists of nine people playing steel-string acoustic guitars (a guitar referred to as a “gitbox”), so all tracks are instrumental. This particular piece is described in the album notes as “a street march sans brass.” It is quite fast-paced and rather high-pitched.

D-205 Glover, Charles William, composer. Printed music: “King Arthur Quadrilles” [from Purcell’s King Arthur]. London: Haigh, n.d. (*) See also the entry for “Purcell, Henry” in this section.

D-206 Goldblatt, Maurice, composer. Printed music: “Elaine” (Melody for Violin and Piano). Boston, MA: A. P. Schmitt, 1914. (*) A waltz. (Information from OCLC WorldCat entry.)

D-207 Goldsmith, Jerry, composer. Album: First Knight: Original Motion Picture Soundtrack. New York: Epic Soundtrax, 1995. EK 67270. Music from the film. All but the last two tracks are instrumental only: “Arthur’s Farewell” and “Camelot Lives” feature some vocals. For details of the film, see the entry for “First Knight” in the “Film, Television, and Radio” section.

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D-208 Printed music: Good King Arthur. Words by Ralph Mayhew. New York: Harper-Columbia, 1919. Traditional tune.

D-209 Goodall, Medwyn. Album: Druid. Westhall: New World Co., 1990. NWC 188. (*) An album of new-age instrumental music, with Celtic influences; it is the first part of Goodall’s “Druid Trilogy,” which continues with Merlin and Excalibur. The songs include “Nine Maidens,” “Mermaids Rock,” “Nine Maidens (Reprise),” “Celtic Dawn,” and “Trewa: Home of the Druids.” (Information from .)

D-210 Goodall, Medwyn. Album: Excalibur. Westhall: New World Co., 1990. NWCD 199. An album of new-age instrumental music, with guitar, flute, and various percussion instruments predominant. Contents: “Caliburn,” “Uther and Igrayne,” “Beltane,” “The Grail,” “The Last Battle,” and “Lament.” The listing of these songs on the back of the album is accompanied by brief notes situating each piece in the context of the Arthurian story. The album cover art shows a lake with sun breaking through clouds; there is the faint outline of hands holding up a sword.

D-211 Goodall, Medwyn. Album: The Fair Queen Guinevere. Myths and Mysteries of the World: The Arthurian Collection 3. Eindhoven, Holland: Oreade Music, 1996. OMM 5415–2. Instrumental music that incorporates some natural sounds like rain, sea and birdsong. Instruments used include various types of harps, drums, and guitars, Irish penny whistle, dulcimer, and string instruments. In some tracks female choirs are also used. The titles include allusions to various characters of the legend: “Harvest Moon,” “Guinevere,” “Morgan le Fay,” “Love and Fate,” “The Yearning,” “Forbidden Kiss,” “An English Rose,” and “All for Love.” Goodall’s notes to the songs extends such allusions, mentioning the Queen’s love of Lancelot and her loyalty to the King.

D-212 Goodall, Medwyn. Album: Gift of Excalibur. Myths and Mysteries of the World: The Arthurian Collection 2. Eindhoven, Holland: Oreade, 1997. OMM 5433–2. (*) Goodall’s website suggests that he intended this album to have a dramatic quality. Contents: “Merlin and the Dragon’s Breath,” “The Gift of Excalibur,” “Lancelot du Lac,” “One Land, One King,” “Camelot,” “The Minstrel,” “The Lady Guinevere,” “King Arthur,” and “King Arthur, Two.” (Information from .)

D-213 Goodall, Medwyn. Album: The Grail Quest. Myths and Mysteries of the World: The Arthurian Collection 1. Eindhoven, Holland: Oreade Music, 1996. OMM 5432–2. An album of new-age instrumental music. The songs include “The Grail,” “The Quest Knights,” “My Lady’s Favour,” “Endless Search,” “Galahad,” “Journey’s End,” and “The Grail (Part Two).”

D-214 Goodall, Medwyn. Album: Merlin. Westhall: New World Co., 1990. NWC 196. (*) An album of new-age instrumental music. Contents: “Myrrdin,” “Mystic Potions,” “Tyntagyll,” “Lady of the Lake,” “The Sword,” “Alchemy,” and “Druid’s Return.” (Information from .)

D-215 Goodall, Medwyn. Album: The Round Table. Eindhoven, Holland: Oreade, 1994. OMM 5451–2. (*) New-age music. Contents: “The Path of Merlin,” “Pendragon Legacy,” “Mordred,” “Dozmary Pool,” “Avalon,” and “Arthur’s Round Table.”

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D-216 Goodall, Medwyn. Album: Tintagel, Castle of Arthur. Eindhoven, Holland: Oreade, 1995. OMM 5220–2. (*) Contents: “Merlin’s Cave,” “The Castle on the Cliff,” “The Round Table,” “The Joust,” “Betrothal,” “My Lady’s Garden,” and “The Age of Chivalry.” (Information from .)

D-217 Goodwin, Ron, with the Bournemouth Symphony Orchestra. “The Spaceman and King Arthur.” Album: Drake 400. Colchester: Chandos, 1993. ABRD 1014. (*) Theme from a soundtrack. (Information from OCLC WorldCat entry.)

D-218 Goodwin, Ron, with the New Zealand Symphony Orchestra. “Lancelot and Guinevere.” Album: Ron Goodwin. N.p.: Marco Polo, 1993. 8.223518. (*) Theme from a soundtrack. (Information from OCLC WorldCat entry.)

D-219 Gordon, Lawrence, composer. Printed music: “Valse Elaine” (Valse lente). London: Houghton and Co., 1906. (*) Piece written for piano.

D-220 Grainger, Percy Aldridge, composer. Printed music: “Sir Eglamore.” London: Vincent, 1904. (*) Reissued: Revised score: London: Schott, 1915. Musical setting of a folksong, for chorus and band (British Library).

D-221 Grave Digger. Album: Excalibur. Philadelphia, PA: Nuclear Blast, 2000. NB 479–2. The liner notes invite us to see this rock music album as “‘The story of King Arthur and the Round Table’: A metal opus in twelve chapters.” These “chapters” are as follows: “The Secrets of Merlin” (a relatively lyrical, instrumental piece); “Pendragon” (a song of Uther and Igerne); “Excalibur” (the sword in the stone story with a driving drum-beat); “The Roundtable (Forever)” (a description of the table with the knights’ vow as the chorus); “Morgane La Fey” (begins as a slower song, Morgane’s speech proclaiming her villainy, but picks up pace with her passion); “The Spell” (the story of Merlin and Nimue); “Tristan’s Fate” (a song of the love potion); “Lancelot” (Lancelot’s speech of his loyalty to the king and love for the queen); “Mordred’s Song” (a description of Mordred as he rides to Camelot that identifies him, among other titles, as “keeper of the secret reich”); “The Final War” (the battle between Arthur and Mordred); “Emerald Eyes” (Arthur’s song, on his deathbed, about Guinevere); and “Avalon” (Arthur’s journey with Morgane). There is a bonus track, “Parcival,” about the “true knight of the Grail” at the castle of maidens. The front cover art shows a skeleton drawing the sword from the stone; the back cover art depicts knights with the faces of the band members as they sit at the round table with the skeleton king.

D-222 Gray, Louisa, composer. Printed music: Lynette’s Song: O Sun that Wakenest All. Words by Alfred, Lord Tennyson. 1873. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Gareth” in the Literature section. D-223 Grebenshkov, Boris. “Death of King Arthur.” Album: Radio Silence. New York: Columbia, 1989. CT44364. (*) Rock music.

D-224 Green, Frank W. Jack the Giant Killer and Tom Thumb; or, Harlequin, King Arthur and the Knights of the Round Table. London: Phillips, 1875. (*) A pantomime, intended to be performed with music added (while Green’s text does not include music, it indicates what portions should be sung). (Information from OCLC WorldCat entry.)

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Greenwood, T. L.: see Collier, J. W. D-225 Grossberg, Scott J. Pendragon. N.p.: Privately printed for the author, 1995. (*) A musical drama; the score is for voices and piano. (Information from OCLC WorldCat entry.)

D-226 Guest, J., composer. Printed music: Too Late: A Sacred Song. Words by Alfred, Lord Tennyson. London: Composer, 1876. (*) Begins: “Late, late” (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-227 Gullin, Lars, composer. Printed music: “The Holy Grail of Joy and Jazz.” Stockholm: Edition Suecia, 1998. (*) Reissued: In Late Summer: 9 Compositions for Piano. Ed. Björn Alke. Stockholm: Edition Suecia, 1998. Piano score. (Information from OCLC WorldCat entry.)

D-228 Gwen Mars. “Fisher King.” Album: Magnosheen. Burbank, CA: Hollywood Records, 1995. HR62013–2. A rock song, only marginally Arthurian.

D-229 Hadley, Henry, composer. Merlin and Vivian: A Lyric Drama (Op. 52). Words by Ethel Watts Mumford. New York: G. Schirmer, 1907. In this opera, Morgan sends Vivian to ensnare Merlin. Vivian uses a ring to bind him to her; when she has learned all his magic, she seals him in a tomb. See also the entry for “Mumford, Ethel Watts” in the Literature section.

D-230 Hale, Glyn, composer. Printed music: Arthur, King of the Celts. Words by Glyn Hale. Stroud: Nightingale Music, 1990. (*) Described by the British library catalogue as “a cantata for schools,” for voices with piano accompaniment.

D-231 Haley, Bill, and His Comets. Album: Twistin’ Knights at the Round Table. New York: Roulette, 1962. SR-25174. (*) A “twist album.” The title of the album suggests the Arthurian legend, but also on the location of the performance, since according to Bruce Eder, it was “recorded live at the Roundtable Club in New York” ().

D-232 Hamilton, Iain Ellis, composer. Printed music: Lancelot. Words by Iain Ellis Hamilton. London: Theodore Presser Co., 1985. (Première: Arundel: Arundel Festival, 1985.) (*) An opera.

D-233 Hammond, Susan, and Debra A. S. Olivia. Printed music: “Song of the Unicorn: A Merlin Tale Featuring Jeremy Irons.” With Jeremy Irons, Graham Harley, Catherine McNally and Megan Snell. Classical Kids: A Symphony of Stories for All Ages. Pickering, ON: Children’s Group, 1999. Dist. by Warner Music. 4–84322 (ISBN 189421045X). Teachers’ notes available separately. Audio cassette (also available on compact disk): approximately 45 minutes. A children’s introduction to medieval and renaissance music (part of the same series as “Mr Bach Comes to Call” and “Beethoven Lives Upstairs”): two dozen excerpts of “pre-Baroque” music, woven together with a narrative. Megan (Tracy Moore) and Owen (Phelan

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Landry), children of an ailing queen, are sent on a quest to find a unicorn in order to obtain healing for their mother. They are aided by Merlin (Harley) (who appears in several different guises at various points in the story); in Merlin’s cave they have a vision of the origin of music (in Atlantis) and also of the future of music (Bach, Mozart and Beethoven are mentioned, as are several orchestral instruments which will be part of future music). King Arthur (Robert Lurtsema) appears, and provides advice as well as transportation to the shore of the lake in which is the Isle of Avalon. A magic boat with three queens transports the children to Avalon, where they encounter Morgan le Fay (McNally), who promises to heal their mother if they deliver a unicorn to her (she wickedly desires to have a unicorn’s horn, but has failed even with armies to capture one). The music is central to the story, and the need to incorporate musical elements sometimes causes the plot to seem somewhat forced, but the music is well performed; besides a selection of medieval and early modern songs and much incidental and background music of the period, there is also one new song addressed to the Lady of the Lake, calling upon her to provide guidance and transport to Avalon. Cover art: unsigned; shows a young lady (holding a lute) with a young man and a unicorn standing behind her, with a white-bearded and red-robed man to the side of the picture, observing them from beside (behind?) a tree.

Hampton, Lionel: see Goodman, Benny. Hardy, Thomas: see the entries for Austin, Frederick; Bailey, Judith; Duke, John; Finzi, Gerald; Gibbs, Cecil Armstrong; Harrison, Sidney; Le Fleming, Christopher; MacCourt, Thomas; O’Brien, Katherine E.; Speyer, Charles A.; Walters, Leslie. D-234 Harris, Edward, composer. Birds of Rhiannon: A Grove Play. Words by Waldemar Young. San Francisco: Bohemian Club, 1930. A musical that involves Taliesin, Dagonet, and Kay at the time of King Arthur.

D-235 Harrison, Sidney, composer. Printed music: When I Set Out for Lyonnesse. Words by Thomas Hardy. London: Augenor, 1929. (*) See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

Harsent, David: see Birtwistle, Harrison. Hart, Lorenz: see Rodgers, Richard. D-236 Hay, Walter C., composer. Printed music: Elaine’s Song from Tennyson’s ‘Idylles of the King’” Words by Alfred, Lord Tennyson. London: n.p., 1861. (*) Begins: “Sweet is true love.” See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-237 Heap, Charles S., composer. Printed music: The Maid of Astolat. Words by Desmond Ryan. London: London Music Pub., [1886]. (*) Reissued: One chorus: “Back to the Flood.” London: London Music Pub., 1886. – Printed music: 3rd edn. Walsall: Taylor & Son, 1887. A cantata, reprinted in various forms by the original publisher and then by others. (Information from OCLC WorldCat and British Library.)

D-238 Heart. “Back to Avalon.” By Ann Wilson, Nancy Wilson, and K. Haine. Album: The Road Home [Live]. Mississauga, ON: EMI Canada / Capitol, 1995. ACY-9251. The speaker of this song is determined to travel back to Avalon. Whether this is the Arthurian Avalon is not made explicit; hints that it is Arthurian include comments about a “spell” and her intention to take the sword there.

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D-239 Heine, Carl, composer. Printed music: Lynette’s Song: Oh! Morning Star. Words by Alfred, Lord Tennyson. London: n.p., 1874. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Gareth” in the Literature section.

D-240 The Hellecasters. “King Arthur’s Dream.” Album: The Return of the Hellecasters. Los Angeles: Pacific Arts Audio, 1993. PAAD-5055. Reissued: Whitehill, Dave. Printed music: The Return of the Hellecasters. Milwaukee, WI: Hal Leonard, 1995. An instrumental piece that builds dramatically towards the end.

Helwig, Marianne: see Britten, Benjamin. D-241 Henning, Doug [magician]. Merlin. Dir. Frank Dunlop and Ivan Reitman. Written by William Link and Richard Levinson. Perf. Doug Henning, Edmund Lyndeck, Rebecca Wright, and Chita Rivera. 10 Dec. 1982 (Official première, 13 Feb. 1983). This show featured Doug Henning as Merlin. The plot of the show is set before Arthurian times; a wise mage and a wicked queen seek to influence the magician who will guide Arthur. The main purpose of the show, however, was to showcase Henning’s abilities as a magician. The Time review (7 Feb. 1983: 59) reports the various problems the show faced (including changes in directors and script).

Henry, Leigh Vaughan: see Treharne, Bryceson, “Ravens.” Henry, Richard: see Crook, John. D-242 Herbert, Victor, composer. The Magic Knight. Words by Edgar Smith. New York: Charles K. Harris, 1907. (*) A musical play.

D-243 Hildreth, Richard E., composer. Printed music: Sir Galahad Overture. Cleveland, OH: Ludwig, 1973. (*) Hill, M.: see Whitehead, Gillian. D-244 Hill, Mabel Wood, composer. Printed music: The Song of the Grail Seekers. Words by Hermann Hagedorn, Jr. New York: H. W. Gray Co., 1914. A four-part song for male voices, based, presumably, upon Hagedorn’s poem that appears in A Troop of the Guard and Other Poems (Boston, MA, and New York: Houghton Mifflin, 1909. 66.) It is a short poem, with longer lines alternating with the shorter line: “We ride, we ride!” Nothing in the poem makes it specifically Arthurian, except the suggestion that these are knights riding to seek the Grail. See also the entry for “Hagedorn, Hermann, Jr.” in the Literature section. (We have seen the work presented as a poem; we have not seen the music.)

D-245 Hill, Richard, and John Hawkins, composer. Canterbury Tales. Words by Nevill Coghill and Martin Starkie. London: Chappell, 1968. (Première: London: Phoenix Theatre, 1968.) (*) A musical version of several tales by Chaucer, including The Wife of Bath’s Tale. (Information from OCLC WorldCat entry.)

D-246 Hinze, Chris, composer. Parzifal. Words by James Batton. Performed at the Holland Festival, 1976. (*) An opera.

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D-247 Hoffman, Charles H., composer. Printed music: “Elaine Waltzes.” San Francisco, CA: McCurrie and Weber, 1875. (*) D-248 Hoffman, Richard, composer. Printed music: Elaine. Words by Alfred, Lord Tennyson. Boston, MA: O. Ditson and Co.; New York: William A. Pond and Co., 1865. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-249 Holbrook, Josef, composer. “Follow the Gleam.” Words by Alfred, Lord Tennyson. Six Characteristic Songs (op. 22). London and New York: Boosey and Co., 1906. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Merlin and the Gleam” in the Literature section.

D-250 Homer, Sidney, composer. “Enid’s Song.” In Eight Poems by Tennyson. New York: G. Schirmer, 1901. (*) “Enid’s Song” is the only one of the eight poems that is Arthurian. (Information from OCLC WorldCat entry.)

Hooker, Brian: see Parker, Horatio. D-251 Hoppin, S[tuart] B[liss], composer. Yuletide at the Court of King Arthur. Libretto by Lillie Fuller Merriam. Boston, MA: C. C. Birchard, 1934. (*) A music drama set in the sixth century. (Information from OCLC WorldCat and British Library.)

D-252 Horrocks, Amy, composer. Printed music: The Lady of Shalott. Words by Alfred, Lord Tennyson. London: Boosey and Hawkes, 1899. (Première: Sheffield: 1918.) (*) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section.

D-253 Hullah, John, composer. Printed music: Turn, Fortune, turn thy wheel. Words by Alfred, Lord Tennyson. London: Addison, Hollier and Lucas, 1860. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-254 Humphreys, G. H. Ward, composer. Printed music: Elaine. London: Gould and Co., [1899]. (*) A waltz for piano.

D-255 Hunters and Collectors. “Holy Grail.” Album: Cut. Victoria, Australia: White Label / Mushroom Records, 1992. TVD93364. Reissued: A live version was included on their album Under One Roof. Victoria, Australia: White Label / Mushroom Records, 1998. MUSH33176–2. A song about a dream in which the speaker is searching for the Holy Grail.

D-256 Hurt, Mississippi John. “Avalon Blues.” Album: Avalon Blues. Cambridge, MA: Rounder, 1991. CD 1081. Blues song, originally recorded in 1963.

D-257 Hutchinson, William M., composer. Printed music: The Story of Elaine. Words by H. L. D. Jaxone. London, C. Tuckwood, 1883. (*) A cantata. (Information from OCLC WorldCat entry.)

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D-258 Imig, W., and G. Simon, composer. Printed music: King Arthur (Had Three Sons). New York: C. Fischer, 1958. (*) Traditional song.

D-259 Indian Summer. Album: Sword of Power. Peterborough: Fire & Rose Records, n.d. (*) Folk / Celtic music. According to the band’s website, this is a “concept album about King Arthur.” (Information from .)

D-260 Ireland, John, composer. Printed music: We are no Knights of Lyonesse. Words by John Drinkwater. London: Curwen, 1926. (*) For his poetry, see also the entry for “Drinkwater, John” in the Literature section.

D-261 “Jack the Giant Killer; or, The Knights of the Round Table.” In Nineteenth-Century English Drama [microfiche]. [New Canaan, CT]: Readex Microprint, [198– ]. (Première: London: Royal Surrey Theater, 1846.) (*) A pantomime, in two acts; submitted to the Lord Chamberlain for licensing 3 Apr. 1846 (granted on 11 Apr.). Original copy in the British Library 42992(42), leaves 679–710.

D-262 Jacobson, Maurice, composer. Printed music: The Lady of Shalott. Words by Alfred, Lord Tennyson. London: J. Curwen, 1942. (*) A cantata with tenor solo, based on Tennyson’s poem. (Information from OCLC WorldCat entry.) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’ ” in the Literature section.

D-263 Jag Panzer. “The Moors.” Album: Age of Mastery. Dortmund, Germany: Century, 1998. 7925. A heavy metal song. The “moors” of the title refer to the landscape of England; the song associates that land with legendary stories and retells part of the Arthurian legend, generally stripped of familiar names (there is a silver knight, a lady of the lake, a queen, and a king) except for the mention of Excalibur.

D-264 Jasienski, J. De, composer. Printed music: The Wheel of Fortune. Words by Alfred, Lord Tennyson. New York: William Hall and Son, 1866. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

Jaxone, H. L. D.: see Hutchinson, William M. D-265 Joachim, Joseph. “Merlin’s Song (Rain, Rain and Sun).” Words by Alfred, Lord Tennyson. Printed music: Songs from the Published Writings of Alfred Tennyson, Set to Music by Various Composers, . . . with a Portrait and Original Illustrations. . . . Ed. W[illiam] G[eorge] Cusins. Illus. Winslow Homer, C. S. Reinhart, A[lfred] Fredericks, and Jessie Curtis. New York: Harper and Brothers Publishers, 1880. Item 7. The book is a collection of forty-five songs, all with words by Tennyson; some of them have been previously published. Each song is separately paginated. “Merlin’s Song” is a four-page score, for voice (soprano) and piano. (None of the illustrations in the volume is Arthurian.) See also the entry for “Tennyson, Alfred Tennyson, Baron, Coming of Arthur” in the Literature section.

D-266 Jones, Trevor, composer. Album: Merlin: Original Soundtrack. Perf. London Symphony Orchestra. Studio City, CA: Hallmark Entertainment / Varèse Sarabande Records, 1998. VSD-5929.

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This soundtrack from the made-for-television film consists of instrumental pieces, performed by the London Symphony Orchestra, that act as background music. The pieces are entitled “Age of Magic,” “The Dragon’s Lair,” “The Walls Are Whispering,” “Arthur’s Call,” “Griffins,” “A Game of Intrigue,” “May Angels Fly Thee Home,” “Mab’s Demise,” “Reunited,” and “In Search of the Grail.” For details of the film, see the entry for “Merlin” in the “Film, Television, and Radio” section.

D-267 K. J., and Connie Nelson. “Song of Avalon.” Album: She Carane Hom: Evoking and Honouring the Divine Feminine. N.p.: K. J., 1998. Aside from the place-name, there are no other Arthurian elements. Avalon is, however, a place of “ancient wisdom,” which does suggest the Arthurian island presided over by Morgan and others. There is piano accompaniment to the vocals for this song.

D-268 K. J., and Connie Nelson. “Tintagel.” Album: She Carane Hom: Evoking and Honouring the Divine Feminine. N.p.: K. J., 1998. Aside from the place-name, there are no other Arthurian elements; Tintagel is simply “my home” for the speaker. There are drums and nature sounds as well as vocals for this song.

D-269 Kamelot. Album: Siege Perilous. Berlin, Germany: Noise, 1998. 74031. A heavy-metal album. While no Arthurian characters are explicitly named, the lyrics throughout the album play with Arthurian motifs: wars, swords, struggles over kingship, and wastelands.

D-270 Kaplansky, Lucy, Richard Shindell, Larry Campbell, and Anton Sanko, perf. “Guinevere.” Written by Robin Batteau. Album: Tide. St Paul, MN: Red House Records, 1994. a484905. The speaker of this song addresses a lover as “Guinevere” and compares their forbidden love to that of Lancelot and the queen.

D-271 Kay, Ulysses, composer. Printed music: King Arthur. New York: Pembroke Music Co., 1978. (*) Traditional song.

D-272 Kayak. Album: Merlin. Music by T. Scherpenzeel. Words by I. Linders and T. Scherpenzeel. N.p.: [Phonogram?], 1981. The first five songs on this progressive rock album are Arthurian: “Merlin” introduces the character in his cave; “Tintagel” talks of Merlin’s plan for Arthur’s conception; “The Sword in the Stone” is about Merlin’s role in creating the test that will prove Arthur to be king; “The King’s Enchanter” addresses Merlin, reflecting on his role; and “Niniane (Lady of the Lake)” is Merlin’s speech to Niniane. (See www.kayakonline.nl.)

Kaye-Smith, S: see Bantock, Granville. D-273 Keighley, T., composer. Printed music: King Arthur Had Three Sons. London: Stainer and Bell, 1917. (*) The traditional English folk song arranged for soprano, alto, tenor, and bass (British Library).

D-274 Keller, Albert, composer. Printed music: The Court of King Arthur Quadrilles. London: n.p., 1843. (*) “Selected from English melodies, arranged for the Piano Forte” (British Library).

Kelly, Tim: see Nestor, Larry. Kemble, John: see Purcell, Henry, and Thomas Arne.

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D-275 Kern, Jerome, composer. “Sir Galahad.” Printed music: Leave it to Jane. Words by Guy Bolton and Sir P[elham] G[renville] Wodehouse. New York: T. B. Harms Co., 1917. (*) Reissued: Album: Leave it to Jane. Perf. Angelo Mango. New York: Strand Records, 1959. SLS 1002. A song from a musical comedy. (Information from OCLC WorldCat entry.)

D-276 Kerr, James A., composer. Printed music: “Lily Maid, Elaine.” Words by Bessie Girard. San Francisco: Charles E. Eaton, 1875. (*) D-277 Kidson, F., and M. F. Shaw, composers. Printed music: Sir Eglamore. London: Boosey, 1913. (*) D-278 Audio cassette: King Arthur and the Knights of the Round Table: Soundtrack of the Laser Light Show at King Arthur’s Great Halls, Tintagel. Read by Robert Powell. [Tintagel]: Sword in the Stone, n.d. [1990s]. Reissued: The text of the show is printed in One Man’s Dream: The Story of King Arthur’s Great Halls, Tintagel, Cornwall, England (Tintagel: Sword in the Stone Ltd., n.d. [1990s]), 21–23. As the title indicates, this is a recording of the retelling of the Arthur story which is used as part of the display at King Arthur’s Hall, Tintagel. (On King Arthur’s Hall, see the entry under “Glasscock, Frederick T.” in the Fine Art section.)

“King Arthur had Three Sons”: see Boughton, Rutland; Imig, W., and G. Simon; and Keighley, T. Kipling, Rudyard: see Bellamy, Peter. Kirk, Frank: see Coward, Henry. D-279 Kleinsinger, George, composer. Tommy Pitcher. Words by Paul Tripp. London: Chappell, 1954. (Première: Stockbridge, MA: 1952.) (*) Described as a folk opera. (Information from OCLC WorldCat entry.)

D-280 Knight, Morris, composer. Printed music: The Chivalric Sonata: Horn and Piano. Harrison, ME: Woodsum Music, 1989. There are four parts to this Sonata: The Joust, The Grail, The Fair Damsel, and The Hunt. This is instrumental music, so only the title of the one section of the sonata provides the Arthurian allusion.

D-281 Kochiss, Joseph, composer. The Kids from Camelot. Words by Joseph Kochiss. Venice, FL: Eldridge Publishing, 1973. (*) Musical drama.

D-282 Koven, H. L. Reginald de, composer. Printed music: Elaine (Waltzes. Op. 341). New York and Detroit: J. H. Remick, 1910. (*) Piano music.

D-283 Kronemyer, David, composer. “The Lady of Shalott.” Words by Alfred, Lord Tennyson. Perf. Krysia Kristianne. Album: Tyger and Other Tales: English Romantic Poetry Set to Music. Los Angeles, CA: Sentience Records / JVC, 1996. JVC-4010–2.

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A musical setting of Tennyson’s poem (abridged). The group / band / principal performer is not identified on the album cover; in the list of personnel (in the album notes), only two appear on all tracks: Krysia Kristianne (vocals; vocal arrangements) and David Kronemyer (guitars; keyboards). In a CD catalogue, Kronemyer is credited as the composer of the music, but this is not indicated anywhere in the album notes. “Romantic” in the album title is used loosely: most of the songs are based on poems by Romantic poets (Blake, Wordsworth, Coleridge, Shelley, Keats), but there are also poems by the Earl of Surrey and Christopher Marlowe, as well as the Tennyson item. Cover art: the front cover of the album (CD booklet) is a colour reproduction of Waterhouse’s painting, “The Lady of Shalott” (Tate Gallery). On the back of the CD booklet is a reproduction of an original painting by Gail Jorden, obviously made for the album, since it includes motifs based on the album’s songs, such as a boat with a recumbent female.

D-284 Kuzuu, Chinatsu, composer. “Elaine the Fair.” Words by Alfred, Lord Tennyson. Album: Lady of Shalott. N.p.: Salisbury 1992. SAL002. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-285 Kuzuu, Chinatsu, composer. “The Lady of Shalott.” Words by Alfred, Lord Tennyson. Album: Lady of Shalott. N.p.: Salisbury, 1992. SAL002. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section.

Lacaux, Alain: see Pedrali, Patrick. D-286 Lambert, Lane, and Patrick Chambers, composer. Album: Tristan and Iseult: A Celtic Love Story. Perf. Keith Klehm, Kristin Dempsey, Lane Lambert, Carol Matthews, and Patrick Chambers. Merriam, KS: Lane Lambert, 1999. This collection of songs, some instrumental and some with vocals, retells the story of Tristan and Iseult.

Lampe, John Frederick: see Arne, Thomas, and John Frederick Lampe. D-287 Le Fleming, Christopher, composer. “When I Set Out for Lyonnesse.” In Six Country Songs. Words by Thomas Hardy. London: Novello, 1963. (*) See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

D-288 Lear, Edward, composer. Printed music: Late, Late, so Late. Words by Alfred, Lord Tennyson. London: Cramer, Beale and Chappell, ca. 1860. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-289 Lear, Edward, composer. Printed music: Song of Love and Death. Words by Alfred, Lord Tennyson. London: Cramer, Beale and Wood, 1860. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-290 Lear, Edward, composer. Printed music: Turn Fortune, Turn. Words by Alfred, Lord Tennyson. London: Cramer, Beale and Chappell, 1860. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-291 Led Zeppelin. “Battle of Evermore.” By Jimmy Page and Robert Plant. Album: Led Zeppelin. Scarborough, ON: Atlantic Recording Corporation, 1971. AEA-1823. Although the song is obviously influenced by Tolkien (“the ringwraiths ride in black”), the speaker declares, “I’m waiting for the angels of Avalon.” “Avalon” is described as having apples in its valley, which suggests the Arthurian place, but this is the only Arthurian element in the song.

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D-292 Legg, James, composer. The Wife of Bath’s Tale: A Moralistic Fairy-Tale Adapted from Chaucer. Words by Melvin Freedman and James Legg. (Première: Aspen, CO: Aspen Music Festival, 1986.) (*) A version of Chaucer’s story set to music, arranged for solo voices and women’s chorus, with orchestra. (Information from OCLC WorldCat entry.)

D-293 Lennard, Emma, composer. Printed music: Tristram’s Song. Words by Alfred, Lord Tennyson. London: Novello, 1894. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Last Tournament” in the Literature section.

Lerner, Alan J.: see Loewe, Frederick. D-294 Levien, E., composer. Printed music: Song of Love and Death. Words by Alfred, Lord Tennyson. London: Cramer, Beale and Wood, 1863. (*) Begins: “Sweet is true love” (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

Lewin, Lionel H.: see Sullivan, Sir Arthur, “Guinevere.” Lewis, H. E.: see Treharne, Bryceson, “Olwen.” Lewman, David: see Stites, Kevin. D-295 Lindsay, Maria, composer. Printed music: The Song of Love and Death. Words by Alfred, Lord Tennyson. London: Cocks, 1861. (*) Begins: “Sweet is true love” (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-296 Lindsay, Maria, composer. Printed music: Too Late, Too Late. Words by Alfred, Lord Tennyson. London: Cocks / Franklin, 1860. Reissued: In With Tennyson at the Keyboard: A Victorian Songbook. Ed. Joan Hoiness Bouchelle. New York and London: Garland, 1985. 85–90. The song is the one that the nun sings in Tennyson’s Guinevere, and begins, “Late, late, so late.” Lindsay’s setting is for the piano. See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-297 Linley, William, composer. Printed music: Miss Leake’s Favorite Song in “Vortigern” (“Last Whitsunday they brought me”). Words by William Henry Ireland. London: Longman and Broderip, [1796]. (*) A song from the opera Vortigern. See also the entry for “Ireland, William Henry” in the Literature section. (Information from OCLC WorldCat.)

D-298 Linley, William, composer. Printed music: Mrs Jordan’s Favorite Song in “Vortigern” (“She sung whilst from her eye ran down”). Words by William Henry Ireland. London: Longman and Broderip, [1796]. (*) A song from the opera Vortigern: vocal score with piano accompaniment, and a version for guitar and flute. See also the entry for “Ireland, William Henry” in the Literature section. (Information from OCLC WorldCat.)

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D-299 Lister, Anne. “Beech and Willow.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. The album, according to the notes in the accompanying booklet, includes a series of songs from a play by Lister on Sir Gawain, and another series from another play on Morgan le Fay, as well as a number of non-Arthurian songs to fill out the record. This song, one of those from her Morgan drama, is a variant of the “Riddle Song” (Child 46 [Appendix]: “I Gave My Love a Cherry”), riddling about a chicken without a bone, a cherry without a stone, and (here) of a Waste Land to be made whole. The song is in the voice of Morgan, who speaks of her four sisters across the sea and the gifts that they sent her. (See also Lister’s website: .)

D-300 Lister, Anne. “Four Queens.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, one of those on this album from her Morgan drama, tells of the carrying of the king to Avalon. (See also Lister’s website: .)

D-301 Lister, Anne. “Gawain’s Leavetaking.” Trans. J. R. R. Tolkien. Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, presumably from her drama of Gawain, is a setting to music of Tolkien’s translation of a medieval poem; the original poem makes no reference to Gawain, but Tolkien gave it the title “Gawain’s Leave-Taking” (it begins “Now lords and ladies, blithe and bold, / To bless you all here now am I bound”); Tolkien’s translation (three stanzas out of eight of “Against My Will, I Take My Leave”; The Minor Poems of the Vernon MS., Part II [Early English Text Society OS 117], pp. 666–68) was appended to the posthumous volume of his translations of Sir Gawain and the Green Knight, Pearl and Sir Orfeo (Allen and Unwin, 1975). (See also Lister’s website: .)

D-302 Lister, Anne. “La Folie Tristan.” Album: Spreading Rings. London: Hearthfire, 1992. HF002CD. A retelling in song (in the first person, from the perspective of someone dwelling in the king’s court) of the thirteenth-century French romance, telling of how Tristan lived as a “mad minstrel” in Mark’s court and taught Iseult to play the harp (though in the song no is named except Tristan, who is finally identified in the very last line: the characters are all identified as “the king,” “the queen,” and “the minstrel”). (See also Lister’s website: .)

D-303 Lister, Anne. “The Lady.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, one of those from her Morgan drama, describes the “Lady”; she is, according to Lister’s notes, an amalgam of “Morgan, Igraine, Morgause, Elaine, Nimue and Guenevere.” (See also Lister’s website: .)

D-304 Lister, Anne. “The Lady of Shallott [sic].” Words by Alfred, Lord Tennyson. Album: Spreading Rings. London: Hearthfire, 1992. HF002CD. An abridged version of Tennyson’s “The Lady of Shalott,” set to music by Lister. See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section. (See also Lister’s website: .)

D-305 Lister, Anne. “Midwinter.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, identified as one from her Gawain drama, speaks of a child (Arthur) born at midwinter who is protected by a “sister’s son” (Gawain). (See also Lister’s website: .)

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D-306 Lister, Anne. “Morte d’Arthur.” Album: A Flame in Avalon. London: Hearthfire, 1995. HF003CD. Bedivere’s story of throwing Excalibur into the lake (the story is told in the first person, so he is simply called “I”), and watching Arthur as he is taken off to Avalon. “I” now await the day when the King will return. (See also Lister’s website: .)

D-307 Lister, Anne. “Ragnall.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, in the voice of Ragnall (from the medieval romance of The Wedding of Sir Gawain and Dame Ragnell, offers a choice of two “paths through the forest,” one being that of the maiden, the other that of the crone. (See also Lister’s website: .)

D-308 Lister, Anne. “Round.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, one of those from her Morgan drama, is on the seasonal changes of the yearly round; it includes a reference to a “barren land . . . waiting for renewal.” (See also Lister’s website: .)

D-309 Lister, Anne. “Sword and Scabbard.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, one of those from her Morgan drama, speaks of how Merlin “set a puzzle” for Arthur, by demanding that he declare whether the sword or the scabbard was the most precious. Morgan describes the virtues of the sword and the scabbard, and considers Arthur’s dilemma and his misapprehensions (including a reference to “Morgause in your bedroom”). (See also Lister’s website: .)

D-310 Lister, Anne. “Taliesin.” Album: Root, Seed, Thorn and Flower. London: Hearthfire, 1997. HF004CD. This song, one of those from her Morgan drama, is in the voice of Taliesin, who speaks here of all that he has seen in his life, and his sense that “I’m not convinced we’re trying.” (See also Lister’s website: .)

D-311 Lloyd, Bryan. Album: Merlin’s Cave. Sisters, OR: Wizard of Harmony Records, 1987. WHC2010. (*) This recording consists “chiefly [of] synthesizer instrumentals, with some vocals.” (Information from OCLC WorldCat.)

D-312 Loehr, Hermann, composer. Printed music: To Elaine. London: Chappell, 1937. (*) A song.

D-313 Loewe, Frederick, composer. Camelot. Libretto by Alan Jay Lerner. London: Chappell, 1960. Reissued: Camelot: A New Musical. New York: Random House, 1961. – Printed music: “Camelot Song Book.” Words by Alan Lerner. London: Chappell, 1982. – Printed music: Camelot (Organ). Milwaukee, WI: Hal Leonard, 1984. Possibly the most famous Arthurian musical, as it was performed on stage (in the 1960s and in the 1980s), but also became a film (see the entry for Camelot in the “Film, Television, and Radio” section); the plot is based on The Once and Future King (see also the entry under “White, Terence Hanbury” in the Literature section). The 1960 book contains a synopsis of scenes (mainly their setting), a list of the cast from the 1960 production in New York (Majestic Theatre), the musical programme, and the score for all the instrumental overtures and songs (including words). Some

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of the more famous songs include “How to Handle a Woman,” “If Ever I Would Leave You,” and “I Loved You Once in Silence.” There are various reprintings (entirely or in part) of this musical or collections of the songs; some of these are listed above.

D-314 Loggins, Kenny. “Back to Avalon.” Album: Back to Avalon. New York: Columbia Records, 1988. 40535. The singer pleads with his listener to go with him “back to Avalon,” a place imagined as more idyllic than our world.

D-315 Lomax, Alan, composer. Printed music: The Ballad of Sir Lancelot. Ridgefield, CT: Ridgefield Music, 1956. Alan Lomax, the famous collector of folksongs, wrote the theme song for the television series “The Adventures of Sir Lancelot” (starring William Russell; NBC-TV, 1956–1957; see the entry in the “Film, Television, and Radio” section).

D-316 Longhurst, Herbert, composer. King Arthur: A Juvenile Operetta. Words by H. E. Turner. London: Curwen, 1896. (Première: London 1896.) (*) D-317 Lopez, Francisco, composer. Printed music: Elaine. New York: Hill and Range Songs, 1952. (*) Lowell, James Russell: see Bornschein, Franz; Cadman, Charles W.; Sowerby, Leo; Vision of Sir Launfal. D-318 Lowthian, Caroline, composer. Printed music: Elaine: A Waltz. London, Paterson, n.d. (*) D-319 Lushington, Cecilia, composer. Printed music: Elaine’s Song. Words by Alfred, Lord Tennyson. London: n.p., 1881. (*) Tennyson’s “Sweet is True Love,” from Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-320 Lyle, Carlyon, composer. Printed music: Idylls of the King. London: Swan and Co., 1920. (*) Described as a “miniature suite for pianoforte” (British Library). In four parts: Avalon; Elaine; Camelot; Tintagel.

M people: see Roxy Music. D-321 MacCourt, Thomas, composer. Printed music: When I Set Out for Lyonnesse. Words by Thomas Hardy. York: Banks, 1937. (*) Described as a “two-part song for treble voices” (British Library). See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

D-322 MacFarren, George A., composer. Printed music: Sir Eglamore. Words by N. MacFarren. London: n.p., 1882. (*) Identified as an “old English ballad” that begins “Sir Eglamore, that valiant knight” (British Library).

D-323 MacFarren, George A., composer. Printed music: Fortune and Her Wheel. Words by Alfred, Lord Tennyson. London: Joseph Williams, 1892. (*)

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See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-324 MacFarren, George A., composer. Printed music: King Arthur (A Piano Compressed Score of Purcell). London: Chappell, n.d. (*) See also “Purcell, Henry” in this section.

D-325 MacFarren, George A., composer. Printed music: Late, Late, so Late. Words by Alfred, Lord Tennyson. London: CKP, 1880. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-326 MacFarren, George A., composer. Printed music: Love and Death. Words by Alfred, Lord Tennyson. London: Novello, 1892. (*) Tennyson’s “Song of Love and Death,” from Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-327 MacFarren, George A., composer. Sir Lionel: My Only Thought at War’s Alarms. Words by A. Braham. London: n.p., 1859. (*) D-328 MacFarren, Walter Cecil, composer. Printed music: Elaine, idyll. London: n.p., 1863. (*) Piano music.

D-329 MacKenzie, Sir A[lexander] C[ampbell], composer. Printed music: Turn Fortune, Turn thy Wheel. Words by Alfred, Lord Tennyson. London: n.p., 1873. (*) A song. See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

Macleod, Fiona: see Boughton, Rutland; also Fletcher, Percy. D-330 Maguire, M[ichael] C., composer. Printed music: “Tristan and Geraldo: Piano Concerto with Ensemble and Tape.” 1992. (Première: Vancouver, BC: 5 May 1992.) (*) A concerto for solo piano, violin, violoncello, wind controller, baritone saxophone, and bassoon. (A copy of the unpublished score is preserved in the New York Public Library.) (Information from OCLC WorldCat.)

D-331 Mallandaine, John E., composer. Printed music: “Elaine” (Romance for Pianoforte). London: n.p., 1867. (*) D-332 Mallett, David, composer. “Arthur.” Album: David Mallett. South Blue Hill, ME: New World, 1978. NWS042977. (*) D-333 Mann, H. F., composer. Printed music: “Valse Elaine.” London: Published by the author, 1907. (*) Piano music.

D-334 Mar, Kathy. “Merlin.” Written by Doug McArthur. Album: My Favorite Sings. Sunnyvale, CA: Prometheus Music, 1999. PM-1000. Written by Doug McArthur, sung by Kathy Mar, with arrangement and instrumentation by Kristoph Klover. See also the entry for “McArthur, Doug” in this section.

D-335 Mark, Jon. Album: The Land of Merlin. Tuscon, AZ: Celestial Harmonies, 1992. ACN-4305.

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Instrumental; musical version of Arthur’s childhood. Contents: “Land of Merlin,” “Tintagel,” “The Birth of Arthur,” “The Child Grows,” “Merlin and the Unicorn,” “The Dream of Arthur,” “Perilous and Mystical Journey,” “The King, Queen and Castle,” “The Greenwood, the Briar and the Rose,” “Farewell to Childhood,” and “The Vision.”

D-336 Markordt, J., composer. Tom Thumb. Words by Kane O’Hara, adapted from Henry Fielding. London: J. Preston, 1781. (Première: London: Covent Garden, 1780.) Music for the revival of Tom Thumb. See also the entry for “Fielding, Henry, Tom Thumb” in the Literature section.

D-337 Martin, Gilbert, composer. Printed music: More Things are Wrought by Prayer. Words by Alfred, Lord Tennyson. Dayton, OH: Temple, n.d. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Passing of Arthur” in the Literature section.

D-338 Mason, William, composer. Printed music: Elaine, romance de salon. London: n.p., 1872. (*) Piano music.

D-339 Massine, Leonide, composer. Mad Tristan [ballet]. Words and decorations by Salvador Dali. (Première: New York: International Theatre, 1944. With Francisco Moncion, Toni Worth, and Lisa Maslova and Ballet International.) (*) One of several ballets written by Dali, this one was inspired by Wagner’s Tristan und Isolde (Annemarie Sawkins, Haggerty Museum of Art, ). A performance was filmed.

D-340 Mathias, William, composer. Printed music: Culhwch and Olwen. Words by Gwyn Thomas. Cardiff: University of Wales, 1971. (*) Reissued: Also Printed music: Culhwch ac Olwen: Difyrrwch. Text in English and Welsh. See also the entries for The Quest for Olwen in the “Film, Television, and Radio” section, and for “Thomas, Gwyn” in the Literature section.

D-341 Matthews, David, composer. Printed music: The Sleeping Lord, for Soprano, Flute, Clarinet, Harp, and String Quartet, op. 58 (1992). Words by David Jones. London: Faber Music, 1997. A song based on Jones’ poem. See also the entry under “Jones, David” in the Literature section.

D-342 Mayerl, Billy, composer. Printed music: The Legends of King Arthur (6 Impressions for Piano. Op. 64). London: Keith Prowse and Co., 1929. Reissued: Album: Marigold: Piano Impressions of Billy Mayerl. Perf. Eric Parkin. Colchester: Chandos, 1989. CHAN 8560. Piano music with the following titles: “Prelude,” “Merlin, the Wizard,” “The Sword Excalibur,” “Lady of the Lake,” “Guinevere,” and “The Passing of King Arthur.” There are multiple recordings, by Parkin and by others.

D-343 Mayo, Jane, composer. Printed music: Lynette’s Song. Words by Alfred, Lord Tennyson. London: WK, 1873. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Gareth” in the Literature section.

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D-344 McAlpin, Colin, composer. Printed music: King Arthur: Opera in Three Acts. Words by Colin McAlpin. Leipzig and London: Bosworth and Co., 1897. (Première: London: Leicester Theatre, 1896.) (*) Vocal score with piano accompaniment. (Information from OCLC WorldCat.)

D-345 McArthur, Doug, composer. “Merlin.” Album: Doug McArthur with Garnet Rogers. Perf. Doug McArthur, Garnet Rogers, and Dave Essig. Hannon, ON: Snow Goose Songs, 1989. SGS-1116. Reissued: Perf. Kathy Mar. My Favorite Sings. Sunnyvale, CA: Prometheus Music, 1999. PM-1000. Merlin speaks in this song from the cave where he was imprisoned by Arthur and Guenevere. The setting is the present day; he waits for the construction of a new shopping mall to reach his cave and set him loose. See also the entry for “Mar, Kathy” in this section.

D-346 McCain, Edwin. “Guinevere.” Album: Honor Among Thieves. New York: Atlantic / Lava, 1995. 92957–2. The singer takes on the character of Lancelot in this song; he regrets his divided loyalties, but cannot resist Guinevere.

D-347 The McCalmans. “Avalon.” Album: Ancestral Manoeuvres. Edinburgh: Greentrax, 1984. TRAX023. Avalon is the place where the speaker’s love has gone like “vanquished kings” in the past. Guitar and vocals predominate.

D-348 McCormick, Clifford, composer. Printed music: More Things are Wrought by Prayer. Words by Alfred, Lord Tennyson. Philadelphia: Shawnee Press, 1964. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Passing of Arthur” in the Literature section.

D-349 McGlynn, Michael, composer. Printed music: Sir Gawain and the Green Knight. Dublin: Contemporary Music Centre, [1993?]. (*) A cantata, based on Sir Gawain and the Green Knight.

D-350 McKennitt, Loreena. “The Lady of Shalott.” Words by Alfred, Lord Tennyson. Music by Loreena McKennitt. Album: The Visit. Stratford, ON: Quinlan Road, 1994. CD-75151. Reissued: Live from Paris and Toronto, 1999. McKennitt has abbreviated Tennyson’s poem, but there are still fourteen nine-line stanzas, which makes for an eleven-minute song. McKennitt’s haunting music and expressive singing captures the mysterious and tragic nature of the Lady. (See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section; also the entry for “Wentzler, Teresa: Lady of Shalott” in the Fine Art section.)

McNaught, W. G.: see Bendell, W. E. D-351 McQuillin, Cynthia. “Morgan’s Song.” Album: Singer in the Shadow. El Cerrito: Off Centaur, 1986. (*) Folk song.

D-352 Merrill, William Pierson, composer. Printed music: Sir Morven’s Hunt. Words by W. R. Thayer. Boston, MA: O. Ditson, 1896. (*)

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D-353 Mikhael. Album: King Arthur: Poem for Piano. [Venice:] Edelweiss, 1989. ED 1019. (*) Tone poem / piano music. (Information from OCLC WorldCat.)

D-354 Milford, Robin. The Summer Stars: A Masque. BBC West Home Service, 1957. (*) Based on Charles Williams’ Taliessin through Logres and The Region of the Summer Stars (for which, see the relevant entries under “Williams, Charles” in the Literature section).

D-355 Miller, Helen Hill, composer. Printed music: Follow the Gleam. Words by Sallie Hume Douglas. Philadelphia: Westminster Press, 1920. (*) D-356 Molloy, James L., composer. Printed music: Twice My Love Hath Smiled on Me. Words by Alfred, Lord Tennyson. London: n.p., 1873. (*) First line, “Oh! sun that wakenest.” (Information from British Library Catalogue.) See also the entry for “Tennyson, Alfred Tennyson, Baron, Gareth” in the Literature section.

D-357 Montgomery, William H., composer. Printed music: Too Late, Too Late. Words by Alfred, Lord Tennyson. London: Evelyn, Adams and MacKay, n.d. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-358 The Moody Blues. “Are You Sitting Comfortably.” Music by Justin Hayward and Ray Thomas. Album: On the Threshold of a Dream. London: Decca, 1969. DES18025. This song contains several allusions to the legend. In one line, the singers ask the listener to “Let Merlin cast his spell.” They also refer to the “glorious age of Camelot when Guinevere was queen.” Merlin seems to represent the artist / singer figure; Guinevere and Camelot represent an age of romance.

D-359 Morgana LeFay. “Excalibur.” Album: Knowing Just As I. Eksjö, Sweden: Black Mark Productions, 1993. Reissued: Fata Morgana. 1998. Morgana LeFay (later “LeFay”) is a metal band from Sweden. In this song, Excalibur is the sword in the stone, waiting to be drawn. There are references to the Grail, Merlin, and Morgana.

Morris, William: see Boughton, Rutland. D-360 Morrison, Van. “Avalon of the Heart.” Album: Enlightenment. New York: Polydor, 1990. 847 100–2. This is perhaps Morrison’s most explicitly Arthurian song since, besides the references to Avalon, there are allusions to Camelot and the Holy Grail. Avalon is the place where he will be able to “make a brand new start.”

D-361 Morrison, Van. “Haunts of Peace.” Album: Common One. Burbank, CA: Warner Bros., 1980. CD 26399. Includes a reference to the Holy Grail.

D-362 Morrison, Van. “Summertime in England.” Album: Common One. Burbank, CA: Warner Bros., 1980. CD 26399. Reissued: Down by Avalon. 1991. The speaker invites a woman to walk with him in England; in a song incorporating many allu-

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sions to other English poets, Avalon is proposed as a place to visit, which may suggest a Glastonbury-Avalon association. The Down by Avalon album includes a live performance of this song.

D-363 Morrison, Van. “When Will I Ever Learn to Live in God.” Album: Avalon Sunset. New York: Polydor, 1989. 839 262–2. The title of the album comes from this song, which opens with the image of the sun setting in the west over Avalon; apart from that, there are no Arthurian references.

National Youth Music Theatre: see Allwood, Peter. D-364 Naylor, Edward Woodall, composer. Printed music: Follow the Gleam. Words by Alfred, Lord Tennyson. London: Educational Supply Association, 1910. (*) A school song, based on “Merlin and the Gleam.” (Information from British Library Catalogue.) See also the appropriate entry for “Tennyson, Alfred Tennyson, Baron” in the Literature section.

D-365 Nelson, Paul, composer. Printed music: How Happy the Lover: Madrigal for Four-part Chorus of Mixed Voices, Unaccompanied, on a Poem from John Dryden’s “King Arthur” (1691). Words by John Dryden. New York: C. Fischer, 1967. (*) A musical arrangement for one of Dryden’s poems from King Arthur, The British Worthy. See also the entry for “Dryden, John” in the Literature section, and for “Purcell, Henry” in this section. (Information from OCLC WorldCat entry.)

D-366 Nestor, Larry, composer. A Connecticut Yankee: The Musical. Words by Tim Kelly. Droitwich: Hanbury Plays; Denver: Pioneer Drama Service, 1990. (*) A musical based on Mark Twain’s novel (vocal score with piano, arranged by Pam Hughes). See also the entries in the Literature section for “Kelly, Tim” and “Twain, Mark.” (Information from OCLC WorldCat.)

D-367 Newton, Ernest Richard, composer. Printed music: When Good King Arthur Ruled This Land. Words: Traditional. Boston, MA: Crescendo, n.d. (*) A modern setting of the traditional song. See also the entry for “When good King Arthur ruled this land” in the Literature section.

D-368 Nicholls, Frederick, composer. Printed music: Elaine’s Song. Words by Alfred, Lord Tennyson. London: Lucas, Weber, Pitt and Wakefield, 1880. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-369 O’Brien, Katherine E., composer. Printed music: When I Set Out for Lyonnesse. Words by Thomas Hardy. Chicago: Hall and McCreary, 1947. (*) See also the entry for “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

D-370 Palmer, G. Molyneux, composer. Printed music: Sir Galahad, for Chorus of Mixed Voices and Orchestra (op. 3). Words by Alfred, Lord Tennyson. London: Stainer and Bell; New York: G. Schirmer, 1908. (*) A choral setting of Tennyson’s poem. See the entry for “Tennyson, Alfred Tennyson, Baron: Sir Galahad” in the Literature section. (Information from OCLC WorldCat.)

D-371 Papale, Henry, composer. “Follow the Gleam.” Words by Alfred, Lord Tennyson. In A Choral Miscellany; four short pieces for SAB choir a cappella. Cincinnati,

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OH: Westwood Press / Greenwood Press, 1967. (Première: Brooklyn, New York: State Street Concert, 1972.) (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Merlin and the Gleam” in the Literature section.

D-372 Papini, Guido, composer. Printed music: Elaine, the Lily Maid of Astolat. Words by Alfred, Lord Tennyson. N.p.: B. Schott’s Söhne, 1887. (*) For voices, violin, and piano. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-373 Parker, Horatio, composer. Morven and the Grail (Opus 79). Words by Brian Hooker. Boston, MA: Boston Music Co., 1915. The vocal score for an oratorio. In seeking the Grail, Morven goes to Avalon, Valhalla, Paradise, and Earth. In Avalon, mention is made of knights and ladies, but no Arthurian knights are named. According to Northup and Parry, this was “Written and composed especially for the Centenary Festival (11–15 Apr. 1915) of the Händel and Hayden Society of Boston.”

D-374 Parry, C. Hubert H., composer. Printed music: Jerusalem (“And did those feet in ancient time”). Words by William Blake. London: J. Curwen and Sons, 1916. The well-known hymn which draws upon the Glastonbury legends of Joseph of Arimathea and the Grail. The words by Blake, from the Preface to his Milton, were set to music by C. Hubert H. Parry; this is a full score, for chorus and orchestra. For the poem, see the entry for Blake, “Jerusalem [And did those feet]” in the Literature section. For another musical setting of the poem, see the entry for “Searle, Humphrey,” in this section.

D-375 Parry, John, composer. Printed music: King Arthur’s Maxim. London: Privately published, 1842. (*) A song based on “an ancient ditty,” beginning “Be merry and wise” and adapting a traditional Welsh melody (British Library).

D-376 Pascal, Florian, composer. Cymbia; or, The Magic Thimble: Comic Opera in Three Acts. Words by Harry Paulton. London: Joseph Williams, [1890s]. (Première: London: Royal Strand Theatre, 24 Mar. 1883.) (*) Reissued: English and American Drama of the Nineteenth Century: English Series [micro-opaque]. [New Canaan, CT]: Readex Microprint, 1975. – Nineteenth-Century English Drama [microfiche]. [New Canaan, CT]: Readex Microprint, [198– ]. Vocal score with piano accompaniment.

Paulton, Harry: see Pascal, Florian. Payne, Anthony: see Elgar, Edward, and Anthony Payne. D-377 Pearsall, Robert Lucas, composer. Printed music: “The River Spirit’s Song” (a Madrigal for 4 Voices); (Opus 20). Words by John Dryden. London: D’Almaine and Co., 1840. (*) A musical arrangement for an adaptation of one of Dryden’s poems from King Arthur, The British Worthy. See also the entry for “Dryden, John” in the Literature section, and the entry for “Purcell, Henry” in this section. (Information from OCLC WorldCat entry.)

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D-378 Pease, Alfred H., composer. Printed music: O Morning Star. Words by Alfred, Lord Tennyson. Chicago: n.p., 1873. Reissued: In With Tennyson at the Keyboard: A Victorian Songbook. Ed. Joan Hoiness Bouchelle. New York and London: Garland, 1985. 104–9. A song using selected lines from Tennyson’s Gareth, written for piano in 3/4 time. See also the entry for “Tennyson, Alfred Tennyson, Baron, Gareth” in the Literature section.

D-379 Pedrali, Patrick, composer. Printed music: Lancelot (Piano and Voices). Words by Alain Lacaux. London: Chappell, 1975. (*) D-380 Pendragon. “Excalibur.” Album: Fly High, Fall Far. London: EMI Records, 1984. ARRMP-001. (*) Reissued: This song has appeared on a number of albums: Album: 9:15. Swindon: Toff Records, 1986. PEND3CD. – The R(B)est of. Swindon: Toff Records, 1991. PEND4CD. – Album: The Very Very Bootleg. Swindon: Toff Records, 1993. MOB1CD. Prog rock.

D-381 Pentangle. “The Saturday Movie.” Album: In the Round. Varrick / Rounder Records, 1986. Varrick CD-026. The song expresses a desire to be a hero like those in the Saturday matinées; in one stanza, the speaker imagines being King Arthur on a white charger, fighting a dragon and winning the hand of a maiden.

D-382 Phillips, Henry, composer. Printed music: Late, late, so late. Words by Alfred, Lord Tennyson. London: R. Cocks & Co., 1882. (*) From Tennyson’s Idylls. See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-383 Phillips, Madge, composer. Printed music: Lo! I Forgive Thee. Words by Alfred, Lord Tennyson. London: West and Co., 1914. (*) From the idyll Guinevere. See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-384 Pine, Courtney. “The Holy Grail.” Album: To the Eyes of Creation. St Laurent: 4th B’Way, 1992. ACN-7507. Jazz piece.

D-385 Plumpton, A., composer. Printed music: Sweet is True Love. Words by Alfred, Lord Tennyson. London: n.p., 1866. (*) “Elaine’s Song,” from Tennyson’s Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-386 Powell, Charles Thomas, composer. Printed music: More Things are Wrought by Prayer. Words by Alfred, Lord Tennyson. London: Novello and Co., 1941. (*) Written as a unison anthem (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Passing of Arthur” in the Literature section.

D-387 Prescott, Caroline, composer. Printed music: Elaine (Waltz). Edinburgh: Paterson and Sons, 1897. (*) Piano music.

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D-388 Purcell, Henry, composer. King Arthur; or, The British worthy, a dramatick opera: perform’d at the Queens Theatre by Their Majesties servants. Words by John Dryden. London: Printed for Jacob Tonson, 1691. [STC (Wing) D2299 (ESTC R19755 and R225097); also 1695: D2300 (ESTC R6445); 1735: ESTC T29426; 1735: ESTC T29427; 1736: ESTC N55936; 1736: ESTC T73432; 1736: ESTC T175398; 1750: ESTC N2776; 1763: ESTC T16468; 1763: ESTC T180080; 1769: ESTC T180128.] (Première: London: Dorset Gardens, May 1691.) Reissued: In Arthurian Drama: An Anthology. Ed. Alan Lupack. Garland Reference Library of the Humanities 1276. New York and London: Garland Publishing, 1991. 67–115. – Many revivals, reprintings, and recordings, including: William Giffard’s revival: Merlin: or, the British Inchanter, and King Arthur, the British Worthy. (First performed London: Lincoln’s Inn Fields, 1736.) London: Printed for Edmund Curll, 1736. – David Garrick’s version: King Arthur: or, the British worthy. A masque. By Mr Dryden. As it is performed at the Theatre-Royal in Drury-Lane, . . . The music by Purcell and Dr. Arne. The scenes by French and Carver. London: Printed for W. Strahan, L. Hawes and Co., T. Davies, T. Lownds, T. Becket, and W. Griffin, 1770. – Album: King Arthur: The Worthy Briton. 2 CDs. Perf. Choir of the English Concert and The English Concert, led by Monica Huggett, directed (from the harpsichord) by Trevor Pinnock. Booklet notes by Curtis Price. Hamburg: Archiv Produktion / Deutsche Grammophon, 1992. (Recorded June 1991.) 435–490–2. The plot of this opera is generally based on Geoffrey of Monmouth, though the specifics are Dryden’s own invention; it is set in the wars of the Christian Britons against the pagan Anglo-Saxons. Oswald, leader of the invaders, with his magician Osmond, has captured Emmeline, Arthur’s beloved; the story tells how Arthur, with Merlin’s aid, seeks to rescue Emmeline. Purcell composed the music for the original “dramatick opera,” but his music was never published and is now known only from several non-authoritative and incomplete manuscript copies (some numbers are missing; some that survive have no obvious place in the opera). Giffard kept most of Purcell’s original score for his 1736 revival; Arne added to it in 1770. Purcell’s music (as performed on the recording above) includes: First music: “Chaconne,” “Overture,” “Air”; Act 1: “Woden, First to Thee,” “We have sacrific’d,” “The White Horse Neigh’d Aloud,” “The Lot is Cast,” “Brave Souls,” “I Call You All to Woden’s Hall,” “Come If You Dare,” “First Act Tune”; Act 2: “Hither, This Way, This Way Bend,” “Let Not a Moon-born Elf Mislead Ye,” “Hither, This Way Bend,” “Come Follow Me,” “How Blest are Shepherds,” Symphony, “Shepherd, Shepherd, Leave Decoying,” “Come Shepherds,” “Second Act Tune: Air”; Act 3: “Prelude,” “What ho!,” “What Power art Thou,” “Thou doting Fool, Forbear,” “Great Love, I Know Thee Now,” “No Part of My Dominion,” “Prelude,” “See, See, We Assemble,” Dance, “’Tis I, ’Tis I, ’Tis I That Have Warn’d Ye,” “Sound a Parley,” “’Tis Love, ’Tis Love, ’Tis Love That has Warm’d Us,” “Third Act Tune: Hornpipe”; Act 4: “Two Daughters of This Aged Stream,” “Passacaglia,” “How Happy the Lover,” Ritornello, “For Love Ev’ry Creature,” “No Joys are Above,” “In Vain are Our Graces,” “Then Use the Sweet Blessing,” “No Joys are Above,” “Fourth Act Tune: Air”; Act 5: “Trumpet Tune,” “Ye Blust’ring Brethren,” Symphony, “Round thy Coast,” “For Folded Flocks,” “Your Hay, It is Mow’d,” Dance, “Fairest Isle,” “You Say, ’tis Love,” “Trumpet Tune,” “St George, the Patron of Our Isle,” “Our Natives Not Alone Appear.” There have been many arrangements of individual pieces of this opera; we list below some of the best known or most obviously recognized as Arthurian titles below. There have also been pieces built upon Purcell’s work. See also the entries for “Arne, Thomas,” “Elend,” “Gibson, Arthur John,” “Glover, Charles William,” “MacFarren, George A.,” and “Steel, Christopher” in this section and the entry for “Dryden, John” in the Literature section.

D-389 Purcell, Henry, composer. Printed music: Chaconne: from “King Arthur.” Arranged for organ by Bryan Hesford. The Organists Library 41. London: Fentone, 1987. (*)

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(Information from OCLC WorldCat entry.)

D-390 Purcell, Henry, composer. Printed music: Come if You Dare: A Favourite Song. Words by John Dryden. London: Rt Birtchall, 1807. (*) Reissued: Vincent Novello (arr.). Musical Times 40 (1844). A song from the opera King Arthur. (Information from OCLC WorldCat entry.)

D-391 Purcell, Henry, composer. Printed music: Fairest Isle. Words by John Dryden. 1691. (*) Reissued: Alfred Moffat (arr.). South Croydon: Alfred Lengnick and Co., 1934. – Album: Fairest Isle: A New National Songbook. Perf. Psalmody. London: Hyperion, 1999. CDA67115. From the opera King Arthur. (Information from OCLC WorldCat entry.)

D-392 Purcell, Henry. Printed music: Fifteen Songs and Airs, for Contralto or Baritone. Ed. Gerald M. Cooper. Master Vocal Series. Boca Raton, FL: Masters Music Publications, 1991. A collection of fifteen songs taken from various operas written by Purcell. There is only one song from Purcell’s King Arthur and it does not mention any Arthurian characters, places or episodes; it is “Venus’ Song” praising the island of Britain.

D-393 Purcell, Henry, composer. Printed music: First Suite of Four Pieces from “King Arthur.” Arranged for organ by Stainton De B. Taylor. London: Hinrichsen, 1941. (*) Selections from the opera arranged for organ. (Information from OCLC WorldCat entry.)

D-394 Purcell, Henry, composer. Printed music: How Blest are the Shepherds. Arrangement by William Henry Holmes. Words by John Dryden. London: C. Bates, 1695. (*) A piece from King Arthur; an arrangement of Purcell’s music.

D-395 Purcell, Henry, composer. Printed music: King Arthur Suite. Band transcription by Arnold Freed. New York: Boosey and Hawkes, 1984. (*) Arranged for band performance.

D-396 Purcell, Henry, composer. “King Arthur Overture.” Album: King’s Court and Celtic Fair. Perf. Empire Brass Quintet. Cleveland, OH: Telarc International, 1996. CD-80380. (*) An arrangement of the overture for brass quintet. (Information from OCLC WorldCat.)

D-397 Purcell, Henry, composer. Printed music: Second Suite from “King Arthur.” Arranged for organ by Stainton De B. Taylor. London: Hinrichsen, 1957. (*) An arrangement of five songs from King Arthur for organ: “The first overture,” “Third act tune,” “The battle scene,” “Air from second music,” and “First act tune.” (Information from OCLC WorldCat entry.)

D-398 Purcell, Henry, composer. Printed music: Suite from the Opera “King Arthur.” Arrangement by James Brown. London: Stainer and Bell, 1922. (*) D-399 Purcell, Henry, composer. Printed music: Twenty Favourite Songs. Arrangement by Edmonstoune Duncan. London: Augener, 1947. (*) The songs included from King Arthur (written by John Dryden) are “Address to Britain (Fairest isle, all isles excelling)” and “How blest are shepherds.” (Information from OCLC WorldCat entry.)

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D-400 Purcell, Henry, composer. Printed music: You Say Tis Love. Arrangement by Michael Fink. Boston, MA: E. C. Shirmer, 1973. (*) Fink arranged and supplemented this piece from Purcell’s King Arthur. (Information from OCLC WorldCat entry.)

D-401 Purcell, Henry, and Thomas Arne, composers. Printed music: The Songs Airs Duets and Chorusses in the Masque of King Arthur, as performed at the Theatre Royal in Drury Lane compos’d by Purcel and Dr. Arne. [London]: Printed by John Johnston, [1770?]. [ESTC N46309.] (*) Arne added to Purcell’s original music.

D-402 Album: Quest for Camelot: Music from the Motion Picture. New York: Curb / Warner Sunset / Atlantic, 1998. CD-83097. Soundtrack recording. Booklet and CD cover include stills from the animated film. Songs by Carole Bayer Sager and David Foster; additional musical score composed by Patrick Doyle. Performances by various artists: “Looking Through Your Eyes,” by LeAnn Rimes; “I Stand Alone,” by Steve Perry; “The Prayer,” by Celine Dion; “United We Stand,” by Steve Perry; “On My Father’s Wings,” by The Corrs; “Looking Through Your Eyes,” by The Corrs and Bryan White; “Ruber,” by Gary Oldman; “I Stand All Alone,” by Bryan White; “If I Didn’t Have You,” by Eric Idle and Don Rickles; “Looking Through Your Eyes (Instrumental),” by David Foster; and “The Prayer,” by Andrea Bocelli. “Dragon Attack / Forbidden Forest” and “The Battle,” orchestral music composed by Patrick Doyle. For details of the motion picture, see the entry for “Quest for Camelot” in the “Film, Television, and Radio” section.

D-403 Rasbach, Oscar, composer. Printed music: Valse Elaine. New York: G. Schirmer, 1938. (*) Music for piano.

D-404 Raymond, Joseph, composer. Printed music: More Things are Wrought by Prayer. Words by Christopher Crown. Milwaukee, WI: Whalen, 1956. (*) D-405 Reakes, Paul, composer. King Arthur: A Pantomone Adventure in Camelot. New York: S. French, 1997. (*) D-406 Reeve, W[illiam], composer. Printed music: Songs, &c. in Jack the Giant Killer: A Serio-Comic Pantomime. Written and produced by Charles Dibdin. London: n.p., 1803. (*) Reissued: In English and American Drama of the Nineteenth Century: English Series [micro-opaque]. [New Canaan, CT]: Readex Microprint, 1975. Songs from a pantomime (words only). (Information from OCLC WorldCat.)

D-407 Renaissance. “Island of Avalon.” Album: Songs from Renaissance Days. New York: Mausoleum Classix Records / BMG Music, 1997. The liner notes describe this music as “classically-oriented progressive folk-rock.” The Avalon of this particular song is Arthurian: Merlin and his king are mentioned, and the place overall is one of mystical magic and supernatural powers. This song was originally recorded in 1979, though was apparently not previously released.

D-408 Reva e Napoleon, Antonio Paladino, composer. Printed music: King Arthur and the Knights of the Round Table. Sao Paulo, Brazil: Musical Sonata, 1972. (*) Composer also writes under the names Antonio Paladino Reva, Cayan Jorge Gadia y Napoleon, and Herbert Clarence Victor Wong.

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Reynolds, Anna Swan: see Eversole, Rose Mansfield. D-409 Rice, Thomas N., composer. Printed music: Sir Gawain and the Green Knight: A Ballet in Three Acts (op. 40). New York: Seesaw Music, 1978. (*) Musical score for a ballet based on Sir Gawain and the Green Knight (accompanied by flute, clarinet, trumpet, trombone, percussion, and strings). (Information from OCLC WorldCat.)

D-410 Richards, Laura E. “Good King Arthur.” Eight Fairy Operettas. Illus. Mary Robertson Bassett. Boston, MA: Little Brown / Walter H. Baker Co., 1916. 71–79. A miller carrying bags of barley falls asleep by the roadside, and Arthur takes some of the barley; the queen then makes a pudding for the court. This is an operetta based upon the nonsense poem “When good King Arthur ruled this land.” The operetta uses popular tunes to accompany the words. According to Keith Busby in The Arthurian Yearbook III, the first performance was “at the summer camp that the Richards ran in Maine.” See also the entry for “When good King Arthur ruled this land” in the Literature section.

D-411 Richardson, Norman, composer. Printed music: Avalon: Diversions on an Original Theme. London: Boosey and Hawkes, 1971. (*) Music for brass band. (Information from OCLC WorldCat and British library.)

D-412 Richmond, W., composer. Printed music: It Chanced One Day that Enid Sang. Words by Alfred, Lord Tennyson. London: Weinppert, 1871. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-413 Rimbault, Edward Francis, composer. “Sir Lancelot du Lac” (Ballad). In The Ancient Vocal Music of England. London: Novello, 1847. (*) A traditional ballad “adapted to modern use” (British Library). See also the entry for “Sir Lancelot du Lac” in the Literature section.

D-414 Roberton, Sir Hugh S[tevenson], composer. Printed music: King Arthur: A Dorsetshire Ballad Arranged as a Part-Song for S.C.T.B. London: J. Curwen, 1911. (*) A vocal setting of the traditional song “King Arthur ruled the land – that he did,” a variant of “When Arthur first in court began.” See the entry for “When Arthur first in court began” in the Literature section. (Information from OCLC WorldCat.)

D-415 Robrecht, Carl, composer. Printed music: Fata Morgana. London: Bosworth, 1936. (*) A foxtrot for orchestra (British Library).

D-416 Rodgers, Richard, composer. A Connecticut Yankee in King Arthur’s Court. Lyrics by Lorenz Hart; book by Herbert Fields. New York: Harms, 1927. (Première: New York: Vanderbilt Theatre, 1927.) Reissued: London: Happell, 1929. – Album: A Connecticut Yankee [Broadway cast, 1943 revival]. New York: Decca Records, 1944. DA-367. A musical drama based on the novel by Mark Twain, and one of the first successes on Broadway for Rodgers and Hart. In 1943, they revived the musical with six new songs. Songs from the 1927 Broadway show: “Thou Swell”; “At the Round Table”; “On a Desert Island with Thee”; “Nothing’s Wrong”; “Finale, Act One (Hymm to the Sun)”; “I Feel at Home with You”; “The Sandwich Man”; “Evely, What Do You Say? (Morgana Le Fay)”; “My Heart Stood Still”; “A Ladies’s Home Companion.” Songs from the 1943 Broadway show: “Thou Swell”; “At the Round Table”; “On a

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Desert Island with Thee”; “Hymm to the Sun”; “I Feel at Home with You”; “My Heart Stood Still”; “Here’s Martin the Groom”; “This is My Night to Howl”; “To Keep My Love Alive”; “Ye Lunchtime Follies”; “Can’t You Do a Friend a Favor?”; “You Always Love the Same Girl”; “The Camelot Samba.” See also the entries for “Twain, Mark” in the Literature section.

D-417 Roff, Joseph, composer. Printed music: More Things are Wrought by Prayer. Words by Alfred, Lord Tennyson. New York: Fox, 1959. (*) Reissued: London: Keith Prowse Music Publishing Co., 1962. A setting of Tennyson’s poem for mixed chorus (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Passing of Arthur” in the Literature section.

Rogers, Gertrude: see Fielitz, Alexander von. D-418 Rowland, A. C., composer. Printed music: Turn Fortune, Turn. Words by Alfred, Lord Tennyson. London: Addison, Hollier and Lucas, 1861. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-419 Roxy Music. “Avalon.” Album: Avalon. N.p. EG Records, 1982. 9 23686–2. Reissued: Album: More Than This: The Best of Bryan Ferry and Roxy Music. Beverly Hills, CA: Virgin Records, 1999. 724384817343. – Perf. M People. “Avalon.” Album: Fresco. New York: BMG International, 1997. – Perf. M People. Printed music: Fresco. London: Wise, 1998. The cover artwork for the Avalon CD (it appears to be a photograph) shows a helmeted knight in the foreground, holding a falcon on his upraised fist; the back of his head is to the viewer as he looks across a calm body of water to the opposite shore. The conjunction of this medieval theme and setting with the album title, Avalon, suggests that the cover art and album are intended to be Arthurian. None of the songs on the album, however, has any unambiguous Arthurian content; the song “Avalon” talks of a party and dancing, and the word “Avalon” in the lyrics could be interpreted as a woman’s name rather than a place. The group “M People” covered the song on their album Fresco.

D-420 Ruby, Harry, composer. Printed music: “That Night in Avalon.” Hollywood, CA.: Kalmar and Ruby Music Corp. 1938. (*) (Information from OCLC WorldCat entry.)

D-421 Rudd, Colin. Album: Merlin’s Arthur. 2 CDs. Libretto by Colin Rudd, Anthony Griffiths, Nick Hill, Eleri Davies, Marryat Wright, Duncan Stoddard, Tommy Wheddall, Rachel Ann Davies, Nerus Tudur, Angharad, Rhiannon, and Olwen Edwards. Music by Colin Rudd, Nick Hill, Allen Moller, Chris Knowles, Anthony Griffiths, and Hugh MacKay. Abergeirw, Doigellau, Gwynedd: Brenin Productions, [1995]. MA0010. A collection of songs and instrumental pieces, retelling the whole story of Arthur.

D-422 Rummel, Walter Morse, composer. “Sir Lancelot.” Words by Richard Aldington. Printed music: 10 Songs for Children, Young and Old. London: Augener, 1914. (*) Appears in a collection of songs, many with fairy tale themes. (Information from OCLC WorldCat entry.)

D-423 Runnalls, Jana, composer. “Arthur Crossing the Lake.” Album: Sophia, Goddess of Wisdom. N.p.: Wild Women Music, 1994. (*) New-age music. Available through .

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D-424 Runnalls, Jana, composer. Album: Lady of the Lake. N.p.: Wild Women Music, 1997. (*) New-age music. The lady of the lake is associated with Avalon and the “Sacred Feminine” (see Runnalls’ website: www.sacredhome.co.uk.)

D-425 Runnalls, Jana, composer. “Merlin.” Album: Speaking in Tongues. N.p.: Wild Women Music, 1994. (*) New-age music. Available through .

D-426 Runnalls, Jana, composer. “Merlin Theme.” Album: Sophia, Goddess of Wisdom. N.p.: Wild Women Music, 1994. Instrumental new-age music. Available through .

D-427 Runnalls, Jana, composer. “Nimue / Dance of the Veils.” Album: Speaking in Tongues. N.p.: Wild Women Music, 1994. (*) New-age music. Available through .

D-428 Runnalls, Jana, composer. “Nine Morgens.” Album: Sophia, Goddess of Wisdom. N.p.: Wild Women Music, 1994. A song of the nine sisters of Avalon that uses primarily vocals and percussion. Available through .

D-429 Runnalls, Jana, composer. “Orchards of Avalon.” Album: Sophia, Goddess of Wisdom. N.p.: Wild Women Music, 1994. Bird song is used as background to vocals in this new-age music. Available through .

D-430 Runnalls, Jana, composer. “Spirit of Avalon.” Album: Ancestral Dream. N.p.: Stroppy Cow Records, 1985. (*) New-age music.

D-431 Russell, W[illiam], composer. Plot, Songs, Chorusses, &c. in the Comic Pantomime Called “Wizards’ Wake; or, Harlequin and Merlin.” Written and produced by Charles Dibdin. London: Glendinning, 1803. (Première: London: Sadler’s Wells, 23 Aug. 1802.) (*) Reissued: In English and American Drama of the Nineteenth Century: English Series [micro-opaque]. [New Canaan, CT]: Readex Microprint, 1975. Songs from a pantomime (words only). (Information from OCLC WorldCat.)

Ryan, Desmond L.: see Heap, Charles S. D-432 Ryberg, Jean B., composer. Printed music: Sir Lancelot. New York: Witmark, 1954. (*) An overture, written for symphonic band (British library).

D-433 Salaman, Charles, composer. Printed music: Late, Late, So Late. Words by Alfred, Lord Tennyson. London: S. Lucas, Weber, and Co., 1886. (*) Arranged for soprano or mezzo-soprano voice (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

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D-434 Schafer, R. Murray, composer. Printed music: Le Cri de Merlin. Toronto: Arcana Editions, ca. 1987. Reissued: “Le Cri de Merlin.” Album: Tippett: The Blue Guitar; Britten: Nocturnal; Schafer: Le Cri de Merlin. Perf. Norbert Kraft. Colchester: Chandos, 1989. CHAN 8784. Kraft commissioned Schafer to write this piece for solo classical guitar. Kraft describes its genesis as follows: “In the Arthurian legend, the wizard Merlin feels that his powers are diminished by the advance of civilisation and retreats into the forest to seek solace with the birds and the animals; his cries can be heard, but man cannot interpret them.” The piece is thus inspired by the sounds of nature, “the random order of sounds emerging from a forest soundscape.”

D-435 Scheps, Niek. Album: The Grail. Glastonbury: Privately produced, 1984. 1061984NS. Harp music on Side 1 of the cassette, piano music on Side 2. The harp music was composed to accompany an audio-visual presentation, “A Glastonbury Pilgrimage,” by Kevin Redpath. The titles of the various pieces are taken from Chrétien de Troyes’ “Conte du Graal.” Titles of individual pieces: (Harp) “Grail Theme,” “Grail Cup,” “White Dove,” “Silver Chalice,” “Moonlight over Avalon,” “Creation (Fixed Cross),” “The Lord’s Prayer”; (Piano) “Repanse de Schoye (Grail bearer),” “Perceval (Innocence),” “Blanchefleur (Stillness),” “Kondwiramur (Nocturne),” “Herzeloyde (Ballad),” “Rondeau d’Amour (Round Dance),” “Galahad (Heavenly Messenger).”

Schrader, Kate: see Erwin, Gail. Scuphann, Peter: see Tutt, David. D-436 Seally, John, composer. “The Marriage of Sir Gawaine: An Opera.” European Magazine 1.5 (May 1782): 320–24; 2.1 (July 1782): 18–21. A musical drama, in seven scenes, adapted from the ballad of the same title. The princess Emma, under the spell of the wicked magician Hirvar, is freed from the enchantment by the actions of Gawaine. King Arthur and Merlin also appear. See also “The Marriage of Sir Gawaine” in the Literature section.

D-437 Sealy, Frank Linwood, composer. Printed music: Sir Galahad. Words by Alfred, Lord Tennyson. New York: G. Schirmer, 1903. (*) Described by the British Library catalogue as a “choral ballad for men’s voices.” See also the entry for “Tennyson, Alfred Tennyson, Baron, ‘Sir Galahad’” in the Literature section.

D-438 Searle, Humphrey, composer. Printed music: Jersusalem [And did those feet]. Words by William Blake. Première: BBC Radio, 1970. The well-known hymn “And did those feet in ancient time,” which draws upon the Glastonbury legends of Joseph of Arimathea and the Grail; the words by Blake, from the Preface to his Milton, were originally set to music by C. Hubert H. Parry; Searle’s is a new setting. For the poem, see the entry for Blake, “Jerusalem [And did those feet]” in the Literature section. For Parry’s setting of the poem, see the entry for “Parry, C. Hubert H.” in this section.

D-439 Shaw, Martin, composer. The Thorn of Avalon: an Opera in Three Acts. Words by Barclay Baron. London: Oxford University Press, 1931. (Première: London: Crystal Palace, 6 June 1931.) (*) An opera first performed at a London festival. (Information from OCLC WorldCat entry.)

D-440 Sherman, Richard M., composer. Printed music: The Sword in the Stone: Vocal Selections. Words by Robert B. Sherman. Burbank, CA: Wonderland Music, 1962.

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Reissued: Album: Walt Disney Presents All the Songs from “The Sword in the Stone.” Burbank, CA: Disneyland, 1963. DQ-1236. – Album: The Story and All the Songs of Walt Disney’s “The Sword in the Stone” [LP record and pop-up panorama storybook]. Burbank, CA: Disneyland, 1963. ST-4901. The songs from the film The Sword in the Stone (see also the “Sword in the Stone” entry in the “Film, Television, and Radio” section). Songs: “The Legend of the Sword in the Stone”; “Higitus Figitus”; “Mad Madam Mim”; “That’s What Makes the World Go Around”; “A Most Befuddling Thing”; “Blue Oak Tree.”

D-441 Shippen, Eugene Rodman, composer. The Consecration of Sir Galahad. Words by Elizabeth Blount Shippen. Boston, MA: Beacon Press, 1923. (Première: Boston, MA: 1923.) (*) A pageant.

D-442 Sibelius, Jean, composer. The Lady of Shalott [ballet]. Choreographer: Sir Frederick Ashton. (Première: London: Mercury Theatre, 26 Jan. 1936.) According to Gladys Davidson, this ballet was first produced at the Mercury Theatre in London beginning on 26 Jan. 1936, performed by the Ballet Rambert. The story is very close to Tennyson although there is no boat, so the Lady dies near the tower, and Lancelot, drawn by the exclamations of the rural folk, arrives to see her there. See also the entry for “Davidson, Gladys” in the Literature section.

D-443 Silas, E., composer. “Enid’s Song (Turn, Fortune, Turn thy Wheel).” Words by Alfred, Lord Tennyson. In Songs from the Published Writings of Alfred Tennyson, Set to Music by Various Composers, . . . with a Portrait and Original Illustrations. . . . Ed. W[illiam] G[eorge] Cusins. Illus. Winslow Homer, C. S. Reinhart, A[lfred] Fredericks, and Jessie Curtis. New York: Harper and Brothers Publishers, 1880. Item 44. The book is a collection of forty-five songs, all with words by Tennyson; some of them have been previously published. Each song is separately paginated. “Enid’s Song” is a six-page score, for voice (soprano) and piano. (None of the illustrations in the volume is Arthurian.) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

D-444 Simmons, Mike, composer. Album: Dreams of Avalon. N.p.: Music from the Mountains, 1998. (*) Simmons’ website says that the album was inspired by “Journey to Avalon by Chris Barber & David Pykitt.” Song titles: “Dreams of Avalon”; “The Search for the Holy Grail”; “Lessons with Merlin”; “The Love of Guinevere”; “The Sleeping King”; “The Enchantment”; “Arthur’s Destiny”; “The Fragile Flame.” See http://www.musicmtn.demon. co.uk.

D-445 Sky of Avalon. “The Wings of Avalon.” Words and music by Uli Jon Roth. Album: Prologue to the Symphonic Legends. [Germany]: Edel, 1996. (*) “Sky of Avalon” was comprised of Roth with various other musicians.

D-446 Small, Fred. “Guinevere and the Fire.” Album: Everything Possible. Chicago, IL: Flying Fish Records, 1993. FF70625. Guinevere is a little girl who has to fetch help for her dying mother. Only one line early in the song suggests that Guinevere plays games pretending to be “queen.” (Lyrics available online at .)

D-447 Smieton, John More, composer. King Arthur: A Dramatic Cantata. Words by John More Smieton. London: Novello, Ewer and Co., [1880]. This dramatic cantata is set at the beginning and end of Arthur’s reign. It begins when Arthur

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returns from defeating the Saxons and asks Guenevere to marry him; she sets him the task of acquiring the sword Excalibur. Once he does this, they are married. Some years are supposed to have elapsed when Arthur is again fighting the Saxons. Merlin warns him against fighting; word is then brought that Mordred has usurped the throne. In the final scene, the dying Arthur sends Bedivere to return the sword to the lake; Arthur is then carried off to Avalon.

D-448 Smith, Cyntia, and Ruth Barrett, composers. “Apples of Avalon.” Words by Ruth Barrett. Album: The Heart is the Only Nation. Perf. Ruth Barrett, Cyntia Smith, Richard Gee, Cait Reed, and Sylvia Woods. Aeolus, 1993. AM005CD. This folk-style song is based on a traditional melody with lyrics by Barrett. The song uses vocals, dulcimer, guitar, violin and Celtic harp. The lyrics depict Morgan as the queen of Avalon, the wise woman who governs destiny and welcomes you to the afterlife.

Smith, Edgar: see Herbert, Victor. D-449 Smith, Eliseo, composer. Printed music: Four Songs from Tennyson’s “Idylls of the King,” etc. Words by Alfred, Lord Tennyson. London: Davison, 1864. (*) Three of the songs are from the “Idylls”: “Guinevere,” “Turn Fortune” and “Too Late.” See also the entries for “Tennyson, Alfred Tennyson, Baron, Guinevere and Enid” in the Literature section.

D-450 The Soil Bleeds Black. Album: The Kingdom and its Fey. [Sweden]: Cruel Moon International, 1996. (*) Neo-medieval music. See the group’s website at www.soilbleedsblack.com.

D-451 The Soil Bleeds Black. Album: March of the Infidels. [Austria]: Draenor Productions, 1997. (*) Neo-medieval music. See the group’s website at www.soilbleedsblack.com.

D-452 The Soil Bleeds Black. Album: May the Blood of Many a Valiant Knight Be Avenged. [Austria]: Draenor Productions, 1998. (*) A theme album based on the story of Sir Gawain and the Green Knight (see the artists’ website: ).

D-453 Somber Blessings. “‘Neath Mountain Sleep.” Album: Legend. Charlottesville, VA: self-produced, 1998. A song that uses the motifs of the sleeping king and of the sword in the stone. Instrumental sections alternate with vocals, and the vocals alternate between a clear soprano and something of a growl. See the Somber Blessings website: .

D-454 Somervell, Arthur, composer. Thomas the Rhymer. Words by W. M. Dixon. London: Boosey, 1911. (Première: London, 1911.) (*) A pageant with music.

D-455 Sonnekalb, Franklin, composer. “Lancelot and Elaine.” Printed music: Romantic Lyrics for the Piano. Opus 3. New York: F. A. Mills, 1900. (*) The fifth and only Arthurian song in this collection (British Library).

D-456 South Shore Concert Band. “Sir Galahad.” Album: Sounds of the Circus, Vol. 3. Conductor Richard Whitmarsh. East Bridgewater, MA: Whitmarsh Recordings, 1993. SOTC203. (*) A march. (Information from OCLC WorldCat entry.)

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D-457 Sowerby, Leo, composer. Printed music: The Vision of Sir Launfal (Cantata). Words by James Russell Lowell. Boston, MA: C. C. Birchard, 1928. (*) A cantata based on the poem by Lowell. See also the entry for “Lowell, James Russell” in the Literature section. (Information from OCLC WorldCat entry.)

D-458 Speyer, Charles Anthony, composer. Printed music: When I Set Out for Lyonnesse. Words by Thomas Hardy. New York: G. Schirmer, 1920. (*) Reissued: In Six Select Lyrics. London: Schott and Co. 1920. In the collection Six Select Lyrics, this is the only piece with words by Hardy. See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

D-459 Springfield, Rick. “Guenevere.” Album: Beautiful Feelings. Mercury / Polygram, 1978. A song of two modern-day lovers who use names from the legend (Guenevere and, oddly enough, Galahad). See lyrics at the official website: http://www.rickspringfield.net.

D-460 Stacey, Alexander, composer. Printed music: The Merlin Polka (for Pianoforte). London: n.p., 1857. (*) Piano music (British Library).

D-461 Stanford, Sir Charles Villiers, composer. Printed music: Merlin and the Gleam. Words by Alfred, Lord Tennyson. London: Stainer and Bell, 1920. Music put to Tennyson’s words. See also the entry for “Tennyson, Alfred Tennyson, Baron, Merlin and the Gleam” in the Literature section.

Stanton, F. L.: see Behrend, John Arthur. D-462 Stanynought, E., composer. Printed music: Sweet is True Love. Words by Alfred, Lord Tennyson. London: Lonsdale, 1860. (*) “Elaine’s Song,” from Tennyson’s Elaine. See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-463 Starcastle. “Lady of the Lake.” Album: Starcastle. New York: Epic Records, 1976. PE-33914. A ten-minute song with long instrumental sections between vocals. The speaker declares that “she’s the lady of the lake, wrapped in the sun / With the summer in her hand”; aside from this characterization of the woman, there are no other Arthurian references.

D-464 Steed, Albert, composer. Printed music: Four Songs from the “Idylls of the King,” written by A. Tennyson. Words by Alfred, Lord Tennyson. London: Jewell, 1861. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron” in the Literature section.

D-465 Steel, Christopher, composer. “Fantasy on a Theme by Purcell.” In Six From the Sixties: For Organ. Borough Green: Novello, 1985. (*) Originally published separately in the 1960s.

D-466 Stewart, Al, and Peter White. “Merlin’s Time.” Perf. Al Stewart. Album: 24 Carrots. New York: Razor & Tie, 1981. RE 2008. Reissued: Album: The Best of Al Stewart. Perf. Al Stewart. New York: Arista, 1986. ARCD 8433. The soft sounds of guitar predominate in this song about legends. Merlin is the only Arthurian character mentioned.

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D-467 Stidston, Catherine, composer. The Song of Love and Death. Cincinnati: J. Church and Co., 1904. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Elaine” in the Literature section.

D-468 Stites, Kevin, composer. Adventures with Young King Arthur. Words by David Lewman. Woodstock, IL: Dramatic Publishing, 1995. (*) Described as “A musical for young audiences” (Library of Congress).

D-469 Stivell, Alan. Album: Mist of Avalon. N.p.: Dreyfus, 1991. FDM-36197–2. This album is a tribute to the novels of Marion Zimmer Bradley. It includes the following sixteen songs: “La Dame du Lac,” “Morgan,” “Camaalot,” “Guenievre,” “Le Chant de Taliesin,” “La Blessure D’Arthur,” “Le Val Sans Retour,” “Belenton,” “Olwen,” “Quest,” “An Advod,” “Horses on the Hills,” “Strink Ar Graal,” “From Avallac’h,” “Gaelic Tribes Gathering,” and “The Return.” As the titles suggest, not all of the songs are written in English (only four are); other languages used include French, Breton, and Welsh. About half of the pieces are instrumental only. Instruments include Celtic harps, keyboards, tin whistle, and bagpipes. While Stivell wrote words and music for most songs, some are adaptations of older poems, and two have words by John Calder Bush.

D-470 Stonehenge. “King Arthur.” Album: Tales of Old Britain. Hobgoblin Records, 1998. (*) A tribute to the king. Stonehenge is a Russian group, but lyrics and album titles are in English. This album may have appeared as a demo first in 1997 and then as a full album. A mixture of folk and metal. (Information from fan reviews.)

D-471 Stover, Ken. “Sir Dancelot’s Dream.” Album: Sir Dancelot’s Dream. San Francisco, CA: Hearts of Space, 1988. HS11009–2. The first track on the album and the only one whose title suggests a play on Arthurian words. Like the rest of the album, this is an instrumental piece; it begins slowly and then turns into a much faster dance piece.

D-472 Strong, George T., composer. Printed music: King Arthur. Geneva: Henn, 1922. (*) Described as a “sketch” (Library of Congress).

D-473 Sullivan, Sir Arthur, composer. Printed music: Guinevere!: Song, Composed expressly for and dedicated to Md’lle Titiens. Words by Lionel H. Lewin. London: J. B. Cramer and Co., 1872. Reprinted: London: Edwin Ashdown, 1890. – Album: Guinevere. Perf. Richard Conrad, baritone; William Merrill, piano. Wadhurst, East Sussex: Pearl / Pavilion Records, 1993. SHE CD 9636. Sullivan’s setting for words by Lewin, on Guinevere’s remorse after the death of Arthur (beg.: “There was deep, calm shade in the cloister”). Lewin and Sullivan made plans to compose an opera based on the story of Arthur and Guinevere; a scenario was sketched out in 1872 but the opera was never completed.

D-474 Sullivan, Sir Arthur, composer. Album: Incidental Music: Macbeth / King Arthur / Merry Wives of Windsor. Perf. Margaret MacDonald, RTE Chamber Choir, and RTE Concert Orchestra. N.p.: Marco Polo, 1995. 8.223635. Includes music from the King Arthur opera (first performed 1895) that combined the “blank-verse drama” of Joseph Comyns Carr with the music of Sir Arthur Sullivan. The pieces included here are “Chorus of Lake Spirits,” “Chorus of Unseen Spirits,” “The Chaunt of the Grail,” “The May Song,” and “Final Chorus.” The liner notes suggest that Wilfred Bendall edited the

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choruses of the original opera “to produce the present suite.” See also “Carr, J[oseph] Comyns, King Arthur” in the Literature section.

D-475 Sullivan, Sir Arthur, composer. Kenilworth. Words by Henry F. Chorley. London: Chappell, 1865. (Première: Birmingham: Birmingham Musical Festival, 8 Sep. 1864.) (*) A masque set in “the Days of Queen Elizabeth” (British Library). There were multiple reprintings of individual pieces of music from this score, particularly “The Lady of the Lake.”

D-476 Sullivan, Sir Arthur, composer. King Arthur. Words by Joseph Comyns Carr. London: Macmillan, 1895. (Première: London: Lyceum, 1895.) Reissued: W. Bendell, arr. Printed music: Incidental Music to King Arthur. London: Novello & Co., 1903. Divided into a prologue and four acts. See also the entry for “Carr, J[oseph] Comyns” in the Literature section.

D-477 Sweeting, E. T., composer. Printed music: King Arthur (Part Song). Words: Traditional. London: Leonard, Gould and Bolter, 1949. (*) A new setting of a traditional song.

D-478 Sykes, H. H., composer. Printed music: King Arthur Ruled the Land. London: E. Arnold, 1929. (*) A new setting of a traditional song.

D-479 Tanner, David, composer. Printed music: Excalibur; Overture for Band. Melville, NY: Belwin-Mills, 1980. (*) Musical score for band (69 parts). (Information from OCLC WorldCat.)

D-480 Tate, Phyllis, composer. Printed music: The Lady of Shalott. Words by Alfred, Lord Tennyson. London: Oxford University Press, 1956. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron: ‘Lady of Shalott’” in the Literature section.

D-481 Taylor, Deems, composer. Printed music: Jurgen: A Symphonic Poem for Orchestra (Op. 17). N.p.: n.p., 1925–1929. (*) Reissued: Perf. Michael Keith. Richmond, VA: Michael Keith, 1999. . This piece has been used to accompany a dramatic reading of Jurgen, the novel in which James Branch Cabell most extensively used the Arthurian legend by including Arthur and Guenevere, among others, as characters (Jurgen. Fantastic Audio, 2001). Michael Keith performed and recorded Taylor’s composition using synthesizer and MIDI piano. See also the entry for “Cabell, James Branch, Jurgen” in the Literature section. (Information from OCLC WorldCat entry.)

D-482 Taylor, Marilyn. “Tristram in the Wood.” Words by Katharine Taylor. Music by Charles Gildersleeve Vardell. Album: Return: Art Songs from Carolina. Albany, NY: Albany Records, 2001. TROY-427. This is the premiere recording of a song composed by Vardell about 1918 and preserved among his papers now on deposit with the Moravian Music Foundation in Winston-Salem, NC. In the 1970s, as part of a centenary celebration of Vardell’s life and work, the song was performed by the soprano Marilyn Taylor, who made a number of Vardell’s songs standard parts of repertoire thereafter. She included the song on this album, on which she is accompanied by the pianist

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Robert Brewer. (See also the separate entry under “Vardell,” below; also, for the original poem, see the entry under “Taylor, Katharine” in the Literature section.)

Taylor-Stanley, Julia: see Alkaemy. Tennyson, Alfred Tennyson, Baron: see Andrews, Mark; Baker, A. C.; Balfe, Michael; Barkworth, Arthur; Barnett, John; Beauchamp, B; Bendall, W. E; Bennett, Charles; Bliss, Arthur; Blockley, John; Blumenthal, Jacques; Boughton, Rutland; Bunning, Herbert; Busch, Carl; Capel, J. M.; Casey, Samuel Ward; Corder, Frederick; Cusins, W. G; Davis, J. D.; Deacon, H. C; Dempster, William R.; Dolores; Edmunds, Christopher Montague; Edwards, Edwin; Ewing, A.; Favara, A.; Foote, Arthur; Fothergill, Helen; Gambogi, Elvira; Gaul, Alfred R.; Gilchrist, William Wallace; Gray, Louisa; Guest, J.; Hay, Walter C.; Heine, Carl; Hoffman, Richard; Holbrooke, Josef; Horrocks, Amy; Hullah, John; Jacobson, Maurice; Jasienski, J. De; Joachim, Joseph; Kuzuu, Chinatsu; “The Lady of Shalott”; Lear, Edward; Lennard, Emma; Levien, E.; Lindsay, Maria; Lister, Anne; Lushington, Cecilia; MacFarren, George A.; Martin, Gilbert; Mayo, Jane; MacKenzie, A. C.; McCormick; McKennitt, Loreena; Montgomery, William H.; Molloy, James L.; Naylor, Edward Woodall; Nicholls, Frederick; Papale, Henry; Papini, Guido; Pease, Alfred H.; Phillips, Henry; Phillips, Madge; Plumpton, A.; Powell, Charles; Richmond, W.; Roff, Joseph; Rowland, A. C.; Salaman, Charles; Sealy, Frank Linwood; Sibelius, Jean; Silas, E.; Smith, Eliseo; Stanford, Charles Villiers; Stanynought, E.; Steed, Albert; Tate, Phyllis; Troup, Emily Josephine; Urswick, Christopher; Wade, J. A.; and Warren, Elinor Remick. Thayer, W. R.: see Merrill, Wilson P. D-483 Thiel, Lisa, composer. “Lady of the Lake.” Album: Lady of the Lake. Durham, NC: Ladyslipper, 1992. LR112CD. The lady is praised for her wisdom in this song. The album as a whole is new-age music celebrating goddess figures.

D-484 Thomas, Andrew, composer. Printed music: Merlin. Newton Center, MA: Margun, 1989. (*) Music for solo marimba.

Thomas, Gwyn: see Mathias, William. D-485 Thomas, Vincent, composer. Enid. Words by Ernest Rhys. London: Boosey and Co., 1913. (Première: London: Court Theatre, 24 Nov. 1908.) An opera based on the story of Enid and Geraint. See also the entry under “Rhys, Ernest, Enid” in the Literature section.

D-486 Thomas, Vincent, composer. Gwenevere. Words by Ernest Rhys. London: Boosey and Co., 1906. (Première: London: Coronet Theatre, 13 Nov. 1905.) (*) See also the entry under “Rhys, Ernest, Gwenevere” in the Literature section.

D-487 Thomas, Vincent, composer. The Quest of the Holy Grail. Words by Ernest Rhys. (Première: London: Court Theatre, 7 Mar. 1908.) Reissued: Masque of the Holy Grail. London: Boosey and Co., 1908. – “Nimue’s Dance from Quest of the Grail.” (Première: Glastonbury: 21 Aug. 1914.) A musical drama, divided into five scenes. See also the entry under “Rhys, Ernest, Masque of the Holy Grail” in the Literature section.

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D-488 Treharne, Bryceson, composer. Printed music: Olwen. Welsh words by H. E. Lewis; English words by W. E. Evans. Aberystwyth: D. Jenkins, 1898. (*) Reissued: Swansea: Snell and Sons, 1930. A song.

D-489 Treharne, Bryceson, composer. Printed music: “The Ravens of Owain.” Words by Leigh Vaughan Henry. London: Rowlands, 1931. (*) Reissued: Printed music: The Ravens of Owain: Brain Owain. English words by Leigh Vaughan Henry; Welsh words by Henry and T. Gwynn Jones. Llangollen: Gwynn Publishing Co, 1940. Song for male chorus.

D-490 Treharne, Bryceson, composer. “The Return of Arthur.” In Ten Dramatic and Descriptive Songs. New York: Composers’ Music Corporation, 1921. (*) Tripp, Paul: see Kleinsinger, George. D-491 Troika. “Gwenhwyfar.” Album: Goddess. Music by David Arkenstone. Glendale, WI: Enso Records, 1996. ND-62804. New-age music “inspired by The Barefoot Book of Goddesses written and illustrated by Kris Waldhert.”

D-492 Troup, Emily Josephine, composer. “Vivien’s Song (In Love, If Love be Love).” Words by Alfred, Lord Tennyson. Printed music: Songs from the Published Writings of Alfred Tennyson, Set to Music by Various Composers, . . . with a Portrait and Original Illustrations. . . . Ed. W[illiam] G[eorge] Cusins. Illus. Winslow Homer, C. S. Reinhart, A[lfred] Fredericks, and Jessie Curtis. New York: Harper and Brothers Publishers, 1880. Item 16. The book is a collection of forty-five songs, all with words by Tennyson; some of them have been previously published. Each song is separately paginated. “Vivien’s Song” is a five-page score, for voice (soprano) and piano, likely first published in 1878. (None of the illustrations in the volume is Arthurian.) See also the entry for “Tennyson, Alfred Tennyson, Baron, Vivien” in the Literature section.

D-493 True, Lyle C., composer. Printed music: Vivienne: A Caprice. San Francisco, CA: Sherman, Clay and Co., 1903. (*) Turner, H E.: see Longhurst, Herbert. D-494 Tutt, David, composer. The Bells of Lyonesse. Words by Peter Scupham. Cambridge: Cambridge University Press, 1988. (*) A children’s musical.

D-495 Uriah Heep. “The Wizard.” Album: Demons and Wizards. Mercury Records, 1972. SRM-1–630. Although not named, the wizard in this song is associated with kings and with mountain homes, so evocative of Merlin.

D-496 Urswick, Christopher, composer. Printed music: The Wheel of Fortune. Words by Alfred, Lord Tennyson. London: Novello, 1902. (*) See also the entry for “Tennyson, Alfred Tennyson, Baron, Enid” in the Literature section.

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D-497 Van Heusen, James, composer. Printed music: A Connecticut Yankee in King Arthur’s Court. Words by Johnny Burke. 1949. (*) Reissued: Songs from the Paramount Technicolor Production of Mark Twain’s “A Connecticut Yankee in King Arthur’s Court.” Decca Personality Series. Perf. Bing Crosby, Rhonda Fleming, William Bendix, Sir Cedric Hardwicke, and Murvyn Vye. 3 78-rpm. records. New York: Decca Records, 1949. Music for the film A Connecticut Yankee in King Arthur’s Court (see the entry in the “Film, Television, and Radio” section). Songs: “Once and for Always”; “If You Stub Your Toe on the Moon”; “Busy Doing Nothing”; “‘Twixt Myself and Me”; “When is Sometime.” (Information from OCLC WorldCat.)

D-498 Vardell, Charles Gildersleeve, composer. “Tristram in the Wood.” Words by Katharine Taylor. ca. 1918. (*) Vardell is known to have made something of a practice of taking poems from literary magazines and setting them to music; he composed over 100 such songs in the years prior to 1924, though few of them were ever published or performed. He came upon the Katharine Taylor poem in Scribner’s Magazine in 1918; in the 1970s, as part of a centenary celebration of Vardell’s life and work, the song was performed by the soprano Marilyn Taylor (who made a number of Vardell’s songs standard parts of repertoire thereafter), and the song was recorded by her in 1999 (for the recorded version, see the separate entry under “Taylor, Marilyn”). The unpublished song is preserved among the Vardell papers deposited with the Moravian Music Foundation in Winston-Salem, NC (Box XII Item 6 and Box VIII Item 4). (See also the entry for the poem under “Taylor, Katharine” in the Literature section.)

D-499 The Vision of Sir Launfal: A Pageant. Words by Dorothy Clark and Georgia Lyons Unverzagt. Première: 1928. New York: Barnes, 1928. (*) Based on the poem by James Russell Lowell (see the entry in the Literature section).

D-500 Vivian, Theodore, composer. Printed music: Elaine: Graceful Dance for Pianoforte. London: Ascherberg, Hopewood and Co., 1907. (*) D-501 Wade, J. A., composer. Printed music: Too Late, Too Late. Words by Alfred, Lord Tennyson. London: n.p., 1875. (*) Song begins “Late, late” (British Library). See also the entry for “Tennyson, Alfred Tennyson, Baron, Guinevere” in the Literature section.

D-502 Wagner, Adrian, composer. Album: Genesis of the Grail Kings. Cenarth, Newcastle Emlyn, Carmarthenshire: Multi MediaQuest, 1999. AW006. A musical “companion,” composed by a descendent of Richard Wagner, to a book, Genesis of the Grail Kings: The Explosive Story of Genetic Cloning and the Ancient Bloodline of Jesus, by Laurence Gardner (London: Bantam Press, 2000; originally published in 1999 with subtitle “The Pendragon Legacy of Adam and Eve”). Gardner’s book claims to be non-fiction, “unravelling the secrets” of the Old Testament, European history, and Arthurian legend. Wagner supposedly recreates music of ancient Mesopotamia, used in initiations into alchemical practices. The “enhanced” CD includes not only the music but also text and picture files.

D-503 Wagner, Adrian, composer. Album: The Holy Spirit and the Holy Grail. Cenarth, Newcastle Emlyn, Carmarthenshire: Multi MediaQuest, 2001. RHG017. A musical “companion” to Bloodline of the Holy Grail by Laurence Gardner, composed by a descendent of Richard Wagner. Gardner’s book claims to be non-fiction (in the genre of Holy Blood, Holy Grail). Wagner’s musical compostions have titles such as “Crucifiction [sic] (The Dolorous Blow),” “Grailfight,” “The Waste Land,” “The Temple of the Chalice,” etc. An enhanced CD, with text and picture files as well as the audio.

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D-504 Wagner, Joseph, composer. “Merlin and Sir Boss: a symphonic tale from The Connecticut Yankee.” New York: Seesaw Music, 1978. (*) See also the entry for “A Connecticut Yankee in King Arthur’s Court” in the “Film, Television, and Radio” section, and for “Twain, Mark” in the Literature section.

D-505 Wakeman, Rick. Album: The Myths and Legends of King Arthur and the Knights of the Round Table. Beverly Hills, CA: A&M Records, 1975. Reissued: Condor Music, 1975. A “rock opera,” based upon, and including quotations from, Malory. Song titles: “Arthur,” “Lady of the Lake,” “Guinevere,” “Sir Lancelot and the Black Knight,” “Merlin the Magician,” “Sir Galahad,” “The Last Battle.”

D-506 Walters, Leslie, composer. Printed music: When I Set Out for Lyonnesse. Words by Thomas Hardy. London: J. B. Cramer & Co., 1957. (*) See also “Hardy, Thomas, When I Set Out for Lyonnesse” in the Literature section.

D-507 Walton, Jake, composer. “The Wanderer (Merlin’s Exile).” Album: Sunlight and Shade. [Germany]: Folk Freak Records, 1983. FF4012. (*) Folk music.

D-508 Warren, Elinor Remick, composer. Printed music: The Passing of King Arthur: A Choral-Symphonic Poem for Tenor and Baritone Soli, Chorus, and Piano or Orchestra, the Text from “Idylls of the King” by Alfred Tennyson. Words by Alfred, Lord Tennyson. New York: H. W. Gray Co., 1939. Vocal score. Tennyson’s poem, set to music; the baritone soloist in the part of King Arthur, the tenor in the part of Sir Bedivere, with the Chorus singing the narrative portions. See also the entry for “Tennyson, Alfred Tennyson, Baron, Passing of Arthur” in the Literature section.

D-509 Warren, Elinor Remick, composer. The Passing of King Arthur. Words by Alfred, Lord Tennyson. New York: Novello, 1939. (Première: Los Angeles, 1940.) Reissued: Album: The Legend of King Arthur. Perf. Thomas Hampson, Lawrence Vincent, Polish Radio and Television Symphony Orchestra and Chorus of Cracow. Conducted by Szymon Kawalla. Lomita, CA: Cambria Records, 1990. CD-1043. Elinor Remick Warren was inspired by Tennyson from the time that she first heard his poetry. This choral symphony takes sections from “The Passing of Arthur,” the last of the idylls in Idylls of the King, as its libretto (Warren begins at line 170, and selects lines thereafter). Originally Warren followed Tennyson’s title, but she felt that “this emphasized too strongly the death of the king, rather than the dramatic and spiritual elements of his story” (liner notes from Kawalla recording), so it was changed to its present form, The Legend of King Arthur. See also the entry for “Tennyson, Alfred Tennyson, Baron, Passing of Arthur” in the Literature section.

Weeks, John: see Crawley, Christopher. D-510 Welcher, Dan, composer. Printed music: The Visions of Merlin: For Orchestra. Bryn Mawr, PA: Elkan-Vogel, 1980. (Première: Sunriver, OR, 23 Aug. 1980.) (*) Reissued: Recording: Louisville Orchestra. The Visions of Merlin. Louisville Orchestra First Edition Records. Louisville, KY: Louiseville Orchestra, 1989. LS-793. A suite of symphonic poems: “Prologue”; “Merlin, the Enchanter”; “The Sight”; “The Red and White Dragons”; “The Sight, II”; “Stonehenge: The Giants’ Dance”; “The Crystal Cave.” (Information from OCLC WorldCat.)

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D-511 Whitehead, Gillian, composer. Tristan and Isolt. Words by Michael Hill and Malcolm Crowthers. Wellington, NZ: Price Milbourne Music, 1977. (*) A chamber opera divided into “thirteen scenes for singers, mimes, puppets and instrumental ensemble” (British Library).

D-512 Whithorne, Emerson, composer. Printed music: Fata Morgana. New York: Cos Cob, 1930. (*) Orchestral music.

D-513 Whittaker, W. G., composer. Printed music: Come Follow Me. Words by John Dryden. London: Oxford University Press, 1928. (*) Although originally put to music by Purcell, Whittaker has created a different arrangement (for three voices and piano). (Information from OCLC WorldCat entry.)

Whittaker, W. G.: see also Dobbs, J. P. B. D-514 Williams, John, composer. Album: Indiana Jones and the Last Crusade. (Soundtrack.) Burbank, CA: Warner Brothers, 1989. B000002LHC. Instrumental soundtrack. See also the entry for “Indiana Jones and the Last Crusade” in the “Film, Television, and Radio” section.

Williams, W. G.: see Davies, Hugh. D-515 Williamson, Robin. Album: Five Bardic Mysteries. Los Angeles: Pig’s Whisker Music, 1985. PWM 008. A spoken-word recording [audio cassette], with harp accompaniment. Robin Williamson, a musician and singer (with “The Incredible String Band” and “The Merry Band”), spent a number of years as a solo performer doing songs and versions of traditional stories, some of which have been recorded. This album includes Williamson’s retellings of four ancient legends and a set of three poems, intended to illustrate “druidic” influence on Celtic literature. Of Arthurian interest, it includes a retelling of “The Spoils of Annwn,” the tale of Arthur’s raid on the Otherworld. See also the entries for “Williamson, Robin” in the Literature and “Film, Television, and Radio” sections.

D-516 Williamson, Robin. Album: Five Celtic Tales of Enchantment. Los Angeles: Pig’s Whisker Music, 1985. PWM 006. A spoken-word recording [audio cassette], with harp accompaniment. This album includes Williamson’s retellings of five ancient legends, including “The Wooing of Isolde” and “The Birth of Taliesin.” “The Wooing of Isolde” is a retelling of the Welsh “Ystoria Trystan” in which Arthur intervenes to settle the love triangle by declaring that Mark and Tristan should share Isolde. Mark chooses to have her during that part of the year when the “trees are bare” – however, Isolde points out that there are three trees which never shed their leaves, so she will stay with Tristan perpetually. “The Birth of Taliesin” is the usual story of Ceridwen’s cauldron and Gwalchmai’s accidental obtaining of the wisdom intended for Ceridwen’s son; the story is said to begin in the days of King Arthur, but the discovery of the bag in which the babe Taliesin has been preserved takes place well after Arthur’s time. The other three tales are not Arthurian. See also the entries for “Williamson, Robin” in the Literature and “Film, Television, and Radio” sections.

D-517 Williamson, Robin. “Five Denials on Merlin’s Grave.” Album: A Glint at the Kindling. Chicago: Flying Fish Records, 1979. Flying Fish 096. The album includes a musical setting of Williamson’s poem, which celebrates “poetic” and “mythic” truth over the merely “historical.”

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D-518 Williamson, Robin. Album: Five Legendary Histories of Britain. Los Angeles: Pig’s Whisker Music, 1985. PWM 007. A spoken-word recording [audio cassette], with harp accompaniment. This album includes Williamson’s retellings of five ancient legends (four based on tales from Geoffrey of Monmouth’s Historia, and a retelling of the Gododdin of Aneirin), including “Vortigern’s Tower” (a retelling of the story of Vortigern’s tower and Merlin’s prophecy of Arthur, based upon Geoffrey of Monmouth), and “Arthur, the Early Legend” (the complete story of Arthur, from Merlin’s erection of Stonehenge to the Battle of Camlann, briefly retold, based upon the “early” version of the story as found in Geoffrey of Monmouth). The Gododdin includes the earliest known reference to Arthur by name. See also the entries for “Williamson, Robin” in the Literature and “Film, Television, and Radio” sections.

D-519 Williamson, Robin. Album: Music for the Mabinogi. Baile Átha Cliath, Ireland: Ceirnini Cladarg, 1983. CCF 10. A recording [LP record] of the music for Williamson’s theatrical adaptation of the Mabinogion. “The Mabinogi” is a multi-media theatre piece, in Welsh and English, including some of the Arthurian tales, first performed by the dance company “Moving Being” in an open-air production in Cardiff Castle in 1981, and again in Caernarfon and Cardiff Castles in 1983 (it was broadcast on BBC-4 in 1984). Another version, “The Mabinogion: The Arthurian Romances,” was performed in St David’s Hall, Cardiff, in 1986. (This information is from a Robin Williamson website: .) See also the entry for “Williamson, Robin” in the “Film, Television, and Radio” section.

D-520 Williamson, Robin. “Tale of Culhwch and Olwen.” Album: Gems of Celtic Story 1. Chesterfield, Derbyshire: Pig’s Whisker Music, 1998. PWMD5007. A retelling of the tale from the Mabinogion, partly spoken and partly sung, to the accompaniment of a harp. The second tale included on this record (“Aden Ffwynach”) is not Arthurian. See also the entries for “Williamson, Robin” in the Literature and “Film, Television, and Radio” sections.

D-521 [Williamson, Robin, and] the Merry Band. “Five Denials on Merlin’s Grave.” Album: The Merry Band’s Farewell Concert at McCabe’s. Chesterfield, Derbyshire: Pig’s Whisker Music, 1997. PWMD5001. The “farewell concert” was performed at McCabe’s Guitar Shop in Santa Monica, CA, 13–14 Dec. 1979, and recorded for broadcast on National Public Radio. It includes a live performance of Williamson’s “Five Denials on Merlin’s Grave.” See also the entry for “Williamson, Robin” in the Literature section.

D-522 Wolfsinger, Morgan. “The Road to Logres.” Album: Magic and Mercenaries. Richmond: Catherine DeMott, 1989. [10]. (*) A song about someone seeking Arthur after the Battle of Camlann. (See Wolfsinger’s website: .)

D-523 Woodgate, Leslie, composer. Printed music: “Merlin.” Words by Mortimer Collins. London: Stainer and Bell, 1924. (*) A song, on the magician.

D-524 Wright, Denis Sidney Steuart, composer. Printed music: Tintagel: Symphonic Suite for Brass Band. London: R. Smith & Co., [1956]. (*) A score for brass band, divided into three parts: “King Arthur”; “Elaine”; and “Merlin the Magician.” (Information from British Library catalogue.)

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D-525 Young, Neil. “After the Gold Rush.” Album: After the Gold Rush. Reprise Records, 1970. 6383. Each of the three verses of this song represents a different time period: medieval, modern, and futuristic. In the medieval verse, knights in armour are saying “something about a queen.” Some critics have interpreted this as an allusion to Guinevere (see Michael Rewa’s “The Matter of Britain in British and American Popular Music”), but there is no other suggestion of the legend in the song.

Young, Waldemar: see Harris, Edward. D-526 Youth’s Quest for the Holy Grail: A Service of Dramatic Worship. Words by Rev. E. Harvey Herring. Various composers. Milwaukee, WI: Morehouse, 1933. (*) D-527 Zylstra, Dick W., composer. A Computer Whiz at King Arthur’s Court. Words by M. S. Zylstra. Louisville, KY: Aran, 1990. (*) A musical, divided into two acts. (Information from OCLC WorldCat entry.)

E. Games E-1 Arthur: The Quest for Excalibur [computer game]. Developer: Infocom. Publisher: Infocom, 1989. Platform: Macintosh. (*) A game where the player takes on the role of Arthur as he learns from Merlin (including animal transformations), finds Excalibur to pull it from the stone, and faces Lot (the villain). (Information from .)

E-2 Avalon [computer game]. By Steve Turner. Developer: Hewson Consultants. Publisher: Hewson Consultants, 1984. (*) Advertised as an “adventure movie” game with a wizard as the main character. See also the sequel, The Dragontorc of Avalon. (Information from review in Crash [Nov. 1984]. .)

E-3

Avalon Multiplayer Gameworld [computer game]. .

An online, multi-user role-playing world; its introduction claims it is “one of the oldest RPGs.” Aside from the name of the world, Avalon, the game uses only a few Arthurian names; for example, Pendragon is the god of war.

E-4 Brimstone: An Electronic Novel [computer game]. Printed materials by James Paul and Richard Sanford. Prog. by David Bunch, William Mataga, and Bill Darrah. Illus. Melaine Blackshear-Peter. Cover art Richard Blair. Floppy disk (5 1/4), and 99-page book. Publisher: Synapse Software / Brøderbund, 1985. Versions for DOS, Apple II, Macintosh, Atari, Commodore. An electronic novel / text-based adventure game set in a “medieval” underworld, with the player, in the role of Sir Gawain, as the protagonist. The plot is partly inspired by that of Sir Gawain and the Green Knight, but the beheading challenge here is just the beginning of the more elaborate “Quest for the Garter,” including encounters with characters such as the White Apes of Ulro or the demonic bat-monkey-man.

E-5

Britannia: Game of the Birth of Britain [role-playing game]. Gibson Games, 1986.

A boardgame for three to five players based on pre-Conquest British history; King Arthur appears in the post-Roman section.

E-6 [Camelot RPG.] GURPS Camelot: Roleplaying in the Court of King Arthur [role-playing game]. By Robert M. Schroek and Peggy Schroek. Austin: Steve Jackson Games, 1991. The goal of this role-playing guide is to provide three different “milieus” for a role-playing game set in Arthurian times: “mythic,” “cinematic,” and “historical.” Information is provided on characters (in general, and profiles of specific Arthurian characters), geography (including maps), magic, and animals. The bibliography lists fiction, non-fiction, drama, and cinematic sources for more information. (“GURPS” is the “Generic Universal Role-Playing System” devised by Steve Jackson.)

E-7 Camelot Warrior [computer game]. Publisher: Ariolasoft, 1987. Platform: Commodore 64/128. (*) An action game. (Information from .)

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E-8 Cavelon [computer game]. Publisher: Ocean Software Ltd, 1983. Platform: Commodore 64/128. (*) An action game. (Information from .)

E-9 Chronicles of the Sword [computer game]. Developer: Psygnosis / Synthetic Dimensions. Publisher: Psygnosis, 1996. Platform: DOS, Playstation. (*) In this computer game, the player takes on the role of Gawain; other Arthurian characters include Arthur, Guinevere, Merlin, and Lancelot, with Morgana as the villain. (Information from .)

E-10 Conquests of Camelot: The Search for the Grail [computer game]. By Christy Marx. Game and Cover Art by Peter Ledger. Developer: Sierra On-Line Inc. Publisher: Sierra On-Line, Inc., 1989. Platform: DOS. (*) Adventure game with Arthurian characters; see . (Information from and Christy Marx webpage.)

E-11 Crystal Caliburn [computer game]. Developer: LittleWing Co. Publisher: StarPlay Productions, 1993. Platform: Windows, Macintosh. (*) A pinball simulation computer game that uses Arthurian names like Caliburn, Camelot, Holy Grail, Merlin, etc. (Information from .)

E-12 Dark Age of Camelot [computer game]. Developer: Mythic Entertainment. . This MMPOG (massive multiplayer online game) is set in Camelot after the fall of Arthur. The introduction to the game notes that it is “based on the King Arthur legends, Viking mythology, and Celtic lore,” so the realms involved include Albion, Hibernia, and Midgard, and there are different classes and races available as characters. Servers are named after Arthurian characters.

E-13 The Dragontorc of Avalon [computer game]. By Steve Turner. Developer: Hewson Consultants. Publisher: Hewson Consultants, 1985. (*) A sequel to Avalon by the same company. The main character, a wizard, has a mentor named Merlyn. (Information from review in Crash [May 1985]. .)

E-14 [Dungeons and Dragons.] TSR Presents Deities and Demigods: Cyclopedia of Gods and Heroes from Myth and Legend [role-playing game]. By James M. Ward, with Robert J. Kuntz. Ed. Lawrence Schick. Dungeons and Dragons. Lake Geneva, WI: TSR Games, 1980. The book contains an Arthurian subsection with characters such as Arthur, Green Knight, Gawain, Lancelot, and others. It provides short prose descriptions of the heroes drawn from various medieval sources as well as numerical descriptions needed for using these characters in a Dungeons and Dragons game.

E-15 Eureka! Developer: Ian Livingstone, et al. Publisher: Domark, 1984. Platform: Commodore 64. (*) An adventure game. (Information from .)

E-16

Excalibur [board game]. London: Wotan Games, 1988. (*)

A battle-based board game.

E-17 Excalibur [computer game]. By Chris Crawford, Larry Summers, and Valerie Atkinson. Publisher: Atari Program Exchange, 1983. Platform: Atari. (*)

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E-18 Excalibur 2555 A.D [computer game]. Developer: Telstar Electronic Studios. Publisher: Sir-Tech Software, 1997. Platform: Playstation. (*) This game is set in both the past and future and involves a search for the stolen sword Excalibur. Merlin’s niece is the main character. (Information from .)

E-19 Galahad [computer game]. Developer: Traveller’s Tales. Publisher: Electronic Arts, 1992. Platform: Sega Genesis. (*) The main character of this game is Galahad, who must rescue other knights of the Round Table and save a princess. (Information from .)

E-20 Galahad and the Holy Grail [computer game]. By Douglas Crockford. Publisher: Atari Program Exchange, 1982. Platform: Atari. (*) E-21 The Golden Dawn: A Sourcebook of Victorian Occult Intrigue for Call of Cthulhu By Scott Aniolowski, Garrie Hall, Steve Hatherley, Alan Smithee, John T. Snyder, and John Tynes. Seattle: Tynes Cowan Corporation, 1996. (*) A book with scenarios and sources for the Call of Cthulhu role-playing game.

E-22 [Golden Heroes RPG.] Queen Victoria and the Holy Grail [role-playing game]. By Marcus F. Rowland. Illus. Fox. Golden Heroes RPG. Games Workshop, 1985. (*) E-23

Grailquest [role-playing game]. By Guy W. McLimore. Metagaming, 1980. (*)

An Arthurian game for the RPG series Fantasy Trip (originally developed by Steve Jackson). (Information from sunsite game site: .)

E-24

Grailquest [role-playing game]. By Mike Monastero. Metagaming, 1981. (*)

A game for the RPG series Fantasy Trip (originally developed by Steve Jackson) involving a quest for magical objects, including presumably the Grail. (Information from sunsite game site: .)

E-25 GrailQuest [computer game]. Developer: Artworx Software. Publisher: Artworx Software, 1991. Platform: DOS. (*) Text-based adventure game. (Information from .)

E-26 The Holy Grail: A TimeQuest Adventure [computer game]. By Joe Emerson. Prologue by Gary Wolf. Produced by Ken Smith. Floppy disk (5 1/4), 25-page book, and an envelope with “The Wisdom of the Ancients” (four clues). Publisher: Hayden Software, 1984. Platform: DOS, Apple II, Macintosh. A text-based adventure game in which the Grand and Exalted Emperor Soltan of Lantavia sends his two children, the eldest (the player) and Balnard, a younger stepbrother, into the Monarchy of Beronia in quest of the lost Grail, promising that whichever of his children returns first with the Grail will inherit the kingdom. The setting is a generally “medieval” world, and the player encounters knights, dragons, priests, sorcerers, and must rescue a princess.

E-27 [Indiana Jones.] Grail Diary [computer game]. By Mark Falstein. Illus. Mark Shepard, Jayne Osgood, and Steve Purcell. Lucasfilm, 1989. The computer game of Indiana Jones and the Last Crusade included a “Grail diary” based on the film prop. The diary includes letters, maps, drawings, and Henry Jones’ thoughts about his Grail quest and his relationship with Indiana. Since the game, there have been many versions produced by those who create replicas of film plots. Online searches turn up various offers of Grail diaries, more or less based on Falstein’s text and the film’s prop.

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E-28 Indiana Jones and the Last Crusade [computer game]. Developer: Lucasfilm Computer Division Games Group. Publisher: Lucasfilm Computer Division Games Group, 1989. Platform: Macintosh. (*) A computer game based on Indiana Jones and the Last Crusade (see the entry in the “Film, Television, and Radio” section). Other versions were developed for PC, Sega Genesis, and NES, but by other companies. (Information from .)

E-29

Jack the Giant Killer [board game]. Toddie’s Toy Boxes. Gall and Inglis, 1920. (*)

A cardboard castle with figures, based on the legend (which is set in the court of King Arthur).

E-30 King Arthur and the Knights of Justice [computer game]. Publisher: Enix America Corp., 1995. Platform: Super NES. (*) A computer game. (Information from .)

E-31 King Arthur and the Knights of the Round Table [board game]. By Jamie Walker, Chris Walker, and Matthew Hill. London: Wotan Games, 1986. (*) A board war game in which players undertake quests and then battle each other to acquire the throne. (Information from .)

E-32

King Arthur’s Heir [computer game]. Publisher: Epyx, 1982. Platform: Atari. (*)

E-33 King Arthur’s Knight Quest [puzzle book]. By Andy Dixon. Illus. Simone Boni. An Usborne Fantasy Adventure. London: Usborne Publishing, 1999. This book is set up as a game for the reader. Each double-page, full-colour illustration contains hidden objects to be found or riddles to be solved; the context is the rescue of knights of the Round Table who have been captured by Morgan. Some of these knights are familiar from the legend (such as Gawain and Galahad), while other knights’ names are original to this text (Nocturne and Swinage, for example); similarly, only some of the riddles are based on common episodes from the legend. Merlin, through his crystal ball, provides clues in each picture; Grail-like chalices are also hidden in each illustration to be collected as protection from Morgan’s spells. Answers are provided on the last page.

E-34 King Arthur’s Knights [board game]. By Greg Stafford. Albany, CA: Chaosium, 1978. (*) A board game. Stafford later designed the role-playing game Pendragon (see relevant entries).

E-35 King Arthur’s World [computer game]. Developer: Argonaut Software. Publisher: Jaleco USA, 1993. Platform: Super NES [Nintendo Entertainment System]. (*) A game where players negotiate obstacles to get their king and army through. (Information from .)

E-36

Knights of Camelot [board game]. Lake Geneva, WI: TRS Hobbies, 1980. (*)

A boardgame set in an Arthurian world with elements of role-playing. Arthurian characters like Lancelot can appear. (Information from .)

E-37 Knights of the Round [computer game]. Developer: Capcom Co. Publisher: Capcom Eurosoft, 1991. Platform: Arcade game. (*) The player can choose to be Lancelot, Perceval, or Arthur. (Information from .)

E-38 Knights of the Round [computer game]. Developer: Capcom Co. Publisher: Capcom USA, 1994. Platform: Super NES [Nintendo Entertainment System]. (*) Based on the arcade game.

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E-39 Lancelot [computer game]. Developer: Level 9. Publisher: Datasoft, 1990. Platform: PC (DOS). (*) An adventure game. (Information from .)

E-40 Lords of Magic [computer game]. Developer: Impressions Software. Publisher: Sierra On-Line Inc., 1997. Platform: Windows 95. Reissued: Lords of Magic: Special Edition. Developer: Impressions Software. Publisher: Sierra Studios, 1998. Platform: Windows 95, 98. A computerized role-playing game, set in the land of Urak (the “Special Edition” also comes with “Legends of Urak Quest Pack,” a game supplement). Merlin is one of the “Lords”; Sir Lancelot is also one of the characters in the game, and there is a “Quest for the Holy Grail” among the five quests in the “quest pack.”

E-41 Merlin and the Search for Ob [puzzle book]. By Clive Brown. Illus. David Woodward. Puffin Geography Adventure Puzzle Books. London: Puffin / Penguin, 1993. A puzzle book, based upon a series of maps; the reader helps Merlin in his search. Apart from Merlin’s name, there is nothing Arthurian about this.

E-42 Merlin Book of Logic Puzzles [puzzle book]. By Margaret C. Edmiston. Illus. Jack Williams. New York: Sterling Publishing Co., 1992. A collection of logic puzzles which uses the character of Merlin throughout. Each section of the book introduces its puzzles by setting up a fictional framework: Merlin is teaching Arthur or a new apprentice, or he is guarding the realm against spies. Within the puzzles themselves, few of the original Arthurian knights are named (Kay is an exception); instead, there are knights called “Sir Pure” or “Sir Good.”

E-43 Merlin Monster. Playskool Mosaic Sticker Books. Loughborough: Sunbird Publishing, 1990. (*) A twenty-four page book of stickers.

E-44 The Merlin Mystery [puzzle book]. By Jonathan Gunson and Martin Coombe. New York: Warner Books, 1998. A puzzle book / treasure hunting game that includes its clues in a narrative about Merlin and Nimue. The story is richly illustrated, and there are riddles and other clues. While the story is original to this work, it includes traditional elements such as Merlin teaching magic to Nimuë, whom he loves, and being imprisoned in turn. There are also references to Arthur and Excalibur. It was released in September 1998, with a prize offered of a “magic” wand made of precious metals and gems as well as a cash award.

E-45 Merlin Racing [computer game]. Developer: Miracle Designs. Publisher: DVD International, 2000. Platform: “NUON-enabled” DVD player. (*) A kart-racing game in which players are racing in order to rescue Merlin from a witch. Other Arthurian characters also appear. (Information from .)

E-46 Merlin’s Apprentice [computer game]. Publisher: Philips Interactive Media, 199-. Platform: Philips CD-i. (*) Reissued: Merlin’s Apprentice. Publisher: Philips Interactive Media, 1995. Platform: Windows, Macintosh. Puzzle game. (Information from .)

E-47 Merlin’s Catalog of Magic [magic tricks]. By Charles Barry Townsend. Maplewood, NJ: Hammond, 1981.

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Like the other books produced by Townsend, this one pretends that Townsend is the editor commissioned by Merlin to inform people about magic. The “catalogue” of tricks draws from a number of magicians and publishers of magic tricks, books, and paraphernalia. Merlin is the only Arthurian character mentioned.

E-48 Merlin’s Puzzle Pastimes [puzzle book]. By Charles Barry Townsend. New York: Dover Publications, 1986. This book selects material from the earlier Merlin’s Puzzler trilogy, and the introduction to this volume is identical to that in the first volume; in the introduction, Townsend claims to have received his information from, and to be acting at the behest of, Merlin. Arthur is mentioned in one of the ninety-five puzzles (one that appeared in the first Merlin’s Puzzler). The book is illustrated with a variety of Victorian engravings.

E-49 Merlin’s Puzzler [puzzle book]. By Charles Barry Townsend. New York: Hammond, 1976. The first of a set of puzzle books. The introduction establishes the premise that Townsend will use in subsequent volumes: Merlin, after the fall of Camelot, retreated to “the Isle of Merlin” which can travel through time and space. Seeing the interest in Arthurian matters in this century, Merlin has now decided to present (through the editor Townsend) some of his favourite puzzles and riddles, gathered over the centuries. Townsend is in fact an editor since many of the puzzles come from other sources (such as the Victorian Professor Hoffman), but he presents himself as acting at the behest of Merlin. Arthur is mentioned in one of the puzzles. While the cover of the book uses the title Merlin’s Puzzler, the title-page calls it “Merlin’s Scrapbook” and goes on to say, “being a collection of divers puzzles, games and conjuring feats.”

E-50 Merlin’s Puzzler 2 [puzzle book]. By Charles Barry Townsend. New York: Hammond, 1977. A second collection of puzzles, using the premise that Merlin has asked Townsend to share these puzzles and tricks with the world. Here, further, we are invited into Merlin’s Castle, and to travel back to the 1890s to see several magic performances. Various sections thereafter bear the magician’s name: Merlin’s Library or Merlin’s Notes. There are also references to the Camelot Daily News, a ship is called “The Camelot,” and a painter named Ector Pendragon. One of the puzzles is named “Joust.” As in his other volumes, Townsend has collected magic tricks and puzzles from many magicians and puzzle makers.

E-51 Merlin’s Puzzler 3 [puzzle book]. By Charles Barry Townsend. New York: Hammond, 1979. This collection continues to use the framework that Townsend established in previous volumes in the series. Townsend begins with a section called “Merlin’s Isle,” at which, he tells us, we have arrived just in time for the puzzle convention at the Crystal Palace. Townsend presents the magic tricks and puzzles of a number of famous puzzle makers and magicians. Camelot is mentioned in one of the puzzles, and Merlin has a court artist named Ector Pendragon.

E-52 Merlin’s Walls [computer game]. Developer: Ebivision. Publisher: Hozer Video, 1999. Platform: Atari Video Computer System. (*) Adventure game. (Information from .)

E-53 Mr Merlin’s Mazes [puzzle book]. By Frank C. Smith. New York: Simon and Schuster, 1982. (*) E-54 Mr Merlin’s Puzzle and Game Book [puzzle book]. By Tallarico. New York: Simon and Schuster, 1981. (*)

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E-55 Mr Merlin’s Puzzle Parade [puzzle book]. By Frank C. Smith. New York: Simon and Schuster, 1982. (*) E-56 Monty Python and the Quest for the Holy Grail [computer game]. Developer: 7th Level. Publisher: 7th Level, 1996. Platform: Windows 3.1, 95. An adventure game based on the Monty Python film. The player takes on the role of a seeker of the Grail, encountering along the way black knights, witches, catapulted cows, and other characters and incidents from the film; completing tasks or otherwise giving correct responses permits one to continue to the next incident. There is a video clip of a scene not included in the film, concerning “King Brian the Wild.”

E-57

Monty Python’s Holy Grail. (*)

A collectible card game, based on characters from the Monty Python film.

E-58 Once and Future King Game [role-playing game]. By Jack Barker. Amazing Engine. Lake Geneva and Cambridge: TSR, 1994. (*) A role-playing game for the Amazing Engine game system. The setting is in the future on another planet, but Arthurian characters appear. (Information from .)

E-59 Origami in King Arthur’s Court: An Adventure in Folding [origami instructions]. By Lew Rozelle. New York: Grifin / St Martin’s, 1997. An instruction book (illustrated with photographs and diagrams) for creating origami versions of Camelot, knights on foot and mounted, knights jousting, attendants and maidens, Vivian, Merlin, Merlin’s dragon, Merlin’s flying horse, Merlin’s Tower, King Arthur, Queen Guinevere, Sir Lancelot, Gargantua, the Fairy King Oberon, a court jester, the Sword in the Stone, the Round Table, a chair, a throne, the king’s falcon, a white hart, hounds, swords, shields, lances, longbows, crossbows, and handcarts.

E-60 [Pendragon RPG.] King Arthur Pendragon [role-playing game]. By Greg Stafford and Sam Shirley. Cover art by Jody Lee. Albany, CA: Chaosium, 1985. Reissued: King Arthur Pendragon: Epic Roleplaying in Legendary Britain. 4th ed. Oakland, CA: Chaosium, 1993. – Cover art by Stephen King. Oakland, CA: Green Knight Publishing, 1998. GKP 2716. The “Pendragon” (or “King Arthur Pendragon”) role-playing game was first designed by Greg Stafford in 1985; King Arthur Pendragon is the primary rule book, and there were several editions produced. It contains rule books for players and for game masters, to instruct players on how to develop characters based on the legends and to instruct game masters on the types of scenarios they can run for a game. The illustration on the front shows Arthur on horseback, with Guenevere handing him a sword. The characters and themes of the game are based on Malory and, to a lesser extent, Geoffrey of Monmouth and medieval romances. The rights to the game were sold in 1998 to Green Knight Publishing, who continue to produce new titles. The supplements are listed below, organized by date of publication.

E-61 [Pendragon (1985).] The Pendragon Campaign: Plot, Magic, and Scenarios [role-playing game]. By Greg Stafford. Albany, CA: Chaosium, 1985. Supplement for the “Pendragon” role-playing game.

E-62 [Pendragon (1986).] Noble’s Book [role-playing game]. By Greg Stafford. Albany, CA: Chaosium, 1986. Reissued: Lordly Domains: A Player’s Guide to the Noble Characters in the Time of Arthur.

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By James Palmer, Liam Routt, and Elise Fowler. Cover art by Stephen King. Oakland, CA: Green Knight Publishing, 1997. GKP 2719. Supplement for the “Pendragon” role-playing game. Provides details about nobility and land ownership. Lordly Domains is described by the publisher as a “complete revision” of the earlier Noble’s Book.

E-63 [Pendragon (1987).] Tournament of Dreams [role-playing game]. By Les Brooks, Sam Shirley, and Greg Stafford. Albany, CA: Chaosium, 1987. Supplement for the “Pendragon” role-playing game.

E-64 [Pendragon (1988).] The Grey Knight [role-playing game]. By Larry DeTillio. Albany, CA: Chaosium, 1988. Supplement for the “Pendragon” role-playing game, involving Gawain and the thirteen Treasures of Britain.

E-65 [Pendragon (1990).] Knights Adventurous [role-playing game]. By Greg Stafford. Oakland, CA: Chaosium, 1990. Supplement for the “Pendragon” role-playing game. Provides more options for players, including a greater variety of types of characters. The guide enables players to develop a character in greater depth, considering place of origin, ambitions, religion, wealth / class, and magic; there is also information on warrior women and types of tournaments.

E-66 [Pendragon (1991).] Blood and Lust: Heroic Adventure in King Arthur’s Britain [role-playing game]. By Paul Cockburn, Suzanne Courteau, Garry Fay, Greg Stafford and Leonard Wilson. Albany, CA: Chaosium, 1991. Reissued: Cover art by Stephen King. Oakland, CA: Green Knight Publishing, 1998 GKP 2711. Supplement for the “Pendragon” role-playing game. Provides details of “Lands and Peoples” and outlines for five major and six minor adventures within Logres and Britain, including “The Adventure of Morgan le Fay’s Challenge.”

E-67 [Pendragon (1991).] The Boy King [role-playing game]. By Greg Stafford. Oakland, CA: Chaosium, 1991. Reissued: 2nd edn. Cover art by Stephen King. Oakland, CA: Green Knight Publishing, 1997. GKP 2708. Supplement for the “Pendragon” role-playing game. Set when Arthur is young.

E-68 [Pendragon (1991).] Savage Mountains: Heroic Adventures in the Wilds of Cumbria [role-playing game]. By Greg Stafford, Katherine Kerr, and William Bridges. Oakland, CA: Chaosium, 1991. Reissued: Cover art by James Halloway. Oakland, CA: Green Knight Publishing, 1998 GKP 2719. Supplement for the “Pendragon” role-playing game. Provides details of “Lands and Peoples” and instructions for four major adventures in the mountains of Northern and Southern Cumbria.

E-69 [Pendragon (1992).] Perilous Forest: Heroic Adventures in the Forests and Heaths of Western Cumbria [role-playing game]. By Peter Corless, Geoff Gillan, Sam Shirley, Greg Stafford and Michael Trout. Oakland, CA: Chaosium, 1992. Reissued: Oakland, CA: Green Knight Publishing, 1998 GKP 2712. Supplement for the “Pendragon” role-playing game. Provides instructions for three major adventures in Western Cumbria and the Perilous Forest.

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E-70 [Pendragon (1992).] The Spectre King: Heroic Adventures in Legendary Britain [role-playing game]. By Martin Bourne, Peter Corless, Mike Dawson, Garry Fay, Mike Manolakes, and Sam Shirley. Oakland, CA: Chaosium, 1992. Supplement for the “Pendragon” role-playing game.

E-71 [Pendragon (1994).] Pagan Shores: Ireland in the Age of King Arthur [role-playing game]. By John Carnahan. Oakland, CA: Chaosium, 1994. Supplement for the “Pendragon” role-playing game.

E-72 [Pendragon (1995).] Beyond the Wall: Pictland and the North [role-playing game]. By Chris Lampard, Roderick Robertson, Tom Rogan, Eric Rowe, and Dave Williams. Oakland, CA: Chaosium, 1995. Reissued: Cover art by Stephen King. Oakland, CA: Green Knight Publishing, 1998 GKP 2717. Supplement for the “Pendragon” role-playing game. Scenarios set in Scotland.

E-73 [Pendragon (1996).] Land of Giants [role-playing game]. By Chris Hind. Albany, CA: Chaosium, 1996. Supplement for the “Pendragon” role-playing game. Draws on Beowulf as well as the Arthurian legend.

E-74 [Pendragon (1999).] Tales of Chivalry and Romance [role-playing game]. By Shannon Appel, William G. Filios, Geoff Gillan, Heidi Kaye, and Eric Rowe. Cover art by Randy Faith. Oakland, CA: Green Knight Publishing, 1999. GKP 2720. Supplement for the “Pendragon” role-playing game. Includes scenarios for various adventures, grouped into “Chivalrous Quests” and “Romantic Quests.”

E-75 [Pendragon (1999).] Tales of Magic and Miracles [role-playing game]. By Shannon Appel, Danny Bourne, Garry Fay, and William G. Filios. Cover art by Randy Faith. Oakland, CA: Green Knight Publishing, 1999. GKP 2721. Supplement for the “Pendragon” role-playing game. An adventure supplement, providing outlines for a series of “Magical Quests” and “Christian Quests.”

E-76 [Pendragon (2000).] Book of Knights: Epic Roleplaying in the World of King Arthur Pendragon [role-playing game]. By Peter Corless. Cover art by Keith Parkinson. Oakland, CA: Green Knight Publishing, 2000. GKP 2724. Supplement for the “Pendragon” role-playing game. Provides an introduction to the game.

E-77 [Pendragon (2000).] Saxons!: Wolves in the Fold of Arthur’s Britain [role-playing game]. By Roderick Robertson. Cover art by Paul Carrick. Oakland, CA: Green Knight Publishing, 2000. GKP 2722. Supplement for the “Pendragon” role-playing game. Describes the history and culture of the Germanic invaders of Britain and leads up to the Battle of Badon.

E-78 [Pendragon (2000).] Tales of Mystic Tournaments: Adventures in the World of King Arthur Pendragon [role-playing game]. By Larry DeTillio, Les Brooks, Sam Shirley, Greg Stafford, and Matt Deforrest. Cover art by Randy Asplund. Oakland, CA: Green Knight Publishing, 2000. GKP 2723. Supplement for the “Pendragon” role-playing game. An adventure supplement, providing outlines for three adventures as well as rules regarding “Life at Court” and “Dreaming and Dream Magic.”

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E-79 Prince Valiant: The Storytelling Game [board game]. By Greg Stafford, with William Dunn, Lynn Willis, and Charlie Crank. Albany, CA: Chaosium, 1989. (*) A game based on the world created by Hal Foster in the comic Prince Valiant in the Days of King Arthur. (Information from OCLC WorldCat entry.)

E-80 Quest for Camelot [computer game]. Developer: Titus Software. Publisher: Nintendo of America, 1998. Platform: Game Boy Color. . A GameBoy game based on the Warner Bros. film; the player attempts to thwart the plans of the evil Sir Ruber. See also the entry for Quest for Camelot in the “Film, Television, and Radio” section.

E-81 The Quest for the Grail [role-playing game]. Stone Ring, 1997. . A collectible card game based on Arthurian characters and themes. The 280 cards use a variety of art works, including reproductions of some book illustrations by Wyeth, Rackham, and others.

E-82 The Quest for the Holy Grail [computer game]. 1985. Platform: Commodore 64/128. (*) An adventure computer game with a medieval setting, but also elements of other eras. (Information from .)

E-83 Quests of the Round Table [board game]. Boston, MA: Gamewright, 1995. . A card game for two to four players, where the cards drawn send players on quests or to tournaments as each person strives to be the first to become a knight of the Round Table. Includes Arthur, Gawain, Lancelot, Guinevere, and many other Arthurian characters.

E-84

7th Sea [role-playing game]. AEG (Alderac Entertainment Group), 1998-.

“7th Sea” is a role-playing game (RPG) and a Collectible Card Game (CCG), set in a vaguely seventeenth-century world of swashbuckling piracy, musketeers, etc., with a focus on exploration, and characters in the game come from the various nations of Theah, including the country of “Avalon.” Avalon’s history is roughly parallel with that of England (in 424 Julius Caius of the Numan empire conquered Avalon; in 1622 King Richard IV seeks to divorce his wife, but is refused permission by the Vaticine Hierophant, so creates a new “Church of Avalon” with himself as its head; etc.). The fortunes of Avalon are tied up with the comings and goings of the Graal; it has recently been rediscovered by Elaine, who succeeds in uniting Avalon under her rule. See and .

E-85 Sir Lancelot [computer game]. Developer: VSS. Publisher: Xonox, 1983. Platform: ColecoVision; Atari Video Computer System. (*) A computer game where the player takes on the role of Sir Lancelot and saves damsels in distress. There is an unofficial product website for the ColecoVision version: . (Information from .)

E-86 Spirit of Excalibur [computer game]. Developer: Synergistic Software. Publisher: Virgin Interactive Entertainment, 1990. Platform: PC DOS, Commodore Amiga, Commodore CDTV, Macintosh, Atari ST. (*) Reissued: Publisher: Virgin Mastertronic International, 1991. Platform: Apple II. A strategy computer game. (Information from .)

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E-87 The Stone in the Sword [puzzle book]. By Deri Robins and Jim Robins. Illus. Deri Robins and Jim Robins. Cambridge, MA: Candlewick Press, 1998. This picture-book sets up a mystery for the reader to solve by looking closely at the pictures. An emerald set in the hilt of a sword falls out when the squire polishes it; throughout the book, he tries to recover the gem as a series of accidents moves it from his room to the kitchens to the Great Hall to the courtyard to the forest, and so on. Every two-page spread has detailed, cartoon-like pictures; a small text section gives a bit of narrative and directs the reader to find various clues (similar to the “Waldo” and “I Spy” series of books). Besides the title’s play on “sword in the stone,” various characters have Arthurian names (though not roles) like Gawhine, Tristan, and Isolde; one character is said to be the great-great-grand-daughter of Merlin; these references, like the castle-setting, add to the medieval theme of the book.

E-88 [Timemaster RPG.] Clash of Kings!: A Tale of Arthur and Merlin [role-playing game]. By Mark Acres. Cover art by Susan Collins. Timemaster. Delavan: Pacesetter, 1984. (*) A role-playing game.

E-89 Vengeance of Excalibur [computer game]. Developer: Virgin Interactive Entertainment / Synergistic Software. Publisher: Virgin Interactive Entertainment, 1991. Platform: PC DOS, Macintosh, Atari ST, Commodore Amiga. (*) An action-adventure computer game. (Information from .)

E-90

Wizards [role-playing game]. Ed. Bill Fawcett. Niles: Mayfair Games, 1983. (*)

A role-playing game based on the Robert Asprin Myth books, but apparently with Arthurian-related scenarios.

E-91 Young Merlin [computer game]. Developer: Westwood Studio. Publisher: Virgin Interactive Entertainment, 1994. Platform: Super Nintendo. (*) A computer game with Merlin as the main character, assisted by the Lady of the Lake; the villain is the Shadow King. (Information from .)

F. Fine Art and Graphic Design F-1 Abbey, Edwin Austin. “The Infancy of Galahad” (or “The Child Galahad in the Arms of a Nun”) (Panel 1). Frieze panel. 6 x 8 ft. Boston, MA: Boston Public Library. 1895–1902. Reproduced (B&W) in Poulson, The Quest for the Grail, Fig. 27 (p. 132). The panel depicts Galahad as a baby being shown the Grail by an angel (Baxter 63–64).

F-2 Abbey, Edwin Austin. “The Vigil of Galahad” (Panel 2) (or “The Oath of Knighthood”). Frieze panel. 6 x 8 ft. Boston, MA: Boston Public Library. 1895–1902. Depicts Galahad, Launcelot, and Bors at the ceremony to knight Galahad (Baxter 69).

F-3 Abbey, Edwin Austin. “Galahad and the Siege Perilous” (Panel 3) (or “Galahad’s Arrival at Arthur’s Court”). Frieze panel. 24 x 8 ft. Boston, MA: Boston Public Library. 1895–1902. Depicts Galahad’s arrival to sit in the Siege Perilous at the Round Table (Baxter 73).

F-4 Abbey, Edwin Austin. “The Benediction upon the Quest” (Panel 4) (or “The Departure”). Frieze panel. 19 x 8 ft. Boston, MA: Boston Public Library. 1895–1902. Depicts Galahad and other knights praying before leaving on the quest (Baxter 81–82).

F-5 Abbey, Edwin Austin. “The Castle of the Grail and the Failure of Galahad” (Panel 5) (or “Fisher King Looking at Blood-Stained Grail”). Frieze panel. 33 x 8 ft. Boston, MA: Boston Public Library. 1895–1902. This panel occupies one end of the hall, and stands as the culmination of the first part of the whole story (Baxter 84). It depicts the moment when Galahad fails to ask the question (as Abbey conflates the stories of Galahad and Perceval).

F-6 Abbey, Edwin Austin. “The Loathely Damsel” (Panel 6) (or “Galahad Meets the Loathly Lady”). Frieze panel. 4 x 8 ft. Boston, MA: Boston Public Library. 1895–1902. Galahad, wandering in the wasteland, is met by a loathly lady (on a white mule, carrying a king’s head) with two companions (Baxter 90–91).

F-7 Abbey, Edwin Austin. “The Conquest of the Seven Deadly Sins” (Panel 7) (or “Galahad Defeats the Seven Deadly Sins”). Frieze panel. Boston, MA: Boston Public Library. 1895–1902. Galahad, approaching the Castle of Maidens, has to defeat seven knights who guard the gate of the castle; in the three panels illustrating Galahad’s Castle of Maidens adventures, Abbey follows Malory closely (Baxter 96–97).

F-8 Abbey, Edwin Austin. “The Righteous Keeper of the Captive Virtues Gives Galahad the Key to their Prison” (Panel 8) (or “Galahad Receives the Key to the Castle of Maidens”). Frieze panel. 7 x 5 ft. Boston, MA: Boston Public Library. 1895–1902. Reproduced in “The Quest of the Holy Grail: Mural Paintings by Edwin A. Abbey, R.A., in the Boston Public Library,” Harper’s Magazine 105 [No. 628] (Sept. 1902): 525–28, including two colour plates: “Galahad’s Departure” and “Key to the Castle” (Galahad receives the key to the Castle of Maidens). Depicts Galahad’s arrival at the castle.

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F-9 Abbey, Edwin Austin. “Galahad Delivers the Captive Virtues” (Panel 9) (or “Galahad Releases Twenty Beautiful Women”). Frieze panel. Boston, MA: Boston Public Library. 1895–1902. Depicts the dungeon imprisoning the women and the garden into which Galahad releases them (Baxter 101–102).

F-10 Abbey, Edwin Austin. “Galahad Parts from his Bride, Blanchefleur” (Panel 10) (or “The Hero Abandons his Rose-Crowned Bride”). Frieze panel. 7 x 5 ft. Boston, MA: Boston Public Library. 1895–1902. Galahad chooses the Grail quest over his bride, shown dressed for their wedding (Baxter 103).

F-11 Abbey, Edwin Austin. “Amfortas Released by Galahad” (Panel 11) (or “The Second Visit to the Grail Castle”). Frieze panel. Boston, MA: Boston Public Library. 1895–1902. Galahad returns to the Castle of the Grail, sees the Grail procession again, and asks Amfortas to explain the mysteries of the place (Baxter 106–108).

F-12 Abbey, Edwin Austin. “Galahad Departs from the Land” (Panel 12) (or “The Wasteland is Restored to Fertility”). Frieze panel. Boston, MA: Boston Public Library. 1895–1902. Reproduced in “The Quest of the Holy Grail: Mural Paintings by Edwin A. Abbey, R.A., in the Boston Public Library,” Harper’s Magazine 105 [No. 628] (Sept. 1902): 525–28, including two colour plates: “Galahad’s Departure” and “Key to the Castle” (Galahad receives the key to the Castle of Maidens). “Galahad’s Departure” is also featured on a postage stamp (see the entry under “Postage stamps, US, 2001”). Depicts Galahad riding through the restored land towards the sea, with grateful people and a beautiful lady looking on (Baxter 110–11).

F-13 Abbey, Edwin Austin. “The Voyage to Sarras” (Panel 13). Frieze panel. Boston, MA: Boston Public Library. 1895–1902. Reproduced (B&W) in Whitaker, Legends, Fig. 65. Galahad sails towards Sarras in Solomon’s ship (symbolizing wisdom), with Bors and Perceval as his companions; the ship is guided by the Guardian of the Grail, seated in the bow holding the Grail (Baxter 112–13).

F-14 Abbey, Edwin Austin. “The City of Sarras” (Panel 14) (or “The Battlements of Sarras”). Frieze panel. 10 x 2 ft. Boston, MA: Boston Public Library. 1895–1902. The picture presents the port and exterior city walls of Sarras, with Galahad’s sword and shield left outside (Baxter 115).

F-15 Abbey, Edwin Austin. “The Golden Tree and the Achievement of the Grail” (Panel 15) (or “The Golden Chalice Unveiled”). Frieze panel. Boston, MA: Boston Public Library. 1895–1902. Reproduced (colour) in Snyder, World of King Arthur, 159. The panel shows the apotheosis of Galahad; Joseph of Arimathea reappears, and the Grail is unveiled (Baxter 117–18).

F-16 Abbey, Edwin Austin. “The Legend of the Holy Grail.” Frieze panels (fifteen). Boston, MA: Boston Public Library. 1895–1902. There are fifteen panels (each has a separate entry, above): 1) “The Infancy of Galahad”; 2) “The Vigil of Galahad”; 3) “Galahad and the Siege Perilous”; 4) “The Benediction Upon the Quest”; 5)

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“The Castle of the Grail and the Failure of Galahad”; 6) “The Loathely Damsel”; 7) “The Conquest of the Seven Deadly Sins”; 8) “The Righteous Keeper of the Captive Virtues Gives Galahad the Key to their Prison”; 9) “Galahad Delivers the Captive Virtues”; 10) “Galahad Parts from His Bride, Blanchefleur”; 11) “Amfortas Released by Galahad”; 12) “Galahad Departs from the Land”; 13) “The Voyage to Sarras”; 14) “The City of Sarras”; 15) “The Golden Tree and the Achievement of the Grail.” Sylvester Baxter describes Abbey’s work as drawing for his representation of the story on various versions of the legend – not just Malory, but also Wolfram von Eschenbach and others. Reproductions (B&W) of five of Abbey’s paintings were used as illustrations to King Arthur Stories from Malory (see the entry for “Stevens, Lillian O.” in the Literature section).

F-17 Alexander, Ann D., illus. Women of the “Morte Darthur”: Twelve of the Most Romantic of the Worlds [sic] Love Stories, Selected from Malory’s “Morte Darthur.” London: Methuen and Co., 1927. Reproductions of individual pictures: “The Damosel of the Lake,” in An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story, ed. John Matthews (Wellingborough: Aquarian Press, 1988), 300. – “She thought him a passing goodly knight on horse back,” in An Arthurian Reader, 188. – “They took their vessel and came into this land,” in An Arthurian Reader 152. A volume of excerpts from Malory telling stories of several women, from Guenevere to the various nameless women who appear in different episodes. There are four full-page colour illustrations, five half-page, B&W and red illustrations (usually at chapter openings), eight half-page B&W illustrations (usually at chapter openings), and various decorative designs. (Gaines, Item B26; a reproduction of the title-page faces p. 64.)

F-18 Alexander, Anne Dunlop. “‘Sir,’ said Sir Galahad, ‘no prayer availeth.’” Painting (watercolour). 14 x 9 in. ca. 1940(?). Glasgow: Hunterian Museum and Art Gallery, University of Glasgow (accession no. GLAHA 42284). (*) A painting illustrating a scene from Malory, Morte Darthur, Book 17, Chap. 14, in which Galahad takes his leave of his father, Lancelot, with the words “no prayer availeth so much as yours.” (Information from Hunterian website: .)

F-19 Anderson, Sophie. “Elaine, the Lily Maid of Astolat.” Painting (oil on canvas). 5 x 8 ft. 1870. Liverpool: Walker Art Gallery. Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 54. A boat carries the body of Elaine down the river; the body is bathed in a white light while the rest of the picture is in gloom. The bargeman is seated and drooping (perhaps asleep) over the rudder.

F-20 Andrews, Gary, illus. Secret Camelot: The Lost Legends of King Arthur. Trans. John Matthews. London: Blandford / Cassell, 1997. The title-page names Matthews as “author,” but the general introduction and the particular introductions to the various stories make clear that these are translations (sometimes abridged, but “I have . . . resisted an occasional urge to ‘improve’ on the original . . .”; 10). Andrews provided twelve colour plates for the volume.

F-21 Archer, James. “How King Arthur by the Meanes of Merlin Gate his Sword Excalibur of the Lady of the Lake.” Painting. 1862. [Current location not known: the painting is known only from an engraved version by F. Kemplen.] Reproduced (engraving) in the Art Journal 33 (Apr. 1871): 99. – Also in Mancoff, Return, 54. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 69.

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The painting (now lost) was exhibited at the Royal Academy in 1862. The engraved version, by F. Kemplen, shows the King and Merlin in a boat in the foreground, Arthur standing, prepared to propel the boat towards the arm that holds the sword aloft in the lake. On the shore near the boat sits a Lady.

F-22 Archer, James. “How Sir Launcelot and His Eight Fellows of the Round Table Carried Queen Guinevere from Almesbury to Her Tomb at Glastonbury.” Painting. 1868. [Current location not known.] (*) A lost painting, exhibited at the Royal Academy in 1869. This may be the same as “How Sir Lancelot Carried Queen Guinevere to her Tomb” which was exhibited there in 1868 (Mancoff, Arthurian Revival in Victorian Art, 315; cf. Whitaker, Legends, 238).

F-23 Archer, James. “King Arthur in Quest of his Mystic Sword Excalibur.” Painting. ca. 1880. [Current location not known.] (*) Exhibited at the Royal Scottish Academy in 1880. (Information from Mancoff, Arthurian Revival in Victorian Art, 315.)

F-24 Archer, James. “The Ladies of Arthurian Romance.” Painting. ca. 1880. [Current location not known.] (*) Exhibited at the Royal Academy in 1900. (Information from Mancoff, Arthurian Revival in Victorian Art, 315.)

F-25 Archer, James. “Le Mort d’Arthur.” Painting (oil on millboard). 17 x 20 in. 1860. Manchester: Manchester Art Gallery (accession no. 1952.252). . Reproduced (colour) in Whitaker, Legends, Pl. 23. – Also in “Camelot 1996” (calendar). – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 65. – Also (as “The Death of Arthur”) in Knights of the Round Table (Pitkin Guides, 1997), 26. Archer did five paintings of this subject, and “[a]ll share the same compositional element, suggesting that Archer sought to refine the subject rather than reinterpret it” (Mancoff, Return, 165n14). Arthur lies on the ground surrounded by four grieving women (two wearing crowns); a ship with sails furled appears in the distance; two figures (Merlin and a female) stand on the beach in the background; a transparent angel brings the Grail to Arthur. A study for this is also preserved (oil on panel, 8 x 7 in., ca. 1860; Fine Art Society), reproduced (B&W) in Poulson, Quest, Fig. 29 (p. 133).

F-26 Archer, James. “Le Morte d’Arthur.” Painting (oil on paper). 6.5 x 7.5 in. 1861. Private collection. Reproduced (colour) in Mancoff, Return, 155. Archer did five paintings of this subject, and “[a]ll share the same compositional element, suggesting that Archer sought to refine the subject rather than reinterpret it” (Mancoff, Return, 165n14). This version views the scene from a slightly different angle; and while there are still four queens grouped about the fallen king, and still two figures on the beach in the background, the angel who carries the Grail is much closer to Arthur and more distinct.

F-27 Archer, James. “Le Morte d’Arthur” (“The Sancgraeall: King Arthur Relieved of his Grievous Wound in the Island-Valley of Avalon by the Application of the Contents of a ‘Holy Vessel Borne by a Maiden, and therein is a Part of the Holy Blood of our Lord’ ”) Painting. 1863. [Current location not known.] Archer did five paintings of this subject, and “[a]ll share the same compositional element,

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suggesting that Archer sought to refine the subject rather than reinterpret it” (Mancoff, Return, 165n14). Here, Arthur lies on the ground surrounded by four grieving women (two wearing crowns); a ship with furled sails appears in the distance; two figures (Merlin and a female) stand on the beach in the background; a transparent angel brings the Grail to Arthur.

F-28 Archer, James. “Le Morte d’Arthur” (or “The Dying King Arthur in the Island of Avalon has a Vision of the Holy Grail”). Painting. 1880. [Current location not known.] (*) One of Archer’s five versions of the same composition. (Information from Mancoff, Return.)

F-29 Archer, James. “Le Morte d’Arthur.” Painting (oil on canvas). 37 x 54 in. 1897. London: Fine Art Society. Reproduced (B&W) in Poulson, The Quest for the Grail, Fig. 30 (p. 134). One of Archer’s five versions of the same composition. Here, Arthur lies on the ground beneath a tree with his head in the lap of one of the queens; another queen sits beside them, with an open book, while the third stands playing a harp; a tranparent angel also appears.

F-30 Archer, James. “The Parting of Arthur and Guinevere.” Painting (oil sketch). 1865. Private collection. Reproduced (B&W) in Mancoff, Return, 60. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 71. Exhibited at the Royal Scottish Academy in 1865. In an interior with a view down a long hallway, Guinevere lies face down on the floor at the feet of Arthur, in armour and mantle, prepared for departure. The picture is intended to illustrate the scene of Guinevere’s repentence from Tennyson.

F-31 Archer, James. “Queen Guinevere.” Painting (oil on canvas). 24 x 12.5 in. n.d. Private collection. Reproduced in “Camelot 1997” (calendar). The queen stands facing the viewer, but with her head turned so that she looks over her shoulder at a boat sailing in the background; beside and behind the queen another woman stands, back to the viewer, watching the boat.

F-32 Archer, James. “The Sancgreall: King Arthur Relieved of his Grievous Wound in the Island of Avalon.” Painting. ca. 1863. [Current location not known.] (*) Exhibited at the Royal Academy in 1863. This may be the same painting (or another version of the same subject) as his “The Dying King Arthur in the Island of Avalon has a Vision of the San Grail,” exhibited at the Royal Scottish Academy in 1880. (Information from Mancoff, Arthurian Revival in Victorian Art, 315.)

F-33 Archer, James. “Sir Launcelot and Queen Guinevere” (or “The Meeting of Launcelot and Guinevere”). Painting (oil on canvas). 37.5 x 28.5 in. 1864. Private collection. Reproduced (B&W) in Mancoff, Return, 69. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 70. – Also in Poulson, The Quest for the Grail, Fig. 8 (p. 58). Exhibited at the Royal Academy and Royal Scottish Academy in 1864. A bearded Launcelot speaks to Guinevere beneath two trees on a hill; Guinevere is in the centre of the picture, facing the viewer, while Launcelot is turned towards her. Other figures (attendants) stand at a distance from the main couple.

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F-34 Armfield, Maxwell Ashby. “Tristan and Isolde.” Painting (watercolour, heightened with gold, on paper). 12.5 x 10.5 in. n.d. Birmingham: Birmingham Museums and Art Gallery. Reproduced (B&W) in Poulson, The Quest for the Grail, Fig. 38 (p. 173). Tristan offers to embrace Isolde; an illustration to Swinburne’s “Tristram of Lyonesse” (see also the entry for that poem in the Literature section).

F-35 Armstead, H. H. Bas-relief oak panels (eighteen). Each 23.75 x ca. 56 in. Westminster: Queen’s Robing Room, Palace of Westminster (Houses of Parliament). 1866–1870. Reproduced: One panel, “The Knights of the Round Table Vowing to Seek the Sancgreall,” is shown in a (colour) photograph in Snyder, World of King Arthur, 139. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 62. – Another panel, “Sir Galahad’s Soul Borne to Heaven,” is shown in a (B&W) photograph in Whitaker, Legends, 184. – Another panel, “How Arthur attained Excalibur,” is shown in a (B&W) photograph in Whitaker, Legends, 185. – Another panel, “King Arthur carried in a barge to Avillon attended by Queenes,” is shown in a (B&W) photograph in Mancoff, Arthurian Revival in Victorian Art, Fig. 63. Between 1866 and 1870, as part of the decoration on Arthurian themes of Queen Victoria’s Robing Room in the rebuilt Palace of Westminster, H. H. Armstead worked on a series of eighteen bas-relief panels in the oak frieze around the room. The subjects of the panels are based on two narratives from Malory’s Morte Darthur: Galahad’s Grail Quest, and Arthur’s defeat and passing. (See also the entries for “Dyce, William,” for the Arthurian frescoes decorating the room.)

F-36 Arno, Enrico, illus. Sir Thomas Malory’s “Le morte d’Arthur”: King Arthur and the Legends of the Round Table. By Sir Thomas Malory. Ed. Keith Baines. Intro. Robert Graves. New York: Clarkson N. Potter, 1962. (*) Reproduced: New York: Bramwell House; London: George G. Harrap, 1963. A modernization and abridgement of Malory, illustrated by Enrico Arno (Gaines, Item C78). (Information from Gaines.)

F-37 The Arthurian Tales: The Greatest of Romances, which Recount the Noble and Valorous Deeds of King Arthur and the Knights of the Round Table, Compiled by Sir Thomas Malory, Knt., and Edited from the Text of the Edition of 1634. By Sir Thomas Malory. Intro. Ernest Rhys. Norrœna Anglo-Saxon Classics [14]. London, Stockholm, Copenhagen, Berlin, and New York: Norrœna Society, 1911. The text is a modernized Malory; the book is included here for the modern illustrations, which are mostly reworked versions of engravings by Gustave Doré (the artist who produced the reworkings is not named). It was simultaneously published in two versions (differing only in binding): a limited “Memorial Edition” (500 copies), and an “Imperial Edition” (350 copies). Frontispiece: “Elaine’s body borne to Camelot,” a coloured version of Doré’s engraving; “Consecration of the Sword” (“King Arthur offers his Sword, for Knighthood”), a painting by John Pettie (B&W reproduction, facing p. 10); “Slaying of Garlon by Balin” (based on the engraving by Doré, facing p. 84); “Morgan le Fay [sic] Beguiles Merlin to his Death” (based on the engraving by Doré, facing p. 190); “Merlin [sic] Organizes the Knights of the Round Table” (based on the engraving by Doré, facing p. 280); “Launcelot’s Ride–the Fairy Circle” (based on the engraving by Doré, facing p. 360).

F-38 Backhouse, Colin. “Guinevere” [cover art]. Guinevere. By Norma Lorre Goodrich. New York: HarperCollins, 1992. The book is non-fiction (a “biography” of Guinevere), so does not qualify for inclusion here. The

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painting reproduced on the cover, however, is of some interest: it shows Guinevere (with long black braided hair, and wearing a green furred cloak) seated before a window with a crown beside her. Through the window is a prospect of distant hills and a stream. To the left of the queen is a candle which has just gone out; smoke rises from it.

F-39 Backhouse, Colin. “King Arthur” [cover art]. King Arthur. By Norma Lorre Goodrich. New York: Harper and Row, 1989. Orig. pub. (with a different cover): New York: Franklin Watts, 1986. The book is non-fiction (a “biography” of King Arthur), so does not qualify for inclusion here. The painting reproduced on the cover, however, is of some interest: it shows King Arthur, his armour covered by a green cloak and with a green helm on his head, holding his sword. He stands on the edge of a wood; a lake and hills are visible in the distance.

F-40 Backhouse, Colin. “Merlin” [cover art]. Merlin. By Norma Lorre Goodrich. New York: Harper and Row, 1988. Orig. pub. (with a different cover): New York: Franklin Watts, 1987. The book is non-fiction (a “biography” of Merlin), so does not qualify for inclusion here. The painting reproduced on the cover, however, is of some interest: it shows a white-haired Merlin standing in front of a rushing stream, holding a staff; a stone archway is visible behind him.

F-41 Bacon, John H[enry]. “A Confession of Love: ‘Half disarray’d as to her rest, the girl; / Whom first she kiss’d on either cheek, and then / On either shining shoulder laid a hand, / And kept her off and gazed upon her face.’” Painting. 38 x 22 in. 1894. [Current location not known.] Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 51 (p. 210). The picture illustrates the lines quoted, from Tennyson, “Geraint and Enid”: Enid, with nightdress falling off her shoulder, stands with her mother, to whom she is speaking of her love. Bacon also provided several illustrations, including one for “Geraint and Enid,” for Nora Chesson’s Children’s Stories from Tennyson: see the entry for the book under “Tennyson: adaptations” in the Literature section.

F-42 Ball, Robert, illus. Idylls of the King: The Story of King Arthur and his Court. By Alfred Tennyson, Baron. Heritage Illustrated Bookshelf. New York: Heritage Press, 1939. Tennyson’s Idylls illustrated with twenty full-page drawings (monochrome, printed in red), being full-length portraits of characters from the stories; four of these are also reproduced on the endpapers.

F-43 Barrett, Angela, illus. “The Honeysuckle.” In Proud Knight, Fair Lady: The Twelve Lais of Marie de France. By Marie de France. Trans. Naomi Lewis. London: Century Hutchinson; New York: Penguin, 1989. 81. The full-page, full-colour illustration is of Tristram and Iseult. At the top of the picture, Mark’s entourage waits, while at the bottom of the picture the green forest curves protectively around the lovers. One other small illustration accompanies the story, of the queen’s hand picking up the hazel wand that Tristram has used as a signal. (The tale itself is a translation of the medieval French lay, and so is not included in our listing.)

F-44 Barrett, Angela, illus. “Lanval.” In Proud Knight, Fair Lady: The Twelve Lais of Marie de France. By Marie de France. Trans. Naomi Lewis. London: Century Hutchinson; New York: Penguin, 1989. 45. The full-page, full-colour illustration is of Lanval’s lady as she rides into Arthur’s court to defend him. She wears white, rides a white horse with a white dog beside them, and carries a falcon; birds and butterflies fill the background sky. Two other small illustrations accompany the story, one of a

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tent, and one of the queen talking to Lanval. (The tale itself is a translation of the medieval French lay, and so is not included in our listing.)

F-45 Bawden, Edward, illus. Sir Thomas Malory’s Chronicles of King Arthur. By Sir Thomas Malory. Ed. Sue Bradbury. Fwd Kevin Crossley-Holland. 3 vols. London: Folio Society, 1982. (*) A modernized text of Malory (from the Winchester manuscript), illustrated with seventy-one lino-cuts by Bawden (Gaines, Item A28; the title-page reproduced facing p. 44). (Information from Gaines, and from Whitaker, Legends, 285.)

F-46 Beardsley, Aubrey, illus. The Birth, Life, and Acts of King Arthur of his Noble Knights of the Round Table their marvellous enquests and adventures the achieving of the San Greal and in the end le morte Darthur with the dolourous death and departing out of this world of them all. The text was written by Sir Thomas Malory and imprinted by William Caxton at Westminster the year MCCCCLXXXV and now spelled in modern style, with an introduction by Professor Rhys and embellished with many original designs by Aubrey Beardsley. By Sir Thomas Malory. 3 vols. London: J. M. Dent and Co., 1893–1894. Reproduced: 2nd edn., including (but without notice) ten additional chapter heading designs, 1909; 3rd edn., including additional designs, 1927. – Facsimile of the 1893 edition: 2 vols. Woodbridge, Suffolk: Boydell and Brewer, 1985. – Reproductions of Eleven Designs Omitted from the First Edition of “Le Morte Darthur” Illustrated by Aubrey Beardsley and published in MDCCCXCIII, also those made for the covers of the issue in parts and a facsimile print of the Merlin drawing; with a foreword by Aymer Vallance and a note on the omitted designs by Rainforth Armitage Walker. London: J. M. Dent and Sons, 1927. – Beardsley’s Illustrations for “Le Morte Darthur,” Reproduced in Facsimile from the Dent Edition of 1893–94. Ed. Edmund Vincent Gillon, Jr. Dover Pictorial Archive Series. New York: Dover Publications, 1972. – Many of the illustrations have been reproduced separately in various publications; all the illustrations are reproduced at The Camelot Project Website, ed. Alan Lupack, . J. M. Dent produced an art edition of Malory, partly in response to the productions of William Morris’ Kelmscott Press: Dent wished to show that a fine edition could be produced even with modern machine (photographic and line-block) processes. The Dent edition of Malory was issued to subscribers in twelve monthly parts over the course of a year. The edition was limited to 300 copies on Dutch hand-made paper (to be bound in three volumes, called the “Large Paper” issue) and 1500 copies on a grey-green paper (to be bound in two volumes; this is called the “Small Paper” issue, although the two issues are of the same size, 10 x 7.5 in.) (Gaines, Item A14; four pages reproduced facing p. 28). Beardsley, then a 20-year-old art student, provided twenty full- and double-page line-block illustrations, and 565 ornaments (chapter headings, decorative initials, borders; some of these were used repeatedly, for a total of nearly 1100 decorations); Beardsley’s approach to his subject was very bold and visually striking, and came to have a significant influence on other fin de siècle artists (Gillon, “Publisher’s Note,” Beardsley’s Illustrations for “Le Morte Darthur,” v–vi). In 1927 certain additional Beardsley designs which had not been included in the 1893 edition were published for the first time. R. A. Walker, who worked for Dent for fifteen years, has also published a bibliograpical guide to the several variants of this edition and of the history of the Beardsley illustrations (“Le Morte Darthur” with Beardsley Illustrations, Bedford, 1945). Some of the Beardsley illustrations were used to illustrate an edition of Roger Lancelyn Green’s King Arthur and his Knights of the Round Table in 1993 (see the entry in the Literature section under “Green”). The drawing of “How Morgan le Fay Gave a Shield to Sir Tristram” (India ink and India ink wash on paper; 10.8 x 8.3 in.) is preserved in the Fitzwilliam

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Museum, Cambridge (accession no. PD.52–1959). The pair of drawings for the double-page illustration of “How Queen Guenever Rode on Maying” (each 8 x 6.5 in.) are in the collection of the Victoria and Albert Museum. Another ten of the original drawings are preserved in the Rosenwald Collection of the Library of Congress, Washington, DC.

F-47 Beardsley, Aubrey, illus. Le Morte Darthur. By Sir Thomas Malory. Ed. Israel Gollancz. 4 vols. Temple Classics. London: J. M. Dent and Co., 1897. This edition of Malory included (as frontispieces to the four volumes) four of the full-page illustrations from the Beardsley Birth, Life, and Acts of King Arthur (Gaines, Item A15).

F-48 Bedford, J[ohn] B[ates]. “Elaine with the Shield of Lancelot.” Painting. 1861. [Current location not known.] (*) Exhibited at the Royal Academy, 1861. (Information from Poulson, Quest, 205.)

F-49 Bedford, J[ohn] B[ates]. “Enid Hears of Geraint’s Love.” Painting. 1862. [Current location not known.] (*) (Information from Whitaker, Legends, 231.)

F-50 Bensell, E. B., illus. The Boy’s Percy, Being Old Ballads of War, Adventure and Love from Bishop Thomas Percy’s Reliques of Ancient English Poetry, Together with an Appendix Containing Two Ballads from the Original Percy Folio MS., Edited for Boys with an Introduction, . . . with Fifty Illustrations from Original Designs. . . . Ed. Sidney Lanier. New York: Charles Scribner’s Sons; London: Sampson Low, Marston, Searle, and Rivington, 1882. An edition (with introductions and notes to make them accessible to “boys”) of the narrative poems (ballads and romances, medieval and early modern) in Thomas Percy’s Reliques and his Folio manuscript (now British Library MS Add. 27879). Bensell provided fifty full- and partial-page drawings.

F-51 Benton, George Bernard. “Gareth and Lynette.” Painting. 1900. [Current location not known.] (*) Exhibited at the Royal Academy in 1900 as a pair with his “Launcelot and Elaine,” both subjects from Tennyson. (Information from Poulson, Quest, 70.)

F-52 Benton, George Bernard. “Launcelot and Elaine.” Painting. 1900. [Current location not known.] (*) Exhibited at the Royal Academy in 1900 as a pair with his “Gareth and Lynette,” both subjects from Tennyson. (Information from Whitaker, Legends, 218.)

F-53 Best, George Hollings. “Gareth and Lynette.” Painting. ca. 1905. [Current location not known.] (*) Exhibited at the Royal Academy in 1905; now lost. (Information from Poulson, Quest, 70.)

F-54 Birch, Reginald, illus. Malory’s King Arthur and his Knights: An Abridgement of “Le Morte Darthur.” By Sir Thomas Malory. Ed. Henry Burrowes Lathrop. New York: Baker and Taylor, 1911. (*) An abridgement of Malory with illustrations by Birch (Gaines, Item B20). (Information from Gaines.)

F-55 [Birmingham School of Printing.] The Book of the Holy Grail from the “Morte Darthur,” by Sir Thomas Malory, together with William Caxton’s Prologue. By Sir Thomas

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Malory. Produced under the direction of Leonard Jay. Birmingham: Birmingham School of Printing, Central School of Arts and Crafts, 1934. (*) This letterpress edition of the Grail portion of Malory was done by pre-apprentice students of the Birmingham School of Printing, including seven full-page wood-cut illustrations by Ivy Ellis, Winifred Hobday, Madeline Rose, and Rose Thornton. Leonard Jay was the first head of the Birmingham School of Printing (Gaines, Item B32). (Information from Gaines, from OCLC WorldCat, and from L. W. Wallis, Leonard Jay: Master Printer-Craftsman, First Head of the Birmingham School of Printing, 1925–53 [London: Charles Skilton, 1963], 76–77.)

F-56 Blackburne, Helen. “Enid.” Painting. 1885. [Current location not known.] (*) (Information from Whitaker, Legends, 231.)

F-57 Blaisdell, Elinore, illus. Bulfinch’s Mythology: The Age of Fable, The Age of Chivalry, Legends of Charlemagne. By Thomas Bulfinch. New York: Thomas Y. Crowell, 1900. Reproduced: Frequently reprinted, including Rev. ed. New York: Thomas Y. Crowell, 1959. The three parts of Bulfinch’s Mythology were originally published as separate works in the late 1800s; the second part, The Age of Chivalry, summarizes the medieval stories of King Arthur and his knights as well as those of the Mabinogion. For this edition, Blaisdell provided several full-page illustrations; the one that appears in the “Chivalry” section (illustrating the story of Tristan and Iseult) shows a knight holding a cup kneeling before a standing lady, with a beam of yellow light descending from the sky to illuminate the cup (facing p. 462; each of the plates in the book is a B&W drawing with yellow highlights).

F-58 Blaisdell, Elinore, illus. Stories of King Arthur. By U[riel] Waldo Cutler. New York: Thomas Y. Crowell, 1941. Blaisdell’s illustrations are in the form of a series of eight character portraits, presented as line drawings printed on coloured paper; there are also four scenes, presented on double pages, in a stylized manner reminiscent of medieval tapestries, but in very pale shades. The subjects of the illustrations: between pp. 8 and 9, Arthur pulls the sword from the stone; between pp. 40 and 41, Merlin invites Nimuë into a cave; between pp. 88 and 89, a lady and a young man (presumably Gareth and Lynette, since the picture appears in that section of the book); between pp. 184 and 185, a knight with a red cross upon a white horse (Galahad) meets a group of ladies in attitudes of supplication in a forest. (See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-59 Blake, William. “The Ancient Britons: Three Ancient Britons Overthrowing the Army of Armed Romans; The Figures as Large as Life, from the Welch Triades.” Painting. 1809. [Current location not known.] (*) A painting, now lost, exhibited in Blake’s home in 1809, and described as portraying the last battle of King Arthur (against Romans, curiously). (Information from Poulson, Quest, 15.)

F-60 Bone, Herbert, for Royal Windsor Tapestry Works. “The Arrival at Camelot of the Dead Elaine.” Tapestry. 12 x 6 ft. 1879–1880. [Current location not known.] (*) Bone designed eight (perhaps ten) tapestries, illustrating Tennyson’s Idylls of the King, and woven between 1879 and 1880 at Royal Windsor Tapestries, Manchester. (Information from Whitaker, Legends, 236.)

F-61 Bone, Herbert, for Royal Windsor Tapestry Works. “Gareth and Lynette” (or “The Monster”). Tapestry. 5 x 6 ft. 1879–1880. [Current location not known.] (*) Another of Bone’s tapestries on Arthurian themes. (Information from Whitaker, Legends, 236.)

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F-62 Bone, Herbert, for Royal Windsor Tapestry Works. “Geraint and Enid.” Tapestry. 1879–1880. [Current location not known.] (*) Another of Bone’s tapestries on Arthurian themes. (Information from Whitaker, Legends, 236.)

F-63 Bone, Herbert, for Royal Windsor Tapestry Works. “Guinevere” (or “Arthur Forgives Guinevere”). Tapestry. 1879–1880. Wilton, CT: Ossendryver Galleries. Reproduced (B&W) in Girouard, The Return to Camelot, Fig. 127 (p. 195). Another of Bone’s tapestries on Arthurian themes. In this scene, Guinevere grovels on the floor in front of Arthur, who stands beside an altar.

F-64 Bone, Herbert, for Royal Windsor Tapestry Works. “The Holy Grail.” Tapestry. 6 x 7 ft. 1879–1880. [Current location not known.] (*) Another of Bone’s tapestries on Arthurian themes. (Information from Whitaker, Legends, 236.)

F-65 Bone, Herbert, for Royal Windsor Tapestry Works. “The Marriage of Arthur.” Tapestry. 12 x 6 ft. 1879–1880. [Current location not known.] (*) Another of Bone’s tapestries on Arthurian themes. (Information from Whitaker, Legends, 236.)

F-66 Bone, Herbert, for Royal Windsor Tapestry Works. “Merlin and Vivien.” Tapestry. 3 x 6 ft. 1879–1880. Wilton, CT: Ossendryver Galleries. (*) Another of Bone’s tapestries on Arthurian themes. (Information from Whitaker, Legends, 236.)

F-67 Bone, Herbert, for Royal Windsor Tapestry Works. “The Passing of Arthur.” Tapestry. 12 x 6 ft. 1879–1880. London: Vigo-Sternberg Galleries. Reproduced (colour) in Whitaker, Legends, Pl. 28. Another of Bone’s tapestries on Arthurian themes. This is a scene of Arthur in the barge being taken by the queens to Avalon; here, the boat (a long boat with six oarsmen and various other occupants) is just leaving the shore, where Bedivere kneels with arms upraised beneath a tree.

F-68 Bonner, Paul, illus. Holsworthy Children’s Diary of the Green Knight. London: Holsworthy Publishing, 1981. (*) Includes a series of illustrations to the story of Sir Gawain and the Green Knight. (Information from OCLC WorldCat.)

F-69 Bowser, Jonathon Earl. “Guinevere” [I]. Painting (watercolour and pastel on coloured paper). n.d. Collection of the artist. . A young woman in a purple dress stands in a forest near some architectural ruins.

F-70 Bowser, Jonathon Earl. “Guinevere” [II]. Painting (watercolour and pastel on coloured paper). n.d. Collection of the artist. . A young woman in an off-the-shoulders gown is seated on a bench against a plain background.

F-71 Bowser, Jonathon Earl. “Morgan le Fay.” Drawing (charcoal on coloured paper). 14 x 11 in. 1991. Collection of the artist. . A young woman stands with her hands clasped behind her head, and a cloak billowing around her.

F-72 Braby, Dorothea, illus. Sir Gawain and the Green Knight: A Prose Translation. Trans. Gwyn Jones. London: C. Sandford at the Golden Cockerel Press, 1952. Reproduced: One of the engravings, “Bercilak’s Lady Tempts Sir Gawain a Third Time,” is reproduced (B&W) in Whitaker, Legends, Fig. 60.

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An art edition of Sir Gawain and the Green Knight in a limited edition of 360 copies, illustrated with six coloured wood engravings.

F-73 Breakspeare, William A. “The Lady of Shalott.” Painting (oil on panel). 6.5 x 10 in. n.d. [ca. 1900]. Private collection. Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 83. A painting of the Lady adrift in her barge on a tree-lined river; Mancoff comments upon the eroticism of the figure, which is made the more emphatic by her unusual placement in the extreme foreground of the picture (“Breakspeare pushes her into the embrace of the viewer”; Mancoff, 243).

Brickdale, Eleanor Fortescue; see the entries under “Fortescue-Brickdale, Eleanor.” F-74 Brooke, Leonard Leslie. “Tom Thumb’s Father Visits Merlin.” Painting (black ink and watercolour). 14.25 x 10.5 in. Before 1907. Manchester: Manchester Art Gallery (accession no. 1907.23). . Tom Thumb’s father stands in the doorway of Merlin’s study, asking for his assistance. This is the original of one of the illustrations to the Tom Thumb story in The Golden Goose Book (New York, 1905) (see the entry in the Literature Section under “Tom Thumb”).

F-75 Broughton, G. H. “The Road to Camelot.” Painting. 1898. Liverpool: Walker Art Gallery. (*) (Information from Whitaker, Legends, 219.)

F-76 Brown, Ford Madox. “The Death of Sir Tristram.” Painting (oil on canvas). 25.5 x 23 in. 1864. Birmingham: Birmingham City Museums and Art Gallery. Reproduced (B&W) in Bendiner, Art of Ford Madox Brown, Fig. 42. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 57. An oil version of Brown’s design for a stained glass window for Harden Grange. (See also the entry for his “Tristram Slain by King Mark”; also the entry for his other painting of “The Death of Sir Tristram.”)

F-77 Brown, Ford Madox. “The Death of Sir Tristram.” Painting (watercolour). 1864. Bedford: Cecil Higgins Art Gallery. (*) Based upon Brown’s stained glass window design. (See also the entry for his “Tristram Slain by King Mark”; also the entry for his other painting of “The Death of Sir Tristram.”) (Information from Bendier, Art of Ford Madox Brown, Fig. 42.)

F-78 Brown, Ford Madox. “Tristram Slain by King Mark” (tenth of thirteen windows for Harden Grange). Stained glass window. 30.25 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 72. – Also (colour) in Whitaker, Legends, Pl. 22(i). Full caption: “How Sir Tristram and King Mark were made at one again by King Arthur’s means, & how King Mark slew Sir Tristram by treachery as he sat harping to La Belle Isoude & Isoude died . . .” (the last several words are not readable in the photograph). In the tenth of the Harden Grange windows, Mark dominates the picture, towering over the recumbent figures of Tristram and the grief-stricken Isoude. Brown’s cartoon for the window is preserved in the Fitzwilliam Museum, Cambridge. (See also the entries for his two paintings of “The Death of Sir Tristram”; see also the entry for “Morris and Co.: Harden Grange.”)

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F-79 Buckley, J. E. “Lancelot Defeats Mador.” Painting. n.d. John Noott Galleries. Reproduced in “Camelot 1999” (calendar). The queen stands in the centre of this picture, in a pavilion. Lancelot kneels in front of her facing the defeated Mador, who lies stretched on the ground with his head supported by other knights.

Bulfinch’s Mythology (The Age of Chivalry): see Blaisdell, Elinore; Caselli, Giovanni; Kappes, Alfred; and Moore, Sabra. F-80 Burleigh, Sydney Richmond, and Julia Lippett Mauran. “King Arthur” chest. Oak chest with carved and painted panels. 22 x 22 x 50 in. ca. 1900. Providence, RI: Museum of Art, Rhode Island School of Design. Reproduced: Photograph reproduced (B&W) in Whitaker, Legends, Figs. 63 and 64. Ladies of Shalott (exhibition catalogue), Item 6. The chest was designed by Burleigh, constructed by Potter and Co. (Providence, RI), and carved by Mauran. Each of the panels of the chest has the profile of an Arthurian character (including Arthur and Guenevere), a device (such as a stylized dragon), or an emblazoned shield (and the knight’s name to whom it belongs).

F-81 Burne-Jones, Sir Edward. “The Attempted Suicide of La Belle Isoude” (seventh of thirteen windows for Harden Grange). Stained glass window. 26.75 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 71. – Also (colour) in Whitaker, Legends, Pl. 22(g). Full caption: “How Sir Tristram being returned from Brittany into Cornwall, fled again thence and how La Belle Isoude would have slain herself for his sake with the sword had not King Mark been.” The seventh Harden Grange window has a sword slanting upwards from its bottom corner; a red-bearded man restrains Isoude. There is a watercolour version of this composition, held by Birmingham Museums and Art Gallery (on which, see the entry for his “King Mark and La Belle Iseult”; see also the entry “Morris and Co.: Harden Grange”).

F-82 Burne-Jones, Sir Edward. “The Beguiling of Merlin.” Painting (oil on canvas). 6 x 3.5 ft. 1872–1877. Port Sunlight: Lady Lever Art Gallery. Reproduced: Frequently reproduced, as in Russell Ash, Sir Edward Burne-Jones, Pl. 10. – Also in Whitaker, Legends, Pl. 32; also reproduced on the dust-jacket (and the cover of the paperback edition). – Also in Mancoff, Return, 97. – Also in Johnson, Burne-Jones: All Colour Paperback, Pl. 21. – Also in Harrison and Waters, Burne-Jones, Pl. 19. – Also in Marcus, Burne-Jones, pl. between pp. 8 and 9. – Also in Wood, The Pre-Raphaelites, 117. – Also in “Magnificent Dreams” (the 1991 “Pre-Raphaelite” calendar). Marcus, Burne-Jones, Item 129. Merlin is lulled to sleep in a hawthorn bush in the forest of Broceliande, as described in the French “Roman de Merlin.” Nimuë’s body, as was pointed out by many critics at the time of the painting’s first exhibition, is disproportionate, with an overly long (snake-like?) torso. Burne-Jones used the same composition, with the addition of a psaltery, in a small, circular gouache, “The Witches Tree” (1882). An entire sketchbook of studies of models in wet draperies towards the figure of Nimuë is preserved in the Fitzwilliam Museum, Cambridge (ca. 1874; one of the studies is reproduced in Harrison and Waters, Fig. 152 [p. 108]). A large cartoon of the composition is preserved in the National Museum of Wales, Cardiff (Harrison and Waters, 191), and a “head of Nimuë” (gouache, 30 x 20 in., ca. 1873) in the collections of the Society of Fine Arts, Wilmington, Delaware (Harrison and Waters, 192–93; cf. Marcus, Burne-Jones, Item 130); a sketchbook including a number of studies for Nimuë is preserved in the Fitzwilliam Museum (Harrison and Waters, Fig. 152, reproduces one of them; the sketchbook is

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described as Item 131 in the Marcus cat.); and one of a series of pencil studies for the drapery (from the Fitzwilliam Museum) is described in the Marcus cat. as Item 132 (the Fitzwilliam Museum has some eight drapery studies for this picture). Another study (black and white chalk on brown paper laid down on linen, 27.5 x 20.5 in.; dated ca. 1871) is preserved in the Fogg Art Museum, Harvard University. A sheet of paper with three studies for the head of Merlin is preserved in the Tate Gallery, London (pencil on paper; 1872–1877; 12.75 x 8.75 in.; accession no. A00066). The painting has also been used as a postage stamp design (see the entry under “Postage stamps”).

F-83 Burne-Jones, Sir Edward. “The Departure of the Knights in Quest of the Holy Graal.” Design for tapestry. n.d. [Current location not known.] (*) Marcus, Burne-Jones, Items 228–229. There are at least four chalk drawings, showing the design for the Holy Grail tapestry of the “Departure” (at several different stages in its evolution). See also the entry for “Morris and Co.; Holy Grail Tapestries.” (Information from Marcus; cf. Malcolm Bell, Sir Edward Burne-Jones: A Record and Review, 132.)

F-84 Burne-Jones, Sir Edward. “The Dream of Launcelot at the Chapel of the San Graal” (or “The Failure of Sir Launcelot”). Painting (oil on canvas). 4.5 x 5.5 ft. 1896. Southampton: Southampton City Art Gallery. Reproduced (colour) in Christine Poulson, The Quest for the Grail, Pl. 8. – Also in the “Camelot” calendars for 1997 and 1998. Marcus, Burne-Jones, Item 192. A large easel painting based on the same composition as that of one of the Holy Grail tapestries of a few years earlier, which is also related to the mural by Rossetti in the Oxford Union (see the entry for Rossetti, Dante Gabriel: “Sir Launcelot’s Vision of the Sanc Grael”). A watercolour version of the same composition (a finished study for the Holy Grail Tapestries) is listed below (see the entry for Burne-Jones, “Sir Lancelot at the Chapel of the Holy Grail”). Another version, in pastels, was left unfinished at the time of the artist’s death (sold at Christie’s, 16–18 July 1898; reproduced in the “Camelot” calendar for 1996).

F-85 Burne-Jones, Sir Edward, illus. The High History of the Holy Grail. Trans. Sebastian Evans. 2 vols. Temple Classics. London: J. M. Dent and Co., 1898. (*) Marcus, Burne-Jones, Item 279. Each of the two volumes contains a frontispiece and a title-page (wood engravings) by Burne-Jones.

F-86 Burne-Jones, Sir Edward. [Holy Grail Windows.] “How Launcelot Sought the Sangreal and Might Not See it Because his Eyes were Blinded by Such Love as Dwelleth in King’s Houses.” Stained glass window. 18 x 12.5 in. 1886. London: Victoria and Albert Museum. Reproduced (B&W) in Whitaker, Legends, Fig. 40. This is the first of four stained glass windows on the theme of the Quest for the Holy Grail, designed by Burne-Jones and executed by Morris and Co., installed in his country home at Rottingdean and now in the Victoria and Albert Museum. Launcelot speaks with one robed figure on one side of the window, while on the other an angel with the Grail turns away. A cartoon for the four windows (ink, sepia wash, and gouache; 18 x 133 in) is preserved in the William Morris Gallery in Walthamstow (reproduced in Mancoff, Arthurian Revival in Victorian Art, Fig. 80).

F-87 Burne-Jones, Sir Edward. [Holy Grail Windows.] “How Gawaine Sought the Sangreal and Might Not See it Because his Eyes were Blinded by Thoughts of the Deeds of Kings.” Stained glass window. 18 x 14 in. 1886. London: Victoria and Albert Museum. The second of four stained glass windows on the theme of the Quest for the Holy Grail, designed by Burne-Jones and executed by Morris and Co., installed in his country home at Rottingdean and now in the Victoria and Albert Museum. Gawain lies asleep beside a well, on the other side of which a woman plays a lyre, while an angel holding the Grail hovers above with her back towards

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Gawain. The cartoon is preserved Burne-Jones’ “Secret Book of Designs” in the William Morris Gallery at Walthamstow (20 x 18 in.; reproduced [B&W] in Harrison and Waters, Burne-Jones, Fig. 204 [p. 141]).

F-88 Burne-Jones, Sir Edward. [Holy Grail Windows.] “How Galahad Sought the Sangreal and Found it Because his Heart was Single so he Followed it to Sarras the City of the Spirit” (or “Sir Galahad and the Holy Grail”). Stained glass window. 18 x 13 in. 1880–1890. London: Victoria and Albert Museum (accession no. C.626–1920). . Reproduced (B&W) in Herbert Read, English Stained Glass, London and New York: G. P. Putnam’s Sons, 1926, Pl. 68. The third of four stained glass windows on the theme of the Quest for the Holy Grail, designed by Burne-Jones and executed by Morris and Co., installed in his country home at Rottingdean and now in the Victoria and Albert Museum. This shows Galahad and the Grail-maiden (holding the cup away from him), standing in a stylized landscape of trees and hills.

F-89 Burne-Jones, Sir Edward. [Holy Grail Windows.] “Sarras.” Stained glass window. 18 x 12.5 in. 1886. London: Victoria and Albert Museum. (*) This is the fourth of four stained glass windows on the theme of the Quest for the Holy Grail, designed by Burne-Jones and executed by Morris and Co., installed in his country home at Rottingdean and now in the Victoria and Albert Museum. It shows the temple in Sarras, where the Grail stands on an altar guarded by three angels. (Information from Whitaker, Legends, 201.)

F-90 Burne-Jones, Sir Edward. “King Arthur and Queen Guinevere.” Panel of six decorated tiles. n.d. London: Fine Art Society. Bridgeman Art Library, no. 46443. Burne-Jones designed a six-tile panel, manufactured by Morris, Marshall, Faulkner and Co. The tiles show Arthur and Guenevere in three-quarter length portraits in the upper four panels, with decorations in the lower two.

F-91 Burne-Jones, Sir Edward. “King Mark and La Belle Iseult” (or “The Attempted Suicide of La Belle Isoude”). Painting (watercolour and gouache). 23 x 22 in. 1862. Birmingham: Birmingham Museums and Art Gallery. Marcus, Burne-Jones, Item 77. King Mark is shown preventing the suicide of Iseult. The painting was done over the top of the cartoon for one of a set of thirteen stained glass panels (for Harden Grange) prepared on behalf of Morris and Co. (See also the entry for his “The Attempted Suicide of La Belle Isoude”; see also the entry for “Morris and Co.: Harden Grange.”)

F-92 Burne-Jones, Sir Edward. “The Knight’s Farewell.” Drawing (ink and grey wash on vellum). 6 x 7.5 in. 1858. Oxford: Ashmolean Museum. Reproduced in The Pre-Raphaelites (Tate exhibition catalogue), 285. Marcus, Burne-Jones, Item 12. The Pre-Raphaelites (Tate exhibition catalogue), Item 224. In this drawing (purchased from the artist by William Morris), a youth reads a Roman du Queste du Sangrail while a knight says farewell to a lady; the book is the only “Arthurian” aspect of the picture.

F-93 Burne-Jones, Sir Edward. “The Lady of Shalott” (?). Drawing (ink). 4.5 x 5.5 in. ca. 1856. Walthamstow: William Morris Gallery. Reproduced in Harrison and Waters, Burne-Jones, Fig. 27 (on 23). This early drawing shows a lady in medieval dress seated in an interior scene, with a lute nearby; Harrison and Waters suggest that the subject may be the Lady of Shalott.

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F-94 Burne-Jones, Sir Edward. “The Last Sleep of Arthur in Avalon.” Painting (oil on canvas). 9 x 20.75 ft. 1881–1898 (unfinished at death). Ponce, Puerto Rico: Museo de Arte de Ponce. Reproduced: Frequently reproduced, as in Harrison and Waters, Burne-Jones, Pls. 48, 49. – Also in Coghlan, Illustrated Encyclopedia, 50. – A detail (the central group of figures) is reproduced (colour) in Wood, The Pre-Raphaelites, 127. – Also (B&W) in Mancoff, Return, 158–59. – A portion of the picture is reproduced in the 1998 “Pre-Raphaelite” calendar (incorrectly labelled). – A portion of the picture is reproduced in “Camelot 1998” (calendar). An exceptionally large painting, left unfinished at Burne-Jones’ death. Arthur, in black armour, lies on a couch in the centre of the picture, surrounded by various figures, mostly women, who play instruments, hold flowers, or simply gaze at the king. A tapestry hanging above the bier is decorated with scenes from the quest for the Holy Grail. The figure of Arthur appears to be a self-portrait of the artist (Harrison and Waters, Burne-Jones, 155), or possibly of William Morris (Whitaker, Legends, 258). Two early versions are known: one in coloured chalk and watercolour, done ca. 1890 (20 x 75 in.), preserved in the National Museum of Wales, Cardiff (reproduced (B&W) in Harrison and Waters, Burne-Jones, Fig. 251 [p. 167]; cf. Marcus, Burne-Jones, Item 184 [with B&W reproduction on p. 64]); the second done in 1894, showing Arthur in a white shroud and battle scenes to either side of the central composition (reproduced (colour) in Day, The Search for King Arthur, 150–51; in B&W in Harrison and Waters, Burne-Jones, Fig. 250 [p. 167]). Studies for the various individual figures are also preserved in the Museo de Arte (one of these is reproduced as Harrison and Waters, Fig. 252 [p. 167]), and a gouache version of two of Arthur’s attendants was left unfinished on his easel at Burne-Jones’ death (now in a private collection; 14 x 10 in.; reproduced as Harrison and Waters, Fig. 255 [p. 169]; cf. Marcus, Burne-Jones, Item 185). Harrison and Waters also reproduce a photograph of the canvas in progress, helping to illustrate the evolution of the composition (Fig. 254 [p. 169]).

F-95 Burne-Jones, Sir Edward. “The Madness of Sir Tristram” (sixth of thirteen windows for Harden Grange). Stained glass window. 26.75 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 71. – Also (colour) in Whitaker, Legends, Pl. 21(e). Full caption: “How Sir Tristram fled into the wild woods and there lost his wit because he might not see Isoude, & how a lady brought him his harp whereon he played to the herdsmen who mocked him yet whiles they brought him victuals.” The sixth of the Harden Grange windows has Tristram as the central figure; he sits playing his harp while others gather around him. A chalk and watercolour version of the design for this window survives (see the entry for his second “The Madness of Sir Tristram”; see also the entry for “Morris and Co.: Harden Grange”).

F-96 Burne-Jones, Sir Edward. “The Madness of Sir Tristram.” Drawing (coloured chalk, watercolour, and bodycolour). 23 x 22 in. 1862. Private collection. Reproduced (colour) in Johnson, Burne-Jones: All Colour Paperback, Pl. 6. – Also in Wood, The Pre-Raphaelites, 115. Marcus, Burne-Jones, Item 76 (with B&W reproduction). This is based on the episode in Malory’s Le Morte Darthur in which Tristram lives as a wild man in the woods after hearing a (false) report of Iseult’s love for another man. Here, Tristram is seen sitting on the ground in the forest, harping, with two herdsmen and a woman listening. The painting was done over the top of the cartoon for one of a set of thirteen stained glass panels (for Harden Grange) prepared on behalf of Morris and Co. (see the entry for “Morris and Co.: Harden Grange”; see also the entry for his painting of “The Madness of Sir Tristram”).

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F-97 Burne-Jones, Sir Edward. “The Marriage of Tristram and Isoude Les Blanches Mains” (fifth of thirteen windows for Harden Grange). Stained glass window. 26.75 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 71. – Also (colour) in Whitaker, Legends, Pl. 21(d). – Also in Harrison and Waters, Burne-Jones, Pl. 2. Full caption: “How Sir Tristram was banished by King Mark and how he came into Brittany and did many great deeds for King Howell of Brittany who gave him to wife his daughter Isoude Les Blanches Mains.” The fifth Harden Grange window has a priest in the centre background, with the figures of Tristram and Isoude in front and to either side of him, with other attendants at the edges of the picture. (See also the entry for “Morris and Co.: Harden Grange.”)

F-98 Burne-Jones, Sir Edward. “Merlin and Nimuë” (or “Merlin Being Imprisoned Beneath a Stone by the Damsel of the Lake”). Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1857–1858. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1D8. Merlin and Nimuë face each other from opposite ends of the panel, Nimuë on the left playing a lute (casting her spell), Merlin on the right; between them is an open well.

F-99 Burne-Jones, Sir Edward. “Merlin and Nimuë” (or “The Enchantments of Nimuë”). Painting (gouache and watercolour on paper). 25 x 20 in. 1861. London: Victoria and Albert Museum. Reproduced (colour) in Christine Poulson, The Quest for the Grail, Pl. 11. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 61. Nimuë reads from a book (presumably a book of spells), half glancing behind her to the figure of Merlin who, standing, appears to be clutching his side. The relevant passage from Malory is inscribed on the upper and lower parts of the frame: “And always Merlin lay about the lady to have her maidenhood, and she was ever passing weary of him, and fain would have been delivered of him, for she was afeard of him because he was a devil’s son, and she could not beskift him by no mean. And so on a time it happed that Merlin showed to her in a rock whereas was a great wonder, and wrought by enchantment, that went under a great stone. So by her subtle working she made Merlin to go under that stone to let her wit of the marvels there; but she wrought so there for him that he came never out for all the craft he could do. Morte D’Arthur c. 60” (Le Morte Darthur, Book 4, Chap. 1). Two studies (one for Nimuë and one for Merlin) are known, as well as a copy by Edward Clifford (dated 1896; see Marcus, Burne-Jones, Item 27).

F-100 Burne-Jones, Sir Edward. “Merlin and Nimuë.” Painting (oil on board). 13.5 x 62 in. 1884. Private collection. Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 32 (p. 152). A similar composition to that of the 1861 watercolour, though the distance between Nimuë and Merlin is much increased: Nimuë, in the foreground, clutches her book and looks over her shoulder; Merlin, in the middle distance, stands with his right hand on his side.

F-101 Burne-Jones, Sir Edward. “Morgan le Fay.” Gouache. 34 x 19 in. 1862. London: London Borough of Hammersmith Public Libraries. Reproduced in Johnson, Burne-Jones: All Colour Paperback, Pl. 7. – Also (B&W) in Mancoff, Return, 94. Marcus, Burne-Jones, Item 37. Morgan stands in front of trees in this picture; she appears thoughtful or dreamy and holds a sprig of some plant in her hand (the Marcus catalogue notes that Burne-Jones produced a series of sketches of poisonous plants in a sketchbook at about the same time as this picture).

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F-102 Burne-Jones, Sir Edward. “Sir Degrevaunt”: three scenes from the medieval romance. Wall mural. Bexleyheath: The Red House (built for William Morris). 1860. Reproduced: A photograph of the mural of the “Wedding Procession of Sir Degrevaunt” (B&W), along with two studies towards the mural (one pencil, one pencil and ink), are reproduced in Marcus, Burne-Jones, 35–36 (cat. items 63 and 64). – A third study (ink) for the “Wedding Procession” is reproduced in Whitaker, Legends, Fig. 39. – A study (watercolour) for a portion of the “Wedding Feast” panel is reproduced (colour) in Lanigan, A Dream of the Past, among the plates between 42 and 43 (and again in B&W on p. 58). Burne-Jones designed seven scenes from the romance of “Sir Degrevaunt” as wall-paintings for the drawing-room in the Red House, three of which were executed (and remain in the Red House). Three studies for the “Wedding Procession” panel are preserved (one, pencil on blue paper, is in the collection of the Birmingham Museums and Art Gallery; a second, in ink, is in that of the Royal Institute of British Architects, London (these two appear in Marcus), and a third (in ink; reproduced in Whitaker) is in the Fitzwilliam Museum, Cambridge. The mural as painted shows bride and groom (on the left) and three musicians (who dominate the centre of the composition). Two watercolour studies for another scene, the “Wedding Feast” panel, are preserved, one in the Fitzwilliam Museum (Marcus, Burne-Jones, Item 65, not there reproduced), and the other (showing the Bard reading an illuminated manuscript–the model may have been Algernon Swinburne–and a serving girl) is in the collection of Dennis T. Lanigan of Saskatoon, Canada (Lanigan, A Dream of the Past, Item 8; 10.25 x 11.5 in.).

F-103 Burne-Jones, Sir Edward. “Sir Galahad.” Drawing (black ink on vellum). 6 x 7.5 in. 1858. Cambridge, MA: Fogg Art Museum, Harvard University. Reproduced in Mancoff, Return, 122. – Also in Girouard, The Return to Camelot, Fig. 126 (p. 193). – Also in Harrison and Waters, Burne-Jones, Fig. 44 (p. 37). – Also in Christine Poulson, The Quest for the Grail, Fig. 15 (p. 92). – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 48. Galahad on horseback dominates the foreground of this picture; the background has other knights with their ladies.

F-104 Burne-Jones, Sir Edward. “Sir Galahad, Sir Percival and Sir Bors at the Chapel of the San Graal.” Gouache. 19.5 x 62 in. 1891. Private collection. (*) Marcus, Burne-Jones, Item 230. A small easel version of the design for the “Attainment” scene of the Holy Grail tapestries. (Information from the Marcus catalogue; cf. Malcolm Bell, Sir Edward Burne-Jones: A Record and Review, 69.)

F-105 Burne-Jones, Sir Edward. “Sir Gawain and Sir Uwain at the Chapel of the Holy Grail.” Painting (watercolour with bodycolour and gold paint). 20 x 24 in. ca. 1893. Private collection. (*) The Last Romantics (Barbican Art Gallery exhibition, 1989), Item 6. A finished study of the composition of one of the Holy Grail tapestries, done by Morris and Co. for Stanmore Hall (see the entry for “Morris and Co.; Sir Edward Burne-Jones, William Morris, and John Henry Dearle [designers]: The Holy Grail Tapestries”). (Information from The Last Romantics).

F-106 Burne-Jones, Sir Edward. “Sir Lancelot at the Chapel of the Holy Grail.” Painting (watercolour with bodycolour). 20 x 24 in. ca. 1893. Private collection. Reproduced (B&W) in The Last Romantics, 81. The Last Romantics (Barbican Art Gallery exhibition, 1989), Item 5. A finished study of the composition of one of the Holy Grail tapestries, done by Morris and Co. for Stanmore Hall (see

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the entry for “Morris and Co.; Sir Edward Burne-Jones, William Morris, and John Henry Dearle [designers]: The Holy Grail Tapestries”). Lancelot sleeps outside the door of a chapel; an angel appears to tell him, in his dream, that he can never achieve the Grail. The same composition was used for a large oil painting (see the entry for Burne-Jones, “The Dream of Launcelot at the Chapel of the San Graal”). Burne-Jones’ composition is related to the mural by Rossetti in the Oxford Union (see the entry for Rossetti, Dante Gabriel: “Sir Launcelot’s Vision of the Sanc Grael”).

F-107 Burne-Jones, Sir Edward, illus. Sire Degrevaunt. Ed. F. S. Ellis. Kelmscott: Kelmscott Press, 1897. (*) Marcus, Burne-Jones, Item 301. One of a series of three romances reprinted by the Kelmscott Press from the Camden Society’s edition of the Thornton manuscript; Burne-Jones designed the frontispiece (wood engraving).

F-108 Burne-Jones, Sir Edward, illus. Syr Perecyvelle of Gales. Ed. F. S. Ellis. Kelmscott: Kelmscott Press, 1895. Marcus, Burne-Jones, Item 285. Cf. Pre-Raphaelite and Other Masters, 314 (Cat. 265), describing a copy owned by Andrew Lloyd Webber (photographs of two openings appear on p. 273). The first of a series of three romances reprinted by the Kelmscott Press in a limited edition of 350 copies, the text taken from the Camden Society’s edition of the Thornton manuscript; Burne-Jones designed the frontispiece (wood engraving), showing a pair of lovers in a garden embracing.

F-109 Burne-Jones, Sir Edward. “The Tomb of Tristram and Iseult.” Drawing (ink and pencil with sepia wash; a design for stained glass window). 24.5 x 23 in. 1862. Birmingham: Birmingham Museums and Art Gallery. Reproduced in Mancoff, Arthurian Revival in Victorian Art, Fig. 56. Marcus, Burne-Jones, Item 78. A cartoon for one of a set of thirteen stained glass panels (for Harden Grange) prepared on behalf of Morris and Co. (see the entry for his “The Tomb of Tristram and Isoude in Cornwall”; see also the entry for “Morris and Co.: Harden Grange”).

F-110 Burne-Jones, Sir Edward. “The Tomb of Tristram and Isoude in Cornwall” (eleventh of thirteen windows for Harden Grange). Stained glass window. 26.75 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 73. – Also (colour) in Whitaker, Legends, Pl. 22(j). Full caption: “How Sir Tristram & Isoude were buried together in one tomb in Cornwall: Now Tristram invented all manner of words which they use in hunting and the writing of notes in music: He was a mighty fighter & great musician.” The eleventh Harden Grange window shows the two figures lying on the tomb; they are surrounded by symbols of Tristram’s interests: hounds, hawks, harps, and hunting horns. (See also the entry for “Morris and Co.: Harden Grange.”) A cartoon for the design of this window survives (see the entry for his “The Tomb of Tristram and Iseult”).

F-111 Burne-Jones, Sir Edward, and Georgiana Burne-Jones. “King Arthur,” “Merlin,” “Lancelot,” and “Morgan le Fay.” Embroidered figures: watercolour on linen ground, embroidered with wools and couched gold thread in stem and long and short stitches. ca. 41.75 x 19.5 in. (irregular). 1863. London: Victoria and Albert Museum (accession nos. T.118–1985 to T.121–1985). . Reproduced: The panels showing “Merlin” and “King Arthur” are reproduced (colour) in Parry, William Morris, 238. Four embroidered panels with figures from the Le Morte Darthur of Malory, designed by E. Burne-Jones, 1863; worked by Georgiana Burne-Jones. These were part of a larger scheme of

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thirteen panels, begun but not completed, for the Burne-Jones’ first home at 62 Great Russell Street. Linda Parry, ed., William Morris, Item M.11 (p. 238), with illustration (colour). A preliminary sketch for the whole scheme of thirteen embroidered figures in two tiers is preserved in the Whitworth Art Gallery, London (accession no. D.73.1927, verso). The cartoon for the “King Arthur” panel is also preserved in the Victoria and Albert Museum: a design for an embroidered figure of “King Arthur” (inscribed “Charlemagne by Wm Morris sketch at side by E.B.J.”); London: Victoria and Albert Museum (accession no. E.449–1949). “Merlin” was completed and cut out, ready to be applied to a finished ground for mounting and display.

Burne-Jones, Sir Edward: on his design of the set and costumes for a dramatic production of King Arthur, see the entry for “Carr, J[oseph] Comyns” in the Literature section. F-112 Burnett, Virgil, illus. Sir Gawain and the Green Knight. Trans. Keith Harrison. London: Folio Society, 1983. A translation of the medieval romance illustrated with five full-page lithographic engravings (black on brown with patches of white).

F-113 Burnett, Virgil, illus. Sir Gawain and the Green Knight: A Comedy for Christmas. Trans. Theodore Silverstein. Chicago and London: University of Chicago Press, 1974. A translation of the medieval romance, illustrated with five full-page, one double-page, and four partial-page line drawings.

F-114 Burns, Robert. “Sir Galahad.” Painting (encaustic on canvas). 37 x 32 in. 1891. [Current location not known.] Reproduced (B&W) in Robert Burns, 1869–1941: Artist and Designer [catalogue of an exhibition, 11 Dec. 1982–8 Jan. 1983]. Edinburgh: Bourne Fine Art, 1982. [4]. – Also (colour) in “Camelot 1999” (calendar). Exhibited at the Royal Glasgow Institute in 1893. Galahad kneels in his ship looking on three angels who carry the Grail. The picture uses pale greys and peach colours; the positioning of the angels (they almost recline in mid-air) mimics the lines of the boat. Burns also exhibited mural designs, most depicting Arthurian scenes, at the Glasgow Institute in 1893–1894 (Martin Andrew Forrest, Introduction, Robert Burns [1982], p. [2]).

F-115 Butler, Charles Ernest. “King Arthur” (or “Arthur: And down the shingly scaur he plunged; etc.”). Painting (oil on canvas). 49.5 x 29 in. 1903. Private collection. Reproduced (colour) in Mancoff, Return, 6. – Also in Gwyn A. Williams, Excalibur: The Search for Arthur, 215. – Also in Christine Poulson, The Quest for the Grail, Pl. 14 (and on dust-jacket). A young-looking Arthur, standing in chain mail in a mountainous landscape (on “shingly scaur”), raises the crown above his head. The quoted line is from Tennyson, “Lancelot and Elaine,” 53.

F-116 Calderon, William Frank. “How Four Queens Found Sir Lancelot Sleeping.” Painting (oil on canvas). 4 x 6 ft. 1908. [Current location not known.] Reproduced in “Camelot 1996” (calendar); also in “Camelot 1998” (calendar). Lancelot sleeps under a tree to one side of this picture, while behind him a whole entourage on horseback stands in bright sunlight.

F-117 Cameron, Julia Margaret. “Call, I follow, I follow, let me die!” (portrait of Mary Ann Hillier). Photograph. 13.75 x 10.5 in. 1867. London: Victoria and Albert Museum (accession no. 15–1939). . A head and shoulders portrait of a young woman, looking off towards the right. The title is taken from Tennyson, Lancelot and Elaine, 1011.

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F-118 Cameron, Julia Margaret. Illustrations to Tennyson’s “Idylls of the King” and Other Poems. 2 vols. London: Henry S. King, 1874–75. Reproduced: Frequently reprinted, including several “miniature” editions, such as Illustrations by Julia Margaret Cameron of Alfred Tennyson’s “Idylls of the King” and Other Poems. “Miniature edition.” [London?:] n.p., 1875. – Engraved versions of three of the photographs were used as frontispieces to the three volumes of the Idylls of the King, The Works of Alfred Tennyson. The Cabinet Edition. Vols. 5–7 of 10. London: Henry S. King, 1874–1875. – Two images reproduced in Whitaker, Legends, Fig. 44 and 45. – Also two images are reproduced in Mancoff, Return, 46, 138. – Another, “Lancelot and Guinevere,” is reproduced in Hopkins, Book of Guinevere, 49. – Another, “So Like a Shattered Column Lay the King,” is reproduced in The Arthurian Handbook, 249. – Twelve of the photographs are reproduced in a study of Cameron’s Arthurian photography (by Lukitsh) in Arthurian Literature 7 (1987): 145–57. – Twelve photographs are also reproduced at The Camelot Project Website, ed. Alan Lupack . Ladies of Shalott (exhibition catalogue), Item 12. A collection of twenty-four photographs (albumen prints), illustrating scenes from Tennyson, including the Idylls of the King, along with two portraits of Tennyson as the frontispieces in the two volumes. Cameron put this collection together after having been disappointed with the engraved versions of her photographs which were used to illustrate an 1874 edition of the Idylls (see the separate entry); she determined to issue her own set of the original photographs in a large format. Each volume includes twelve photographs besides the frontispiece, each photograph preceded by a leaf on which the relevant passage from the poem appears in what seems to have been intended as a facsimile of Tennyson’s handwriting (each page is signed “A. Tennyson”). The first volume is entirely Arthurian, being illustrations for the Idylls and the Lady of Shalott; the second volume has nine illustrations to non-Arthurian poems and three further Arthurian ones (two more for the Lancelot and Elaine, both having to do with the bearing of the Lily Maid’s body to Camelot, and one illustrating the “passing of Arthur,” being Arthur and the Three Queens).

F-119 Camm, Florence. “Sir Galahad in Meditation.” Stained glass window. ca. 1917. Cleveland, OH: Cleveland Museum of Art. (*) (Information from Whitaker, Legends, 303.)

F-120 Camm, Florence, and her brothers. “King Arthur.” Stained glass window. Mercersburg, PA: The Chapel, Mercersburg Academy. 1928. (*) Mercersburg Academy is a boarding school, established in the early twentieth century; the chapel, designed by Ralph Adams Cram, is almost cathedral-like in size, and has a tower copied from that of the Church of St Mary the Virgin in Oxford. There are a number of large stained glass windows, by several designers; the window in the west transept is on the theme of “heroic Christianity,” and includes representations of Alfred the Great, Roland, and King Arthur. (Information from Whitaker, Legends, 303.)

F-121 Canton, Susan. “Gareth and the Star of Evening: ‘Straining ev’n his uttermost / Cast, and so hurled him headlong o’er the bridge.’” Painting. 1881. [Current location not known.] (*) Exhibited at the Royal Academy in 1881; the painting is now lost. The quotation is from Tennyson, “Gareth and Lynette,” 1153–54. (Information from Whitaker, Legends, 235; cf. Poulson, Quest, 69.)

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F-122 Carrick, John Mulcaster. “Morte d’Arthur.” Painting (oil on canvas). 39.25 x 54 in. 1862. Private collection. Reproduced (colour) in Mancoff, Return, 150–51 (also on the front of the dust-jacket). – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 66. – Also (colour) in Day, The Search for King Arthur, 145. – Also in “Camelot 1999” (calendar). Sir Bedivere and Arthur are in the foreground of the painting; the knight holds Arthur’s head as the king lies dying. Bedivere looks out into the mist where a ship approaches. The bright colours (particularly red and black) of the foreground contrast with the ghostly paleness of the ship in the distance.

F-123 Caselli, Giovanni, illus. The Illustrated Bulfinch’s Mythology: The Age of Chivalry. By Thomas Bulfinch. New York: Macmillan, 1997. The three parts of Bulfinch’s Mythology were originally published as separate works in the late 1800s; the second part, The Age of Chivalry, summarizes the medieval stories of King Arthur and his knights as well as those of the Mabinogion. For this edition, Caselli provided a series of “line and wash” colour illustrations, many of them (according to his Preface) deliberately imitating famous paintings, such as “The Lady of Shalott” by Waterhouse (on which see the entry under “Waterhouse,” below). The “King Arthur” section (pp. 24–111) includes eight full-page plates (including the book’s frontispiece) and thirty-four partial-page illustrations (all in colour). The “Mabinogion” story of “The Lady of the Fountain” (pp. 114–27) includes two full-page and three partial-page illustrations; “Geraint” (pp. 127–42) includes one full-page and five partial-page illustrations; “Kilwich and Olwen” (pp. 158–69) includes one full-page and six partial-page illustrations; “Peredur” (pp. 169–74) includes one full-page illustration; “Taliesin” (pp. 175–78) includes one partial-page illustration.

F-124 Cattermole, George. “Henry II Discovering the Relics of King Arthur in Glastonbury Abbey.” Painting. 1826. [Current location not known.] (*) Exhibited at the Royal Academy in 1826; now lost. (Information from Poulson, Quest, 16.)

F-125 Cave, Walter, and Mrs Walter Cave. Oak settee, decorated with two scenes from Tennyson’s Idylls. Decorated furniture. 1896. London: Victoria and Albert Museum. (*) (Information from Whitaker, Legends, 235.)

F-126 Clarke, Graham, illus. Balyn and Balan. By Sir Thomas Malory. [Boughton Monchelsea, Kent]: Ebenezer Press, 1970. (*) A fine press book, in a limited edition of 100 copies (plus twenty-five artist’s proofs), being a portfolio of thirty-one plates, some coloured. The text is a shortened version of “Balin and Balan.” The eighteen text pages were cut onto blocks of wood from a single apple tree; the twenty-three illustrations were cut on wood and lino. (Information from OCLC WorldCat entry.)

F-127 Cleverley, Charles F. M. “The Angel of the Grail.” Painting. 1898. [Current location not known.] (*) Exhibited at the Royal Academy, 1898. (Information from Poulson, Quest, 127.)

F-128 Collier, John. “Queen Guinevere’s Maying.” Painting (oil on canvas). 6 x 4 ft. n.d. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (colour) in “Camelot 1997” (calendar). – Also (colour) in Coghlan, Illustrated Encyclopedia, 20. – Also in Hopkins, Book of Guinevere, 82. – Also in Knights of the Round Table (Pitkin Guides, 1997), 12. – Also (colour) in Mancoff, Return, 88.

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A painting showing Guinevere on horseback in the woods, holding two sprays of flowering hawthorn; her horse is led by two male companions.

F-129 Collins, Cecil. “Landscape of the Grail.” Painting (oil on canvas). 16 x 12 in. 1934. Leeds: Leeds City Art Gallery. (*) (Information from catalogue of the Leeds City Art Gallery.)

F-130 Colman, S., Jr., Sol Eytinge, Jr., and J. H. Hyde, illus. Idyls of the King. By Alfred Tennyson, Baron. Boston, MA: Ticknor and Fields, 1866. The poems illustrated are “Enid,” “Vivien,” “Elaine,” and “Guinevere.” Hyde provides decorative initials, while Eytinge and Colman provide engraved, B&W, partial-page illustrations (engravers include A. V. S. Anthony, H. Marsh, J. P. Davis, and Bobbett and Hooper). Eytinge did most of the illustrations, providing all but one for “Vivien” and all of those for “Elaine,” as well as some for the other two poems.

F-131 Connick, Charles. “The Grail Window.” Stained glass window. Princeton: Princeton University, Proctor Hall dining room. n.d. (*) (Information from Whitaker, Legends, 299.)

F-132 Connick, Charles. “Malory Window.” Stained glass window. Princeton: Princeton University Chapel. 1931. (*) Reproduced: A photograph of the lower tier is reproduced (B&W) in Whitaker, Legends, Fig. 66. – Some panels are reproduced in The Arthurian Handbook, 232–35. A window divided into thirty-six panels illustrating various scenes from Malory. Other windows in the series depict the works of Bunyan, Milton, and Dante.

F-133 Connick, Charles. “Sir Galahad.” Stained glass window. (*) A window designed for a children’s hospital. (Information from Whitaker, Legends, 298.)

Cope, C. W.; see the entry for “Dyce, William: Hospitality.” F-134 Corbould, Edward Henry. “Elaine, the Lily Maid of Astolat.” Painting (watercolour). 17.25 x 9 in. 1861. Private collection. Reproduced (colour) in Mancoff, Return, 81. The painting shows an ornate ship, with a servant whose back is to the viewer, and beyond him, the still figure of Elaine with light shining on her and flowers entwined above her head.

F-135 Corbould, Edward Henry. “Enid’s Dream.” Painting. 1873. [Current location not known.] (*) (Information from Whitaker, Legends, 231.)

F-136 Corbould, Edward Henry. “Morte d’Arthur.” Painting (watercolour). 1864. [Current location not known.] (*) (Information from Whitaker, Legends, 214; cf. Poulson, Quest, 223.)

F-137 Corbould, Edward Henry. “Pelleas and Ettarre: ‘And when they reached Caerlon.’” Painting (watercolour). 1872. [Current location not known.] (*) Exhibited at the Royal Academy. (Information from Poulson, Quest, 68.)

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F-138 Corbould, E[dward] [Henry], illus. “Sir Lancelot du Lac.” In The Book of British Ballads. Ed. S. C. Hall. 2 vols. London: Jeremiah How, 1842–1844. 1: 119–24. Corbould produced six illustrations (engraved drawings) for this ballad. In Hall’s edition, each poem has a three-quarter-page illustration (accompanying two or three stanzas of the text) on the first and last page of the poem, and half-page illustrations (filling the left column) on each of the intervening pages. (For the ballad being illustrated, see the entry for Deloney, Thomas: “The Noble Acts Newly Found of Arthur of the Table Round” in the Literature section.)

F-139 Cosway, Richard. “Sans-Loy Killing the Lion.” Painting. ca. 1789. [Current location not known.] (*) A painting, illustrating the story of Una and her capture by Sans Loy in Spenser, The Faerie Queene, I.iii.41. This was commissioned for Thomas Macklin and exhibited in his Poets’ Gallery in London, as part of what was to be a series of 100 oil paintings illustrating scenes from British narrative poems. (Information from Whitaker, Legends, 247; also A Catalogue of the Second Exhibition of Pictures, Painted for Mr Macklin, by the Artists of Britain, Illustrative of the British Poets [London: Poets Gallery, Fleet Street, 4 May 1789], 13 [Item 17].)

F-140 Cotterill, E. The Queen’s Cup (Ascot races). Sculpture (trophy). 1852. Private collection. Reproduced: Photograph (B&W) in Girouard, The Return to Camelot, Fig. 160 (p. 245). The Queen’s Cup (not literally a “cup,” but a small statue), awarded at the Ascot Races in 1852, represented the Red Cross Knight (armed and mounted) and Una, leading her lamb, illustrating the opening lines of Spenser’s The Faerie Queene. The “Ascot Race Plate” for 1852 (being three “cups” and “vases”) was described and illustrated (in an engraved drawing) in the Illustrated London News, 20 [no. 563] (12 June 1852): 453 (text on 454), where the “cup” is described as having been designed by Cotterill and “wrought by Messrs. Garrard, goldsmiths to the crown.” In the ILN’s account of the races, also on p. 454, the winner of the Queen’s Cup (which was run on Tues. 8 June) is identified as a horse owned by Baron Rothschild.

F-141 Cowper, Frank Cadogan. “The Damsel of the Lake, Called Nimuë the Enchantress.” Painting. n.d. [Current location not known.] Reproduced in “Camelot 1996” (calendar); also in “Camelot 1997” (calendar). Against the background of a hill behind a lake, the central figure of this picture is Nimuë, who gazes at her image in a hand mirror. She wears a white satin dress; a pale-coloured deer lies on the train of this dress.

F-142 Cowper, Frank Cadogan. “Four Queens Find Lancelot Sleeping.” Painting (oil on canvas). 40.5 x 35.75 in. 1954. Private collection. Reproduced: Reproduced (colour) in “Camelot 1997” (calendar). – Also in “Camelot 2005” (calendar). – Also (B&W) in The Last Romantics, 134. Exhibited at the Royal Academy in 1954. The Last Romantics (Barbican Art Gallery exhibition, 1989), Item 161. Illustrating a scene from Malory, Le Morte Darthur, Book 6, Chap. 3, Lancelot is stretched across the foreground of this picture, with light gleaming on his armour; the four queens are grouped behind him, gazing down at him.

F-143 Cowper, Frank Cadogan. “Lancelot Slays the Caitiff Knight Sir Tarquin.” Painting. n.d. Private collection. Reproduced in “Camelot 2005” (calendar). Dominating the foreground of the picture is a damsel dressed in red, standing beneath a tree on whose branches are hung various shields. In the background, two knights joust.

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F-144 Craig, William Marshall, illus. Le Mort d’Arthur: The most ancient and famous History of the renowned Prince Arthur, and the Knights of the Round Table. By Sir Thomas Malory. Ed. Joseph Haslewood. 3 vols. London: R. Wilks, 1816. (*) The illustrations were engraved by Richard Rhodes. This edition differentiated itself from the Chalmers’ edition of Malory of the same year by greater editorial intervention, including the expurgation of “obscene” and “blasphemous” passages. The edition was illustrated by W. M. Craig. (See Gaines, Item A8.)

F-145 Crane, Walter. “Britomart by the Sea.” Painting (watercolour). 1896. [Current location not known.] Reproduced (B&W) in Crane, An Artist’s Reminiscences, facing p. 428. A painting, illustrating a scene from Spenser, and based on one of Crane’s wood engravings for Book 3 of the 1894–1896 edition of The Faerie Queene: Britomart, in armour, sits on the ground staring out to sea.

F-146 Crane, Walter. “England and France Exhibition Piece.” Tapestry. 1908. London: Victoria and Albert Museum. (*) The tapestry makes extensive use of the iconography of Galahad and St George. (Information from Whitaker, Legends, 311.)

F-147 Crane, Walter, illus. The Faerie Queene. By Edmund Spenser. Ed. Thomas J. Wise. 3 vols. London: George Allen, 1894–1897. Reproduced: A substantial selection of Crane’s illustrations is reproduced in Illustrations and Ornamentation from “The Faerie Queene.” Arranged by Carol Belanger Grafton. Dover Pictorial Archive Series. Mineola, NY: Dover Publications, 1999. – An illustration of “Prince Arthur” is reproduced (B&W) in Whitaker, Legends, Fig. 53. – An illustration of “Britomart redeemes faire Amoret” is reproduced in “The Work of Walter Crane,” by Walter Crane, Art Journal Easter Art Annual (1898): 19. An art edition of Spenser’s poem, originally issued in nineteen parts to be bound into three volumes (The Last Romantics, Item 39; also see Massé 47; also Crane, An Artist’s Reminiscences, 429–30). Crane provided ninety-eight full-page illustrations (wood engravings), eighty headpieces, fifty-three tailpieces, and numerous other decorative elements (including borders and decorated initials), some printed in red. As Grafton notes in the Preface to the Dover collection, the decoration and illustration of this edition are strongly reminiscent of William Morris and the Kelmscott Press. Reproductions of twelve of the engravings, hand-coloured by Crane, are preserved in the Royal Albert Memorial Museum in Exeter; these had been done to serve as models for a series of theatrical tableaux vivants in Cambridge in 1904 (The Last Romantics, 90).

F-148 Crane, Walter. “The Lady of Shalott.” By Alfred Tennyson, Baron. Artist’s book (watercolour paintings, with calligraphy). 7.5 x 5.5 in. 1858–1859. Cambridge, MA: Houghton Library, Harvard University. Reproduced: One page is reproduced in Isobel Spencer, Walter Crane, 33 (described on p. 15). An unpublished booklet of eighteen pages with watercolour illustrations to Tennyson’s poem; this was one of Crane’s earliest attempts at illustrating a story. The book was exhibited at the Royal Academy in 1862. Each page is framed with floral decoration or sheaves of grain stalks, with a picture in the top half of the framed area and several lines of the poem in the lower half. One page, however, has no picture per se, but only lines of the poem with heraldic devices.

F-149 Crane, Walter. “The Lady of Shalott.” Painting (oil on canvas). ca. 15 x 12 in. ca. 1862. [Current location not known.] (*) The first painting that Crane exhibited at the Royal Academy, in 1862, purchased by one Mr Brown of Selkirk. (Information from Whitaker, Legends, 217.)

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F-150 Crane, Walter. “The Lady of Shalott at Camelot.” Painting. ca. 15 x 12 in. 1863. [Current location not known.] (*) Crane lists this among his “early” paintings, done the year after he exhibited “The Lady of Shalott” at the Royal Academy. It was commissioned by Mr Brown of Selkirk, who had purchased “The Lady of Shalott” and wished for a companion piece, “showing the Lady of Shalott at Camelot, having drifted down in her barge, to the wonderment of the knights and dames of Arthur’s court” (Crane, An Artist’s Reminiscences, 71).

F-151 Crane, Walter. “The Red Cross Knight in Search of Una.” Painting (watercolour). ca. 1869. [Current location not known.] (*) An illustration to a scene from Spenser, The Faerie Queene, Book 1: “the knight a small figure on horseback wandering through a green landscape taken from one of the Derbyshire ‘cloughs’ ” (An Artist’s Reminiscences, 106; Crane also mentions that the painting was exhibited at the Dudley Gallery and purchased by Mr Somerset Beaumont). As the author of the description in The Last Romantics of Crane’s watercolour “The White Knight” notes, that painting could be “The Red Cross Knight in Search of Una” except for the lack of a red cross on the knight’s breastplate (The Last Romantics, Item 33). (Information from The Last Romantics, 89, and Whitaker, Legends, 261.)

F-152 Crane, Walter. “The Swan King.” Drawing (coloured chalk). 1895. London: Forbes Magazine Collection. Reproduced (B&W) in Whitaker, Legends, Fig. 52. Lohengrin stands in a swan-shaped boat.

F-153 Crocker, Henry E., illus. “The Passing of Arthur.” By Rev. Prebendary Vernon. Sunday at Home [44] (1896–1897): 291–93. This is an article by a cleric which draws parallels Tennyson’s Arthur and Christ. Crocker’s illustration (facing 292) shows Arthur, in armour, lying on a bed in the centre of a boat, with four ladies around him (including one in a black-hooded cloak); three men pole and steer the boat towards a distant, hilly shore. The light on his armour makes Arthur brighter than the other figures and emphasizes him as centre of the picture.

Cutler, Uriel Waldo: see Blaisdell, Elinore; Fredericks, Alfred; Hatherell, William; Howard and Hastings; Pettie, John; and Watkins, Frank. F-154 Darlington, Frances. “Sir Perceval: The Vision of the Holy Grail.” Harrogate: Hewlett Reading Room, Harrogate Ladies’ College. 1907. Reproduced at The Camelot Project Website, ed. Alan Lupack . Galahad is the central figure of this bas-relief. On either side are angels, one of which holds the Grail.

F-155 Darvell, H. “Lady of Shalott.” Painting. 1855. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

F-156 Davenport, Basil, illus. King Arthur: Stories from Sir Thomas Malory’s “Morte d’Arthur,” Retold in Modern English. By Mary Macleod [Mary Macleod Banks]. New York: Dodd, Mead, 1953. (*) Macleod’s retelling of Malory, reprinted with sixteen pages of new illustrations by Davenport. (Information from OCLC WorldCat entry.)

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F-157 Davis, J. Watson, illus. King Arthur and His Noble Knights: Stories from Sir Thomas Malory’s Morte d’Arthur. By Mary Macleod [Mary Macleod Banks]. Intro. John W. Hales. Home Library. New York: A. L. Burt, 1902. (*) (Information from OCLC WorldCat entry.)

F-158 Davis, Courtney. King Arthur’s Return: Legends of the Round Table and Holy Grail Retraced: Celtic Art by Courtney Davis. Text by Helena Paterson. London: Blandford / Cassell, 1995. The text is New Age / Neo-druidic commentary on the series of pictures, the pictures being the primary content of the book. There are some narrative passages, said to be dependent upon Malory, but incorporating mystical meanings (Arthur is a Celtic sun-god, dark crystals vibrate when Morgan le Fay appears). Many of the pictures imitate the elaborate interlaced zoomorphic imagery of the Book of Kells and similar decorated texts; others show Pre-Raphaelite motifs or resemble the images on Tarot cards. The illustrations are these: p. 8, the Grail; p. 10, “Excalibur,” gripped by a hand, in a Book of Kells-style initial E; p. 13, “The Face of the Goddess, Gaia”; p. 18, the face of Arthur, behind a sword; p. 21, “The Mother,” in an imitation of Dante Gabriel Rossetti; p. 23, “The Green Crystal”; p. 25, “The Grail King”; p. 29, “The Sword”; p. 31, “The Lady in the Lake”; p. 32, “The Face of Merlin”; p. 37, “Arthur and Guinevere”; p. 39, “The Wedding”; p. 41, “The Face of Guinevere”; p. 45, “Morgan le Fay”; p. 47, “Arthur and Mordred”; p. 51, “The Double Head of Merlin”; p. 54, “The Lance” (the Crucifixion, with an angel holding the Grail to catch the holy blood, a woman kneeling at the foot of the Cross, and a soldier holding the lance and covering his face); p. 57, “The Bird of Omen”; p. 59, “Arthur and the Spear of Destiny”; p. 63, “Childe Percival”; p. 65, “Galahad”; p. 69, “The Question”; p. 71, “The Cauldron”; p. 75, “The Round Table”; p. 77, “Guinevere and Lancelot”; p. 79, “Lancelot Riding Forth”; p. 83, “Two Vengeful Knights”; p. 85, “Mordred and Agravaine”; p. 87, “The Face of Lancelot”; p. 91, “The Rescue [of Guinevere by Lancelot]”; p. 93, “The Slaying of Gareth”; p. 95, “The Face of the Silent Watcher”; p. 97, a decorated page, with interlace, in black ink; p. 99, “Journey to the Underworld”; p. 101, “The Golden Bow”; p. 103, “Arthur with the Three Queens”; p. 106, “The White Castle”; p. 108, “The Goddess of Fate”; p. 110, “The Angel”; p. 113, “The Circle of Creation”; p. 117, “Arthur and Guinevere at the White Chapel”; p. 119, “Arthur with Excalibur”; p. 121, “The King”; p. 122, a decorated page, with interlace, in black ink.

F-159 Delacour, Clovis. “The Lily Maid of Astolat.” Sculpture: ivory and bronze. 1903. [Current location not known.] (*) (Information from Whitaker, Legends, 235.)

F-160 DePol, John, illus. Sir Galahad: A Christmas Mystery. By William Morris. [San Francisco]: Bullnettle Press, 1996. (*) A fine press printing of Morris’ “Sir Galahad” in a limited edition of ninety copies, “[d]esigned & printed by Asa Peavy” (Colophon). It includes a wood engraving by John DePol. (Information from OCLC WorldCat entry.)

F-161 Desanges, Louis William. “Vivien, Enid, Guinevere, Elaine.” Painting. ca. 1860. [Current location not known.] (*) Depictions of the four principal female characters from Tennyson’s Idylls. (Information from Poulson, Quest, 144.)

F-162 Dicksee, Frank. “The Passing of Arthur.” Painting. 1889. [Current location not known.] (*) (Information from Whitaker, Legends, 214; also Mancoff, Arthurian Revival in Victorian Art, 231.)

F-163 Dicksee, Frank. “Yseult.” Painting (oil on canvas). 1901. Private collection. A woman in red, presumably Yseult of Brittany, sits at a window; she stretches her arms together

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on the sill, seeming to yearn for something beyond. The ornate carved wooden frame around the piece bears the legend “Yseult.” Poulson suggests that this may have been an illustration to Swinburne’s “Tristram of Lyonesse” (Quest 176).

F-164 Dighton, George. “Elaine and Sir Lancelot: ‘And one morning it chanced / He found her among the garden yews.’” Painting. 1861. [Current location not known.] (*) Exhibited at the Royal Academy. (Information from Poulson, Quest, 205.)

F-165 Dobie, Judith. “The Exhumation of ‘Arthur’ in 1191.” Painting. Reproduced in English Heritage Book of Glastonbury. By Philip Rahtz. London: B. T. Batsford Ltd. / English Heritage, 1993. Colour plate 3 (between pp. 64 and 65). Reproduced (B&W) in Snyder, World of King Arthur, 129. This is an artist’s reconstruction of the scene of the exhumation of the bones of Arthur and Guinevere at Glastonbury Abbey in 1191, as described by the apparent eye-witness, Gerald of Wales. In the foreground is a large pit with an open coffin in which two skeletons are visible; above, on the edge of the pit, is a group of monks, observing; they stand in front of the exterior wall of the Lady Chapel. In the pit are three monks and two workmen; as described by Gerald, one monk is handling the golden hair of the one skeleton, only to find it disintegrating in his hand. Another monk in the pit holds up the small, leaden cross (which identifies the burial as that of Arthur and Guinevere) for the monks standing out of the pit to see.

F-166 Dobkin, Alexander, illus. King Arthur and his Knights. By Mary Macleod [Mary Macleod Banks]. Intro. May Lamberton Becker. Rainbow Classics. Cleveland, OH, and New York: World Publishing Co., 1950. Dobkin illustrates this modernization and abridgement of Malory with eight full-page colour plates and seven full-page B&W plates, as well as small illustrations at the heads and feet of some chapters.

F-167 Donaldson, Catherine, illus. The Death of King Arthur, Being the Twenty-First Book of Sir Thomas Malory’s “Book of King Arthur and of his Noble Knights of the Round Table,” with illustrations designed and engraved on wood. By Sir Thomas Malory. London: Macmillan and Co., 1928. Reproduced: Two illustrations (“Arthur Sees Mordred at the Last Battle” and “Arthur Taken to Avalon”) are reproduced in Day, The Search for King Arthur, 134, 139. – Another, “He went and laid a mighty siege about the Tower of London,” is reproduced in Gaines, facing p. 64. This is an art edition of the final book of Malory, in a limited printing of 525 copies on handmade paper, for which Donaldson provided twelve wood engravings, with a particular penchant for dark and funereal images, focusing one’s attention upon the deaths of Gawain, Arthur, Guenevere, and Lancelot. (Gaines, Item B28.)

F-168 Doré, Gustave, illus. Elaine. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1868. Reproduced: The illustration of “The Body of Elaine on its way to King Arthur’s Palace” is reproduced in Mancoff, Arthurian Revival in Victorian Art, Fig. 89. – Another, “The Remorse of Lancelot,” is reproduced in Mancoff, Arthurian Revival in Victorian Art, Fig. 90. Ladies of Shalott (exhibition catalogue), Item 14. This was later reprinted in a collected edition of Tennyson’s Idylls of the King. The text is accompanied by nine full-page plates (steel engravings) by Doré, including his famous illustration of the dead Elaine being taken by river to Camelot.

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F-169 Doré, Gustave, illus. Enid. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1869. This was later reprinted in a collected edition of Tennyson’s Idylls of the King. The text is accompanied by nine full-page plates (steel engravings) by Doré.

F-170 Doré, Gustave, illus. Guinevere. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1867. Reproduced: The Story of Arthur and Guinevere, and the Fate of Sir Lancelot of the Lake, as told in Antique Legends and Ballads, and in Modern Poetry. Illus. Gustave Doré. London: Edward Moxon and Co., 1879. This was later reprinted in a collected edition of Tennyson’s Idylls of the King. The text is accompanied by nine full-page plates (steel engravings) by Doré.

F-171 Doré, Gustave, illus. Idylls of the King. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1869. Reproduced: Individual engravings are frequently reproduced; four of the pictures are reproduced in Hopkins, Book of Guinevere, 45, 54, 67, and 90. – Eight of the pictures are reproduced in Mancoff, Return, 49, 71, 79, 86, 89, 99, 139. – Another, “The King’s Farewell,” is reproduced in Whitaker, Legends, Fig. 43. – Another, “Merlin and Vivienne,” is reproduced in Matthews, Merlin: The Pitkin Guide, 2. – All thirty-six plates are reproduced in The Doré Gift Book: Illustrations to Tennyson’s “Idylls of the King”: With Introductory Notice of the Arthurian Legends. London: Edward Moxon and Co., [1878]. – All thirty-six plates are reproduced accompanied by a synopsis and appropriate quotation from Tennyson, and by an introductory biographical note on the lives of Tennyson and Doré (the synopses and introductory note are not signed), in Doré’s Illustrations for “Idylls of the King.” Dover Pictorial Archive Series. New York: Dover Publications, 1995. This is a collected edition in a single volume of the four volumes published in the previous years, each with nine plates (steel engravings) by Doré. Guinevere, Vivien, Elaine, and Enid.

F-172 Doré, Gustave, illus. The Story of Elaine, Illustrated in Facsimile from Drawings by Gustave Doré, the Text Adapted from Sir Thomas Mallory [sic]. By Sir Thomas Malory. London: Edward Moxon and Co., 1871. (*) Reproduced: The Story of Elaine, the Lily Maid of Astolat, from the Arthurian Legend, Collected from Sir Thomas Malory, and Later Writers with Nine Illustrations by Gustave Doré. The Doré Series of Gift Books. London: Edward Moxon and Co., [1879]. This is a large format booklet, reproducing nine of Doré’s illustrations to Tennyson’s Elaine, here accompanied by the story of Elaine of Astolat from Malory. (Gaines, Item B3; the title-page is reproduced facing p. 48). (Information from Gaines.)

F-173 Doré, Gustave, illus. Vivien. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1867. Reproduced: The illustration of “Vivien and Merlin Repose” is reproduced in Mancoff, Arthurian Revival in Victorian Art, Fig. 92. This was later reprinted in a collected edition of Tennyson’s Idylls of the King. The text is accompanied by nine full-page plates (steel engravings) by Doré.

F-174 Down, Chris, illus. Heroes of the Round Table. By Mike Dixon-Kennedy. London: Blandford, 1997. The book is non-fiction, summarizing what is known from medieval sources of the various

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Round Table knights; each summary is preceded by a full-page colour illustration (fourteen plates in total, painted by Chris Down [identified in the Preface, p. 7]).

F-175 Draper, Herbert James. “Lancelot and Guinevere.” Painting (oil on canvas). n.d. Private collection. Reproduced: A detail of Guinevere being crowned by ladies of the court is reproduced (colour) in Coghlan, Illustrated Encyclopedia, 5, and the full picture is reproduced (colour) on 126. – Also (colour) in Gwyn A. Williams, Excalibur: The Search for Arthur, 202–203. – Also in Hopkins, Book of Guinevere, 16–17. – Also in Day, The Search for King Arthur, 109. Guenevere, surrounded by attendant ladies, watches Lancelot ride by. The figure of Guenevere is in the upper centre of the picture, with only Lancelot’s head and shoulders seen in the lower corner.

F-176 Draper, Herbert James. “Tristan and Isolde.” Painting (oil on canvas). 52 x 82 in. 1901. [Original destroyed.] Reproduced: The engraved version is reproduced in Poulson, The Quest for the Grail, Fig. 39 (p. 173). The original painting was destroyed in the Second World War; the composition is known from an engraved version (Liverpool, Walker Art Gallery). Tristan and Isolde stand facing one another on board the ship; Tristan holds the empty cup in one hand; Brangaene sleeps to one side of the picture.

F-177 Duncan, John McKirdy. “Merlin and the Fairy Queen.” Painting. n.d. Paisley, Renfrewshire: Paisley Museum and Art Galleries. Reproduced (colour) in John Matthews, King Arthur: Dark Age Warrior and Mythic Hero, 40. Merlin faces a lady, who is crowned, clothed in white, and with an aura around her head.

F-178 Duncan, John McKirdy. “The Taking of Excalibur.” Wall mural (tempera). Edinburgh: Ramsay Lodge (Commonroom wall). 1897. Reproduced (colour) in Day, The Search for King Arthur, 83. – Also (colour) in Jane Lahr, ed., The Celtic Quest in Art and Literature: An Anthology from Merlin to Van Morrison. New York: Welcome, [1998]. 141–42. – Also in Knights of the Round Table (Pitkin Guides, 1997), 7. Merlin rows a young Arthur towards the Lady of the Lake, who is emerging from the water and holding the sword aloft; a snake encircles her and bares its fangs in Arthur’s direction; four other female figures stand behind her observing.

F-179 Duncan, John McKirdy. “Tristan and Isolde.” Painting (tempera on canvas). 1912. Edinburgh: City Art Centre. Reproduced (colour) in Jane Lahr, ed., The Celtic Quest in Art and Literature: An Anthology from Merlin to Van Morrison. New York: Welcome, [1998]. 51. – Also (B&W) in Snyder, World of King Arthur, 117. The Last Romantics, Item 391. A painting, showing Tristan and Isolde, on the deck of a ship, drinking the love potion.

F-180 Dyce, William. “Courtesy: Sir Tristram Harping to La Beale Isoude.” Wall mural. 11.2 x 5.75 ft. Westminster: Queen’s Robing Room, Palace of Westminster (Houses of Parliament). 1852.

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Reproduced (colour) in Gwyn A. Williams, Excalibur: The Search for Arthur, 167. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 29. In 1847, Prince Albert chose William Dyce to decorate Queen Victoria’s Robing Room in the rebuilt Palace of Westminster, and agreed to Dyce’s recommendation that the subject of the decorations should be the tales of Arthur. Dyce worked on a series of frescoes from 1848 to his death in 1864; they show scenes from Malory’s Morte Darthur while simultaneously illustrating civic virtues. “Courtesy” shows Tristram harping (on the right) to Isoude and several ladies (on the left); they stand before an archway through which can be seen a landscape, with a large tree and two young men.

F-181 Dyce, William. “Generosity.” Painting (watercolour). n.d. Edinburgh: National Gallery of Scotland. Reproduced (B&W) in Whitaker, Legends, Fig. 35. A watercolour version of the Robing Room fresco on the same subject.

F-182 Dyce, William. “Generosity: King Arthur, Unhorsed, is Spared by his Adversary.” Fresco. 11.2 x 5.75 ft. Westminster: Queen’s Robing Room, Palace of Westminster (Houses of Parliament). 1852. Reproduced (colour) in Mancoff, Return, 68. – Also in Mancoff, Arthurian Revival in Victorian Art, Pl. II. The king is on the ground with a knight standing over him, about to draw his sword; Lancelot dominates the picture, sitting on a white horse, gesturing a command to the knight not to harm the king.

F-183 Dyce, William. “Hospitality: The Admission of Sir Tristram to the Fellowship of the Round Table.” Fresco. 11.2 x 21.8 ft. Westminster: Queen’s Robing Room, Palace of Westminster (Houses of Parliament). 1864. Reproduced (B&W) in Mancoff, Return, 46. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 31. – A detail is reproduced (colour) in Mancoff, Return (double title-page). King Arthur, in his hall and before his assembled court (some members of which are on horseback within the hall), stands before his throne with his sword raised in the air and arms open wide as Sir Tristram approaches with bowed head. This work was completed by C. W. Cope after Dyce’s death in 1864.

F-184 Dyce, William. “Mercy: Sir Gawaine Swearing to be Merciful and Never be Against Ladies.” Fresco. 11.2 x 10.2 ft. Westminister: Queen’s Robing Room, Houses of Parliament. 1854. Reproduced (colour) in Mancoff, Return, 65. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 30. – A detail is reproduced (colour) in Snyder, World of King Arthur, 122. Gawain kneels amongst a group of ladies, the queen standing on a dais above him.

F-185 Dyce, William. “Piety: The Knights of the Round Table Departing on the Quest for the Holy Grail.” Painting (watercolour and bodycolour over pencil on buff paper). 9 x 17.25 in. 1849. Edinburgh: National Gallery of Scotland (accession no. D.4788). Reproduced (colour) in Hopkins, Book of Guinevere, verso of title-page. – Also in Mancoff, Return, 46. – Also in Mancoff, Arthurian Revival in Victorian Art, Pl. I. – A detail of this is reproduced in “Camelot 1997” (calendar). – Again in the “Camelot 1998” (calendar).

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This was one of the designs for the frescoes in the Queen’s Robing Room in the Houses of Parliament, but it was rejected as too pessimistic in mood. The picture is set outside the walls of a castle, as the King and Queen bid farewell to the knights, who are mounting and preparing to ride off; Lancelot kneels before the queen and is about to kiss her hand, while the King looks askance at them.

F-186 Dyce, William. “Religion: The Vision of Galahad and his Company.” Fresco. 11.2 x 14.5 ft. Westminster: Queen’s Robing Room, Palace of Westminster (Houses of Parliament). 1851. Reproduced (colour) in Gwyn A. Williams, Excalibur: The Search for Arthur, 167. – Also in Poulson, The Quest for the Grail, Pl. 2 (facing p. 13). – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 25. Sir Galahad, Sir Bors, Sir Perceval, and Perceval’s sister, along with two clerics (one holding a chalice and another a censer), look upon Christ enthroned upon an altar; in clouds above them are the four evangelists. A study towards this composition is preserved in the Aberdeen Art Gallery (ink and black chalk on green paper; 9.25 x 12 in.; accession no. ABDAG003225; reproduced [B&W] in Mancoff, Arthurian Revival in Victorian Art, Fig. 28).

F-187 Eastlake, Charles. “Una Delivering the Red Cross Knight from the Cave of Despair.” Painting (oil on canvas). 30.25 x 20.75 in. 1829. London: Sir John Sloane Museum. Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 6. A painting, commissioned by Sir John Sloane and exhibited at the Royal Academy in 1829, illustrating a scene from Spenser, The Faerie Queene, I.ix. Prince Arthur and Una have entered the cave and discovered several men, including the Red Cross Knight, lying and sitting on the ground.

F-188 Edwards, George Henry. “Elaine, the Lady of Shalott.” Drawing. 12 x 8.75 in. n.d. London: Maas Gallery. . (*) A drawing to illustrate Tennyson’s “The Lady of Shalott.” (Information from Maas Gallery website.)

F-189 Egley, William Maw. “The Lady of Shalott.” Painting (oil on canvas). 1858. Sheffield: Sheffield City Art Galleries. Reproduced in “Camelot 1998” (calendar). The blonde lady gazes out of a window at something beyond the viewer’s sight, but the mirror behind her, over her abandoned weaving, reflects the figure of Lancelot. Whitaker refers to this as “The Lily Maid in Her Tower” (219).

F-190 Etty, William. “Britomart Redeems Faire Amoret.” Painting (oil on canvas). 35.75 x 26 in. 1833. London: Tate Gallery (accession no. T00199). . A painting, illustrating a scene from Spenser, The Faerie Queene, III.xii. Britomart, in black armour and with raised sword, overpowers Busirane; behind her a half-naked Amoret stands with her wrists chained to a pillar.

F-191 Etty, William. “Phaedria and Cymochles on the Idle Lake.” Painting (oil on canvas). 25 x 30 in. ca. 1832. Princeton, NJ: Princeton University Art Museum. (*) Exhibited at the Royal Academy, 1832. The first of two attempts (this one on a slightly larger canvas) that Etty made to illustrate this scene from Spenser, The Faerie Queene, II.vi (the description of the painting in the exhibition catalogue quotes ll. 15–18).

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F-192 Etty, William. “Phaedria and Cymochles on the Idle Lake.” Painting (oil on canvas). 23 x 21 in. ca. 1835. Private collection. (*) Exhibited at the Royal Academy, 1835. The second of two attempts (this one on a slightly smaller canvas) that Etty made to illustrate this scene from Spenser, The Faerie Queene, II.vi; one of the principal changes to the composition in this version is the addition of the figure of Cupid. Further, in the exhibition catalogue, the text quoted differs from that in the catalogue of 1832, quoting II.vi lines 46–49 and 55–59, rather than 15–18.

F-193 Fagan, Jas. “The Lady of Shalott.” Etching (India proof). 3.5 x 5.5 in. One Hundred Illustrations to Tennyson. Boston, MA: Estes and Lauriat, 1895. Reproduced in Ladies of Shalott, 112. Ladies of Shalott (exhibition catalogue), Item 15. One Hundred Illustrations to Tennyson is an unbound portfolio, issued in a limited edition of 100 copies. Fagan’s illustration to “The Lady of Shalott” shows a small black sailboat on a narrow stream, with fields of grain on either side, and the skyline of a city in the distance.

F-194 Fairfax-Muckley, Louis, illus. The Faerie Queene. By Edmund Spenser. Intro. John W. Hales. 3 vols. London: J. M. Dent and Co., 1897. (*) An art edition of Spenser, The Faerie Queene, modelled upon and intended as a companion to Dent’s edition of Malory illustrated by Aubrey Beardsley, and as a competitor to the George Allen edition of Spenser illustrated by Walter Crane (see the entry under “Crane, Walter: The Faerie Queene”). “This edition of Spenser’s Faerie Queene is limited to 100 copies on handmade paper, and 1250 ordinary copies, for England and America, after printing which the type has been distributed” (verso of the half title-page). There were also thirty copies of a “De Luxe” edition with an additional set of the plates in dark crimson. It was issued in parts between 5 May 1896 and 13 Aug. 1897. Fairfax-Muckly, who had worked with William Morris when he first began printing at the Kelmscott Press (and was involved in printing the Kelmscott edition of Chaucer), provided for this edition wood engraved illustrations, borders, and decorated initials. (Information from OCLC WorldCat.) One of the original drawings (black ink; 11 x 8.25 in.) is preserved in the collections of Dennis T. Lanigan of Saskatoon, Canada (Lanigan, A Dream of the Past, Item 109); this particular drawing illustrates the incident in which Belphoebe is led by the turtle dove back to Timias IV.viii.11: “And euer when she nigh approcht, the Doue / Would flit a litle forward, and then stay”).

F-195 Ferguson, Anna-Marie. Legend: The Arthurian Tarot. St Paul, MN: Llewellyn Publications, 1997. Ferguson’s colour illustrations for the card-faces depict various Arthurian characters, places, objects, and episodes. She has drawn on the Arthurian associations of each character in assigning them their value in the Tarot deck: for example, Arthur is “The Emperor,” Guenevere is “The Empress,” Percivale is “The Fool,” the Fisher King is the “King of Cups,” and so on. Some aspects of the Arthurian legend are explained in the accompanying leaflet.

F-196 Ferguson, Anna-Marie, illus. Le Morte d’Arthur: Complete, Unabridged, New Illustrated Edition. By Sir Thomas Malory. Intro. John Matthews. London: Cassell Publishing, 2000. Intended by the publisher as a millennium project, this is the text of Malory, modernized in spelling, illustrated with thirty-two full-page colour paintings and thirty-one full-page line drawings. Ferguson’s work is notable especially for her depiction of the female characters of the legend, as well as for capturing a sense of highly dramatic moments; particularly effective is the portrait of Morgan (dressed in red) and the depiction of Galahad and the Grail, where Galahad seems physically overcome by the force of this spiritual experience. The paintings and drawings upon which the illustrations are based were exhibited at the art gallery in Red Deer, Alberta, in the autumn of 1999.

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F-197 Flint, Sir W[illiam] Russell, illus. The Book of King Arthur and of his Noble Knights of the Round Table. By Sir Thomas Malory. 4 vols. London: Philip Lee Warner, for the Medici Society, 1910–1911. Reproduced: Various reprintings of the book, with differing numbers of volumes and of illustrations: 2 vols. 1911, 1920; 1 vol. 1927, 1929, etc. – Also reproductions of individual pictures: “The Lady of the Lake with Annowre’s head,” in Coghlan, Illustrated Encyclopedia, 37. – Another, “Alisander and Alice la Beale Pilgrim in the Land of Benoye,” is reproduced in Whitaker, Legends, Pl. 34. – Another, “Queen Guinevere Rescued from the Stake by Sir Lancelot,” is reproduced in “Camelot 1999” (calendar). – A number of the illustrations are reproduced at The Camelot Project Website, ed. Alan Lupack . The Last Romantics, Item 170. Flint provided watercolour illustrations for an art edition of Malory, the text of which was based on the modernization of Malory by A. W. Pollard, first published in 1900 (Gaines, Item A19, with a title-page and one of the Flint illustrations reproduced facing p. 32). The first edition had 48 mounted colour plates (photographs of watercolour paintings, twelve per volume); subsequent editions had fewer. The originals of three of the paintings are in the Victoria and Albert Museum, and a fourth is in Cardiff (see the separate entry for “The Passing of King Arthur”). Flint also provided a drawing for an engraving on the title-page, being the busts of the three principals: Arthur, Guinevere, and Lancelot. (See also the entry in the Literature section for Cooke, Brian Kennedy, Sir Lancelot, which reused some of Flint’s “Malory” illustrations.)

F-198 Flint, Sir W[illiam] Russell. “The Passing of King Arthur.” Painting (watercolour; for a book illustration). 8.75 x 10.75 in. 1910–1911. Cardiff: Cardiff Art Gallery. Reproduced (B&W) in Royal Academy of Arts, Works by Sir William Russell Flint, R.A., 12 (with description on p. 13). The original of one of the illustrations for Flint’s four-volume Malory. The wounded Arthur lies with his head in the lap of a lady, and attended by two others; in the foreground left is a kneeling man (Bedivere?) looking on. Exhibited at the Paris Salon in 1913.

F-199 Flint, Sir W[illiam] Russell, illus. Sir Lancelot, from Sir Thomas Malory’s “Morte d’Arthur” and Other Sources. By Brian Kennedy Cooke. The Golden Legend Series. Leicester: Edmund Ward, 1951. A retelling of the Lancelot story, primarily from Malory (Gaines, Item B40). The book is illustrated with three illustrations (watercolour paintings) which had been prepared by Flint for the 1910–1911 Medici Society edition of Malory. (See also the entry for “Flint, W. Russell: The Book of King Arthur and of his Noble Knights of the Round Table,” above.)

F-200 Florian, illus. King Arthur and his Knights of the Round Table, from Sir Thomas Malory’s Le morte d’Arthur. Ed. Sidney Lanier. Illustrated Junior Library. New York: Grosset and Dunlap; London: Macdonald, 1950. Reproduced: The World Book Treasury of Classics. Chicago: World Book, 1988. A simplified and significantly abridged revision of Lanier’s The Boy’s King Arthur. Florian provided ten full-page colour illustrations, and there are B&W drawings at the heads of chapters and elsewhere.

F-201 Forbes, Elizabeth Stanhope. “The Black Knight.” Painting (watercolour with bodycolour over charcoal). 18.5 x 12.5 in. ca. 1904. Private collection. (*) The Last Romantics, Item 130. A painting, showing Sir Gareth’s encounter with the Black Knight. This appears to have been intended as an illustration for the artist’s book, King Arthur’s Wood: A

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Fairy Story; and with it the Tale Re-told of Sir Gareth of Orkney and ye Ladye of ye Castle Perilous (on which, see the entry in the Literature section), but it ultimately was not included there. The entry in The Last Romantics indicates that Forbes also produced a large oil painting of this same design. (Information from The Last Romantics, 126.)

F-202 Forestier, A. “The Late Lord Tennyson: The Last Idyll.” The Illustrated London News 22 Oct. 1892: 509. The illustration marks the passing of Tennyson; it shows him on his deathbed with various characters from his stories, including King Arthur and several knights, appearing in a sunbeam.

F-203 Forster, Joseph William. “The Vision of the Sangrael.” Painting. 1898. [Current location not known.] (*) Exhibited at the Royal Academy in 1898; now lost. (Information from Poulson, Quest, 127.)

F-204 Fortescue-Brickdale, Eleanor, illus. Eleanor Fortescue Brickdale’s Golden Book of Famous Women. Compiled by Eleanor Fortescue-Brickdale. London: Hodder and Stoughton, n.d. The book consists of excerpts from various writers who describe female characters or historical women, selected and illustrated by Fortescue-Brickdale. The Arthurian selections are “Queen Guinevere: A Fragment” by Tennyson (pages 11–12), and a two-page excerpt from Spenser entitled “Una and the Red Cross Knight” (pages 66–67). With the former there is a full-page, colour illustration of Guinevere (facing page 132), and with the latter appears an image of Una and her knight (facing page 96); each is captioned with a quotation from the work in question. Marsh and Nunn mention, in Women Artists, that “The paintings were exhibited at the Leicester Galleries in April 1920” (148).

F-205 Fortescue-Brickdale, Eleanor. “Enid and Geraint.” Painting (watercolour on paper). 1905. Liverpool: Walker Art Gallery. A painting, the basis for one of Fortescue-Brickdale’s illustrations for the 1911 edition of Tennyson’s Idylls of the King.

F-206 Fortescue-Brickdale, Eleanor. “Farewell, Fair Lily.” Painting (watercolour on paper). 18 x 12 in. 1911. Private collection. Reproduced (colour) in Marsh and Nunn, Women Artists, Pl. 9 (facing p. 160). A gentleman (father of Elaine?), with back to viewer, watches a boat, steered by a white-haired man, heading down a stream, carrying the body of Elaine on a bed of flowers. This painting is one of Fortescue-Brickdale’s illustrations for the 1911 edition of Tennyson’s Idylls of the King (facing p. 142). The painting was exhibited at the Leicester Galleries in 1911, as part of the Ashmolean Museum’s “Centenary Exhibition” of Fortescue-Brickdale’s work (1972; Item 23).

F-207 Fortescue-Brickdale, Eleanor. “Guinevere, as in the Golden Days.” Painting (watercolour on paper). 15 x 12 in. 1911. Birmingham: Birmingham Museums and Art Gallery. Reproduced (colour) in Mancoff, Return, 58. – Also reproduced as “Guinevere and her ladies in waiting” in Discovering King Arthur, by Beryl Beare (London: Quantum / W. Foulsham and Co., 1999), 68. The original painting for one of the illustrations to the 1911 edition of Tennyson’s Idylls of the King (“De Luxe” edn., facing p. 158; “Popular” edn., facing p. 160). Guinevere stands in the foreground, dressed in red with a brocaded jacket, holding her hand up to a white bird; there are ladies grouped in the background. The painting was exhibited at the Leicester Galleries in 1911, as part of the Ashmolean Museum’s “Centenary Exhibition” of Fortescue-Brickdale’s work (1972; Item 19), and as part of the Pre-Raphaelite Women Artists exhibition in Manchester (1997; Item 85 in Marsh and Nunn, Pre-Raphaelite Women Artists).

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F-208 Fortescue-Brickdale, Eleanor. “Guinevere in the Nunnery.” Painting (watercolour with bodycolour on paper). 18 x 10.5 in. 1911. Birmingham: Birmingham Museums and Art Gallery. The original painting for one of the illustrations to the 1911 edition of Tennyson’s Idylls of the King, showing Guinevere after her retirement to Almesbury. The painting was exhibited at the Leicester Galleries in 1911, and as part of the exhibition which is catalogued in The Last Romantics (Item 147).

F-209 Fortescue-Brickdale, Eleanor, illus. Idylls of the King. By Alfred Tennyson, Baron. London, New York, and Toronto: Hodder and Stoughton, [1911]. Reproduced: Five of the pictures from this set of illustrations to Tennyson are reproduced in Hopkins, Book of Guinevere, 18 (also reproduced on the dust-jacket), 21, 41, 88, and 91. – Six illustrations are reproduced (colour) in Mancoff, Return, 58, 76, 77, 84, 142. – Four illustrations are reproduced in Discovering King Arthur by Beryl Beare (London: Quantum / W. Foulsham and Co., 1999), 33, 34, 67, 136. – All of the illustrations are reproduced at The Camelot Project Website. Ed. Alan Lupack. . The Last Romantics, Item 150. This is an illustrated edition of Tennyson’s “Idylls” but lacks “Gareth and Lynette” and “The Coming of Arthur.” The book was produced in two forms, a “De Luxe” and a “Popular” edition, differing in size and in number of illustrations; the “De Luxe” version is illustrated with twenty-one colour plates; the smaller “popular” edition has twelve colour plates. Two of the original paintings are in the collections of the Birmingham Museums and Art Gallery; see the separate entries for “Guinevere, as in the Golden Days” and “Guinevere in the Nunnery.”

F-210 Fortescue-Brickdale, Eleanor. “The Lady of Shalott” (?). Painting (watercolour on paper). 7.25 x 4.5 in. 1911. Private collection. The subject of this watercolour sketch may be the Lady of Shalott, though this is not certain. The painting was included in the Ashmolean Museum’s “Centenary Exhibition” of FortescueBrickdale’s work (1972; Item 18).

F-211 Fortescue-Brickdale, Eleanor. “Lynette.” Painting (watercolour on paper). 20.5 x 10.75 in. 1911. Private collection. Prepared for but not included in the 1911 edition of Tennyson’s Idylls of the King. It was exhibited at the Leicester Galleries in 1911, and included in the Ashmolean Museum’s “Centenary Exhibition” of Fortescue-Brickdale’s work (1972; Item 20).

F-212 Fortescue-Brickdale, Eleanor, illus. Poems. By Alfred Tennyson, Baron. The Endymion Series. London: George Bell, 1905. Reproduced: Ipswich: Boydell Press, 1973. An edition of selected poems by Tennyson, with illustrations (line drawings) by Fortescue-Brickdale. The Arthurian poems included are “The Lady of Shalott” (34–40), “Morte d’Arthur” (123–31), and “Sir Galahad” (198–200). “The Lady of Shalott” is accompanied by an illustration (a view of the lady at her window, p. 37); at the beginning of “Sir Galahad” is an image of a decorated sword (198).

F-213 Fortescue-Brickdale, Eleanor. “Sir Lancelot and Sir Tarquin.” Drawing (ink on bristol board). 12 x 9.5 in. 1897. [Current location not known.] Reproduced in The Studio 13 (1898): 104. This drawing was exhibited at the Royal Academy (“Black and White Room”) in 1897, and as part of the Ashmolean Museum’s “Centenary Exhibition” of Fortescue-Brickdale’s work (1972; Item

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3). A lady in a dark dress occupies the foreground left, peering through a tangle of branches at two mounted knights jousting with lances; the branches of the tree are hung with the shields of conquered knights. The composition is based on the ballad of the battle between Lancelot and Tarquin (usually attributed to Thomas Deloney, and included in Percy’s Reliques). (See also the entry for “Deloney, Thomas: The Noble Acts Newly Found of Arthur of the Table Round” in the Literature section.)

F-214 Fortescue-Brickdale, Eleanor. “So those two brethren from the chariot took, / And on the black decks laid her in her bed (Elaine).” Painting (watercolour on paper). 17 x 10.5 in. 1911. Private collection. One of the illustrations for the 1911 edition of Tennyson’s Idylls of the King (“De Luxe” edn., facing p. 144; “Popular” edn., facing p. 134), illustrating the laying out of Elaine’s body in the boat that will take her to Camelot (the lines quoted are “Lancelot and Elaine,” ll. 1139–40). It was exhibited at the Leicester Galleries in 1911, and as part of the Ashmolean Museum’s “Centenary Exhibition” of Fortescue-Brickdale’s work (1972) as Item 21.

F-215 Frampton, Edward Reginald. “Enid: ‘Then she bethought her of a faded silk / A faded mantle and a faded veil.’” Painting. 1902. [Current location not known.] (*) A painting, illustrating Enid’s obedience to Geraint’s command, by selecting her humblest garment. (Information from Poulson, Quest, 213.)

F-216 Frampton, Edward Reginald. “Guinevere, Vivien, Elaine, and Enid.” Stained glass windows. n.d. [Current location not known.] (*) A set of four stained glass windows, depicting the four principal female characters from Tennyson’s Idylls. These were designed for the staircase in the home of Thomas Hughes, author of Tom Brown’s Schooldays. (Information from Poulson, Quest, 144, and Girouard, Return to Camelot, 144; the designs were attributed to Frampton by Rosemary Spiers [Poulson 157n6].)

F-217 Frampton, Edward Reginald. “The Passage of the Holy Grail to Sarras.” Painting (oil on canvas). 48.5 x 60.5 in. 1907. Private collection (Andrew Lloyd Webber). Reproduced (colour) in Pre-Raphaelite and Other Masters: The Andrew Lloyd Webber Collection, 118. Pre-Raphaelite and Other Masters, 299 (Cat. 84). Exhibited at the New Gallery, 1907. The picture shows a ship carrying the Holy Grail in a reliquary attended by two angels and three kneeling knights (Galahad, Bors, and Perceval).

F-218 Frampton, George James. “La Beale Isoude.” Sculpture (bronze bust). Height: 11.5 in. 1908. London: Christopher Wood Gallery. Reproduced in Christine Poulson, The Quest for the Grail, Fig. 41 (p. 174). An “idealised head” – young and pretty, with downcast eyes – only the title indicating that it is an Arthurian subject.

F-219 Frampton, George James. “Enid the Fair.” Sculpture (bronze bust). 1908. London: Christopher Wood Gallery. (*) An “idealised head,” only the title indicating that it is an Arthurian subject. (Information from Whitaker.)

F-220 Frampton, George James. “Heroines of the Arthurian legend.” Silver gilt door panels. Westminster: Astor House, Temple Place. 1895–1896. Reproduced: Seven of the nine panels appear in The Art Journal (1896): 162, 182. Nine panels (in three groups of three figures each), set in a mahogany door (still in situ, though the house is now used for offices). In each group, the central lady is “frontally positioned,” with

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the two either side facing her: “The Lady of the Isle of Avelyon and the Lady of the Lake with Excalibur flank Elaine. Morgan le Fay and La Beale Isoude look towards Guenevere who holds the rose that Tennyson’s queen preferred to the lily. The final trio is Lyonors, Enid and Alis la Beale Pilgrim . . .” (Whitaker, Legends, 246). Seven of the nine figures were exhibited at the Royal Academy in 1896, and are described (with B&W reproductions) in the review of the exhibition in The Art Journal (1896): 162, 182.

F-221 Franklin, J[ohn], illus. “King Arthur’s Death.” In The Book of British Ballads. Ed. S. C. Hall. 2 vols. London: Jeremiah How, 1842–1844. 1: 127–34. Reproduced: One of the illustrations (p. 127) is reproduced in Mancoff, Return, 131. – Three of the illustrations (pp. 127, 129, and 134) are reproduced in Mancoff, Arthurian Revival in Victorian Art, Figs. 17, 18, and 88. Franklin produced eight illustrations (engraved drawings) for this ballad, three of which are reproduced by Mancoff. In Hall’s edition, each poem has a three-quarter-page illustration (accompanying two or three stanzas of the text) on the first and last page of the poem, and half-page illustrations (filling the left column) on each of the intervening pages. (For the ballad being illustrated, see the entry for “King Arthur’s Death” in the Literature section.)

F-222 Fraser, Eric. “Prince Vortigern and the Child Merlin.” In English Legends. By Henry Bett. London: Batsford, 1950. Reproduced: 2nd edn. Illus. Eric Fraser. London, New York, Toronto, and Sydney: Batsford, 1952. Facing p. 13. – Also as English Myths and Legends. Illus. Michael Ayrton and Eric Fraser. New York: Dorset Press, 1991. This non-fiction account of Engish legends begins with a summary of the tale of Arthur, especially noting the associations of Arthur with particular locations (“hollow” hills in which he and his knights are said to be sleeping, etc.). As a work of non-fiction, the book does not qualify for inclusion here, but Fraser provides one Arthurian illustration (ink drawing) in a section on Myth and History: two dragons dominate the picture, wrapped together in a cave; Vortigern and Merlin are pictured in the top left, on rocks overlooking the dragons; Vortigern’s tower is in the top right.

F-223 F[redericks], A[lfred]. “Guenever.” In Stories of King Arthur and his Knights, Retold from Malory’s “Morte Darthur.” By U[riel] Waldo Cutler. London: George G. Harrap, 1905. Frontispiece. Reproduced: 2nd. ed. New York: Thomas Y. Crowell, 1924. [There are various later editions, with different illustrations.] The book is generously illustrated with reproductions of Pre-Raphaelite pictures, photographs (of the Round Table at Winchester, for instance, or a chapel at Glastonbury), and other pictures derived from other sources. The frontispiece (which may have been created especially for this volume; we have, at least, not been able to find an earlier printing of it), shows a young lady standing outside a castle tower as a group of armed knights approach in the background. (See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-224 French, Annie. “Tristram and Iseult.” Drawing (ink and watercolour). 9 x 14 in. ca. 1916. Private collection. (*) The Last Romantics, Item 526. (Information from The Last Romantics.)

F-225 Fripp, Charles Edwin. “Elaine from ‘Le Mort d’Arthur.’” Painting (watercolour). n.d. [Current location not known.] Reproduced in “Camelot 1996” (calendar). This watercolour shows Elaine in the boat being rowed down the river; there are farm fields in the background.

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F-226 Frith, W. S. “Elaine.” Sculpture. 1877. [Current location not known.] (*) (Information from Whitaker, Legends, 235.)

F-227 Froud, Brian. Good Faeries / Bad Faeries. Ed. Terri Windling. New York: Simon and Schuster Editions, 1998. The book contains drawings by Brian Froud of faeries, and offers a taxonomy of their different kinds. Accompanying each picture is a paragraph or two of text, also by Froud. Some of these paragraphs sketch the history of a particular character in various legends; some are fanciful descriptions of the faeries and their effects on humans. Arthurian characters such as Merlin are mentioned occasionally in these paragraphs as legendary background. Of the pictures themselves, however, only three can be classified as Arthurian. “The Guardian of the Sword” shows a winged woman in silver, wearing a blue cloak and a white mask, holding a red-handled sword in one hand; the text accompanying the picture mentions Arthur and Excalibur as one example of the manifestations of this good faerie. In “Gwenhwyfar,” a winged woman stands, draped in white, with sparkling stars crowning her red-gold hair; the text translates “Gwenhwyfar” as meaning “white shadow.” The third picture, in the half of the book entitled Bad Faeries, is “Morgana le Fay.” This painting depicts the head and neck of a woman, her head raised and eyes closed; black hair that sparkles with stars flows around her shoulders and is held back with an intricate clasp. The text explicitly refers to the relationship between Morgana and Arthur, as well as to the tradition of Morgana taking Arthur to Avalon. Note that there are no page numbers in this book, and the Good Faeries section begins at one cover, while the Bad Faeries section begins at the other cover.

F-228 Fuller, Sue. “Lancelot and Guinevere.” Etching (softground, colour). 6 x 8 in. 1944. Washington, DC: Smithsonian American Art Museum (accession no. 1979.98.88). Reproduction on the Smithsonian website: . A colour engraved print, of which thirty copies were made; besides the Smithsonian copy, additional copies are found at the National Gallery of Art in Washington, DC (); in the Fogg Art Museum, Harvard University, in Cambridge, MA (<www.artmuseums.harvard.edu/collections/>; in the Hunterian Museum and Art Gallery in Glasgow ). The design, in black and red, is abstract, though figures of Lancelot on the left and Guinevere on the right, facing one another, can be discerned.

F-229 Fuseli, Henry. “The Cave of Despayre.” Drawing (ink, wash, and watercolour over black chalk). 13 x 19.5 in. ca. 1769. Chicago: Art Institute of Chicago. Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 2. A drawing, illustrating a scene from Spenser, The Faerie Queene, I.ix. Prince Arthur and Una stand in the mouth of the cave with drawn sword, ready to rescue the Red Cross Knight.

F-230 Fuseli, Henry. “Prince Arthur’s Vision.” Painting. ca. 1789. [Current location not known.] (*) A painting, illustrating a scene from Spenser, The Faerie Queene, I.ix.13). This was commissioned for Thomas Macklin and exhibited in his Poets’ Gallery in London, as part of what was to be a series of 100 oil paintings illustrating scenes from British narrative poems. The engraved print (18 x 14 in., available “plain” or “in colours”) was prepared by P. W. Tomkins. (Information from A Catalogue of the Second Exhibition of Pictures, Painted for Mr Macklin, by the Artists of Britain, Illustrative of the British Poets [London: Poets Gallery, Fleet Street, 4 May 1789], 7 [Item 8].)

Gaele, William; see the entry for “Gale [or Gaele], William.” F-231 Galbreth, Jessica. “Excalibur.” Painting (watercolour). 2000. [Current location not known.] . A lady in white (identified by Galbreth, in her comments on the picture on the “enchanted art” website, as the Lady of the Lake) kneels, holding a sword upright in front of her; there is a dark tree in the background.

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F-232 Galbreth, Jessica. “The Lady of the Lake.” Painting (watercolour). 2000. [Current location not known.] . Reproduced at The Camelot Project Website, ed. Alan Lupack . A portrait of the lady, depicted here with her head and shoulders above the surface of the lake and with a crescent moon in the background.

F-233 Galbreth, Jessica. “Morgana Le Fey.” Painting (watercolour). 2000. [Current location not known.] . A mid-length portrait of the enchantress, showing her with long dark hair bound with a jewelled circlet.

F-234 Galbreth, Jessica. “Morgana Le Fey.” Painting (watercolour). 2000. [Current location not known.] . Reproduced at The Camelot Project Website, ed. Alan Lupack . A portrait of the dark-haired enchantress; she reclines, looking straight out at the viewer, with a fairy or sprite perched on one hand.

F-235 Gale [or Gaele], William. “Isolde.” Painting. n.d. London: Roy Miles Gallery. Bridgeman Art Library, no. 14982. A formal portrait of a redheaded lady (face and shoulders).

F-236 Gale [or Gaele], William. “The Wounded Knight.” Painting (oil on panel). 20 x 26.75 in. 1853. Private collection (Andrew Lloyd Webber). Reproduced (colour) in Pre-Raphaelite and Other Masters: The Andrew Lloyd Webber Collection, 110. Pre-Raphaelite and Other Masters, 299 (Cat. 73). Exhibited at the Royal Academy in 1854. The frame includes an inscription from Spenser, The Faerie Queene, VI.ii.41: “And there beside him sate upon the ground / His wofull Ladie, piteously complayning / With loud laments that most unluckie stound, / And her sad selfe with carefull hand constrayning / To wype his wounds, and ease their bitter payning.” The picture, then, is a forest scene, with the wounded knight, Aladine, lying on the ground with his head in the lap of his lady, Priscilla.

F-237 Galsworthy, Gay, illus. King Arthur of Britain, from Sir Thomas Malory’s “Morte D’Arthur.” By Sir Thomas Malory. Ed. Brian Kennedy Cooke. 2nd ed. The Golden Legend Series. London: Edmund Ward (Publishers), 1961. (*) A retelling of the story of Arthur from Malory (Gaines, Item B38); in the second edition, the original illustrations by Anthony Rado are replaced by illustrations by Galsworthy. (See also the entry for “Rado, Anthony.”) (Information from Gaines and from the OCLC WorldCat entry.)

F-238 Galsworthy, John G., illus. Sir Gawain and the Green Knight. Trans. M. R. Ridley. The Golden Legend Series. London: Edmund Ward (Publishers), 1962. A translation of Sir Gawain and the Green Knight into modern prose, illustrated with thirteen full-page, line drawings of various characters and scenes from the story, many of them of Gawain, but also several of the Green Knight (the one of the knight holding his head in his hand makes him look particularly fierce). There are also designs at ends of chapters.

F-239 Gandy, Joseph Michael. “The Tomb of Merlin.” Architectural design. 1815. [Current location not known.] (*) An architectural design for a fantastic “folly.” The design was exhibited at the Royal Academy in 1815: now lost. (Information from Poulson, Quest, 15.)

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F-240 “Gareth and Lynette.” Stained glass window. Glenalmond: Trinity College. ca. 1890. Reproduced: Two of the lights are reproduced (B&W) in Girouard, The Return to Camelot, Fig. 117 (p. 171). A memorial window in Trinity College, Glenalmond, includes scenes from Tennyson’s Gareth and Lynette.

F-241 Gaskin, Arthur Joseph. “Kilwych, the King’s Son.” Tempera on panel. 20 x 12.25 in. 1901. Birmingham: Birmingham Museums and Art Gallery. Reproduced (colour) in Snyder, World of King Arthur, 93. – Also (colour) in Whitaker, Legends, Pl. 31. – Birmingham Museums and Art Gallery website: . The painting is based on the story of “Culhwch and Olwen” from the Mabinogion. The scene is depicted in a manner reminiscent of the style of a medieval tapestry. Kilwych, about to set out in search of Olwen, is shown in late medieval red hose and fashionable garb, astride a white horse, with several hounds round about.

F-242 Gaskin, Arthur Joseph. “The Lady of Shalott.” Drawing (pencil on paper). 11.8 x 9.7 in. 1888. Birmingham: Birmingham Museums and Art Gallery. Reproduced: Birmingham Museums and Art Gallery website: . A drawing of the Lady, seated with her face turned away from a large window through which can be seen a broad landscape; in the space above the window appear stanzas of Tennyson’s poem.

F-243 Geddes, Wilhemina. “Galahad and the soldier saints.” Stained glass window. Ottawa: St Bartholemew’s Church. n.d. (*) (Information from Whitaker, Legends, 313.)

F-244 Gere, Charles, and Margaret Gere, illus.. The Noble and Joyous Book Entytled Le Morte Darthur Notwythstondyng it Treateth of the Byrth, Lyf, and Actes of the sayd King Arthur, of his noble knyghtes of the Rounde Table, theyr mervayllous enquestes and adventures, thachyevyng of the Sangreal & in thende the dolorous deth and departyng out of thys worlde of them al, whiche book was reduced in to Englysshe by Syr Thomas Malory Knyght. By Sir Thomas Malory. Chelsea: Ashendene Press, 1913. (*) Reproduced: One of the wood engravings (“Elaine”) was reproduced in a pamphlet: From Sir Thomas Malory’s Noble and Joyous Book Entitled Le Morte Darthur: An Original Wood-cut Used by the Ashendene Press. Birmingham, MI: Silverado Press, 1952. – Another, “Arthur’s Departure for Avalon,” is reproduced in Whitaker, Legends, Fig. 54. Charles and Margaret Gere provided two full-page and twenty-seven partial-page illustrations to this art edition of Malory (all but three of them were by Charles); their drawings were engraved in wood by W. H. Hooper and J. B. Swain (Ransom, 66–67; also see Gaines, Item A20). The edition was limited to 145 paper copies, eight more on vellum, and two on Japanese paper. (Information from Ransom, Gaines, and OCLC WorldCat entry.)

F-245 Gibbings, Robert, illus. Le Morte Darthur: The Story of King Arthur and of his Noble Knights of the Round Table, Written by Sir Thomas Malory, First printed by William Caxton, now modernised, as to spelling and punctuation. By Sir Thomas Malory. Adapted by A. W. Pollard. 3 vols. New York: Golden Cockerel Press, for the Limited Editions Club, 1936. Reproduced: 1 vol. New York: Heritage Press, for the Heritage Club, [1955].

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– One illustration, “The Last Battle,” is reproduced in Whitaker, Legends, Fig. 59. An art edition of Malory, limited to 1500 copies. Tthe text is based on the modernization of Malory by A. W. Pollard, first published in 1900. The Pollard text is here decorated with wood engravings by Robert Gibbings (Gaines, Item A22; the title-page is reproduced facing p. 34). Gibbings made some sixty-three wood block decorations, which are repeated in various combinations throughout; each opening has some combination of these decorative motifs around the edges of the text block.

F-246 Gibbs, R. “Elaine.” Painting (oil on canvas). 1875. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

F-247 Gilbert, Sir John. “The Lady of the Lake.” Engraved drawing. 1853. [Current location not known.] (*) (Information from Suriano, Pre-Raphaelite Illustrators, 21.)

F-248 Gilbert, Sir John. “Sir Lancelot du Lake: ‘She Brought Him to a River Then.’” Painting (oil on canvas). 1886. London: Guildhall Art Gallery. Reproduced (B&W) in Whitaker, Legends, Fig. 49. A painting based on the conflict between Lancelot and Turquine. Lancelot, on horseback, is in the foreground, facing a knight in the background; a maiden stands under a tree hung with shields.

F-249 Glasscock, Frederick T. King Arthur’s Hall of Chivalry, Tintagel. 1929–1933. As a headquarters for his chivalric order / boys’ club (The Fellowship of the Knights of the Round Table of King Arthur), Glasscock bought Trevena House in the centre of Tintagel, and pulled the walls out of the back half to create a hall, to which he added a barrel vault ceiling: this was the original King Arthur’s Hall, in which the main artistic feature is a series of ten paintings by William Hatherell. Later, Glasscock built at the back of the house a larger and grander hall (the Great Hall of Chivalry), with a gallery surrounding it on three sides, and featuring a series of seventy-three stained glass windows (six large, sixty-seven small) by Veronica Whall. Also in the gallery is a collection of Arthurian art, mostly framed book illustrations by artists such as Gustave Doré, Margaret Tarrant, and others. In the south and western galleries, which lead from King Arthur’s Hall to the Great Hall, there are six paintings by Chas. Willig, as well as seven studies in ink by Hatherell towards the ten paintings which he did for the original Hall. In the north gallery there are four more paintings by Chas. Willig. The hall was officially opened on Pentecost 1933. Some account of the decoration of King Arthur’s Hall, Tintagel, is given in Excalibur 3.3 (Apr. 1934): 91–92. A description of the house and its history, illustrated with colour images of some of the paintings and stained glass windows, can be found in the booklet (sold at the house) One Man’s Dream: The Story of King Arthur’s Great Halls, Tintagel, Cornwall, England (Tintagel: Sword in the Stone Ltd., n.d. [1990s]). (See also the entries for “Hatherell, William,” “Whall, Veronica,” and “Willig, Chas.,” below; see also the entries for “Glasscock, Frederick T.” in the Literature section.)

F-250 Gloag, Isobel Lilian. “The Magic Mantle” (or “The Enchanted Cloak”). Painting (oil on canvas). 12 x 9 in. 1898. Private collection. Christie’s Images (), no. VIC090695336. This illustrates the scene in the ballad of the “The Boy and the Mantle” when Guenevere, the first to try on the magic mantle, flees, naked, having been shown to have been unfaithful. Arthur, on his throne, rests his chin on his hand. (See also the entry for “The Boy and the Mantle” in the Literature section.)

F-251 Goetze, Sigismund Christian Herbert. “The Vision of Sir Percival’s Sister: ‘Streamed thro’ my cell a cold and silver beam.’” Painting. 1902. [Current location not known.]

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Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 25 (p. 130). Percival’s sister, in the habit of a nun, beholds the Grail borne by an angel, as an illustration to Tennyson, “The Holy Grail.”

F-252 Goldie, Charles, and H. W. Brewer. “Then rose the dumb old servitor, and the dead / Steer’d by the dumb, went upward with the flood; / In her right hand the lily, in her left / The letter–all her bright hair streaming down.” Painting. 1861. [Current location not known.] (*) A painting of the death journey of Elaine, floating down to Camelot; it is known to have been exhibited in 1861 at the exhibition of the Royal Society of British Artists. (Information from Poulson, Quest, 206.)

F-253 Goodwin, Albert. “The Lady of Shalott.” Painting (watercolour and pencil on paper). 12 x 8 in. n.d. [1890s?]. Private collection. Christie’s Images (), no. VIC191291010. This illustrates the final portion of Tennyson’s “The Lady of Shalott”; the boat with the body of the Lady floats down the river towards Camelot. The banks on either side of the stream are dense with trees, all cast in a golden glow as the sun sets.

F-254 Gore, William Henry. “Gareth and Lynette.” Painting. 1880. [Current location not known.] (*) Exhibited at the Royal Society of British Artists in 1880; now lost. (Information from Poulson, Quest, 69, who says that the picture was probably a landscape, despite the quotation from Tennyson [ll. 1154–57 of Gareth and Lynette] attached to it.)

F-255 Gow, Mary L. “Elaine.” Painting. 1876. [Current location not known.] (*) (Information from Whitaker, Legends, 221.)

F-256 Gray, Miranda, illus. Merlin and Woman: The Second Merlin Conference. Ed. R[obert] J. Stewart. London: Blandford Press, 1988. Gray illustrates this collection of essays and short stories with B&W line drawings; the main figure in several of these is identified as Merlin. The first five illustrations are reproductions of drawings from The Merlin Tarot (designed by R[obert] J. Stewart, illustrated by Gray): “The Worlds, Dragons and Trumps”; “The Guardian”; “Judgement”; “The Priestess”; and “Death.”

F-257 Gray, Miranda, illus. The Merlin Tarot. Designed by R[obert] J. Stewart. Wellingborough: Aquarian Press, 1988. (*) A pack of tarot cards, with an accompanying book: The Merlin Tarot: Images, Insight and Wisdom from the Age of Merlin, by R[obert] J. Stewart. The decoration of the cards by Gray uses images from the medieval legends of Merlin. (Information from OCLC WorldCat.)

F-258 Green, John, illus. King Arthur: Coloring Book. By Tom Crawford. Dover Coloring Book. New York: Dover Publications; London: Constable, 1995. (*) A collection of pictures for colouring, based on the adventures of King Arthur and Sir Launcelot. This is a colouring book version of a storybook published in the previous year (for which see the entry for “Crawford, Tom,” in the Literature section). (Information from OCLC WorldCat.)

F-259 Grimshaw, [John] Atkinson. “Elaine.” Painting (oil on canvas). 32.5 x 48 in. 1877. Private collection. Reproduced (colour) in Robertson, Atkinson Grimshaw, Pl. 56. – Also in Wood, The Pre-Raphaelites, 133. – Also in Coghlan, Illustrated Encyclopedia, 49.

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[Leeds, City Art Gallery], Atkinson Grimshaw, 1836–1893 [exhibition catalogue], Item 65, which records an inscription on the back: “Elaine[:] And the dead, steer’d by the dumb, went upward with the flood. Idylls of the King–Tennyson. Painted by Atkinson Grimshaw at ye castle by the sea, Scarborough, A.D. 1877” (the quotation is from Lancelot and Elaine, 1146–47). Grimshaw did two paintings of the barge carrying Elaine or the Lady of Shalott to Camelot. “Elaine” (1877), unlike Grimshaw’s “The Lady of Shalott,” includes a bargeman in the dragon-prowed boat, as in the story of Elaine of Astolat. Here, the boat passes along the river past an elaborate skyline of buildings; in this, the picture has a certain broad similarity to Doré’s picture of the subject, with its neo-Gothic skyline (Grimshaw is known to have owned a copy of Tennyson’s Elaine with Doré’s illustrations, published in 1868). (See also the entry for Grimshaw, “The Lady of Shalott.”)

F-260 Grimshaw, [John] Atkinson. “Guinevere.” Painting (oil on board). 19 x 15 in. n.d. Private collection. Christie’s Images (), no. NCP260387099. Guinevere kneels in prayer in front of an open window, through which a mounted knight in armour can be seen riding in the moonlight.

F-261 Grimshaw, [John] Atkinson. “The Lady of Shalott.” Painting (oil on canvas). 32.75 x 48.5 in. 1878. Private collection (Andrew Lloyd Webber). Reproduced (colour) in Pre-Raphaelite and Other Masters: The Andrew Lloyd Webber Collection, 169. – Also in Day, The Search for King Arthur, 120. Pre-Raphaelite and Other Masters, 300 (Cat. 125). Grimshaw did two paintings of the barge carrying Elaine / the Lady of Shalott to Camelot. In “The Lady of Shalott,” the Lady is alone in the dragon-prowed boat (there is no bargeman), floating in golden moonlight past the trees on the shore (this moonlit scene is quite a bit darker than that in “Elaine”). (See also the entry for Grimshaw, “Elaine.”) A charcoal study of the “Lady of Chalotte” [sic] was sold among Grimshaw’s effects in Dec. 1893 (current location not known).

F-262 Hacker, Arthur. “The Temptation of Sir Percival.” Painting (oil on canvas). 52 x 62 in. ca. 1894. Leeds: Leeds City Art Gallery. Reproduced (colour) in Mancoff, Return, 96. – Also (B&W) in Christine Poulson, The Quest for the Grail, Fig. 34 (p. 156). Exhibited at the Royal Academy in 1894. The Last Romantics, Item 127. An illustration to the scene in Malory, Le Morte Darthur, Book 14, Chap. 9, in which Sir Percival is tempted by the devil in disguise as a young woman. Here, an armed knight, nimbused, sits gazing upon his cross-shaped sword with a bowl of red wine in his hands; beside him and leaning towards him, but not in his line of sight, is a beautiful woman.

F-263 Hallyar, J. “Enid: ‘And the sweet voice of a bird.’” Painting. 1860. [Current location not known.] (*) A painting, illustrating a scene from Tennyson’s Enid. (Information from Whitaker, Legends, 231.)

F-264 Harding, S. “Belphoebe.” Painting. ca. 1789. [Current location not known.] (*) A painting, illustrating a scene from Spenser, The Faerie Queene, IV.viii.11. This was commissioned for Thomas Macklin and exhibited in his Poets’ Gallery in London, as part of what was to be a series of 100 oil paintings illustrating scenes from British narrative poems. The engraved print (10 x 8 in., available “plain” or “in colours”) was prepared by J. Delatre. (Information from Poetic Description of Choice and Valuable Prints, Published by Mr Macklin at the Poets’ Gallery, Fleet Street [London: T. Bensley, 1794], 78.)

F-265 Harrison, Florence, illus. Early Poems. By William Morris. London, Glasgow, and Bombay: Blackie and Son; New York: Dodge Publishing Co., 1914.

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The Last Romantics, Item 487. For this edition of Morris’ “early poems” (essentially a reissue of his The Defence of Guenevere and Other Poems), Harrison provided sixteen colour plates (of which four illustrate Arthurian poems), twelve full-page B&W drawings (five for Arthurian poems), as well as numerous head- and tailpieces, partial-page drawings, and decorated initials.

F-266 Harrison, Florence, illus. Tennyson’s “Guenevere” and Other Poems. By Alfred Tennyson, Baron. London, Glasgow and Bombay: Blackie and Sons, 1912. Reproduced: Six illustrations are reproduced at The Camelot Project Website, ed. Alan Lupack . – Six illustrations are reproduced (B&W) in Mancoff, Return, 18, 21, 90, 144, 157, 161; and four are reproduced (colour) on 59, 92, 119, 131. – Another, “Three Angels Bear the Grail,” is reproduced in Mancoff, Arthurian Revival in Victorian Art, Pl. VII; and two are reproduced (B&W) as Figs. 100 and 101. Harrison used both B&W and full-colour illustrations for this volume of Tennyson’s poetry. The full-colour image of Arthur bidding Guinevere goodbye at the convent is particularly effective in conveying Arthur’s Christ-like attributes, as Arthur’s position in the doorway mimics that of a Crucifix in the background.

F-267 Hassall, Joan, illus. Lancelot and Elaine, being the Eighth to the Twentieth Chapters of the Eighteenth Book of Sir Thomas Malory’s “Le Morte Darthur.” By Sir Thomas Malory. High Wycombe: Hague and Gill, 1948. (*) Reproduced: High Wycombe: Hague, Gill, and Davey, 1952. Eric Gill’s private press, Hague and Gill, planned to produce an art edition of the complete text of Malory. This project was scaled back, and only the Lancelot and Elaine portion of Malory was printed, limited to 200 copies, including two engraved illustrations by Joan Hassall (Gaines, Item B39). This smaller project, too, however, was abandoned incomplete before the copies were bound and the book published. The sheets were being destroyed when the bookseller G. F. Sims intervened, purchased the surviving sets of sheets, and had them bound. In 1952, 500 additional copies of the book were produced by Hague, Gill, and Davey. (Information from Gaines and from OCLC WorldCat.)

F-268 Hatherell, William. “The Achievement of the Sangreal by Sir Galahad.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. Reproduced: B&W reproductions of Hatherell’s paintings appear in Frederick T. Glasscock, The Symbolic Meaning of the Story of King Arthur (Tintagel: King Arthur’s Hall, 1929). – This painting is reproduced (colour) in Day, The Search for King Arthur, 131. – Also in One Man’s Dream (Tintagel: Sword in the Stone Ltd., n.d. [1990s]), 18. – Also in “Camelot 1996” (calendar); also in “Camelot 1997” (calendar). Hatherell produced a series of paintings for Glasscock’s “King Arthur’s Hall,” in Tintagel. In this painting, Galahad has sight of the Grail, surrounded by angels. (See also the entry for “Glasscock, Frederick T.”)

F-269 Hatherell, William. “Arthur as a Babe being Handed to Merlin at the Postern Gate of Tintagel Castle.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-270 Hatherell, William. “The Entrance of Sir Galahad to the Court of King Arthur.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. Reproduced in “Camelot 1996” (calendar).

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Sir Galahad arrives at Camelot. One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-271 Hatherell, William. “The Final Battle between King Arthur and Sir Mordred.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. Reproduced (colour) in Day, The Search for King Arthur, 137. The Battle of Camlann. One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-272 Hatherell, William, illus. King Arthur and his Knights, Retold from Malory’s “Morte Darthur.” By U[riel] Waldo Cutler. “New and revised edition.” London: George G. Harrap, 1933. Eight of Hatherell’s ten paintings for Frederick T. Glasscock’s King Arthur’s Hall (Tintagel) were used as illustrations (colour) for this reprinting of Cutler’s tales from Malory. (See also the entry for “Glasscock, Frederick T.” See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-273 Hatherell, William. “King Arthur Being Offered the Sword Excalibur by the Lady of the Lake.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. Reproduced (colour) in Day, The Search for King Arthur, 74. – Also in “Camelot 1996” (calendar); also in “Camelot 1997” (calendar). One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” Here, Arthur is offered Excalibur by the Lady of the Lake. (See also the entry for “Glasscock, Frederick T.”)

F-274 Hatherell, William. “The Knighting of Galahad by Sir Launcelot.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-275 Hatherell, William. “The Passing of Arthur.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. Arthur being taken by the Queens to Avalon. One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-276 Hatherell, William. “The Rescue of Queen Guenevere by Sir Launcelot from the Fire.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. Reproduced (colour) in Day, The Search for King Arthur, 136. – Also in One Man’s Dream (Tintagel: Sword in the Stone Ltd., n.d. [1990s]), 11. – Also in “Camelot 1998” (calendar). Guenevere is at the stake in the centre of the picture, with Lancelot on horseback with upraised axe in front of her. One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-277 Hatherell, William. “The Return of Queen Guenevere and Launcelot to King Arthur.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933. Reproduced in “Camelot 1998” (calendar). Guenevere and Lancelot, penitent, in front of the king. One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-278 Hatherell, William. “Sir Launcelot Refused the Sight of the Sangreal.” Painting (oil on canvas). Tintagel: King Arthur’s Hall. 1928–1933.

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Reproduced in “Camelot 1997” (calendar). One of Hatherell’s series of paintings for Glasscock’s “King Arthur’s Hall.” (See also the entry for “Glasscock, Frederick T.”)

F-279 Herbert, Susan. “The Lady of Shalott.” The Cats Gallery of Art. London and New York: Thames and Hudson, 1990. Reproduced: The Cats Gallery of Western Art, with 63 Colour Plates. London and New York: Thames and Hudson, 2002. 118–19. Herbert has made something of a career reproducing famous paintings with cats substituted for the human figures in them; here she reproduces J. W. Waterhouse’s 1888 “The Lady of Shalott” (Tate Gallery), with a cat replacing the Lady (see the entry below for the Waterhouse painting).

F-280 Herter, Albert, illus. Tales of the Enchanted Islands of the Atlantic. By Thomas Wentworth Higginson. New York: Macmillan and Co., 1899. Reproduced: New York: Macmillan and Co., 1930. – Also in the Children’s Literature Reprint Series. Great Neck, NY: Core Collection Books, 1976. – Illustrations reproduced on The Camelot Project Website, ed. Alan Lupack . Two of Herter’s illustrations for the book are on Arthurian themes: “Arthur’s Vision of the Wheel of Fortune,” showing Arthur fastened to the wheel, which lowers him as others watch in the background; “Merlin, Changed into the Appearance of a Fair Young Squire,” showing a young-looking Merlin speaking to a maiden.

F-281 Hill, Mrs David Octavius. “Sir Galahad, the Good Knight: ‘My good blade carves the casques of men.’ ” Sculpture (marble bust). 1863. [Current location not known.] (*) A sculpture, inspired by Tennyson (the quotation used is the first line of Tennyson, Sir Galahad). Exhibited at the Royal Academy in 1863; now lost. (Information from Poulson, Quest, 116.)

F-282 Hinton, Walter H., illus. Sir Galahad: A Christmas Mystery. By William Morris. Chicago: Blue Sky Press, 1904. A fine press, limited edition of Morris’ Sir Galahad, with a frontispiece from a painting by Hinton.

F-283 Hitchcock, Harold. “Arthur and Guinevere.” Painting (watercolour on board). 20 x 24 in. 1966. Private collection. (*) Harold Hitchcock: “Prismatic Transition, 1983–1989,” Item 24. Hitchcock is one of the few major British artists of the twentieth century who has done a substantial body of Arthurian paintings. Some of these are Claude Lorrain-like landscapes in which the human figures are dwarfed by their natural surroundings, and often the scene is overwhelmed by light in the manner of Turner. Whitaker characterizes Hitchcock’s Arthurian paintings as his vision of the “Peaceable Kingdom.”

F-284 Hitchcock, Harold. “Arthur and Guinevere.” Painting (oil on canvas). 30 x 40 in. 1971. Private collection. Reproduced (colour) in Ian Williamson, Harold Hitchcock: A Romantic Symbol in Surrealism, Pl. 13. A painting dominated by grand, gnarled trees, among which can be seen various buildings; on the right side of the composition is a set of stairs and a wall with a Gothic stained glass window; a man and a woman stand at the top of the stairs beside the window.

F-285 Hitchcock, Harold. “Arthur and Guinevere at Avalon.” Painting (watercolour). 30 x 40 in. 1971. Private collection. (*)

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Harold Hitchcock: Painter of Romantic Landscape, Item 14. Arthur and Guinevere stand together under an arch. (Information from Whitaker, Legends, 330.)

F-286 Hitchcock, Harold. “Arthur’s Arrival at Marazion” [I]. Painting (oil on board). 32.5 x 45 in. 1989. Private collection. Reproduced (B&W) in Harold Hitchcock: “Prismatic Transition, 1983–1989,” 16. Harold Hitchcock: “Prismatic Transition, 1983–1989,” Item 2 (painted especially for this exhibition, as one of five pieces in a series). The painting is of trees and light, the centre dominated by a knight on horseback.

F-287 Hitchcock, Harold. “Arthur’s Arrival at Marazion” [II]. Painting. n.d. Private collection. Reproduced (as a poster): Carmel-on-the-Sea, CA: Phillips Galleries, n.d. . A great ship in mist arrives at a harbour; the right side of the picture is dominated by architectural ruins and trees.

F-288 Hitchcock, Harold. “Avalon.” Lithograph. 1988. Private collection. (*) A limited edition print. (Information from Harold Hitchcock: “Prismatic Transition, 1983–1989,” p. 31.)

F-289 Hitchcock, Harold. “Camelot.” Painting. 31.5 x 43.5 in. 1969. Private collection. Reproduced (colour) in Ian Williamson, Harold Hitchcock: A Romantic Symbol in Surrealism, Pl. 7. A Turneresque painting of green light, with a ship in the lower left corner, and in the lower right a mounted knight riding behind a figure walking with a cane. Within the light along the right side of the canvas can be seen fragments of buildings, trees, a group of people, and the silhouette of a bird (perhaps a dove).

F-290 Hitchcock, Harold. “The Coronation of Arthur.” Painting (oil on canvas). 30 x 40 in. 1983. Private collection. (*) Harold Hitchcock: Painter of Romantic Landscape, Item 16. The painting juxtaposes an image of Arthur (taking his coronation oath on the hilt of his sword) with an image of peasant life. (Information from Whitaker, Legends, 330, and from Harold Hitchcock: Painter of Romantic Landscape.)

F-291 Hitchcock, Harold. “The Holy Grail.” Painting (watercolour). 20 x 30 in. 1971. Private collection. (*) Harold Hitchcock: Painter of Romantic Landscape, Item 16.

F-292 Hitchcock, Harold. “The Isle of Avalon.” Painting. 1984. Private collection. (*) Harold Hitchcock: Painter of Romantic Landscape, Item 13. (Information from Whitaker, Legends, 331.)

F-293 Hitchcock, Harold. “The Isle of Merlin.” Painting (oil on board). 15.75 x 21.5 in. 1983. Private collection. Reproduced (B&W) in Whitaker, Legends, Fig. 72. Harold Hitchcock: “Prismatic Transition, 1983–1989,” Item 20. Harold Hitchcock: Painter of Romantic Landscape, Item 23. The island is depicted as a grand Claudian landscape with waterfalls; massive trees dwarf a church tower and a few very small human figures. On the right are knights approaching a castle.

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F-294 Hitchcock, Harold. “Knight of the Holy Grail.” Painting. n.d. Private collection. Reproduced (as a poster): Carmel-on-the-Sea, CA: Phillips Galleries, n.d. . The picture is dominated by a massive, classical arch, through which can be seen a distant park-like landscape; a knight stands on the left side of the archway, facing the viewer.

F-295 Hitchcock, Harold. “Landscape with Arthur and Guinevere.” Painting (watercolour). 14.5 x 17.5 in. 1971. Private collection. (*) Harold Hitchcock: Painter of Romantic Landscape, Item 12.

F-296 Hitchcock, Harold. “Medieval Glastonbury.” n.d. Private collection. (*) Reproduced (as a poster): Carmel-on-the-Sea, CA: Phillips Galleries, 1985. . Glastonbury is represented here by a series of images including some associating the place with the Grail quest. (Information from Whitaker, Legend, 331.)

F-297 Hitchcock, Harold. “The Road to Avalon.” Painting (watercolour). 20 x 30 in. 1971. Private collection. (*) Harold Hitchcock: Painter of Romantic Landscape, Item 15.

F-298 Hitchcock, Harold. “Tintagel.” Painting (oil on board). 21.5 x 31.5 in. 1984. Private collection. Reproduced (colour) in Harold Hitchcock: Painter of Romantic Landscape, [4]. Harold Hitchcock: Painter of Romantic Landscape, Item 27. A landscape of large trees and small buildings, suffused with yellow light; in the foreground is a beached row-boat. A group of knights on white horses can be seen in the middle distance on the right.

F-299 Hooke, Richard. “Merlin.” Painting. n.d. Collection of the artist. Reproduced in Matthews, Merlin: The Pitkin Guide, 18. Merlin stands in the foreground, arms outstretched, surrounded by a fiery aurora and a circle of standing stones; above the stones, in the “sky,” warriors of many ages with various types of weapons can be seen.

F-300 Horvitz, Shelah. “I am Half-Sick of Shadows. . . .” Drawing (pencil on paper). 16.25 x 13.75 in. 1981. Private collection. Reproduced in Whitaker, Legends, Fig. 42. – Also in Ladies of Shalott, 114. Ladies of Shalott (exhibition catalogue), Item 17. A naked woman sits, clasping knees to chest, with her back to the tapestry upon which she has been working; behind her in an oval mirror, three figures can be seen, being Lancelot, Arthur, and Guenevere. Ms Horvitz has described her picture in “My Lady of Shalott,” Journal of Pre-Raphaelite Studies 3 (1983): 64–68.

F-301 Houston, James. “Excalibur.” Glass Sculpture. 1963. New York: Steuben. Reproduced: A (B&W) photograph of the sculpture is reproduced in The Arthurian Handbook, 237. Though its title is “Excalibur,” this sculpture is of a sword (silver blade and gold hilt) in a (crystal) stone.

F-302 Howard and Hastings, illus. Stories of King Arthur and his Knights, Illustrated in Color. By U[riel] Waldo Cutler. Revised edn. New York: Thomas Y. Crowell, 1924. There are various editions and reprints of the text, with different sets of illustrations.

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The 1924 edition has original colour plates: the frontispiece (“They went eagerly to the battle,” showing two knights tilting in a forest clearing) is signed “Howard and Hastings”; there are eight other plates (colour) by Frank Watkins. (See also the entry for “Watkins, Frank,” below. See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-303 Hughes, Arthur. “Arthur in the Death Barge” (or “Arthur Carried Away to Avalon and the Sword Thrown Back into the Lake”; or “The Passing of Arthur”; or “The Queens in the Barge”). Wall mural (distemper on whitewashed brick). 16.6 x 12.5 in. Oxford: Library of the Oxford Union. 1857–1858. Reproduced in J. Christian, Oxford Union Murals, on colour microfiche, Item 1D2. – Also in Leonard Roberts, Arthur Hughes, Pl. 24. Roberts, Arthur Hughes, Items 38, 38.2, 38.3, 38.4, and 38.5; colour pl. 25; B&W fig. on p. 144. Arthur and the three queens occupy the centre of the composition, with Bedevere and Excalibur on the left. A set of three sketches in ink for the mural are preserved in the Tullie House Museum and Art Gallery in Carlisle (accession no. 125–1949, 448A; reproduced as Item 1D7 on the microfiche accompanying the Christian book, and on p. 144 of the Roberts catalogue).

F-304 Hughes, Arthur. “The Birth of Tristram.” Drawing (red chalk, black ink, and bodycolour on paper). 23 x 21.5 in. 1861. Birmingham: Birmingham Museums and Art Gallery. Reproduced in Leonard Roberts, Arthur Hughes, Pl. 34. Roberts, Arthur Hughes, Item 54 (and Pl. 34). A cartoon for a portion of a stained glass window on Arthurian themes manufactured by Morris and Co. for Harden Grange, based on the story in Malory of the death of Tristram’s mother, Queen Elizabeth, after giving birth to Tristram. (See also the entry for Hughes, Arthur, and William Morris, “The Birth of Tristram”; see also the entry for “Morris and Co.: Harden Grange.”)

F-305 Hughes, Arthur. “Elaine with the Armour of Launcelot” (or “The Knight’s Guerdon”). Painting (oil on panel). 17.25 x 8.75 in. 1867. Private collection. Reproduced (colour) in Mancoff, Return, 80. – Also in Leonard Roberts, Arthur Hughes, Pl. 62. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 53. Roberts, Arthur Hughes, Item 92 and Pl. 62. This is based on a scene from Tennyson, The Idylls of the King. Elaine holds the armour in her lap and gazes down upon it.

F-306 Hughes, Arthur. “Enid and Geraint” (or “The Brave Geraint”). Painting (oil on canvas). 10 x 14 in. (with arched top). 1859–1863. Private collection. Reproduced (colour) in Leonard Roberts, Arthur Hughes, Pl. 36. – Also in Wood, The Pre-Raphaelites, 57. – Also in Mancoff, Return, 85. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 50. – Also in Christine Poulson, The Quest for the Grail, Pl. 13. Roberts, Arthur Hughes, Item 55.3 and Pl. 36. This is based on Tennyson, “The Marriage of Geraint.” Enid lies on the ground, her head resting on her hands, with a lute lying beside her; Geraint sits behind her, one hand touching her hair, the other on a sheathed sword. It is the same composition as that of Hughes’ “The Rift Within the Lute,” with the addition of the figure of Geraint.

F-307 Hughes, Arthur. “The Lady of Shalott” (triptych). Painting (oil on panel). 1863–1864. [Current location not known.] Reproduced: Two studies for this are reproduced (one in colour, one in B&W) in Leonard Roberts, Arthur Hughes, Pl. 47 and fig. 66.3 on p. 162.

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Roberts, Arthur Hughes, Items 66 and 66.3, 66.4, 66.5 (Item 66.2 is cancelled, as “not by Hughes”), and Pl. 47 and fig. 66.3 on p. 162. This illustrates the scene from Tennyson, “The Lady of Shalott.” The current location of the triptych is not known, but three studies for it are extant (watercolour [private collection], oil on canvas [Courtauld Institute], oil [gift of the artist to Alfred, Lord Tennyson; current location unknown]). The lady, on her knees in her boat, reaches up to hold a branch out of her way; swans can be seen in the background.

F-308 Hughes, Arthur. “The Lady of Shalott.” Painting (oil on canvas). 3 x 5 ft. 1873. Private collection. Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 48 (p. 191). – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 55. – Two studies for this are reproduced (one in colour, one in B&W) in Leonard Roberts, Arthur Hughes, Pl. 69 and fig. 121.2 on p. 181. Roberts, Arthur Hughes, Items 121 and 121.2 (and Pl. 69 and fig. 121.2 on p. 181). This illustrates a scene from Tennyson, “The Lady of Shalott.” The lady in her boat drifts close to shore, where various women react in awe and fear. (The painting was owned by the Fine Arts Society in the early 1970s and again around 1980, but was sold by them [twice] and its present location is unknown. A study in oil of ca. 1872 is also extant, but its current location is not known.)

F-309 Hughes, Arthur. “Overthrowing of the Rusty Knight” (or “Gareth Helps Lyonors and Overthrows the Red Knight”). Painting (oil on panel). 36.5 x 17 in. 1894–1908(?). [Current location not known.] Reproduced (colour) in Leonard Roberts, Arthur Hughes, Pl. 100. – Also in “Camelot 1999” (calendar). Roberts, Arthur Hughes, Item 300 and Pl. 100. While the current location of the painting is unknown, the composition is known from reproductions. Gareth is in the middle background of the picture, while Lyonors kneels in the corner of the foreground looking back at him. “The subject was likely inspired by Tennyson’s Gareth and Lynette” (Roberts 221).

F-310 Hughes, Arthur, illus. Phantastes: A Faerie Romance for Men and Women. By George MacDonald. London: Arthur C. Fifield, 1905. Roberts, Arthur Hughes, Item B58.1. The frontispiece is an image of “The Meeting of Sir Galahad and Sir Percivale” (ink on paper), showing two mounted knights in a forest scene, one on a white horse and one on a black.

F-311 Hughes, Arthur. “The Rift Within the Lute.” Painting (oil on canvas). 30.5 x 45.75 in. 1861–1862. Carlisle: Tullie House Museum and Art Gallery. Reproduced (colour) in Leonard Roberts, Arthur Hughes, Pl. 35. – Also (B&W) in Whitaker, Legends, Fig. 46. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 49. Roberts, Arthur Hughes, Item 55 and 55.2, and Pl. 35. The title comes from Vivien’s song, in Tennyson’s “Merlin and Vivien,” forecasting the demise of Arthur’s realm. This composition was used again by Hughes for his “Enid and Geraint.” A preliminary ink on paper sketch is preserved in the Fitzwilliam Museum in Cambridge (PD.54–1950).

F-312 Hughes, Arthur. “Sir Galahad” (or “The Meeting of Sir Galahad with the Grail”). Painting (oil on canvas). 44.5 x 66 in. 1865–1870. Liverpool: Walker Art Gallery. Reproduced: Frequently reproduced, as in “Camelot 1998” (calendar). – Also (colour) in Whitaker, Legends, Pl. 1. – Also in Mancoff, Arthurian Revival in Victorian Art, Pl. V. – Also in Leonard Roberts, Arthur Hughes, Pl. 53. – Also (B&W) in Mancoff, Return, 122.

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Roberts, Arthur Hughes, Item 75 and 75.2, 75.3, and Pl. 53. An illustration of a scene from Tennyson’s “Sir Galahad.” Galahad, bowed over the neck of his white horse, meets three bright angels that stream across the top of the picture. A study and a reduced version in oil were produced, though their current locations are not known.

F-313 Hughes, Arthur. “Sir Galahad” (or “La Belle Dame sans Merci”). Painting (oil on canvas). 35 x 52.5 in. 1892–1894. [Current location not known.] Reproduced (B&W) in Leonard Roberts, Arthur Hughes, 219. Roberts, Arthur Hughes, Item 294 and fig. 294 on p. 219. Sir Galahad rides in a forest landscape, accompanied by three angels on foot. The painting was completed and altered after his death, almost certainly by Hughes’ sons, who painted out a second, female rider. The painting, then, was originally conceived as a “Sir Galahad” but later, by the addition of the lady, had been turned into an illustration to Keats’ “La Belle Dame sans Merci”; by painting out the lady and changing the title, his sons “restored” the original subject of the painting. A preliminary sketch also survives, and is now in the collection of Dennis T. Lanigan of Saskatoon, Canada (brown ink and pencil; 4.5 x 5.5 in.; Roberts, Arthur Hughes, Item 294.2, with a B&W reproduction on p. 219; cf. Lanigan, A Dream of the Past, Item 31, with a reproduction on p. 105); this drawing shows a knight and a lady riding a horse which is being led by an angel, on foot. Roberts dates this “c.1893,” and thus contemporary with the oil painting; Lanigan argues that it is from c.1861, the time when Hughes first proposed a “Sir Galahad” painting.

F-314 Hughes, Arthur, and William Morris. “The Birth of Tristram” (first of thirteen windows for Harden Grange). Stained glass window. 26.75 x 23.75 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 69. – Also (colour) in Whitaker, Legends, Pl. 21(a). Full caption: “How the father of Sir Tristram de Lyonesse was slain in battle and how his mother fled into the wild woods, & there was Sir Tristram born and there his mother died.” The first of the Harden Grange windows shows a standing woman holding a baby to show to another woman (Tristram’s mother) lying on the ground. The horse in the background suggests the circumstances of their flight. (See also the entry for “Morris and Co.: Harden Grange.”) A cartoon of the design for this window survives (see the entry for Hughes, Arthur, “The Birth of Tristram”).

F-315 Hughes, Edward Robert. “The Lady of Shalott.” Painting (oil on panel). 13 x 10.5 in. n.d. Private collection. Reproduced (B&W) in Ladies of Shalott, Fig. 11. The scene is of the barge (sitting very high in the water) with bargeman, the bier and the Lady; on the far side of the river are trees and bushes but no signs of human habitation.

F-316 Hunt, William Holman. “The Lady of Shalott” [London]. Drawing (brown ink on paper). 7.25 x 9.75 in. ca. 1856. London: British Museum, Department of Prints and Drawings (accession no. 1985–11–9-15). Reproduced in British Museum, Pre-Raphaelite Drawings in the British Museum, 17 (and see 16 and 149). Two studies of the Lady in her boat, drifting towards Camelot. Hunt had undertaken to provide two illustrations for the 1857 Moxon edition of Tennyson’s Poems, the one which was completed (of the Lady tangled in her threads) and another of the Lady on her way to Camelot. Rossetti, however, asked to be allowed to do an illustration for the latter portion of the poem (see the entry below for “Rossetti: The Lady of Shalott”), so Hunt’s was not completed and only these sketches remain.

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F-317 Hunt, William Holman. “The Lady of Shalott” [Manchester]. Painting (oil on panel). 17.5 x 13.5 in. 1886–1905. Manchester: Manchester Art Gallery (accession no. 1934.401). Reproduced (colour) in Whitaker, Legends, Pl. 24. – Also (colour) in Pre-Raphaelite and Other Masters, 12. – Also (B&W) in Ladies of Shalott Fig. 51. A painting showing the Lady, entangled in threads from her loom, after she has seen Lancelot. The composition is similar to that of the his more famous Wadsworth Athenaeum painting (see the entry, below), though the painting is of a substantially smaller size, and the decorations on the wall behind the lady are quite different.

F-318 Hunt, William Holman. “The Lady of Shalott” [Melbourne]. Drawing (ink and black chalk). 9.25 x 5.5 in. 1850. Melbourne: National Gallery of Victoria. Reproduced in Christine Poulson, The Quest for the Grail, Fig. 42 (p. 180). – Also in The Pre-Raphaelites (Tate exhibition catalogue), 249. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 33. – Also in Ladies of Shalott, Fig. 50. The Pre-Raphaelites (Tate exhibition catalogue), Item 168. This version of the subject is quite distinct from the Moxon engraving and the Wadsworth Athenaeum painting, though it still shows the lady entangled in the threads of her tapestry and the mirror, large and directly behind her (and with a knight visible in it), cracked. The mirror is surrounded by eight small roundels, depicting the entire story (past and future).

F-319 Hunt, William Holman. “The Lady of Shalott” [Moxon]. Engraved drawing. 3.5 x 3 in. In Poems. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1857. Reproduced: Some Poems by Alfred Lord Tennyson, ed. Joseph Pennell, after p. 20. – Some of the poems and illustrations appeared in Gems from Tennyson (Boston, MA: Ticknor and Fields, 1866), including Hunt’s “Lady.” – The illustrations from Moxon’s “Tennyson” were collected and reproduced in Pre-Raphaelite Illustrations from Moxon’s “Tennyson” (London: Academy Editions, 1978). – Hunt’s “Lady” is reproduced in Mancoff, Return, 136. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 40. – Also in Suriano, Pre-Raphaelite Illustrators (108 [and see p. 36]). Ladies of Shalott (exhibition catalogue), Items 21 and 22. An earlier version of the same composition as that of the famous Wadsworth Athenaeum painting. The engraving is by J. Thompson; proof copies of the engraving are preserved in the Tate Gallery, London (relief print on paper; 1857; 3.75 x 3 in.; accession no. N04052) and the Museum of Fine Arts in Boston, MA (Hartley Collection no. 37.2096). The Pennell reprinting, along with the engraved illustration, also prints a photogravure reproduction of the original drawing (facing the engraving, on a pair of plates following p. 20).

F-320 Hunt, William Holman. “The Lady of Shalott” [Wadsworth]. Painting (oil on canvas). 6 x 4.6 ft. 1886–1905. Hartford, CT: Wadsworth Athenaeum. Reproduced (colour) in Wood, The Pre-Raphaelites, 108. – Also in Gwyn A. Williams, Excalibur: The Search for Arthur, 191. – Also (B&W) in Ladies of Shalott, Fig. 49. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 77. – Also (colour) in Pre-Raphaelite Paintings: Print Portfolio (Petaluma, CA: Pomegranate Publications, 1990). – Also in “Magnificent Dreams” (1991 Pre-Raphaelite calendar) (printed backwards).

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Ladies of Shalott (exhibition catalogue), Item 23. Hunt did several versions of this subject: besides this oil painting, there is an ink and chalk drawing done in 1850 (now in Melbourne [see the entry, above]) and an engraving in Moxon’s edition of Tennyson’s Poems in 1857 (see the entry, above). This is his last and greatest painting, though his eyesight failed before it was completed. The lady, weaving a tapestry, sees Lancelot in a mirror; this causes her to look outside the window, breaking her vow. Her confusion is symbolized by the tangling of her threads; the whole is something of an allegory of the forces of good and evil. In the background are several medallions, showing the Virgin and Child, Hercules, Cherubs, and the Garden of the Hesperides. A number of studies towards the painting are known; these are the subject of a chapter (by Timothy R. Rodgers) in Ladies of Shalott, including a number of reproductions (Figs. 34–35, 37–47, 54).

F-321 Hunter, Alec. “Sir Galahad.” Mural. Harpenden: St George’s School. ca. 1915. (*) This wall-painting was done by Hunter “in commemoration of seven school captains who had died in the Great War. It shows Sir Galahad, like a patron saint of the Arts and Crafts movement, kneeling before the figure of Christ which hovers over ‘a procession of Guilds, Crafts and Husbandmen issuing from a cathedral’ ” (Poulson, Quest, 113).

F-322 Hunter-Elsenbach, Annegret, illus. Morte d’Arthur. By Alfred Tennyson, Baron. 1978–1981. Edmonton, AB: Bruce Peel Special Collections Library, University of Alberta. Reproduced: A photograph of the binding and case is reproduced (B&W) in Whitaker, Legends, Fig. 61; also in Whitaker, “The Woman’s Eye.” A unique art book, with illustrations, binding, and case by Hunter-Elsenbach. The illustrations are watercolour paintings, primarily of a lakeshore landscape, in shades of purple and red. The book consists of twenty text pages with seven illustrations. Before p. 1: a lakeshore with chapel, with the sun in a cloudless sky; between pp. 4 and 5: a lake with reeds, and a hill beyond; the sun is now among clouds; between pp. 8 and 9: a sword (white) is on the lakeshore among the reeds; between pp. 12 and 13: a hand rises from the surface of the lake holding the sword; between pp. 16 and 17: the head of a reclining man, hooded, with closed eyes (the dying Arthur); between pp. 20 and 21: the lake, sun, and clouds. The endpapers are also painted with a similar scene of reeds and sky. The binding is done in dark red leather decorated with a jewelled sword which doubles as the mast of a sailboat, the sail decorated with a lake, horizon, and sun; the case is decorated with a similar design.

F-323 Jackson, F. Hamilton. “Sir Galahad’s Vision of the Holy Grail: ‘Sometimes on lonely mountain meres / I find a magic bark, / I leap on board–no helmsman steers: / I float till all is dark . . . / And star like mingles with the stars’–Tennyson.” Painting (oil on canvas). 56 x 39 in. 1893–1894. Private collection. Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 28 (p. 133). The scene is dominated by a group of three angels hovering in the air; below them is a knight, kneeling in a boat.

F-324 Jacomb-Hood, George Percy. “A Gentle Knight was pricking on the plaine &c.: The Faery Queen, Bk. I, Canto 1.” Drawing (etching). 8 x 6 in. 1880. Reproduced in “Painters’ Etchings V: G. P. Jacomb Hood, The Gentle Knight.” The Portfolio: An Artistic Periodical 11 (1880): 188 (with commentary on 189–90). – Also in Morley Roberts, “Notes on Some Pictures by G. P. Jacomb-Hood,” The Artist: An Illustrated Monthly Record of Arts, Crafts and Industries 18 (April 1898): 202 [193–202]. – Also in Stephen Calloway, English Prints for the Collector (Guildford and London: Lutterworth Press; Woodstock, NY: Overlook Press, 1980), 157. A print, illustrating the opening lines of Spenser’s Faerie Queene, showing the Red Cross Knight

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and Una, he in full armour and holding a couched lance, riding a large, dark horse; she rides on a white mule, looking down on the lamb which she is guiding with a leash. They are followed by the Red Cross Knight’s page, carrying his shield.

F-325 Jacomb-Hood, George Percy. “The Red Cross Knight and the Saracen” (or “St. George and Sans Foy”). Drawing (etching). 6.5 x 8 in. 1882. (*) A print illustrating a scene from Spenser’s Faerie Queene, I.v. (Information from The Last Romantics 124.)

F-326 Jacomb-Hood, George Percy. “Una and the Lion: ‘His bloody rage assuaged with remorse / And with the sight amazed forgot his furious force,’ Spenser’s Faery Queene.” Drawing (etching). 1882. Reproduced in The Etcher: . . . Examples of the Original Etched Work of Modern Artists 4 (1882): Pl. 27. A print illustrating the scene from Spenser’s Faerie Queene, I.iii.5, when the lion first sees Una, who is seated on the ground.

F-327 John, Sir W[illiam] Goscomb. “Merlin and Arthur.” Sculpture (bronze). Height: 22.75 in. 1902. Cardiff: National Museum of Wales (accession no. NMW A 127). Reproduced (B&W photograph) in Mancoff, Return, 101. The Last Romantics, Item 198. Exhibited at the Royal Academy in 1902. This bronze was part of a scheme for the decoration of Cardiff City Hall with a series of statues of Welsh historical figures. Merlin (a bearded man in robes and hood) holds a struggling infant Arthur (a naked child, with crown). Copies of the bronze are also found in the Bradford City Art Gallery, the Glynn Vivian Art Gallery in Swansea, and in private collections.

F-328 Johnson, Charles Edward. “Sir Galahad.” Painting. 1888. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

F-329 Johnson, Charles Howard, illus. “The Lady of Shalott.” The Complete Works of Alfred, Lord Tennyson. New York: Frederick A. Stokes Co., 1891. Reproduced (B&W) in Ladies of Shalott, 126. Ladies of Shalott (exhibition catalogue), Item 27. The Lady stands facing the viewer, in a theatrical attitude of startled astonishment; behind her a mirror, cracked from corner to corner, can be seen.

F-330 Johnson, Marie. “Elaine.” Painting. 1902. [Current location not known.] (*) (Information from Whitaker, Legends, 218.)

F-331 Jones, David. “The Chapel Perilous.” Painting (watercolour and pencil). 19 x 24 in. 1932. Private collection. Reproduced (B&W) in Ironside, David Jones, Pl. 26. David Jones (Tate Gallery, 1981), Item 87. David Jones (South Bank Centre, 1989), Item 37. Jones produced two versions of this scene, viewed from a window at Rock Hall, Northumberland; one, showing a brightly coloured park landscape, with trees, sheep, birds, stream with a bridge, and a chapel and churchyard (reproduced, in colour, in Ironside, David Jones, Pl. 31) is entitled “The Chapel in the Park” (Tate Gallery, London). The second (a very similar though not identical composition) is entitled “The Chapel Perilous,” perhaps because Bamburgh Castle, traditionally identified as Lancelot’s “Joyous Gard,” is not far away (Lancelot’s arrival at the Chapel Perilous occurs in Malory, Le Morte Darthur, Book 6, Chap. 15.

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F-332 Jones, David. “Gwener.” Painting (watercolour and pencil). 15 x 22.5 in. 1959. Private collection. Reproduced (B&W) in David Jones (Tate Gallery, 1981), 123. David Jones (Tate Gallery, 1981), Item 138. The picture represents a conflation of Gwener with Aphrodite. A naked woman lies on a couch facing away from the viewer, but her face can be seen in a mirror into which she is looking; there is a partially bandaged wound on her thigh. She is facing an open window through which can be seen a raging sea and ships engaged in a naval battle (suggesting the association of Venus with Mars); sea-gulls and stray arrows fly in through the window, becoming doves as they near the goddess. On the bed behind her are flowers, a pair of scissors, a shoe, and Cupid’s cross-bow.

F-333 Jones, David. “He Frees the Waters in Helyon.” Wood engraving. 6 x 9.5 in. 1932. Private collection. Reproduced in David Jones (Tate Gallery, 1981), 77. – Also in Price-Owen, The Private David Jones, 16. David Jones (Tate Gallery, 1981), Item 17. An unfinished wood engraving of a unicorn as Christ, within a wasteland landscape of bare and twisted trees; the unicorn is in the process of releasing a spring of water to restore the land. In front of the unicorn are the symbols of the Passion: the spear of Longinus and a pole which is topped with the spong filled with hyssop, both standing upright within the Holy Grail. The engraving was used as an illustration to Jones’ The Anathemata.

F-334 Jones, David. “Hic iacet Arturus” (1). Painted inscription (wax crayon and watercolour on paper). 13 x 16 in. ca. 1949. Private collection. Reproduced (B&W) in Nicolete Gray, Painted Inscriptions, 53. Nicolete Gray, Painted Inscriptions, Item 15. Jones produced a number of decorative inscriptions, giving visual form to words. This was one of his earliest experiments with the concept, using the text of Arthur’s epitaph as given by Malory, Le Morte Darthur, Book 21, Chap. 7: “Hic iacet Arturus, rex quondam rexque futurus.” He used the text for two inscriptions (see also the entry for “Hic iacet Arturus [2],” below).

F-335 Jones, David. “Hic iacet Arturus” (2). Painted inscription (pencil on wax crayon, on paper). 22.25 x 17.5 in. ca. 1949. London: Anthony d’Offay Gallery. Reproduced (B&W) in Nicolete Gray, Painted Inscriptions, 53. – Also in Motif 7 (1961). Nicolete Gray, Painted Inscriptions, Item 16. David Jones (Tate Gallery, 1981), Item 145. Jones produced a number of decorative inscriptions, giving visual form to words. This was one of his earliest experiments with the concept, using the text of Arthur’s epitaph as given by Malory, Le Morte Darthur, Book 21, Chap. 7: “Hic iacet Arturus, rex quondam rexque futurus.” The lettering here imitates to some extent that of the lead cross supposedly found in Arthur’s tomb in the twelfth century (and reproduced in a woodcut in Camden’s Britannia). He used the text for two inscriptions (see also the entry for “Hic iacet Arturus [1],” above).

F-336 Jones, David. “Illustration to the Arthurian Legend: The Four Queens Find Lancelot Sleeping.” Drawing (pencil, ink, and watercolour). 24.5 x 19.5 in. 1941. London: Tate Gallery (accession no. N05316). . Reproduced (colour) in Nicolete Gray, The Paintings of David Jones, Pl. 42. – Also (B&W) in David Jones (South Bank Centre, 1989), 30. David Jones (Tate Gallery, 1981), Item 109. David Jones (South Bank Centre, 1989), Item 48. An illustration to Malory, Le Morte Darthur, Book 6, Chap. 3. Lancelot lies stretched across the bottom of the picture on the bank of a stream, the apple tree on the right edge of the picture;

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behind him, the four queens approach. In the distance is a chapel (the altar, readied for the mass, is visible). Jones (in Word and Image, no. 98, p. 51) indicated that the swan beside Lancelot’s head “suggests Guenever, and Morgan le Fay’s spell is countered by his dream thought of her.”

F-337 Jones, David. “Illustration to the Arthurian Legend: Guenever.” Painting (pencil, ink, and watercolour). 24.5 x 19.5 in. 1940. London: Tate Gallery (accession no. N05315). . Reproduced (colour) in Nicolete Gray, The Paintings of David Jones, Pl. 48. – Also in Whitaker, Legends, Pl. 35. – Also (B&W) in David Jones (South Bank Centre, 1989), 30. David Jones (Tate Gallery, 1981), Item 108. David Jones (South Bank Centre, 1989), Item 41. An illustration to Malory, Le Morte Darthur, Book 19, Chap. 6 (the “Knight of the Cart” episode), being the story of the abduction of Guenever by Sir Meliagrance and her rescue by Lancelot. The setting is an interior room of a castle, perhaps the dungeon but with the appearance of a crypt, with a chapel (and an altar, with the reserved Elements) at the far end. Guenever, naked, occupies the centre of the composition; Launcelot, with stigmata-like wounds to hands and feet, is coming through the window. Soldiers from various historical periods lie asleep in the foreground and along the walls of the room. The combination visible here of military imagery (ancient and modern), sexuality (the adoration of the female, who is both Goddess and Bride of Christ), eucharistic symbolism, and Arthurian myth is characteristic of Jones’ later works.

F-338 Jones, David. “Lancelot and Guenevere.” Painting (pastel). 6 x 6.75 in. 1916. Private collection. Reproduced in Price-Owen, The Private David Jones, 5. This is a self-portrait of Jones and his girlfriend of the time, set in a romantic landscape and given an Arthurian title.

F-339 Jones, David. “Merlin Appears in the Form of a Young Child to Arthur Sleeping” (or “Merlin-land”). Drawing (pencil and monochrome bodycolour). 10.5 x 8 in. 1930. Private collection. Reproduced in Nicolete Gray, The Paintings of David Jones, Pl. 42. – Also in Ironside, David Jones, Pl. 18. David Jones (Tate Gallery, 1981), Item 74. David Jones (South Bank Centre, 1989), Item 19. This is an illustration to Malory, Book 1, Chap. 19. The picture is very dark: Arthur is recumbent in the centre, with a Puckish Merlin at his ear; around them and in the distance are a variety of heraldic beasts. This appeared in Jones’ The Anathemata as “Merlin-land” (and there dated “1931”).

F-340 Jones, David. Morte Darthur: title-page for a proposed new edition. Engraving (woodblock). 1933. Private collection. (*) A three-volume edition of Malory was proposed in 1929 but never completed; this woodblock engraving was intended for the title-page. (See also the entry for “Jones, David: Wounded Knight,” below.) (Information from Whitaker, Legends, 318.)

F-341 Jones, David. “Nam Sibyllam.” Painted inscription (watercolour on underpainting of China white). 23.5 x 16 in. 1958. Private collection. Reproduced (colour) in Nicolete Gray, Painted Inscriptions, 82. Nicolete Gray, Painted Inscriptions, Item 46. Jones produced a number of decorative inscriptions, giving visual form to words. This inscription, done as a gift for T. S. Eliot, takes phrases from his poem “The Waste Land,” phrases that are themselves fragments of other works (Jones includes a phrase that Eliot had taken from Chrétien de Troyes and another from Sir Thomas Malory).

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F-342 Jones, David. “The Queen’s Dish” (or “Still Life with Dessert”). Painting (watercolour). 20 x 30.25 in. 1932. Private collection. Reproduced (colour) in David Jones (Tate Gallery, 1981), 39. David Jones (Tate Gallery, 1981), Item 88. A still life, showing a plate with a piece of fruit and a knife, a spoon to one side, a flower in a vase, and a silver cup. The commentary on the picture in the Tate catalogue (echoed by Whitaker, Legend, 322) indicates that “[t]he Queen of the title may be Guenever” and that the silver cup is a Grail image.

F-343 Jones, David. “Sir Gareth and Dame Lyones.” Drawing (pencil and coloured crayon). 1940. Private collection. (*) Offered for sale in 2004 by Wolseley Fine Arts, London.

F-344 Jones, David. “Trystan ac Essyllt.” Painting (pencil, watercolour, and bodycolour). 30.5 x 22.5 in. ca. 1962. Cardiff: National Museum of Wales. Reproduced (colour) in Nicolete Gray, The Paintings of David Jones, Pl. 42. – Also in David Jones (South Bank Centre, 1989), 31. – Also (B&W) in David Jones (Tate Gallery, 1981), 125. – Also in Whitaker, Legends, Fig. 70. David Jones (Tate Gallery, 1981), Item 141. David Jones (South Bank Centre, 1989), Item 81. A picture of the lovers on board ship, at the time of the drinking of the love potion. The boat is represented in great detail; Essyllt is rather mannered, with a bird-like neck and hair blowing wildly around her; Trystan stands beside her, transparent and insubstantial; the two of them each have a hand on a two-handled cup. The head of Brangaene can be seen emerging from the hold as she comes up the steps from below. A study for the work is also preserved in the National Museum of Wales (29.75 x 22 in.; ca. 1959–1960; David Jones [Tate Gallery, 1981], Item 140, including a B&W reproduction on p. 124).

F-345 Jones, David. “The Wounded Knight.” Drawing (drypoint). 7.75 x 6.25 in. 1930. Private collection. Reproduced in David Jones (Tate Gallery, 1981), 76. David Jones (Tate Gallery, 1981), Item 15. The publisher Douglas Cleverdon approached Jones in 1929 with a proposal to produce a three-volume edition of Malory, illustrated by Jones; the project was never completed, but this drawing was produced as a trial run (and the print was subsequently issued in an edition of fifty signed copies; the Victoria and Albert Museum has a copy [accession no. CIRC.520–1948]). The scene is the passing of Arthur: the image is dominated by the figure of Arianrhod, Queen of the Otherworld, with Arthur’s head resting in her lap. Behind her the sun is setting, riderless horses are running, and the legs of one warrior, fallen in the Battle of Camlann, can also be seen. (See also the entry for “Jones, David: Morte Darthur,” above.)

Jones, David: see also the entries for “Jones, David” in the Literature section. F-346 Joy, J. “Queen Guinevere’s Dream.” Painting. 1866. [Current location not known.] Exhibited at the Society of Lady Artists in 1866; now lost. The painting was accompanied by a quotation from Tennyson’s “Guinevere,” ll. 75–82. (Information from Poulson, Quest, 229.)

F-347 Kappes, Alfred, illus. The Boy’s King Arthur, Being Sir Thomas Malory’s History of King Arthur and his Knights of the Round Table, Edited for Boys, with an Introduction. By Sir Thomas Malory. Ed. Sidney Lanier. New York: Charles Scribner’s Sons; London: Sampson Low, Marston, Searle, and Rivington, 1880.

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Reproduced: Seven illustrations reproduced at The Camelot Project Website, ed. Alan Lupack . A modernization and abridgement of Malory; the earliest printings include twelve plates of illustrations (B&W engravings) by Alfred Kappes. (See also the entry for “Lanier, Sidney” in the Literature section.)

F-348 [Kappes, Alfred], illus. Age of Chivalry; or, King Arthur and his Knights. By Thomas Bulfinch. Rev. ed. Ed. Rev. J. Loughran Scott. Philadelphia: John D. Morris, 1898. Reproduced: Philadelphia: David McKay, 1900. The three parts of Bulfinch’s Mythology were originally published as separate works in the late 1800s; the second part, The Age of Chivalry, summarizes the medieval stories of King Arthur and his knights as well as those of the Mabinogion. This edition is illustrated with twenty-three full-page B&W plates, and many partial-page illustrations; the illustrators are not credited on the title-page. Many (though not all) of the full-page plates are signed “Kappes”; many of the small drawings at the heads of chapters are signed “R. H.” The image of Sir Galahad (facing p. 150) is a copy of the painting by Watts, and other illustrations are also versions of famous paintings.

F-349 Keeping, Charles, illus. The Lady of Shalott. By Alfred Tennyson, Baron. Oxford: Oxford University Press, 1986. Tennyson’s poem, presented as a children’s picture-book, with a series of double-page pencil drawings.

F-350 Kent, William, illus. The Faerie Queen: . . . With an exact collation of the two original editions, . . . To which are now added, a new life of the author, and also a glossary; Adorn’d with thirty-two copper-plates, from the original drawings of the late W. Kent, Esq. By Edmund Spenser. Ed. J. Brindley. 3 vols. London: Printed for J. Brindley and S. Wright, 1751. [ESTC T35152.] Spenser, illustrated with copper-plate engravings (twenty in Vol. 1, seven in Vol. 2, five in Vol. 3).

F-351 Kent, William. “The Hermitage” (or “Merlin’s Hermitage”). Garden folly. Richmond: Royal Gardens. 1732. Reproduced: “Ditto [i.e., The Section] of the Hermitage.” Engraving. Some Designs of Mr Inigo Jones and Mr Wm. Kent. [London]: John Vardy, 1744. Pl. 33. (ESTC T116216.) The Hermitage (sometimes called “The Royal Hermitage,” “Her Majesty’s Grotto,” or “Merlin’s Hermitage”) was a folly built in the Royal Gardens in Richmond by William Kent. The engraving by the architect in Some Designs shows a cross-section of the building, allowing one to view the interior.

F-352 Kent, William. “Merlin’s Cave.” Garden folly. Richmond: Royal Gardens. 1735. Reproduced: “The Section of Merlin’s Cave in the Royal Gardens at Richmond.” Engraving. Some Designs of Mr Inigo Jones and Mr Wm. Kent. [London]: John Vardy, 1744. Pl. 32. (ESTC T116216.) Merlin’s Cave was a garden folly built at Richmond for Queen Caroline by William Kent. It was a thatched, pseudo-Gothic cottage inhibited by six life-sized wax figures, including Merlin, his amanuensis, and Queen Elizabeth I. The engraving by the architect in Some Designs shows a cross-section of the building, allowing one to view the interior.

F-353 Keyser, Ernest W. “Sir Galahad.” Statue. Ottawa: Wellington Street (outdoors). 1905. Reproduced: A photograph of the statue is reproduced (B&W) in Whitaker, Legends, Fig. 68.

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A statue of Henry Albert Harper depicted as Galahad. “Harper lost his life in the nearby river while trying to rescue a drowning girl.” He shouted Galahad’s words, from Tennyson, “If I lose myself, I save myself ” as he leapt into the water, and these words are carved on the base of the statue (Whitaker, Legends, 313; cf. Poulson, Quest, 113).

F-354 King, Jessie M[arion], illus. The Defence of Guenevere and Other Poems. By William Morris. London: John Lane / The Bodley Head, 1904 [dated 1904, though issued in Nov. 1903]. Reproduced: The cover illustration is reproduced in White, Enchanted World, as Fig. 63 (p. 54). – One of the illustrations, “All Her Robes were Black with a Long White Veil Only,” is reproduced in Marsh and Nunn, Women Artists, frontispiece. – Another, “King Arthur’s Tomb,” is reproduced in Whitaker, Legends, Fig. 56. – Another, “She Threw Her Wet Hair Backward from Her Brow,” is reproduced in Mancoff, Return, 143. – Two of the illustrations, “She Threw Her Wet Hair Backward from Her Brow” and “He Did Not Hear Her Coming as He Lay,” are reproduced ((B&W) in Mancoff, Arthurian Revival, Figs. 98 and 99. The Last Romantics, Item 534. A fine press edition of Morris’ poems, illustrated with twenty-four full-page line drawings, along with sixty-five head- and tailpieces and other decorations, and a design with illustration for the cover (White, Enchanted World, Item B.36 [p. 148]). Some of the drawings for the book were included in an exhibition of King’s work, in 1905, at the Bruton Street Galleries in London (White 59). One of the original drawings, “She threw her wet hair backward from her brow” (india ink on vellum; 9 x 7.5 in.), is preserved in the collections of the Hunterian Museum and Art Gallery, University of Glasgow (accession no. GLAHA 43044).

F-355 King, Jessie M[arion], illus. The Defence of Guenevere. By William Morris. Flowers of Parnassus Series. London: John Lane / The Bodley Head, 1904. (*) Reproduced: London: Scolar Press, 1979. An edition of Morris’ “Defence” alone, extracted from the larger volume of The Defence of Guenevere and Other Poems (1904). Includes seven line drawings by King plus other decorations (White, Enchanted World, Item B.62 [p. 149]).

F-356 King, Jessie M[arion], illus. Elaine. By Alfred Tennyson, Baron. Broadway Booklets. London: Routledge, 1903. The three “Broadway Booklets” volumes of Tennyson were also later reissued bound together as a single volume. Illustrated with four line drawings by King. (White, Enchanted World, Item B.31 [p. 147].)

F-357 King, Jessie M[arion]. Guinevere. By Alfred Tennyson, Baron. Broadway Booklets. London: Routledge, 1903. The three “Broadway Booklets” volumes of Tennyson were also later reissued bound together as a single volume. Illustrated with four line drawings by King. (White, Enchanted World, Item B.30 [p. 147].)

F-358 King, Jessie M[arion], illus. The High History of the Holy Grail. Trans. Sebastian Evans. London: J. M. Dent; New York: E. P. Dutton and Co., 1903. One of the illustrations, “A Damsel of Passing Great Beauty,” is reproduced (B&W) in White, Enchanted World, Fig. 47 (p. 45). An English translation of the Old French romance Perlesvaus. Dent issued this in both “deluxe” and “standard” editions; the deluxe edition was a limited edition of 225 copies, with vellum

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binding and illustrations on India paper (White, Enchanted, Item A.10 [p. 146]; Item B.35 [p. 148] is the standard edition). Both editions include twenty-two full-page B&W illustrations by King (line drawings), and thirty-six headpieces (a frontispiece done for Dent’s 1903 edition of Lady Charlotte Guest’s Mabinogion was reused here). King also designed a one-off “Vellucent” binding for the first of the 225 copies of the deluxe edition of the book, with decoration and illustration on the spine and front cover (see the colour photograph in White, Enchanted, 31).

F-359 King, Jessie M[arion], illus. Morte d’Arthur. By Alfred Tennyson, Baron. Broadway Booklets. London: Routledge, 1903. The three “Broadway Booklets” volumes of Tennyson were also later reissued bound together as a single volume. Illustrated with four line drawings by King. (White, Enchanted World, Item B.29 [p. 147].)

F-360 King, Jessie M[arion]. “How the Queen went a-Maying.” Drawing (ink and bodycolour on vellum). 1928. [Current location not known.] Reproduced (colour) in White, Enchanted World, 115. One of a set of seven panels designed for Mossend School, Lanarkshire, in 1928.

F-361 King, Jessie M[arion]. “How Four Queens Found Sir Launcelot.” Drawing (ink and bodycolour on vellum). 1928. [Current location not known.] Reproduced (colour) in White, Enchanted World, 115. One of a set of seven panels designed for Mossend School, Lanarkshire, in 1928.

F-362 King, Jessie M[arion]. “Elaine gives Sir Launcelot the Embroidered Sleeve.” Drawing (ink and bodycolour on vellum). 1928. [Current location not known.] One of a set of seven panels designed for Mossend School, Lanarkshire, in 1928.

F-363 King, Jessie M[arion], illus. Poems of Spenser. By Edmund Spenser. Ed. W. B. Yeats. The Golden Poets. Edinburgh: T. C. and E. C. Jack, 1906. Reproduced: White reproduces four of the Faerie Queene illustrations: “The Islands of Phaedra and Acrasia” (Fig. 52, p. 49); “And in the Midst Thereof a Pillar Placed” (Fig. 78, p. 63); “Mutabilitie” (Fig. 79, p. 64); “Una Among the Fauns and Satyrs” (Fig. 79, p. 64). White, Enchanted, Item B.65 (p. 149); also The Last Romantics, Item 535. This edition of Spenser’s works includes eight illustrations by King; there is also a frontispiece–a portrait of Spenser–and a decorated title page by A. S. Hartrick. King’s illustrations are line drawings with small touches of colour (red, pink, and gold), such as the red on the Red Cross Knight’s device or in drops of blood. Seven of the eight drawings by King illustrate excerpts from The Faerie Queene, and so count as “Arthurian” (the other is to the Epithalamion). Several of the drawings were included in an exhibition of King’s work in Glasgow in 1907 (White, Enchanted, 66; the exhibition was at the T. and R. Annan and Son’s Gallery).

F-364 King, Jessie M[arion]. “Queen Guinevere Goes a-Maying.” Batik panel. 1921. [Current location not known.] (*) (Information from White, Enchanted World, 101.)

F-365 King, Jessie M[arion], and Elise Prioleau. “How Four Queens Found Sir Lancelot in the Wood.” Painting (watercolour). 9 x 16.5 in. 1909. Private collection. (*) Reproduced (colour) in The Studio (1912). – Also (colour) in White, Enchanted World, Fig. 100 (p. 82). King’s composition was subsequently used by Prioleau as a design for a needlework panel. (Information from White, Enchanted World, 82.)

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F-366 La Farge, John. “The Lady of Shalott.” Painting (oil on canvas). 8 x 14 in. ca. 1862. New Britain, CT: New Britain Museum of American Art. Reproduced (B&W) in Ladies of Shalott, 128. Ladies of Shalott (exhibition catalogue), Item 29. The painting shows the dead lady in her boat, floating down the river.

F-367 The Lady of Shalott. By Alfred Tennyson, Baron. Illus. “by a Lady.” Nottingham: R. and M. H. Allen, 1852. Reproduced: One of the illustrations, “The Death of the Lady of Shalott,” is reproduced in Ladies of Shalott, 96. Ladies of Shalott (exhibition catalogue), Item 1. This is Tennyson’s poem, illustrated anonymously as a publication to benefit the Midland Institution for the Blind. The illustrations are line drawings engraved on wood. The illustration of the “Death of the Lady” shows her in a small boat floating down the river, with a large, transparent, cloaked figure (presumably Death) dominating the scene, with its arms stretched above the boat.

F-368 Lauder, James Eckford. “Sir Tristram Teaching La Belle Isoud to Play the Harp.” Painting. 1856. [Current location not known.] (*) Exhibited at the Royal Scottish Academy in 1856; now lost. (Information from Poulson, Quest, 160.)

F-369 Lauder, R. S. “The Lady of Shalott.” Painting. n.d. [Current location not known.] (*) (Information from Whitaker, Legends, 218.)

F-370 Lawrence, Frederic, illus. Sir Gawain and the Green Knight: Rendered Literally into Modern English from the alliterative romance-poem of A.D. 1360 from Cotton MS. Nero A.x in British Museum, with an introduction on the Arthur and Gawain sagas in early English literature, by Ernest J. B. Kirtlan. London: C. H. Kelly / Epworth Press, 1912. (*) Reproduced: Two of the illustrations (“Now passed Sir Gawain in God’s behalf though the realms of Logres” and “He struck at him mightily”) are reproduced in An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: Aquarian Press, 1988. 254, 256. A modern English translation of the medieval romance, with illustrations by Lawrence. (Information from OCLC WorldCat.)

F-371 Lee, Alan, illus. Castles. Text by David Day. Designed and edited by David Larkin. Toronto and New York: Bantam Books, 1984. Reproduced: New York: McGraw-Hill Book Co., 1986. – One of the illustrations, “Camelot,” is reproduced (colour) in Day, The Search for King Arthur, 97. – Another, “King Arthur’s sleep in Avalon,” is reproduced (B&W) in Day, The Search for King Arthur, 154–55. Primarily a picture-book (Lee is given the principal credit on the title-page). Includes brief retellings of a number of Arthurian legends, but the focus is on the pictures of the castles involved (especially in the section “The Age of Romance,” pp. 72–117): Camelot, Vortigern’s Tower, Tintagel, Joyous Garde, the Castle of Maidens, Carbonek, and so forth.

F-372 Lee, Alan, illus. The Mabinogion. Trans. Lady Charlotte Guest. Intro. Alan Lee. London: Voyager / HarperCollins Publishers, 2000.

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Reproduced: Illustrations reproduced: Illustration to “Geraint” (a cityscape), reproduced (colour) in Day, The Search for King Arthur, 92. – Another, “The Grail Knight, Peredur,” is reproduced (colour) in Malcolm Godwin, The Holy Grail: Its Origins, Secrets, and Meaning Revealed (London: Bloomsbury, 1994), 178. – Also in Day, The Search for King Arthur, 23. – An illustration to “Rhonabwy’s Dream” (a warrior, dreaming), is reproduced (colour) in Day, The Search for King Arthur, 8. – Another illustration to “Rhonabwy’s Dream” (Arthur’s dead warriors and Owain’s ravens; Day entitles it “The Slaughter of the Saxons”), is reproduced (colour) in Day, The Search for King Arthur, 14. – Another, “Olwen,” is reproduced (B&W) in Snyder, World of King Arthur, 97. – An illustration to “Branwen, Daughter of Llyr” (Bendigeid Vran’s cauldron; Day entitles it “Arthur Gazes into the Cauldron of Prophecy”), is reproduced (colour) in Day, The Search for King Arthur, 126. Includes forty-six watercolour paintings (seventeen full-page and twenty-nine partial-page) and other illustrations (head- and tailpieces: line drawings) by Alan Lee; among the six Arthurian tales in particular, there are seven full-page and twenty-one partial-page illustrations. In the section of notes at the back, there are facsimiles of thirty-six wood engravings from the 1877 edition of Guest’s translation.

F-373 Lee, Alan. “Merlin.” Avalon to Camelot 2.4 (1987): cover. Reproduced (B&W) in Whitaker, Legends, Fig. 2. – Also reproduced (colour: monochrome rust colour) in Day, The Search for King Arthur, 57. Artwork commissioned by Freya Reeves Lambides for the cover of a special issue of Avalon to Camelot (devoted to Merlin). Merlin stands in a forest setting beside a brook; he seems to be in the middle of transforming himself.

F-374 Lee, Alan. “Merlin.” Etching. n.d. Collection of the artist. Reproduced in Matthews, Merlin: The Pitkin Guide, 7. The face of Merlin, seen in profile, among trees.

F-375 Lee, Alan. “Merlin.” Etching. n.d. [Current location not known.] Reproduced (colour: black and a reddish-brown wash) in Day, The Search for King Arthur, 61. Merlin as T. H. White’s professorial wizard, in his study, consulting a book and surrounded by animals.

F-376 Lee, Alan, illus. Merlin Dreams. By Peter Dickinson. London: Victor Gollancz; New York: Delacorte Press, 1988. The story of Merlin’s final enchantment and “entrapment” sets up a series of short stories which recount episodes from Merlin’s dreams. Illustrated by Alan Lee with pencil drawings and watercolour paintings: eleven full-page watercolours, nine full-page drawings, twenty-seven partialpage watercolours, and twenty-three partial-page drawings (many of the “partial-page” illustrations cross the gutter onto the facing page).

F-377 Leighton, Edward Blair. “The Accolade.” Painting (oil on canvas). 71.25 x 42.5 in. 1901. Private collection. Reproduced (B&W) in Mancoff, Return, 72.

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– Also reproduced (as “Queen Guinevere and Sir Lancelot”) in “Camelot 1999” (calendar). Lancelot kneels at the queen’s feet. Guinevere is dressed in white and touches Lancelot’s shoulder with a sword.

F-378 Leighton, Edward Blair. “The Barge Arriving at Camelot” (or “Elaine”). Painting (oil on canvas). 1899. [Current location not known.] Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 11 (p. 59). The barge carrying the body of Elaine arrives at Camelot; the King, Queen, courtiers and ladies gather beneath a great arch at the riverside.

F-379 Leighton, Edward Blair. “Tristan and Isolde.” Painting (oil on canvas). 1907. Private collection. Tristan, holding his harp, leans close to Isolde, who sits beside him on a bench. Unseen by the lovers, Mark lurks in the background.

F-380 Levit, Herschel, illus. King Arthur and his Knights. By Mary Macleod [Mary Macleod Banks]. Afterword by Clifton Fadiman. New York: Macmillan, 1963. (*) Macleod’s retelling of Malory, reprinted with new illustrations by Levit. (Information from OCLC WorldCat entry.)

F-381 Littlejohn, Stuart. “Morgan.” Painting. n.d. Collection of the artist. Reproduced in Matthews, Merlin: The Pitkin Guide, 17. Morgan le Fay stands (alone) in the front of a white boat, the full moon above her shoulder. Glastonbury Tor can be seen in silhouette behind her.

F-382 Loring, Christian, illus. Mystic Gleams from the Holy Grail: The Legend of Spiritual Chivalry, the Mystery of its Divine Origin, its Secret in the World of Faerie and its High Initiation. By Francis Rolt-Wheeler. London: Rider and Co., [1948]. Reproduced: One of the illustrations, “Sir Percival vanquishes the Knights of the Evil Custom in the Enchanted Forest,” is reproduced in An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: Aquarian Press, 1988. 73. – Another, showing the Grail appearing to the knights of the Round Table, is reproduced in Sources of the Grail: An Anthology. Edinburgh: Floris Books; Hudson, NY: Lindisfarne Press, 1997. Frontispiece. The book is a non-fiction guide to the spiritual meaning of the Grail stories (therefore not within the scope of this bibliography with respect to its text), with five partial-page illustrations (engraved drawings) by Loring, including scenes from the stories of Merlin, the Grail quest, and the love of Lancelot and Guenevere. The illustrations use black skies to foreground dramatically the action within the picture.

F-383 Ludovici, Albert. “Vivien, Enid, Guinevere, Elaine.” Painting. ca. 1860. [Current location not known.] (*) Depictions of the four principal female characters from Tennyson’s Idylls. (Information from Poulson, Quest, 144, 209.)

Mabinogion: see also Gaskin, Arthur Joseph; and Lee, Alan. F-384 The Mabinogion, from the Llyfr Coch o Hergest, and other ancient Welsh manuscripts, with an English translation and notes. Ed. and trans. Lady Charlotte E. Guest. 3

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vols. London: Longman, Orme, Brown, Green, and Longman; Llandovery: W. Rees, 1838–1849. Lady Guest’s Mabinogion was originally published in seven parts, to be bound in three volumes. Each of the twelve tales, in both their Welsh and English versions, is accompanied by engraved illustrations as head- and tail-pieces; these illustrations, though quite delightful, are unsigned and uncredited.

Macdonald, Frances; see “Mackintosh, Margaret Macdonald, and Frances Macdonald McNair.” Macdonald, Margaret; see “Mackintosh, Margaret Macdonald.” F-385 Mackintosh, Margaret Macdonald. “The Four Queens.” Painting (paint and gesso on wood panels, with gilding). 23 x 15.75 in. 1909. Richmond, VA: Virginia Museum of Fine Arts (Sydney and Frances Lewis Collection). Reproduced (colour) in Brandt, Late 19th and Early 20th Century Decorative Arts, 153. Brandt, Late 19th and Early 20th Century Decorative Arts, Item 56. Four panels, painted for the Card Room of Hous’hill, Nitshill, Glasgow; the Queens of the four suits are represented in playing card designs. The description of the four queens on the Hunterian Museum and Art Gallery website (where archival photographs of the four can be viewed: , accessions nos. GLAHA 52605–52608) suggests that the four queens of the card deck are here conflated with the four queens of the story of Lancelot’s temptation: Morgan le Fay, the Queen of North Wales, the Queen of the Eastlands, and the Queen of the Outer Isles.

F-386 [Mackintosh], Margaret Macdonald, and Frances Macdonald [McNair], illus. The Defence of Guenevere and Other Poems. By William Morris. Paintings (watercolour, on vellum). 1896–97. Buffalo, NY: Rare Books Library, State University of New York at Buffalo. The Macdonald sisters, influential in the Arts and Crafts movement in Glasgow, produced a series of twenty-one watercolour paintings to illustrate Morris’s poems; the original paintings, on vellum sheets, are bound into a copy of the Kelmscott Press edition of the Defence (published in 1892). Photographs of eleven of the paintings are preserved in the collections of the Hunterian Museum and Art Gallery in Glasgow, and can be viewed online ( (accessions nos. GLAHA 52877–52888 and 52926).

F-387 Maclise, Daniel. “Arthur and the Three Queens” (or “Arthur in the Death Barge”). Engraved drawing. Poems. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1857. Reproduced: Some of the poems and illustrations appeared in Gems from Tennyson (Boston, MA: Ticknor and Fields, 1866), including Maclise’s “Arthur and the Three Queens.” – The illustrations were collected and reproduced in Pre-Raphaelite Illustrations from Moxon’s “Tennyson” (London, 1978). – Maclise’s drawing is reproduced in Mancoff, Return, 153. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 43. Arthur lies in the prow of a Viking-style ship, with one queen hovering over him; two other crowned ladies are in the shadow immediately behind them, and there is a large group of others further back.

F-388 Maclise, Daniel. “Arthur Obtains Excalibur.” Engraved drawing. Poems. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1857. Reproduced: Some of the poems and illustrations appeared in Gems from Tennyson

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(Boston, MA: Ticknor and Fields, 1866), including Maclise’s “Arthur Obtains Excalibur.” – The illustrations were collected and reproduced in Pre-Raphaelite Illustrations from Moxon’s “Tennyson” (London, 1978). – Maclise’s drawing is reproduced in Mancoff, Return, 53. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 42. Arthur, seated in a boat with hands clasped together, approaches the sword, which is held aloft by a hand in the foreground of the picture.

F-389 Maclise, Daniel. “King Arthur’s Death.” In The Book of British Ballads. Ed. S. C. Hall. Routledge’s Red Line Poets. London and New York: George Routledge and Sons, 1879. Frontispiece. A reprint, with different set of illustrations, of a book orig. pub. 1842 (see also the entry for “Franklin, John,” above). An engraved woodblock illustration, used as a frontispiece to the volume, using the same composition as that used in Maclise’s illustration in “Moxon’s Tennyson” (1857) (for which, see the entry for Maclise, “Arthur and the Three Queens,” above). For the ballad being illustrated, see the entry for “King Arthur’s Death” in the Literature section.

F-390 MacNab, Peter. “Lady of Shalott.” Painting. 1887. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

Malory, Sir Thomas: besides the following entries for “Malory,” see also Alexander, Ann D.; Arthurian Tales; Arno, Enrico; Bawden, Edward; Beardsley, Aubrey; Birch, Reginald; Birmingham School of Printing; Clarke, Graham; Connick, Charles J.; Craig, William Marshall; Donaldson, Catherine; Doré, Gustave: The Story of Elaine; Ferguson, Anna-Marie; Flint, W[illiam] Russell; Galsworthy, Gay; Gere, Charles, and Margaret Gere; Gibbings, Robert; Hassall, Joan; Kappes, Alfred; Malory, Thomas; Pailthorpe, Doris; Postage stamps, UK, 1985; Rackham, Arthur; Rado, Anthony; Sandford, Lettice; Schaeffer, Mead, and John R. Neill; Stratton, Helen; Thomson, Rodney; Urquhart, Helen; Uwins, Thomas; Wheelwright, Rowland; and Wyeth, N[ewell] C[onvers]. F-391 [Malory, 1529.] Malory, Sir Thomas. [Morte Darthur.] Westminster: Wynkyn de Worde, 1529. [STC (P&R) 803 (ESTC S111571).] While editions of the Middle English text of Malory are outside the scope of this bibliography, we list here several early printed editions for their post-1500 illustrations. Wynkyn de Worde reprinted Caxton’s Malory in 1498 (STC (P&R) 802 [ESTC S115251]) and again in 1529. The 1498 edition (in the John Rylands Library copy, which is missing some twenty-one leaves) includes twenty-one woodcut illustrations; the 1529 edition (which survives only in one nearly complete copy as well as a fragment) includes twenty-four woodcuts (being twenty-three unique, one used twice) as half-page illustrations. Generally these appear one at a time at the transition from one book to the next, though at the beginning of Book 10 a cluster of three appear. In general, they show kings, knights, and ladies in landscapes, in front of castles, in interior rooms, engaged in battle, and so forth. (See Gaines, Items A2 and A3, with illustration facing p. 6.)

F-392 [Malory, 1557.] Malory, Sir Thomas. The story of the moste noble and worthy Kynge Arthur, the whiche was the fyrst of the worthyes chrysten, and also of his noble and valyaunt knyghtes of the rounde Table, Newly imprynted and corrected. London: William Copland, 1557. [STC (P&R) 804 (ESTC S106641).]

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Reproduced: Copland’s woodcuts are included in Caxton’s Malory, ed. James Spisak, 2 vols. (Berkeley: University of California Press, 1983). – One of the illustrations, “The Dolorous Lover,” is reproduced in Whitaker, Legends, Fig. 33. An edition of Malory illustrated with twenty-five woodcuts (twenty-four unique, one used twice) (Gaines, Item A4, with illustration facing p. 8). Some of these woodcuts are the same as those used in the 1529 edition by Wynkyn de Worde, and others are re-cut versions of the same scenes. Most of the woodcuts appear between books, though there are two which appear in the middle of Book 8, and another is placed in the middle instead of at the end of Book 21. The title-page includes an elaborate engraving, “illuminated in gold and colors” (Gaines 10; cf. the B&W reproduction facing p. 8), showing St George, in full armour, mounted, brandishing a sword and about to attack the dragon (the woodcut was previously used in a 1527 edition of Higden’s Polychronicon). Another of the woodcuts is reproduced by Whitaker and entitled by her “The Dolorous Lover”; this depicts a recumbent figure, with a horse to one side.

F-393 [Malory, 1578.] Malory, Sir Thomas. The storye of the most noble and worthy Kynge Arthur, the which was the fyrst of the worthyes chrysten, and also of hys noble and valyaunt knyghtes of the rounde Table, Newly imprynted and corrected. London: Thomas East, [1582]. [STC (P&R) 805 (ESTC S106644).] An edition of Malory illustrated with twenty-four woodcuts (Gaines, Item A5, with illustration facing p. 10); fifteen of these are double-column illustrations, nine are single-column. “The woodcut illustrations treat the same subjects as those in the Copland edition, but they are generally recut to a smaller size” (Gaines 11).

F-394 [Malory, 1634.] Malory, Sir Thomas. The Most Ancient and Famovs History of the Renowned Prince Arthvr, King of Britaine, Wherein is declared his Life and Death, with all his glorious Battailes against the Saxons, Saracens and Pagans, which (for the honour of his Country) he most worthily atchieved; As also, all the Noble Acts, and Heroicke Deeds of his Valiant Knights of the Round Table, Newly refined, and published for the delight, and profit of the Reader. London: Printed by William Stansby, for Jacob Bloome, 1634. [STC (P&R) 806 (ESTC S100230).] The last of the blackletter editions of Malory, in three volumes with separate title-pages (Gaines, Item A6). There is one woodcut which is repeated as the frontispiece of each of the three volumes; it shows fourteen knights seated around a round table, with King Arthur (holding a sword and a lance) in the centre of the table (Gaines reproduces one title-page and the Round Table woodcut between pp. 11 and 12).

F-395 Maplestone, Florence Elizabeth. “There with her milk-white arms and shadowy hair / She made her face a darkness from the king.” Painting. 1868. [Current location not known.] (*) The quotation is from Tennyson’s Guinevere, to which this presumably was an illustration. Exhibited at the Royal Society of British Artists in 1868; now lost. (Information from Poulson, Quest, 216.)

F-396 Marsh, James. Six porcelain plates, designed for the British Branch of the International Arthurian Society. Porcelain plates. 9 in. in diameter. Royal Worcester Manufactory, 1979. (*) (Information from Whitaker, Legends, 328.)

F-397 Martin, [Elias] [?]. “Amoret Rapt by Greedie Lust.” Painting. ca. 1789. [Current location not known.] (*) A painting by “Mr. Martin,” illustrating the story of Amoret in Spenser, The Faerie Queene,

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IV.vii.4–5. This was commissioned for Thomas Macklin and exhibited in his Poets’ Gallery in London, as part of what was to be a series of 100 oil paintings illustrating scenes from British narrative poems. (Information from A Catalogue of the Second Exhibition of Pictures, Painted for Mr Macklin, by the Artists of Britain, Illustrative of the British Poets [London: Poets Gallery, Fleet Street, 4 May 1789], 15–16 [Item 20].)

F-398 Martin, John. “King Arthur and Ægle in the Happy Valley.” Painting (oil on canvas). 48.25 x 72.5 in. 1849. Newcastle upon Tyne: Laing Art Gallery. Exhibited at the Royal Academy in 1849 with a quotation from Sir Edward Bulwer Lytton’s King Arthur: “Behold how Alp on Alp shuts out the scene, etc.” (see the entry in the Literature section for “Lytton, Edward Bulwer Lytton, Baron: King Arthur: An Epic Poem.”) The picture shows very dark and dramatic landscape of mountains and a river, seen at dusk with a sliver of a moon in the sky. The king and Ægle embrace on rocks above the river.

F-399 Martineau, Robert. “The Knight’s Guerdon.” Painting. 1864. Oxford: Ashmolean Museum. (*) (Information from Whitaker, Legends, 217.)

F-400 Mavor, Osborne Henry. “Sir Lancelot and Miss Le Fay.” Drawing (ink on card). 9 x 5.75 in. 1916. Glasgow: Hunterian Museum and Art Gallery (accession no. GLAHA 43141). . (*) Mavor, a physician in Glasgow who turned to writing (under the names of “James Bridie” and “Mary Henderson”), did several humorous drawings on Arthurian themes. This drawing is inscribed (on the back), “Sir Lancelot:- Look here Miss Le Fay, wash it out, please / I mean, all this sorcery stunt. I’m not a ladies man / really you know.” (Information from Hunterian Museum website.) (See also the entries under “Bridie, James” in the Literature section.)

F-401 Mavor, Osborne Henry. “Sir Lancelot and the Red Knight.” Drawing (ink on card). 9 x 5.75 in. 1916. Glasgow: Hunterian Museum and Art Gallery (accession no. GLAHA 43142). . (*) A humorous drawing, inscribed (on the back), “Sir Lancelot du Lac putting it across a casual / Red Knight in a dinister and sismal forest.” (Information from Hunterian Museum website.)

F-402 Mavor, Osborne Henry. “Sir Tristram and King Mark.” Drawing (ink on paper). 7 x 10 in. 1923. Glasgow: Hunterian Museum and Art Gallery (accession no. GLAHA 43121). . (*) A humorous drawing, inscribed on the back “Sir Tristram de Lyonnes says: My dear Old Monarch dont let me hear you mention the word salary / again: the place suits me. I like it. You find me in fodder and a new / wireless hard and I’ll take on any scrapping you want me to at five / minutes notice / but King Mark thinks there must be a catch somewhere.” (Information from Hunterian Museum website.)

F-403 McDonald, Madeline M. “Enid.” Painting. 1896. [Current location not known.] (*) (Information from Whitaker, Legends, 231.)

F-404 McIan, Ronald. “Mark, King of Cornwall, and his Retinue, Conducted by the Dwarf, Finds Queen Ysoude and Sir Tristrem Sleeping in a Cave, Being Fatigued with the Chase: vide Thomas of Ercildonne.” Painting. 1839. [Current location not known.] This is, to judge from the title, based on a scene from Sir Tristrem, which Sir Walter Scott edited in 1802 (and attributed, incorrectly, to Thomas of Ercildoune). (Information from Poulson, Quest, 16.)

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F-405 McWilliams, Debra. “Excalibur.” Drawing (ink). The Round Table: A Journal of Poetry and Fiction; Special Issue: King Arthur and his Knights II. 5 (1989): frontispiece. King Arthur holds Excalibur aloft. McWilliams also provided two other drawings for this volume, which we have listed as illustrations to particular stories (Carmichael, “The Grievous Stroke,” and Gareth, “Prelude to the Quest”: see the appropriate entries in the Literature section).

F-406 [Merlin miniature.] To be seen ‘till sold, at the Crown coffee-house in King-Street near Guild-Hall, Merlin in miniature; or, A lively representation of Merlin in his cave, as in the Royal-gardens at Richmond. . . . London: n.p., [1735?]. [ESTC T1213 (the date given there is “[1710?],” but Merlin’s Cave at Richmond was not built until 1735).] (*) A handbill advertisement (14.5 x 9.5 in.) for a Merlin automaton – presumably no longer extant – modeled upon the statue of Merlin which was included in Queen Caroline’s garden folly at Richmond, called “Merlin’s Cave,” built in 1735 by William Kent (see the entry for “Kent, William: Merlin’s Cave”).

F-407 Merrill, Frank T. “The Passing of King Arthur.” In Stories of King Arthur and his Knights, Retold from Malory’s “Morte Darthur.” London: George G. Harrap, 1905. facing p. 230. An engraved picture, showing Arthur and the three queens (and seven cowled monks) in the boat on the way to Avalon. This edition of Cutler is illustrated with pictures taken from a variety of other sources; this picture is, then, probably not original to this book, but we have not been able to discover where it originally appeared. (See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-408 Merrill, Frank T. “Sir Galahad and the Siege Perilous.” In Stories of King Arthur and his Knights, Retold from Malory’s “Morte Darthur.” London: George G. Harrap, 1905. facing p. 128. An engraved picture, showing the Siege Perilous with its cover being removed by Merlin so that Sir Galahad may sit. This edition of Cutler is illustrated with pictures taken from a variety of other sources; this picture is, then, probably not original to this book, but we have not been able to discover where it originally appeared. (See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-409 Meteyard, Sidney Harold. “‘I am Half-sick of Shadows,’ said the Lady of Shalott.” Painting (oil on canvas). 30 x 45 in. 1913. Birmingham: Birmingham Museums and Art Gallery. Reproduced (colour) in Wood, The Pre-Raphaelites, 140. – Also in The Last Romantics, 110. – Also (B&W) in Christine Poulson, The Quest for the Grail, Fig. 46 (p. 188). – Also (colour) in Pre-Raphaelite Paintings: Print Portfolio (Petaluma, CA: Pomegranate Publications, 1990). Exhibited at the Royal Academy in 1913. The Last Romantics (Barbican Art Gallery exhibition, 1989), Item 86. Meteyard was a late, romantic Pre-Raphaelite painter, much influenced by Burne-Jones. In this picture, illustrating Tennyson’s “The Lady of Shalott,” the Lady is dressed in vibrant blue and reclines in front of her weaving and the mirror.

F-410 Meteyard, Sidney Harold. “Merlin and Vivien.” Painting (oil on canvas). n.d. Private collection. Reproduced in Matthews, Merlin: The Pitkin Guide, 17. Merlin is shown as an alchemist in a laboratory; Nimuë stands below, looking up at Merlin, who gazes past her with a look of concentation on his face. Meteyard was a late, romantic Pre-Raphaelite painter, much influenced by Burne-Jones.

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F-411 Meteyard, Sidney Harold. “Tristan and Isolde.” Painting (oil on canvas). n.d. [Current location not known.] Isolde, dressed in blue, sits in a chair on a dais; Tristan kneels before her and holds one of her hands. Meteyard was a late, romantic Pre-Raphaelite painter, much influenced by Burne-Jones.

F-412 Mileham, Harry R. “Tristram’s Deathbed” (or “Tristram and Isolde”). Painting (oil on canvas). 30 x 34 in. 1902. London: Whitford and Hughes Gallery. Reproduced (colour) in Day, The Search for King Arthur, 118. The picture shows Tristan on a bed with Isolde leaning over him and in his embrace. It was exhibited by Mileham in Liverpool in the autumn of 1902. (It was long misattributed to Marianne Stokes; the Mileham family apparently have sketches and working drawings which were used to bring about the re-attribution.)

F-413 Millais, John Everett. “The Lady of Shalott.” Drawing. 1854. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

F-414 Millais, William. “Elaine, the Lily Maid of Astolat.” Painting. 1862. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

F-415 Miller, Felix Martin. “Elaine.” Sculpture. 1865. [Current location not known.] (*) This sculpture was also mass produced as parianware. (Information from Poulson, Quest, 204.)

F-416 Miller, Felix Martin. “Enid.” Sculpture. 1866. [Current location not known.] (*) This sculpture was also mass produced as parianware. (Information from Whitaker, Legends, 231; cf. Poulson, Quest, 204.)

F-417 Moira, Gerald. “The Meeting of Lancelot and Guinevere.” Wall mural. London: Trocadero Restaurant. ca. 1890. (*) One of the Arthurian subjects for the decoration of the Trocadero Restaurant in Piccadilly, done in the 1890s. (Information from Poulson, Quest, 220.)

F-418 Montaigne, William John. “Prince Arthur at the Battle of Caerbadon (He is said to have worsted the Saxons in twelve successive battles. In one of these, namely that fought at Caerbadon in Berks., it is asserted that he killed no less than four hundred and forty of the enemy with his own hand).” Painting. ca. 1848. [Current location not known.] (*) Exhibited at the Royal Academy in 1848; now lost. (Information from Poulson, Quest, 225.)

F-419 Montalba, Ellen. “Elaine.” Painting. 1880. [Current location not known.] (*) (Information from Whitaker, Legends, 221.)

F-420 Moore, Sabra, illus. Bulfinch’s Mythology. By Thomas Bulfinch. Ed. Richard P. Martin. New York: HarperCollins, 1991. (*) The three parts of Bulfinch’s Mythology were originally published as separate works in the late 1800s; the second part, The Age of Chivalry, summarizes the medieval stories of King Arthur and his knights as well as those of the Mabinogion. For this edition, Moore provided a series of illustrations. (Information from OCLC WorldCat.)

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F-421 Morris, William. “Iseult on the Ship.” Drawing (ink and pencil sketch). 18.5 x 15.75 in. ca. 1857. Walthamstow: William Morris Gallery. Reproduced (B&W) in Harrison and Waters, Burne-Jones, Fig. 35 (p. 29). A portrait of Jane Burden as Iseult; the setting surrounding the figure (the interior of a ship) is only roughly sketched in.

F-422 Morris, William. “King Arthur and Sir Lancelot” (thirteenth of thirteen windows for Harden Grange). Stained glass window. 28 x 28 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 72. – “King Arthur” is reproduced (colour) in Day, The Search for King Arthur, 38. Full caption: “Magnus Arturus Rex Potentissimus Angliae / Dominus Launcelot du Lac Foues Invictus.” The thirteenth of the series of Harden Grange windows. (See also the entry for “Morris and Co.: Harden Grange.”)

F-423 Morris, William. “Queen Guenevere” (or “La Belle Iseult”). Painting (oil on canvas). 28.25 x 19.5 in. 1858. London: Tate Gallery. . Reproduced: Frequently reproduced, as in Wood, The Pre-Raphaelites, 111. – Also in Andrea Rose, The Pre-Raphaelites, Pl. 26. – Also (twice; colour) in Hopkins, Book of Guinevere, frontispiece and p. 87. – Also in Linda Parry, ed., William Morris, 89. – Also in Whitaker, Legends, Pl. 30. – Also (B&W) in Mancoff, Return, 93. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 47. – Also (colour) in the 1996 “Pre-Raphaelites” calendar. Linda Parry, ed., William Morris, Item G.10. The Pre-Raphaelites (Tate exhibition catalogue), Item 94. The only completed painting of Morris’ career before he turned to interior design. Jane Burden, whom Morris married in 1859, posed for this painting. The figure holds a belt about her waist, seemingly in the act of dressing; her face is pensive and sad.

F-424 Morris, William. “Queen Guenevere and Isoude les Blanches Mains” (twelfth of thirteen windows for Harden Grange). Stained glass window. 28 x 28 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 72. – Also (colour) in June Osborne, Stained Glass in England (London: Frederick Muller, 1981), Pl. XXVI no. 73. – A portion of the window, showing the figure of Queen Guenevere, is reproduced in Hopkins, Book of Guinevere, 11. – Also in Snyder, World of King Arthur, 84. Full caption: “Domina Guenevere Coniux Arturi Regis / Domina Isoude Les Blanches Mains.” The twelfth of the Harden Grange windows. The queens are depicted against a background of trees and flowers. A cartoon for the window is preserved in the Tate Gallery, London (chalk, pencil and watercolour on paper; 1862; 24 x 27 in.; accession no. N05222); also a study for the figure of Iseult (though entitled “Figure of Guinevere”) is preserve in the Tate (watercolour and drawing on paper; ca. 1858; 49.75 x 21.75 in.; accession no. N05221). (See also the entry for “Morris and Co.: Harden Grange.”)

F-425 Morris, William. “La Belle Iseult, Tristram and Brangwain” (portraits of Georgiana Burne-Jones, Sir Edward Burne-Jones, and Lizzie Siddal). Painted Cupboard Door in Morris’ Red House. (*) (Information from Whitaker, Legends, 193.)

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F-426 Morris, William. “Sir Palomydes’ Jealousy of Sir Tristram” (or “The Jealousy of Sir Palomedes at the Sight of Sir Tristram and the Lady Yseult”; or “How Sir Palomydes Loved La Belle Iseult with Exceeding Great Love out of Measure, and how She Loved Him Not Again but Rather Sir Tristram”). Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1857. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1D10. The panel is filled mostly with apple trees and flowers, but Palomydes is seated on the ground at the left, observing Tristram and Yseult embracing on the right. A drawing in ink is preserved in the Birmingham Museums and Art Gallery (accession no. P36–80); this purports to be a study by Morris for his Oxford Union mural, though it “looks more like a reminiscence after the mural than a study for it, perhaps done as a joke to show the painting’s absurdities. Even Morris’ authorship may be questioned” (Christian 58).

F-427 Morris, William. “Sir Tristram Recognized by the Dog he had Given to Iseult” (or “How Sir Tristram, after his Illness, was Recognised by a Little Dog he had given to Iseult”). Drawing (stained glass window design). ca. 1862. London: Victoria and Albert Museum. Reproduced (colour) in Linda Parry, ed., William Morris, 92 (fig. 41). This picture is an easel version of a design for a stained glass window for Harden Grange (now in the Cartwright Memorial Hall, Bradford Museums and Art Gallery) (see the entry for his window “Sir Tristram Recognized by the Dog he had Given to Isoude”; see also the entry for “Morris and Co.: Harden Grange”).

F-428 Morris, William. “Sir Tristram Recognized by the Dog he had Given to Isoude” (eighth of thirteen windows for Harden Grange). Stained glass window. 26.75 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 71. – Also (colour) in Whitaker, Legends, Pl. 21(f). Full caption: “How Sir Tristram slew a giant who would have slain King Mark and how King Mark not knowing him brought him to Tintagel, and how he got his wit again and how Isoude knew him again by cause of the brachet which Tristram had given her which leaped upon him and licked him.” The eighth Harden Grange window has Tristram slumped against one side of the picture with the dog on his chest; Brangwine bends over him, and Isoude stands further away. (See also the entry for “Morris and Co.: Harden Grange.”) A drawing, based on the design for this window, is preserved in the Victoria and Albert Museum, London (see the entry for his drawing “Sir Tristram Recognized by the Dog he had Given to Isoude”).

F-429 Morris, William. “Tristram and Isolde at King Arthur’s Court” (ninth of thirteen windows for Harden Grange). Stained glass window. 30.25 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 72. – Also (colour) in Whitaker, Legends, Pl. 22(h). Full caption: “How Sir Tristram being known of King Mark fled from Cornwall and came to King Arthur’s court and how he afterwards brought Isoude there where they lived for long with great joy.” The ninth of the Harden Grange windows has various figures grouped at one side, but Tristram is prominent in the foreground, harping, with Isoude behind him. (See also the entry for “Morris and Co.: Harden Grange.”)

Morris, William: for illustrations to his literary works, see Burne-Jones, Sir Edward; DePol, John; Harrison, Florence; Hinton, Walter H.; King, Jessie Marion; Mackintosh, Margaret Macdonald, and Frances Macdonald McNair; O’Kane, Helen Marguerite; and Traquair, Phoebe Anna.

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F-430 [Morris and Co.: Harden Grange.] Morris and Co. “Tristram and Iseult.” Stained glass windows (thirteen). 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced: Ten of the panels are reproduced (colour) in Whitaker, Legends, Pls. 21–22. – Each of the panels is reproduced (B&W) in Wroot, “Pre-Raphaelite Windows at Bradford,” The Studio 72 [296] (15 Nov. 1917): 69–73. Morris’ company (Morris, Marshall, and Faulkner) designed and produced a series of thirteen stained glass panels for Walter Dunlop’s house near Bingely, Yorkshire (Harden Grange). Morris chose the subject for the panels, and hired several friends to contribute designs: Ford Madox Brown (one panel), Edward Burne-Jones (four panels), Arthur Hughes (one panel), Valentine Prinsep (one panel), and Dante Gabriel Rossetti (two panels); Morris himself contributed four designs. (Entries for the individual windows, and for extant cartoons for, or paintings based on, the designs appear under the names of the artists: 1) Hughes, Arthur, and William Morris, “The Birth of Tristram”; 2) Rossetti, Dante Gabriel, and William Morris, “Sir Tristram Slays Sir Marhaus”; 3) Prinsep, Valentine, and William Morris, “The Departure of Tristram and La Belle Isoude from Ireland”; 4) Rossetti, Dante Gabriel, “Sir Tristram and La Belle Yseult Drinking the Love Potion”; 5) Burne-Jones, Sir Edward, “The Marriage of Tristram and Isoude Les Blanches Mains”; 6) Burne-Jones, Sir Edward, “The Madness of Sir Tristram”; 7) Burne-Jones, Sir Edward, “The Attempted Suicide of La Belle Isoude”; 8) Morris, William, “Sir Tristram Recognized by the Dog he had Given to Isoude”; 9) Morris, William, “Tristram and Isolde at King Arthur’s Court”; 10) Brown, Ford Madox, “Tristram Slain by King Mark”; 11) Burne-Jones, Sir Edward, “The Tomb of Tristram and Isoude in Cornwall”; 12) Morris, William, “Queen Guenevere and Isoude les Blanches Mains”; 13) Morris, William, “King Arthur and Sir Lancelot.”)

F-431 [Morris and Co.: Hill Place windows.] Morris and Co.; Sir Edward Burne-Jones. “Elaine.” Cartoon for stained glass window. 34 x 20 in. 1870. London: Victoria and Albert Museum (accession no. C.321–1927). . Reproduced (colour) in Parry, William Morris, 133. Linda Parry, ed., William Morris, 133 (Item H.40). A design for a stained glass panel created for Hill Place, Upminster, Essex. Elaine stands, with her hands up to her hair; she is dressed in silvery white. The design was used a second time, for Lunefield, Kirkby Lonsdale, Lancashire, in 1882.

F-432 [Morris and Co.: Hill Place windows.] Morris and Co.; Sir Edward Burne-Jones. “Lancelot.” Cartoon for stained glass window. 1870. London: Victoria and Albert Museum (accession no. C.321–1927). . Linda Parry, ed., William Morris, 133 (Item H.40). A companion piece to “Elaine,” created for Hill Place, Upminster, Essex. (The Hill Place window is now lost, though a copy made for Kirkby Lonsdale survives.)

F-433 Morris and Co.; Sir Edward Burne-Jones, William Morris, and John Henry Dearle, designers. “The Holy Grail Tapestries.” Tapestries (cotton warp, wool and silk weft). 1895–1900. Birmingham: Birmingham Museums and Art Gallery. Another set (four tapestries): Private collection (Andrew Lloyd Webber). Reproduced: “The Attainment of the Holy Grail” (designed by E. Burne-Jones), is reproduced (colour) in Whitaker, Legends, Pl. 25. – Also in Christine Poulson, The Quest for the Grail, Pl. 7. – Two of the tapestries are reproduced (colour) in Gwyn A. Williams, Excalibur: The Search for Arthur, 198–99. – Several of the tapestries are reproduced in Knights of the Round Table (Pitkin Guides, 1997), 14–15 (“The Arming and Departure of Knights”); two more (titles not given, but they are “The Failure of Sir Gawaine” and “The Attainment”) on 18–19.

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– “The Arming and Departure” tapestry is reproduced (in colour) in Linda Parry, William Morris Textiles, 119. – “The Summons,” “The Arming and Departure,” and “The Failure of Sir Gawaine” are reproduced (B&W) in Christine Poulson, The Quest for the Grail, Figs. 18–20 (pp. 100–101). – The Birmingham tapestries have been reproduced on postcards; also in the form of a poster for children to colour. Cf. Linda Parry, ed. William Morris, Item M.130 (pp. 294–95, including two colour reproductions: “The Arming and Departure of Knights” [p. 294] and “The Attainment” [p. 295]); also Fig. 98 (p. 232), the Birmingham “Summons” (colour). A series of tapestries, originally designed for Stanmore Hall, Harrow, Middlesex (home of William Knox D’Arcy), based on the Quest of the Holy Grail, and consisting of five narrative scenes plus “The Ship,” accompanied by verdure panels with inscriptions (to be hung below the narrative panels): “The Summons” (8.6 x 17 ft.; Arthur and his knights have a vision of the Grail); “The Arming and Departure of the Knights of the Round Table on the Quest for the Holy Grail” (8.5 x 14.6 ft.; various knights appear on horseback while maidens gather around them holding pieces of their equipment); “The Failure of Sir Gawaine” (8.5 x 10.6 ft.; Gawain and Iwain are refused entrance to the chapel by an angel); “The Failure of Sir Lancelot” (8.5 x 10.6 ft.; Lancelot sleeps by a well); “The Ship” (7.8 x 3.4 ft.; alluding to the journey from Logres to Sarras); “The Attainment: The Vision of the Holy Grail to Sir Galahad, Sir Bors and Sir Perceval” (8.5 x 30 ft.; also called “The Achievement of Sir Galahad, accompanied by Sir Bors and Sir Perceval”). Each of these was woven at Merton Abbey by Martin, Taylor, Sleath, Ellis, Knight and Keach. Besides the original set for Stanmore Hall, a number of partial sets and single tapestries were also produced using the designs (one of these partial sets is now owned by the Birmingham Museums and Art Gallery). A partial set of four tapestries (“The Arming and Departure of Knights,” “The Failure of Sir Gawaine,” “The Failure of Sir Lancelot,” and “The Attainment”) is described in Pre-Raphaelite and Other Masters: The Andrew Lloyd Webber Collection, 309 (Cat. 191), with colour photographs on 6, 242–45. Besides the tapestries themselves, “[n]umerous Burne-Jones drawings for the series are known and the photographic cartoons for part of the series are at the William Morris Gallery, Walthamstow” (Parry 295). Burne-Jones produced two watercolour paintings (finished studies) of designs for the tapestries (see the entries under “Burne-Jones” for “Sir Gawain and Sir Uwain at the Chapel of the Holy Grail” and “Sir Lancelot at the Chapel of the Holy Grail”). (Also see Linda Parry, William Morris Textiles, 114–18 [and a colour reproduction on p. 119] for a description of the tapestries and an account of their manufacture, and pp. 143–44 for an account of the overall commission to Morris and Co. for furnishing and decorating Stanmore Hall.)

F-434 Morris and Co. “The Legend of Good Women.” Embroidered panels. Bexleyheath: The Red House. ca. 1860. Reproduced: The design drawing for “Guenevere” is reproduced (B&W) in Parry, William Morris, 227. The idea for this series of twelve panels, intended as decoration for the drawing-room of William Morris’ Red House but never completed, was based upon Chaucer’s Legend of Good Women, but Morris selected his own “good women” and chose to include Guenevere and Iseult. Three of the panels (Lucretia, Hyppolyte, and Helen) were made into a screen in 1889, which was sold by Morris and Co. to the Earl of Carlisle, and this remains in the Castle Howard collection. Three other panels, in varying stages of completion, including “Iseult,” are preserved at Kelmscott Manor (Parry, William Morris Textiles, 13–14). The cartoon for the Guenevere panel is also preserved (see Parry, William Morris, 226 and Fig. 92 (p. 227); cf. pp. 236–37 [Cat. items M.7-M.10, with four reproductions]).

F-435 Mortimer, John Hamilton. “The Discovery of Prince Arthur’s Tomb by the Inscription on the Leaden Cross.” Drawing (ink and watercolour). 7.75 x 7.75 in. ca. 1767. Edinburgh: National Gallery of Scotland.

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Reproduced (colour) in Gwyn A. Williams, Excalibur: The Search for Arthur, 135. – Also in British Heritage 7.4 (“King Arthur Special Issue”) (June-July 1986): 49. – Also (B&W) in Christine Poulson, The Quest for the Grail, 11. – Reproduced (B&W) in Mancoff, Return, 26. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 1. A study for an oil painting; the painting is lost, but two studies for it survive, one in the National Gallery of Scotland and the other in the Victoria and Albert Museum. The tomb of Arthur is discovered at Glastonbury; monks and workmen stand in and around an excavation, one of them holding the leaden cross marking Arthur’s tomb, as reproduced by Camden.

F-436 Mortimer, John Hamilton. Four scenes from Spenser. Drawings (India ink). 4.5 x 2.5 in. each. ca. 1778. London: British Museum, Department of Prints and Drawings. (*) Reproduced: The Poetical Works of Edmund Spenser . . . From the text of Mr Upton, etc., With the life of the author. 8 vols. Bell’s Edition: The Poets of Great Britain 15–22. Edinburgh: At the Apollo Press, 1778. Four drawings in a single mount, being the original drawings used for the engraved frontispieces to the first four volumes of the eight volume “Bell’s Poets” edition of Spenser (the frontispieces were engraved by C. Griguion). The four drawings are these: for Vol. 1, “Forget his furious force / Instead thereof he kiss’d her weary feet” (Una and the lion; The Faerie Queene, I.iii.6); for Vol. 2, “And him beside there lay upon the grass / A dreary corse whose life away did pass” (the cave of Despair; The Faerie Queene, I.ix.36); for Vol. 3, “The damsel there arriving enter’d in / Where sitting on the floor the hag she fou[n]d” (Florimel enters the hut of the witch; The Faerie Queene, III.vii.7); for Vol. 4, “She was astonished with exceeding dreed / And would have wak’d the Satyr by her side” (Malbecco discovers Hellenore sleeping beside a satyr; The Faerie Queene, III.x.50). (Information from British Museum, Catalogue of Drawings by British Artists, 3: 114–15.)

F-437 Mortimer, John Hamilton. “Sir Artegall, the Knight of Justice, with Talus, the Iron Man.” Painting (oil on canvas). 8 ft. x 4 ft. 9 in. 1778. London: Tate Gallery (accession no. T02057). . Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 4. A painting, being a portrait of the principal character of Book 5 of Spenser’s The Faerie Queene. Sir Arthegall appears in a full-length portrait in a forest scene, leaning against a large rock, holding his sword Chrysaor; behind him one can see the face of Talus, the man “of iron mould,” his squire.

F-438 Mowbray, H. Seldon. A series of Arthurian subjects. Paintings (wall murals). New York: The library of J. Pierpont Morgan’s house on East Thirty-Sixth Street. 1906. (*) (Information from Whitaker, Legends, 298.)

Munro, Alexander; see the entry for “Rossetti, Dante Gabriel: King Arthur and his Knights.” F-439 Muschamp, F. Sydney. “Enid–then breaking his command of silence.” Painting. 1885. [Current location not known.] (*) (Information from Whitaker, Legends, 231.)

F-440 Newill, Mary Jane. Figures from Spenser’s The Faerie Queene. Tapestry. 1894. [Current location not known.] (*) (Information from Marsh and Nunn, Women Artists, 129.)

F. Fine Art and Graphic Design

681

F-441 Newill, Mary Jane. “Gareth and Linet.” Embroidery. 1893. [Current location not known.] (*) (Information from Poulson, Quest, 70.)

F-442 Newill, Mary Jane. “The Passing of Arthur.” Drawing. The Studio Special Supplement (1895): 56. Reproduced in Marsh and Nunn, Women Artists, 130 (Fig. 41). Three queens in a Viking ship, with Arthur; the lower half of the image is occupied by a quotation from Malory.

F-443 Nicholl, Mrs Samuel. “Enid.” Painting. 1880. [Current location not known.] (*) (Information from Whitaker, Legends, 231.)

F-444 “Nine Worthies.” Painted wall panels (nine). 5.5 ft. x ca. 2.5 ft. each. Amersham: 56 High Street. ca 1600. (*) Reproduced in Horst Schroeder, “The Mural Paintings of the Nine Worthies at Amersham,” in Archaeological Journal 138 (1981): 241–47. A series of early modern painted panels representing the nine worthies (including King Arthur); they were discovered during renovations to this house in 1931. (Information from Whitaker, Legends, 151.)

F-445 Norburg, R. “King Arthur and the Diamond Crown.” Painting. 1874. [Current location not known.] (*) (Information from Whitaker, Legends, 236.)

F-446 Normand, Ernest. “Elaine.” Design for a frieze. 1904. [Current location not known.] (*) (Information from Whitaker, Legends, 218.)

F-447 O’Kane, Helen Marguerite, illus. Sir Galahad: A Christmas Mystery. By William Morris. New Rochelle, NY: Elston Press, 1902. A fine press, limited edition of Morris’ Sir Galahad, with two illustrations by O’Kane.

F-448 Oertel, Johannes Adam. “Holy Grail.” Painting (oil on canvas). 34 x 42.5 in. 1877. Cambridge, MA: Fogg Art Museum, Harvard University. (*) (Information from .)

F-449 Opie, John. “The Freeing of Amoret, by Britomartes.” Painting. ca. 1789. [Current location not known.] (*) A painting, illustrating a scene from the story of Britomart in Spenser, The Faerie Queene, III.xii.27. This was commissioned for Thomas Macklin and exhibited in his Poets’ Gallery in London, as part of what was to be a series of 100 oil paintings illustrating scenes from British narrative poems. The engraved print (18 x 14 in., available “plain” or “in colours”) was prepared by F. Bartolozzi. (Information from Whitaker, Legends, 247; also A Catalogue of the Second Exhibition of Pictures, Painted for Mr Macklin, by the Artists of Britain, Illustrative of the British Poets [London: Poets Gallery, Fleet Street, 4 May 1789], 13 [Item 16].)

F-450 Oxford Union Murals. Various artists including Dante Gabriel Rossetti, William Morris, Edward Burne-Jones, Valentine Prinsep, Arthur Hughes, John Pollen, and J. R. S. Stanhope. Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1857.

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Reproduced by J. Christian, Oxford Union Murals, on colour microfiche. Because of inexpert technique and inadequate surface preparation, the paintings have deteriorated badly; further, even with newly installed lighting, they are difficult to see from the floor of the Library. We have included separate entries for the ten panels under the names of the artists: (1) “The Education of Arthur by Merlin,” by William and Briton Rivière; (2) “Arthur’s Wedding, with Incident of the White Hart,” by William and Briton Rivière; (3) “Sir Launcelot Prevented by his Sin from Entering the Chapel of the San Grail,” by Dante Gabriel Rossetti; (4) “Sir Pelleas Leaving the Lady Ettarde,” by Valentine Prinsep; (5) “King Arthur Obtaining the Sword Excalibur from the Damsel of the Lake,” by John Hungerford Pollen; (6) “King Arthur’s First Victory with the Sword,” by William and Briton Rivière; (7) “Sir Palomydes’ Jealousy of Sir Tristram,” by William Morris; (8) “Merlin and Nimuë” (“Merlin Being Imprisoned Beneath a Stone by the Damsel of the Lake”), by Edward Burne-Jones; (9) “Sir Gawaine Meeting Three Ladies at a Well,” by Rodham Spencer Stanhope; (10) “Arthur Carried Away to Avalon and the Sword Thrown Back into the Lake,” by Arthur Hughes. The three panels by William and Briton Rivière were added after Rossetti and his Pre-Raphaelite partners had abandoned the project unfinished. A general view of the library including three of the murals (nos. 3, 4, and 5 in the above list) appears in Poulson, Quest, Pl. 5.

F-451 Paget, Henry Marriott. “Enid and Geraint.” Painting. 1879. [Current location not known.] (*) (Information from Whitaker, Legends, 231.)

F-452 Paget, Henry Marriott, illus. “The Lady of Shalott.” The Works of Alfred Tennyson. London: C. Kegan Paul and Co., 1881. Reproduced in Ladies of Shalott, 136. Ladies of Shalott (exhibition catalogue), Item 35. A line drawing, in which the Lady stands, leaning forward to gaze out of the window; part of a mirror can be seen behind her, presumably about to crack.

F-453 Pailthorpe, Doris, illus. The Quest of the Holy Grail. By Sir Thomas Malory. Ed. Aileen Bagot. London: Burns, Oates and Washbourne, 1937. (*) The story of the Grail quest, from Malory, illustrated by Pailthorpe (Gaines, Item B33). (Information from Gaines.)

F-454 Papé, Frank Cheyne. “The Quest for the Holy Grail.” Painting (oil on canvas). 4.5 x 7.5 ft. 1908. [Current location not known.] Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 60 (p. 242). The picture shows a lone knight on horseback, with head lowered in dejection and weariness, in a very rocky and rugged landscape.

F-455 Parkinson, Keith. “The Return of Lancelot.” Painting (oil on masonite). 24 x 40 in. 1991. [Current location not known.] Reproduced: KnightsBridge: The Art of Keith Parkinson. Intro. by Terry Brooks. Pittsburgh, PA: FPG, 1996. 78–79. This painting depicts a castle courtyard with a knight in armour on a white horse being greeted by various other characters, both servants and knights. A few ladies watch the arrival from the castle steps on the far left of the picture; chickens peck among the straw in the foreground. The slanting light bathes the castle and the returning knight in a golden light. In KnightsBridge, Parkinson’s notes to the reproduction of this painting say that it is otherwise unpublished.

F-456 Paton, Sir Joseph Noël. “Beati Mundo Corde.” Painting (oil on canvas). 5.8 x 8 ft. 1890. Birmingham: Pre-Raphaelite Trust.

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Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 24 (p. 130). A reworking in a larger size of Paton’s “How an Angel Rowed Galahad over the Dern Mere,” turning it into an allegory of sacred chivalry and the rejection of Pleasure and Despair. Both paintings probably were intended to illustrate Tennyson’s lines, “Sometimes on lonely mountainmeres / I find a magic bark, / I leap on board; no helmsman steers: / I float till all is dark.”

F-457 Paton, Sir Joseph Noël. “Cymochles and Phaedria Crossing the Idle Lake.” Painting. n.d. [Current location not known.] Reproduced (colour) in “Camelot 2000” calendar. A painting, illustrating a scene from Spenser, The Faerie Queene, II.vi.

F-458 Paton, Sir Joseph Noël. “The Death Barge of King Arthur” (or “The Passing of Arthur”). Engraving with sepia wash. 17.5 x 22 in. 1862. Glasgow: Glasgow Art Gallery and Museum. Reproduced (B&W) in Snyder, World of King Arthur, 162–63. – Also in Anne Berthelot, King Arthur and the Knights of the Round Table, 60–61. – Also in Mancoff, Return, 154. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 67. Item 27 in The Scottish Arts Council, Fact and Fancy, where it is said to have been “[d]rawn for the Art Union of Glasgow and issued by them in 1866” (23). An illustration to the passage in Malory describing how Arthur is carried to Avalon. Arthur is seen in the death barge with four women gathered closely around him (three have crowns); various other servants tend the sail and row the ship.

F-459 Paton, Sir Joseph Noël. “Hesperus: The Evening Star, Sacred to Lovers.” Painting (oil on millboard). 36 x 27 in. 1857. Glasgow: Glasgow Museum and Art Gallery. Reproduced (colour) in The Scottish Arts Council, Fact and Fancy 22. – Also in M. H. Noel-Paton and J. P. Campbell, Noel Paton, Pl. 8 (facing p. 80). – Also in the 1998 “Pre-Raphaelite” calendar. Item 21 in The Scottish Arts Council, Fact and Fancy. Exhibited at the Royal Scottish Academy in 1857 and the Royal Academy in 1860. This is a portrait of the knight known in Tennyson’s Idylls as “Evening Star” and in Malory’s Morte Darthur as “The Green Knight, or Sir Pertolope.” The picture shows a young man kneeling before a lady seated under trees at dusk, the Evening Star visible through the branches above them.

F-460 Paton, Sir Joseph Noël. “How an Angel Rowed Galahad over the Dern Mere.” Painting (oil on panel). 10 x 13.25 in. ca. 1885–1886. Private collection. Reproduced in Knights of the Round Table (Pitkin Guides, 1997), 17. Item 52 in The Scottish Arts Council, Fact and Fancy. The painting is probably intended to illustrate Tennyson’s lines, “Sometimes on lonely mountain-meres / I find a magic bark, / I leap on board; no helmsman steers: / I float till all is dark.” Galahad stands beside his horse, leaning on his shield, looking at the angel seated in front of him, rowing.

F-461 Paton, Sir Joseph Noël. “Sir Galahad and his Angel.” Painting (oil on panel). 20.25 x 12 in. 1884. Private collection. Reproduced (colour) in Day, The Search for King Arthur, 127. – Also (B&W) in Girouard, The Return to Camelot, Fig. 104 (p. 156). – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 75. – Also in Christine Poulson, The Quest for the Grail, Fig. 23 (p. 129). – Also (colour) in “Camelot 1996” (calendar). Galahad rides towards the viewer, with eyes on heaven, and with an angel at his left shoulder.

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F-462 Paton, Sir Joseph Noël. “Sir Galahad’s Vision of the Sangreal” (or “Sir Galahad and the San Grael”). Painting (oil on canvas). 17 x 11.5 in. 1879–1880. Private collection. Reproduced (colour) in Girouard, The Return to Camelot, Pl. XVIII (p. 138). – Also in Mancoff, Return, 55. – Also in M. H. Noel-Paton and J. P. Campbell, Noel Paton, Pl. 1 (facing p. 48). Sir Galahad, mounted, with helmet under his arm and bowed head, rides across the scene from left to right, while three angels with clasped hands pass above him. The painting is set in a large, elaborate frame designed by Paton.

F-463 Paton, Sir Joseph Noël. “Rhyme of Sir Lancelot.” Drawing (sketch). 1854. [Current location not known.] (*) Exhibited at the Royal Scottish Academy in 1854. (Information from Noel-Paton and Campbell, Noel Paton, 92.)

F-464 Paton, Sir Joseph Noël. “Sir Lancelot of the Lake.” Painting. 1860. [Current location not known.] (*) (Information from Whitaker, Legends, 216.)

F-465 Paton, Sir Joseph Noël. “A Study: The Lady of Shalott.” Painting. 1832. [Current location not known.] Reproduced (colour) in Jane Lahr, ed., The Celtic Quest in Art and Literature: An Anthology from Merlin to Van Morrison. New York: Welcome, [1998]. 150. A roundel with a head and shoulders portrait of a young lady.

F-466 Paton, Sir Joseph Noël, illus. “Una and the Lion.” By Edmund Spenser. In Gems of Literature, Elegant, Rare, and Suggestive. Nimmo’s Elegant Gift Books. Edinburgh: William P. Nimmo, 1866. 101–103. Reissued 1873. The book is a collection of extracts from a wide variety of literary works, and includes six stanzas of Spenser, The Faerie Queene, I.iii.4–9. Each excerpt is accompanied by engraved drawings by different artists; the Spenser excerpt has two illustrations (as head- and tailpieces) by Sir Noël Paton; the first shows a young lady seated on the ground beneath a tree, resting her head on her hand; the second shows her embracing a recumbent lion, who looks out at the viewer with large, human eyes.

F-467 Paul, Evelyn, illus. The Romance of Tristram of Lyones and La Beale Isoude, Drawn Out of the Celtic-French and Illuminated by Evelyn Paul. Attrib. to Robert de Boron. Trans. Evelyn Paul. London: George G. Harrap, [1920]. This translation of the Old French Prose Tristan is accompanied by twelve full-page colour and twenty-three partial-page illustrations, as well as a quite elaborate decorative scheme.

F-468 Perugini, Charles Edward. “Then she stretched out her arms and cried aloud ‘Oh, Arthur.’” Painting. 1863. [Current location not known.] (*) The quotation is from Tennyson’s Guinevere, to which this presumably was an illustration. Exhibited at the Royal Academy in 1863; now lost. (Information from Poulson, Quest, 216.)

F-469 Pettie, John. “The Dedication” (or “The Vigil”). Painting (oil on canvas). 45 x 66 in. ca. 1884. London: Tate Gallery (accession no. N01582). .

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Reproduced: Used as an illustration (B&W) to Cutler’s Stories of King Arthur, (1905), facing p. 4. – Also (B&W) in Mancoff, Return, 124. A knight kneels before an altar, lifting his sword hilt before his face; his helmet, shield, and chain mail are on the ground in front of him. While not necessarily Arthurian (the knight’s identity is not made clear), its use in Arthurian contexts such as Cutler’s book indicates that the knight is, as Mancoff argues, often read as Arthurian (e.g., as an image of Galahad). (See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-470 Phillipps, Francis, illus. The Age of Chivalry. By Claude-Catherine Ragache. Trans. Abigail Frost. Myths and Legends. Bath, Avon: Cherrytree Books, 1989. The illustrations include full-colour pictures of Merlin with Vortigern, Arthur pulling the sword from the stone, the founding of the Round Table (a gift from Merlin), Lancelot doing battle and crossing the sword bridge, Perceval meeting knights for the first time, the Grail procession viewed by Perceval, Yvain and the fountain and Yvain with the lion, Tristan with Mark and Tristan fighting the dragon, and Merlin as he is entrapped by Vivian. (The rest of the book and its illustrations are from the legends of Charlemagne.)

F-471 Phipps, Howard, illus. The Lady of Shalott. By Alfred Tennyson, Baron. London: Folio Society, 1991. A small fine press book in which Tennyson’s poem is presented one stanza per page, accompanied by five full-page engraved illustrations by Phipps. The frontispiece shows a landscape, with a river in the foreground, a castle on a hill in the distance; facing the first stanza of Part 1 is a scene of harvest; with Part 2 is an interior scene showing the Lady winding yarn, seated by an open door leading to a spiral staircase; with Part 3 is a picture of the Lady standing, looking out of the window; with Part 4 is a picture of the Lady standing under a tree on the riverbank, holding the bowline of a boat. The book is bound in a fine binding by Stephen Conway, including a case.

F-472 Pisarev, Roman, illus. Legends of King Arthur: Arthur, Tristan, The Holy Grail. Ed. Richard Barber. 3 vols. London: Folio Society, 2000. Reproduced: Legends of Arthur. Ed. Richard Barber. Woodbridge, Suffolk: Boydell and Brewer, 2001. This is a collection of six substantial excerpts from English translations of medieval Arthurian stories, with a focus on Arthur’s military successes, the love story of Tristan and Iseult, and the story of Perceval and the Holy Grail. Pisarev provided sixteen full-page illustrations (engraved line drawings). The 2001 Legends of Arthur reprints in one volume the “Arthur” and “Tristan” portions of the Folio Society collection, and adds a translation of Sir Gawain and the Green Knight, but the Pisarev illustrations are not included; instead, the one-volume version is illustrated with reproductions of medieval and Victorian illustrations (including the Tristan stained glass windows for Harden Grange, on which see the separate entries in this section).

F-473 Pitz, Henry C., illus. The Book of King Arthur and His Noble Knights: Stories from Sir Thomas Malory’s “Morte Darthur.” By Mary Macleod [Mary Macleod Banks]. Intro. Angelo Patri. Lippincott Classics. Philadelphia and New York: J. B. Lippincott Co., 1949. A juvenile adaptation of Malory. Pitz’s illustrations consist of a large number of line drawings in the text, with coloured drawings at the heads of chapters.

F-474 Pitz, Henry C., illus. King Arthur and his Knights. By Henry Frith. Junior Deluxe Editions. Garden City, NY: Doubleday and Co., 1955. (*) Reproduced: A drawing of two knights battling on a stone bridge leading to the gate of a castle is reproduced in Gaines, facing p. 52. A reprinting of Frith’s retelling of Malory, with a new set of illustrations (line drawings) by Henry Pitz (Gaines, Item B5.d). (Information from Gaines.)

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F-475 Pollen, J[ohn] Hungerford. “King Arthur Obtains the Sword Excalibur” (or “King Arthur Obtaining the Sword Excalibur from the Damsel of the Lake”; or “King Arthur Receiving Excalibur”). Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1857. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1E11. In the centre, Arthur in a boat (with Merlin behind him) accepts Excalibur from the arm arising from the lake; on the left is the Lady of the Lake standing upon the water, and on the right is a horse on the shore.

F-476 [Postage stamps, Grenada, 1972.] Postage stamp with King Arthur (in armour, mounted). Grenada Post Office, 1972. Scott Stamp Catalog, Grenada, nos. 450, 453. On 4 Mar. 1972, in honour of the twenty-fifth anniversary (in 1971) of UNICEF, the Grenada Post Office issued a set of seven stamps on the theme of Children’s literature. King Arthur (in armour and mounted, with a castle tower in the background) appeared on the 1/2¢ and 25¢ stamps (the other designs in the set feature Robin Hood, Robinson Crusoe, and Mary with her little lamb).

F-477 [Postage stamps, St Vincent, 1986.] Eight postage stamp designs on Arthurian themes. General Post Office, St Vincent and the Grenadines, 1986. Scott Stamp Catalog, St Vincent, nos. 979–979g. On 3 Nov. 1986, the GPO of St Vincent issued eight stamps on theme of “The Legend of King Arthur,” being “King Arthur” (30¢), “Merlin” (educating Arthur) (45¢), “Arthur Becomes King” (he pulls the sword from the stone) (60¢), “Camelot” (75¢), “Lady of the Lake” (Arthur receiving Excalibur from the Lady) ($1), “The Round Table” ($1.50), “Holy Grail” ($2), and “Sir Lancelot” (two knights jousting) ($5).

F-478 [Postage stamps, UK, 1985.] Four postage stamp designs on Arthurian themes. Designed by Yvonne Gilbert. General Post Office, United Kingdom. 1985. Scott Stamp Catalog, Great Britain, nos. 1115–1118. A series of four postage stamps showing Arthurian characters, issued by the GPO on 3 Sept. 1985 to mark the 500th anniversary of publication of Caxton’s Malory (there is also a set of postcards reproducing the designs of the stamps): a) “King Arthur and Merlin” (17p); b) “The Lady of the Lake” holding Excalibur (22p); c) “Guinevere and Lancelot,” in flight (31p); d) “Sir Galahad,” at prayer (34p).

F-479 [Postage stamps, UK, 1992.] Four postage stamp designs for Tennyson centenary. Designed by Irene Von Treskow. General Post Office, United Kingdom, 1992. Scott Stamp Catalog, Great Britain, nos. 1441–1444. On 10 Mar. 1992, the GPO issued a set of four stamps marking the centenary of the death of Tennyson, designed by Irene Von Treskow, and featuring portraits of the poet together with reproductions of famous Victorian paintings illustrating his works. One of the four stamps (33p) included a reproduction of “‘I am Half-Sick of Shadows,’ said the Lady of Shalott” by J[ohn] W[illiam] Waterhouse (see also the entry for the painting under “Waterhouse”). Another of the stamps (24p) included a reproduction of “The Beguiling of Merlin” by Sir Edward Burne-Jones (see also the entry for the painting under “Burne-Jones”). (On the stamps, see the British Philatelic Bulletin (Feb. 1992): 123–26.)

F-480 [Postage stamps, USA, 1995.] “Prince Valiant.” One of a set of 20 designs by Carl Herman. United States Postal Service, 1995. Scott Stamp Catalog, United States, no. 3000s. On 1 Oct. 1995, the US Postal Service issued a sheet of twenty stamps of different designs on the theme of “Comic Strip Classics” (each stamp worth 32¢); the third stamp in the bottom row shows Prince Valiant, the hero of Harold Foster’s comic strip set in Arthurian times. An inscrip-

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tion on the back of the stamp describes the comic strip. (See the entries for “Prince Valiant” in the Comics section and in the “Film, Television and Radio” section.)

F-481 [Postage stamps, USA, 2001.] “Galahad’s Departure.” By Edwin Austin Abbey. United States Postal Service, 2001. Scott Stamp Catalog, United States, no. 3502k. On 1 Feb. 2001, the US Postal Service issued a sheet of twenty stamps of different designs on the theme of “American Illustrators” (each stamp worth 34¢); the first stamp in the third row reproduced Edwin Austin Abbey’s “Galahad’s Departure” (from the version used as an illustration in Harper’s Magazine). (See also the entry for Abbey, Edwin Austin, “Galahad Departs from the Land.”)

F-482 Prinsep, Valentine. “Sir Pelleas and the Lady Ettarde” (or “Sir Pelleas Leaving the Lady Ettarde”). Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1857. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1E6. Sir Pelleas stands in the centre of the picture, with Ettarde on the right and the Lady of the Lake on the left.

F-483 Prinsep, Valentine, and William Morris. “The Departure of Tristram and La Belle Isoude from Ireland” (third of thirteen windows for Harden Grange). Stained glass window. 26.75 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 70. – Also (colour) in Whitaker, Legends, Pl. 21(b). Full caption: “How Sir Tristram demanded La Belle Isoude daughter of King Anguisshe of Ireland for his uncle King Mark: and how he set sail to carry Isoude into Cornwall.” The third of the Harden Grange windows has a crowned figure at one side of the window; he clasps Tristram on the shoulder and holds one of Isoude’s hands in farewell. Wavy blue in parts of the background suggests the sea that the pair will soon cross. (See also the entry for “Morris and Co.: Harden Grange.”)

F-484 Pyle, Howard, illus. King Arthur and his Knights. By Mary Macleod [Mary Macleod Banks]. Classics to Grow On. New York: Parents’ Magazine’s Cultural Institute, 1966. (*) A reprint of Macleod’s retelling of Malory, with illustrations taken from Howard Pyle’s Arthurian retellings. (See also the entries for “Pyle, Howard” in the Literature section.) (Information from OCLC WorldCat entry.)

F-485 Pyle, Howard, illus. The Lady of Shalott. By Alfred Tennyson, Baron. New York: Dodd Mead and Co., 1881. Reproduced: Three illustrations (“The Lady of Shalott,” “The Lady of Shalott Weaving,” and “Lancelot”) are reproduced at The Camelot Project Website, ed. Alan Lupack . Ladies of Shalott (exhibition catalogue), Item 36. Includes eleven full-page colour illustrations, thirty line drawings, and many incidental decorations.

F-486 Rackham, Arthur, illus. The Romance of King Arthur and his Knights of the Round Table, Abridged from Malory’s “Morte d’Arthur.” By Sir Thomas Malory. Ed. Alfred W. Pollard. London: Macmillan and Co., 1917. Reproduced: Facsimile Classics Series. London: Godfrey Cave Associates; New York: Mayflower, 1979.

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– Five of the illustrations are reproduced (B&W) in Mancoff, Return, 9, 83, 116, 117, 145; and two are reproduced (colour) 73, 114. – A picture showing “How Arthur drew his sword Excalibur for the first time” is reproduced (colour) in Coghlan, Illustrated Encyclopedia, 14. – Another picture showing “How Mordred was slain by Arthur and how by him Arthur was hurt to the death” is reproduced (colour) in Illustrated Encyclopedia, p. 27. – Three of the pictures are reproduced in Hopkins, Book of Guinevere, 35 (reproduced again on the back of the dust-jacket), 68, and 79. – Another, “How Sir Launcelot fought with a fiendly dragon” is reproduced (B&W) in Whitaker, Legends, Fig. 58. – Two of the illustrations, “How Sir Galahad Drew Out the Sword from the Floating Stone at Camelot” and “The Questing Beast,” are reproduced ((B&W) in Mancoff, Arthurian Revival, Figs. 96 and 97. A modernized and abridged version of Malory. Along with the regular trade edition, 500 large, numbered copies, bound in vellum and signed by the illustrator, were offered for sale. Rackham’s illustrations consist of sixteen full-page colour plates, seven full-page B&W drawings, and line drawings at the beginnings of chapters.

F-487 Rado, Anthony, illus. King Arthur of Britain, from Sir Thomas Malory’s “Morte D’Arthur.” By Sir Thomas Malory. Ed. Brian Kennedy Cooke. The Golden Legend Series. London: Edmund Ward (Publishers), 1946. (*) Reproduced: 2nd ed. Illus. Gay Galsworthy. Leicester: Edmund Ward (Publishers), 1961. – One of Rado’s illustrations, showing two knights tilting, is reproduced in Gaines, facing p. 66. A retelling of the story of Arthur from Malory (Gaines, Item B38). The illustrations by Rado are described as being “in the style of early English miniatures.” (See also the entry for “Galsworthy, Gay.”) (Information from Gaines and from the OCLC WorldCat entry.)

F-488 Rae, Henrietta. “Lancelot and Elaine.” Painting. 1884. [Current location not known.] Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 9 (p. 58). Lancelot, in a winged helmet, is being addressed by the young Elaine, her arms outstretched in entreaty.

F-489 Raphael, Mary F. “Britomart and Amoret.” Painting (oil on canvas). 1898. Private collection. Reproduced in “Camelot 1999” (calendar). – Again in “Camelot 2005” (calendar). Bridgeman Art Library, no. CW-32530. A painting illustrating a scene from Spenser, The Faerie Queene III.xii; Amoret, dressed in white, kisses the hand of Britomart, clad in armour.

F-490 Raverat, Gwen[dolen], illus. “The Lady of Shalott.” The Cambridge Book of Poetry for Children. Ed. Kenneth Grahame. Rev. edn. Cambridge: Cambridge University Press, 1932. 171–78. Reproduced: New York: G. P. Putnam’s Sons, 1933. The second edition of this anthology added illustrations (wood engravings) to its texts, including Tennyson’s “The Lady of Shalott.” There are five illustrations to the poem, head- and tailpieces and three small, square engravings between the stanzas. The headpiece shows two men reaping, looking down towards the river and the island of Shalott; the first between stanza block shows the Lady at her loom; the second shows a mounted knight riding; the third shows the Lady looking out the window; the tailpiece shows the body of the Lady drifting towards Camelot.

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F-491 Reynolds-Stephens, Sir William. “Guinevere and the Nestling.” Statuette (bronze, ivory, enamel, and mother-of-pearl). Height: 32.5 in. 1900. London: Conway Library, Courtauld Institute of Art. Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 54 (p. 219). The figure is that of a woman holding an infant, whose forehead she is kissing.

F-492 Reynolds-Stephens, Sir William. “Guinevere’s Redeeming.” Statuette (bronze with ivory and mother-of-pearl inlay). Height: 36 in. 1905. Nottingham: Nottingham Castle Museum and Art Gallery. Reproduced (B&W photograph) in Whitaker, Legends, Fig. 47. Also in Christine Poulson, The Quest for the Grail, Fig. 53 (p. 218). Also in The Last Romantics, 146. The Last Romantics, Item 201. A statuette, of Guinevere as a nun; she wears a large Crucifix hanging on a heavy chain. There are four pictures around the plinth upon which she stands, showing her “As Queen” and “As Lover,” but also showing her redemption “By giving dole” and “By prayer.” At least two other copies exist, at Warrington Musuem and Art Gallery and at the Harris Museum and Art Gallery in Preston.

F-493 Reynolds-Stephens, Sir William. “Lancelot and the Nestling.” Statuette (bronze, enamel, ivory, and mother-of-pearl). Height: 33.8 in. 1899. London: Conway Library, Courtauld Institute of Art. Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 55 (p. 219). Lancelot, in full armour, looks down at a pale, naked child that he holds in one arm.

F-494 Rhead, George Wooliscroft, and Louis Rhead, illus. Idylls of the King: Vivien, Elaine, Enid, Guinevere. By Alfred Tennyson, Baron. New York: R. H. Russell, 1898. Reproduced: Several illustrations reproduced at The Camelot Project Website, ed. Alan Lupack . The title-page proclaims that this edition comes “with sixty original decorations,” but some of these are decorative letters, borders, or designs, or portraits of Tennyson and of Queen Victoria. There are thus forty-eight B&W, engraved, full- or partial-page illustrations: Louis Rhead provides twenty-four of those for “Enid” and “Guinevere”; George W. Rhead provides twenty-four for “Vivien” and “Elaine.”

F-495 Richards, Ceri. “Arthur and Guinevere.” Drawing (copper engraving). 1940s(?). Bolton, Lancashire: Bolton Museum and Art Gallery (accession no. BOLMG:1993. 11.171). An engraved drawing in which Arthur and Guinevere are seated in an architectural setting (a stylized castle), with a servant approaching with a tray of food and drink while a harpist plays.

F-496 Richards, G. M., illus. Idylls of the King. By Alfred Tennyson, Baron. Ed. C. W. French; rev. H. Y. Moffett. New York: Macmillan Co., 1939. Illustrated with twelve full-page B&W engravings.

F-497 Ricketts, Charles de Sousy. Costume design: “Parsifal.” Drawing (watercolour over black chalk). 12.5 x 17 in. ca. 1921. London: British Museum, Department of Prints and Drawings. (*) The Last Romantics, Item 303. A design for an elaborate costume for Parsifal, for a performance of Wagner’s opera. Ricketts did a series of stage and costume designs for the Bayreuth Festival, commissioned by the singer Melchior, but they were never used. (Information from The Last Romantics.)

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F-498 Ricketts, Charles de Sousy. Stage design: “Parsifal: Act 3, Scene 1.” Drawing (bodycolour on paper). 11.5 x 16 in. ca. 1921. Cambridge: Fitzwilliam Museum (accession no. 1648). (*) The Last Romantics, Item 302. A sketch of a stage design for a scene from Wagner’s Parsifal, showing the landscape around the Castle of the Grail and Gurnemanz’s hut. (Information from The Last Romantics, and from the Fitzwilliam Museum website: .)

F-499 Rivière, Briton. “Elaine: ‘The dead steer’d by the dumb went upward with the flood,’ from Malory’s Morte d’Arthur.” Painting. ca. 1880. Private collection. Reproduced in “Camelot 1998” (calendar). The oarsman, at one side of the picture, seems to gaze sadly at the body of Elaine, which lies under a canopy. In the background are golden fields of grain.

F-500 Rivière, William, and Briton Rivière. “Arthur’s Wedding, with the Incident of the White Hart.” Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1859. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1G6. Three of the original murals planned by Rossetti and the other Pre-Raphaelites were not executed, and the blank spaces were later filled in by William Rivière and his son, Briton, in a style quite unlike that of the Pre-Raphaelites. (Christian suggests that two of the panels should be considered the work of William, and the third, “King Arthur’s Wedding Feast,” principally by Briton [Christian 55].) Arthur and Guenevere in the centre, behind a table, embrace, with knights flanking them on the right and left; the white hart appears in the foreground on the right.

F-501 Rivière, William, and Briton Rivière. “The Education of Arthur by Merlin.” Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1859. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1F8. The subject is not from Malory, but from Edmund Spenser, The Faerie Queene, I.ix.5. A young man reclines on the floor in the centre, with Merlin standing over him on the right.

F-502 Rivière, William, and Briton Rivière. “King Arthur’s First Victory with the Sword.” Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1859. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1G1. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 45. The panel presents a battle scene, with Arthur in the centre wielding Excalibur, beset on either side by enemies.

F-503 Robertson, George Edward. “The Lady of Shalott.” Painting. ca. 1900. [Current location not known.] Reproduced in “Camelot 1997” (calendar). The lady in her barge arrives at Camelot.

F-504 Robinson, Henry Peach. “Elaine Watching the Shield of Lancelot.” Photograph. 1859. [Current location not known.] (*) (Information from Whitaker, Legends, 225.) F-505 Robinson, Henry Peach. “The Lady of Shalott.” Photograph. 1861. Bath: Royal Photographic Society. Reproduced in Ladies of Shalott, 139.

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Ladies of Shalott (exhibition catalogue), Item 38. An attempt to imitate Pre-Raphaelite painting in photography. A woman lies in a small boat which floats among water lilies in a pool lined with weeping willows; the boat is named (in small white letters on the side) “Ye Ladye of Shalott.”

F-506 Robinson, Henry Peach. “Sleep.” Photograph. 1867. [Current location not known.] (*) An illustration for Matthew Arnold’s “Tristram and Iseult.” (Information from Whitaker, Legends, 225.)

F-507 Rosenthal, Toby Edward. “Elaine.” Painting (oil on canvas). 38.25 x 62.5 in. 1874. Chicago: Art Institute of Chicago. Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 49 (p. 193). – There is also an engraved version by Henry Wolf (3.6 x 5.8 in.) at San Francisco in the Fine Arts Museum of San Francisco, 1897. The body of Elaine lies in a flower-bedecked barge.

F-508 Rossetti, Dante Gabriel. “Arthur’s Tomb.” Painting (watercolour, with gum arabic and some pencil and ink). 9.25 x 14.75 in. 1855 [though dated “1854”]. London: British Museum, Department of Prints and Drawings (accession no. 1982–6-19–23). Reproduced (colour) in J. Nicoll, Rossetti, Pl. 9. – Also in Whitaker, Legends, Pl. 29. – Also in Coghlan, Illustrated Encyclopedia, 45. – Also in Hopkins, Book of Guinevere, 48. – Also in British Museum, Pre-Raphaelite Drawings in the British Museum, Pl. 1 (facing p. 80; also see 24, 27, and 151). – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 35. Surtees, Item 73 (and Pl. 80 [B&W]). The Pre-Raphaelites (Tate exhibition catalogue), Item 213. In Malory, Lancelot goes to visit Guinevere in Amesbury rather than meeting her at the tomb of Arthur (in Glastonbury). Rossetti’s conception of the scene of the meeting seems to have influenced William Morris’ poem “King Arthur’s Tomb” (1858). Guinevere, in the habit of a nun, kneels beside a tomb, on top of which is an effigy; Lancelot leans over the tomb to offer Guinevere a kiss, but she holds up her hand to refuse him. A pencil sketch is also preserved (ca. 1855; private collection; Surtees, Item 73A [and Pl. 81]). Rossetti made a watercolour copy in 1860, of much the same size as the original, which repeats the composition but eliminates the snake from the lower left corner (Tate Gallery; Surtees, Item 73-R.1; reproduced [B&W] in Poulson, Quest, Fig. 12 [p. 79]). A watercolour copy by Charles Fairfax-Murray is preserved in the Fitzwilliam Museum, Cambridge (watercolour on paper; 1886; 10.8 x 14.7 in.; accession no. 669).

F-509 Rossetti, Dante Gabriel. “Chapel Before the Lists.” Painting (watercolour). 15.5 x 16.25 in. 1857–1864. London: Tate Gallery. . Reproduced (colour) in J. Nicoll, Rossetti, Pl. 13. Surtees, Item 99 (and Pl. 135 [B&W]). Surtees indicates that the subject is “inspired from Malory’s Morte Darthur,” though in a general rather than particular way. In a dimly lit chapel a woman helps to arm a kneeling knight, who embraces her; beyond them, outside, the knights and tents of a tournament can be seen.

F-510 Rossetti, Dante Gabriel. “The Damsel of the Sanct Grael.” Painting (watercolour). 14 x 4.5 in. 1857. London: Tate Gallery. . Reproduced (B&W) in J. Nicoll, Rossetti, Fig. 31. – Also (colour) in J. Christian, Oxford Union Murals, on colour microfiche, Item 1A11.

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– Also (B&W) in Christine Poulson, The Quest for the Grail, Fig. 14 (p. 87). Surtees, Item 91 (and Pl. 117 [B&W]). The damsel (full-length figure) stands holding the cup and a basket of bread in one hand, with the other hand raised in a gesture of blessing; a dove is in the process of landing upon her head with a censor hanging from its beak. A second version of the subject (not an exact replica) was painted in oil in 1874 (see the separate entry).

F-511 Rossetti, Dante Gabriel. “The Damsel of the Sanct Grael.” Painting (oil on canvas). 35.5 x 20 in. 1874. Private collection (Andrew Lloyd Webber). Reproduced (colour) in Pre-Raphaelite and Other Masters: The Andrew Lloyd Webber Collection, 34. – Also in “Camelot 1999” (calendar). Surtees, Item 91-R.1. Pre-Raphaelite and Other Masters, 306 (Cat. 5). The damsel (half-length figure) holds a chalice in front of her; a dove spreads its wings behind her head.

F-512 Rossetti, Dante Gabriel. “The Death of Breuze sans Pitié.” Painting (watercolour). 19.5 x 13.5 in. 1857–1865. Private collection. Reproduced (colour) in Christine Poulson, The Quest for the Grail, Pl. 6. Surtees, Item 101. In a wood, two knights struggle in the foreground, while in the background a knight hangs from a tree with a lady standing beside him with a noose around her neck. Rossetti here completes a story which is left unfinished in Malory.

F-513 Rossetti, Dante Gabriel, illus. Guenevere: Two Poems. By William Morris. Fwd Gordon Bottomley. London: Fanfrolico Press, 1930. A fine press, limited edition of Morris’ “Defence of Guenevere” and “King Arthur’s Tomb,” illustrated with collographs of eight drawings by Rossetti.

F-514 Rossetti, Dante Gabriel. “How Sir Galahad, Sir Bors, and Sir Percival were Fed with the Sanc Grael; but Sir Percival’s Sister Died by the Way” (or “The Attainment of the Sanc Grael”; or “The Achievement of the Grail by Sir Galahad, Sir Bors, and Sir Percival”). Painting (watercolour on paper). 11.5 x 16.5 in. 1864. London: Tate Gallery (accession no. N05234). . Reproduced (colour) in J. Nicoll, Rossetti, Pl. 11. – Also in J. Christian, Oxford Union Murals, on colour microfiche, Item 1F6. – Also in Wood, The Pre-Raphaelites, 29. – Also in Mancoff, Arthurian Revival in Victorian Art, Pl. IV. – Also (B&W) in Christine Poulson, The Quest for the Grail, Fig. 13 (p. 87). – Also in Russell Ash, Dante Gabriel Rossetti, Pl. 16. – Also (colour) in “Camelot 1998” (calendar). Surtees, Item 94-R.1 (and Pl. 126 [B&W]). A watercolour version of the same subject as that proposed for one of the two murals in the Oxford Union which Rossetti planned but did not paint. The three knights approach the Grail Maiden before an altar; Percival’s sister’s body lies on the ground near their feet. There are also two ink versions of the same subject in the British Museum (see the entry for Rossetti’s “Sir Galahad, Sir Bors and Sir Percival Receiving the Sanc Grael”).

F-515 Rossetti, Dante Gabriel. “Jane Burden as Queen Guenevere.” Drawing (ink). 19 x 15 in. 1858. Dublin: National Gallery of Ireland. Surtees, Item 364. A study for the figure of Queen Guenevere, with Jane Burden as the model, intended for an Oxford Union mural design which was not executed.

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F-516 Rossetti, Dante Gabriel. “King Arthur and his Knights.” Relief Carving over the Frewin Court entrance to the Oxford Union. Executed by Alexander Munro. Oxford: Oxford Union. 1857. Reproduced J. Christian, Oxford Union Murals, on colour microfiche, Item 1F7. King Arthur with kneeling knights on either side of him and the Round Table in the foreground, with an angel carrying the Grail hovering above.

F-517 Rossetti, Dante Gabriel. “King Arthur and the Weeping Queens.” Drawing (brown ink). 3.25 x 3.25 in. 1856–1857. Birmingham: Birmingham City Museums and Art Gallery. Reproduced in Portsmouth Exhibition of Drawings, Pl. 26 (and pp. 17–18). Surtees, Item 84 (and Pl. 110 [B&W]). The design for “Mythic Uther’s Deeply Wounded Son” (an illustration to Moxon’s edition of Tennyson’s Poems [1857], where it accompanies the poem “The Palace of Art”). The dying Arthur’s head is visible through a gap in a circle of heads of crowned women. (See also the entry for Rossetti’s “Mythic Uther’s Deeply Wounded Son.”)

F-518 Rossetti, Dante Gabriel. “The Lady of Shalott” (or “Lancelot”). Engraved drawing. 3.75 x 3 in. Poems. By Alfred Tennyson, Baron. London: Edward Moxon and Co., 1857. Reproduced: Some Poems by Alfred Lord Tennyson, ed. Joseph Pennell, after p. 25. – Some of the poems and illustrations appeared in Gems from Tennyson (Boston, MA: Ticknor and Fields, 1866), including Rossetti’s “Lady of Shalott.” – The illustrations were collected and reproduced in Pre-Raphaelite Illustrations from Moxon’s “Tennyson” (London, 1978). – Rossetti’s “Lady of Shalott” is reproduced in Suriano, Pre-Raphaelite Illustrators (198). – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 41. – Also in Whitaker, Legends, Fig. 41. – Also in Christine Poulson, The Quest for the Grail, Fig. 47 (p. 190). – Also in Ladies of Shalott, 145. Ladies of Shalott (exhibition catalogue), Item 42. Rossetti illustrates the end of Tennyson’s poem, showing Lancelot (whose figure occupies most of the composition) as he bends over the dead Lady in the barge after it arrives at Camelot. Two studies in ink for the figure of Lancelot are also preserved, one in the Bancroft Collection of the Society of Fine Arts in Wilmington, DE (Surtees, Item 85 [and Pl. 111]; this is also reproduced in Suriano, Pre-Raphaelite Illustrators, 191; and as Item 41 in Ladies of Shalott, reproduced on p. 145); the second is in the Birmingham City Museums and Art Gallery (Surtees, Item 85A).

F-519 Rossetti, Dante Gabriel. “Mythic Uther’s Deeply Wounded Son” (or “King Arthur and the Weeping Queens”; or “King Arthur in the Vale of Avalon”). Engraved drawing. London: Edward Moxon and Co., 1857. Reproduced: Some Poems by Alfred Lord Tennyson, ed. Joseph Pennell, after p. 48. – Some of the poems and illustrations appeared in Gems from Tennyson (Boston, MA: Ticknor and Fields, 1866), including Rossetti’s “Mythic Uther’s Deeply Wounded Son.” – The illustrations were collected and reproduced in Pre-Raphaelite Illustrations from Moxon’s “Tennyson” (London, 1978). – Rossetti’s “Mythic Uther’s Deeply Wounded Son” is reproduced in Mancoff, Return, 136. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 38. – Also in Suriano, Pre-Raphaelite Illustrators, 198. There are ten queens crowded around the form of Arthur. Rossetti provided two illustrations to Tennyson’s “The Palace of Art” (the second illustration shows “St Cecily”). The Pennell

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reprinting, along with the engraved illustration, also prints a photogravure reproduction of the original drawing (facing the engraving, on a pair of plates following p. 48). (See also the entry for Rossetti’s “King Arthur and the Weeping Queens.”)

F-520 Rossetti, Dante Gabriel. “Sir Galahad.” Engraved drawing. London: Edward Moxon and Co., 1857. Reproduced: Some Poems by Alfred Lord Tennyson, ed. Joseph Pennell, after p. 108. – Some of the poems and illustrations appeared in Gems from Tennyson (Boston, MA: Ticknor and Fields, 1866), including Rossetti’s “Sir Galahad.” – The illustrations were collected and reproduced in Pre-Raphaelite Illustrations from Moxon’s “Tennyson” (London, 1978). – Rossetti’s “Sir Galahad” is reproduced in Suriano, Pre-Raphaelite Illustrators, 199. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 39. Galahad kneels before the altar in a ruined chapel. There is also a watercolour painting of the same composition (see the entry for Rossetti’s “Sir Galahad at the Ruined Chapel”). The Pennell reprinting, along with the engraved illustration, also prints a photogravure reproduction of the original drawing (facing the engraving, on a pair of plates following p. 108) (the leaf with this drawing was missing from the copy that I saw).

F-521 Rossetti, Dante Gabriel. “Sir Galahad and an Angel” (or “Alma Mater and Mr Woodward”). Drawing (brown ink). 9 x 8.75 in. 1857. Birmingham: Birmingham City Museums and Art Gallery. Surtees, Item 96 (and Pl. 128 [B&W]). An angel is helping to gird (or ungird) Galahad, simultaneously kissing his forehead. The alternative title, “Alma Mater and Mr Woodward,” suggests a satire on the scandalous manner in which the authorities of the University of Oxford treated Benjamin Woodward, architect of the Debating Hall.

F-522 Rossetti, Dante Gabriel. “Sir Galahad at the Ruined Chapel.” Painting (watercolour). 11.5 x 13.5 in. 1859. Birmingham: Birmingham City Museums and Art Gallery. Reproduced (colour) in J. Nicoll, Rossetti, Pl. 16. – Also in Andrea Rose, The Pre-Raphaelites, Pl. 28. Surtees, Item 115 (and Pl. 171 [B&W]). A painting to the same design as “Sir Galahad” (an illustration to Moxon’s edition of Tennyson’s Poems [1857]), illustrating the poem “Sir Galahad.” Galahad kneels before the altar in a ruined chapel. (See also the entry for Rossetti’s “Sir Galahad.”)

F-523 Rossetti, Dante Gabriel. “Sir Galahad, Sir Bors, and Sir Perceval Receiving the Sanc Grael” (or “The Attainment of the Sanc Grael”; or “Sir Galahad Receiving the Holy Grail”; or “How Sir Galahad, Sir Bors, and Sir Percival were Fed with the Sanc Grael”). Drawing (brown ink with some pencil). 9.8 x 13.8 in. 1857. London: British Museum, Department of Prints and Drawings (accession no. 1885–6-13–81). Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1F4. – Also Linda Parry, ed. William Morris, Item I.2 (p. 148). – Also in British Museum, Pre-Raphaelite Drawings in the British Museum, 35 (also see 32, 36, and 151). Surtees, Item 94 (and Pl. 124 [B&W]). A design for one of the murals for the Oxford Union which Rossetti planned but did not execute (see the British Museum, Catalogue of Drawings by British Artists, 4: 246). The composition was later used for a watercolour painting (see the entry above for Rossetti’s “How Sir Galahad, Sir Bors, and Sir Perceval were Fed with the Sanc Grael; but Sir Percival’s Sister Died by the Way”). A study of the main group of figures is also preserved in the British Museum, Department of Prints and Drawings (brown ink with some brown wash over pencil and some red chalk; ca. 1864; 9.9 x 13.8 in.; accession no. 1910–12–10–3; Pre-Raphaelite Drawings in the British Museum 40 and 152 [reproduced on p. 42]; also Surtees, Item 94A [and Pl. 125]).

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F-524 Rossetti, Dante Gabriel. “Sir Launcelot in the Queen’s Chamber.” Drawing (black and brown ink). 10.25 x 13.75 in. 1857. Birmingham: Birmingham City Museums and Art Gallery. Reproduced in J. Nicoll, Rossetti, Fig. 73. – Also in J. Christian, Oxford Union Murals, on colour microfiche, Item 1F6. – Also in Mancoff, Return, 70. – Also in Christine Poulson, The Quest for the Grail, Fig. 16 (p. 93). – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 46. Surtees, Item 95 (and Pl. 127 [B&W]). (Inscribed on the frame “How Sir Launcelot was espied in the Queen’s Chamber, and how Sir Agravaine and Sir Mordred came with twelve knights to slay him.”) Lancelot peers out of the window to look out at their attackers, holding his sword and scowling; the queen stands with her back to him, hands up to her throat. Other figures (her attendants) are in the background. Inscribed “Oxford 1857.” A study (pencil and ink on paper; 19 x 15.75 in.) of Guinevere’s head and shoulders, with hands clasped near her throat (inscribed “fainting study Ox 1857”; Jane Burden was the model), is preserved in the Manchester Art Gallery (Surtees, Item 95A [and Pl. 129]; Gallery accession no. 1947.149; also reproduced in the Portsmouth Exhibition of Drawings, Pl. 33 [and see p. 19]). A pencil and blue wash copy was also made, possibly intended to serve as the basis for a watercolour version (Surtees, Item 95-R.1).

F-525 Rossetti, Dante Gabriel. “Sir Launcelot’s Vision of the Sanc Grael” (or “The Failure of Sir Launcelot to Achieve the Holy Grail”) (incomplete). Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1857. Reproduced (colour) in J. Christian, Oxford Union Murals, on colour microfiche, Item 1B9. – Also in Christine Poulson, The Quest for the Grail, Pl. 4. – Also in Mancoff, Arthurian Revival in Victorian Art, Pl. III. Surtees, Item 93. Edward Burne-Jones posed for Launcelot. This was not completed, and two other murals that Rossetti had promised were never begun (the blank spaces were later filled by William and Briton Rivière). Rossetti left Oxford suddenly because of Lizzie Siddal’s illness in Nov. 1857, and he never returned to complete his mural. Lancelot appears in the lower right corner, seated and asleep; the damsel of the Grail appears on the left, and the centre is occupied by the figure of Guenevere appearing in Lancelot’s dream. An unfinished watercolour study for the design is preserved in the Ashmolean Museum (it was finished by a second hand, perhaps that of H. Treffry Dunn; 28 x 42 in.; see Surtees, Item 93A [and Pl. 118 (B&W)]; also reproduced [colour] in J. Christian, Oxford Union Murals [on colour microfiche, Item 1D1]; also in Hopkins, Book of Guinevere, 52; also [B&W] in Whitaker, Legends, Fig. 38; also [B&W] in Mancoff, Arthurian Revival in Victorian Art, Fig. 44). A number of studies in ink are also preserved (in Birmingham City Museums and Art Gallery, the Fitzwilliam Museum in Cambridge, and one of which the current whereabouts are unknown: Surtees, Cat. nos. 93B–93H; a number of these are reproduced in J. Christian, Oxford Union Murals; the Fitzwilliam study [ink and pencil; 8.8 x 5.4 in.] is reproduced in the Portsmouth Exhibition of Drawings, Pl. 32 [and p. 19]). (See also the entry for Rossetti’s “How Sir Galahad, Sir Bors, and Sir Percival were fed with the Sanc Grael; but Sir Percival’s Sister died by the way.”)

F-526 Rossetti, Dante Gabriel. “Sir Tristram and La Belle Yseult Drinking the Love Potion” (fourth of thirteen windows for Harden Grange). Stained glass window. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 70. – Also (colour) in Whitaker, Legends, Pl. 21(c). – Also in Knights of the Round Table (Pitkin Guides, 1997), 22. Full caption: “How as they sailed towards Cornwall they saw on a day the flasket wherein was the love-filtre which the Queen of Ireland was sending by the hand of Dame Brangwine for Isoude to

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drink with King Mark, and how Tristram drank it with her, both unwitting and how they loved each other ever after.” The fourth of the Harden Grange windows is an interior scene, framed in a way that suggests a small cabin. Tristram and Isoude are the main characters, but Brangwine is in the top corner, appearing as if she has entered the cabin just too late to stop them from drinking. (See also the entry for “Morris and Co.: Harden Grange.”) A watercolour version of the design for the window is extant (see the entry for his painting “Sir Tristram and La Belle Yseult Drinking the Love Potion”).

F-527 Rossetti, Dante Gabriel. “Sir Tristram and La Belle Yseult Drinking the Love Potion.” Painting (watercolour). 24.5 x 23.25 in. 1867. Bedford: Cecil Higgins Art Gallery. Reproduced (B&W) in Mancoff, Return, 64. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 58. Surtees, Item 200 (and Pl. 290 [B&W]). A watercolour version of Rossetti’s design for one of his Harden Grange stained glass windows (see the entry for his window “Sir Tristram and La Belle Yseult Drinking the Love Potion”; see also the entry for “Morris and Co.: Harden Grange”). Tristram and Yseult are in the middle of the painting on either side of a small table upon which is a decanter. In the upper right, Cupid is drawing an arrow from his quiver. The cartoon for the stained glass window is known from a sale catalogue, but its present whereabouts are unknown (Surtees, Item 200B); there is also a rough pencil sketch of the composition, preserved in the Birmingham City Museums and Art Gallery (Surtees, Item 200A [and Pl. 288 (B&W)]).

Rossetti, Dante Gabriel; see also “Siddal, Elizabeth, and Dante Gabriel Rossett: Sir Galahad and the Holy Grail.” F-528 Rossetti, Dante Gabriel, and William Morris. “Sir Tristram Slays Sir Marhaus” (second of thirteen windows for Harden Grange). Stained glass window. 26.75 x 24 in. 1862. Bradford: Cartwright Memorial Hall, Bradford Museums and Art Gallery. Reproduced (B&W) in The Studio 72 [296] (15 Nov. 1917): 69. Full caption: “How Sir Tristram fought with Sir Marhaus the King’s son of Ireland for the tribute of Cornwall and how Sir Tristram wounded him sore, of which wound Sir Marhaus died.” The second of the Harden Grange windows. (See also the entry for “Morris and Co.: Harden Grange.”)

F-529 Rouse, Simon. “The Fisher King.” Drawing (ink). In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 16. A bearded man in long robes, eyes closed and hands clasped in prayer, stands in front of a large chalice-shaped container which holds a ball decorated with Celtic interlace patterns.

F-530 Rouse, Simon. “King Arthur.” Drawing (ink). In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. Front cover. A crowned man holds a sword across his chest in his right hand, a leash (attached to a dog) in his left; beside him rests a spear and a shield decorated with a dog.

F-531 Rushton, George Herbert. “King Arthur Leaves Guinevere in Charge of the Nuns.” Painting. 1914. [Current location not known.] (*) Exhibited at the Royal Academy in 1914; now lost. (Information from Poulson, Quest, 220.)

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F-532 Rutland, Florence M. “The Lady of Shalott.” The Yellow Book 9 (Apr. 1896): 55. A B&W drawing. The lady strides towards the viewer, as the weaving unravels and ensnares her.

F-533 Ryder, Albert Pinkham. “Lancelot and Elaine.” Painting. n.d. Atlanta, GA: High Museum of Art. (*) A painting illustrating a scene from Tennyson, Lancelot and Elaine.

F-534 Ryland, Henry, illus. “The Morte d’Arthur.” By F. Ryland. English Illustrated Magazine 6 (1888–89): 55–64, 86–92. This essay on Malory is accompanied by two full-page and five partial-page engraved illustrations, being scenes and portraits of characters from Le Morte Darthur.

F-535 Sanderson, Ruth. “Arthur and Guenivere.” Painting (oil on canvas). n.d. Collection of the artist. In this painting, a red-haired Guenivere stands at a stone wall facing the viewer; she wears a cream-coloured dress, and looks down at Arthur, who is riding by on a brown horse. Arthur wears a doublet emblazoned with a red dragon and a crown, and he is handing Guenivere a red rose. In the pale blue sky of the background, among the clouds, there is a faint image of a many-turreted castle.

F-536 Sanderson, Ruth. “Lancelot and Guenivere.” Painting (oil on canvas). n.d. Collection of the artist. Lancelot and Guenivere are seated by a garden wall, Guenievere playing a small lute-like instrument (perhaps a gyterne or vihuela).

F-537 Sandford, Lettice, illus. Lancelot and Guinevere. By Sir Thomas Malory. London: Folio Society, 1953. (*) Reproduced: The title-page is reproduced in Gaines, facing p. 68. A fine press edition of the story of Lancelot and Guinevere from Malory, the Middle English text taken from the edition by Vinaver of the Winchester manuscript (1947), and illustrated with line drawings (Gaines, Item B41). (Information from Gaines, and from P. W. Life, Item 153.)

F-538 Sandham, Henry, illus. The Idylls of the King. By Alfred Tennyson, Baron. Adapted by Arthur Doughty. New York: Macmillan and Co., 1889. This is an edition in shorthand of “The Dedication,” “The Coming of Arthur,” “Gareth and Lynette,” “Geraint and Enid,” and “Merlin and Vivien”; each page’s “text” appears in a small rectangular, two-columned space, outlined in red. Sandham provided seven full-page watercolour illustrations.

F-539 Sandys, Emma. “Elaine.” Painting (oil on panel). Undated (exhibited 1855). [Current location not known.] A head-and-shoulders portrait of a young woman. She leans back and gazes upwards, with one hand to her face. She wears rich clothing, with strings of pearls, pearl earrings, and a band decorated with pearls around her hair. The background is also richly detailed.

F-540 Sandys, Emma. “Enid.” Painting. n.d. [Current location not known.] (*) (Information from Marsh and Nunn, Women Artists, 90.)

F-541 Sandys, Frederick. “La Belle Ysoude.” Painting (oil on canvas). 9.25 x 7.25 in. 1862. Private collection. Reproduced (B&W) in Elzea, Frederick Sandys, 170. – Also in O’Looney, Frederick Sandys, Pl. 31.

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Elzea, Frederick Sandys, Item 2.A.53. O’Looney, Frederick Sandys, Item 60. Exhibited at the Royal Academy in 1863. A woman’s head, looking off to the left (over her right shoulder). She wears a yellow dress and there are yellow flowers in the background. A tracing (pencil on paper; 9.75 x 7.75 in.) of the (lost) preliminary study for this painting is preserved in the collections of the Birmingham Museums and Art Gallery (accession no. 862’06); this is Elzea, Frederick Sandys, Item 2.A.52, with reproduction on p. 170 (the lost preliminary drawing is also catalogued as Item 2.A.51); the Birmingham tracing also appears in O’Looney, Item 61 (reproduced [B&W] as Pl. 32).

F-542 Sandys, Frederick. “The Damozel of the San Graale.” Drawing (black, white, and red chalk on green paper). 25.75 x 18.9 in. ca. 1880. London: British Museum, Department of Prints and Drawings (accession no. 1940–4-13–84). Reproduced (B&W) in Elzea, Frederick Sandys, 261. – Also in O’Looney, Frederick Sandys, Pl. 109. Elzea, Frederick Sandys, Item 4.5. O’Looney, Frederick Sandys, Item 150. British Museum, Pre-Raphaelite Drawings in the British Museum, 154. An unfinished drawing of a female figure in profile, three-quarter-length. A study of the head is preserved in the Victoria and Albert Museum (accession no. E.1252–1948; Elzea, Frederick Sandys, Item 4.6, with reproduction on p. 261; black and red chalk; 11 x 7.5 in.).

F-543 Sandys, Frederick. “King Pelles’ Daughter Bearing the Vessel of the Sangrael.” Painting (oil on panel). 12.75 x 9.5 in. 1861. Private collection. Reproduced (colour) in Elzea, Frederick Sandys, Colour plate 13. Elzea, Frederick Sandys, Item 2.A.28. Exhibited at the Royal Academy in 1862. A head and shoulders view of a young woman (Elaine, daughter of King Pelles, mother of Sir Galahad) holding a golden chalice decorated with gems. (Another Sandys painting which is frequently referred to as “King Pelles’ Daughter” actually represents “Queen Eleanor” [oil on canvas, 1858; private collection].) A preliminary drawing of “King Pelles’ Daughter” (brush and black ink; 12.5 x 9.25 in.; signed and dated 1861) is preserved in the collection of Dennis T. Lanigan of Saskatoon, Canada (Lanigan, A Dream of the Past, Item 71, with a B&W reproduction on p. 185 and on the back cover; see also Elzea, Frederick Sandys, Item 2.A.27, with a reproduction on p. 161; also O’Looney, Frederick Sandys, Item 135, with a reproduction as Pl. 95).

F-544 Sandys, Frederick. “Morgan le Fay.” Painting (oil on panel). 24.75 x 17.5 in. 1862–1863. Birmingham: Birmingham Museums and Art Gallery (accession no. 104’25). Reproduced: Frequently reproduced, as in Elzea, Frederick Sandys, Colour plate 17. – Also (colour) in Whitaker, Legends, Pl. 33. – Also in Andrea Rose, The Pre-Raphaelites, Pl. 40. – Also in Gwyn A. Williams, Excalibur: The Search for Arthur, 166. – Also in Wood, The Pre-Raphaelites, 129. – Also (B&W) in O’Looney, Frederick Sandys, Pl. 29. Elzea, Frederick Sandys, Item 2.A.67. O’Looney, Frederick Sandys, Item 58. Exhibited at the Royal Academy, 1864. A dramatic picture of Morgan as sorceress: dressed in green and gold with animal skins as part of her costume, Morgan is examining the poisonous mantle which she has just woven on a loom (which appears in the background), and is using an oriental lamp to attach flames to the mantle. The preliminary drawing for the painting is extant (brush and brownish-black ink; 24.5 x 17.25 in.; private collection; Elzea, Frederick Sandys, Item 2.A.66, reproduced on p. 177; this is also reproduced in Mancoff, Return, 95). This drawing was reproduced by photolithography and published in The British Architect (31 Oct. 1879): 172–73 (reprinted in Reproductions of Woodcuts by F. Sandys, 1860–1866, ed. Mary Sandys; intro. Borough Johnson [London: Hentschel, (1910)]). A “Study of the head of a young mulatto woman, facing right” was used as a reference study for the head of Morgan, though turned to the left; this appears

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in Elzea’s catalogue as Item 1.A.170, and reproduced on p. 124; cf. O’Looney, Item 59, “Study for the Head of Morgan,” reproduced as Pl. 30 (black and red chalk, probably 1859, 9.25 x 6.75 in.; now in the Victoria and Albert Museum [accession no. E.4141–1909]).

F-545 Sandys, Frederick. “Vivien.” Painting (oil on canvas). 25.25 x 20.75 in. 1863. Manchester: Manchester Art Gallery (accession no. 1925.70). Reproduced (colour) in Elzea, Frederick Sandys, Colour plate 16. – Also (colour) in Whitaker, Legends, Pl. 27. – Also (B&W) in O’Looney, Frederick Sandys, Pl. 34. – Also (B&W) in Mancoff, Return, 98. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 51. – Also (colour) in “Magnificent Dreams” (1991 Pre-Raphaelite calendar). Elzea, Frederick Sandys, Item 2.A.60. O’Looney, Frederick Sandys, Item 63. Exhibited at the Royal Academy, 1863. Like Sandys’ paintings of “La Belle Ysoude” and “Ysoude with the Love Philtre” (see the separate entries), this is a head and shoulders portrait of a woman (Keomi, who is also the model used for his “King Pelles’ Daughter” and “Morgan le Fay,” and who also frequently sat for Rossetti). She appears here with her hand resting near an apple (perhaps a symbol of temptation), and with peacock feathers fanned out behind her head. The preliminary drawing for the painting is extant (black and red chalk; 23.5 x 18.25 in.; now in the Norwich Castle Museum [accession no. 14.10]; Elzea, Frederick Sandys, Item 2.A.59, reproduced on p. 173; O’Looney, Frederick Sandys, Item 64, reproduced as Pl. 35).

F-546 Sandys, Frederick. “Ysoude with the Love Philtre” (or “La Belle Yseult”). Painting (oil on panel). 19 x 15.75 in. 1870. Ponce, Puerto Rico: Museo de Arte de Ponce (accession no. 60.0142). Reproduced: Also (colour) in Elzea, Frederick Sandys, Colour plate 35. – Also (B&W) in O’Looney, Frederick Sandys, Pl. 33. Elzea, Frederick Sandys, Item 3.5. O’Looney, Frederick Sandys, Item 62. A female portrait (head and shoulders), the head turned, her right hand holding a golden goblet and her left hand a rose; Elzea describes the painting as having only “the loosest of connections with the ancient legend,” but it is, rather, “simply a vehicle for a decorative picture of a beautiful model decked out with rich and colourful accessories” (235). A preliminary drawing for the painting is extant (Elzea, Frederick Sandys, Item 3.2, with reproduction on p. 234; black, white, and red chalk; 17.5 x 13 in.); there are also two studies extant, both in chalk, of the head of Ysoud (Elzea, Frederick Sandys, Item 3.3, 9.5 x 7.5 in., current location unknown; and Item 3.4, 11.5 x 9.75 in., private collection; both reproduced on p. 235).

F-547 Sargant-Florence, Mary. “The Tale of Gareth.” Wall murals. Oakham: Elizabethan Hall, Oakham School. 1903–1910. Reproduced: A detail of one panel, “Gareth Serves in Arthur’s Kitchen and Eats with the Servants,” is reproduced in Christine Poulson, The Quest for the Grail, Pl. 3. A series of eight panels (six of which survive) representing the story of Gareth “as an allegory of a boy’s life at school and of success through service and endeavour” (Sargant, The Book of Oakham School, [Cambridge, 1928], 48; qtd. in Poulson, Quest, 69). The panels were commissioned by the headmaster of the school, W. L. Sargant, and exectuted by his sister, Mary Sargant-Florence; the designs combine details from Tennyson’s and Malory’s versions of the story.

F-548 Schaeffer, Mead, and John R. Neill, illus. King Arthur and his Knights: A Noble and Joyous History. By Sir Thomas Malory. Ed. Philip Schuyler Allen. The Windermere Series of Classics. Chicago and New York: Rand, McNally and Co., 1924. An abridgement and translation into modern English of Malory. The text is accompanied by eight colour plates (the first of which is also reproduced on the front cover of the book) and by a series

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of line drawings (eight full-page [facing the first page of each “book”] and five partial-page [accompanying headings in the front matter and the start of the first “book”]). The endpapers show (in B&W) two knights in a tilt before the entrance to a castle.

F-549 Schmalz, Herbert Gustave. “Elaine.” Painting. ca. 1884. [Current location not known.] (*) Exhibited at the Royal Academy in 1884. (Information from Whitaker, Legends, 217, and Blakemore.)

F-550 Schmalz, Herbert Gustave. “Sir Galahad: ‘But she the wan sweet maiden.’” Painting (oil on canvas). 62 x 48 in. 1881. Private collection. Reproduced: An engraved version is reproduced in Christine Poulson, The Quest for the Grail, Fig. 10 (p. 58). Exhibited at the Royal Academy in 1881. A knight with winged helmet stands before a large stone cross; Percival’s sister, dressed in white, kneels before him, girding on the sword belt made from her own hair. The quotation is from Tennyson, The Holy Grail, l. 149.

F-551 Schoonover, Frank E., illus. King Arthur and his Knights. By Henry Frith. Garden City Chidren’s Books. Garden City, NY: Garden City Publishing, 1932. (*) A reprinting of Frith’s retelling of Malory, with four colour plates by Schoonover, a student of Howard Pyle (Gaines, Item B5.c). (Information from Gaines.)

F-552 Scott, Alice M. “Enid: ‘And seeing her so sweet and serviceable.’” Painting. 1881. [Current location not known.] (*) A painting, illustrating a scene from Tennyson’s Enid. (Information from Whitaker, Legends, 231.)

F-553 Scott, W[illiam] B[ell], illus. “Kempion.” In The Book of British Ballads. Ed. S. C. Hall. 2 vols. London: Jeremiah How, 1842–1844. 1: 53–6. Scott produced four illustrations (engraved drawings) for this ballad. In Hall’s edition, each poem has a three-quarter-page illustration (accompanying two or three stanzas of the text) on the first and last page of the poem, and half-page illustrations (filling the left column) on each of the intervening pages. (For the ballad being illustrated, see the entry for “Kemp Owen” in the Literature section.)

F-554 Scott, William Bell. “King Arthur Carried to the Land of Enchantment” (or “The Lamentation of King Arthur”). Painting (oil on canvas). 34.25 x 45 in. 1847. London: Whitford and Hughes Gallery. Reproduced (colour) in Poulson, The Quest for the Grail, Pl. 1. – Also (colour) in Coghlan, Illustrated Encyclopedia, 42. – Also reproduced (colour) in Day, The Search for King Arthur, 64. King Arthur lies in a flat barge, being carried to Avalon, his head in the lap of a crowned woman, as another crowned woman stands beside them; several groups of women occupy a second, accompanying, barge, poled by hooded boatmen in black, and on the tree-lined shore stands a partially obscured man in green cloak and hood.

F-555 Shannon, James Jebusa. “Sir Galahad.” Painting. [date unknown, but 1890s or 1900s]. [Current location not known.] (*) (Information from Poulson, Quest, 128.)

F-556 Shaw, [John] Byam [Liston]. “The Arrested Spear.” Painting (oil on canvas). 60 x 72 in. ca. 1916. [Current location not known.] (*) Exhibited at the Royal Academy in 1916. The painting depicts a scene from Wagner’s Parsifal.

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(Information from Cole, The Art and Life of Byam Shaw, 194, 196, and 212. Cole indicates that the painting was donated to the art gallery in Vancouver, Canada, but it is not now in their collection.)

F-557 Shaw, [John] Byam [Liston]. “The Boy and the Mantle.” Painting (watercolour). ca. 1908. [Current location not known.] (*) Exhibited at Dowdeswell’s Gallery in 1908 as part of an exhibition of illustrations to ballads and romances from Percy’s Reliques. (Information from Cole, The Art and Life of Byam Shaw, 214.) (See also the entry for “The Boy and the Mantle” in the Literature section.)

F-558 Shaw, [John] Byam [Liston], illus. Geraint and Enid. By Alfred Tennyson, Baron. English Masterpieces Series. London: T. C. and E. C. Jack, [1909]. (*) Tennyson’s poem is here reprinted in a small booklet illustrated with four colour plates by Shaw. (Information from Cole, The Art and Life of Byam Shaw, 219.) (See also the entry under “Tennyson: Geraint and Enid” in the Literature section.)

F-559 Shaw, [John] Byam [Liston], illus. Guinevere. By Alfred Tennyson, Baron. English Masterpieces Series. London: T. C. and E. C. Jack, [1909]. (*) Tennyson’s poem is here reprinted in a small booklet illustrated with four colour plates by Shaw. (Information from Cole, The Art and Life of Byam Shaw, 219.) (See also the entry under “Tennyson: Guinevere” in the Literature section.)

F-560 Shaw, [John] Byam [Liston]. “The Lady of Shalott.” Painting (oil on panel). 13.25 x 10.25 in. 1898. Middlebury, VT: Christian A. Johnson Memorial Gallery, Middlebury College. Reproduced (B&W) in Ladies of Shalott, 161. – Also in Skipwith Peyton, “Byam Shaw,” The Connoisseur 191 [no. 769] (Mar. 1976): 195. Ladies of Shalott (exhibition catalogue), Item 57. Originally shown as one of thirty-eight small oils by Shaw in an exhibition entitled “Thoughts Suggested by Some Passages from British Poets” (Dowdeswell Gallery, 1899). Shaw illustrates the lines from Tennyson which describe the Lady writing her name on the prow of the boat: she kneels on a pier, holding onto a post; leaves fall around her.

F-561 Shaw, [John] Byam [Liston]. “The Marriage Procession of Arthur and Guinevere.” Painting. n.d. [Current location not known.] Reproduced in “Camelot 1999” (calendar). The procession goes by in the background while a single male figure (Lancelot?) stands in the foreground looking pensive.

F-562 Shaw, [John] Byam [Liston]. “Sir Galahad.” Painting. 1905. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

F-563 Shields, Frederick. “Angel of the Holy Grail.” Drawing (red chalk). 25 x 22 in. ca. 1875. Walthamstow: William Morris Gallery. Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 59. – A detail is reproduced (B&W) in Snyder, World of King Arthur, 161. A drawing, being a portrait of a woman with wings, and with her arms folded across her chest, holding a chalice.

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F-564 Shields, Frederick. “The Vision of Britomart.” Painting. n.d. [Current location not known.] (*) A painting, illustrating a scene from Spenser. (Information from Whitaker, Legends, 247.)

F-565 Siddal, Elizabeth. “The Lady of Shalott.” Drawing (black ink, sepia ink, and pencil). 6.5 x 8.75 in. 1853. Private collection. Reproduced in Lewis and Lasner, Poems and Drawings of Elizabeth Siddal (1978), Pl. 5. – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 34. – Also in Marsh, Elizabeth Siddal, 44. – Also in The Pre-Raphaelites (Tate exhibition catalogue), 267. – Also in Ladies of Shalott, 162. Marsh, Elizabeth Siddal, Item 1 (p. 43). The Pre-Raphaelites (Tate exhibition catalogue), Item 198. Ladies of Shalott (exhibition catalogue), Item 58. One of the earliest recorded illustrations to Tennyson’s poem, and it shows the Lady at her weaving, half-turning, about to see Lancelot outside the window.

F-566 Siddal, Elizabeth. “The Passing of Arthur” (or “Four Sketches of King Arthur in the Death Barge”). Drawings (pencil). 1853–1857. Cambridge: Fitzwilliam Museum. Reproduced in Mancoff, Arthurian Revival in Victorian Art, Fig. 37. Four sketches, towards an illustration of King Arthur and the queens in the death barge. (See also the next entry for a fifth sketch on this theme.)

F-567 Siddal, Elizabeth. “The Passing of Arthur” (or “Morte d’Arthur”). Drawing (pencil). 4 x 3 in. ca. 1855. Private collection. Reproduced in Lewis and Lasner, Poems and Drawings of Elizabeth Siddal (1978), Pl. 2. – Also in Marsh, Elizabeth Siddal, 51. Marsh, Elizabeth Siddal, Item 13 (p. 51). A sketch, in illustration to Tennyson (either “The Palace of Art” or “Morte d’Arthur”). This shows a small boat, with the body of King Arthur stretched along most of its length, with a female seated in the bow holding his head and two other females seated in the stern. (See also the previous entry for four additional sketches on this theme.)

F-568 Siddal, Elizabeth, and Dante Gabriel Rossetti. “Sir Galahad and the Holy Grail” (or “The Quest of the Holy Grail”; or “Sir Galahad at the Shrine of the Holy Grail”). Painting (watercolour). 11 x 9.25 in. ca. 1855–1857. Private collection. Reproduced in an edition of Ruskin’s Letters (1912). – Also in Marsh, Elizabeth Siddal, 71. – Also in The Pre-Raphaelites (Tate exhibition catalogue), 279. – Also (colour) in J. Nicoll, Rossetti, Pl. 5. Marsh, Elizabeth Siddal, Item 50 (p. 71). The Pre-Raphaelites (Tate exhibition catalogue), Item 217. Galahad, praying before a Crucifix, is flanked by two angels, one of them holding the Holy Grail; this is an illustration to Tennyson’s “Sir Galahad” (though the poem mentions three angels rather than two). The painting was originally conceived by Siddal and executed jointly by Rossetti and herself; it was purchased by John Ruskin. Three pencil studies for this painting are preserved in the collections of the Fitzwilliam Museum, Cambridge (1853–1857; two of these are reproduced by Marsh, Elizabeth Siddal, Items 27 and 49; all three appear in Mancoff, Arthurian Revival in Victorian Art, Fig. 36).

F-569 Simons, Princus Macius. “The Chapel of the Holy Grail.” Painting (oil on canvas). n.d. Paris: Collège Camord. (*) A painting based on the story of Parsifal; Whitaker speculates that it may be a representation of a set for a Bayreuth production of Wagner’s Parsifal. (Information from Whitaker, Legends, 255.)

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F-570 “Sir Galahad.” Stained glass windows. There are many “Sir Galahad” windows in many churches, often as memorials to soldiers killed in action; this is something of an omnibus entry giving a summary list of those of which we are aware. A stained glass window by Morris and Co. based on Watts’ painting “Sir Galahad” is in St Paul’s Church in Fairlie, Ayrshire, and dedicated to the memory of Alexander Dobbie, son of Sir James and Lady Dobbie, killed in action in the First World War (Poulson, Quest, Pl. 9). There are similar war memorial windows by Morris and Co. with Galahad figures at St Mary’s, Bloxham, Oxfordshire (1921); St Albans, Streatham Park (1921; destroyed by fire in 1947); Barnby Gate Methodist Church, Newark-on-Trent (1922; a photograph is reproduced in Poulson, “Galahad and War Memorial Imagery” Fig. 2); and St John’s United Reformed Church, West Hartlepool (1923) (Poulson, Quest 112). Another version of Watts’ “Sir Galahad” as a memorial window is in Grahamstown in South Africa, and there are at least six others (Whitaker, Legends, 216). A World War I memorial window in Clifton College, Bristol, has King Arthur and Sir Galahad paired in separate lights (Girouard, Fig. 115 [p. 169]). In St Edmund’s Church, in Gunning, NSW, Australia, is a window depicting Sir Galahad, standing with shield and lance at rest; over his head hovers the Holy Grail, and below his feet is an open book with the names of ten men of the parish who died in World War II. Poulson (pp. 112–13) lists a number of other Sir Galahad windows, though it is not an exhaustive account: there is one by Morris and Co. in St John the Evangelist Church in Exmouth, and others in All Saints Church, Freshwater; Brighton College Chapel; St Stephen’s United Reformed Church, Leicester; Christ Church, Sutton; and Rydal School, Colwyn Bay. Barton School commissioned a St George and Galahad Memorial window; this is now in the Church of St Peter and St Paul, Wisbech. “The most ambitious Arthurian memorial is a window at King’s School, Chester, designed by Powell, which features not only Galahad, a figure clearly based on Watts’ picture, but also Arthur, Lancelot, Bors, and Tristram, all accompanied with appropriate quotations from the Idylls” (Poulson 113).

Sir Gawain and the Green Knight: see Braby, Dorothea; Burnett, Virgil (two entries); Galsworthy, John G.; and Lawrence, Frederic (two entries). F-571 Slater, George. “So in her tower alone the maiden sat.” Sculpture. 1861. [Current location not known.] (*) The quotation is from Tennyson’s Elaine. Exhibited at the Royal Academy in 1861; now lost. (Information from Poulson, Quest, 205.)

F-572 Sleigh, Bernard. “Elaine” (or “Lily Maid of Astolat”). Painting. ca. 1904. [Current location not known.] (*) Sleigh’s daughter, Barbara Grace de Reimer Sleigh, wrote of a painting of the “Lily Maid of Astolat” which was hung at the foot of her parents’ bed. (Information from Roger Cooper, “Berhard Sleigh, Artist and Craftsman, 1872–1954,” Journal of the Decorative Arts Society 21 (1997): 91; also cf. Whitaker, Legends, 218.)

F-573 Sleigh, Bernard. “The Harbour of the Holy Graal.” Painting (oil on panel). 19.25 x 23.5 in. ca. 1930. Private collection. Reproduced in “Camelot 1997” (calendar); also in “Camelot 1998” (calendar). A crowded city scape with a large ship in a small harbour in the foreground; several knights are in the process of boarding.

F-574 Sleigh, Bernard. “Tristram and Iseult.” The Yellow Book 9 (Apr. 1896): 55. A B&W drawing of the lovers. Iseult reclines in the woods, while Tristram looks out to sea.

F-575 Smetham, James. “Dagonet’s Dance: ‘Danced like a withered leaf before the hall.’ ” Painting. ca. 1872. [Current location not known.] (*) The quotation is from Tennyson’s The Last Tournament: Dagonet the jester rebukes the adulterous

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Sir Tristram. Exhibited at the Royal Society of British Artists in 1872–1873. (Information from Poulson, Quest, 68.)

F-576 Smetham, James. “The Lady of Shalott.” Painting. before 1859. [Current location not known.] (*) (Information from Whitaker, Legends, 217.)

F-577 Smith, A. G., illus. King Arthur, with 13 Stickers. Dover Little Activity Books. New York: Dover Publications, 1999. A paper doll of King Arthur with reusable sticker costumes (his “regal attire,” two suits of armour, and a plain suit of clothes next to the sword in the stone). Two quotations appear (from Malory but in modern English), one describing the arm of the Lady of the Lake offering Excalibur, and the other describing Arthur’s pulling of the sword from the stone. The only other text included in the book is a two-paragraph introduction, describing the contents and how to use the stickers.

F-578 Smith, John Moyr, designer. Designs based upon to Tennyson’s Idylls. Wall tiles (twelve designs). 6 x 6 in. Stoke on Trent: Minton China Works, 1874. Reproduced: Images of the tiles are reproduced at The Camelot Project Website, ed. Alan Lupack . Smith designed twelve tiles with scenes and figures from Tennyson’s Idylls: “Enid,” “Geraint,” “Etarre,” “Pelleas,” “Excalibur” (Arthur receiving the sword), “Isolt,” “Lynette,” “Gareth,” “Vivien” (the entrapment of Merlin), “Elaine” (the body of Elaine carried by boat to Camelot), “Guinevere” (Guinevere begging Arthur’s forgiveness), “Morte d’Arthur” (Arthur and the three queens). On each tile, the figures are contained within a circle, the corners of each tile being filled with decorative knot-work. A partial set of five tiles is preserved in the Manchester Art Gallery (accession no. 1978.310/5).

F-579 Solomon, Simeon. “The Death of Sir Galahad while taking a potion of the Holy Grael.” Drawing (ink and pencil). 7.25 x 6.5 in. n.d. Birmingham: Birmingham City Museums and Art Gallery. Reproduced in Simon Reynolds, The Vision of Simeon Solomon, (Stroud, Glocestershire: Catalpa Press, 1984), Pl. 14, on p. [108]. The drawing shows a kneeling, crowned Galahad sipping from the Cup which is offered to him by Joseph of Arimathy, who simultaneously kisses Galahad’s forehead. There are three medalions in the space around the central scene, one giving a portrait of Galahd, one showing the heads of Tristram and Isolde, and one showing Launcelot and Guenever. (Solomon exhibited two “Sir Galahad” pictures at the Baillie Gallery in 1905, though we have no further information about these; see Reynolds, The Vision of Simeon Solomon, 177.)

F-580 Solomon, W. E. Gladstone. “Sir Launcelot of the Lake Defending Queen Guinevere.” Painting. ca. 1907. [Current location not known.] (*) Exhibited at the Royal Academy in 1907. (Information from Poulson, Quest, 220.)

F-581 Speed, Lancelot, illus. King Arthur and the Knights of the Round Table. [By Sir James T. Knowles.] Ed. Rupert S. Holland. Washington Square Classics. Philadelphia: George W. Jacobs and Co., [1919]. Reproduced: New York: Grosset and Dunlap, [1932]. An adaptation of Sir James T. Knowles’ King Arthur and his Knights, with the addition by Holland of a chapter, “Sir Gawain and the Maid with the Narrow Sleeves,” based on an episode from Chrétien de Troyes’ Perceval, and with a new set of illustrations: seven full-page colour plates and eleven B&W. The illustrations are very detailed and often quite striking; the Lady of the Lake picture, for example, uses various shades of blue effectively to depict the lady and her surroundings.

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F-582 Spence, Philip. “How Sir Launcelot Rescued the Queen from the Fire.” Painting. ca. 1912. [Current location not known.] (*) Exhibited at the Royal Academy in 1912. (Information from Poulson, Quest, 220.)

F-583 Spence, Philip. “Sir Lancelot Entrapped in the Queen’s Chamber.” Painting. ca. 1910. [Current location not known.] (*) Exhibited at the Royal Academy in 1910. (Information from Poulson, Quest, 220.)

F-584 Spencer-Stanhope, [John] Roddam. “Morgan le Fay.” n.d. Cambridge, MA: Harvard University. Reproduced in “Camelot 1999” (calendar). This is one of a series of paintings done by Spencer-Stanhope showing women (sometimes nude, sometimes clothed) in full-length portraits, with their arms in various positions; they sometimes are assigned the names of women from mythology and story. Here, the subject is clothed (though her clothes fit tightly to the body), standing with one hand raised above her head and the other to her shoulder; long skeins of hair extend behind her and wrap around her arms. There is a table beside her, and a landscape visible through a window behind her. There is nothing in the picture, however, that makes it necessary to recognize this as Morgan le Fay, any more than the other paintings in the series clearly represent the mythological figures named in their titles.

F-585 Spencer-Stanhope, [John] Roddam. “Sir Gawaine Meeting Three Ladies at the Well” (or “Sir Gawaine and the Damsels at the Fountain”). Wall mural (distemper on whitewashed brick). Oxford: Library of the Oxford Union. 1857–1858. Reproduced by J. Christian, Oxford Union Murals, on colour microfiche, Item 1E2. One of the ladies occupies the centre of the picture, kneeling before Gawaine, who stands on the right; the other two ladies are on the left.

Spenser, Edmund: see Cotterill E.; Cosway, Richard; Crane, Walter: “Britomart by the Sea,” “The Faerie Queene,” and “The Red Cross Knight in Search of Una”; Eastlake, Charles; Etty, William; Fairfax-Muckley, Louis; Fortescue-Brickdale, Eleanor; Fuseli, Henry; Hammond, Gertrude Demain; Harding, S.; Kent, William; King, Jessie Marion; Martin, [Elias]; Mortimer, John Hamilton: “Sir Artegall”; Newill, Mary Jane; Opie, John; Paton, Joseph Noel: “Cymochles and Phaedria”; Raphael, Mary F.; Rivière, William, and Briton Rivière: “The Education of Arthur”; Shields, Frederick: “The Vision of Britomart”; Strudwick, John Melhuish; Tiffany, Louis Comfort; Traquair, Phoebe Anna: “Red Cross Knight” (three entries); Watts, George Frederic: “Britomart and her Nurse” and “Una and the Red Cross Knight”; and West, Benjamin. F-586 Stephens, Alice Barber. “Guinevere, from Tennyson’s ‘Idylls of the King.’” Drawing. n.d. Washington, DC: Library of Congress, Prints and Photographs Division. (*) A drawing of Guinevere in Almesbury with the novice; caption on matting: “O maiden, if indeed ye list to sing, sing, and unbind my heart that I may weep. Whereat full willingly sang the little maid” (Tennyson, “Guinevere,” 165–67). (Information from CAMIO [Museum Images Online] website .)

F-587 Stephens, Frederic George. “Morte d’Arthur.” Painting (oil on wood). 13.75 x 28.75 in. ca. 1849. London: Tate Gallery (accession no. N04635). . Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 57 (p. 230). – Also in Mancoff, Arthurian Revival in Victorian Art, Fig. 32.

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An unfinished oil painting, in which Sir Bedivere, kneeling on the ground, is hoisting the dying King Arthur onto his back.

F-588 Stillman, Marie Spartali. “Dreams of Camelot.” Gouache on paper. 22.5 x 19.5 in. n.d. [Current location not known.] Sold at Sotheby’s (New York), 23 Oct. 1983, Lot 271. (Information from K. A. Shepherd, “Marie Spartali Stillman.”)

F-589 Stillman, Marie Spartali. “The Finding of Sir Lancelot Disguised as a Fool” (or “Lancelot and Elaine”). Painting (watercolour). 1873. [Current location not known.] Exhibited at the Royal Academy in 1873; also at the National Academy in New York in 1875, where it was seen by Henry James, who thought Spartali’s works “the most interesting things” there (Marsh and Nunn, Women Artists, 100, 102). Illustrating Malory, Le Morte Darthur, Book 12, Chap. 4.

F-590 Stillman, Marie Spartali. “Sir Tristram and Queen Isolde” (or “Tristram and Yseult”). Painting (watercolour, heightened with bodycolour, on paper). 20.75 x 30 in. 1873. [Current location not known.] Reproduced (colour) in K. A. Shepherd, “Marie Spartali Stillman,” Fig. 24. Isolde, a lady, and Tristram (seated), in a garden, Tristram with a hand on the back of a dog (Isolde’s dog recognizes the mad Tristram). Exhibited at the Royal Academy in 1873; also at the National Academy in New York in 1875 (where it was seen by Henry James). Sold at Sotheby’s (London), 10 Nov. 1981, Lot 43.

F-591 Stone, Marcus, G. G. Kilburne, R. Sauber, I. Warry, R. Kemm, and Fanny Bowers, with line drawings by J. Pauline Sunter. Tennyson’s Heroes and Heroines. London, Paris, and New York: Raphael Tuck and Sons, 1893. An unpaginated portfolio of loose pages, being colour lithographs and line drawings of characters from Tennyson’s stories. For each character, there are three pages: a design, drawn in ink and given the title of the relevant Tennyson poem and perhaps a couplet of verse; a page with a stanza or so of verse, with decoration (line drawing); a third page, being a colour portrait of the character. There are two Arthurian subjects included; first, the Lady of Shalott appears, in a portrait by Ince Warry, which shows a young lady, seated, working a piece of embroidery in her lap. The other Arthurian subject is “Lancelot and Elaine” by R. Sauber, showing the two characters standing in the street; Elaine offers Lancelot her sleeve and he protests that he has never yet worn a lady’s favour.

F-592 Stratton, Helen, illus. Selections from “Le Morte Darthur,” Prepared for Use in Schools. By Sir Thomas Malory. Ed. C[lara] L. Thomson. London: Horace Marshall and Son, 1902. (*) Excerpts from Malory, with illustrations by Stratton (Gaines, Item B10). (Information from Gaines.)

F-593 Strudwick, John Melhuish. “Acrasia.” Painting (oil on canvas, heightened with gold paint). 28 x 22.5 in. ca. 1888. Private collection. Reproduced (B&W) in Spalding, Magnificent Dreams: Burne-Jones and the Late Victorians, Fig. 12 (p. 19). – Also in Girouard, The Return to Camelot, Fig. 128 (p. 195). A painting illustrating a scene from Spenser, The Faerie Queene, II.xii: Guyon reclines in Acrasia’s lap beneath a tree in the Bower of Bliss, a goblet fallen from his hand. Six additional ladies with musical instruments can be seen amidst the foliage.

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F-594 Strudwick, John Melhuish. “Elaine with Lancelot’s Shield.” Painting (oil on canvas). 31 x 22 in. 1891. Private collection. (*) Elaine of Astolat, seated, gazes on the shield of Lancelot. (Information from Whitaker, Legends, 218.)

F-595 Strudwick, John Melhuish. “Tristan and Iseult.” Painting. n.d. [Current location not known.] (*) Reproduced in Knights of the Round Table (Pitkin Guides, 1997), 22–23. (Information from Pitkin Guides volume.)

F-596 Sullivan, Edmund J., illus. A Dream of Fair Women and Other Poems. By Alfred Tennyson, Baron. Ed. Edmund J. Sullivan. London: Grant Richards, 1900. Reproduced: Philadelphia: George W. Jacobs and Co., [1900]. – The “Lady of Shalott” illustration is reproduced in Ladies of Shalott, 164. Ink drawings. Among the illustrations in the volume are two on Arthurian themes, one accompanying Tennyson’s “Sir Launcelot and Queen Guinevere,” showing Launcelot and Guinevere riding through woods together, and the other illustrating “The Lady of Shalott” (Ladies of Shalott [exhibition catalogue], Item 60), showing two reapers looking up as they hear a song.

F-597 Szumowski, Peter. “Merlin.” Painting (acrylic). n.d. Private collection. Reproduced in Matthews, Merlin: The Pitkin Guide, back cover. Bridgeman Art Library, no. PSZ-32177. A hooded figure, seen from the back, stands among trees in a snowy landscape, facing a large standing stone.

F-598 Tennyson, Alfred Tennyson, Baron. The Poetical Works of Alfred Tennyson, Poet Laureate, Illustrated with Numerous Fine Engravings. Philadelphia: William T. Amies, 1882. This edition does not include the Idylls of the King, which limits the number of Arthurian illustrations, but there are still several illustrations for “The Lady of Shalott,” “The Palace of Art,” “Sir Galahad,” “Morte d’Arthur,” and other poems. The illustrations are taken from various sources, including the Moxon Tennyson (1857).

Tennyson, Alfred Tennyson, Baron: for paintings based on his works and illustrated editions, see the entries under Archer, James; Ball, Robert; Bone, Herbert; Cameron, Julia Margaret; Cave, Walter; Colman, S., Jr.; Crane, Walter; Doré, Gustave; Egley, William Maw; Forestier, A.; Fortescue-Brickdale, Eleanor; Grimshaw, John Atkinson; Harrison, Florence; Hunt, William Holman; Hunter-Elsenbach, Annegret; King, Jessie Marion; “Lady of Shalott”; Little, Norman; Maclise, Daniel; Phipps, Howard; Pyle, Howard; Rhead, George Wooliscroft, and Louis Rhead; Richards, G. M.; Rossetti, Dante Gabriel; Siddal, Elizabeth; Smith, John Moyr; Stone, Marcus, et al.; Sullivan, Edmund J.; Waterhouse, J[ohn] W[illiam]; and Wentzler, Teresa. F-599 Thomas, Scott. “The Grail.” Drawing (ink). In A Round Table of Contemporary Arthurian Poetry; Vol. 7 of The Round Table: A Journal of Poetry and Fiction. Ed. Barbara Tepa Lupack and Alan Lupack. Rochester, NY: Round Table Publications, 1993. 52. A drawing of a chalice.

Thompson, J. Stephens: see Sir William Reynolds-Stephens.

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F-600 Thomson, Rodney, illus. King Arthur and the Knights of the Round Table. By Sir Thomas Malory. Ed. Clifton Johnson. New York and London: Macmillan Co., 1916. A modernization of Malory for children, illustrated with eight full-page B&W plates and twenty-two partial-page illustrations.

F-601 Tiffany, Louis Comfort. Figures from The Faerie Queen. Stained glass window. 1917. (*) A window with characters from Spenser. (Information from Whitaker, Legends, 302.)

F-602 Tiffany, Louis Comfort. “Galahad.” Stained glass window. Southampton, NY: Ogden Cryder Memorial, St Andrew’s Dune Church. 1902. (*) (Information from Whitaker, Legends, 303.)

F-603 Tiffany, Louis Comfort. “Galahad.” Stained glass window design. In Tributes to Honor: Suggested Types of Memorials by the Ecclesiastical Department of the Tiffany Studios. New York: The Firm [Tiffany Studios], 1918. (*) A recommended design for memorial windows using the figure of Galahad. (Information from Whitaker, Legends, 303.)

F-604 Tiffany, Louis Comfort. “Galahad and King Alfred.” Stained glass window. Southboro, MA: St Mark’s School. n.d. (*) (Information from Whitaker, Legends, 303.)

F-605 Tiffany, Louis Comfort. “Joseph of Arimathea.” Stained glass; also a mosaic version of the window. Oyster Bay, Long Island, NY: Laurelton Hall. n.d. (*) Lauelton Hall, Tiffany’s mansion on Long Island, is now part of the Metropolitan Museum of Art, New York. (Information from Whitaker, Legends, 302.)

F-606 Traquair, Phoebe Anna, illus. The Defence of Guenevere. By William Morris. Inks on vellum. ca. 1896. Private collection. (*) An illuminated manuscript of the poem by Morris. (Information from Whitaker, Legends, 311; cf. Cumming, Phoebe Anna Traquair, p. 95.)

F-607 Traquair, Phoebe Anna. “The Passing of Arthur.” Triptych of enamelled plaques, set in an electroplated stand. height: 8.75 in. 1908. Private collection. (*) Reproduced: A colour photograph is reproduced in Cumming, Phoebe Anna Traquair, 40. Cumming, Phoebe Anna Traquair, Item 118. The central plaque, of “King Arthur and his Queens,” is an image of Arthur and the weeping queens against the backdrop of deep red sunset. This is flanked on the left with an image of Arthur receiving Excalibur from the Lady of the Lake (Arthur, in a boat, reaches for the hilt of the sword offered to him), and on the right with “Excalibur Returned.” A duplicate set of the plaques, unmounted, is preserved in the Victoria and Albert Museum, London; the Victoria and Albert Museum also has a study towards the central plaque of “King Arthur and his Queens” (watercolour and pencil on paper; 3.25 x 5.25 in.: Cumming, Item 117). (Information from Cumming; also see Whitaker, Legends, 311, and Poulson, Quest, 236.)

F-608 Traquair, Phoebe Anna. “The Red Cross Knight” [1893]. Illuminated page: inks, watercolour, and gold paint on vellum. 4 x 3.25 in. ca. 1893. Private collection. (*) Cumming, Phoebe Anna Traquair, Item 37. An imitation page from a medieval manuscript, with an image of the Red Cross Knight from Spenser, The Faerie Queene, Book 1. (Information from Cumming.)

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F-609 Traquair, Phoebe Anna. “The Red Cross Knight” [1904]. Embroidered panels (three): silk and gold thread on linen. ca. 75.5 x 33 in. 1904–1914. Edinburgh: National Museums of Scotland. (*) Cumming, Phoebe Anna Traquair, Item 80 (with a colour reproduction of Panel 2 on p. 36). A set of embroidered panels illustrating Spenser, The Faerie Queene, I.i, xi, and xii. Panel 1: “The Red Cross Knight and his Lady” (they kiss, and angels blow trumpets); Panel 2: “The Red Cross Knight” (slaying the dragon of error; across the top is an inscription: “and while his lady pray’d with one good thrust he pierced that false tongue”); Panel 3: “The Red Cross Knight and his Lady Riding” (the two ride in a flowered landscape). (Information from Cumming.)

F-610 Traquair, Phoebe Anna. “The Red Cross Knight” [1905]. Triptych of enamelled plaques, set in an electroplated stand. height: 10.8 in. 1905. Private collection. Cumming, Phoebe Anna Traquair, Item 88. A set of enamelled plaques showing the hero of Book 1 of Spenser’s The Faerie Queene, using essentially the same designs as for the three “Red Cross Knight” embroidered panels (see the entry for “The Red Cross Knight [1904]”). In the central plaque the slaying of the dragon is represented; on the left, the Red Cross Knight kneels as Una leans over him and kisses him (angels in the sky blow trumpets); on the right, the two ride through a field of grass and flowers. A second set of the panels was made, set in a stand of a somewhat different design; this copy is now in the City of Edinburgh Museums and Galleries (Cumming, Item 89, with a colour photograph on p. 37). The design for the central plaque is preserved in the Victoria and Albert Museum, London (pencil, watercolour, and gouache on paper; 5.5 x 3.5 in.: Cumming, Item 87).

F-611 Turner, Alfred. “Sir Galahad.” Statue (bronze). “Life-size.” St Helier, Jersey, Channel Islands: Victoria College. 1924. (*) This is World War I memorial, standing in the college quadrangle, inspired by Tennyson. It is “a life-size bronze statue of Sir Galahad standing on an eight-foot-high pedestal of Jersey granite. It is inscribed with the lines ‘And come thou, too, for thou shalt see the vision when I go,’ Galahad’s final words to Percivale before he reaches the Grail and is taken up into ‘the spiritual city’ where he will be crowned king” (Poulson 112–13).

F-612 Twining, E. W. The Art and Craft of Stained Glass. London: Sir Isaac Pitman and Sons, 1928. This guide for stained glass artists includes a design for a panel on the subject of “Sir Galahad’s Visionne of ye San Graal,” which is a “subject . . . popular with lovers of the legends of romance and chivalry” (71; qtd. in Poulson, Quest, 113).

F-613 Urquhart, Helen, illus. The Noble Tale of the Sangreal, Drawn out of the French Tongue by Sir Thomas Malory, Kt, and first printed by Master William Caxton. By Sir Thomas Malory. Ed. Philip Allan. 2nd edn. Pilgrim Books 4. London: Philip Allan, 1923. (*) The story of the Grail quest, from Malory. Allan added to the second edition ten illustrations by Urquhart; these were not included in either the first edition (1920) or the third (1924). (Gaines, Item B25.b.) (Information from Gaines.)

F-614 Uwins, Thomas, illus. The History of the Renowned Prince Arthur, King of Britain; with his Life and Death, and all his Glorious Battles; Likewise, the Noble Acts and Heroic Deeds of his Valiant Knights of the Round Table. By Sir Thomas Malory. Ed. Alexander Chalmers. 2 vols. Walker’s British Classics. London: Walker and Edwards, 1816. (*) Uwins’ illustrations were engraved by Charles Warren. This is the first modern edition of Malory; 2500 copies were printed. (See Gaines, Item A7, with a reproduction of a title-page between pp. 13

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and 14.) “Uwins exhibited the illustrations he prepared for this edition at the Society of Painters in Water-Colours in 1816” (Gaines 14).

F-615 Wakely, Archibald. “Sir Launcelot at the Chapel.” Painting. ca. 1904. [Current location not known.] (*) Exhibited at the Royal Academy in 1904. (Information from Poulson, Quest, 127.)

F-616 Walker, A[rthur] G[eorge], illus. The Book of King Arthur and His Noble Knights: Stories from Sir Thomas Malory’s Morte “Darthur.” By Mary Macleod [Mary Macleod Banks]. Intro. John W. Hales. 3rd edn. New York: Frederick A. Stokes Co., [1900]. Reproduced: Three pictures (Arthur obtaining Excalibur from the Lady of the Lake, Galahad holding vigil on the eve of his knighting, and the Coming of Gareth to Arthur’s court) are reproduced in An Arthurian Reader: Selections from Arthurian Legend, Scholarship and Story. Ed. John Matthews. Wellingborough: Aquarian Press, 1988. 44, 266, and 273. A juvenile adaptation of Malory. Walker’s illustrations consist of thirty-four full-page B&W plates, and thirty-five B&W partial-page illustrations within the text.

F-617 Walker, George, illus. “A New Sonnet of a Knight and a Faire Virgin.” [Collected by Richard Johnson.] San Francisco: Bullnettle Press, 1998. A broadside ballad which was included in Richard Johnson’s A Crowne Garland of Goulden Roses in 1612, and it is here reprinted (in a fine press, limited edition) in broadside form. The sheet (12 x 20 in.) was issued in a limited edition of 208 copies, “Designed & printed by Asa Peavy, Bullnettle Press, San Francisco: 30 xi 98.” The poem is printed in two columns, and it includes three wood engravings by George Walker: a) a knight seizes a young woman by the hair; his horse stands by a tree in the background; b) a hag; c) a flea. (See also the entry for “A New Sonnet of a Knight and a Faire Virgin” in the Literature section.)

F-618 Wall, Josephine. “The Lady of the Lake.” Painting (acrylic on canvas). n.d. Collection of the artist. . A brightly colourful painting, in pinks and greens, showing a partially submerged woman with a bejewelled sword.

F-619 Wallis, Henry. “Elaine.” Painting (oil on panel). 7 x 14.5 in. 1861. Private collection. Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 52. – A study for the work is reproduced (colour) in Christine Poulson, The Quest for the Grail, Pl. 12. Exhibited at the Royal Academy in 1861. Elaine is lowered by her father and brothers into the boat that will take her to Camelot. Poulson comments that this appears to be a unique treatment of the grief of her family, which is not dwelt on by other artists nor in Tennyson’s story (195–96).

F-620 Wallis, Hugh. “Princess Iseult of Brittany.” Painting (oil on panel). 8.25 x 9.5 in. 1904. Private collection. The Last Romantics, Item 152. An illustration to Swinburne’s “Tristram of Lyonesse” (see also the entry for that poem in the Literature section). The Princess stands in a forest scene flanked by two children.

F-621 Warry, Inez. “The Lady of Shalott.” Colour lithograph. 11.5 x 8.5 in. In Tennyson’s Heroes and Heroines. London: Raphael Tuck and Sons, ca. 1894. Reproduced (B&W) in Ladies of Shalott, 170. Ladies of Shalott (exhibition catalogue), Item 65. A young woman sits, with needlework in her lap.

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F-622 Waterhouse, J[ohn] W[illiam]. “Elaine.” Painting. 35.5 x 27.25 in. n.d. [Current location not known.] (*) See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 106. The painting was sold at Christie’s in London on 23 July 1926.

F-623 Waterhouse, J[ohn] W[illiam]. “‘I am Half-Sick of Shadows,’ said the Lady of Shalott.” Painting (oil on canvas). 39.5 x 29 in. 1915. Toronto: Art Gallery of Ontario. Reproduced (colour) in Hobson, J. W. Waterhouse, Pl. 85 (and cf. Pl. 80 on p. 108). – Also in Whitaker, Legends, Pl. 26. – Also (B&W) in Hobson, The Art and Life of J. W. Waterhouse, Pl. 143. – Also in Ladies of Shalott, 171. See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 212 (and cf. pp. 137–38). Also Ladies of Shalott (exhibition catalogue), Item 66. Exhibited at the Royal Academy in 1916. The lady sits at her loom, in a red dress, with hands behind her head and a bobbin in her lap; behind her a circular mirror reflects a window through which can be seen the walls and towers of Camelot. Waterhouse did three quite different paintings based on Tennyson’s poem. Two pencil sketches for this painting, which appear in Waterhouse’s sketchbooks, are reproduced in Hobson’s The Art and Life of J. W. Waterhouse RA, 137 (Victoria and Albert Museum, Waterhouse sketchbook E2–1949: the sketchbook is Item 385 in Hobson’s catalogue, 200). The painting has also been used as a postage stamp design (see the entry under “Postage stamps”).

F-624 Waterhouse, J[ohn] W[illiam]. “The Lady of Shalott.” Painting (oil on canvas). 56 x 34 in. 1894. Leeds: Leeds City Art Gallery. Reproduced on the cover of John William Waterhouse RA, the catalogue of an exhibition at the Sheffield City Art Galleries, 1978. – Also in Hobson, J. W. Waterhouse (1989), Pl. 33. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 79. See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 100 (and reproduced, in colour, as Pl. 64 on p. 79; discussion on pp. 80–83). Exhibited at the Royal Academy in 1894. The lady, in a white dress, leans forward while presumably rising from her chair; golden threads from the tapestry on the loom are wrapped around her legs, tying them together, and there are balls of yarn scattered on the floor. The circular mirror behind her shows the helmet and part of the lance of a knight riding past, and the mirror has cracked. Waterhouse did three quite different paintings based on Tennyson’s poem. Five studies towards this painting are known (Items 101–105 in Hobson’s catalogue of Waterhouse’s works); one (Item 102, the only one for which the current owner is known) is in the collection of the Falmouth Art Gallery (done ca. 1894; 48 x 27.5 in.); reproduced (B&W) in Hobson, J. W. Waterhouse (1989), 53 (Pl. 35). Two pencil sketches for this painting, which appear in Waterhouse’s sketchbooks, are reproduced in Hobson’s The Art and Life of J. W. Waterhouse RA, 82 (Victoria and Albert Museum, Waterhouse sketchbook E1110–1963, pp. 11 and 12: the sketchbook is Item 382 in Hobson’s catalogue, 199).

F-625 Waterhouse, J[ohn] W[illiam]. “The Lady of Shalott.” Painting (oil on canvas). 60.25 x 78.75 in. 1888. London: Tate Gallery (accession no. N01543). . Reproduced: Frequently reproduced, as in Wood, The Pre-Raphaelites, 141. – Also in Hobson, J. W. Waterhouse (1989), Pl. 27. – Also in Knights of the Round Table (Pitkin Guides, 1997), 13. – Also in the 1996 and 1998 “Pre-Raphaelite” calendars. See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 77 (and reproduced, in colour, as Pl. 41 on pp. 54–55; discussion on pp. 53–56). Exhibited at the Royal Academy in 1888. Shows the Lady in a barge (sitting up, “singing her last song”), drifting towards

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Camelot. Waterhouse did three quite different paintings based on Tennyson’s poem. (For an imitation of this painting, see the entry above for “Herbert, Susan: Lady of Shalott.”)

F-626 Waterhouse, J[ohn] W[illiam]. “Sir Galahad.” Painting (oil on canvas). n.d. [Current location not known.] See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 304; sold at Christie’s, 4 June 1948.

F-627 Waterhouse, J[ohn] W[illiam]. “Tristram and Isolde.” Painting (oil on canvas). 42 x 30 in. ca. 1916. London: Whitford and Hughes Gallery. Reproduced in Hobson, J. W. Waterhouse (1989), 119 (Pl. 89). See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 219; also briefly mentioned (as illustrating a theme of “love denied” that runs throughout Waterhouse’s work) on p. 138. Posthumously exhibited at the Royal Academy in 1917. Tristan and Isolde, on the deck of a ship, stand facing each other, both with their hands on a cup.

F-628 Waterhouse, J[ohn] W[illiam]. “Tristram and Isolde.” Painting. n.d. [Current location not known.] See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 220.

F-629 Waterhouse, J[ohn] W[illiam]. “Tristram and Isolde.” Charcoal drawing. n.d. Edinburgh: Raeburn Gallery. See Hobson, “Catalogue of Works,” in his Art and Life of J. W. Waterhouse, App., Item 376. Artist’s sale, Christie’s 23 July 1926.

F-630 Watkins, Frank, illus. Stories of King Arthur and his Knights, Illustrated in Color. By U[riel] Waldo Cutler. Revised edn. New York: Thomas Y. Crowell, 1924. There are various editions and reprints of the text, with different sets of illustrations. The 1924 edition has nine colour plates: the frontispiece (“They went eagerly to the battle,” showing two knights tilting in a forest clearing) is signed “Howard and Hastings”; there are eight other plates (colour) by Frank Watkins. (See also the entry for “Howard and Hastings,” above. See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-631 Watson, Homer. “The Death of Elaine.” Painting (oil on canvas). 30.75 x 42 in. 1877. Toronto: Art Gallery of Ontario. Reproduced frequently, as, for instance, in Whitaker, Legends, Fig. 62. Elaine lies in a flower-decked barge, steered by a bearded and helmeted bargeman, in moonlight. As in Doré’s engraved drawing of the same subject (among his illustrations to Tennyson’s Elaine: see the entry under “Doré, Gustav: Elaine” above), Camelot is depicted as a many-towered castle perched on cliffs above the river in the centre of the picture. Whitaker notes that Watson never travelled to Europe, and his idea of a “medieval” castle is based upon nineteenth-century neo-Gothic architecture: the castle of Camelot here is, in fact, a close likeness of University College at the University of Toronto with some additional towers, and placed on the banks of a broad river.

F-632 Watts, George Frederic. “Britomart.” Wall-painting (fresco). ca. 1852. Falmouth: Falmouth Art Gallery (accession no. 1923.17). This is an early version of the composition of “Britomart and her Nurse Before the Magic Mirror” (see the separate entry, below), depicting the scene from Spenser, The Faerie Queene, in which Britomart sees her knight in the enchanted mirror. According to the Falmouth Gallery’s catalogue, this “was probably produced as an experiment for a fresco commission Watts received in 1852 for the Poets’ Hall in the House of Lords.”

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F-633 Watts, George Frederic. “Britomart and her Nurse Before the Magic Mirror.” Painting (oil on canvas). 1878. Birmingham: Birmingham City Museums and Art Gallery. Reproduced (B&W) in Whitaker, Legends, Fig. 48. In this scene from Spenser, The Faerie Queene, Book 3, Britomart, with a book on her lap, sits before the magic mirror in which personages from the other books of The Faerie Queene appear; there is a lily in front of her. A study for this painting (pencil on cream wove paper, 20 x 14.25 in.) is in the collections of the Royal Academy of Arts, London. A second study, entitled “Britomart” (pencil drawing; 23.5 x 17.25 in.) is preserved in the British Museum, Department of Prints and Drawings; it shows Britomart holding a magic crystal while Sir Arthegall, Sir Guyon, the Palmer, the Red Cross Knight and Una, appear around her, and the nurse sleeps in the foreground, with a book open beside her (see British Museum, Catalogue of Drawings by British Artists, 4: 314). Another study (oil on canvas; 25.5 x 18 in.) is in the collection of the Norwich Castle Museum (accession no. 35.07); another is in the collection of the Watts Gallery at Compton; and another (watercolour sketch, showing Britomart seated with a book open in her lap and her nurse seated beside her) is in the collection of Dennis T. Lanigan of Saskatoon, Canada (Lanigan, A Dream of the Past, Item 92; 9 x 8.5 in.; colour reproduction among the plates between 42 and 43, and a B&W reproduction on p. 228). (See also the entry for Watts’ “Britomart,” above.)

F-634 Watts, George Frederic. “Enid and Geraint.” Painting. 1879. [Current location not known.] (*) Exhibited at the Grosvenor, 1879. (Information from Whitaker, Legends, 231.)

F-635 Watts, George Frederic. “The Red Cross Knight Overcoming the Dragon.” Wall-painting (fresco). 8 ft. 1 in. x 5 ft. 9 in. Westminster: Upper Waiting Hall (Poets’ Hall), Palace of Westminster (Houses of Parliament). 1847. Reproduced (B&W) in Representations of G. F. Watts: Art Making in Victorian Culture, ed. Colin Trodd and Stephanie Brown; British Art and Visual Culture Since 1750 (Aldershot, Hants., and Burlington, VT: Ashgate, 2004), Fig. 27 (and cf. pp. 110, 117). A wallpainting, in the Houses of Parliament in Westminster, depicting a scene from Spenser, The Faerie Queene, Book 1; the Red Cross Knight stands with one foot on the head of the dead dragon, with Una beside him (the two of them looking upwards to heaven), and with various townsfolk around about.

F-636 Watts, George Frederic. “Sir Galahad.” Painting (oil on canvas). 21 x 10.25 in. Perhaps late 1850s. Private collection. Galahad, in full armour but with his helmet off, stands with his hands clasped in front of him, gazing ahead (and thus beyond the border of the picture); his white horse stands beside him. Watts completed at least five versions of this composition (see the separate entries), the best known being the much larger version now in Fogg Art Museum of Harvard University (painted 1862); this is the earliest known version, and it is much smaller than the more famous one (it was, for some time, in the collection of Louis Huth, later in that of Charles and Lavinia Handley-Read). There is also a watercolour reproduction by Emery Walker, in the Watts Gallery in Compton, Guildford, Surrey. A study is also extant (two versions of the figure of Sir Galahad: black chalk on paper, 10.25 x 16.5 in.).

F-637 Watts, George Frederic. “Sir Galahad.” Painting (oil on canvas). 6.3 x 3.5 ft. 1860–1862. Cambridge, MA: Fogg Art Museum, Harvard University. Reproduced: Frequently reproduced, as in “Camelot 1997” (calendar). – Also in Knights of the Round Table (Pitkin Guides, 1997), front cover and p. 16. – Also (colour) in Mancoff, Return, 127. – Also (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 72.

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Galahad, in full armour but with his helmet off, stands with his hands clasped in front of him, gazing ahead (and thus beyond the border of the picture); his white horse stands beside him. Watts completed at least five versions of this composition (see the separate entries); there is also a watercolour reproduction by Emery Walker, in the Watts Gallery in Compton, Guildford, Surrey. A study is also extant, done about 1855 and preserved in the Watts Gallery (two versions of the figure of Sir Galahad: black chalk on paper, 10.25 x 16.5 in.).

F-638 Watts, George Frederic. “Sir Galahad.” Painting (oil on canvas). 1897. Windsor: The Chapel, Eton College. (*) Galahad, in full armour but with his helmet off, stands with his hands clasped in front of him, gazing ahead (and thus beyond the border of the picture); his white horse stands beside him. Watts completed at least five versions of this composition (see the separate entries), the best known being the much larger version now in Fogg Art Museum of Harvard University (painted 1862); this is a second large version, painted for Eton College and presented to them by the artist. There is also a watercolour reproduction by Emery Walker, in the Watts Gallery in Compton, Guildford, Surrey. A study is also extant (two versions of the figure of Sir Galahad: black chalk on paper, 10.25 x 16.5 in.).

F-639 Watts, George Frederic. “Sir Galahad.” Painting (oil on canvas). 87 x 19.25 in. 1903. Private collection. (*) Galahad, in full armour but with his helmet off, stands with his hands clasped in front of him, gazing ahead (and thus beyond the border of the picture); his white horse stands beside him. Watts completed at least five versions of this composition (see the separate entries), the best known being the much larger version now in Fogg Art Museum of Harvard University (painted 1862); this version is rather more abstract in style than the earlier versions. There is also a watercolour reproduction by Emery Walker, in the Watts Gallery in Compton, Guildford, Surrey. A study is also extant (two versions of the figure of Sir Galahad: black chalk on paper, 10.25 x 16.5 in.).

F-640 Watts, George Frederic. “Sir Galahad.” Painting (oil on canvas). 21 x 10.25 in. 1903(?). Private collection. (*) Galahad, in full armour but with his helmet off, stands with his hands clasped in front of him, gazing ahead (and thus beyond the border of the picture); his white horse stands beside him. Watts completed at least five versions of this composition (see the separate entries), the best known being the much larger version now in Fogg Art Museum of Harvard University (painted 1862); this version is much the same size as the first version, painted some 50 years earlier. There is also a watercolour reproduction by Emery Walker, in the Watts Gallery in Compton, Guildford, Surrey. A study is also extant (two versions of the figure of Sir Galahad: black chalk on paper, 10.25 x 16.5 in.).

F-641 Watts, George Frederic. “Sir Percival.” Painting (oil on canvas). 22 x 10 in. n.d. Stalybridge: Astley Cheetham Gallery. Reproduced (colour) in Christine Poulson, The Quest for the Grail, Pl. 10. Percival, in armour, walks through a forest. This is similar to Watts’ “Sir Galahad,” and may have been intended as a companion piece.

F-642 Watts, George Frederic. “Una and the Red Cross Knight.” Painting. 1869. Port Sunlight: Lady Lever Art Gallery. Reproduced (B&W) in Girouard, The Return to Camelot, Fig. 98 (p. 151). Depicts a scene from Spenser, The Faerie Queene, Book 1, showing an armed knight on a horse riding beside a lady on a donkey.

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F-643 Waugh, Frederick Judd. “The Knight of the Holy Grail.” Painting. 1912. Washington, DC: Smithsonian Institution, The National Museum of American Art. Reproduced in “Camelot 1998” (calendar). Galahad sits in a boat, hands together in prayer, as three angels hover in front of him, two carrying candles and one lifting up the Grail. There are rocky cliffs in the background.

F-644 Webb, Mildred. “Gareth and Lynete.” Carved wooden box. ca. 1917. [Current location not known.] (*) (Information from Poulson, Quest, 70.)

F-645 Wentzler, Teresa. “Camelot Sampler.” Needlework design. Birmingham, AL: Just CrossStitch, 1995. This cross-stitch design has five different scenes: two knights jousting (top); a king, presumably Arthur (middle left); the sword in the stone with words from Malory beneath it (centre); a queen, presumably Guenevere (middle right); a castle on a hill with the word “Camelot” beneath it (bottom). Available in a kit or just as the pattern.

F-646 Wentzler, Teresa. “Lady of Shalott.” Needlework design. Birmingham, AL: Just CrossStitch, 1997. A cross-stitch design inspired by Tennyson’s poem and the version of it sung by Loreena McKennitt (see the entry for McKennitt in the Music section). In the design the Lady is seated in front of her “web” and the mirror; the mirror shows a distant castle. The design is available as part of a kit.

F-647 West, Benjamin. “The Cave of Despayre.” Painting (oil on canvas). 24 x 30 in. 1772. New Haven, CT: Yale Center for British Art. Reproduced (B&W) in Mancoff, Arthurian Revival in Victorian Art, Fig. 3. A painting, illustrating a scene from Spenser, The Faerie Queene, I.ix. Prince Arthur and Una rescue the Red Cross Knight from his despair.

F-648 West, Joseph Walter. “The Coming of Arthur.” Painting. 1894. [Current location not known.] Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 59 (p. 237). The painting depicts the baby Arthur, as Tennyson describes him, borne on a fiery wave. The figure of Merlin, ready to catch the baby, dominates the foreground; there is also another observer behind Merlin, shielding his eyes from the brightness.

F-649 Westmacott, James Sherwood. “Arthur and Guinevere: ‘And while she grovell’d at his feet, etc.’” Painting. 1877. [Current location not known.] (*) Exhibited at the Royal Academy, 1877. (Information from Poulson, Quest, 216.)

F-650 Whaite, Henry Clarence. “King Arthur in the Gruesome Glen.” 38.75 x 59 in. n.d. [Current location not known.] Reproduced (colour) in Day, The Search for King Arthur, 21. Arthur walks, in a Turneresque mist, among skeletons and rocks.

F-651 Whall, Veronica. “Sir Galahad.” Drawing. 1931. Walthamstow: William Morris Gallery. Reproduced in Whitaker, Legends, Fig. 69. A cartoon for one of the windows in King Arthur’s Hall, Tintagel (see the entry for her “Windows for King Arthur’s Hall of Chivalry”; also see the entry under “Glasscock, Frederick T.”). Galahad stands in full armour with shield prominently displayed, looking upwards; two other figures, one

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male and one female, flank him, with the man’s head bowed in prayer and the woman’s head tilted to look up at Galahad.

F-652 Whall, Veronica. Windows for King Arthur’s Hall of Chivalry. Stained glass windows. Tintagel: King Arthur’s Hall. 1931–1933. Reproduced: A photograph of the “Merlin and the Lady of the Lake” window is reproduced (colour) in Matthews, Merlin: The Pitkin Guide, inside front cover; also a detail (the Lady of the Lake) on 17. – Another, “Arthur and the sword in the stone,” appears in Matthews, Merlin: The Pitkin Guide, 8. – The “Arthur” window is also reproduced in One Man’s Dream (Tintagel: Sword in the Stone Ltd., n.d. [1990s]), back cover. – Four of Whall’s small windows are also shown in One Man’s Dream, 12 and 17. Whall did seventy-three stained glass windows for King Arthur’s Hall, Tintagel (on the Hall, see the entry for “Glasscock, Frederick T.”). Whall produced two pairs of three large windows for each end of the Hall, and an additional sixty-seven smaller windows (one of which can no longer be seen), being eighteen along the top of the north and south walls of the Great Hall (representing the virtues appropriate to a knight), and the other forty-nine (representing the coats of arms of Arthurian knights) in the walls of the surrounding gallery. The subjects of the six large windows at either end of the Great Hall are these: a) in the centre, Merlin sitting on a rock, like Wisdom, with Good and Evil on either side (Good as the Lady of the Lake, Evil is Morgause and the infant Mordred); b) to the left, Arthur pulling the sword from the anvil; c) on the right, the beginning of the quest for the Holy Grail. At the other end, d) in the centre, the Grail descending on Galahad; e) on the left, Galahad and the sister of Percival board the “ship of faith,” with Sir Bors and Sir Percival; f) on the right, the knighting of Lancelot, representing the Founding of the Round Table. (Whitaker gives a full description of the windows: Legends, 314–15.)

F-653 Wheelwright, Rowland, illus. The Adventures of King Arthur, Arranged from the “Morte Darthur.” By Sir Thomas Malory. Ed. Eleanor C[atherine] Price. London: J. Coker and Co., 1931. Reproduced: with fewer illustrations and with new border designs: Cover and border design by G. P. Micklewright. London: J. Coker and Co., 1933. An abridgement of Malory, illustrated with eight full-page colour plates; Wheelwright’s illustrations originally accompanied the 1928 reprinting of Frith, King Arthur and his Knights (see the entry for “Wheelwright: King Arthur”). The 1933 edn. had only six illustrations.

F-654 Wheelwright, Rowland. “Enid Driving the Robbers’ Horses on Before.” Painting. 1911. [Current location not known.] (*) The painting represents a scene from Tennyson, Geraint and Enid. (Information from Poulson, Quest, 213.)

F-655 Wheelwright, Rowland. “Geraint and Enid: ‘Once she looked back, and when she saw him ride, more near by many a rood than yester-morn, it wellnigh made her cheerful.’” Painting (oil on canvas). 6 x 4 ft. 1907. Private collection. Reproduced (B&W) in Christine Poulson, The Quest for the Grail, Fig. 52 (p. 214). An illustration to Tennyson, Geraint and Enid (the quotation corresponds to ll. 441–43). Enid, on a white horse, dominates the foreground, riding along a forest path; she is looking behind her towards Geraint, riding some distance behind.

F-656 Wheelwright, Rowland, illus. King Arthur and his Knights. By Henry Frith. Golden Books for Children. Philadelphia: David McKay, [1928]. (*) Reproduced: One illustration, “The King asked her whose sword it was” (Arthur

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obtaining Excalibur from the Lady of the Lake), is reproduced (colour) in Day, The Search for King Arthur, 84. – The same illustration was used as the frontispiece to Lee, F[rank] H[arold], The Children’s King Arthur, (London, 1935). A reprinting of Frith’s retelling of Malory, with a new set of eight colour plates by Wheelwright (Gaines, Item B5.b). Wheelwright’s illustrations were also used in E. C. Price, The Adventures of King Arthur (London, 1931) (see the entry under “Wheelwright: Adventures”). (Information from Gaines.)

F-657 Willet Stained Glass Studio. “Parsifal.” Stained glass window. Pittsburgh: Allegheny cemetery. n.d. (*) (Information from Whitaker, Legends, 303.)

F-658 Willet Stained Glass Studio. “Quest for the Grail.” Stained glass window. Washington, DC: Fort Lincoln Cemetary. n.d. (*) (Information from Whitaker, Legends, 303.)

F-659 Willig, Chas. “The Knight.” A series of paintings. Tintagel: King Arthur’s Hall. 1933. Willig produced a series of paintings for “King Arthur’s Hall,” in Tintagel, illustrating the allegorical development of a knight, or the several stages of one’s development as a “member” in the chivalric order. (On the Hall, see the entry for “Glasscock, Frederick T.”)

F-660 Window and Grove. “Sir Launcelot: Mr Forbes Robertson in Armour, designed by Sir E. Burne-Jones.” Photograph. n.d. Reproduced as an illustration to Cutler’s Stories of King Arthur, (1905), facing p. 46. An armed knight, seen in profile. (See also the entry for “Cutler, U. Waldo: Stories of King Arthur” in the Literature section.)

F-661 Woolner, Thomas. “Elaine.” Sculpture (marble). “Half life-size.” 1868. [Current location not known.] (*) Three replicas were also made. (Information from Whitaker, Legends, 233.)

F-662 Woolner, Thomas. “Enid.” Sculpture (marble). “Half life-size.” 1881. [Current location not known.] (*) (Information from Whitaker, Legends, 233.)

F-663 Woolner, Thomas. “Guinevere.” Sculpture (marble). “Half life-size.” 1872. [Current location not known.] Reproduced: Two replicas were also made. A photograph of the “Guinevere” statue also appeared in an 1888 edition of the Idylls. This is a full-length view of a woman in a loose, flowing gown, belted high on the waist; it is quite classical in manner.

F-664 Wyeth, N[ewell] C[onvers], illus. The Boy’s King Arthur: Sir Thomas Malory’s History of King Arthur and his Knights of the Round Table. By Sir Thomas Malory. Ed. Sidney Lanier. New York: Charles Scribner’s Sons, 1917. Reproduced: The volume is frequently reprinted. Two of the pictures are reproduced in Hopkins, Book of Guinevere, 60 and 93.

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– Some of the original paintings for Wyeth’s illustrations to The Boy’s King Arthur are preserved in the Brandywine River Museum, near Wilmington, DE. A significantly abridged and somewhat modernized version of Malory, illustrated with fifteen full-page colour plates.

General Index “a. µ.”: A-1 Aaronovitch, Ben: C-48 Ab Hugh, Dafydd: A-2, A-3 Abbey, Edwin Austin: A-2461, F-1, F-2, F-3, F-4, F-5, F-6, F-7, F-8, F-9, F-10, F-11, F-12, F-13, F-14, F-15, F-16, F-481 Abbey, Lynn: A-4, A-5 Abnett, Dan: B-28, B-29, B-53 Acker, Kathy: A-7 Ackerman, Felicia: A-8 Acres, Mark: E-88 Ad Dios: D-1 Adair, James: D-2 Adams, Diana: D-38 Adams, John: D-3 Adams, Oscar Fay: A-9, A-10 Adragna: A-3004 Ager, Laurence: D-4 Aguilar, Emanuel: D-5 Ahern, Jerry: A-14, A-900, A-901 Ahern, Sharon: A-14, A-900, A-901 Aiken, Conrad: A-15 Aiken, Joan: A-16, A-17 Aitken, Amy: A-18 Akers, Howard E.: D-6 Akhurst, William Mower: A-19, D-7 Alama, Pauline J.: A-20, A-1506 Albéniz, Isaac: D-8 Albert, Stephen: D-9 Alden, Ken: A-21, A-61 Aldington, Richard: D-422 Alexander, Ann D.: F-17 Alexander, Anne Dunlop: F-18 Alexander, Victoria: A-22 Alford, Henry: A-23 Alfred, Roy: D-178 Alkaemy: D-10 Allen, Carl: D-102 Allen, Edward Frank: A-2461 Allison, John Drummond: A-24, A-25, A-26, A-27, A-28, A-29, A-30, A-31, A-32, A-33 Allwood, Peter: D-11, D-12, D-13 Álvarez, Carlos: D-8 Ambrus, Victor: A-952, A-958, A-2170, A-2171, A-2314

Amorphis: D-14 Amrine, Cynthia: A-2632 Anderson, Antony: C-55 Anderson, Colleen: A-34, A-35, A-36, A-1503, A-1504 Anderson, Dennis Lee: A-37 Anderson, Jim: A-38 Anderson, Poul: A-39, A-40 Anderson, Sophie: F-19 Andrews, Charlton: A-41 Andrews, Gary: F-20 Andrews, Mark: D-15 Aneirin: A-1215, A-2521, A-2914, D-518 Angharad: D-421 Aniolowski, Scott: E-21 Ankenbrand, Frank, Jr.: A-42, A-43 Anspacher, Louis Kaufman: A-44 Appel, Shannon: E-74, E-75 Appleton, Honor C.: A-1425 Aquino, John T.: A-45, A-46, A-60, A-62 Archer, James: A-180, F-21, F-22, F-23, F-24, F-25, F-26, F-27, F-28, F-29, F-30, F-31, F-32, F-33 Archer, Peter: A-576 Archer, Rex: A-1887 Ardagh, Philip: A-47 Arden, John: A-48 Arkenstone, David: D-16, D-491 Armfield, Maxwell Ashby: F-34 Armstead, H. H.: F-35 Armstrong, Anthony: A-49, A-60 Armstrong, Hamilton Fish: A-50 Armstrong, Louis, and his Orchestra: D-178 Arnason, Eleanor: A-51, A-64, A-672 Arne, Thomas: D-17, D-18, D-19, D-401 Arno, Enrico: F-36 Arnold, Matthew: A-52, A-53, A-1494, A-1502, D-181, F-506 Arnosky, Jim: A-1662 Arons, Rich: C-180 Ashe, Geoffrey: A-56 Ashley, Doris: A-57, A-58 Ashley, Mike: A-59, A-63, A-1484, A-2285 Ashmun, Margaret: A-67 Ashton, Frederick (Sir): A-571

720

General Index

Ashton, Winnifred: A-558, C-47 Asplund, Randy: E-78 Astin, John: C-128 Atkey, Philip: A-68 Atkins, George: C-168 Attanasio, A. A.: A-69, A-70, A-71, A-72, A-73 Atterton, Julian: A-74, A-75, A-76, A-77 Atwood, Margaret: A-78 Auslander, Joseph: A-79, A-80, A-81 Austen, Jane: A-262 Austin, Alicia: A-2663 Austin, Frederic: D-20 Austin, Martha Waddill: A-82, A-1345 Axelrod, David: D-21 Ayreon: D-22, D-23 Ayrton, Michael: F-222 Ayton, Robert: A-687, A-688, A-689, A-690 Aytoun, William Edmondstoune: A-84, A-660 B., A.: A-85 B., E.: A-86 Babcock, William Henry: A-87 Backhouse, Colin: F-38, F-39, F-40 Bacon, John Henry: A-2619, F-41 Bacon, Leonard: A-88 Bad News: D-24 Badger, John D’Arcy: A-89 Baez, Joan: D-25 Bailey, C. W.: A-2615 Bailey, Greg: C-10 Bailey, Judith: D-26 Baillie, Bruce: C-181 Bainton, Edgar Leslie: D-27 Baird, Alison: A-90 Baird, Edward: A-91 Baker, Alan: A-1460, A-2873 Baker, Augusta Catherine: D-28 Baker, Grahame: A-720, A-721 Baker, Rosemary: A-92 Baker, Thomas K.: D-2 Baldry, Cherith: A-61, A-62, A-93, A-94, A-95, A-96, A-1484 Baldwin, Fred D.: A-97 Baldwin, Gerard: C-168 Baldwin, James: A-98 Baldwin, William: A-1734 Balfe, Michael: D-29, D-30 Balit, Christina: A-1098 Ball, Robert: F-42 Bangay, Evelyn D.: A-99 Bannerman, Anne: A-100 Bantock, Granville: D-31 Barber, Thomas, Jr.: A-1392

Barbera, Joseph: C-6, C-76 Barbour, Douglas: A-101 Barfield, Owen: A-1446 Bari, Anthony: A-2992 Baring, Maurice: A-102, A-103, A-104, A-105, A-106, A-107, A-108, A-109, A-110, A-191 Baring-Gould, Sabine: A-111, A-660 Barkan, Joanne: A-112 Barker, Elsa: A-113 Barker, Jack: E-58 Barkley, James: A-1083 Barkworth, Arthur: D-32 Barnes, Creighton: C-165 Barnes, George Foster: A-87 Barnes, Peter: C-111, C-114 Barnett, John: D-33, D-34, D-35, D-36 Barnum, Jay Hyde: A-114, A-2073 Baron, Barclay: D-439 Barr, Ann: A-114 Barr, George: A-849 Barr, Mike: B-11 Barraud, George: A-515 Barrett, Angela: F-43, F-44 Barrett, Ruth: D-448 Barringer, Leslie: A-115, A-116, A-117, A-118 Barron, Steve: C-111 Barron, T. A.: A-119, A-120, A-121, A-122, A-123, A-124 Barthelme, Donald: A-125 Bartlett, Gertrude: A-126 Barton, John: A-127 Barwin, Gary: A-128, A-1504 Bassett, Mary Robertson: D-410 Basso, Bill: A-1671, A-1672, A-1673, A-1674, A-1675, A-1676, A-1677, A-1678 Bates, John: C-165 Bàtki, Làszlò: A-2225 Bath, Hubert Charles: D-37 Batson, Robert: A-129 Batteau, Robin: D-101, D-270 Batten, John D.: A-1190, A-1191, A-1192 Batton, James: D-246 Baudino, Gaël: A-130, A-131, A-132 Bawden, Edward: F-45 Bax, Arnold: A-484, D-38, D-39 Baxter, George: A-133, A-134 Baxter, Lionel: D-40 Bayly, Thomas Haynes: D-41 Baynes, Pauline: A-1080, A-1446, A-2683 BBC Symphony Orchestra: D-161 Beagle, Peter: D-42 Beagle, Peter S.: C-30 Beard, Dan: A-2716

General Index Beardsley, Aubrey: A-264, A-957, A-1503, F-46, F-47 Beardsley, Martyn: A-135, A-136, A-137 Beare, Beryl: A-138 Beattie, Andrew: A-139 Beauchamp, B.: D-43 Becher, Arthur: A-98 Beck, Christophe: C-73 Beckner, Michael Frost: C-143 Bede: A-2033 Bedford, David: D-44 Bedford, John Bates: F-48, F-49 Bedford, William: A-140 Beekman, Doug: A-1015 Beer, Patricia: A-141, A-142 Beeson, Greg: C-11 Beeton, Samuel Orchart: A-143 Behrend, John Arthur: D-45 Belgrave, M. Dorothy: A-144, A-145 Bell, R. Anning: A-2133, A-2134, A-2136, A-2162 Bellamy, Peter: D-46 Belloc, Elizabeth: A-146 Belloc, Hilaire: A-2567 Beloin, Edmund: C-41 Bemiller, Bob: C-46 Ben-Ami, Doron: A-2493 Benda, W.: A-624, A-628 Bendell, W. E.: D-47 Benedictus, David: A-147 Bennett, Charles: D-48 Bennett, Nigel: A-148 Bennett, Rodney: C-103 Bennett, Spencer: C-3 Bensell, E. B.: F-50 Benton, George Bernard: F-51, F-52 Berger, Thomas: A-149, A-1502 Bergerud, John: B-34 Berghout, Johann: D-49 Berkowitz, Stan: C-136 Bernstein, Elmer: D-50 Béroul: A-1021, A-1714, A-2120, A-2840 Berrigan, Ted: A-150 Berrill, Margaret: A-151 Berry, Charles Walter: A-152, A-153, A-154 Berry, James R.: A-155 Berton, Kenneth J.: C-125 Bescoby, Steve: C-119 Best, George Hollings: F-53 Betancourt, John Gregory: A-156 Bethell, John: A-157 Bett, Henry: F-222 Bevan, Clare: A-158 Bidder, George: A-159 Bidgood, Ruth: A-160, A-161, A-162

721

Bilgrey, Marc: A-163, A-960 Billings, Hammatt: A-2605 Binyon, Robert Laurence: A-164, A-165, A-166, A-167, D-160 Birch, Frances Newberry: A-168, A-169, A-170, A-171, A-172, A-173 Birch, Reginald: A-1109, F-54 Birkbeck, Paul: A-827, A-1759 Birtwistle, Harrison: D-51 Bischoff, David: A-174 Bishop, Farnham: A-175 Bixby, Bill: C-128 Bjornhoel, Rusti: C-136 Black, Don: D-50 Blackburn, Jemima: A-2995 Blackburne, Helen: F-56 Blacker, Terence: A-176 Blackett, A. T.: A-2930 Blackford, Richard: D-52 Blackie, J. S.: A-177 Blacklight Braille: D-53, D-54, D-55, D-56, D-57, D-58, D-59, D-60, D-61 Blackmore’s Night: D-62 Blackmore, Richard: A-178, A-179 Blackmore, Richie: D-62 Blackshear-Peter, Melaine: E-4 Blaikie, J. Arthur: A-180 Blair, Barry: B-44 Blair, Pauline Hunter: A-443 Blair, Richard: E-4 Blaisdell, Elinore: A-549, F-57, F-58 Blake, Darrol: C-22 Blake, William: A-181, A-182, A-183, D-21, D-374, D-438, F-59 Blanchard, N. Taylor: A-2527 Bland, Joellen: A-2616 Blaylock, James P.: A-184 Blenerhasset, Thomas: A-1731, A-1732 Blind Guardian: D-63, D-64, D-65, D-66 Bliss, Arthur: D-67 Bloch, Bertram: A-185 Blockley, John: D-68 Blum, Alex A.: B-15 Blumenthal, Jacob: D-69 Blumenthal, Jacques: D-70 Blunt, Wilfred Scawen: A-186, A-187 Blyth, Alan: A-2753 Blyton, Enid Mary: A-188, A-189 Boam, Jeffrey: C-78 Boardman, Kathleen A.: A-103, A-191, A-508, A-509, A-724, A-950, A-1224, A-2102, A-2498, A-2499, A-2500, A-2546, A-2549, A-2636, A-2858 Boardman, Phillip C.: A-190, A-1504 Boccaccio, Giovanni: A-1731

722

General Index

Boddy, Joe: A-1516 Bodecker, N. M.: A-692 Boenig, Robert: A-192, A-193, A-194 Bogen, Nancy: A-195 Bogle, Eric: D-71 Bolland, Brian: B-11 Bolle, Frank: A-931 Bolognese, Don: A-207, A-1096, A-2393 Bolton, Guy: D-275 Bolton, John: B-7, B-10 Bond, Edward: A-196 Bond, Frederick Bligh: A-197, A-198 Bond, Graham: D-72 Bond, Nancy: A-199 Bone, Herbert: F-60, F-61, F-62, F-63, F-64, F-65, F-66, F-67 Boni, Simone: A-2075, E-33 Bonner, Paul: A-2873, F-68 Bontemps, Arna Wendell: A-200 Boon, Rogan: A-1682 Boorman, John: C-53 Borders, William: D-73 Bornschein, Franz: D-74 Borowsky, Marvin: A-201 Borth, Frank: A-3009 Boss, Eleanor: A-202 Bostock, Carol J.: A-203, A-1506 Bottomley, Gordon: A-204 Boughton, Rutland: D-75, D-76, D-77, D-78, D-79, D-80, D-81, D-82, D-83, D-84, D-85, D-86, D-87, D-88 Bourne, Danny: E-75 Bourne, Martin: E-70 Bournemouth Sinfonietta: D-160 Bournemouth Symphony Orchestra: D-217 Bovey, John: A-205 Bowen, Olwen: A-206 Bowen, T. R.: C-127 Bowers, Fanny: F-591 Bowers, Felicity: A-2475, A-2477 Bowers, Gwendolyn: A-207, A-208 Bowers, Scott T.: A-209 Bowie, W. Russell: A-210 Bowley, M.: A-2620 Bowser, Jonathon Earl: F-69, F-70, F-71 Boyer, Joe: C-22 Boyle, Marian: A-212, A-1503 Braby, Dorothea: F-72 Bradburne, Elizabeth Sutton: A-213 Braddon, Mary Elizabeth: A-214 Bradley, Katherine Harris: A-791, A-792 Bradley, Marion Zimmer: A-65, A-215, A-216, A-217, A-218, A-1942, D-469 Bradley, Will: A-219 Bradshaw, Gillian: A-220, A-221, A-222

Bragg, Melvyn: A-223 Braham, A.: D-327 Bramhall, William: A-2307 Brannon, Tom: A-895 Braunbeck, Gary A.: A-224, A-960 Braxton, Frank: C-168 Breakspeare, William A.: F-73 Breen, Philip M.: C-161, C-173 Brennan, J. H.: A-225, A-226, A-227, A-228, A-229, A-230, A-231, A-232 Brereton, Jane: A-233, A-234 Brewer, George McKenzie: A-235 Brewer, H. W.: F-252 Bricknell, John Lea: A-1421 Bridges, Sallie: A-236, A-237, A-238, A-239, A-240, A-241, A-242, A-243, A-244, A-245, A-246, A-247, A-248, A-249 Bridges, William: E-68 Bridgewater, Ernest Leslie: D-89 Bridie, James: A-250, A-251 Brierton, Tom: D-90 Briggs, Phyllis: A-252 Brim, Connie: A-253 Brittain, Bill: A-254 Britten, Benjamin: C-171, D-91 Britter, Michael: A-255 Brock, H. M.: A-211, A-636 Brodeur, Arthur Gilchrist: A-175 Brodsky, Louis Daniel: A-256, A-1506 Brohaugh, William: A-257 Brooke, Leonard Leslie: A-2675, F-74 Brooke, Maxey: A-60, A-65, A-66, A-258, A-259, A-260 Brooke-Hunt, Violet: A-261 Brooke-Rose, Christine: A-262 Brooking, Dorothea: C-130 Brooks, Benjamin Gilbert: A-263 Brooks, Edward: A-264, A-265 Brooks, Felicity: A-266 Brooks, Les: E-63, E-78 Brough, William: A-267, D-92 Broughton, G. H.: F-75 Broun, Heywood: A-268, C-66 Brouwer, Sigmund: A-269, A-270, A-271, A-272, A-273, A-274, A-275, A-276 Brown, Alan: A-277 Brown, Clive: E-41 Brown, Donald: D-102 Brown, Ford Madox: F-76, F-77, F-78 Brown, Marc: A-278, C-10 Brown, Mary: A-279 Brown, Rosemary: A-2827 Brown, Thomas: A-280 Browne, Edith Ophelia: A-281 Browne, John Lewis: D-93

General Index Browne, N. M.: A-282, A-283 Brownjohn, Alan: A-284, A-285 Broy, Evelyn J.: A-286 Bruce, Joyce: A-1825 Brumm, Charles: A-287 Brundage, Burr C.: A-288 Brundage, Frances: A-896, A-2620 Brunner, John: A-66, A-289, A-290 Bryan, Robert: D-165 Bryant, Nigel: C-176 Brychta, Jan: A-735 Bryers, Paul: A-291 Bryher, Winifred: A-292, A-293 Buburuz, Cathy: A-1506 Buchanan, Robert Williams: A-296, A-297, A-298, A-2480 Buchanan, Robert: A-294, A-295 Buck, Katherine Margaret: A-299, A-1604 Buckley, J. E.: F-79 Buckley, Reginald Ramsden: A-300, D-81, D-84, D-86 Budgen, L.: D-94 Budzisz, Annette M.: A-301 Bulfinch, Thomas: A-1976, F-57, F-123, F-348, F-420 Bulla, Clyde Robert: A-302 Bullard, Frederic Field: D-95, D-96, D-97 Bunning, Herbert: A-2617, D-98 Burgess, Anthony: A-303, A-304 Burke, Johnny: D-497 Burleigh, B.: A-550 Burleigh, Sydney Richmond: A-855, A-856, F-80 Burne-Jones, Edward (Sir): A-308, A-354, A-1375, F-81, F-82, F-83, F-84, F-85, F-86, F-87, F-88, F-89, F-90, F-91, F-92, F-93, F-94, F-95, F-96, F-97, F-98, F-99, F-100, F-101, F-102, F-103, F-104, F-105, F-106, F-107, F-108, F-109, F-110, F-111, F-431, F-432, F-433, F-479 Burne-Jones, Georgiana: F-111 Burnett, Virgil: F-112, F-113 Burnham, Jeremy: A-305, C-148 Burning River Brass: D-145 Burns, Al: C-168 Burns, Robert: F-114 Burton, Doreen: A-306 Burton, Levar: C-166 Buscema, John: B-1 Busch, Carl: D-99, D-100 Busiek, Kurt: B-3 Buskin, David: D-101 Busoni, Rafaello: A-2487, A-2488 Butler, Charles Ernest: F-115 Butler, David: C-38

723

Butts, W. Marlin: A-307 Byatt, A. S.: A-308, C-139 Byers, Richard Lee: A-309, A-310, A-898, A-900, A-901 Byles, C. E.: A-311 Byrd, Donald: D-102 Byrd, Forrest M.: A-312 Byrd, Mickey: A-313 Byron, Henry James: A-314 Byron, May: A-2618 C., H. C.: A-315 Cabell, James Branch: A-316, A-317, A-318, A-319, A-320, A-321, A-322, A-323, A-324 Cacek, P. D.: A-325, A-901 Cadman, Charles W.: D-103 Caffey, Michael: C-109 Caidin, Martin: A-1181 Caine, Erin: A-326 Calati, Maria: A-2931 Caldecott, Moyra: A-327, A-328, A-329 Calderon, William Frank: F-116 Caldwell, Barry: C-7 Caliafore, J.: B-12 Callcott, John Wall: D-104 Callner, Marty: C-28 Calloway: D-105 Calloway, Cino-Vincent: D-105 Calloway, Reggie: D-105 Calverley, Roger: D-106 Cameron, Anne: A-330, A-331 Cameron, Julia Margaret: F-117, F-118 Cameron, Katharine: A-1521 Cameron, Lorne: C-57 Camm, Florence: F-119, F-120 Cammell, Charles Richard: A-332 Cammell, Donald Seton: A-996 Campbell, Alice Ormond: A-333 Campbell, Colin: C-70 Campbell, Larry: D-270 Campbell, Marion: A-334 Campbell, Stuart: A-335 Campbell, Sydney George: A-335 Campbell, William Wilfred: A-336, A-337 Campion, Thomas: A-338 Cann, Tim: A-1605, A-1606, A-1607, A-1615, A-2473 Canning, Victor: A-339, A-340, A-341 Canton, Susan: F-121 Canty, Thomas: A-2982, A-2988 Capel, J. M.: D-107 Capes, Bernard: A-2754 Capon, Paul: A-342 Carew, Richard: A-343 Carey, Jack: A-344, A-345

724

General Index

Carlsen, Chris: A-347, A-348, A-349 Carlson, Jim: C-140 Carmichael, Douglas: A-64, A-350, A-351, A-1504 Carnahan, John: E-71 Carpenter, Humphrey: A-352 Carpenter, Rhys: A-353 Carr, Francis: A-2035, A-2036 Carr, Joseph Comyns: A-354, A-355, A-1496, A-1502, A-2918, D-474, D-476 Carradice, Philip: A-64, A-356 Carrick, John Mulcaster: F-122 Carrick, Paul: E-77 Carruth, William Herbert: A-357 Carter, Dave: D-108 Cartier, Edd: A-943, A-1517 Cartier, Marie: A-358, A-1503 Case, Clarence Marsh: A-359 Caselli, Giovanni: F-123 Casey, Samuel Ward: D-109 Castro, Adam-Troy: A-360, A-901 Cattermole, George: F-124 Caudel, Stephen: D-110 Caulfeild, James, Earl of Charlemont: A-361 Cavalier, Bill: B-34 Cave, Mrs Walter: F-125 Cave, Walter: F-125 Cawein, Madison Julius: A-362, A-363, A-364, A-365, A-366, A-367, A-368, A-369, A-370, A-371, A-372, A-373, A-374, A-375, A-376, A-377, A-378, A-379, A-380, A-381, A-382, A-383 Caws, Ian: A-384 “Caxton” (pseud.): D-167 Ceiriog: A-385 Chadwick, Elizabeth: A-386, A-387 Chalon, John: A-388 Chalopin, Jean: C-83 Chamberlin, Ann: A-389 Chambers, Patrick: D-286 Chaminade, Cecile: D-111 Chamsuwan, Nirut: B-27 Chant, Arthur Guy: A-390 Chant, Joy: A-66, A-391 Chapman, Frederick T.: A-1223, A-2205 Chapman, Graham: A-1761, C-129 Chapman, Raymond: A-392, A-393 Chapman, Vera: A-60, A-65, A-66, A-394, A-395, A-396, A-397, A-398, A-399, C-145 Chapman, William Ernest: A-2458 Chapple, G. Barton: A-47 Chaptman, Dennis: A-257 Charitina, Mary, BVM (Sister): A-400 Charko, Kasia: A-1811 Charrette, Robert N.: A-401, A-402, A-403

Chase, Mary Ellen: A-404, A-405 Chaucer, Geoffrey: A-431, A-599, A-788, A-1027, A-1559, A-1679, A-1829, A-2166, A-2315, A-2345, A-2658, A-2906, D-11, D-245, D-292, F-434 Chaundler, Christine: A-406, A-407 Chelsom, Peter: C-126 Cherryh, C. J.: A-408 Chesson, Nora: A-2619, A-2620 Chester, Norley: A-409, A-410 Chester, Robert: A-411 Chesterton, Frances Alice: A-412 Chesterton, Gilbert Keith: A-413, A-414, A-415, A-416, A-417, A-418 Chetwin, Grace: A-419, A-420 Chew, Ruth: A-421 Chiari, Joseph: A-422 Child, Tim: A-423 Childe, Wilfred Rowland: A-424, A-425, A-426, A-427, A-428, A-429, A-430 Chisman, Isabel: A-431 Chopra, Deepak: A-432 Chorley, Henry F.: D-475 Chrétien de Troyes: A-281, A-387, A-956, A-1079, A-1080, A-1081, A-1082, A-1085, A-2003, A-2109, A-2953, C-173, F-341, F-581 Christian, Catherine: A-433 Christie, Agatha: A-434 Christopher, Joe R.: A-435, A-436 Christopher, John: A-437 Chubb, Thomas Caldecott: A-438, A-439, A-1494, A-2480 Church, Alfred John: A-440 Chwast, Seymour: A-441 Ciardi, John: A-442, A-1494, A-1502 Cichetti, Frances: A-1281, A-2785, A-2982 Clare, Helen: A-443 Clare, Tom: A-444 Claremont, Chris: B-7, B-13, B-19, B-20 Clark, Dorothy: D-499 Clark, Douglas W.: A-445, A-1484 Clark, Emma Chichester: A-2103 Clark, Janet Macdonald: A-446 Clark, June: D-112 Clark, Scott: B-52 Clark, Steve: C-50 Clarke, Gillian: A-447, A-448 Clarke, Graham: A-449, F-126 Clay, Beatrice: A-450, A-451 Clay, Lewis: C-3 Cleese, John: A-1761, C-129 Clemens, Samuel L.: A-788, A-932, A-1843, A-2026, A-2297, A-2716, A-2717, A-2718, A-2719, A-2720, B-17, C-13, C-21, C-23, C-40, C-41, C-42

General Index Cleverley, Charles F. M.: F-127 Cloriston, Henry: A-452 Close, Alan Parker: D-113 Closs, Hannah: A-453 Clynes, Michael: A-454 Cochran, Molly: A-455, A-456 Cockburn, Paul: E-66 Cocteau Twins: D-114 Coe, Chris: D-115 Coe, Peter: A-457, D-115 Coerne, Louis Adolphe: D-116 Coffin, Robert P. Tristram: A-458 Coghill, John Joscelyn: D-113 Coghill, Nevill: D-245 Cogswell, Fred: A-459 Cohen, Matt: A-460 Cohen, Michael: A-2179 Cohen, Rob: C-49 Colander, Valerie Nieman: A-461, A-1502, A-1504 Cole, Herbert: A-2133, A-2134, A-2136, A-2162 Coleridge, Samuel Taylor: A-462 Coles, Gladys Mary: A-463 Collier, J. W.: D-117 Collier, John: F-128 Collings, Michael R.: A-464 Collins, Cecil: F-129 Collins, Charles: A-465 Collins, Edward James Mortimer: A-466, A-467, A-468, A-469, A-470 Collins, Joan: A-471 Collins, Michael: B-38, B-48 Collins, Mortimer: D-523 Collins, Susan: E-88 Collins, William John Townsend: A-472 Colman, George: A-2836, D-104 Colman, S., Jr.: F-130 Colum, Padraic: A-473, A-474 Colwell, Elizabeth Parsival: A-475 Compton, Richard: C-15 Coney, Michael Greatrex: A-62, A-476, A-477, A-478 Connick, Charles: F-131, F-132, F-133 Conrad, Richard: D-473 Conselman, William: C-38 Considine, John: C-108 Constantine, David: A-479 Constantine, Pamela: A-480, A-481, A-1506 Converse, Florence: A-482 Conway, John William: A-483 Cook, Paul: A-484 Cooke, Brian Kennedy: F-199 Cooke, Rose Terry: A-485 Cooke, Thomas Simpson: D-118

725

Coombe, Martin: E-44 Coombes, Douglas: D-119 Cooney, Ellen: A-486, A-487, A-1503 Cooper, Edith Emma: A-791, A-792 Cooper, Simon: D-120 Cooper, Susan: A-488, A-489, A-490, A-491, A-492 Cope, Wendy: A-493 Coppel, Alec: C-19 Corbett, David J.: C-142 Corbett, Scott: A-494 Corbluth, Elsa: A-495 Corbould, Edward Henry: F-134, F-135, F-136, F-137, F-138 Corder, Frederick: D-121, D-122, D-123 Corless, Peter: E-69, E-70, E-76 Cornwell, Bernard: A-496, A-497, A-498, A-499, A-500, A-501 Cortese, Edward F.: A-1688 Cosier, Tony: A-502, A-1506 Costello, Louisa Stuart: A-503 Costikyan, Greg: A-504, A-2980 Cosway, Richard: F-139 Cotterill, E.: F-140 Cottle, Joseph: A-505 Cotton, John: A-506 Couperin: C-93 Court, Susan: D-124 Courteau, Suzanne: E-66 Courthope, William John: A-888 Coutts, Francis Burdett Money: A-191, A-507, A-508, A-509, A-510, A-511, A-512, A-660, D-8 Coward, Henry (Sir): D-125 Cowart, Bill: D-16 Cowee, Bill: A-513, A-1506 Cowland, Dorian: C-54 Cowles, Colin: D-126 Cowper, Frank Cadogan: F-141, F-142, F-143 Cox, George: A-64 Cox, Irving E.: A-514 Cox, John Harrington: A-515 Cradle of Filth: D-127 Craig, Alec: A-516 Craig, Tony: C-179 Craig, William Marshall: F-144 Craik, Dinah Maria Mulock: A-65, A-517, A-518, A-519 Cram, Ralph Adams: A-520 Crane, Walter: A-211, A-896, A-1337, A-1468, A-1521, A-1559, A-2677, A-2837, F-145, F-146, F-147, F-148, F-149, F-150, F-151, F-152 Crank, Charlie: E-79

726

General Index

Crawford, Tom: A-521, F-258 Crawley, Christopher: D-128 Creeley, Robert: A-522 Creswick, Paul: A-523 Crichton, Michael: A-524 Crocker, Henry E.: F-153 Crompton, Anne Eliot: A-525, A-526, A-527, A-528, A-2980 Crompton, Richmal: A-529 Crook, John: D-129 Crosby, Bing: D-497 Crosby, David: D-130 Crosby, Stills, and Nash: D-130 Crosby, Stills, Nash, and Young: D-130 Croskey, Julian: A-530 Crosland, Alan: C-94 Crosse, Gordon: D-131 Crossley-Holland, Kevin: A-531, A-533, A-534, A-2645, A-2646 Crow, Barbara: A-1184 Crow, Donna Fletcher: A-535 Crowe, William: A-536 Crowlesmith, John: A-537 Crowley, John: A-538, A-539 Crowley, Susan Hanniford: A-540 Crown, Christopher: D-404 Crowquill, Alfred: A-84 Crowther, Peter: A-541, A-898 Crowthers, Malcolm: D-511 Crozier, Lorna: A-542, A-543 Cruz, Rubiano: C-97 Cullen, Seamus: A-62, A-544 Cumming, William D.: A-1478 Cunningham, Elaine: A-545, A-1484 Curry, Ann: A-546 Curry, Catherine: A-547 Curry, Jane Louise: A-548 Curtis, Dora: A-451 Curtis, Jessie: D-132, D-265, D-443, D-492 Cusins, W. G.: D-132 Cutler, Uriel Waldo: A-549, A-550, F-58, F-223, F-272, F-302, F-630 D., H.: A-551 D’Arcy, Margaretta: A-48 D’Avenant, William: A-552 D’Avigdor, Elim H.: A-2779 D’Emu, L.: A-523 D’Ottavi, Francesca: A-2075 Dacey, Philip: A-553 Dadey, Debbie: A-1257 Dalby, Martin: D-133 Dale, Heather: D-134 Dali, Salvador: D-339 Dalkeith, Lena: A-554

Dalmon, Charles: A-555 Dalton, Anne: A-2104, A-2106 Dalton, Morey: A-556 Dameron, Ned: A-1403 Damski, Mel: C-44 Dana, Robert Patrick: A-557 Dancing Fantasy: D-135 Dandi: A-1400 Dane, Clemence: A-558, C-47 Danforth, Elizabeth: A-2095, A-2345 Darby, Catherine: A-559, A-560 Darby, Harold S.: A-561 Darcy, Thomas F., Jr: D-136 Darke, Alison Claire: A-1004 Darley, George: A-562 Darlington, Frances: F-154 Darlow, Michael: C-119 Darton, F. J. Harvey: A-563, A-564, A-565, A-566 Darvell, H.: F-155 Davenport, Basil: F-156 Davey, Frank: A-567, A-568, A-569 David, Peter: A-570 David, William: C-71 Davidson, Deborah: A-1743, A-1744, A-1745, A-1746, A-1747 Davidson, Gladys: A-571, A-572, A-2755, A-2756 Davidson, Gustav: A-573 Davidson, John: A-574, A-575, A-660, A-1494 Davies, Andrew: A-576, C-103 Davies, Eleri: D-421 Davies, Hugh: D-137 Davies, Olwen Bowen: A-206 Davies, Rachel Ann: D-421 Davies, Robertson: A-577, A-578, A-579 Davis, Alan: B-19, B-20 Davis, Alastair: A-580, A-581, A-582, A-583, A-584, A-585, A-586 Davis, Courtney: A-587, F-158 Davis, Georgene Webber: A-588 Davis, Glover: A-589 Davis, J. D.: D-138 Davis, J. Watson: F-157 Davis, R.: A-590, A-960 Davis, Rob: B-39 Dawson, Coningsby: A-591 Dawson, Mike: E-70 Day, Clarence: A-592 Day, David: F-371 Day, Mildred Leake: A-941 De Angelo, Michael: A-593, A-2480 De Beverley, Thomas: A-594, A-595, A-596, A-597, A-598, A-599, A-600

General Index De Camp, L. Sprague: A-601, A-602, A-603, A-604, A-605, A-606 De Jasienski, J.: D-264 De Koven, H. L. Reginald: D-282 De Lint, Charles: A-65, A-607, A-608, A-609, A-610, A-611, A-612, A-613, A-614, A-615, A-898, A-960 De Marsh, Ted: A-616 De Micco, Kirk: C-145 De Vere, Aubrey: A-617, A-660 DeCelles, Pierre: C-140 DePol, John: F-160 DeTillio, Larry: E-64, E-78 DeZuniga, Tony: B-9 Deacon, H. C.: D-139 Deal, Babs H.: A-618 Dean, Pamela: A-619 Dean, Phyllis A.: A-620, A-621, A-622 Dearle, John Henry: F-433 Decker, Richard: A-268 Dedman, Stephen: A-64, A-623 Deeping, George Warwick: A-624, A-625, A-626, A-627, A-628 Deforrest, Matt: E-78 Deirdre: A-629 Delabertouche, E.: A-630 Delacour, Clovis: F-159 Delaney, A.: A-1365 Delaney, Frank: A-631, A-632, A-633, A-634 Delano, Jaime: B-22 Delfiner, Gary: C-183 Dell, Floyd: A-635 Deloney, Thomas: A-636 Delrio, Martin: A-637 Delving, Michael: A-638 Demetrick, Mary: A-639, A-1503 Dempsey, Kristin: D-286 Dempster, William R.: D-140, D-141, D-142 Dennis, Peter: A-2873, A-2878 Desanges, Louis William: F-161 Devereux, Blanche: A-640 Dexter, Susan: A-641, A-898 Di Stefano, Dan: C-61 DiLorenzo, Anthony: D-145 Dias, Earl J.: A-642 Dibdin, Charles: D-143, D-144, D-406, D-431 Dibdin, Thomas: A-2836 Dickinson, Peter: A-643, A-644, A-645, F-376 Dicksee, Frank: F-162, F-163 Dickson, Elizabeth: D-150, D-151 Dickson, Gordon R.: A-646, A-647, A-648 Dietz, Jim: A-649, A-1506 Dighton, George: F-164

727

Dillon, Arthur: A-650 Dinn, Freda: D-146 Disenhaus, Isaie: C-93 Disney, Walt, Co.: A-651, A-652, A-653, A-654, A-655 Ditmas, Edith Margaret Robertson: A-656 Dix, A.: A-2808 Dix, H.: A-2808 Dixon, Andy: E-33 Dixon, Arthur A.: A-57, A-58, A-1421, A-2619 Dixon, Chuck: B-5 Dixon, Franklin W.: A-657 Dixon, Peter: A-658 Dixon, W. M.: D-454 Dixon-Kennedy, Mike: F-174 Doan, John: D-147, D-148 Dobbs, J. P. B.: D-149 Dobie, Judith: F-165 Dobkin, Alexander: F-166 Dobson, Austin: A-659, A-660 Dockery, Jonathan A.: A-84, A-111, A-507, A-512, A-575, A-617, A-659, A-660, A-725, A-726, A-788, A-933, A-1039, A-1041, A-1740, A-2122, A-2302, A-2805 Dodd, Elisabeth Frances: A-663 Dolores: D-150, D-151 Donaldson, Catherine: F-167 Donner, Clive: C-116 Donovan: D-152 Donovan, Tom: C-106 Doolan, Moira F.: A-665 Doré, Gustave: A-1017, A-1925, F-37, F-168, F-169, F-170, F-171, F-172, F-173, F-259 Dormer, R. E.: D-93 Dorr, James S.: A-666, A-899, A-900 Dorset, H.: A-2497 Doughty, Maryellen: A-667, A-1503 Douglas, Christiana Jane: A-668 Douglas, Sallie Hume: D-355 Down, Chris: A-2478, A-2481, A-2909, A-2911, A-2913, A-2915, F-174 Downing, Stephen: C-109 Doyle, Arthur Conan (Sir): A-669 Doyle, Bev: C-155 Doyle, Debra: A-670, A-671, A-1520, A-2980 Doyle, Patrick: C-145 Doyle, Richard: A-84 Drake, David: A-675, A-2093 Draper, Herbert James: F-175, F-176 Drayton, Michael: A-676, A-677 Dreesen, Lance W.: C-13 Drinkwater, John: A-678, D-260 Dromgoole, Patrick: C-12 Drummond, Hamilton: A-679

728

General Index

Drury, Alan: C-156 Dryden, John: A-680, A-681, A-1496, A-2480, D-17, D-18, D-365, D-377, D-388, D-390, D-391, D-394, D-513 Du Bose, Horace M.: A-682 Du Chau, Frederik: C-145 Du Maurier, Daphne: A-2084 Du Maurier, George: A-683 Duboski, Matthew: D-189 Dufau, Oscar: C-192 Duffy, Maureen: A-684 Duggan, Alfred Leo: A-685 Duke, John: D-153 Dulac: A-746, A-747, A-748, A-749, A-750, A-751, A-752 Duncan, John McKirdy: F-177, F-178, F-179 Dungate, Pauline E.: A-686, A-960 Dunkerley, Desmond: A-687, A-688, A-689, A-690 Dunlop, Frank: D-241 Dunn, Linda: A-2116 Dunn, William: E-79 Duppa-Whyte, Vic: A-1638 Dusenberry, Phil: C-134 Dyce, William: F-180, F-181, F-182, F-183, F-184, F-185, F-186 Eager, Edward McMaken: A-691, A-692 Eagleson, Duncan: A-2693 Eardley-Wilmot, D.: D-37 Earle, Jean: A-693, A-694 Eastlake, Charles: F-187 Eastman, Donna Kelby: D-154 Ebbutt, Maude Isabel: A-64, A-695 Edelman, Randy: D-155 Edelstein, Linda: D-16 Edgar, Marriott: C-88 Edgerton, Teresa: A-696 Edghill, India: A-697, A-1484 Edghill, Rosemary: A-698, A-699, A-2285 Edmiston, Margaret C.: E-42 Edmunds, Christopher Montague: D-156 Edwards, Edwin: D-157, D-158 Edwards, George Henry: F-188 Edwards, John Emlyn: A-700, A-701, A-702, A-703, A-704, D-52, D-119 Edwards, Jonathan: A-2726 Edwards, Olwen: D-421 Edwards, Zachary: A-705, A-706 Edwardson, E.: A-707, A-708, A-709, A-710 Effinger, George Alec: A-711, A-901 Egan, Thomas M.: A-712 Egley, William Maw: F-189 Eiseley, Loren: A-713, A-714, A-715 Elend: D-159

Elgar, Edward: D-160, D-161 Elias, Edith L.: A-2623 Eliot, T. S.: A-716, D-133, F-341 Ellerton, John Lodge: D-162 Elliott, Darryl: A-51 Elliott, Janice: A-720, A-721 Ellis, Mary A. N. W.: A-2906, A-2907 Ellis, Peter Berresford: A-2692, A-2693, A-2694, A-2695 Ellis, Richard: C-71 Ellis, Thomas Evelyn, Eighth Baron Howard de Walden: A-722 Ellison, Harlan: A-723 Elrod, P. N.: A-148 Embleton, R. S.: A-12 Emerson, Joe: E-26 Emerson, Ralph Waldo: A-191, A-660, A-724, A-725, A-726, A-727, A-728, A-1494, A-2480 Emmet, Rosina: A-1670 Emmons, Earl H.: A-729 Empire Brass Quintet: D-396 Emra, Cyril: A-730, A-731 Endersby, Clive: A-732, A-733 Engar, Keith: A-734 Engelhardt, Herb: C-35 English Concert, The: D-388 English, David: A-735 Enright, Walter J.: A-2091 Enston, Elizabeth: A-736, A-737, A-738, A-739, A-740, A-741, A-742, A-743 Erskine, Gary: B-28 Erskine, John: A-744, A-745, A-746, A-747, A-748, A-749, A-750, A-751, A-752, A-753 Erwin, Gail: A-754, D-163 Eshbach, Lloyd Arthur: A-755, A-756, A-757 Esherick, Wharton: A-1021 Esmond: A-2949 Essig, Dave: D-345 Etty, William: F-190, F-191, F-192 Evans, Chris: D-164 Evans, David: D-165, D-166 Evans, Dilys: A-758 Evans, George T.: D-167 Evans, Quinn Taylor: A-759, A-760, A-761, A-762, A-763, A-764 Evans, Sebastian: A-765, A-766 Evans, W. E.: D-488 Evernden, Margery: A-767, A-1097 Eversole, Rose Mansfield: D-168 Ewart, Claire: A-891 Ewing, A.: D-169 Ewing, Harry E.: A-768 Exchange: D-170 Eytinge, Pearl: A-769

General Index Eytinge, Sol, Jr.:

A-1486, A-2605, F-130

Fabeck, Walter: C-160 Fabian, Stephen: A-1523, A-2293 Fabian, Steve: A-917, A-2573, A-2580, A-2582 Fadiman, Clifton: A-770 Fagan, Jas: F-193 Fainlight, Ruth: A-771 Fairfax-Muckley, Louis: F-194 Faith, Randy: E-74, E-75 Falstein, Mark: E-27 Fane, Violet: A-772 Fanthorpe, U. A.: A-773 Faraday, W. Barnard: A-774 Farjeon, Eleanor: A-775 Farnsworth, David: A-776 Farrar, Stewart: C-22 Farrington, Margaret Vere: A-777 Fates Warning: D-171, D-172 Faulkner, Helen Searight: A-778 Faulkner, William: A-779 Favara, A.: D-173 Fawcett, Bill: A-781, A-898 Fawcett, Edgar: A-782, A-783 Fay, Garry: E-66, E-70, E-75 Feather, Jacqueline: C-145 Feely, Terence: C-12, C-87 Felderman, Eric: A-784 Feller, Gene: A-2438 Felts, Shirley: A-1415, A-2518, A-2520, A-2522 Fenn, Lionel: A-785, A-899, A-900 Ferguson, Anna-Marie: F-195, F-196 Fergusson, Adam: A-786 Ferro, Walter: A-713 Fervant, Thierry: D-174 Ffrench, Yvonne: A-787 Field, Eugene: A-660, A-788, A-789, A-790, A-1494 Field, Michael: A-791, A-792 Fielding, Henry: A-793, A-794, A-795, A-796, A-1502, D-19, D-336 Fields, Herbert: A-2718, D-416 Fielitz, Alexander von: D-175 Fiennes, Celia: A-415 Fiero, John: A-312 Filios, William G.: E-74, E-75 Finch, Paul: A-62, A-797 Finkel, George: A-798 Fintushel, Eliot: A-62, A-799 Finzi, Gerald: D-176 Fisher, Catherine: A-800 Fisher, Denny: C-71 Fisher, Marvin: D-178

729

Fisher, Robert: A-801 Fishman, Marc: A-94, A-445, A-545, A-697, A-805, A-859, A-870, A-963, A-1129, A-1279, A-1282, A-1484, A-1560, A-1742, A-1934, A-2294, A-2635, A-2654, A-2825 Fisk, Alan: A-802 Fitzgerald, Brian: B-27 Fitzgerald, F. Scott: A-803 Fitzgerald, Peter: C-158 Fleet, John Van: B-5 Fleischer, Leonore: A-804 Fletcher, Percy: D-179 Flieger, Verlyn: A-805, A-1484 Flint, William Russell (Sir): F-197, F-198, F-199 Flood, Julie B.: A-806, A-1506 Florian: F-200 Floyd, Gareth: A-1463 Fly, Leslie: D-180 Flynn, Benedict: A-807 Flynn, Emmett J.: C-39 Foerster, Adolph Martin: D-181 Foote, Arthur: D-182 Footman, Jennifer: A-808, A-1503 Forbes, Elizabeth Stanhope: A-809, F-201 Forbush, William Byron: D-183 Ford, Henry J.: A-1394, A-1397 Ford, Hilary: A-810 Ford, John M.: A-811, A-812, A-813, A-921 Ford, Williston Merrick: A-814, A-1700 Foreman, Michael: A-1774 Forestier, A.: F-202 Forster, Joseph William: F-203 Fortescue-Brickdale, Eleanor: A-406, F-204, F-205, F-206, F-207, F-208, F-209, F-210, F-211, F-212, F-213, F-214 Fortnum, Peggy: A-775 Forward, R. L.: A-815 Foster, David: C-145 Foster, Harold: B-46 Foster, Jess: A-816, A-817, A-818, A-819, A-820 Foster, Warren: C-26, C-76 Foster, Will: A-821, A-822 Fothergill, Helen: D-184 Fowler Wright, S.: A-823, A-824, A-825, A-826 Fox: E-22 Fox, Marilyn: A-827 Fraley, Michael: B-2 Frame, Paul: A-1953, A-2841 Frampton, David: A-1097 Frampton, Edward Reginald: F-215, F-216, F-217

730

General Index

Frampton, George James: F-218, F-219, F-220 Franke, Christopher: D-185 Frankland, Edward Percy: A-828, A-829, A-1604 Franklin, John: F-221 Frankowski, Leo: A-830 Fraser, Eric: A-1008, A-1009, A-1011, A-1012, F-222 Fraser, Francis Arthur: A-852 Fraser, Ian: A-832 Fraser, Rebecca: A-831 Fredericks, Alfred: A-777, A-1402, D-132, D-265, D-443, D-492, F-223 Freedman, Melvin: D-292 Freeman, J. H. G.: A-833 Freeman, Keller Cushing: A-834, A-1503 Freeman, Nancy Louise: A-835 Freleng, Fritz: C-26 Freleng, I.: C-25 French, Allen: A-64, A-836 French, Annie: F-224 Frere, John Hookham: A-837, A-838 Frey, Oliver: A-2873 Fricker, Peter Racine: C-131, C-147, D-186, D-187 Friesner, Esther M.: A-65, A-672, A-839, A-840, A-841, A-842, A-843, A-844, A-845, A-846, A-847, A-848, A-849, A-850, A-851, A-898, A-960, A-2175 Fripp, Charles Edwin: F-225 Fripp, Innes: A-572, A-1331 Fripp, Robert: D-188 Fripp, Robert, and the League of Crafty Guitarists: D-188 Frith, Henry: A-852, F-474, F-551, F-656 Frith, W. S.: F-226 Fromings, Kevin: D-189 Froome, Charles D.: A-853 Frost, Bruno: A-1730 Frost, Gregory: A-854, A-921 Frost, William Henry: A-855, A-856 Froud, Brian: F-227 Fry, Christopher: A-857 Fry, Colin R.: A-65, A-858 Fry, Susan: A-859, A-1484 Fullarton, Ralph Macleod: A-860 Fuller, Sue: F-228 Fulton, John: A-2188 Furst, Clyde B.: A-861 Fuseli, Henry: F-229, F-230 G., A. G.: A-862 G., F. W.: A-863 G., K.: A-409, A-410

G., W. J.: D-166 Gaiman, Neil: A-864, A-899, A-900, B-10 Gál, László: A-865 Galahad: D-190, D-191 Galante, Luigi: A-2075 Galbreth, Jessica: F-231, F-232, F-233, F-234 Galdone, Paul: A-302 Gale, William: F-235, F-236 Gallant, Lennie: D-192 Gallatly, James M.: D-193 Gallegos, Randy: A-828 Galliard, John Ernest: A-2639, D-194 Gallitsin, Yuri: A-2817 Galloway, C. F. J.: A-866 Galsworthy, Gay: F-237, F-487 Galsworthy, John G.: A-1994, F-238 Gambaro, Maria Antonia: A-2753 Gambogi, Elvira: D-195 Gandy, Joseph Michael: F-239 Gannaway, Robert: C-179 García y Robertson, Rodrigo: A-867 Gardiner, Alfonzo: A-869 Gardiner, Henry Balfour: D-196 Gardner, Alan: D-131 Gardner, C. A.: A-870, A-1484 Gardner, Kay: D-197 Gareth, David: A-871, A-872, A-873, A-1503, A-1504, A-1506 Garland, Mark A.: A-61, A-2284 Garlick, Raymond: A-874 Garner, Alan: A-875, A-876 Garnett, Tay: C-19, C-41 Garratt, Peter T.: A-61, A-62, A-877, A-878, A-879, A-1506 Garrett, Edmund H.: A-1486, A-2625 Garrick, David: D-17, D-143 Garton, James Archibald: A-880 Gascoigne, George: A-881 Gascoigne, Phil: B-29 Gash, Jonathan: A-882 Gaskin, Arthur Joseph: F-241, F-242 Gaul, Alfred R.: D-198 Geddes, Wilhemina: F-243 Gee, Richard: D-448 Geiszel, Margaret Malpass: A-1542 Gell, Kathleen: A-189 Gelsey, James: A-2298 Gemmell, David A.: A-883, A-884, A-885, A-886 Genillat: A-887 Geoffrey Junior: A-888 Geoffrey of Monmouth: A-64, A-138, A-179, A-391, A-416, A-680, A-684, A-887, A-888, A-922, A-944, A-958, A-1024, A-1025, A-1076, A-1355, A-1468, A-1632, A-1748,

General Index A-1849, A-1884, A-2039, A-2109, A-2176, A-2465, A-2481, A-2522, A-2637, A-2696, A-2739, A-2814, A-2908, A-2915, A-2937, A-2962, B-2, D-388, D-518, E-60 Gerald of Wales: F-165 Gerard, Francis: A-889 Gere, Charles: F-244 Gere, Margaret: F-244 Gerhardie, William: A-890 Gibbings, Robert: F-245 Gibbs, Cecil Armstrong: D-199, D-200 Gibbs, John: C-61 Gibbs, R.: F-246 Giblin, James Cross: A-891 Gibson, Arthur John: D-201 Gibson, Wilfrid Wilson: A-892, A-893, A-894 Gignilliat, Thomas Heyward: A-887 Gikow, Louise: A-895 Gilbert, Henry: A-896 Gilbert, John (Sir): F-247, F-248 Gilbert, W. S.: A-45 Gilbert, Yvonne: F-478 Gilchrist, William Wallace: D-202 Gildas: A-887, A-2033, A-2680 Gill, Ernest: A-91 Gillan, Geoff: E-69, E-74 Gillespy, Charlotte Ainsley: A-897 Gillette, James R.: D-203 Gilliam, Terry: A-1761, C-58, C-129 Giordano, Dick: B-6 Girard, Bessie: D-276 Girard, Vicky: C-93 Gitbox Rebellion: D-204 Glanzman, Louis: A-2901 Glasscock, Frederick T.: A-903, A-904, A-905, A-906, A-907, A-908, A-909, A-910, A-911, F-249 Glennie, John S. Stuart: A-912 Gloag, Isobel Lilian: F-250 Gloag, John: A-913 Glover, Charles William: D-205 Glyn, Elinor: A-914 Goble, Warwick: A-519 Godwin, Frank: A-1688 Godwin, Parke: A-61, A-62, A-915, A-916, A-917, A-918, A-919, A-920, A-921 Goetze, Sigismund Christian Herbert: F-251 Gohorry, John: A-922 Goldblatt, Maurice: D-206 Goldie, Charles: F-252 Golding, W. G.: A-924, A-925 Goldklang, Louis L.: B-14 Goldman, James: A-926 Goldowsky, Barbara: A-927, A-928, A-1504

731

Goldsmith, Jerry: D-207 Goldstein, Lisa: A-929 Gomez, Hector: B-32 Goodall, Medwyn: D-209, D-210, D-211, D-212, D-213, D-214, D-215, D-216 Goodchild, John Arthur: A-930 Goodman, Elizabeth: A-299 Goodman, Julius: A-931 Goodrich, Norma Lorre: F-38, F-39, F-40 Goodwin, Albert: F-253 Goodwin, Ron: D-217, D-218 Goodyer, Melissa Gaye: A-2096 Gordan, Dan: C-75 Gordon, Adam Lindsay: A-660, A-933 Gordon, David: D-9 Gordon, Donna: A-2984 Gordon, George: C-192 Gordon, Lawrence: D-219 Gordon, Robert Allen: A-2418 Gordy, Kip: C-35 Gore, William Henry: F-254 Gorsline, Douglas: A-2218 Gosse, Edmund: A-934, A-935 Gotera, Vince: A-936 Gottfried von Strassburg: A-1028, A-1538, A-1617, A-1632 Gottlieb, Michael: C-80 Gould, Gerald: A-937, A-938 Gould, Robert: A-4, A-5 Gouletas, Basil: A-939 Gow, Mary L.: F-255 Graff, Irvine: A-940 Graff, Robert: B-38, B-48 Grainger, Percy Aldridge: D-220 Grammer, Tracy: D-108 Grange, Amy Mary: A-942 Grant, Allan: A-943 Grant, Gordon: A-2560 Grant, John: A-882 Grant, Karen J.: A-944 Grant, Steven: B-4 Grave Digger: D-221 Graver, Fred: A-945 Graves, Alfred Percival: A-946 Graves, Robert: A-947 Gray, Frances Angevine: A-948, A-949 Gray, John: A-191, A-950 Gray, Louisa: D-222 Gray, Maxwell: A-951 Gray, Miranda: A-1605, A-1606, A-1607, A-1614, A-1615, A-2473, F-256, F-257 Gray, Nicholas Stuart: A-952 Gray, Phoebe: A-953 Grebenshkov, Boris: D-223 Greely, J. N.: A-954

732

General Index

Green, Frank W.: D-224 Green, Harry: A-1329 Green, John: A-521, F-258 Green, Norman: A-971 Green, Paul: A-955 Green, Robert Montraville: A-956 Green, Roger Lancelyn: A-64, A-66, A-957, A-958, A-959, A-2265 Greene, Frances Nimmo: A-2625 Greenslet, Ferris: A-962 Greenwood, Ed: A-963, A-1484 Greenwood, T. L.: D-117 Gregg, Arthur Eugene: A-964 Greig, H. S.: A-537 Grell, Mike: A-2063 Gretzer, John: A-1081 Greville, Fulke, Lord Brooke: A-965 Grey, John: A-966, A-967, A-1503, A-1504 Griffin, John: A-968 Griffiths, Anthony: D-421 Griffiths, Paul: A-969 Griguion, C.: F-436 Grimshaw, John Atkinson: F-259, F-260, F-261 Groom, Arthur: A-970 Gross, Gwen: A-971 Gross, Harvey Seymour: A-972 Gross, Joel: A-973 Grossberg, Scott J.: D-225 Grove, Donna: A-974, A-975 Groves, Charles: A-976 Gruenwald, John: A-922 Gruenwald, Mark: B-4 Guest, Harry: A-977, A-978 Guest, J.: D-226 Guest, Val: C-88 Guiterman, Arthur: A-980, A-981, A-982, A-983, A-984, A-985, A-986 Guler, Kathleen Cunningham: A-987 Gullin, Lars: D-227 Gunn, Thomson: A-988, A-1494 Gunson, Jonathan: E-44 Gurney, John Steven: A-1257 Gusman, Lynette: A-329 Guthrie, Kenneth Sylvan: A-989 Gutierrez, Alan: A-2174 Gwdihw: A-990 Gwen Mars: D-228 Gwyndaf, Robin: A-991 Gygax, Gary: A-898, A-992 H., A.: A-993 Haber, Karen: A-994, A-2175 Hacker, Arthur: F-262 Hacker, Marilyn: A-995

Hadden, James Cuthbert: A-2757 Hadfield, Alice Mary: A-996 Hadley, Henry: D-229 Hagedorn, Hermann, Jr.: A-997, D-244 Haigh, J. L.: A-998 Haine, K.: D-238 Haines, Alan: A-999 Haldeman, Joe: A-898, A-1000 Haldeman, Linda: A-1001 Hale, Glyn: D-230 Haley, Bill, and His Comets: D-231 Hall, Aylmer: A-1002 Hall, Garrie: E-21 Hall, Gertrude: A-2758 Hall, John Leslie: A-1003, A-1494 Hall, Willis: A-1004 Halloway, James: E-68 Hallyar, J.: F-263 Hamilton, Ernest William: A-1005 Hamilton, Iain Ellis: D-232 Hamlett, Christina: A-1006 Hamley, Edward Bruce (Sir): A-1007 Hammon, J. H.: A-2949 Hammond, G. R.: A-2615 Hammond, Gertrude Demain: A-1798, A-2431, A-2925 Hammond, Susan: D-233 Hampden, John: A-1008, A-1009, A-1010, A-1011, A-1012 Hampson, Thomas: D-509 Hampton, Bo: B-53 Hampton, Orville H.: C-79 Hampton, Scott: B-10 Hanemann, H. W.: A-1013 Hanna, William: C-6, C-76 Hanratty, Peter: A-1014, A-1015 Hanselmann, David: D-164 Hansen, Brooks: A-1016 Hanson, Charles Henry: A-1017 Haraszthy, Jan: A-1018 Harden, Laurie: A-2005 Harding, S.: F-264 Hardy, Thomas: A-1019, A-1020, A-1494, A-2836, D-20, D-26, D-85, D-153, D-176, D-200, D-235, D-287, D-321, D-369, D-458, D-506 Hare, Amory: A-1021 Harris, Edward: D-234 Harris, Harry: C-178 Harris, Mark Wayne: B-41 Harris, Nick: A-1748 Harrison, Florence: A-1503, F-265, F-266 Harrison, George Bagshawe: A-1022 Harrison, Mark: A-2468 Harrison, Sidney: D-235

General Index Harsent, David: D-51 Hart, Hilda: A-144, A-145 Hart, Jack: A-1023 Hart, Lorenz: A-2718, D-416 Hart, Michael: C-148 Hartas, Leo: A-1024 Hartley, C. Gasquoine: A-1025 Hartman, Lew: B-34 Harvey, Anne: A-2609 Hassall, Joan: F-267 Hassall, John: A-152 Hastings, Selina: A-1026, A-1027 Hathaway, Henry: C-141 Hathaway, Margaret: A-460 Hatherell, William: A-549, F-268, F-269, F-270, F-271, F-272, F-273, F-274, F-275, F-276, F-277, F-278 Hatherley, Steve: E-21 Haughton, David: A-24, A-30, A-31, A-32, A-33 Haughton, Rosemary: A-1028 Havill, Juanita: A-1029, A-1504 Hawke, Simon: A-1030, A-1031, A-1032, A-1033, A-1034, A-1035, A-1036, A-1037, A-1038, B-57 Hawker, Robert Stephen: A-660, A-1039, A-1040, A-1041, A-1042, A-1043, A-1044, A-1494 Hawkins, John: D-245 Hawkins, Matt: B-32 Hawkins, Sheila: A-1869 Hawks, Kate: A-1045 Hawthorne, Nathaniel: A-1046, A-1502 Hay, Stuart: A-1556, A-1558 Hay, Walter C.: D-236 Hayden, Dorothea H.: A-1047 Haydon, Arthur Lincoln: A-1048 Hayers, Sidney: C-12, C-87 Hayes, James Juvenal: A-1049 Hayles, Brian: A-1050, C-130 Hayne, Paul Hamilton: A-1051 Hays, Edward M.: A-1052 Hayward, Justin: D-358 Head, James: C-55 Headlee, Kim: A-1053 Headon, Deirdre: A-1054, A-1055 Healy, Daty: A-1634 Heap, Charles S.: D-237 Heard, John, Jr.: A-1056 Hearne, Isabel: A-1057 Hearne, Jack: B-14 Heart: D-238 Heath-Stubbs, John: A-1058, A-1059, A-1060, A-1061, A-1062 Heber, Reginald: A-1063, A-1064

733

Hedrick, Larry C.: A-1065 Heine, Carl: D-239 Helfers, John: A-960, A-1066 Hellecasters: D-240 Heller, Julek: A-1054, A-1055, A-1966 Helwig, Marianne: D-91 Hemans, Mrs Felicia Browne: A-1067 Henderson, Joe: D-102 Henkes, Kevin: A-1068 Henning, Doug: D-241 Henry, Leigh Vaughan: D-489 Henry, Richard: D-129 Henry, Thomas: A-529 Henterly, Jamichael: A-2263, A-2264, A-2265 Herbert, Kathleen: A-1069, A-1070, A-1071 Herbert, Susan: F-279 Herbert, Victor: D-242 Herford, Oliver: A-1072, A-1073 Herman, Carl: F-480 Herring, E. Harvey: D-526 Herter, Albert: F-280 Hervey, Mrs T. K.: A-1502 Hescott, Bob: C-190 Hescox, Richard: A-1391 Hess, Tena: D-16 Hewitt, Andrew: D-11, D-13 Hewitt, John Harold: A-1074 Heyer, Carol: A-845, A-1075 Heywood, Thomas: A-636, A-932, A-1076, A-1077, A-1234, A-2480 Hezlep, William: A-1078 Hickox, Anthony: C-143 Hickson, Wilma: A-2906, A-2907 Hieatt, Constance B.: A-1079, A-1080, A-1081, A-1082, A-1083, A-1084, A-1085 Higgins, John: A-225, A-226, A-227, A-228, A-230, A-232 Higginson, Thomas Wentworth: F-280 Hildebrandt, Greg: A-1086 Hildebrandt, Rita: A-1087 Hildebrandt, Tim: A-476, A-1087 Hildreth, Richard E.: D-243 Hill, Aaron: A-1088 Hill, Geoffrey: A-1089 Hill, Graham: A-1090 Hill, Gregory: A-754, A-2848 Hill, Mabel Wood: D-244 Hill, Martyn: D-176 Hill, Matthew: E-31 Hill, Maureen: A-1091 Hill, Michael: D-511 Hill, Mrs David Octavius: F-281 Hill, Nick: D-421 Hill, Richard: D-245 Hilton, William: A-1092

734

General Index

Hinchman, Walter S.: A-1093 Hind, Chris: E-73 Hinton, Walter H.: F-282 Hinze, Chris: D-246 Hitchcock, Harold: F-283, F-284, F-285, F-286, F-287, F-288, F-289, F-290, F-291, F-292, F-293, F-294, F-295, F-296, F-297, F-298 Hodges, C. Walter: A-1022, A-1521, A-2519 Hodges, Margaret: A-1095, A-1096, A-1097 Hoffman, Charles H.: D-247 Hoffman, Mary: A-1098 Hoffman, Richard: D-248 Hogarth, William: A-794 Hogg, Thomas: A-1099 Hogrogian, Nonny: A-2280 Hokanson, Lars: A-1281, A-2785, A-2982 Holbrook, Josef: D-249 Holder, Nancy: A-898, A-900, A-901, A-1100, A-1101 Holdstock, Robert: A-65, A-347, A-348, A-349, A-1102, A-1103, A-1104, A-1105, A-1106, A-1107 Hole, Richard: A-1108 Holland, Grace Calvert: A-2626 Holland, Rupert Sargent: A-1109 Hollick, Helen: A-1110, A-1111, A-1112 Holliday, Liz: A-62, A-1113 Hollins, Dorothea: A-1114 Hollis, J. L.: A-1881, A-1882 Holloway, Shane A.: A-2191 Holmes, Helen: A-1173, A-1174, A-1175, A-1176 Holmes, John Eric: A-1115 Holmes, Lillian: A-1116 Holt, Gavin: A-1117 Holt, Hazel: A-1118 Holt, Tom: A-1119 Holtby, Mary: A-1120, A-1121 Homer, Sidney: D-250 Homer, Winslow: D-132, D-265, D-443, D-492 Honeycombe, Gordon: C-100 Honigsberg, David M.: A-1122 Hood, George: A-2633 Hook, Richard: A-1603, A-1608, A-1611, A-2470, A-2471, A-2474 Hooke, Richard: F-299 Hooker, Brian: D-373 Hope, Robert: A-707, A-708, A-709, A-710 Hopper, Nora: A-2619, A-2620 Hoppin, Stuart Bliss: D-251 Horne, Daniel: A-2266 Horne, Richard Henry (Hengist): A-1123 Horowitz, Anthony: A-1124

Horrocks, Amy: D-252 Horton, Douglas: A-1125 Horton, Joanna: D-11, D-12, D-13 Horvath, Betty: A-1126 Horvitz, Shelah: F-300 Hoselton, David: C-57 Hosken, James Dryden: A-1127 Household, Geoffrey: A-1128 Housman, Clemence: A-1129, A-1604 Houston, James: F-301 Hovey, Richard: A-1130, A-1131, A-1132, A-1133, A-1134, A-1135, A-1136, A-1137, A-1494, A-1496, D-95, D-96, D-97 Howard and Hastings: F-302 Howard, Alan: A-1993 Howard, Cal: C-121 Howard, Larry: A-1138 Howard, Newman: A-1139 Howard, Robert E.: A-1140, A-1141, A-1142 Howard, Sidney: A-1143 Howard, Vernon: A-1144 Howd, Eric Machan: A-1145, A-1506 Howe, John: A-960, A-1146, A-1632 Howell, Bill: A-1147 Howell, Mavis: A-1148 Howells, Mildred: A-1149 Howlett, Moya: A-1150 Hubbard, Lafayette Ronald: A-1151 Huckel, Oliver: A-2759, A-2760 Huemer, Richard: A-1152 Hughes, Arthur: A-1518, A-2744, F-303, F-304, F-305, F-306, F-307, F-308, F-309, F-310, F-311, F-312, F-313, F-314 Hughes, Cecil Eldred: A-450 Hughes, Edward Robert: F-315 Hughes, Ian: A-1153 Hughes, John Ceiriog: A-385 Hughes, Rhiannon: A-1154 Hughes, Thomas: A-1155 Hughes, Vic: C-22 Hullah, John: D-253 Hume, Cyril: A-1156, A-1157, A-1158, A-1159 Humphreys, G. H. Ward: D-254 Humphries, Rolfe: A-1160, A-1161, A-1162, A-1163 Humphries, Tudor: A-1315 Hunkin, Gladys: A-1164 Hunt, Edward Eyre: A-1165 Hunt, Enid Leigh: A-1166 Hunt, Jonathan: A-1167 Hunt, Paul: C-110 Hunt, Peter: A-1168 Hunt, William Holman: F-316, F-317, F-318, F-319, F-320

General Index Hunter, Alec: F-321 Hunter, Evan: A-1169 Hunter, Jim: A-1170 Hunter, Susan: A-151, A-1416, A-2491 Hunter-Elsenbach, Annegret: F-322 Hunters and Collectors: D-255 Hurt, Mississippi John: D-256 Hutcherson, Bobby: D-102 Hutcheson, James: A-2908, A-2909, A-2910, A-2911, A-2913, A-2914, A-2915, A-2916 Hutchinson, Mrs James Pemberton: A-1021 Hutchinson, William M.: D-257 Hutchison, Clint: C-13 Huxley, Mildred: A-1171 Hwang, David Henry: C-139 Hyde, Anthony: A-999 Hyde, J. H.: F-130 Hylton, John Dunbar: A-1172 Hyman, Miles: A-1016 Hyman, Trina Schart: A-1842, A-2420 Idle, Eric: A-1761, C-129 Ifans, Rhiannon: A-1173, A-1174, A-1175, A-1176 Ilene: A-1889 Ilio, Dominador I.: A-1177 Imig, W.: D-258 Indian Summer: D-259 Ingpen, Robert: A-2272 Ireland, John: D-260 Ireland, William Henry: A-1183, D-297, D-298 Isaac, Margaret: A-1184, A-1185 Isherwood, Shirley: A-1186 Jackson, F. Hamilton: F-323 Jackson, Michael: A-2015 Jackson, Myrna: A-1189, A-1505 Jackson, Patrick: C-12, C-87 Jacobs, Helen: A-1563 Jacobs, Joseph: A-1190, A-1191, A-1192, A-2480 Jacobs, Maria: A-1193, A-1194, A-1195, A-1196, A-1197, A-1198, A-1199, A-1200, A-1201, A-1202, A-1203, A-1204, A-1205, A-1206, A-1207, A-1208, A-1209, A-1503 Jacobson, Maurice: D-262 Jacomb-Hood, George Percy: F-324, F-325, F-326 Jacques, Robin: A-15, A-1121, A-1854, A-1859, A-2164 Jag Panzer: D-263 Jagendorf, Moritz Adolf: A-2627 Jakes, John: A-1272 James, Cary: A-1210

735

James, Edwin Stanley: A-1211, A-1212, A-1213, A-1214 James, Gilbert: A-2703 James, John: A-1215, A-1216, A-1217, A-2074, A-2827 Jamieson, Robert: A-1218 Janes, Norman: A-2887 Janjic, Zoran: C-42 Jaquays, Paul: A-289 Jaxone, H. L. D.: D-257 Jay, William: A-1219 Jefferson, L. V.: C-69 Jellico, J.: A-1440 Jenkins, John: A-1220 Jenkins, Paul: B-23 Jenner, Katharine: A-1221 Jenning, Peter: C-29 Jennings, Nicola: A-493, A-2426 Jennings, Talbot: C-92 Jeter, K. W.: A-1222 Jewett, Eleanore Myers: A-1223 Jewett, Sophie: A-191, A-1224 Joachim, Joseph: D-265 Jocelyn, Beredene: A-1225 John, William Goscomb (Sir): F-327 Johnson, Barbara Ferry: A-1226 Johnson, Charles Edward: F-328 Johnson, Charles Howard: F-329 Johnson, Joyce: A-1228 Johnson, Marie: F-330 Johnson, Melissa: A-1229, A-1230, A-1231, A-1505 Johnson, Paul: B-10 Johnson, Richard: A-1232, A-1233, A-1234 Johnson, Rob: A-1539 Johnson, W. R.: A-1235 Johnson, William Henry: A-1236 Johnston, Annie Fellows: A-1237, A-1238 Johnston, Damian: A-1638 Johnston, David McCall: A-1754 Johnston, Johanna: A-1239 Johnston, Norma: A-2252 Johnstone, Anne Grahame: A-959, A-2674 Johnstone, Janet Grahame: A-959, A-2674 Johnstone, Paul: A-1240 Jones, Beryl M.: A-1241, C-175 Jones, Chuck: C-23, C-24 Jones, Courtway: A-1242, A-1243, A-1244 Jones, David: A-1245, A-1246, A-1247, A-1248, A-1249, A-1250, A-1251, A-1259, D-341, F-331, F-332, F-333, F-334, F-335, F-336, F-337, F-338, F-339, F-340, F-341, F-342, F-343, F-344, F-345 Jones, Diana Wynne: A-1252 Jones, Elaine: A-2824

736

General Index

Jones, Frank H.: A-1253 Jones, Glyn: A-1254 Jones, Gwyn: A-1255 Jones, Heather Rose: A-61, A-1256 Jones, Jac: A-1847 Jones, Laura: C-139 Jones, Marcia Thornton: A-1257 Jones, Margaret D.: A-991, A-2645, A-2646 Jones, Mary J.: A-1258 Jones, R. A.: B-39, B-40 Jones, T. Harri: A-1259, A-1260 Jones, Terry: A-1761, C-129 Jones, Thomas Samuel, Jr.: A-1261, A-1262, A-1263, A-1264, A-1265, A-1266, A-1267 Jones, Trevor: D-266 Jones, Wilfred: A-474 Jonson, Ben: A-1268, A-1502, A-2480 Jordan, Marc: D-170 Jordan, Neil: C-52 Jourdain, M.: A-1269 Joy, J.: F-346 Joyce, James: A-1270, D-9 Juhasz, Victor: A-1441, A-1442 Juran, Nathan: C-79, C-157 K. J.: D-267, D-268 Kallis, Stephen A.: A-1271 Kamelot: D-269 Kamp, Laurence: A-2583 Kane, Gil: A-1272 Kaplansky, Lucy: D-270 Kappes, Alfred: A-1401, F-347, F-348 Karr, Phyllis Ann: A-60, A-61, A-62, A-64, A-65, A-66, A-921, A-1273, A-1274, A-1275, A-1276, A-1277, A-1278, A-1279, A-1280, A-1281, A-1282, A-1283, A-1284, A-1484 Katon, Matt: D-11, D-13 Katz, Welwyn Wilton: A-1285 Kaufman, Philip: C-78 Kay, Guy Gavriel: A-1286, A-1287, A-1288 Kay, Ulysses: D-271 Kayak: D-272 Kaye, Heidi: E-74 Kaye-Smith, S.: D-31 Keats, John: A-1289, F-313 Keaveny, James R.: A-1389, A-1390, A-1391, A-1392 Keenan, Anne: A-1290 Keeping, Charles: A-1982, C-5, F-349 Keighley, T.: D-273 Keith, Chester: A-1291 Keith, Michael: D-481 Keller, Albert: D-274 Kelly, Michael: A-1292, A-1293, A-1294

Kelly, Robert: A-1295 Kelly, Tim: A-1296, D-366 Kemm, R.: F-591 Kemp, Debra A.: A-1298, A-1299 Kendon, Frank: A-1301 Kennealy-Morrison, Patricia: A-1302, A-1303, A-1304, A-1305, A-1306, A-1307, A-1308, A-1309 Kennedy, Charles Rann: A-1310 Kennedy, Richard: A-206 Kennington, Alan: A-62, A-1311 Kent, Charles: C-102 Kent, William: F-350, F-351, F-352 Kenyon, Bernice Lesbia: A-1312 Kenyon, Charles: C-70 Kern, Jerome: D-275 Kern, Ronni: C-72 Kernaghan, Eileen: A-1313, A-1506 Kerr, James A.: D-276 Kerr, Katherine: E-68 Kerr, Sophie: A-1314 Kerrigan, Michael: C-48 Kerven, Rosalind: A-1315 Kesey, Ken: A-1316 Keyes, Sidney: A-1317, A-1318 Keyser, Ernest W.: F-353 Khmara, Edward: C-111, C-114 Kidd, Flora: A-1319, A-1320 Kidd, Walter Evans: A-1321 Kiddell-Monroe, Joan: A-2777 Kidson, F.: D-277 Kiernan, Sean: A-1322 Kilburne, G. G.: F-591 Kilmer, Aline: A-1323 Kilworth, Garry: A-1324 Kimball, Hannah Parker: A-1325 Kinberg, Jud: C-157 Kindzierski, Lovern: B-22 King Cole Trio: D-178 King, Baragwanath: A-1342 King, Jessie Marion: F-354, F-355, F-356, F-357, F-358, F-359, F-360, F-361, F-362, F-363, F-364, F-365 King, John Robert: A-1343 King, Ron: A-2070 King, Stephen: E-62, E-66, E-67, E-72 King, Vivian Smallwood: A-1344 Kinross, Martha: A-1345, A-1496 Kipling, Rudyard: A-1346, D-46 Kirby, F. J.: A-1347 Kirby, Lynne: A-1348 Kirby, Patrick: A-1348 Kirk, Frank: D-125 Kirk, Maria Louise: A-2633

General Index Kirk, Tim: A-601, A-602, A-603, A-1140, A-1141, A-1142 Kissane, John: A-1349 Klehm, Keith: D-286 Klein, Todd: B-22 Kleinsinger, George: D-279 Knight, Katherine: A-1351 Knight, Morris: D-280 Knowles, Chris: D-421 Knowles, Horace J.: A-390 Knowles, James T. (Sir): A-64, A-1354, A-1355, A-2265, C-126, F-581 Koch, Norman L.: A-1356 Kochiss, Joseph: D-281 Koenig, Nicholas: B-41 Koerner, W. H. D.: A-1555 Kohn, John: C-157 Kolliker: A-1370 Koopman, Harry L.: A-1357, A-1358 Koralek, Jenny: A-1359 Korn, Eric: A-1360 Kottmeyer, William: A-1361 Kovalyov, Igor: C-1 Kowalchuk, William R.: C-32 Kraft, David Anthony: A-1362 Kraft, Norbert: D-434 Kramer, Aaron: A-1363 Krensky, Stephen: A-1364, A-1365 Kress, Earl: C-180 Kristianne, Krysia: D-283 Kronemyer, David: D-283 Kudlinski, Kathleen: A-1366, A-2980 Kuntz, Robert J.: E-14 Kürsch, Hansi: D-63, D-64, D-65, D-66 Kurti, Richard: C-155 Kushner, Ellen: A-1368, A-1369 Kuttner, Henry: A-1370 Kuzuu, Chinatsu: D-284, D-285 Kyle, Duncan: A-1371 L’Engle, Madeleine: A-1372 La Farge, John: F-366 Labine, Claire: C-106 LaBombard, Joan: A-1373, A-1503 LaBute, Neil: C-139 Lacaux, Alain: D-379 Lackey, Mercedes: A-898, A-899, A-900, A-1374, A-1375, A-1376 Lackey, Mike: B-26 Lacy, Norris: A-1377, A-1378, A-1379, A-1380, A-1381, A-1503 LaGravenese, Richard: A-1382, A-1383, A-1384, C-58 Laird, Patrick (Sir): A-1385, A-1386 Lakey, Laura: A-1451

737

Laliberté, Norman: A-1079 Lamb, Mary Montgomerie: A-772 Lambert, Lane: D-286 Lampard, Chris: E-72 Lampe, John Frederick: D-19 Landgraf, Susan: A-1388, A-1505 Landis, Arthur H.: A-1389, A-1390, A-1391, A-1392 Landon, Letitia Elizabeth: A-1393 Landon, Michael: C-75 Lang, Andrew: A-64, A-1395, A-1396 Lang, Leonora: A-62, A-64, A-1398 Lang, M. R.: A-1399 Langham, Tony: A-1400 Langley, Noel: C-92 Lanier, Sidney: A-538, A-895 Lanier, Sterling E.: A-1403 Larcom, Lucy: A-1404 Larkin, David: A-391 Latham, Jim: C-32 Latham, Lisa Moricoli: C-32 Latimer, Jonathan P.: A-2493 Laubenthal, Sanders Anne: A-1405 Lauder, James Eckford: F-368 Lauder, R. S.: F-369 Laughlin, James: A-1406, A-1407 Laumer, Keith: A-1408 Lawes, William: A-552 Lawhead, Stephen R.: A-1409, A-1410, A-1411, A-1412, A-1413, A-1414 Lawrence, Ann: A-1415, A-1416 Lawrence, Frederic: F-370 Lawrence, John: A-1359, A-2315 Lawrence, Peter: C-177 Layamon: A-958, A-996, A-1025 Layton, Bob: B-6 Le Cain, Errol: A-1417 Le Fanu, Brinsley: A-2449, A-2623, A-2955 Le Fleming, Christopher: D-287 Le Gallienne, Richard: A-1418 Lea, Fanny Heaslip: A-1419, A-1420 Lea, John: A-1421 Leader, Mary: A-1422 Leadon, Paul: C-29 Leaf, Lotta: A-1423, A-1424 Leaf, William: A-2045, A-2047, A-2049, A-2050 Lear, Edward: D-288, D-289, D-290 Leavitt, Charles: C-126 Led Zeppelin: D-291 Ledger, Peter: E-10 Lee, Alan: A-623, A-644, F-371, F-372, F-373, F-374, F-375, F-376 Lee, Elaine: B-25, B-47 Lee, Frank Harold: A-1425

738

General Index

Lee, Jody: E-60 Lee, Roddy: C-29 Lee, Stan: B-8 Lee, Tanith: A-61, A-65, A-672, A-921, A-1426, A-1427, A-1428 Lee, Terry: A-1426 Lee, Thomas Herbert: A-1429 Leech, John: A-84 Lees, Frederick: A-1430 Leeson, Robert: A-1431 Legg, James: D-292 Leggett, Benjamin F.: A-1433 Lehane, Brendan: A-1434 Lehmann, Ruth P. M.: A-1435 Leight, Edward: A-473 Leighton, Edward Blair: F-377, F-378, F-379 Leitch, Donovan: D-152 Leitch, Mary Sinton: A-1436 Lennard, Emma: D-293 Lennon, T. C.: C-61 Leo: A-1437 Leonard, David Ahria: C-120 Leone, Sergio: A-2076 Lerner, Alan Jay: A-1438, C-27, C-28, D-313 Lesser, Anton: A-2609 Letts, Winifred M.: A-1439, A-1440 Lever, Sarah: A-2478, A-2481, A-2909, A-2911, A-2913, A-2915 Levey, Sivori: A-2629, A-2630 Levien, E.: D-294 Levin, Martin: A-1441, A-1442 Levinson, Barry: C-134 Levinson, Richard: D-241 Levit, Herschel: A-2281, F-380 Levitow, Abe: C-56 Levy, Robert L.: C-80 Lewin, Lionel H.: D-473 Lewin, Ted: A-1853 Lewis, Charlton Miner: A-1443 Lewis, Clive Staples: A-932, A-1444, A-1445, A-1446, A-1494, C-176 Lewis, H. E.: D-488 Lewis, H. Sinclair: A-1447, A-1494 Lewman, David: D-468 Leyden, John: A-1448 Liberovsky, Paul: A-770 Lighthill, Brian: C-190 Linaweaver, Brad: A-898, A-1449 Lincoln, Victoria: A-1450 Lindahn, Val: A-1653 Linders, I.: D-272 Lindholm, Megan: A-672, A-1451, A-1452 Lindsay, Barbara: A-2460 Lindsay, Eleanor Vliet: A-1453 Lindsay, Maria: D-295, D-296

Lindsay, Nicholas Vachel: A-1454, A-1455, A-1456 Lindsay, Philip: A-1457 Lindskold, J.: A-1458 Link, William: D-241 Linley, William: D-297, D-298 Linton, William James: A-1459 Lister, Anne: D-299, D-300, D-301, D-302, D-303, D-304, D-305, D-306, D-307, D-308, D-309, D-310 Lister, Robin: A-1460 Little, Norman: A-1331, A-2624 Little, Patrick: A-1462 Littlejohn, Stuart: A-1613, F-381 Littlewood, Valerie: A-1186 Lively, Penelope: A-1463 Livingston, Margaret Vere F.: A-777 Llewellyn, Caroline: A-1464 Llewellyn, D. W. A.: A-1465, A-1466, A-1467 Lloyd, Bryan: D-311 Lloyd, Richard: A-1468 Llwyd, Richard: A-1469, A-1470, A-1471 Llywelyn, Morgan: A-921, A-1472 Lock, Rebecca: D-11, D-13 Lockley, Steve: A-61, A-1473 Locksley, Dervin: A-1474 Lodge, David: A-1475 Loehr, Hermann: D-312 Loewe, Frederick: A-1438, C-27, C-28, D-313 Logan, Elizabeth: C-32 Logan, Joshua: C-27 Loggins, Kenny: D-314 Lomax, Alan: D-315 London Symphony Orchestra: D-266 Longhurst, Herbert: D-316 Loomis, Richard: A-1476, A-1504 Lopez, Francisco: D-317 Lord, John Vernon: A-896 Lorenz, Carsten: C-143 Loring, Christian: F-382 Louisville Orchestra: D-510 Lounsbury, G. Constant: A-1477 Love, Stewart: A-1478 Lovell, Gerald: A-1479, A-1480, A-1481, A-1482, A-1483 Lovey, Alex: C-121 Low, Joseph: A-1082 Lowe, Samuel Edward: A-1485 Lowell, James Russell: A-964, A-1238, A-1486, A-1494, A-1502, D-74, D-103, D-457 Lowthian, Caroline: D-318 Lucas, Barbara: A-1487, A-1488, A-1506 Lucas, George: C-78

General Index Lucas, H. J.: A-1519 Lucas, Sidney Seymour: A-418 Lucas, George: C-78 Lucassen, Arjen Anthony: D-22, D-23 Lucie-Smith, Edward: A-1489, A-1490 Ludovici, Albert: F-383 Luke, David: A-1491 Lumpkin, Arthur H.: A-1492 Lundgren, Carl: A-1426 Lunn, Jean: A-1493, A-1504 Lupack, Alan: A-1495, A-1497, A-1498, A-1499, A-1500, A-1501 Lushington, Cecilia: D-319 Lusk, Don: C-165 Lustbader, Eric: A-898, A-1507 Lustig, Jan: C-92 Lyderson, Pat: A-1508, A-1509 Lydgate, John: A-1731 Lyle, Carlyon: D-320 Lyle, Walter: A-1510 Lyman, Dean Belden, Jr.: A-1511 Lynne, Gillian: C-132 Lytton, Edward Bulwer Lytton, Baron: A-1512, A-1513, A-1514, F-398 Lytton, Edward Robert Bulwer Lytton, Earl of: A-1689, A-1690, A-1691 M People: D-419 Maas, Dorothy: A-1869 MacBride, Melchior: A-1515 Maccarone, Grace: A-1516 MacCormac, John: A-1517 MacCourt, Thomas: D-321 MacDonald, George: A-1518, A-1519, F-310 Macdonald, James D.: A-670, A-671, A-1520, A-2980 MacDonald, Margaret: D-474 Macdowell: A-188 MacFarren, George A.: D-322, D-323, D-324, D-325, D-326, D-327 MacFarren, N.: D-322 MacFarren, Walter Cecil: D-328 Macgregor, Mary: A-1521 MacGregor, Rob: A-1178, A-1180 Machen, Arthur: A-61, A-64, A-1522, A-1523, A-1524, A-1604 MacIntyre, F. Gwynplaine: A-61, A-1525 MacKay, Hugh: D-421 MacKenzie, Alexander Campbell (Sir): D-329 Mackenzie, Thomas: A-406 MacKinstry, Elizabeth: A-1526 Mackintosh, Margaret Macdonald: F-385, F-386 Maclehose, Sophia H.: A-1527

739

MacLeish, Archibald Fleming: A-1528, A-1529 MacLeish, Roderick: A-1530 Macleod, Fiona: A-1531, A-1532, A-1533, A-1604, D-76, D-179 Macleod, Mary: A-1534, F-156, F-157, F-166, F-380, F-473, F-484, F-616 Maclise, Daniel: F-387, F-388, F-389 MacNab, Peter: F-390 MacNeil, Mary: A-1535 Macpherson, Jay: A-1536 MacVean, Jean: A-1537, A-1538 Madams, Harvey H.: A-1539 Maguire, Gregory: A-1540, A-2285 Maguire, Michael C.: D-330 Mahurin, Matt: A-2662 Maitz, Don: A-1389, A-2574, A-2576 Malamud, Bernard: A-1541, C-134 Malcolm, Arthur: A-1542 Malczynski, Elizabeth: A-1001 Malden, Joy: A-1543 Malim, Herbert: A-2631 Mallandaine, John E.: D-331 Mallatratt, Stephen: C-176 Mallet, David: A-1544 Mallett, David: D-332 Mallett, Katie: A-1545 Mallory, James: A-1546 Malory, Thomas (Sir): A-2, A-8, A-28, A-32, A-48, A-57, A-58, A-82, A-98, A-114, A-138, A-149, A-186, A-188, A-189, A-217, A-252, A-264, A-265, A-266, A-300, A-327, A-335, A-351, A-353, A-380, A-406, A-409, A-433, A-445, A-446, A-449, A-450, A-451, A-482, A-521, A-523, A-537, A-549, A-550, A-569, A-572, A-577, A-647, A-656, A-664, A-665, A-708, A-709, A-773, A-777, A-789, A-805, A-807, A-809, A-824, A-852, A-869, A-896, A-916, A-944, A-956, A-957, A-959, A-964, A-968, A-986, A-992, A-996, A-1010, A-1017, A-1022, A-1048, A-1058, A-1081, A-1091, A-1097, A-1115, A-1129, A-1180, A-1226, A-1227, A-1239, A-1242, A-1253, A-1277, A-1281, A-1327, A-1329, A-1330, A-1331, A-1332, A-1335, A-1339, A-1352, A-1355, A-1361, A-1394, A-1397, A-1401, A-1406, A-1421, A-1425, A-1446, A-1460, A-1462, A-1485, A-1497, A-1521, A-1534, A-1542, A-1563, A-1565, A-1600, A-1632, A-1636, A-1647, A-1688, A-1730, A-1745, A-1748, A-1773, A-1774, A-1825, A-1887, A-1966, A-1995, A-2010, A-2016, A-2029, A-2064, A-2065, A-2066, A-2067, A-2068, A-2070, A-2071, A-2072, A-2073, A-2074, A-2075, A-2076, A-2077, A-2091,

740

General Index

A-2158, A-2170, A-2171, A-2218, A-2245, A-2280, A-2281, A-2313, A-2341, A-2342, A-2358, A-2369, A-2387, A-2429, A-2449, A-2454, A-2455, A-2458, A-2460, A-2461, A-2490, A-2495, A-2518, A-2520, A-2522, A-2552, A-2555, A-2558, A-2567, A-2620, A-2621, A-2622, A-2623, A-2624, A-2625, A-2626, A-2631, A-2633, A-2642, A-2661, A-2665, A-2680, A-2745, A-2777, A-2827, A-2840, A-2841, A-2878, A-2898, A-2901, A-2902, A-2934, A-2935, A-2937, A-2955, A-2956, A-2966, A-2974, A-3003, A-3008, B-20, C-53, C-92, C-103, E-60, F-7, F-16, F-17, F-18, F-35, F-36, F-37, F-45, F-46, F-47, F-54, F-55, F-58, F-96, F-99, F-111, F-126, F-142, F-144, F-156, F-157, F-158, F-166, F-167, F-172, F-180, F-194, F-196, F-197, F-198, F-199, F-200, F-237, F-244, F-245, F-262, F-267, F-272, F-302, F-304, F-331, F-334, F-335, F-336, F-337, F-339, F-340, F-341, F-347, F-380, F-391, F-392, F-393, F-394, F-453, F-458, F-459, F-473, F-474, F-478, F-484, F-486, F-487, F-508, F-509, F-512, F-534, F-537, F-548, F-551, F-577, F-589, F-592, F-600, F-613, F-614, F-616, F-630, F-645, F-653, F-656, F-664 Maltman, Chauncey: C-86 Mandell, Robert: C-144 Mandt, Neil: C-13 Maneely, Joe: B-8 Mango, Angelo: D-275 Mann, H. F.: D-333 Manning, Frederic: A-1547 Manning, Rosemary: A-1548, A-1549, A-1550, A-1551 Manolakes, Mike: E-70 Mantell, Charlotte: A-2627 Mantle, Margaret: A-2632 Maplestone, Florence Elizabeth: F-395 Mar, Kathy: D-334, D-345 Marchesi, Stephen: A-2851 Margetson, W. H.: A-446, A-695 Marie de France: A-956, A-1757, A-2104, A-2106, F-43, F-44 Marigold, David: A-1552 Mark, Jon: D-335 Markiewicz, Michael: A-1553 Markordt, J.: D-336 Marks, Alan: A-1554, A-1636, A-2837 Marquis, Donald: A-1555, A-1556, A-1557, A-1558 Marriott, Pat: A-17 Marsh, James: F-396 Marshall, Constance: A-1548, A-1550, A-1551

Marshall, Edison: A-1560 Marshall, Laura: A-2318 Marshall, Paule: A-1561 Marshall, R. M.: A-1562 Marston, John: A-636 Martin, Contance M.: A-1563 Martin, Elias: F-397 Martin, George R. R.: C-101 Martin, Gilbert: D-337 Martin, Joe: B-31 Martin, John: F-398 Martin, Les: A-1179 Martin, Mrs Herbert: A-1564 Martin, Winona C.: A-1565 Martine-Barnes, Adrienne: A-1566, A-1567, A-1568 Martineau, Robert: F-399 Martiniere, Stephen: C-83 Marx, Christy: C-15, E-10 Masefield, John: A-1494, A-1502, A-1569, A-1570, A-1571, A-1572, A-1573, A-1574, A-1575, A-1576, A-1577, A-1578, A-1579, A-1580, A-1581, A-1582, A-1583, A-1584, A-1585, A-1586, A-1587, A-1588, A-1589, A-1590, A-1591, A-1592 Mason, Charles Welsh: A-1593 Mason, Patrick C.: B-43 Mason, William: D-338 Massie-Ferch, Kathleen M.: A-960, A-1595 Massine, Leonide: D-339 Masson, Sophie: A-1596, A-1597 Masters, Edgar Lee: A-1494, A-1598, A-1599 Mathews, Basil: A-1600 Mathews, David: C-3 Mathias, William: D-340 Mathieu, Joe: A-494 Matthews, Andrew: A-1601 Matthews, Caitlin: A-1602 Matthews, Carol: D-286 Matthews, David: D-341 Matthews, Edward Erskine: A-630 Matthews, John: A-1503, A-1603, A-1605, A-1606, A-1607, A-1608, A-1609, A-1610, A-1611, A-1612, A-1614, A-1615, A-1616 Matthews, Les: A-305 Matthews, Paul: C-113 Matthews, Rodney: A-266 Mauran, Julia Lippett: F-80 Maurence, Jay: C-93 Mavor, Osborne Henry: A-250, A-251, F-400, F-401, F-402 Maxwell, Glyn: A-1617 Maxwell, W. B.: A-1618 Mayberry, Russ: C-189 Mayerl, Billy: D-342

General Index Mayhar, Ardath: A-898, A-1619 Mayhew, Ralph: D-208 Maynard, Francis X.: A-1620 Maynard, Theodore: A-1621 Mayne, Elizabeth: A-1622 Mayne, William: A-1623, A-1624 Mayo, Jane: D-343 Mayse, Susan W.: A-1625 Mayson, Walter H.: A-1626 Mazer, Anne: A-1627 McAlpin, Colin: D-344 McArthur, Doug: D-334, D-345 McAuley, Paul J.: A-1628 McCaffrey, Anne: A-1629, A-1630, A-1631, A-1632, A-2980 McCain, Edwin: D-346 McCallum, Graham: A-2395 McCalmans, The: D-347 McCann, Janet: A-1633 McCann, Jesse Leon: B-38, B-48 McCann, John P.: C-8 McCarty, Nick: C-110 McCaslin, Nellie: A-1634 McCaughrean, Geraldine: A-1635, A-1636, A-1637, A-1638 McCay, William: A-1182 McCloskey, George V. A.: A-1639, A-1640 McConchie, Lyn: A-960, A-1641 McConville, Bernard: C-39 McCorkindale, Bruce: B-39 McCormack, Patrick: A-62, A-1642, A-1643, A-1644 McCormick, Clifford: D-348 McCusker, Paul: A-1645, A-1646 McDaniel, Tim: A-1647 McDermott, Gerald: A-1648 McDonald, Madeline M.: F-403 McDonald, Pat: A-816 McDowell, Ian: A-60, A-66, A-672, A-1649, A-1650, A-1651, A-1652, A-1653, A-1654, A-2285 McElhinney, Peter: A-1655, A-1656, A-1657 McEvoy, Marjorie: A-1658 McFee, Inez N.: A-2633 McGarvey, Margaret: A-1659 McGinley, Phyllis: A-1660 McGlynn, Michael: D-349 McGowen, Tom: A-1661 McGraw, Eloise Jarvis: A-1662 McIan, Ronald: F-404 McIntosh, J. T.: A-1663 McKeehan, Murray: A-1361 McKennitt, Loreena: D-350, F-646 McKenzie, Nancy: A-1664, A-1665, A-1666 McKenzie, R. Brookes: A-1667, A-1668

741

McKillip, Patricia A.: A-1669 McLanathan, Mary Leland: A-1670 McLaw, Curtis: D-135 McLimore, Guy W.: E-23 McMullen, K. H.: A-1671, A-1672, A-1673, A-1674, A-1675, A-1676, A-1677, A-1678 McNair, Frances Macdonald: F-386 McPhail, Rodger: A-2949 McQuillin, Cynthia: D-351 McSpadden, J. Walker: A-1679, A-2761, A-2762, A-2763 McWilliams, Debra: A-350, A-872, F-405 Mead, Stella: A-1680, A-1681 Meadley, Margaret: A-1682 Meaney, Dee Morrison: A-1683 Melling, Orla R.: A-1684, A-1685 Mellor, Joy: A-1241 Mendel, Clarence Whittlesey: A-1686 Mendoza: A-1311 Menteath, Dora Stuart: A-1687 Merchant, Elizabeth Lodor: A-1688 Meredith, Owen: A-1689, A-1690, A-1691 Merely Gene: A-1692 Merington, Marguerite: A-1693 Merriam, Lillie Fuller: D-251 Merrick, Williston: A-814, A-1700 Merrill, Frank T.: A-515, F-407, F-408 Merrill, William: D-473 Merrill, William Pierson: D-352 Merry Band, The: D-521 Mertz, Barbara Gross: A-1968 Meteyard, Sidney Harold: F-409, F-410, F-411 Meyerstein, Edward Harry William: A-1701 Meyjes, Menno: C-78 Michael, A. C.: A-407 Michaels, Philip: A-1702 Micheal, L. A.: A-1703 Micheline, David: B-4 Micklewright, G. P.: F-653 Middleton, Christopher: A-1704 Middleton, Haydn: A-1705, A-1706, A-1707, A-1708, A-1709 Middleton, Thomas: A-1710 Mikhael: D-353 Milán, Victor: A-1711 Mileham, Harry R.: F-412 Miles, Rosalind: A-1712, A-1713 Milford, Robin: D-354 Millais, John Everett: A-298, F-413 Millais, William: F-414 Millard, Christopher: C-60 Millard, Frederick: A-1714 Millay, Edna St Vincent: A-1494, A-1715, A-1716, A-1717

742

General Index

Miller, Emily Clark Huntington: A-1718 Miller, Felix Martin: F-415, F-416 Miller, Helen Hill: D-355 Miller, J. Corson: A-1719, A-1720, A-1721, A-1722, A-1723 Miller, Jeremy M.: A-1724 Miller, R. E.: A-1506, A-1725 Miller, Randy: A-898, A-1726 Miller, Sasha: A-66, A-1727 Miller, Shane: A-2840 Millican, N. S.: A-2615 Milligan, Spike: C-67, C-68 Mills, Pat: B-51 Millward, David Wynn: A-701, A-702, A-703, A-704 Milman, Henry Hart: A-1728 Milton, John: A-1729 Ming, Li: A-2987 Minnton, Janyce L.: A-1730 Minton, Tom: C-180 Mitchell, Adrian: A-1735, A-1736 Mitchell, D. M.: A-1737 Mitchell, James A.: A-46 Mitchell, Judith: A-850, A-1368 Mitchell, Mark J.: A-1738 Mitchell, Mary: A-1739 Mitchell, S. Weir: A-660, A-1740, A-1741 Mitchison, Naomi: A-1742 Mixi-Berel: A-1352 Mnookin, Wendy M.: A-1502, A-1503, A-1504, A-1743, A-1744, A-1745, A-1746, A-1747 Mockler, Anthony: A-1748 Moira, Gerald: F-417 Moller, Allen: D-421 Molloy, James L.: D-356 Monaco, Richard: A-1749, A-1750, A-1751, A-1752, A-1753, A-1754, A-1755 Monastero, Mike: E-24 Moncrieff, A. R. Hope: A-60, A-64, A-1756, A-1757 Moncrieff, W. T.: A-2836 Monicon, Francisco: D-38 Monroe, Douglas: A-1758 Montague, Lee: A-1759 Montaigne, William John: F-418 Montalba, Ellen: F-419 Montgomery, Lucy Maud: A-1760 Montgomery, William H.: D-357 Monty Python: A-835, A-1761, C-129, E-56, E-57 Monville, Patricia: C-97 Moody Blues, The: D-358 Moorcock, Michael: A-1762, A-1763, A-1764 Moore, George: A-61, A-1765, A-1766

Moore, Sabra: F-420 Moore, William Dyer: A-1767 Moorman, Frederic William: A-1768 More, Dennis: A-2573, A-2580, A-2582, A-2583 Moreno, G.: A-970 Morgan, Charles: A-1769 Morgan, Chloris: A-1770 Morgan, Richard William: A-1771 Morgan, Roy: A-1995 Morgana LeFay: D-359 Morland, Harold: A-1772 Morley, Olive J.: A-1773 Morpurgo, Michael: A-1774 Morrell, Beatrice M.: A-1775 Morressy, John: A-1776 Morrill, Leslie: A-945 Morris and Co.: F-430, F-431, F-432, F-433, F-434 Morris, Brian: A-1777, A-1778, A-1779 Morris, Dave: A-423, A-1780, A-1781 Morris, Gerald: A-1782, A-1783, A-1784 Morris, Gilbert: A-1785 Morris, William: A-65, A-1494, A-1502, A-1786, A-1787, A-1788, A-1789, A-1790, A-1791, A-1792, A-1793, A-1794, A-1795, A-1796, A-1797, A-1798, A-1799, A-1800, A-1801, D-77, F-160, F-265, F-282, F-314, F-354, F-355, F-386, F-421, F-422, F-423, F-424, F-425, F-426, F-427, F-428, F-429, F-447, F-483, F-508, F-513, F-528, F-606 Morrison, Van: D-360, D-361, D-362, D-363 Morrow, Tommy: A-1802 Mortimer, John Hamilton: F-435, F-436, F-437 Morton, Gabrielle: A-189 Morton, H. V.: A-1803 Morton-Gurr, Jude: A-1770 Moser, Barry: A-125 Motion, Andrew: A-1804 Mottram, R. H.: A-1805 Moultrie, John: A-1806 Mounsey, Yvonne: D-38 Mowbray, H. Seldon: F-438 Mozley, Charles: A-1397 Mozley, Juliet: A-1807 Muench, James F.: A-1808 Muir, Edwin: A-1494, A-1809, A-1810 Mullen, Caryl Cude: A-1811 Mumford, Ethel Watts: A-1812, D-229 Munn, Harold Warner: A-65, A-1813, A-1814, A-1815, A-1816, A-1817 Murdocca, Sal: A-1894, A-1895, A-1896, A-1897, A-1898, A-1899, A-1900, A-1901, A-1902, A-1903, A-1904, A-1905, A-1906,

General Index A-1907, A-1908, A-1909, A-1910, A-1911, A-1912, A-1913, A-1914, A-1915 Murdoch, Iris: A-1818 Murphy, John Cullen: B-46 Murphy, Warren: A-455, A-456 Murray, Doug: A-901, A-1819 Muschamp, F. Sydney: F-439 Myers, John Myers: A-1820 Nabokov, Vladimir: A-1821 Naddair, Kaledon: A-1822 Nash, Graham: D-130 Nathan, Robert: A-1823, A-1824 National Youth Music Theatre: D-11, D-13 Natti, Susanna: A-2978 Naylor, Edward Woodall: D-364 Neame, Elwin: C-95 Neary, Paul: B-19, B-20 Neave, Brad: C-179 Needham, Violet: A-1825 Neill, John R.: F-548 Neilson, Frederick Brooke: A-1826 Nelson, Connie: D-267, D-268 Nelson, Paul: D-365 Nennius: A-351, A-887, A-958, A-2033, A-2176, A-2680, A-2696 Nesbitt, Patricia: A-1503, A-1827 Nestor, Larry: D-366 Neville, Mary: A-1828 New York Chamber Symphony: D-9 New Zealand Symphony Orchestra: D-218 Newbold, Francis: A-1830 Newbolt, Henry (Sir): A-1831 Newcomen, George: A-594, A-595, A-596, A-597, A-598, A-599, A-600 Newell, Mindy: B-42 Newell, William Wells: A-1832, A-1833 Newill, Mary Jane: F-440, F-441, F-442 Newman, Robert: A-1834, A-1835 Newman, Sharan: A-921, A-1836, A-1837, A-1838, A-1839 Newson, Ranald: A-1840 Newton, Ernest Richard: D-367 Nibley, Michael: A-1841 Nibley, Sloan: C-56 Niccols, Richard: A-1733 Nicholl, Mrs Samuel: F-443 Nicholls, Frederick: D-368 Nichols, Dudley: C-141 Nichols, Ruth: A-1842 Nicholson, Sam: C-46 Nicholson, William: C-57 Nickless, Will: A-16 Nicoll, Gregory: A-900, A-901, A-1843 Nicolson, J. U.: A-1844, A-1845, A-1846

743

Nimmo, Jenny: A-1847 Noel, Roden: A-1848 Nolting, Karen Stray: A-2493 Norburg, R.: F-445 Norem, Earl: A-1362 Norman, Diana: A-1849 Norman, Elizabeth: A-1850 Norman, Lisanne: A-960, A-1851 Norman, Roger: A-1852 Normand, Ernest: F-446 Normand, Phil: B-57 Norris, Leslie: A-1853 Norton, André: A-66, A-960, A-1854, A-1855, A-1856, A-1857, A-1858, A-1859, A-1860 Noyes, Alfred: A-1494, A-1862, A-1863, A-2480 Nyberg, Morfan: A-1864 Nye, Jody Lynn: A-898, A-1865 Nye, Robert: A-1866, A-1867, A-1868, A-1869, A-1870, A-1871 O’Brien, Barbara Joy: A-1872 O’Brien, Gerald: D-170 O’Brien, Judith: A-1873 O’Brien, Katherine E.: D-369 O’Donnell, Charles L.: A-1874 O’Donohoe, Nick: A-1875, A-1876, A-1877 O’Hara, Kane: D-336 O’Kane, Helen Marguerite: F-447 O’Keeffe, Neil: A-1485 O’Meara, Walter: A-1878 O’Neale, James S., Jr.: A-1879 Oakley, Ruth Anderson: A-1883 Oates, David W.: A-1884 Oates, Joyce Carol: A-2396 Odds Bodkins: A-1885 Oertel, Johannes Adam: F-448 Ogle, Richard Bertram: A-1327 Olbrich, André: D-63, D-64, D-65, D-66 Old Harrovian: A-3002 Olfson, Lewy: A-1886 Oliver, Peter: A-1887 Olivia, Debra A. S.: D-233 Olson, Charles: A-1888 Opie, John: F-449 Orchard, William: A-1889 Ord, John Walker: A-1890 Org, Ed: A-1170 Ormerod, James: A-1891, A-1892, A-1893 Osborne, Mary Pope: A-1894, A-1895, A-1896, A-1897, A-1898, A-1899, A-1900, A-1901, A-1902, A-1903, A-1904, A-1905, A-1906, A-1907, A-1908, A-1909, A-1910, A-1911, A-1912, A-1913, A-1914, A-1915

744

General Index

Osgood, Jayne: E-27 Ososki, Gerald: A-1563 Ostriker, Alicia: A-1916 Owen, Francis: A-1917 Owen, Wilfred: A-1918 Oxley, William: A-1919 Oxonian: A-1920 Padgett, Ron: A-150 Padmore, E. S.: A-1921 Page, Jimmy: D-291 Page, Michael: A-673 Paget, Henry Marriott: F-451, F-452 Paige, F. L.: A-1922 Pailthorpe, Doris: F-453 Pakenham, Antonia: A-831 Palfrey, Sara Hammond: A-1923 Palin, Michael: A-1761, C-129 Palladini, David: A-1085 Pallen, Condé Benoist: A-1924 Pallenberg, Rospo: C-53 Palmer, G. Molyneux: D-370 Palmer, Mark: C-1 Papale, Henry: D-371 Pape, Eric: A-362, A-364, A-365, A-366, A-367, A-368, A-369, A-370, A-371, A-372, A-373, A-374, A-375, A-376, A-377, A-379, A-380, A-381, A-382 Papé, Frank Cheyne: A-321, F-454 Papini, Guido: D-372 Pardon, George Frederick: A-1925 Parker, Dorothy: A-1494, A-1926, A-1927 Parker, Horatio: D-373 Parker, Martin: A-1928 Parker, Robert B.: A-1929 Parkin, Eric: D-342 Parkinson, Keith: E-76, F-455 Parry, C. Hubert H.: D-374 Parry, John: D-375 Part, Michael: C-80 Pascal, Florian: D-376 Pascal, Jefferson: C-99 Paterson, Helena: F-158 Paterson, Katherine: A-1930, A-1931 Patience, John: A-1932 Paton, Joseph Noël (Sir): F-456, F-457, F-458, F-459, F-460, F-461, F-462, F-463, F-464, F-465, F-466 Patten, William: A-1933 Patterson, Meredith L.: A-1484, A-1934 Patterson, Ray: C-192 Patton, Fiona: A-1935, A-2285 Paul, Evelyn: A-2828, A-2922, F-467 Paul, James: E-4 Paulton, Harry: D-376

Pawczuk, Eugene: A-253 Paxson, Diana L.: A-898, A-899, A-900, A-960, A-1936, A-1937, A-1938, A-1939, A-1940, A-1941, A-1942, A-1943, A-1944, A-1945, A-2175, A-2980 Payne, Anthony: D-161 Payne, John: A-1946 Peabody, Marion L.: A-1832 Peach, Lawrence du Garde: A-1947, A-1948 Peacock, Thomas Love: A-1949, A-1950, A-1951, A-1952, D-27 Peare, Catherine Owens: A-1953 Pearsall, Robert Lucas: D-377 Pearse, Alfred: A-2245 Pease, Alfred H.: D-378 Peck, Brooks: A-960, A-1954 Peck, Clara Elsene: A-2459 Pedrali, Patrick: D-379 Peele, George: A-1955, A-1956 Peet, Bill: C-172 Pels, Winslow: A-504, A-1366, A-1520, A-1999, A-2026, A-2660, A-2979, A-2980 Pen, Howard C.: C-173 Penceth, Vervain: A-1957 Pendragon: D-380 Pennie, John Fitzgerald: A-1958 Pentangle: D-381 Pepoy, Andrew: B-21 Peppin, Brigid: A-1040, A-1041, A-1042, A-1044 Percy, Thomas: A-1960, A-1961 Percy, Walker: A-1962 Percy, William Alexander: A-1963, A-1964, A-1965 Peregoy, Walter: A-1152 Pérez, George: B-3 Perham, Molly: A-1966 Perowne, Victor Tait: A-1967 Perugini, Charles Edward: F-468 Petaja, Emil: A-1816 Peters, Elizabeth: A-1968 Peters, Maureen: A-559, A-560 Peterson, Cecily B.: C-96 Pethybridge, J. Ley: A-1039, A-1040, A-1041, A-1042 Petrik, Mary Rose: A-1969 Pettie, John: F-469 Petty, Noel: A-1970 Phelan, Laurel: A-1971 Phelps, Elizabeth Stuart: A-60, A-1972, A-1973, A-1974, A-1975, A-1976, A-1977, A-1978 Philbrick, Rodman: A-1979, A-1980 Philibin: A-1981 Philip, Neil: A-1982

General Index Phillifent, John T.: A-1983, A-1984 Phillipps, Francis: F-470 Phillips, Douglas: A-1985 Phillips, Edward: A-1986, A-1987 Phillips, Henry: D-382 Phillips, John Michael: C-160 Phillips, Madge: D-383 Phillips, Marti: A-1988, A-1989, A-1990, A-1991 Phillips, Roz: C-29 Phillips, Stephen: A-1992 Phipps, Howard: F-471 Picard, Barbara Leonie: A-1993, A-1994, A-1995 Pierard, John: A-1553 Pierce, Tedd: C-24, C-25 Piggott, Mostyn: A-191, A-2636 Pilla, Michael L.: A-1996 Pine, Courtney: D-384 Pisarev, Roman: F-472 Pitt-Kethley, Fiona: A-1997 Pitz, Henry C.: A-175, F-473, F-474 Plant, Robert: D-291 Platt, Marc: A-661 Pledger, Lynne: A-1999, A-2980 Plumpton, A.: D-385 Plympton, George H.: C-3 Pocock, Isaac: A-2000, D-118 Pogany, Sarcadi: A-2754 Pogàny, Willy: A-2227, A-2228 Pogue, Charles Edward: A-673, A-674, C-49 Pollard, A. W.: F-197, F-245 Pollen, John Hungerford: F-475 Pollock, John Hackett: A-1981 Pomeroy, Florence Mary: A-2001 Ponsor, Y. R.: A-2002 Pooler, Russell: A-2003 Popkes, Steven: A-672, A-2005 Poppen, Gregory: C-13 Porteous, Frances: A-2006 Porter, Edwin: C-98 Posen, Mike: A-2574, A-2578 Potter, David: A-2008 Potter, Dennis: A-2009 Potter, Millicent Pierce: A-2010 Pound, Ezra: A-2011 Pound, Omar: A-2012, A-2013 Powell, Anthony: A-2014 Powell, Charles Thomas: D-386 Powell, Robert: D-278 Power, Dermot: B-51 Power, Norman: A-2015 Powers, J. F.: A-2016 Powers, Tim: A-2017, A-2018, A-2019

745

Powys, John Cowper: A-2020, A-2021, A-2022, A-2023, A-2024 Praed, Winthrop Mackworth: A-2025 Pratchett, Terry: A-2026, A-2980 Pratt, Fletcher: A-604, A-605, A-606 Pratt, Laurence: A-2027 Pratt, Lenore Alexandra: A-2028 Pratt, Mara L.: A-2029 Preest, J. T.: A-2030 Prescott, Caroline: D-387 Presland, John: A-2031, A-2032 Price, Anthony: A-2033 Price, Christine: A-2691 Price, N. M.: A-2618 Priestley, John Boynton: A-2034 Prince, Aelian: A-2035, A-2036 Prinsep, Valentine: F-482, F-483 Prioleau, Elise: F-365 Prochak, Michael: A-2037 Proud, Linda: A-2040 Prout, Victor: A-1679 Provensen, Alice: A-2842 Provensen, Martin: A-2842 Prys-Jones, A. G.: A-2041, A-2042 Psalmody: D-391 Purcell, Henry: A-680, D-388, D-389, D-390, D-391, D-392, D-393, D-394, D-395, D-396, D-397, D-398, D-399, D-400, D-401 Purcell, Sally: A-2043, A-2044, A-2045, A-2046, A-2047, A-2048, A-2049, A-2050, A-2051, A-2052, A-2053, A-2054, A-2055, A-2056, A-2057, A-2058, A-2059, A-2060, A-2061 Purcell, Steve: E-27 Purnell, Charles William: A-2062 Putnam, Ruth: A-440 Pyle, Howard: A-60, A-64, A-1502, A-1503, A-2063, A-2064, A-2065, A-2066, A-2067, A-2068, A-2069, A-2070, A-2071, A-2072, A-2073, A-2074, A-2075, A-2076, A-2077, A-2265, F-484, F-485 Quennell, Marjorie: A-2710 Quiller, Peter: A-587 Quiller-Couch, Arthur: A-61, A-2083, A-2084 Quinn, Harry: A-2339 Quinton, John Purcell: A-1515 Raab, Lawrence: A-2085 Rabe, Jean: A-960, A-2086 Rackham, Arthur: A-1048, F-486 Rackham, John: A-1983, A-1984 Radcliffe-Wilson, H.: A-2920

746

General Index

Radford, Irene: A-2087, A-2088, A-2089, A-2090 Radford, Maude L.: A-2091 Rado, Anthony: F-487 Rae, Henrietta: F-488 Ragache, Claude-Catherine: F-470 Rahtz, Philip: F-165 Ramsden, Robert: A-2092 Ramsey, Marcy: A-657 Randall, Neil: A-2093 Rankine, David: D-106 Raphael, Elaine: A-1096 Raphael, Mary F.: F-489 Rasbach, Oscar: D-403 Raverat, Gwendolen: F-490 Rawe, Donald Ryley: A-2094 Rawn, Melanie: A-2095 Ray, Trevor: A-305, C-148 Raymond, Joseph: D-404 Read, Mike: A-2096 Reade, John: A-2097 Reakes, Paul: D-405 Reardon, Jim: C-180 Redondo, Francisco: B-17 Reed, Cait: D-448 Reed, Henry: A-2098 Reed, Ishmael: A-2099 Reed, John: A-2100 Reed, Stanley Baird: C-118 Reedman, Janet P.: A-1503, A-2101 Reese, Lizette Woodworth: A-191, A-2102 Reeve, William: D-406 Reeves, James: A-2103, A-2104, A-2105, A-2106 Rehm, Roger: A-2107 Reid, Rufus: D-102 Reid, Stephen: A-1562, A-1884 Reid, Wayne: B-12 Reiff, Tana: A-2108 Reinhard, John Revell: A-2109 Reinhart, C. S.: D-132, D-265, D-443, D-492 Reiniger, Lotte: A-957 Reitherman, Wolfgang: C-172 Reitman, Ivan: D-241 Renaissance: D-407 Rendell, Ruth: A-2110 Rendle, Morgan: A-1521 Renton, William: A-2111 Renzulli, Virgil: A-2112 Resnick, Laura: A-2113, A-2114, A-2175 Resnick, Mike: A-2115, A-2116 Reva e Napoleon, Antonio Paladino: D-408 Rewbush, Lora: A-2560, A-2561 Rey, C. Luis: A-46, A-49, A-60, A-260, A-394, A-1274, A-1654, A-1757, A-1978, A-2069,

A-2193, A-2206, A-2295, A-2579, A-2694, A-2876, A-2949, A-2992 Reyersbach, Anne: A-2117 Reynolds, Adrian: A-2118 Reynolds, Anna Swan: D-168 Reynolds, Ernest Randolph: A-2119, A-2120 Reynolds, K. J.: D-267, D-268 Reynolds, Marion Lee: A-2121 Reynolds-Stephens, William (Sir): F-491, F-492, F-493 Rhead, George Wooliscroft: F-494 Rhead, Louis: A-1355, A-1503, F-494 Rhiannon: D-421 Rhodes, William Henry: A-660, A-2122 Rhys, Ernest: A-1494, A-1496, A-2123, A-2124, A-2125, A-2126, A-2127, A-2128, A-2129, A-2130, A-2131, A-2132, A-2133, A-2134, A-2135, A-2136, A-2137, A-2138, A-2139, A-2140, A-2141, A-2142, A-2143, A-2144, A-2145, A-2146, A-2147, A-2148, A-2149, A-2150, A-2151, A-2152, A-2153, A-2154, A-2155, A-2156, A-2157, A-2158, A-2159, A-2160, A-2161, A-2162, A-2941, D-485, D-486, D-487 Rhys, Grace: A-2162 Rice, Robert: A-2163 Rice, Thomas N.: D-409 Rich, Moss: A-2164 Richards, Ceri: F-495 Richards, Fred: A-472 Richards, G. M.: F-496 Richards, Laura E.: D-410 Richards, Tom: C-112 Richardson, Abby Sage: A-2165, A-2166 Richardson, Marjorie: A-2167 Richardson, Norman: D-411 Riches, Jeff: C-45 Richmond, W.: D-412 Ricketts, Charles de Sousy: F-497, F-498 Riethmüller, Christopher James: A-2168 Rigg, Paul: C-7 Rigney, Francis J.: A-1474 Riley, James Whitcomb: A-2169 Rimbault, Edward Francis: D-413 Riordan, James: A-2170, A-2171 Rivière, Briton: F-499, F-500, F-501, F-502 Rivière, William: F-500, F-501, F-502 Roach, David A.: B-38, B-48 Robb, Brian: A-2229, A-2230 Robbins, Ruth: A-2172 Roberson, Jennifer: A-65, A-2173, A-2174, A-2175 Robert de Boron: A-958, A-1948, A-2445 Roberton, Hugh Stevenson (Sir): D-414 Roberts, Barrie: A-2176

General Index Roberts, Charles G. D. (Sir): A-2177 Roberts, Dorothy: A-2178, A-2179, A-2180 Roberts, Nora: A-2181, A-2182, A-2183 Roberts, Theodore Goodridge: A-60, A-62, A-64, A-65, A-66, A-2184, A-2185, A-2186, A-2187, A-2188, A-2189, A-2190, A-2191, A-2192, A-2193, A-2194, A-2195, A-2196, A-2197, A-2198, A-2199, A-2200, A-2201, A-2202, A-2203, A-2204, A-2205, A-2206, A-2207 Roberts, W. C.: A-2631 Robertson, George Edward: F-503 Robertson, Mark: A-1616 Robertson, Roderick: E-72, E-77 Robin, Harry: A-2209 Robins, Deri: E-87 Robins, Jim: E-87 Robins, Madeleine E.: A-921, A-2210 Robinson, Corinne Roosevelt: A-2211, A-2212 Robinson, Edwin Arlington: A-405, A-932, A-1494, A-1502, A-2213, A-2214, A-2215, A-2216, A-2217, A-2480 Robinson, Henry Peach: F-504, F-505, F-506 Robinson, Mabel Louise: A-2218 Robinson, Michael: C-42 Robinson, Philip: A-2219 Robinson, Thomas Heath: A-189, A-896, A-2433, A-2934 Robinson, Todd: C-60 Robinson, W. Heath: A-49 Robrecht, Carl: D-415 Roche, Judith: A-2220 Rock, Nora: A-2221, A-2222 Rodda, Percival Charles: A-1117 Rodgers, Alan: A-960, A-2223 Rodgers, Richard: A-2718, D-416 Roff, Joseph: D-417 Rogan, Tom: E-72 Rogers, Garnet: D-345 Rogers, Gertrude: D-175 Rogers, Mark Earl: A-2224 Rogers, Pauline: A-816 Rojany, Lisa: A-2225 Rolland, John: A-2226 Rolleston, T. W.: A-2227, A-2228 Rolt-Wheeler, Francis: F-382 Romero, George A.: C-91 Ronalds, G. S.: A-1329 Roose-Evans, James: A-2229, A-2230 Roosen, Christopher A.: C-112 Roper, Mark: C-156 Roscoe, James: A-2231 Rosen, Winifred: A-2232 Rosenthal, Toby Edward: F-507

747

Ross, JoAnn: A-2233 Ross, Maggie: A-2234 Ross, Tony: A-135, A-136, A-137 Rossetti, Dante Gabriel: A-1791, A-2235, A-2236, F-508, F-509, F-510, F-511, F-512, F-513, F-514, F-515, F-516, F-517, F-518, F-519, F-520, F-521, F-522, F-523, F-524, F-525, F-526, F-527, F-528, F-545, F-568 Roth, Herb: A-729, A-1013 Roth, Kurt: A-62, A-2237 Roth, Uli Jon: D-445 Rotsler, William: A-2238, A-2239 Rouse, Simon: A-1506, F-529, F-530 Rowe, David: A-2240 Rowe, Eric: E-72, E-74 Rowland, A. C.: D-418 Rowland, Marcus F.: E-22 Rowley, William: A-1496, A-2241, A-2480 Rowson, Martin: B-56 Roxy Music: D-419 Royal Northern College of Music Wind Orchestra: D-44 Royal Windsor Tapestry Works: F-60, F-61, F-62, F-63, F-64, F-65, F-66, F-67 Royle, Edwin Milton: A-2634 Royo, Luis: A-1936, A-1937, A-1938, A-1939 Royt, Mary: A-2937 Rozelle, Lew: E-59 RTE Chamber Choir: D-474 RTE Concert Orchestra: D-474 Ruby, Harry: D-420 Rudd, Colin: D-421 Rudkin, David: C-160 Rudolph, Norman G.: A-1688 Rummel, Walter Morse: D-422 Runnalls, Jana: D-423, D-424, D-425, D-426, D-427, D-428, D-429, D-430 Rusch, Kristine Kathryn: A-2243 Rush, Alison: A-2244 Rush, Peter: A-1549 Rushton, George Herbert: F-531 Russell, P. Craig: B-43 Russell, William: D-431 Rutland, Florence M.: F-532 Rutley, Cecily Marianne: A-2245 Ryan, Desmond: D-237 Ryan, Lawrie: A-2246 Ryan, W. P.: A-2247 Ryberg, Jean B.: D-432 Ryder, Albert Pinkham: F-533 Ryland, F.: F-534 Ryland, Henry: F-534 Saberhagen, Fred: A-2248, A-2249 Sabuda, Robert: A-2250

748

General Index

Sager, Carole Bayer: C-145 St Andre, Ken: A-2251 St John, Nicole: A-2252 Salaman, Charles: D-433 Sale, James: A-2253 Salmon, Arthur L.: A-2254 Salmonson, Jessica Amanda: A-65, A-2255 Sampson, Fay: A-62, A-64, A-2256, A-2257, A-2258, A-2259, A-2260, A-2261, A-2262 San Francisco Symphony Orchestra: D-3 San Souci, Robert D.: A-2263, A-2264, A-2265, A-2266 Sanderson, Jeannette: A-2267 Sanderson, Ruth: F-535, F-536 Sandford, Lettice: F-537 Sandham, Henry: F-538 Sandys, Emma: F-539, F-540 Sandys, Frederick: F-541, F-542, F-543, F-544, F-545, F-546 Sanford, Richard: E-4 Sanko, Anton: D-270 Sansonet, Charlie: C-83 Sapinsley, Alvin: C-167 Sapir, Richard Ben: A-2268 Sarbry, Jay: C-165 Sargant-Florence, Mary: F-547 Sas, Zbigniew: A-2269 Sasdy, Peter: C-12, C-87 Sauber, R.: F-591 Saul, George Brandon: A-2270 Saward, William T.: A-2271 Saxby, H. Maurice: A-2272 Sayers, Dorothy L.: A-2273 Scales, Keith: A-2274 Scarborough, Elizabeth Ann: A-921, A-2275, A-2276 Scarborough, George: C-70 Schaeffer, Mead: F-548 Schafer, R. Murray: D-434 Schaffner, Frank: C-167 Schaller, Robert Clark: A-2277, A-2278 Schart-Hyman, Trina: A-1095 Schayer, Richard: C-99 Scheltema, Daniel H.: A-898, A-2279 Schenck, Christopher: B-21 Scheps, Niek: D-435 Scherpenzeel, T.: D-272 Schifrin, William: C-145 Schiller, Barbara: A-2280, A-2281 Schimel, Lawrence: A-61, A-62, A-898, A-2282, A-2283, A-2284 Schmalz, Herbert Gustave: F-549, F-550 Schoonover, Frank E.: F-551 Schramm, Kevin: A-2511 Schroek, Peggy: E-6

Schroek, Robert M.: E-6 Schubert, David: A-2286 Schwader, Ann K.: A-1503, A-2287, A-2288 Schwartz, Gerald: D-9 Schwartz, Jill Carla: A-921 Schwartz, Lynne Sharon: A-2289 Schweitzer, Darrell: A-60, A-61, A-62, A-65, A-66, A-898, A-1484, A-2290, A-2291, A-2292, A-2293, A-2294, A-2295, A-2296 Schwinger, Larry: A-971 Scieszka, Jon: A-2297 Scott, Alice M.: F-552 Scott, Dennis: A-2299 Scott, Jeff: C-192 Scott, Kenneth: A-616 Scott, Walter (Sir): A-660, A-2300, A-2301, A-2302, A-2303, D-5, D-121, D-162 Scott, William Bell: F-553, F-554 Scupham, Peter: D-494 Seally, John: D-436 Sealy, Frank Linwood: D-437 Seamon, Hollis Rowan: A-1503, A-2304 Seare, Nicholas: A-2307 Searle, Humphrey: D-438 Seavy, Marquita: A-2308 Seavy, Susan: A-2308 Seeger, Alan: A-2309, A-2310 Seeger, Hal: C-18 Seidler, David: C-145 Self, David: A-2311 Senior, Dorothy: A-2312, A-2313 Serraillier, Ian: A-2314, A-2315 Service, Pamela F.: A-2316, A-2317, A-2318 Seton, Anya: A-2319 Severin, Marie: B-26 Sexton, Steve: D-170 Seymour, Alan: A-2320 Shacochis, Michael: A-2321 Shadwynn: A-2322 shahar, eluki bes: A-2323 Shakespeare, William: A-636, A-2241, A-2324, A-2325, A-2326 Shanks, George: A-185 Shannon, David: A-2327 Shannon, James Jebusa: F-555 Shannon, Mark: A-2327 Sharmat, Marjorie Weinman: A-2328 Sharp, George: A-391 Sharp, William: A-1531, A-1532, A-1533, D-76, D-179 Sharpe, Richard: A-2329 Sharpe, Ruth Collier: A-2329 Sharpless, Stanley: A-2330 Shaw, Helen: A-2331, A-2332

General Index Shaw, John Byam Liston: A-2757, A-2764, F-556, F-557, F-558, F-559, F-560, F-561, F-562 Shaw, M. F.: D-277 Shaw, Martin: D-439 Sheehan, Perley Poore: A-2333 Shelley, Percy Bysshe: A-2334 Shelton, Lucy: D-9 Shepard, Mark: E-27 Shepherd, E. G. H.: A-2335 Sheridan, Carrie Chase: A-2336 Sherman, David: C-81 Sherman, Josepha: A-2337 Sherman, Richard M.: D-440 Sherman, Robert B.: D-440 Sherrell, Carl: A-2338, A-2339 Sherriff, Robert Cedric: A-2340 Shields, Frederick: F-563, F-564 Shields, Sue: A-1120, A-1545, A-1970, A-2330 Shindell, Richard: D-270 Shippen, Elizabeth Blount: D-441 Shippen, Eugene Rodman: D-441 Shirley, Sam: E-60, E-63, E-69, E-70, E-78 Shizu: A-1144 Shorthouse, J. Henry: A-2341 Shuttle, Penelope: A-2342 Shwartz, Susan: A-898, A-921, A-2175, A-2343, A-2344, A-2345, A-2346, A-2347, A-2348, A-2349, A-2350, A-2351, A-2352 Shyamalan, M. Night: C-164 Sibelius, Jean: D-442 Siddal, Elizabeth: F-565, F-566, F-567, F-568 Sidgwick, John: C-93 Silas, E.: D-443 Simcox, George Augustus: A-2354, A-2355 Simmonds, Florence: A-2356 Simmonds, Posy: A-352 Simmons, Hayley: A-2040 Simmons, Mike: D-444 Simon, G.: D-258 Simon, Heather: A-2357 Simon, Margaret B.: A-1506 Simons, Princus Macius: F-569 Simpson, Dudley: C-103 Simpson, Evelyn: A-1947 Simpson, Margaret: A-2358 Singer, Burns: A-2359 Singer, James M., Jr.: A-2360 Singer, Sarah: A-1504, A-2361 Sinor, Bradley H.: A-960, A-2362, A-2363, A-2364 Sisson, C. H.: A-2368 Skelton, Gladys: A-2031, A-2032 Skinner, Margo: A-899, A-900, A-2370

749

Skinner, Martyn: A-2371, A-2372, A-2373, A-2374 Skrovan, Steve: C-1 Sky of Avalon: D-445 Sky, Amy: D-170 Sladen, Douglas Brooke Wheelton: A-2375, A-2376, A-2377, A-2378, A-2379, A-2380, A-2381, A-2382, A-2383 Slapczynski, Richard: C-29 Slaten, Daniel: A-2384 Slater, George: F-571 Slatten, Evelyn: A-2385 Sleigh, Bernard: F-572, F-573, F-574 Small, Fred: D-446 Smetham, James: F-575, F-576 Smieton, John More: D-447 Smith, A. G.: F-577 Smith, Arthur D. Howden: A-2386 Smith, C. E.: A-2764 Smith, Cyntia: D-448 Smith, Edgar: D-242 Smith, Eliseo: D-449 Smith, Evelyn: A-2387 Smith, Frank C.: E-53, E-55 Smith, George Henry: A-2388 Smith, Harriet E.: A-2389 Smith, John Moyr: F-578 Smith, Ken: A-2390 Smith, Lane: A-2297 Smith, Lisa J.: A-2391, A-2392 Smith, Moyne Rice: A-2393 Smith, R. T.: A-2394 Smith, Ray: A-2395 Smith, Rosamond: A-2396 Smith, Stevie: A-2397, A-2398 Smith, Sydney Goodsir: A-2399, A-2400 Smithee, Alan: E-21 Smithies, Richard H. R.: A-2401 Snell, Beatrice Saxon: A-2402 Snelling, John: A-2403 Sneyd, Ralph de Tunstall: A-2404, A-2405, A-2406, A-2407 Sneyd, Steve: A-1503, A-1506, A-2408, A-2409, A-2410, A-2411, A-2412, A-2413, A-2414, A-2415, A-2416, A-2417 Snow, Alicia: A-2418 Snydal, Laurence: A-1504, A-2419 Snyder, John T.: E-21 Sobol, Donald J.: A-2420 Soil Bleeds Black, The: D-450, D-451, D-452 Solomon, Simeon: F-579 Solomon, W. E. Gladstone: F-580 Solway, David: A-2421 Somber Blessings: D-453 Somervell, Arthur: D-454

750

General Index

Somtow, S. P.: A-900, A-901, A-2422 Sonnekalb, Franklin: D-455 Sorenson, Roy A.: C-191 South Shore Concert Band: D-456 Southey, Robert: A-2424 Southworth, May Elizabeth: A-2425 Souvestre, Emile: A-65 Sowerby, Leo: D-457 Sparrow, John: A-2426 Sparshott, Francis Edward: A-2427 Speed, Lancelot: A-1355, F-581 Spence, Philip: F-582, F-583 Spencer-Stanhope, John Roddam: F-584, F-585 Spenser, Edmund: A-400, A-462, A-604, A-605, A-707, A-932, A-1502, A-1527, A-1564, A-1594, A-2165, A-2428, A-2429, A-2430, A-2431, A-2432, A-2433, A-2434, A-2435, A-2480, A-2684, A-2790, A-2791, A-2839, F-139, F-140, F-145, F-147, F-151, F-187, F-190, F-191, F-192, F-194, F-204, F-229, F-230, F-236, F-264, F-324, F-325, F-326, F-350, F-363, F-397, F-436, F-437, F-449, F-457, F-466, F-489, F-501, F-564, F-593, F-601, F-608, F-609, F-610, F-632, F-633, F-635, F-642, F-647 Speyer, Charles Anthony: D-458 Spicer, Jack: A-1494, A-2436 Spiegle, Dan: B-25 Spielberg, Steven: C-78 Spiers, Kaufmann: A-2437 Spina, Paul: A-258 Spirn, Michele: A-2438 Springer, Nancy: A-2285, A-2439, A-2440, A-2441, A-2980 Springfield, Rick: D-459 Sproston, Samuel: A-2442 Squire, John Collings (Sir): A-2443 Stableford, Brian: A-61, A-62, A-2285, A-2444, A-2445, A-2446 Stacey, Alexander: D-460 Stadin, Richard: C-43 Stafford, Greg: E-34, E-60, E-61, E-62, E-63, E-65, E-66, E-67, E-68, E-69, E-78, E-79 Stanford, Charles Villiers (Sir): D-461 Stang, JoAnn: A-2447 Stanhope, Rosamund: A-2448 Stanton, F. L.: D-45 Stanynought, E.: D-462 Starcastle: D-463 Starkie, Martin: D-245 Stassen, Franz: A-2760 Staton, Joe: A-918 Stead, William Thomas: A-2449 Stearns, Harold Crawford: A-2450

Stedman-Jones, Fred: A-1505, A-2451, A-2452 Steed, Albert: D-464 Steedman, Marguerite: A-2453 Steel, Christopher: D-465 Steinbeck, John: A-64, A-66, A-541, A-2238, A-2454, A-2455 Stemple, Adam: A-2980 Stephens, Alice Barber: F-586 Stephens, Frederic George: F-587 Stephens, G. Arbour: A-2456 Stephens, Genevieve: A-1506, A-2457 Stephens, Larry: C-68 Sterling, Mary Blackwell: A-2458 Sterling, Sara Hawks: A-2459 Sterne, Emma Gelders: A-2460 Stevens, David: C-111, C-114 Stevens, Lillian O.: A-2461 Stevenson, Francis Seymour: A-2462 Steward, Ada: A-2463 Stewart, Al: D-466 Stewart, Arvis: A-112 Stewart, Mary: A-944, A-1809, A-2464, A-2465, A-2466, A-2467, A-2468, A-2469, C-119 Stewart, Robert Banks: C-12, C-87 Stewart, Robert J.: A-2470, A-2471, A-2472, A-2473, A-2474, A-2475, A-2476, A-2477, A-2478, A-2479, A-2480, A-2481 Stewart, Rosalind H.: A-62, A-2482 Steynor, Morley: A-2483, A-2484 Stidston, Catherine: D-467 Stillman, Marie Spartali: F-588, F-589, F-590 Stills, Stephen: D-130 Stites, Kevin: D-468 Stivell, Alan: D-469 Stobbs, William: A-2489 Stobie, Denise: A-2485 Stoddard, Duncan: D-421 Stokes, Malcolm: A-471 Stokes, Marianne: A-1045 Stolzenbach, Mary M.: A-2486 Stone, Eva Eugenia: A-2487, A-2488 Stone, Lyn Andrea: A-139 Stone, Marcus: F-591 Stone, Norman: C-127 Stonehenge: D-470 Storer, Ronald D. K.: A-2489 Storr, Catherine: A-2491 Stover, Ken: D-471 Straczynski, J. Michael: C-16 Stratton, Helen: A-2621, F-592 Strauss, Jennifer: A-2492 Stray, P. J.: A-2493 Strickland, Brad: A-898, A-2494

General Index Strickland, Edward: A-2495 Strong, George T.: D-472 Strudwick, John Melhuish: F-593, F-594, F-595 Stuart, Morna: A-2496 Stubley, Trevor: A-213 Studio, Pablo Marcos: A-2072 Sturgeon, Theodore: A-2497 Sturm, Frank Pearce: A-191, A-2498, A-2499, A-2500, A-2501, A-2502 Stutts, Robert: A-1506, A-2503, A-2504 Stutzman, Anne Elizabeth: A-851, A-960 Styles, Showell: A-2505, A-2506 Sullivan, Arthur (Sir): A-45, D-473, D-474, D-475, D-476 Sullivan, Edmund J.: F-596 Sullivan, Jenny: A-2507, A-2508, A-2509, A-2510 Sullivan, Kevin: C-9 Summerly, Felix: A-2435 Summers, David Lee: A-2511 Sunter, J. Pauline: F-591 Surrey, Maud: A-2512, A-2513, A-2514, A-2515 Sutcliff, Rosemary: A-64, A-1930, A-2516, A-2517, A-2518, A-2519, A-2520, A-2521, A-2522, A-2523, A-2524, C-170 Sutherland, Hal: C-122, C-135 Sutton, David: A-65, A-2525 Sutton, Harry T.: A-2526 Swanwick, Michael: A-672, A-2527 Sweet, Darrell: A-2077 Sweeting, E. T.: D-477 Sweetman, Elinor: A-2528, A-2529 Swift, Jonathan: A-1502, A-2480, A-2530 Swinburne, Algernon Charles: A-1494, A-1502, A-2531, A-2532, A-2533, A-2534, A-2535, A-2536, A-2537, A-2538, F-34, F-163, F-620 Swithin, Antony: A-2539, A-2540, A-2541, A-2542 Sykes, H. H.: D-478 Symons, Arthur: A-191, A-2480, A-2544, A-2545, A-2546, A-2547, A-2548, A-2549 Symons, Julian: A-2550 Szumowski, Peter: F-597 Szwarc, Jeannot: C-101 Taft, Linwood: A-2551 Taggart, Marion Ames: A-2552 Tait, Don: C-189 Talbot, Bryan: B-22 Talbott, Hudson: A-2553, A-2554, A-2555, A-2556 Tallarico: E-54

751

Tanaka, Atsuko: C-136 Tanner, David: D-479 Tansley, Eric: A-1340 Tappan, Eva March: A-2558 Tappouni, Terry: A-898, A-2559 Tarkington, Booth: A-2560, A-2561 Tarr, Judith: A-898, A-2562, A-2563 Tarrant, Margaret W.: A-1188 Tate, Phyllis: D-480 Tattersall, Jill: A-2564 Tatum, Edith: A-2565 Tax, Ervin H.: A-2566 Taylor, Anna: A-2567 Taylor, Bert Leston: A-2568, A-2569, A-2570 Taylor, David: C-82 Taylor, Deems: D-481 Taylor, F. Walter: A-2572 Taylor, Harry H.: A-2571 Taylor, Jeremy James: D-11, D-12, D-13 Taylor, Judson: C-72 Taylor, Katharine: A-2572, D-482, D-498 Taylor, Keith: A-60, A-61, A-62, A-66, A-2573, A-2574, A-2575, A-2576, A-2577, A-2578, A-2579, A-2580, A-2581, A-2582, A-2583, A-2584 Taylor, Marilyn: D-482 Taylor, Richard: A-2780, A-2781, A-2782, A-2783, A-2784 Taylor, Thomas Hilhouse: A-2585 Taylor, Una Ashworth: A-2586 Taylor, W. L.: A-2603 Taylor-Stanley, Julia: D-10 Teasdale, Sara: A-1494, A-1502, A-2587, A-2588, A-2589, A-2590 Telep, Peter: A-2591, A-2592, A-2593 Tenggren, Gustaf: A-2460 Tennyson, Alfred, Lord: A-9, A-19, A-64, A-78, A-79, A-82, A-98, A-143, A-147, A-164, A-205, A-217, A-267, A-307, A-408, A-419, A-434, A-468, A-495, A-518, A-545, A-571, A-646, A-647, A-683, A-772, A-773, A-869, A-897, A-932, A-964, A-996, A-1007, A-1013, A-1105, A-1121, A-1180, A-1228, A-1238, A-1253, A-1276, A-1323, A-1386, A-1393, A-1419, A-1494, A-1502, A-1522, A-1535, A-1618, A-1669, A-1825, A-1828, A-1975, A-1997, A-2009, A-2029, A-2091, A-2099, A-2239, A-2245, A-2328, A-2371, A-2396, A-2405, A-2406, A-2407, A-2448, A-2480, A-2483, A-2490, A-2550, A-2595, A-2596, A-2597, A-2598, A-2599, A-2600, A-2601, A-2602, A-2603, A-2604, A-2605, A-2606, A-2607, A-2608, A-2609, A-2610, A-2611, A-2612, A-2613, A-2614, A-2615, A-2617, A-2620, A-2623, A-2624,

752

General Index

A-2625, A-2627, A-2628, A-2630, A-2631, A-2632, A-2634, A-2680, A-2699, A-2772, A-2784, A-2917, A-2918, A-2937, A-2973, A-3006, C-5, C-9, C-95, C-96, C-127, D-15, D-28, D-29, D-30, D-32, D-33, D-34, D-35, D-36, D-43, D-47, D-48, D-68, D-70, D-87, D-98, D-99, D-100, D-107, D-109, D-123, D-132, D-138, D-139, D-140, D-141, D-142, D-150, D-151, D-156, D-157, D-158, D-169, D-173, D-182, D-184, D-195, D-198, D-202, D-222, D-226, D-236, D-239, D-248, D-249, D-252, D-253, D-262, D-264, D-265, D-283, D-284, D-285, D-288, D-289, D-290, D-293, D-294, D-295, D-296, D-304, D-319, D-323, D-325, D-326, D-329, D-337, D-343, D-348, D-350, D-356, D-357, D-364, D-368, D-370, D-371, D-372, D-378, D-382, D-383, D-385, D-386, D-412, D-417, D-418, D-433, D-437, D-442, D-443, D-449, D-461, D-462, D-464, D-480, D-492, D-496, D-501, D-508, D-509, F-30, F-41, F-42, F-51, F-52, F-115, F-117, F-118, F-121, F-130, F-148, F-161, F-168, F-169, F-170, F-171, F-173, F-188, F-193, F-202, F-204, F-209, F-212, F-216, F-240, F-242, F-251, F-253, F-254, F-259, F-266, F-281, F-305, F-306, F-307, F-308, F-309, F-311, F-312, F-316, F-319, F-322, F-346, F-349, F-356, F-357, F-359, F-367, F-383, F-387, F-388, F-395, F-409, F-456, F-459, F-460, F-468, F-471, F-485, F-490, F-494, F-496, F-517, F-518, F-522, F-533, F-538, F-550, F-552, F-558, F-559, F-560, F-565, F-568, F-571, F-575, F-586, F-591, F-596, F-598, F-646, F-654, F-655, F-663 Tentchoff, Marcie Lynn: A-1484, A-2635 Testudo: A-2636 Thackery, Anne: A-2637 Thayer, W. R.: D-352 Theaker, Harry G.: A-144, A-145, A-1326, A-2937 Theakston, Margaret: A-2403 Thelwall, John: A-2638 Theobald, Lewis: A-2639, D-194 Thiel, Lisa: D-483 Thomas (author of a 12th-c. “Tristan”): A-1021, A-1538, A-1617, A-1714 Thomas of Erceldoune: A-2301 Thomas the Rhymer: A-2301 Thomas, Andrew: D-484 Thomas, D. Vaughan: A-2640 Thomas, Dann: B-9

Thomas, Edward: A-2641, A-2642 Thomas, Frances: A-2643, A-2644 Thomas, George Houseman: A-1355 Thomas, Gwyn: A-2645, A-2646, C-146, D-340 Thomas, J. Craven: A-2647, A-2648 Thomas, John: A-2649 Thomas, Llewellyn: A-2974 Thomas, Martin: A-2701 Thomas, Patrick Michael: A-2650 Thomas, Ray: D-358 Thomas, Ronald Stuart: A-2651, A-2652 Thomas, Roy: B-9 Thomas, Scott: A-1506, F-599 Thomas, Stanley J.: A-2653 Thomas, Vincent: A-2132, A-2135, D-485, D-486, D-487 Thompson, Elizabeth Wyrick: A-1484, A-2654 Thompson, Francis Joseph: A-2655 Thomsen, Brian M.: A-899, A-900, A-960, A-2656, A-2657 Thomson, Clara L.: A-2658 Thomson, David Cleghorn: A-2659 Thomson, E. W.: A-100 Thomson, Marian: A-2658 Thomson, Rodney: F-600 Thornton, Mrs Derek E.: A-1166 Thorpe, James: C-158 Thorpe, Richard: C-92 Thurnam, Rowland: A-2765 Tickner, Michael: A-2358 Tiedemann, Mark W.: A-2660, A-2980 Tiffany, Louis Comfort: F-601, F-602, F-603, F-604, F-605 Tilney, Frederick Colin: A-2766 Timlett, Peter Valentine: A-61, A-62, A-64, A-65, A-2664, A-2665, A-2666, A-2667 Tiner, Ron: A-64 Tinnell, Robert: C-81 Tiritilli, Jerry: A-2071, A-2669 Todhunter, John: A-2670, A-2671 Tolmie, Sarah: A-1506, A-2672 Tolstoy, Nikolai: A-2673 Tomlinson, Charles: A-2678 Tomlinson, John: B-28, B-29 Tomlinson, Theresa: A-2679 Tooke, Edgar A.: A-1505, A-2680, A-2681 Toorchen, Anthea: A-327, A-1706 Topper, David: C-43 Topping, Angela: A-2682 Touster, Irwin: A-2860, A-2861, A-2862 Tower, Christopher: A-2683 Towne, Roger: C-134

General Index Townsend, Charles Barry: E-47, E-48, E-49, E-50, E-51 Toynbee, Philip: A-2684 Tranter, Nigel: A-2685 Traquair, Phoebe Anna: F-606, F-607, F-608, F-609, F-610 Trask, Katrina: A-1502, A-2686 Travers, P.L: A-2687 Treece, Henry: A-2688, A-2689, A-2690, A-2691, C-185 Treharne, Bryceson: D-488, D-489, D-490 Tremayne, Peter: A-60, A-61, A-62, A-65, A-2692, A-2693, A-2694, A-2695 Trench, John: A-2696 Trentham, Winifrede: A-2697 Treskow, Irene Von: F-479 Trevelyan, Robert Calverley: A-2698, A-2699 Trevor, Lucy Meriol: A-2700, A-2701 Trewin, J. C.: A-2702 Trimpe, Herb: B-13 Tripp, Paul: D-279 Troika: D-491 Trotter, Stuart: A-2305 Troughton, Joanna: A-2704 Troup, Emily Josephine: D-492 Trout, Michael: E-69 True, Lyle C.: D-493 Truett, Nelson Hill: A-2705 Tucker, Irwin St John: A-2706 Tudur, Nerus: D-421 Turnbull, E. Lucia: A-2710 Turnbull, H. Dalwey: A-2710 Turner, Alfred: F-611 Turner, H. E.: D-316 Turner, Joanne: A-2711 Turner, Nancy Byrd: A-2712 Turner, Roy: A-2713 Turner, Steve: E-2, E-13 Turtledove, Harry: A-2714 Turton, Godfrey Edmund: A-2715 Tutt, David: D-494 Tuttiett, Mary Gleed: A-951 Twain, Mark: A-788, A-932, A-1843, A-2026, A-2297, A-2716, A-2717, A-2718, A-2719, A-2720, B-17, C-13, C-21, C-23, C-40, C-41, C-42 Twining, E. W.: F-612 Twohig, Patrick J.: A-2721 Tyler, Mark: A-2722 Tyler, Therese: A-2723, A-2724 Tynan, Katharine: A-2725 Tyndall, R.: A-831 Tynes, John: E-21 Tysoe, Gerald: A-2726

753

Ugarov, Valeri: C-146 Uher, Lorna: A-542, A-543 Ulster Orchestra: D-39 Underdown, Emily: A-409, A-410 Underhill, Evelyn: A-2727 Unverzagt, Georgia Lyons: D-499 Updike, John: A-2728, A-2729, A-2730, A-2731 Upton, D. L.: A-2732, A-2733 Urbano, Carl: C-165, C-192 Uriah Heep: D-495 Urquhart, Helen: F-613 Urswick, Christopher: D-496 Uttley, Alison: A-2734, C-188 Utton, Peter: A-1601 Uwins, Thomas: F-614 V., Q.: A-2078 Vacca, Michele L.: A-2735 Van Asten, Gail: A-2736 Van Heusen, James: D-497 Vance, Jack: A-2737, A-2738, A-2739 Vansittart, Peter: A-2740, A-2741 Vardell, Charles Gildersleeve: D-482, D-498 Varnel, Marcel: C-88 Veitch, John: A-1494, A-2742 Vejar, Michael: C-108 Venti, Anthony Bacon: A-121 Vere, B. D.: A-2743 Verney, Frances Parthenope (Lady): A-2744 Verniero, Joan C.: A-2745, A-2746, A-2747, A-2748 Vernon, Prebendary: F-153 Vess, Charles: B-10, B-47 Vincent, Karen: A-1505, A-2749 Viney, Jayne: A-2750 Vivian, Theodore: D-500 W., H.: A-2751 Wace: A-996, A-1025, A-1849 Wade, J. A.: D-501 Waggoner, Tim: A-960, A-2752 Wagner, Adrian: D-502, D-503 Wagner, Joseph: D-504 Wagner, Matt: B-36, B-37 Wagner, Richard: A-15, A-110, A-520, A-821, A-969, A-1180, A-1407, A-1450, A-1969, A-2120, A-2227, A-2228, A-2538, A-2585, A-2678, A-2698, A-2699, A-2723, A-2741, A-2753, A-2754, A-2755, A-2756, A-2757, A-2758, A-2759, A-2760, A-2761, A-2762, A-2763, A-2764, A-2765, A-2766, A-2767, A-2768, A-2769, B-43, C-181, D-8, D-49, D-339, F-497, F-498, F-556, F-569

754

General Index

Wainwright, Albert: A-823 Waite, Arthur Edward: A-2770, A-2771 Wakely, Archibald: F-615 Wakeman, Rick: D-505 Walbank, Michael: A-2772 Waldo, Edward Hamilton: A-2497 Walker, Albert: C-86 Walker, Arthur George: A-563, A-564, A-565, A-566, A-1534, A-2432, F-616 Walker, Chris: E-31 Walker, Dugald Stuart: A-473 Walker, George: F-617 Walker, Jamie: E-31 Wall, Josephine: F-618 Wall, M. H.: A-2773, A-2774, A-2775 Wallace, Trevor: A-2776 Wallis, Henry: F-619 Wallis, Hugh: F-620 Walotsky, Ron: A-1403 Walsh, John Herbert: A-2777 Walters, Leslie: D-506 Walton, Jake: D-507 Walton, Jo: A-2778 Wanderer, The: A-2779 Ward, Christopher: A-1494, A-2780, A-2781, A-2782, A-2783, A-2784 Ward, Cynthia: A-2785 Ward, James M.: E-14 Ward, Jonathan: A-2898 Ward, Lauriston: A-2786 Warhola, James: A-254, A-1368 Warner, Willliam: A-2787 Warren, Elinor Remick: D-508, D-509 Warren, Elizabeth B.: A-1125 Warry, I.: F-591 Warry, Inez: F-621 Warton, Thomas: A-2788, A-2789, A-2790, A-2791, A-2792 Waterhouse, John William: A-141, F-123, F-279, F-479, F-622, F-623, F-624, F-625, F-626, F-627, F-628, F-629 Waters, Elisabeth: A-2175, A-2793 Watkins, Frank: A-2313, F-630 Watkins, Vernon: A-2794, A-2795, A-2796, A-2797, A-2798, A-2799, A-2800, A-2801 Watson, Homer: F-631 Watson, Richard Jesse: A-2802, C-183 Watt-Evans, Lawrence: A-899, A-900, A-2803 Watts, Alaric Alexander: A-660, A-2804, A-2805 Watts, Bernadette: A-2505, A-2506 Watts, George Frederic: A-897, F-570, F-632, F-633, F-634, F-635, F-636, F-637, F-638, F-639, F-640, F-641, F-642 Waugh, Evelyn: A-2806

Waugh, Frederick Judd: F-643 Weatherhill, Craig: A-2807 Weaver, Ellis H.: A-2808 Webb, Christopher: A-2809 Webb, Harri: A-2810, A-2811 Webb, Henrietta: A-807 Webb, Holly: A-1505, A-2812 Webb, Mildred: F-644 Webb, Peggy: A-2813 Webber, Collin: A-2814, A-2815 Webster, John: A-636 Weeks, John: D-128 Weeks, Stephen: A-2816, C-161, C-173 Wegner, Helmuth: A-13 Wein, Elizabeth E.: A-2817, A-2818 Weinberg, Robert E.: A-900, A-901, A-2819, A-2820, A-2821 Weinberger, Mildred: A-2822 Weir, Ian: C-137 Weisinger, Mort: C-135 Weiss, Jim: A-2823 Welch, William: C-178 Welcher, Dan: D-510 Weller, June: A-2824 Wells, Audrey: C-73 Wells, Catherine: A-1484, A-2825 Wenban, R.: A-335 Wentzler, Teresa: F-645, F-646 Werner, Peter: C-60 West, Benjamin: F-647 West, Joseph Walter: F-648 West, Michael: A-2827, A-2828 West, Michelle: A-960, A-2829 Westmacott, James Sherwood: F-649 Westmarcott, B.: A-523 Weston, Jessie L.: A-1494, A-2830, A-2831 Westroppe, John Jayne: A-2832 Westwood, Thomas: A-1494, A-2833, A-2834 Whaite, Henry Clarence: F-650 Whall, Veronica: F-651, F-652 Whately, Frank: D-11, D-12, D-13 Wheat, Gladys M.: A-2551 Wheatcroft, John: A-2835 Wheddall, Tommy: D-421 Wheeler, Dora: A-1404 Wheelwright, Rowland: A-2067, F-653, F-654, F-655, F-656 Whistlecraft, Robert: A-837, A-838 Whistlecraft, William: A-837, A-838 Whitaker, Dorothy H.: A-2838 Whitaker, Rod: A-2307 Whitcher, Susan: A-2839 White, Anne Terry: A-2840, A-2841, A-2842 White, Gail: A-1506, A-2843, A-2844 White, Gail Brockett: A-2845

General Index White, Peter: D-466 White, Steve: A-2846, A-2847 White, Terence Hanbury: A-122, A-279, A-504, A-570, A-773, A-813, A-932, A-1366, A-1438, A-1748, A-2015, A-2115, A-2238, A-2656, A-2813, A-2848, A-2849, A-2850, A-2851, A-2852, A-2853, A-2854, A-2855, A-2856, A-2986, B-20, D-11, D-313 White, Tiffany: A-2857 White, Tim: A-2592 Whitehead, Gillian: D-511 Whithorne, Emerson: D-512 Whitney, Helen Hay: A-191, A-2858 Whittaker, W. G.: D-149, D-513 Whittemore, Reed: A-2859, A-2860, A-2861, A-2862 Whittington, Henry: A-2816 Whyte, Jack: A-2864, A-2865, A-2866, A-2867, A-2868, A-2869, A-2870 Wibberley, Leonard: A-2871 Widdemer, Margaret: A-2872 Wiesenfeld, Joe: C-9, C-90 Wiesner, David: A-758 Wijngaard, Juan: A-1026, A-1027 Wilber, Rick: A-899, A-900, A-2874 Wilbur, Richard Purdy: A-1494, A-1502, A-2875 Wilcox, Don: A-60, A-2876 Wilde, Cornel: C-99 Wilde, Jane Francesca (Lady): A-2877 Wilder, James: C-94 Wiles, Gladys: A-431 Wilkes, Angela: A-2878 Wilkie, E. M.: A-2879 Wilkinson, Barry: A-2880 Willet Stained Glass Studio: F-657, F-658 Willey, Bee: A-1635, A-1637 Willey, Lynne: A-1887 William of Malmesbury: A-1024 Williams, Antonia: A-2881 Williams, C. J.: C-96 Williams, Charles: A-1317, A-1445, A-1494, A-1502, A-1705, A-2882, A-2883, A-2884, A-2885, A-2886, A-2887, A-2888, A-2889, A-2890, A-2891, A-2892, A-2893, A-2894, A-2895, A-2896, A-2897, D-354 Williams, Chris W.: D-135 Williams, Dave: E-72 Williams, Henry Meade: A-1542 Williams, Herbert: A-2898 Williams, J. J.: D-166 Williams, J. Price: A-2899, A-2900 Williams, Jack: E-42 Williams, Jay: A-2901

755

Williams, John: D-514 Williams, Marcia: A-2902 Williams, Meta: A-2903 Williams, Nick: A-1638 Williams, Sumner: C-94 Williams, Ursula Moray: A-2905 Williams, W. G.: D-137 Williams-Ellis, Amabel: A-2906, A-2907 Williamson, George C.: A-718, A-719 Williamson, Janet: A-2912 Williamson, Robin: A-610, A-2481, A-2908, A-2909, A-2910, A-2911, A-2912, A-2913, A-2914, A-2915, A-2916, C-107, D-515, D-516, D-517, D-518, D-519, D-520, D-521 Willig, Chas.: F-659 Willis, Anthony Armstrong: A-49 Willis, Connie: A-2917 Willis, Lynn: E-79 Wills, W. G.: A-2918 Willson, Sarah: A-2242 Wilmer, Lambert A.: A-2919 Wilmot-Buxton, Ethel Mary: A-65, A-2920, A-2921, A-2922, A-2923, A-2924, A-2925, A-2926, A-2927, A-2928 Wilner, Eleanor: A-2929 Wilson, Alan: A-2930 Wilson, Ann: D-238 Wilson, Barbara Ker: A-2931 Wilson, Heilmann: A-2932 Wilson, John Grosvenor: A-2933 Wilson, Katharine Margaret: A-2934 Wilson, Katie: D-11, D-13 Wilson, Keith: B-26 Wilson, Leonard: E-66 Wilson, Nancy: D-238 Wilson, Oscar: A-897 Wilson, Patten: A-1025 Wilson, Peter Lamborn: A-2935 Wilson, Thaddeus Howard: A-2936 Winder, Blanche: A-2265, A-2937 Windling, Terri: A-1749 Window and Grove: F-660 Winn, O. Howard: A-2939 Winning, David: C-112 Winter, Milo: A-2949 Winter-Damon, T.: A-898, A-2940 Winters, Yvor: A-1494, A-2941 Winterson, Jeanette: A-2942, A-2943, A-2944 Wisniewski, Kay Newburger: A-1506, A-2945, A-2946 Witer, M. A.: A-2947 Wodehouse, Pelham Grenville (Sir): A-60, A-2949, D-275 Wolf, Joan: A-2950, A-2951, A-2952

756

General Index

Wolf, Katinka: A-2609 Wolfe, Amber: A-2953 Wolfe, Gene: A-2954 Wolfram von Eschenbach: A-671, A-1028, A-1079, A-1085, A-1180, A-1725, A-1931, A-1946, A-2003, A-2227, A-2698, C-104, F-16 Wolfsinger, Morgan: D-522 Wong, Jeanyee: A-400 Wood, Eric: A-407 Wood, Robert S.: A-2955, A-2956 Woodard, Dennis J.: C-115 Woodgate, Leslie: D-523 Woodley, George: A-2957 Woodrich, Mary Neville: A-1828 Woods, Richard: A-1632 Woods, Sylvia: D-448 Woodward, David: E-41 Woodward, Sean: A-2958 Woolf, Wendy: A-1509 Woolley, Persia: A-2959, A-2960, A-2961, C-72 Woolner, Thomas: F-661, F-662, F-663 Wordsworth, William: A-1494, A-1502, A-2962, A-2963, A-2964, A-2965 Worthington, William: C-69 Wray, Kit: A-2966 Wright, Christopher: A-2967 Wright, Denis Sidney Steuart: D-524 Wright, Katrina: A-2968 Wright, Marryat: D-421 Wurdemann, Audrey: A-2969 Wurts, Janny: A-899, A-900, A-2970 Wyeth, Andrew: A-664 Wyeth, Newell Convers: F-664 Yarbro, Chelsea Quinn: A-921, A-2971 Yeames, James: A-2972, A-2973 Yeatman, Linda: A-2974

Yeats, William Butler: A-2975, A-2976 Yeoman, John: A-1024 Yermakov, Nicholas: A-1030, A-1031, A-1032, A-1033, A-1034, A-1035, A-1036, A-1037, A-1038 Yihong, Hu: C-115 Yolen, Jane: A-60, A-64, A-65, A-66, A-672, A-898, A-921, A-960, A-2978, A-2979, A-2980, A-2981, A-2982, A-2983, A-2984, A-2985, A-2986, A-2987, A-2988, A-2989, A-2990, A-2991, A-2992, A-2993, C-115 Yonge, Charlotte M.: A-2994, A-2995 Yorgason, Brenton G.: A-2996 Yorgason, Margaret: A-2996 Youd, Christopher Samuel: A-437, A-810 Young, Ella: A-2998, A-2999, A-3000 Young, F. Liley: A-953 Young, Filson: A-2767, A-2768, A-2769 Young, Francis Brett: A-3001 Young, J. W.: A-3002 Young, Neil: D-525 Young, Robert: C-90 Young, Robert F.: A-3003, A-3004 Young, Stark: A-3005 Young, Waldemar: D-234 Yunge-Bateman, Elizabeth: A-3006 Zachary, Dean: B-52 Zamora, Rudy: C-165 Zaslove, Mark: C-50 Zelazny, Roger: A-672, A-3007, A-3008, A-3009, A-3010 Zelinsky, Paul O.: A-2232 Zimmerman, James B.: B-34 Zindel, Paul: C-44 Zucker, Jerry: C-57 Zylstra, Dick W.: D-527 Zylstra, M. S.: D-527

Arthurian Characters and Themes Accolon: A-253, A-576, A-748, A-2259, A-2468, A-2873, A-2898, A-2966 Agravain: A-59, A-95, A-164, A-207, A-220, A-222, A-251, A-445, A-483, A-511, A-572, A-573, A-576, A-650, A-709, A-722, A-752, A-797, A-813, A-920, A-1005, A-1090, A-1129, A-1243, A-1415, A-1550, A-1773, A-1831, A-1934, A-1935, A-2213, A-2215, A-2251, A-2483, A-2484, A-2641, A-2818, A-2835, A-2952 Alexander the Orphan: A-326, A-544, A-2149, A-2468, F-197 Ambrosius: A-339, A-341, A-356, A-397, A-505, A-588, A-626, A-774, A-973, A-1650, A-1728, A-1777, A-2086, A-2176, A-2517, A-2689, A-2701, A-2740, A-2750, A-2953, A-2982, A-2983, C-119 Amesbury: A-9, A-79, A-87, A-243, A-486, A-760, A-763, A-1189, A-2051, A-2102, A-2979 Amoret: A-604, F-190, F-397, F-449, F-489 Andret: A-453, A-650, A-1019, A-1021, A-1683, A-2001, A-2217, D-85, F-467 Aneirin: A-48, A-356, A-774, A-1215, A-1409, A-1613, A-1735, A-2521 Annwn: A-755, A-1246, A-1770, A-2388, F-371 Arthegall: A-1594, A-2290, A-2428, A-2431, A-2435, F-437 Arthur, King: passim Arthur and knights sleep / sleeping knights discovered: A-305, A-397, A-457, A-532, A-701, A-714, A-875, A-876, A-983, A-991, A-1065, A-1163, A-1309, A-1448, A-1623, A-1765, A-1768, A-2137, A-2231, A-2505, A-2652, A-2824, A-2948, C-130, C-148, D-115, D-453 Arthur at war with Lancelot: A-3, A-164, A-221, A-336, A-442, A-445, A-610, A-647, A-650, A-822, A-933, A-1380, A-1457, A-1582, A-1646, A-2030, A-2168, A-2180, A-2213, A-2484, A-2566, A-2635, A-2654, A-2732, A-2806, A-2889, D-313, F-371

Arthur battles the rebel kings: A-73, A-96, A-98, A-249, A-520, A-576, A-1528, A-1784, A-2170, A-2263, A-2554, D-8 Arthur creates the Round Table fellowship: A-201, A-339, A-464, A-663, A-761, A-907, A-1129, A-1167, A-1175, A-1574, A-1979, A-1980, A-2108, A-2113, A-2683, A-2713 Arthur cuts Culhwch’s hair: A-138, A-206, A-631, A-2395, A-2511, A-2747, A-2911, F-372 Arthur marries Guenevere: A-9, A-48, A-87, A-153, A-263, A-322, A-336, A-341, A-387, A-464, A-478, A-511, A-516, A-570, A-572, A-588, A-663, A-667, A-689, A-699, A-700, A-759, A-764, A-765, A-855, A-906, A-907, A-913, A-997, A-1017, A-1053, A-1064, A-1090, A-1098, A-1135, A-1136, A-1212, A-1226, A-1315, A-1381, A-1409, A-1457, A-1523, A-1546, A-1550, A-1639, A-1652, A-1664, A-1727, A-1784, A-1837, A-1921, A-1999, A-2108, A-2168, A-2170, A-2225, A-2264, A-2391, A-2418, A-2487, A-2554, A-2597, A-2615, A-2619, A-2638, A-2743, A-2780, A-2813, A-2891, A-2908, A-2918, A-2930, A-2931, A-2959, A-2979, D-11, D-13, D-313, D-447 Arthur sails to Caer Siddi: A-436, A-800, A-1262, A-1306, A-1309, A-1588, A-2349, A-2661, A-2913, D-134 Arthur taken to Avalon: A-17, A-23, A-24, A-30, A-56, A-78, A-85, A-180, A-208, A-236, A-289, A-341, A-387, A-419, A-459, A-464, A-546, A-570, A-580, A-616, A-617, A-650, A-673, A-674, A-705, A-760, A-773, A-775, A-834, A-845, A-847, A-870, A-1015, A-1025, A-1100, A-1122, A-1210, A-1253, A-1267, A-1271, A-1282, A-1286, A-1337, A-1377, A-1380, A-1409, A-1459, A-1595, A-1596, A-1638, A-1824, A-1918, A-1949, A-2017, A-2097, A-2101, A-2113, A-2163, A-2258, A-2276, A-2288, A-2290, A-2351, A-2371, A-2373, A-2388, A-2452, A-2503, A-2504, A-2607, A-2611, A-2616,

758

Arthurian Characters and Themes

A-2683, A-2807, A-2809, A-2846, A-2847, A-2862, A-2922, A-2995, D-66, D-106, D-134, D-300, D-306, D-508, D-509, F-153, F-227, F-458 Arthur vs Saxons: A-48, A-54, A-55, A-69, A-72, A-73, A-74, A-77, A-87, A-175, A-179, A-220, A-223, A-232, A-283, A-292, A-304, A-341, A-342, A-347, A-478, A-505, A-588, A-610, A-614, A-627, A-640, A-675, A-680, A-681, A-685, A-688, A-700, A-720, A-774, A-798, A-802, A-829, A-877, A-913, A-915, A-973, A-1003, A-1025, A-1092, A-1108, A-1141, A-1175, A-1182, A-1215, A-1258, A-1272, A-1274, A-1469, A-1555, A-1570, A-1573, A-1574, A-1580, A-1629, A-1630, A-1641, A-1712, A-1808, A-1950, A-1958, A-1996, A-2023, A-2033, A-2086, A-2087, A-2112, A-2163, A-2221, A-2340, A-2343, A-2352, A-2488, A-2517, A-2521, A-2523, A-2579, A-2591, A-2592, A-2689, A-2690, A-2700, A-2701, A-2740, A-2750, A-2787, A-2825, A-2930, A-2965, A-3001, C-130, D-447 Astolat: A-38, A-576, A-627, A-690, A-745, A-1152, A-2114, A-2483, A-2634 Aurelius: A-628, A-640, A-757, A-919, A-945, A-1183, A-1510, A-1574, A-1710, A-2241, A-2465, A-2701, A-2908 Avalon: A-9, A-17, A-19, A-40, A-41, A-46, A-50, A-83, A-85, A-124, A-146, A-153, A-158, A-180, A-215, A-216, A-217, A-225, A-226, A-227, A-230, A-232, A-236, A-289, A-293, A-298, A-319, A-330, A-331, A-358, A-363, A-369, A-379, A-395, A-459, A-461, A-464, A-521, A-527, A-528, A-546, A-562, A-573, A-576, A-591, A-624, A-647, A-673, A-674, A-698, A-705, A-706, A-712, A-761, A-763, A-773, A-775, A-805, A-830, A-834, A-845, A-861, A-867, A-868, A-870, A-886, A-906, A-907, A-912, A-959, A-986, A-994, A-1042, A-1054, A-1058, A-1100, A-1104, A-1122, A-1131, A-1136, A-1158, A-1159, A-1175, A-1181, A-1211, A-1226, A-1258, A-1267, A-1271, A-1322, A-1343, A-1363, A-1377, A-1385, A-1432, A-1507, A-1515, A-1524, A-1540, A-1546, A-1596, A-1616, A-1621, A-1622, A-1646, A-1687, A-1712, A-1718, A-1751, A-1755, A-1768, A-1796, A-1797, A-1798, A-1811, A-1845, A-1855, A-1859, A-1871, A-1873, A-1875, A-1876, A-1883, A-1889, A-1918, A-1942, A-1950, A-1983, A-2017, A-2042, A-2097, A-2103, A-2125, A-2130, A-2146, A-2156, A-2163, A-2175, A-2247, A-2277, A-2278, A-2288, A-2317, A-2319, A-2351, A-2355, A-2368,

A-2371, A-2373, A-2374, A-2388, A-2402, A-2439, A-2453, A-2482, A-2503, A-2504, A-2650, A-2656, A-2665, A-2692, A-2754, A-2789, A-2809, A-2847, A-2900, A-2908, A-2922, A-2940, A-2953, A-2966, A-2967, A-2976, A-3001, A-3008, C-49, C-111, C-144, D-1, D-11, D-13, D-61, D-66, D-106, D-148, D-185, D-229, D-238, D-256, D-267, D-291, D-300, D-306, D-314, D-373, D-407, D-419, D-435, D-447, D-448, D-469, F-32, F-227, F-288, F-297, F-371 Badon, Battle of: A-2, A-160, A-283, A-341, A-350, A-351, A-413, A-440, A-464, A-661, A-685, A-774, A-877, A-1058, A-1092, A-1413, A-1510, A-1574, A-1586, A-1611, A-1808, A-2033, A-2482, A-2526, A-2680, A-2681, A-2689, A-2700, A-2701, A-2713, A-2721, A-2889, A-2891, A-2908, B-53, C-48, C-130, F-418 Balan and Balin: A-48, A-138, A-239, A-350, A-375, A-477, A-569, A-688, A-706, A-746, A-797, A-805, A-816, A-855, A-1017, A-1064, A-1258, A-1275, A-1434, A-1462, A-1479, A-1840, A-2124, A-2245, A-2458, A-2574, A-2580, A-2600, A-2745, A-2891 Ban: A-1311, A-1569, A-1644, A-2533 Bardsey Island: A-1778, A-1935 Bedivere: A-3, A-48, A-72, A-73, A-98, A-164, A-220, A-221, A-284, A-303, A-304, A-351, A-356, A-397, A-433, A-455, A-560, A-569, A-580, A-641, A-650, A-689, A-700, A-775, A-797, A-798, A-805, A-844, A-858, A-873, A-879, A-915, A-963, A-986, A-1119, A-1122, A-1175, A-1291, A-1309, A-1337, A-1362, A-1409, A-1476, A-1478, A-1495, A-1498, A-1528, A-1590, A-1639, A-1643, A-1663, A-2097, A-2119, A-2163, A-2221, A-2222, A-2375, A-2395, A-2398, A-2443, A-2467, A-2503, A-2523, A-2543, A-2607, A-2611, A-2616, A-2626, A-2656, A-2689, A-2713, A-2750, A-2825, A-2846, A-2847, A-2862, A-2873, A-2891, A-2911, A-2925, A-2930, A-2952, A-2959, A-2966, A-2995, D-86, D-306, D-447, D-508, D-509, F-221, F-587 Belphoebe: A-2839, F-194, F-264 Bertilak: A-396, A-515, A-566, A-1935, A-2002, A-2267, D-301 Black Knight: A-226, A-227, A-423, A-663, A-687, A-767, A-855, A-931, A-1023, A-1027, A-1054, A-1147, A-1311, A-1326, A-1979, A-2138, A-2225, A-2446, A-2627, C-141, D-108, D-145, E-83

Arthurian Characters and Themes Bertilak’s Castle (Hautdesert): A-396, A-515, A-2267, D-301 Blaise: A-70, A-648, A-1370, A-1379, A-1446, A-2109, A-2160, A-2238, A-2683 Bors: A-21, A-32, A-186, A-207, A-375, A-398, A-506, A-576, A-663, A-705, A-761, A-764, A-805, A-813, A-814, A-823, A-924, A-941, A-959, A-964, A-986, A-1123, A-1275, A-1311, A-1398, A-1435, A-1525, A-1575, A-1646, A-1700, A-1786, A-1801, A-1983, A-2059, A-2117, A-2127, A-2140, A-2141, A-2168, A-2180, A-2402, A-2425, A-2439, A-2458, A-2483, A-2495, A-2512, A-2518, A-2584, A-2603, A-2660, A-2665, A-2806, A-2889, A-2891, A-2897, D-86, F-16, F-160, F-186, F-217, F-514, F-523 “Boy and the Mantle, The”: A-211, A-1960, F-250, F-557 Bran: A-17, A-48, A-87, A-120, A-464, A-471, A-879, A-1613, A-1935, A-2452, A-2470 Brangaene: A-44, A-118, A-149, A-326, A-753, A-791, A-1538, A-1571, A-1584, A-1617, A-1683, A-2001, A-2270, A-2302, A-2329, A-2565, A-2641, A-2670, A-2703, A-2756, A-2757, A-2763, A-2769, D-85 Britomart: A-379, A-604, A-628, A-2165, A-2323, A-2428, A-2431, A-2435, A-2791, A-2839, F-145, F-190, F-449, F-489, F-564, F-632, F-633 Broceliande, Forest of: A-17, A-98, A-101, A-319, A-373, A-379, A-395, A-466, A-469, A-470, A-591, A-663, A-1105, A-1137, A-1211, A-1326, A-1416, A-1613, A-1640, A-2027, A-2125, A-2210, A-2214, A-2309, A-2310, A-2976, A-2872, A-2889, A-2891 Cú Chulainn: A-1053, A-2672 Cabal the Hound: A-161, A-357, A-699, A-1175, A-1613, A-1774, A-1953, A-2672, A-2750 Cadbury: A-1712, A-1808 Cador: A-588, A-1574, A-1630, A-2104, A-2241 Caer Morgana: A-2439, A-2468 Caer Myrddin: A-120, A-694, A-879 Caer Siddi: A-800, A-1175, A-1262, A-1309, A-2022, A-2349, A-2913, D-134 Caerleon: A-87, A-98, A-138, A-149, A-201, A-206, A-324, A-351, A-380, A-414, A-563, A-588, A-763, A-855, A-879, A-956, A-1168, A-1175, A-1273, A-1326, A-1343, A-1476, A-1573, A-1616, A-1645, A-1670, A-1712, A-1948, A-2121, A-2145, A-2160, A-2170, A-2172, A-2263, A-2471, A-2482,

759

A-2483, A-2484, A-2689, A-2889, A-2891, A-2921, A-2930, A-2995, D-11, D-13, F-137 Caliburn: A-178, A-322, A-395, A-562, A-699, A-1630, A-2093, A-2300, A-2468, A-2788, A-2908, D-127 Calidore: A-707, A-1594, A-2428, A-2431, A-2435 Cameliard: A-9, A-98, A-521, A-689, A-765, A-855, A-1326, A-1523, A-2418, A-2554, A-2844 Camelot: passim Camlann, Battle of: A-19, A-24, A-37, A-48, A-79, A-84, A-102, A-121, A-138, A-153, A-164, A-201, A-337, A-341, A-432, A-505, A-557, A-568, A-570, A-590, A-623, A-647, A-661, A-667, A-705, A-715, A-720, A-760, A-761, A-822, A-829, A-834, A-844, A-845, A-847, A-859, A-870, A-906, A-907, A-915, A-920, A-933, A-967, A-977, A-991, A-1013, A-1015, A-1032, A-1037, A-1054, A-1055, A-1062, A-1070, A-1090, A-1092, A-1115, A-1122, A-1155, A-1175, A-1182, A-1210, A-1220, A-1243, A-1244, A-1249, A-1267, A-1272, A-1282, A-1337, A-1409, A-1459, A-1472, A-1478, A-1528, A-1530, A-1546, A-1571, A-1581, A-1586, A-1638, A-1665, A-1703, A-1774, A-1805, A-1813, A-1824, A-1831, A-1838, A-1921, A-1924, A-1935, A-1983, A-2017, A-2053, A-2087, A-2155, A-2160, A-2163, A-2170, A-2176, A-2253, A-2258, A-2260, A-2290, A-2343, A-2350, A-2351, A-2352, A-2375, A-2376, A-2379, A-2418, A-2439, A-2440, A-2441, A-2444, A-2451, A-2452, A-2484, A-2505, A-2520, A-2523, A-2607, A-2611, A-2654, A-2660, A-2689, A-2701, A-2750, A-2789, A-2807, A-2809, A-2817, A-2818, A-2825, A-2846, A-2908, A-2918, A-2995, B-22, C-16, C-48, D-10, D-65, D-313, D-474, D-522, F-221, F-371 Caradoc: A-96, A-625, A-669, A-959, A-1256, A-1644, A-1645, A-2087 Carle of Carlisle: A-346, A-1520, A-1559, A-1961 Carmarthen: A-157 Castle Perilous: A-1326, A-1550, F-371 Cauldrons: A-120, A-123, A-436, A-800, A-1175, A-1256, A-1262, A-1267, A-1613, A-1650, A-1847, A-1869, A-2146, A-2172, A-2388, A-2913, A-2925, A-2927, D-134, F-372 Cerdic: A-54, A-55, A-74, A-87, A-179, A-220, A-347, A-351, A-505, A-675, A-685, A-776, A-879, A-1003, A-1092, A-1140,

760

Arthurian Characters and Themes

A-1142, A-1175, A-1958, A-2577, A-2690, A-2750, A-2846, A-2951 Ceridwen: A-145, A-756, A-991, A-1613, A-1847, A-2172, A-2322, A-2388, A-2748, A-2889, A-2909, A-2927, F-372 Ceridwen’s cauldron of knowledge: A-121, A-145, A-756, A-1267, A-1613, A-1847, A-1869, A-1940, A-1950, A-2172, A-2748, A-2909, A-2927, F-372 Chapel Perilous: A-111, A-1529, A-2019, A-2265 Chastity test: A-211, A-604, A-1256, A-1616, A-1960, A-2165, A-2977 Cleges: A-99, A-565, A-1008, A-2109, A-2456, A-2926, A-2928 Constans: A-87, A-516, A-763, A-786, A-1092, B-53 Constantine: A-63, A-915, A-963, A-2291, A-2686, A-2701, A-2930, B-22 Corbenic: A-207, A-219, A-398, A-521, A-572, A-576, A-594, A-745, A-766, A-878, A-1005, A-1435, A-1552, A-1632, A-1885, A-2052, A-2117, A-2126, A-2127, A-2146, A-2581, A-2833, A-2889, A-2891, A-2931, A-3003, F-371 Culhwch and Olwen: A-138, A-161, A-206, A-207, A-328, A-474, A-631, A-855, A-1070, A-1175, A-1176, A-1241, A-1245, A-1249, A-1256, A-1326, A-1413, A-1613, A-1953, A-2147, A-2395, A-2403, A-2481, A-2511, A-2645, A-2662, A-2744, A-2747, A-2911, A-2925, C-146, C-175, F-241, F-372 Dagonet: A-9, A-73, A-86, A-336, A-378, A-445, A-512, A-963, A-1130, A-1224, A-1343, A-1479, A-1578, A-1719, A-1720, A-1953, A-2128, A-2138, A-2153, A-2159, A-2214, A-2459, A-2605, D-86, F-575 Dinadan: A-445, A-512, A-986, A-1019, A-1457, A-1520, A-1647, A-1921, A-2154, A-2188, A-2251, A-2483, A-2552, A-2889, A-2891 Dolorous Garde: A-82, A-164, A-393, A-516, A-521, A-650, A-933, A-959, A-1005, A-1150, A-1264, A-1395, A-1435, A-1689, A-1712, A-2140, A-2180, A-2213, A-2217, A-2459, A-2484, A-2532, A-2732, D-229 Dolorous Stroke: A-28, A-72, A-350, A-393, A-477, A-487, A-804, A-912, A-1015, A-1101, A-1245, A-1249, A-1275, A-1322, A-1411, A-1434, A-1462, A-1945, A-2018, A-2020, A-2117, A-2131, A-2211, A-2245, A-2284, A-2293, A-2346, A-2425, A-2760, A-2768, A-2978, B-28

Ector: A-69, A-213, A-240, A-277, A-351, A-734, A-761, A-1634, A-1703, A-1712, A-2140, A-2202, A-2250, A-2263, A-2393, A-2491, A-2555, A-2665, A-2735, A-2752, A-2834, C-126, D-86 Edyrn: A-663, A-688, A-855, A-2121, A-2132, A-2615, A-2664 Elaine of Astolat / Lady of Shalott: A-38, A-41, A-78, A-104, A-141, A-147, A-149, A-164, A-205, A-308, A-345, A-408, A-434, A-453, A-483, A-495, A-527, A-545, A-571, A-690, A-745, A-772, A-789, A-823, A-914, A-1005, A-1007, A-1096, A-1121, A-1152, A-1158, A-1164, A-1169, A-1228, A-1284, A-1323, A-1439, A-1495, A-1521, A-1608, A-1659, A-1660, A-1669, A-1689, A-1715, A-1747, A-1760, A-1768, A-1926, A-1967, A-1974, A-1975, A-1997, A-2019, A-2109, A-2113, A-2114, A-2119, A-2122, A-2167, A-2323, A-2358, A-2375, A-2448, A-2483, A-2490, A-2602, A-2608, A-2609, A-2619, A-2620, A-2621, A-2623, A-2624, A-2628, A-2634, A-2772, A-2859, A-2917, C-5, C-9, C-95, C-96, C-127, C-139, D-15, D-47, D-48, D-67, D-83, D-99, D-134, D-138, D-156, D-237, D-252, D-262, D-283, D-284, D-285, D-304, D-350, D-372, D-442, D-480, F-19, F-52, F-73, F-93, F-117, F-118, F-134, F-148, F-149, F-150, F-155, F-159, F-161, F-164, F-168, F-172, F-189, F-193, F-196, F-206, F-210, F-212, F-216, F-226, F-242, F-252, F-253, F-259, F-261, F-279, F-300, F-307, F-308, F-315, F-316, F-317, F-318, F-319, F-320, F-329, F-349, F-366, F-367, F-369, F-378, F-383, F-390, F-409, F-413, F-414, F-452, F-471, F-479, F-485, F-486, F-488, F-490, F-494, F-499, F-503, F-505, F-518, F-532, F-533, F-539, F-549, F-560, F-565, F-571, F-576, F-578, F-594, F-596, F-619, F-621, F-622, F-623, F-624, F-625, F-630, F-646 Elaine of Corbenic: A-1, A-200, A-219, A-251, A-326, A-478, A-568, A-595, A-745, A-790, A-805, A-864, A-878, A-915, A-959, A-1005, A-1055, A-1089, A-1098, A-1130, A-1150, A-1157, A-1226, A-1275, A-1326, A-1435, A-1495, A-1552, A-1598, A-1599, A-1664, A-1744, A-1974, A-2052, A-2307, A-2358, A-2418, A-2556, A-2659, A-2783, A-2822, A-2889, A-2891, F-543, F-589 Enid: A-41, A-326, A-474, A-688, A-1080, A-1241, A-1256, A-1833, A-1869, A-2094, A-2121, A-2132, A-2245, A-2599, A-2615, A-2618, A-2619, A-2664, A-2822, A-3002, C-175, F-41, F-161, F-169, F-215, F-216,

Arthurian Characters and Themes F-306, F-383, F-578, F-649, F-654, F-655 Excalibur: A-1, A-11, A-17, A-45, A-98, A-115, A-116, A-118, A-119, A-123, A-138, A-149, A-153, A-155, A-156, A-158, A-168, A-203, A-207, A-212, A-217, A-223, A-225, A-226, A-227, A-230, A-232, A-253, A-266, A-277, A-284, A-303, A-351, A-354, A-405, A-414, A-419, A-436, A-442, A-454, A-455, A-456, A-464, A-471, A-487, A-488, A-520, A-521, A-525, A-527, A-568, A-569, A-570, A-576, A-583, A-588, A-590, A-613, A-623, A-637, A-641, A-649, A-650, A-661, A-670, A-673, A-689, A-695, A-697, A-700, A-705, A-708, A-713, A-715, A-746, A-748, A-760, A-761, A-764, A-765, A-778, A-781, A-782, A-833, A-843, A-844, A-855, A-870, A-877, A-882, A-898, A-906, A-907, A-918, A-956, A-959, A-963, A-966, A-974, A-975, A-983, A-992, A-1004, A-1005, A-1017, A-1042, A-1053, A-1054, A-1055, A-1062, A-1075, A-1115, A-1136, A-1167, A-1175, A-1181, A-1213, A-1218, A-1219, A-1222, A-1223, A-1272, A-1273, A-1278, A-1279, A-1282, A-1283, A-1311, A-1315, A-1324, A-1326, A-1337, A-1341, A-1359, A-1360, A-1362, A-1365, A-1368, A-1376, A-1380, A-1400, A-1405, A-1416, A-1417, A-1449, A-1459, A-1507, A-1546, A-1551, A-1559, A-1603, A-1611, A-1613, A-1619, A-1636, A-1638, A-1646, A-1684, A-1712, A-1768, A-1773, A-1774, A-1807, A-1849, A-1867, A-1873, A-1887, A-1933, A-1941, A-1961, A-2009, A-2017, A-2020, A-2079, A-2082, A-2089, A-2097, A-2113, A-2117, A-2118, A-2163, A-2170, A-2180, A-2225, A-2245, A-2258, A-2259, A-2260, A-2263, A-2279, A-2290, A-2291, A-2328, A-2343, A-2350, A-2351, A-2358, A-2388, A-2391, A-2412, A-2420, A-2443, A-2452, A-2484, A-2487, A-2490, A-2493, A-2494, A-2503, A-2504, A-2505, A-2522, A-2543, A-2553, A-2566, A-2591, A-2592, A-2593, A-2607, A-2611, A-2615, A-2616, A-2630, A-2636, A-2665, A-2669, A-2672, A-2683, A-2702, A-2706, A-2743, A-2749, A-2809, A-2815, A-2871, A-2878, A-2898, A-2918, A-2929, A-2940, A-2966, A-2991, A-2995, A-2996, B-19, B-20, B-36, B-37, C-16, C-17, C-20, C-48, C-53, C-61, C-81, C-88, C-111, C-130, C-143, C-145, D-447, D-474, D-509, E-17, E-44, E-83, F-21, F-23, F-178, F-221, F-227, F-231, F-273, F-301, F-388, F-405, F-475, F-477, F-478, F-578, F-607 Excalibur returned to the Lady of the Lake:

761

A-17, A-223, A-284, A-303, A-341, A-442, A-454, A-569, A-580, A-590, A-641, A-650, A-661, A-684, A-713, A-760, A-781, A-844, A-1122, A-1210, A-1222, A-1253, A-1271, A-1282, A-1324, A-1337, A-1459, A-1478, A-1619, A-1638, A-1768, A-1807, A-1867, A-2017, A-2019, A-2020, A-2118, A-2163, A-2258, A-2279, A-2290, A-2291, A-2343, A-2351, A-2375, A-2388, A-2391, A-2398, A-2443, A-2493, A-2503, A-2504, A-2543, A-2607, A-2611, A-2616, A-2825, A-2846, A-2847, A-2918, A-2929, A-2995, C-48, D-306, D-447, D-508, D-509, F-221, F-607 Fisher King: A-174, A-184, A-207, A-235, A-301, A-303, A-345, A-393, A-506, A-528, A-716, A-804, A-821, A-950, A-972, A-1085, A-1101, A-1102, A-1170, A-1252, A-1412, A-1445, A-1475, A-1541, A-1545, A-1561, A-1885, A-1945, A-2003, A-2014, A-2017, A-2018, A-2019, A-2093, A-2126, A-2211, A-2346, A-2425, A-2471, A-2551, A-2566, A-2585, A-2640, A-2760, A-2762, A-2768, A-2771, B-36, B-37, C-134, C-176, D-192, F-5, F-11, F-16, F-371, F-529, F-534 Gaheris: A-88, A-709, A-813, A-822, A-1129, A-1415, A-1550, A-1616, A-1647, A-1782, A-2213, A-2468, A-2574, A-2580 Galahad: A-22, A-32, A-41, A-56, A-86, A-128, A-132, A-149, A-158, A-174, A-185, A-186, A-207, A-210, A-217, A-219, A-247, A-263, A-306, A-309, A-320, A-326, A-360, A-368, A-409, A-455, A-456, A-460, A-464, A-476, A-477, A-478, A-496, A-506, A-521, A-572, A-575, A-581, A-582, A-584, A-585, A-586, A-594, A-622, A-624, A-663, A-679, A-697, A-698, A-705, A-711, A-744, A-745, A-749, A-766, A-770, A-782, A-785, A-790, A-804, A-812, A-813, A-863, A-864, A-870, A-878, A-886, A-907, A-908, A-910, A-915, A-926, A-935, A-941, A-946, A-948, A-953, A-959, A-962, A-964, A-1014, A-1036, A-1042, A-1055, A-1096, A-1101, A-1114, A-1126, A-1129, A-1131, A-1144, A-1150, A-1152, A-1164, A-1167, A-1169, A-1189, A-1238, A-1271, A-1275, A-1279, A-1314, A-1316, A-1317, A-1326, A-1358, A-1359, A-1362, A-1419, A-1434, A-1435, A-1454, A-1461, A-1518, A-1525, A-1599, A-1600, A-1632, A-1646, A-1658, A-1723, A-1744, A-1774, A-1786, A-1787, A-1801, A-1848, A-1852, A-1860, A-1864, A-1887, A-1924, A-1929, A-1973, A-1976, A-1977, A-1979, A-2006, A-2015, A-2046, A-2052, A-2059,

762

Arthurian Characters and Themes

A-2083, A-2113, A-2117, A-2118, A-2119, A-2127, A-2146, A-2151, A-2157, A-2213, A-2229, A-2239, A-2240, A-2245, A-2268, A-2271, A-2333, A-2370, A-2401, A-2425, A-2436, A-2439, A-2458, A-2463, A-2487, A-2490, A-2495, A-2497, A-2518, A-2528, A-2529, A-2551, A-2560, A-2561, A-2586, A-2588, A-2603, A-2613, A-2624, A-2628, A-2659, A-2683, A-2684, A-2706, A-2712, A-2718, A-2722, A-2725, A-2743, A-2745, A-2751, A-2781, A-2801, A-2803, A-2809, A-2833, A-2883, A-2885, A-2889, A-2891, A-2896, A-2897, A-2898, A-2931, A-2947, A-2963, A-2994, A-3001, A-3003, A-3009, C-3, C-52, C-108, D-108, D-275, D-456, D-505, E-14, E-33, E-83, F-1, F-2, F-3, F-4, F-5, F-6, F-7, F-8, F-9, F-10, F-11, F-12, F-13, F-14, F-15, F-16, F-18, F-35, F-114, F-154, F-160, F-186, F-212, F-217, F-282, F-312, F-321, F-323, F-353, F-371, F-447, F-477, F-478, F-481, F-513, F-514, F-523, F-534, F-550, F-555, F-562, F-570, F-579, F-611, F-612 Galahad, Conception of: A-219, A-251, A-326, A-575, A-595, A-745, A-959, A-1005, A-1435, A-1495, A-1552, A-1598, A-1744, A-1974, A-2052, A-2783 Galahad arrives at Camelot: A-247, A-409, A-582, A-745, A-941, A-946, A-964, A-1253, A-1326, A-1435, A-1600, A-2117, A-2425, A-2518, A-2551, A-2628, A-2706, A-2781, A-2833, A-2885, A-2896, F-3, F-16 Galahad at Sarras: A-2551, A-2833, F-13, F-14 Gareth: A-93, A-96, A-98, A-138, A-149, A-221, A-237, A-396, A-398, A-554, A-603, A-656, A-687, A-754, A-764, A-809, A-813, A-822, A-855, A-915, A-941, A-964, A-1017, A-1045, A-1054, A-1055, A-1095, A-1096, A-1411, A-1415, A-1457, A-1479, A-1528, A-1550, A-1582, A-1647, A-1756, A-1774, A-1782, A-1807, A-1866, A-1930, A-1948, A-1993, A-2118, A-2150, A-2213, A-2245, A-2387, A-2401, A-2490, A-2497, A-2526, A-2574, A-2580, A-2581, A-2598, A-2615, A-2621, A-2626, A-2627, A-2628, A-2630, A-2632, A-2715, A-2745, A-2782, A-2973, A-3001, E-14, F-51, F-53, F-61, F-201, F-240, F-254, F-371, F-441, F-534, F-578, F-644 Gareth serves in kitchen: A-207, A-237, A-554, A-687, A-867, A-941, A-1079, A-1095, A-1368, A-1550, A-1756, A-1782, A-1930, A-1948, A-1993, A-2401, A-2598,

A-2615, A-2627, A-2628, A-2630, A-2632, F-578 Gareth’s first quest: A-398, A-554, A-687, A-1095, A-1550, A-1756, A-1782, A-1948, A-1993, A-2526, A-2581, A-2598, A-2615, A-2627, A-2628, A-2630, A-2632, A-2782, F-534 Gawain: A-9, A-11, A-41, A-45, A-63, A-95, A-96, A-98, A-128, A-142, A-144, A-149, A-151, A-164, A-185, A-186, A-201, A-206, A-216, A-219, A-220, A-221, A-222, A-247, A-251, A-263, A-266, A-268, A-283, A-292, A-317, A-320, A-326, A-336, A-346, A-351, A-375, A-396, A-397, A-408, A-445, A-455, A-456, A-472, A-506, A-515, A-521, A-526, A-559, A-566, A-569, A-576, A-588, A-619, A-625, A-637, A-650, A-663, A-688, A-695, A-705, A-708, A-709, A-715, A-722, A-745, A-761, A-797, A-800, A-805, A-813, A-814, A-818, A-822, A-823, A-837, A-873, A-874, A-912, A-923, A-936, A-941, A-952, A-956, A-961, A-980, A-1005, A-1009, A-1011, A-1015, A-1017, A-1026, A-1027, A-1054, A-1055, A-1063, A-1079, A-1081, A-1084, A-1092, A-1104, A-1107, A-1129, A-1132, A-1134, A-1141, A-1159, A-1168, A-1180, A-1184, A-1185, A-1210, A-1223, A-1234, A-1253, A-1273, A-1278, A-1279, A-1291, A-1315, A-1326, A-1333, A-1337, A-1362, A-1368, A-1415, A-1433, A-1443, A-1457, A-1474, A-1479, A-1520, A-1528, A-1559, A-1578, A-1582, A-1587, A-1603, A-1616, A-1636, A-1644, A-1646, A-1647, A-1650, A-1652, A-1654, A-1682, A-1693, A-1700, A-1712, A-1733, A-1738, A-1740, A-1741, A-1752, A-1753, A-1754, A-1756, A-1768, A-1774, A-1782, A-1783, A-1784, A-1785, A-1788, A-1793, A-1808, A-1816, A-1822, A-1823, A-1831, A-1838, A-1867, A-1875, A-1887, A-1929, A-1961, A-1979, A-2002, A-2018, A-2019, A-2063, A-2104, A-2109, A-2117, A-2134, A-2168, A-2179, A-2180, A-2213, A-2214, A-2217, A-2234, A-2237, A-2239, A-2251, A-2267, A-2286, A-2299, A-2302, A-2311, A-2314, A-2327, A-2340, A-2355, A-2358, A-2395, A-2418, A-2423, A-2436, A-2439, A-2441, A-2446, A-2452, A-2483, A-2484, A-2519, A-2522, A-2543, A-2566, A-2603, A-2604, A-2634, A-2654, A-2663, A-2668, A-2706, A-2709, A-2727, A-2732, A-2741, A-2745, A-2760, A-2785, A-2816, A-2830, A-2835, A-2850, A-2854, A-2857, A-2875, A-2907, A-2924, A-2928, A-2931, A-2941, A-2953, A-2972, A-2974, A-2995, A-3001, B-28, B-46, C-141, C-158,

Arthurian Characters and Themes C-159, C-160, C-161, C-162, C-173, D-51, D-52, D-83, D-86, D-154, D-301, D-305, D-307, D-349, D-409, D-436, D-452, E-4, E-14, E-33, E-64, E-83, F-68, F-72, F-87, F-105, F-106, F-112, F-113, F-184, F-238, F-370, F-371, F-578, F-585 Gawain and the Green Knight: A-142, A-149, A-151, A-266, A-285, A-326, A-346, A-396, A-515, A-526, A-566, A-715, A-807, A-818, A-936, A-952, A-961, A-1009, A-1017, A-1026, A-1084, A-1091, A-1184, A-1185, A-1210, A-1297, A-1368, A-1443, A-1520, A-1636, A-1682, A-1738, A-1756, A-1774, A-1783, A-1818, A-1820, A-1838, A-1875, A-1887, A-2002, A-2018, A-2134, A-2170, A-2171, A-2267, A-2286, A-2299, A-2311, A-2314, A-2327, A-2358, A-2470, A-2522, A-2663, A-2682, A-2709, A-2816, A-2840, A-2841, A-2924, A-2928, A-2941, A-2953, A-2972, A-2974, B-28, C-159, C-160, C-161, C-162, C-173, D-51, D-52, D-154, D-301, D-349, D-409, D-452, F-68, F-72, F-112, F-113, F-238, F-370, F-472 Gawain battles Lancelot: A-11, A-263, A-445, A-569, A-822, A-933, A-1278, A-1740, A-2566, A-2654, A-2835 Geraint: A-317, A-326, A-351, A-474, A-577, A-588, A-625, A-627, A-688, A-722, A-855, A-1080, A-1221, A-1241, A-1256, A-1434, A-1592, A-1663, A-2094, A-2121, A-2132, A-2245, A-2308, A-2347, A-2352, A-2599, A-2618, A-2619, A-2664, A-2692, A-2822, A-3002, C-175, F-306, F-372, F-578, F-655 Glastonbury: A-56, A-148, A-197, A-207, A-220, A-225, A-226, A-230, A-232, A-333, A-356, A-397, A-423, A-454, A-458, A-511, A-538, A-563, A-617, A-663, A-697, A-870, A-878, A-949, A-1223, A-1288, A-1310, A-1313, A-1326, A-1435, A-1543, A-1703, A-1794, A-1803, A-1849, A-1888, A-2020, A-2176, A-2316, A-2496, A-2581, A-2666, A-2667, A-2700, A-2951, D-197 Gloriana: A-707, A-1763, A-2428, A-2429, A-2430, A-2431, A-2432, A-2433, A-2434, A-2435 Gododdin: A-1215, A-2521, A-2914, D-518 Gorlois: A-70, A-88, A-98, A-217, A-628, A-1030, A-1031, A-1032, A-1033, A-1034, A-1036, A-1113, A-1155, A-1712, A-1850, A-2174, A-2439, A-2814, B-53, F-371 Grail: A-3, A-6, A-7, A-9, A-14, A-21, A-22, A-34, A-35, A-56, A-61, A-69, A-70, A-71, A-72, A-73, A-78, A-82, A-85, A-93, A-95, A-97, A-98, A-101, A-112, A-113, A-115, A-128, A-132, A-139, A-148, A-153, A-158,

763

A-171, A-174, A-184, A-186, A-198, A-202, A-207, A-210, A-216, A-217, A-235, A-247, A-256, A-263, A-300, A-304, A-309, A-320, A-325, A-331, A-333, A-350, A-354, A-360, A-368, A-383, A-384, A-386, A-393, A-398, A-409, A-410, A-425, A-426, A-427, A-428, A-429, A-430, A-454, A-455, A-456, A-458, A-460, A-464, A-485, A-487, A-506, A-511, A-521, A-528, A-538, A-539, A-559, A-568, A-570, A-572, A-575, A-576, A-579, A-580, A-582, A-583, A-584, A-585, A-589, A-592, A-594, A-650, A-658, A-663, A-666, A-671, A-679, A-696, A-697, A-700, A-705, A-706, A-711, A-712, A-716, A-723, A-749, A-760, A-762, A-764, A-766, A-771, A-778, A-785, A-790, A-804, A-813, A-814, A-821, A-855, A-856, A-861, A-862, A-863, A-864, A-872, A-873, A-878, A-882, A-886, A-889, A-899, A-900, A-901, A-903, A-904, A-906, A-907, A-911, A-912, A-917, A-918, A-926, A-941, A-946, A-950, A-953, A-959, A-962, A-964, A-989, A-991, A-1004, A-1005, A-1028, A-1042, A-1043, A-1053, A-1055, A-1098, A-1101, A-1102, A-1119, A-1125, A-1128, A-1129, A-1130, A-1131, A-1137, A-1150, A-1164, A-1167, A-1168, A-1170, A-1172, A-1177, A-1179, A-1180, A-1189, A-1213, A-1216, A-1223, A-1224, A-1226, A-1238, A-1246, A-1252, A-1253, A-1256, A-1263, A-1264, A-1267, A-1274, A-1275, A-1276, A-1293, A-1310, A-1315, A-1317, A-1318, A-1322, A-1326, A-1356, A-1360, A-1374, A-1388, A-1389, A-1404, A-1405, A-1413, A-1433, A-1434, A-1435, A-1436, A-1473, A-1486, A-1515, A-1522, A-1523, A-1524, A-1525, A-1529, A-1546, A-1561, A-1598, A-1599, A-1600, A-1613, A-1620, A-1632, A-1636, A-1638, A-1646, A-1700, A-1725, A-1742, A-1752, A-1753, A-1754, A-1762, A-1764, A-1773, A-1774, A-1775, A-1801, A-1803, A-1843, A-1870, A-1876, A-1877, A-1883, A-1885, A-1887, A-1889, A-1921, A-1924, A-1940, A-1969, A-1977, A-1979, A-1996, A-2003, A-2006, A-2013, A-2015, A-2017, A-2020, A-2031, A-2043, A-2048, A-2052, A-2057, A-2078, A-2083, A-2088, A-2105, A-2113, A-2117, A-2126, A-2127, A-2130, A-2146, A-2148, A-2152, A-2157, A-2176, A-2179, A-2180, A-2211, A-2227, A-2228, A-2235, A-2236, A-2238, A-2245, A-2247, A-2254, A-2268, A-2284, A-2288, A-2294, A-2296, A-2307, A-2322, A-2333, A-2341, A-2346, A-2358, A-2412, A-2419, A-2422, A-2425, A-2436, A-2444, A-2458, A-2459, A-2468, A-2471, A-2486, A-2490,

764

Arthurian Characters and Themes

A-2493, A-2495, A-2496, A-2497, A-2518, A-2529, A-2551, A-2556, A-2562, A-2563, A-2566, A-2581, A-2585, A-2586, A-2603, A-2628, A-2640, A-2656, A-2657, A-2665, A-2666, A-2681, A-2684, A-2686, A-2687, A-2693, A-2699, A-2705, A-2706, A-2721, A-2725, A-2727, A-2738, A-2741, A-2743, A-2753, A-2754, A-2755, A-2757, A-2759, A-2760, A-2762, A-2764, A-2768, A-2770, A-2781, A-2783, A-2785, A-2828, A-2833, A-2844, A-2874, A-2889, A-2891, A-2897, A-2898, A-2931, A-2935, A-2943, A-2947, A-2970, A-3003, A-3004, A-3006, A-3009, B-28, C-1, C-15, C-58, C-78, C-109, C-111, C-129, C-158, D-14, D-108, D-114, D-127, D-147, D-192, D-255, D-266, D-280, D-373, D-384, D-469, D-474, D-487, E-15, E-20, E-21, E-26, E-27, E-28, E-33, E-82, E-83, F-1, F-2, F-3, F-4, F-5, F-6, F-7, F-8, F-9, F-10, F-11, F-12, F-13, F-14, F-15, F-16, F-32, F-84, F-86, F-87, F-88, F-89, F-105, F-106, F-127, F-154, F-160, F-203, F-217, F-251, F-291, F-321, F-333, F-453, F-467, F-472, F-514, F-523, F-525, F-529, F-534, F-542, F-543, F-563, F-570, F-579, F-599, F-613 Grail Bearer: A-21, A-1885, A-2551 Grail Castle: A-762, A-1473, A-2581, A-2585, A-2762, F-5, F-11, F-534 Grail Quest: A-9, A-14, A-21, A-22, A-32, A-35, A-71, A-72, A-78, A-82, A-93, A-101, A-112, A-113, A-132, A-148, A-158, A-174, A-184, A-186, A-210, A-247, A-263, A-309, A-320, A-325, A-331, A-333, A-360, A-386, A-393, A-398, A-409, A-454, A-455, A-456, A-483, A-485, A-487, A-506, A-528, A-538, A-539, A-575, A-579, A-511, A-582, A-584, A-585, A-589, A-596, A-658, A-666, A-671, A-697, A-711, A-712, A-723, A-749, A-766, A-785, A-804, A-812, A-814, A-864, A-872, A-873, A-878, A-880, A-886, A-918, A-926, A-941, A-946, A-948, A-950, A-964, A-1004, A-1014, A-1042, A-1043, A-1085, A-1096, A-1101, A-1102, A-1119, A-1131, A-1137, A-1150, A-1164, A-1167, A-1168, A-1170, A-1172, A-1177, A-1180, A-1189, A-1213, A-1223, A-1224, A-1252, A-1253, A-1263, A-1272, A-1274, A-1275, A-1306, A-1322, A-1326, A-1374, A-1411, A-1434, A-1435, A-1444, A-1473, A-1486, A-1488, A-1523, A-1529, A-1546, A-1575, A-1600, A-1612, A-1632, A-1700, A-1725, A-1752, A-1753, A-1754, A-1762, A-1764, A-1766, A-1786, A-1801, A-1870, A-1921, A-1924, A-1940, A-1945, A-1969, A-1976, A-1977,

A-2003, A-2013, A-2020, A-2031, A-2043, A-2046, A-2052, A-2057, A-2059, A-2083, A-2093, A-2105, A-2113, A-2117, A-2126, A-2127, A-2146, A-2148, A-2152, A-2179, A-2239, A-2245, A-2247, A-2268, A-2271, A-2284, A-2293, A-2296, A-2307, A-2341, A-2346, A-2370, A-2374, A-2419, A-2422, A-2425, A-2436, A-2445, A-2459, A-2495, A-2518, A-2529, A-2534, A-2551, A-2562, A-2581, A-2603, A-2613, A-2640, A-2656, A-2683, A-2686, A-2699, A-2705, A-2706, A-2760, A-2762, A-2768, A-2781, A-2785, A-2803, A-2809, A-2820, A-2833, A-2874, A-2897, A-2947, A-2958, A-2978, A-3003, A-3004, D-147, D-373, D-487, F-1, F-2, F-3, F-4, F-5, F-6, F-7, F-8, F-9, F-10, F-11, F-12, F-13, F-14, F-15, F-16, F-105, F-106, F-160, F-262, F-453, F-472, F-613 Grave of Arthur found: A-454, A-538, A-617, A-661, A-949, A-1223, A-1255, A-1288, A-1849, A-2176, A-2452, A-2789, A-2832, A-2846, A-2992, C-48 Green Chapel: A-21, A-515, A-524, A-526, A-566, A-1009, A-1443, A-1682, A-1783, A-2002, A-2267, A-2924, D-51, E-33 Green Knight: A-128, A-151, A-266, A-346, A-524, A-526, A-566, A-715, A-818, A-936, A-961, A-1009, A-1017, A-1026, A-1054, A-1055, A-1084, A-1184, A-1185, A-1443, A-1603, A-1682, A-1738, A-1783, A-1818, A-1820, A-2018, A-2134, A-2170, A-2267, A-2286, A-2299, A-2311, A-2314, A-2327, A-2663, A-2709, A-2816, A-2924, A-2928, A-2941, A-2953, A-2972, B-28, C-159, C-160, C-161, C-162, C-173, D-51, D-52, D-154, D-349, D-409, D-452, E-14, E-33, E-83, F-68, F-72, F-112, F-113, F-238, F-370 Gringolet: A-220, A-221, A-222, A-292, A-566, A-1009, A-1079, A-1273, A-1415, A-1682, A-1784, A-2002, A-2267, A-2816 Guenevere, Queen: passim Guenevere, Abduction of: A-11, A-31, A-59, A-225, A-387, A-527, A-624, A-764, A-1081, A-1457, A-1603, A-1646, A-1652, A-1664, A-1665, A-1712, A-1950, A-2260, A-2418, A-2452, A-2482, A-2931, A-2944, A-2960, D-145, D-447, F-337, F-371 Guenevere retires to a nunnery: A-9, A-78, A-79, A-80, A-243, A-486, A-616, A-933, A-1090, A-1165, A-1189, A-1276, A-1381, A-1523, A-1535, A-1556, A-1599, A-1639, A-1666, A-1721, A-1740, A-1746, A-1794, A-1839, A-1924, A-1972, A-1992, A-2051, A-2102, A-2213, A-2276, A-2291, A-2343,

Arthurian Characters and Themes A-2354, A-2361, A-2440, A-2459, A-2484, A-2492, A-2606, A-2665, A-2750, A-2794, A-2806, A-2889, A-2944, A-2979, D-134 Gwyddbwyll, Game of: A-162, A-632, A-1611, F-372 Hengist: A-87, A-299, A-505, A-640, A-675, A-680, A-681, A-786, A-956, A-973, A-1003, A-1017, A-1108, A-1140, A-1142, A-1416, A-1510, A-1710, A-1728, A-1996, A-2112, A-2373, A-2517, A-2787, B-53 Igerne: A-70, A-72, A-88, A-98, A-217, A-253, A-310, A-343, A-394, A-395, A-511, A-516, A-588, A-627, A-628, A-754, A-770, A-1029, A-1036, A-1098, A-1100, A-1113, A-1298, A-1412, A-1426, A-1646, A-1731, A-1842, A-1850, A-1867, A-2174, A-2222, A-2262, A-2336, A-2383, A-2439, A-2465, A-2466, A-2467, A-2814, A-2834, A-2985, D-84, F-371 Iseult of Brittany: A-53, A-67, A-105, A-149, A-165, A-422, A-453, A-1045, A-1056, A-1246, A-1312, A-1483, A-1538, A-1617, A-1737, A-1800, A-1823, A-1927, A-1963, A-2098, A-2111, A-2139, A-2217, A-2329, A-2450, A-2535, A-2537, A-2544, A-2548, A-2650, A-2655, A-2670, A-2691, A-2703, A-2731, D-85, F-97, F-163, F-424, F-620 Iseult of Ireland: A-9, A-15, A-44, A-53, A-81, A-82, A-103, A-104, A-105, A-107, A-108, A-109, A-115, A-118, A-149, A-165, A-173, A-245, A-262, A-265, A-277, A-286, A-318, A-334, A-355, A-364, A-371, A-378, A-381, A-382, A-405, A-422, A-437, A-453, A-475, A-476, A-478, A-479, A-507, A-553, A-579, A-624, A-634, A-650, A-693, A-705, A-706, A-712, A-730, A-731, A-747, A-753, A-779, A-787, A-791, A-792, A-814, A-853, A-887, A-890, A-917, A-939, A-969, A-978, A-985, A-1019, A-1021, A-1028, A-1051, A-1056, A-1071, A-1093, A-1130, A-1156, A-1157, A-1159, A-1160, A-1193, A-1194, A-1195, A-1196, A-1197, A-1198, A-1199, A-1200, A-1201, A-1202, A-1203, A-1204, A-1205, A-1206, A-1207, A-1208, A-1209, A-1214, A-1254, A-1270, A-1301, A-1312, A-1320, A-1345, A-1399, A-1407, A-1420, A-1429, A-1435, A-1442, A-1450, A-1464, A-1481, A-1483, A-1490, A-1533, A-1538, A-1557, A-1558, A-1571, A-1584, A-1589, A-1590, A-1591, A-1603, A-1616, A-1617, A-1632, A-1683, A-1700, A-1714, A-1716, A-1717, A-1737, A-1768, A-1769, A-1799, A-1810, A-1823, A-1824, A-1832, A-1889,

765

A-1917, A-1964, A-1970, A-2001, A-2014, A-2028, A-2061, A-2084, A-2098, A-2110, A-2111, A-2119, A-2120, A-2139, A-2142, A-2154, A-2194, A-2204, A-2217, A-2270, A-2301, A-2302, A-2329, A-2359, A-2380, A-2383, A-2390, A-2399, A-2439, A-2459, A-2513, A-2514, A-2515, A-2524, A-2532, A-2535, A-2537, A-2538, A-2544, A-2545, A-2547, A-2548, A-2565, A-2567, A-2568, A-2587, A-2590, A-2605, A-2642, A-2650, A-2670, A-2671, A-2686, A-2691, A-2692, A-2703, A-2711, A-2718, A-2723, A-2728, A-2729, A-2730, A-2731, A-2733, A-2756, A-2757, A-2758, A-2763, A-2769, A-2784, A-2786, A-2807, A-2838, A-2842, A-2858, A-2881, A-2889, A-2916, A-2953, A-2974, A-3001, C-106, D-9, D-85, D-286, D-302, E-83, F-34, F-43, F-78, F-81, F-91, F-109, F-110, F-176, F-179, F-180, F-224, F-344, F-368, F-404, F-412, F-428, F-429, F-467, F-472, F-483, F-526, F-541, F-546, F-578, F-579, F-590 Iseult’s death: A-44, A-53, A-109, A-165, A-173, A-634, A-731, A-791, A-792, A-1019, A-1021, A-1056, A-1301, A-1429, A-1590, A-1617, A-1737, A-2217, A-2270, A-2459, A-2537, A-2548, A-2670, A-2691, A-2756, A-2763, A-2769, A-2784, D-9, D-286 Isle of Merlin: E-48, E-49, E-50, E-51 Joseph of Arimathea: A-23, A-56, A-71, A-184, A-197, A-207, A-235, A-333, A-454, A-458, A-528, A-663, A-711, A-749, A-879, A-905, A-907, A-926, A-941, A-964, A-1043, A-1100, A-1275, A-1310, A-1385, A-1432, A-1473, A-1515, A-1568, A-1632, A-1843, A-1888, A-2020, A-2127, A-2268, A-2453, A-2496, A-2551, A-2563, A-2705, A-2809, A-2820, A-2833, A-2931, A-2947, A-3003, D-148, F-16, F-579 Joyous Garde: A-511, A-1311, F-371, F-534 Kay: A-3, A-19, A-54, A-55, A-69, A-72, A-73, A-93, A-95, A-96, A-112, A-117, A-128, A-149, A-185, A-206, A-211, A-220, A-221, A-237, A-240, A-253, A-307, A-310, A-326, A-351, A-356, A-375, A-436, A-445, A-455, A-504, A-545, A-554, A-559, A-588, A-619, A-631, A-652, A-667, A-687, A-689, A-695, A-705, A-710, A-733, A-734, A-754, A-770, A-800, A-805, A-813, A-824, A-833, A-855, A-858, A-867, A-879, A-895, A-913, A-923, A-941, A-1011, A-1012, A-1019, A-1023, A-1049, A-1054, A-1079, A-1139, A-1176,

766

Arthurian Characters and Themes

A-1241, A-1243, A-1274, A-1277, A-1282, A-1284, A-1341, A-1343, A-1368, A-1415, A-1446, A-1473, A-1476, A-1520, A-1553, A-1590, A-1591, A-1613, A-1616, A-1624, A-1634, A-1644, A-1703, A-1774, A-1784, A-1808, A-1865, A-1933, A-1948, A-1960, A-2063, A-2108, A-2109, A-2112, A-2137, A-2156, A-2179, A-2239, A-2250, A-2263, A-2350, A-2393, A-2395, A-2418, A-2446, A-2474, A-2483, A-2484, A-2487, A-2491, A-2555, A-2566, A-2574, A-2580, A-2626, A-2627, A-2630, A-2632, A-2689, A-2706, A-2735, A-2741, A-2750, A-2752, A-2834, A-2846, A-2847, A-2851, A-2852, A-2855, A-2856, A-2911, A-2918, A-2925, A-2930, A-2931, C-87, C-175, D-11, D-13, D-86 Klingsor: A-1028, A-1752, A-1753, A-1754, A-2227, A-2346, A-2585, A-2699, A-2760, A-2762, A-2768 Kundry: A-235, A-1057, A-2227, A-2346, A-2585, A-2678, A-2698, A-2741, A-2760, A-2762, A-2768 Lady of the Fountain: A-474, A-1012, A-1256, A-1326, A-2921, F-372 Lady of the Lake: A-45, A-73, A-116, A-118, A-148, A-204, A-223, A-246, A-322, A-367, A-372, A-477, A-525, A-527, A-528, A-639, A-686, A-699, A-766, A-833, A-840, A-841, A-844, A-875, A-876, A-881, A-907, A-966, A-1075, A-1136, A-1167, A-1343, A-1416, A-1417, A-1422, A-1435, A-1441, A-1570, A-1622, A-1646, A-1703, A-1774, A-1836, A-1940, A-2089, A-2118, A-2210, A-2223, A-2225, A-2238, A-2265, A-2278, A-2279, A-2288, A-2351, A-2360, A-2368, A-2398, A-2402, A-2420, A-2467, A-2482, A-2493, A-2553, A-2584, A-2594, A-2626, A-2638, A-2749, A-2873, A-2898, A-2963, B-37, C-16, C-158, D-86, D-463, D-469, D-483, D-505, F-21, F-66, F-82, F-161, F-173, F-178, F-216, F-227, F-273, F-371, F-383, F-388, F-410, F-475, F-477, F-478, F-545, F-577, F-578 Lady of the Lake gives Arthur a sword: A-45, A-98, A-115, A-116, A-118, A-153, A-158, A-203, A-223, A-253, A-351, A-354, A-405, A-419, A-464, A-525, A-570, A-576, A-613, A-661, A-689, A-746, A-833, A-843, A-906, A-907, A-966, A-1017, A-1053, A-1055, A-1075, A-1136, A-1167, A-1181, A-1283, A-1315, A-1326, A-1343, A-1376, A-1417, A-1570, A-1603, A-1638, A-1646, A-1807, A-1867, A-2009, A-2170, A-2225, A-2245, A-2263, A-2279, A-2328, A-2391, A-2420,

A-2553, A-2683, A-2702, A-2743, A-2978, C-48, D-447, D-474, E-44, F-21, F-178, F-273, F-388, F-475, F-478, F-577, F-578, F-607 Lamorak: A-9, A-25, A-88, A-623, A-709, A-710, A-836, A-1119, A-1129, A-1398, A-1644, A-2142, A-2180, A-2468, A-2579, A-2785, D-86, E-14 Lancelot: passim Lancelot and Guenevere, Love of: A-2, A-3, A-19, A-59, A-63, A-78, A-82, A-87, A-104, A-129, A-164, A-186, A-201, A-212, A-219, A-221, A-241, A-243, A-251, A-263, A-291, A-304, A-315, A-322, A-336, A-337, A-354, A-360, A-387, A-398, A-408, A-409, A-442, A-445, A-456, A-478, A-483, A-486, A-506, A-511, A-513, A-520, A-526, A-527, A-545, A-557, A-567, A-568, A-569, A-570, A-572, A-573, A-575, A-577, A-579, A-589, A-590, A-610, A-623, A-624, A-635, A-647, A-650, A-667, A-705, A-729, A-736, A-737, A-739, A-740, A-745, A-752, A-761, A-766, A-789, A-822, A-823, A-824, A-834, A-870, A-872, A-878, A-887, A-906, A-913, A-914, A-915, A-927, A-928, A-933, A-934, A-937, A-938, A-977, A-997, A-1013, A-1024, A-1059, A-1064, A-1090, A-1096, A-1129, A-1130, A-1131, A-1135, A-1136, A-1157, A-1165, A-1189, A-1210, A-1212, A-1229, A-1231, A-1242, A-1243, A-1244, A-1258, A-1272, A-1277, A-1286, A-1288, A-1315, A-1381, A-1393, A-1434, A-1435, A-1444, A-1447, A-1457, A-1487, A-1488, A-1495, A-1511, A-1523, A-1535, A-1552, A-1555, A-1556, A-1583, A-1586, A-1587, A-1608, A-1638, A-1639, A-1644, A-1646, A-1664, A-1665, A-1690, A-1716, A-1727, A-1740, A-1743, A-1744, A-1746, A-1747, A-1783, A-1788, A-1791, A-1794, A-1827, A-1831, A-1836, A-1838, A-1839, A-1844, A-1867, A-1873, A-1874, A-1921, A-1924, A-1926, A-1934, A-1954, A-1992, A-2017, A-2051, A-2052, A-2110, A-2113, A-2115, A-2117, A-2119, A-2122, A-2146, A-2164, A-2168, A-2169, A-2173, A-2177, A-2180, A-2182, A-2213, A-2214, A-2215, A-2240, A-2253, A-2269, A-2271, A-2275, A-2276, A-2291, A-2304, A-2336, A-2352, A-2354, A-2362, A-2373, A-2380, A-2418, A-2436, A-2437, A-2440, A-2444, A-2459, A-2483, A-2484, A-2498, A-2500, A-2501, A-2523, A-2534, A-2550, A-2566, A-2589, A-2600, A-2602, A-2604, A-2614, A-2615, A-2634, A-2665, A-2701, A-2706, A-2718, A-2732, A-2740, A-2752, A-2780, A-2783, A-2785, A-2794, A-2806,

Arthurian Characters and Themes A-2813, A-2814, A-2843, A-2845, A-2860, A-2876, A-2918, A-2931, A-2944, A-2979, A-2985, A-2992, C-158, D-105, D-134, D-211, D-270, D-313, D-346, D-474, F-371, F-467 Lancelot and the cart: A-11, A-1081, A-2019, A-2953 Lancelot heals a knight: A-63, A-238, A-1096 Lancelot rescues Guenevere: A-11, A-59, A-164, A-221, A-336, A-387, A-483, A-527, A-650, A-822, A-1129, A-1380, A-1398, A-1457, A-1582, A-1664, A-1665, A-1712, A-1788, A-1791, A-1838, A-2168, A-2180, A-2213, A-2276, A-2418, A-2556, A-2706, A-2732, A-2780, A-2931, A-2944, A-2960, F-337, F-371, F-478 Lancelot vs Turquine: A-471, A-636, A-690, A-824, A-1005, A-2265, A-2783, F-138 Lancelot’s madness: A-194, A-200, A-219, A-575, A-745, A-1005, A-1435, A-1552, A-1782, A-2044, A-2437, A-2556, A-2687, A-2783 Lanval: A-722, A-1238, A-1616, A-1756, A-1757, A-1806, A-2104, F-44 Lavaine: A-9, A-164, A-2114, A-2119, A-2483, D-83 Leodegrance: A-623, A-734, A-1053, A-1381, A-1550, A-1837, A-2238, A-2264, A-2482, A-2554, A-2597 Linet: A-138, A-397, A-398, A-408, A-554, A-563, A-687, A-1054, A-1095, A-1098, A-1368, A-1493, A-1782, A-1935, A-1948, A-1993, A-2118, A-2490, A-2497, A-2598, A-2615, A-2621, A-2626, A-2627, A-2630, A-2782, A-2816, F-51, F-53, F-61, F-211, F-240, F-254, F-371, F-441, F-578, F-644 Lionel: A-59, A-471, A-824, A-1138, A-1935, A-2239, A-2402, A-2584 Lionors: A-1095, A-1096, A-1226, A-1493, A-2150, A-2627 Loathly Lady: A-144, A-149, A-599, A-695, A-952, A-1027, A-1063, A-1098, A-1290, A-1297, A-1415, A-1433, A-1520, A-1559, A-1616, A-1693, A-1738, A-1829, A-1961, A-1995, A-2063, A-2109, A-2232, A-2237, A-2315, A-2355, A-2423, A-2482, A-2519, A-2522, A-2658, A-2704, A-2974, D-307, D-436, F-6, F-553 Logres: A-591, A-698, A-2259, A-2889, A-2891 Lohengrin: A-410, A-821, A-1055, A-1120, A-1739, A-1752, A-2228, A-2389, A-2538, A-2753, A-2754, A-2755, A-2757, A-2758, A-2759, A-2761, A-2764, A-2766, A-2767, A-2831

767

Lot: A-9, A-29, A-73, A-98, A-222, A-249, A-307, A-350, A-351, A-567, A-623, A-706, A-734, A-754, A-907, A-956, A-1129, A-1242, A-1244, A-1273, A-1528, A-1550, A-1579, A-1654, A-1712, A-1865, A-1935, A-2251, A-2467, A-2482, A-2581, A-2591, A-2626, A-2835, A-2891 Love potion: A-44, A-53, A-82, A-103, A-109, A-149, A-165, A-245, A-265, A-422, A-634, A-730, A-747, A-791, A-792, A-887, A-969, A-1017, A-1019, A-1021, A-1054, A-1301, A-1429, A-1489, A-1533, A-1616, A-1617, A-1683, A-1717, A-1737, A-1832, A-1964, A-2001, A-2028, A-2098, A-2120, A-2301, A-2329, A-2535, A-2537, A-2650, A-2691, A-2703, A-2756, A-2757, A-2763, A-2769, A-2784, A-2858, A-2916, A-2953, F-467, F-526 Lyonnesse: A-9, A-186, A-344, A-414, A-575, A-646, A-647, A-1020, A-1104, A-1127, A-1130, A-1211, A-1787, A-1805, A-2378, A-2737, A-2738, A-2739, A-2807, A-2816, D-176, D-207 Mabinogion: A-61, A-64, A-66, A-206, A-281, A-317, A-327, A-328, A-391, A-419, A-448, A-450, A-474, A-631, A-632, A-633, A-755, A-777, A-896, A-996, A-1017, A-1023, A-1175, A-1216, A-1241, A-1566, A-1611, A-1613, A-1706, A-1748, A-2352, A-2466, A-2511, A-2522, A-2624, A-2662, A-2744, A-2777, A-2901, A-2911, A-2937, C-107, C-175, D-519, D-520, F-57, F-123, F-241, F-348, F-420 Maelgwyn: A-199, A-222, A-612, A-703, A-763, A-774, A-802, A-1267, A-1470, A-1596, A-1613, A-1869, A-1950, A-2927, A-2930 Magic boat: A-487, A-959, A-1275, A-1435, A-1529, A-1613, A-2296, A-2891, F-16 Malory, Thomas (Sir): A-664, A-1180, A-1253, A-1416, A-2016, A-2387, A-2495, A-2994, F-18, F-35, F-96, F-142, F-180, F-262, F-331, F-334, F-335, F-336, F-337, F-459, F-509, F-534, F-589 Marhault: A-27, A-44, A-82, A-149, A-265, A-705, A-747, A-753, A-969, A-980, A-1054, A-1632, A-1784, A-1832, A-2001, A-2120, A-2302, A-2329, A-2565, A-2650, A-2763, A-2784, F-467 Mark, King: A-11, A-15, A-44, A-54, A-55, A-82, A-104, A-149, A-165, A-173, A-263, A-265, A-277, A-354, A-405, A-437, A-453, A-479, A-512, A-516, A-544, A-553, A-634, A-650, A-705, A-709, A-730, A-731, A-753,

768

Arthurian Characters and Themes

A-779, A-791, A-853, A-854, A-855, A-887, A-890, A-969, A-978, A-991, A-1019, A-1021, A-1054, A-1093, A-1130, A-1156, A-1160, A-1193, A-1194, A-1196, A-1199, A-1201, A-1202, A-1203, A-1214, A-1245, A-1345, A-1435, A-1446, A-1464, A-1490, A-1538, A-1557, A-1558, A-1571, A-1584, A-1589, A-1590, A-1591, A-1647, A-1683, A-1723, A-1737, A-1832, A-1889, A-1921, A-2001, A-2020, A-2084, A-2098, A-2111, A-2120, A-2142, A-2217, A-2261, A-2270, A-2301, A-2302, A-2329, A-2380, A-2383, A-2390, A-2396, A-2459, A-2468, A-2524, A-2535, A-2537, A-2545, A-2548, A-2567, A-2605, A-2650, A-2670, A-2678, A-2691, A-2692, A-2703, A-2731, A-2769, A-2784, A-2786, A-2881, A-2889, A-2916, A-2918, C-79, C-87, C-106, C-185, D-85, F-78, F-91, F-109, F-402, F-404, F-467 May babies: A-623, A-1226, A-1281, A-1288, A-2053, A-2439 Meleagaunt: A-31, A-59, A-387, A-527, A-572, A-745, A-764, A-959, A-1005, A-1054, A-1081, A-1457, A-1603, A-1608, A-1646, A-1664, A-1665, A-1712, A-1795, A-1950, A-2953, A-2966, C-57, D-11, D-13, F-337, F-371 Merlin: passim Merlin and a crystal cave: A-120, A-122, A-226, A-1445, A-1460, A-1778, A-1809, A-1857, A-2287, C-176 Merlin as child of a demon: A-70, A-120, A-299, A-343, A-435, A-516, A-774, A-861, A-956, A-1076, A-1326, A-1546, A-1813, A-2241, A-2545, A-2562, C-111 Merlin imprisoned: A-9, A-19, A-46, A-51, A-53, A-63, A-78, A-118, A-121, A-122, A-140, A-177, A-204, A-246, A-251, A-279, A-308, A-316, A-324, A-325, A-419, A-420, A-435, A-477, A-478, A-511, A-516, A-543, A-557, A-568, A-590, A-609, A-611, A-644, A-648, A-661, A-686, A-724, A-751, A-754, A-760, A-761, A-762, A-766, A-768, A-808, A-841, A-846, A-851, A-857, A-871, A-988, A-994, A-1013, A-1031, A-1032, A-1033, A-1034, A-1036, A-1037, A-1063, A-1066, A-1078, A-1087, A-1088, A-1105, A-1137, A-1295, A-1325, A-1359, A-1362, A-1373, A-1415, A-1422, A-1441, A-1458, A-1472, A-1479, A-1517, A-1532, A-1536, A-1644, A-1664, A-1703, A-1820, A-1823, A-1824, A-1851, A-1857, A-1858, A-1935, A-2026, A-2027, A-2041, A-2054, A-2058, A-2087, A-2125, A-2129, A-2210, A-2214, A-2239, A-2253, A-2275, A-2283, A-2287, A-2317,

A-2339, A-2371, A-2373, A-2413, A-2436, A-2439, A-2476, A-2493, A-2562, A-2566, A-2601, A-2701, A-2752, A-2793, A-2807, A-2829, A-2885, A-2968, A-2975, A-2984, A-2985, A-2989, A-2995, C-48, C-139, D-8, D-134, D-229, D-345, E-44, F-98, F-99, F-100, F-534, F-578 Merlin in love: A-19, A-22, A-56, A-124, A-159, A-163, A-204, A-225, A-246, A-251, A-308, A-312, A-316, A-324, A-325, A-456, A-516, A-520, A-539, A-591, A-751, A-764, A-766, A-871, A-887, A-912, A-984, A-995, A-1046, A-1088, A-1105, A-1167, A-1245, A-1295, A-1344, A-1373, A-1422, A-1472, A-1517, A-1546, A-1595, A-1640, A-1703, A-1727, A-1823, A-1850, A-1851, A-1965, A-2032, A-2054, A-2058, A-2116, A-2183, A-2214, A-2223, A-2316, A-2360, A-2362, A-2805, A-2872, A-2968, A-2985, A-2995, C-111, C-125, C-139, D-8, D-10, D-134, D-229, E-44 Merlin prophesies: A-138, A-281, A-299, A-562, A-628, A-680, A-681, A-965, A-991, A-1076, A-1412, A-1416, A-1728, A-1777, A-2097, A-2229, A-2241, A-2251, A-2266, A-2348, A-2746, A-2807, A-2923, A-2982, A-2983 Merlin reveals the dragons: A-70, A-138, A-208, A-299, A-702, A-956, A-991, A-1025, A-1054, A-1076, A-1416, A-1460, A-1777, A-1857, A-2241, A-2348, A-2746, A-2923, A-2982, A-2987, F-222 Merlin talking to a pig: A-177, A-291 Merlin teaches Arthur: A-122, A-158, A-254, A-520, A-652, A-655, A-684, A-754, A-763, A-801, A-1054, A-1113, A-1219, A-1226, A-1252, A-1324, A-1343, A-1365, A-1366, A-1453, A-1553, A-1758, A-1865, A-2087, A-2112, A-2170, A-2214, A-2238, A-2307, A-2391, A-2735, A-2752, A-2849, A-2853, A-2930, A-2981, D-11, D-13, E-42 Mordred: A-9, A-11, A-19, A-22, A-25, A-37, A-41, A-48, A-50, A-63, A-98, A-112, A-115, A-121, A-138, A-149, A-153, A-158, A-164, A-179, A-201, A-207, A-210, A-217, A-219, A-220, A-221, A-222, A-263, A-266, A-277, A-283, A-291, A-297, A-320, A-336, A-341, A-351, A-354, A-397, A-408, A-432, A-445, A-465, A-476, A-478, A-483, A-511, A-516, A-521, A-527, A-560, A-568, A-570, A-572, A-576, A-588, A-590, A-591, A-623, A-647, A-650, A-661, A-667, A-669, A-689, A-690, A-691, A-697, A-700, A-705, A-709, A-733, A-734, A-766, A-782, A-800, A-805, A-813, A-815, A-829, A-834, A-845, A-851,

Arthurian Characters and Themes A-859, A-867, A-870, A-873, A-877, A-878, A-906, A-907, A-912, A-916, A-920, A-933, A-959, A-1005, A-1013, A-1014, A-1015, A-1030, A-1031, A-1032, A-1033, A-1034, A-1036, A-1037, A-1039, A-1054, A-1058, A-1059, A-1064, A-1066, A-1089, A-1090, A-1092, A-1096, A-1098, A-1104, A-1115, A-1122, A-1129, A-1131, A-1155, A-1169, A-1175, A-1226, A-1243, A-1258, A-1270, A-1274, A-1277, A-1281, A-1282, A-1285, A-1315, A-1324, A-1337, A-1362, A-1368, A-1372, A-1379, A-1380, A-1400, A-1403, A-1409, A-1434, A-1435, A-1457, A-1472, A-1474, A-1476, A-1478, A-1480, A-1528, A-1530, A-1546, A-1555, A-1571, A-1581, A-1582, A-1583, A-1586, A-1587, A-1599, A-1611, A-1636, A-1638, A-1646, A-1650, A-1651, A-1652, A-1653, A-1654, A-1665, A-1671, A-1672, A-1673, A-1674, A-1675, A-1676, A-1677, A-1678, A-1733, A-1753, A-1773, A-1774, A-1780, A-1807, A-1819, A-1824, A-1831, A-1838, A-1844, A-1848, A-1849, A-1867, A-1887, A-1921, A-1924, A-1934, A-1935, A-1940, A-1958, A-2017, A-2053, A-2054, A-2144, A-2155, A-2163, A-2168, A-2170, A-2173, A-2180, A-2213, A-2214, A-2215, A-2239, A-2245, A-2253, A-2260, A-2275, A-2276, A-2290, A-2294, A-2306, A-2343, A-2358, A-2369, A-2375, A-2418, A-2439, A-2441, A-2444, A-2451, A-2452, A-2468, A-2483, A-2484, A-2497, A-2505, A-2520, A-2523, A-2527, A-2566, A-2567, A-2607, A-2621, A-2626, A-2628, A-2634, A-2635, A-2660, A-2661, A-2669, A-2689, A-2690, A-2694, A-2701, A-2740, A-2743, A-2750, A-2780, A-2787, A-2789, A-2807, A-2809, A-2817, A-2818, A-2825, A-2829, A-2843, A-2873, A-2878, A-2898, A-2908, A-2918, A-2931, A-2957, A-2966, A-2971, A-2995, B-8, B-9, B-22, C-48, C-92, C-158, C-189, D-8, D-65, D-134, D-447, D-474, E-21, E-83, F-371 Mordred, Conception of: A-2, A-69, A-73, A-153, A-220, A-326, A-331, A-336, A-395, A-527, A-567, A-568, A-569, A-570, A-588, A-590, A-834, A-851, A-907, A-1013, A-1059, A-1113, A-1129, A-1226, A-1258, A-1281, A-1379, A-1381, A-1586, A-1712, A-1867, A-2053, A-2113, A-2482, A-2523, A-2743, A-2818, A-2829, A-2971 Mordred traps Lancelot and Guenevere: A-164, A-221, A-251, A-336, A-354, A-445, A-483, A-527, A-623, A-650, A-752, A-822, A-1090, A-1131, A-1380, A-1434, A-1457, A-1555, A-1583, A-1586,

769

A-1587, A-1788, A-1791, A-1831, A-1844, A-1873, A-1934, A-1954, A-2110, A-2168, A-2180, A-2213, A-2215, A-2240, A-2276, A-2740, A-2780, A-2843, A-2931, D-474 Mordred usurps crown: A-201, A-221, A-263, A-354, A-445, A-476, A-647, A-766, A-829, A-1015, A-1025, A-1066, A-1092, A-1155, A-1210, A-1380, A-1480, A-1807, A-1838, A-2168, A-2213, A-2343, A-2418, A-2452, A-2628, A-2635, A-2654, A-2752, A-2889, A-2908, A-2918, D-447, D-474 Morgan: A-17, A-20, A-37, A-40, A-48, A-59, A-63, A-69, A-70, A-72, A-73, A-88, A-94, A-95, A-128, A-149, A-151, A-155, A-158, A-178, A-185, A-207, A-217, A-248, A-253, A-266, A-277, A-291, A-308, A-325, A-326, A-330, A-331, A-342, A-354, A-358, A-375, A-394, A-395, A-396, A-397, A-398, A-419, A-420, A-432, A-478, A-482, A-511, A-515, A-520, A-521, A-527, A-542, A-559, A-560, A-562, A-566, A-570, A-572, A-576, A-588, A-590, A-607, A-625, A-637, A-647, A-661, A-686, A-689, A-690, A-691, A-699, A-700, A-705, A-733, A-734, A-748, A-750, A-754, A-759, A-763, A-766, A-781, A-805, A-812, A-824, A-830, A-836, A-843, A-845, A-847, A-851, A-855, A-867, A-870, A-875, A-876, A-912, A-916, A-920, A-956, A-959, A-963, A-999, A-1005, A-1009, A-1013, A-1017, A-1030, A-1031, A-1032, A-1033, A-1034, A-1036, A-1037, A-1053, A-1054, A-1064, A-1079, A-1098, A-1122, A-1131, A-1182, A-1244, A-1252, A-1258, A-1271, A-1277, A-1282, A-1285, A-1298, A-1303, A-1306, A-1311, A-1315, A-1326, A-1343, A-1359, A-1362, A-1368, A-1370, A-1400, A-1405, A-1406, A-1409, A-1410, A-1411, A-1412, A-1414, A-1415, A-1417, A-1453, A-1457, A-1463, A-1493, A-1540, A-1546, A-1550, A-1552, A-1596, A-1608, A-1622, A-1631, A-1632, A-1636, A-1655, A-1656, A-1657, A-1665, A-1673, A-1674, A-1682, A-1685, A-1712, A-1751, A-1753, A-1774, A-1785, A-1807, A-1812, A-1819, A-1842, A-1867, A-1875, A-1876, A-1877, A-1887, A-1888, A-1894, A-1895, A-1896, A-1897, A-1898, A-1899, A-1900, A-1901, A-1902, A-1903, A-1904, A-1905, A-1906, A-1907, A-1908, A-1909, A-1910, A-1911, A-1912, A-1913, A-1914, A-1915, A-1966, A-1971, A-2002, A-2034, A-2083, A-2087, A-2101, A-2116, A-2117, A-2118, A-2149, A-2168, A-2170, A-2177, A-2181, A-2182, A-2209, A-2217, A-2220, A-2233, A-2237, A-2238, A-2239, A-2256, A-2258, A-2259, A-2260, A-2261,

770

Arthurian Characters and Themes

A-2262, A-2267, A-2275, A-2276, A-2316, A-2317, A-2339, A-2351, A-2358, A-2373, A-2388, A-2391, A-2392, A-2439, A-2444, A-2468, A-2482, A-2483, A-2493, A-2497, A-2503, A-2566, A-2576, A-2586, A-2656, A-2665, A-2667, A-2669, A-2682, A-2692, A-2723, A-2735, A-2745, A-2816, A-2873, A-2878, A-2898, A-2918, A-2922, A-2923, A-2924, A-2931, A-2940, A-2952, A-2960, A-2961, A-2966, A-2977, A-2985, A-3009, B-8, B-9, C-41, C-48, C-72, C-92, C-101, C-108, C-125, C-139, C-143, C-144, D-8, D-11, D-13, D-51, D-127, D-134, D-197, D-211, D-229, D-299, D-300, D-309, D-313, D-351, D-448, D-469, E-14, E-33, E-83, E-90, F-227, F-336, F-371, F-381, F-385, F-400, F-467 Morgan entraps Alexander: A-2149, A-2468 Morgan steals Arthur’s sword / scabbard: A-2468, A-253, A-354, A-527, A-748, A-781, A-1315, A-1359, A-2258, A-2259 Morgause: A-9, A-36, A-88, A-138, A-149, A-217, A-220, A-221, A-222, A-250, A-326, A-331, A-350, A-351, A-394, A-395, A-516, A-567, A-568, A-569, A-623, A-637, A-734, A-805, A-834, A-907, A-952, A-956, A-1098, A-1131, A-1135, A-1226, A-1281, A-1298, A-1405, A-1411, A-1415, A-1528, A-1550, A-1586, A-1608, A-1652, A-1654, A-1774, A-1784, A-1858, A-1934, A-2053, A-2113, A-2138, A-2262, A-2418, A-2466, A-2467, A-2468, A-2482, A-2523, A-2581, A-2597, A-2598, A-2627, A-2630, A-2818, A-2856, A-2953, A-2971, D-51, D-309 Nimuë: A-17, A-51, A-56, A-101, A-121, A-122, A-155, A-163, A-217, A-251, A-295, A-324, A-435, A-456, A-461, A-476, A-478, A-539, A-543, A-598, A-647, A-648, A-698, A-751, A-820, A-824, A-851, A-870, A-994, A-995, A-1001, A-1034, A-1036, A-1098, A-1136, A-1137, A-1258, A-1282, A-1295, A-1315, A-1326, A-1373, A-1453, A-1457, A-1517, A-1536, A-1546, A-1595, A-1636, A-1640, A-1641, A-1784, A-1820, A-1823, A-1851, A-1856, A-1857, A-1858, A-1867, A-1935, A-2026, A-2054, A-2087, A-2090, A-2125, A-2146, A-2183, A-2210, A-2239, A-2248, A-2253, A-2256, A-2258, A-2261, A-2362, A-2421, A-2439, A-2476, A-2566, A-2793, A-2861, A-2968, A-2984, D-10, D-59, D-60, D-86, D-427, E-44, F-98, F-99, F-100, F-196, F-534

Ogier the Dane: A-40, A-1797, A-2922 Olwen: see Culhwch and Olwen Palomides: A-265, A-476, A-478, A-659, A-706, A-709, A-744, A-753, A-867, A-1019, A-1159, A-1168, A-1479, A-1481, A-1482, A-1799, A-1801, A-2111, A-2153, A-2194, A-2482, A-2501, A-2502, A-2565, A-2574, A-2580, A-2889, A-2935, E-14, F-160 Palomides loves Iseult: A-659, A-706, A-1479, A-1481, A-1799, A-2565, A-2891, A-2935 Pellam: A-48, A-350, A-1245, A-1249, A-1275, A-1462, A-2284 Pelleas and Etarre: A-9, A-41, A-45, A-219, A-251, A-745, A-790, A-805, A-824, A-864, A-887, A-1085, A-1130, A-1157, A-1159, A-1242, A-1326, A-1409, A-1511, A-1552, A-1632, A-1729, A-1784, A-1831, A-2127, A-2179, A-2210, A-2239, A-2467, A-2468, A-2556, A-2604, A-2715, A-2723, A-3003, F-137, F-578 Pellinore: A-25, A-204, A-249, A-350, A-351, A-538, A-646, A-647, A-663, A-689, A-705, A-706, A-813, A-836, A-956, A-1075, A-1123, A-1129, A-1172, A-1275, A-1646, A-1729, A-1808, A-1852, A-1885, A-2239, A-2439, A-2488, A-2553, A-2812, A-2873, D-11, D-13, E-14, E-83 Perceval: A-34, A-35, A-41, A-71, A-74, A-98, A-149, A-206, A-207, A-235, A-309, A-317, A-325, A-360, A-377, A-393, A-398, A-408, A-409, A-410, A-416, A-474, A-502, A-506, A-528, A-538, A-539, A-563, A-570, A-594, A-596, A-622, A-642, A-646, A-647, A-666, A-705, A-711, A-766, A-781, A-804, A-812, A-814, A-820, A-833, A-834, A-873, A-912, A-941, A-950, A-954, A-964, A-972, A-1015, A-1028, A-1042, A-1052, A-1053, A-1055, A-1057, A-1085, A-1105, A-1106, A-1120, A-1128, A-1129, A-1131, A-1137, A-1150, A-1170, A-1177, A-1180, A-1219, A-1241, A-1253, A-1275, A-1310, A-1359, A-1362, A-1434, A-1435, A-1518, A-1525, A-1545, A-1624, A-1646, A-1700, A-1725, A-1749, A-1752, A-1753, A-1754, A-1766, A-1774, A-1801, A-1833, A-1860, A-1870, A-1885, A-1945, A-1969, A-1979, A-2003, A-2012, A-2013, A-2014, A-2059, A-2105, A-2117, A-2127, A-2137, A-2146, A-2179, A-2227, A-2228, A-2229, A-2245, A-2269, A-2307, A-2341, A-2346, A-2422, A-2436, A-2439, A-2446, A-2458, A-2460, A-2471, A-2493, A-2495, A-2518, A-2546, A-2585,

Arthurian Characters and Themes A-2603, A-2640, A-2656, A-2657, A-2678, A-2680, A-2681, A-2684, A-2687, A-2698, A-2699, A-2725, A-2727, A-2741, A-2753, A-2754, A-2755, A-2757, A-2758, A-2759, A-2760, A-2761, A-2762, A-2767, A-2768, A-2771, A-2830, A-2833, A-2888, A-2889, A-2891, A-2897, A-2942, A-2946, B-28, C-175, E-83, F-108, F-160, F-186, F-217, F-262, F-371, F-372, F-472, F-497, F-498, F-514, F-523, F-534, F-641 Perceval and the question: A-35, A-393, A-528, A-972, A-1085, A-1170, A-1602, A-1885, A-1930, A-1945, A-2003, A-2014, A-2179, A-2227, A-2425, A-2471, A-2585, A-2741, A-2771, D-192, F-5, F-16 Perceval’s childhood: A-149, A-206, A-528, A-538, A-539, A-912, A-1055, A-1057, A-1085, A-1170, A-1241, A-1434, A-1624, A-1754, A-1885, A-1945, A-2003, A-2014, A-2179, A-2227, A-2307, A-2436, A-2471, A-2687, A-2741, A-2760, A-2768, A-2970, C-175 Poisoned apple: A-483, A-1090, A-1277, A-1398, A-2483, A-2706 Pryderi: A-755, A-1216, A-2418 Pwyll: A-474, A-755 Queen Mab: A-1546, A-2995, C-111 Questing Beast: A-487, A-544, A-646, A-647, A-706, A-813, A-836, A-956, A-1799, A-2021, A-2153, A-2812, A-2856, A-2891, A-2935, E-83 Red Cross Knight: A-604, A-2428, A-2429, A-2430, A-2431, A-2432, A-2433, A-2434, A-2435, F-140, F-151, F-187, F-229, F-324, F-325, F-363, F-608, F-609, F-610, F-635, F-642, F-647 Red Cross Knight rescued from Cave of Despair: F-187, F-229, F-436, F-647 Red Knight: A-18, A-528, A-554, A-657, A-687, A-804, A-855, A-1095, A-1885, A-2225, A-2526 Rhiannon: A-120, A-123, A-124, A-474, A-1216 Rhonabwy: A-162, A-474, A-1611, F-372 Rience: A-138, A-149, A-351, A-354, A-477, A-536, A-688, A-855, A-861, A-956, A-1174, A-1341, A-1528, A-1933, A-2554 Rience and the kings’ beards: A-704, A-855, A-861, A-991, A-1174, A-1341, A-1933, A-2506 Roman War: A-53, A-178, A-212, A-520, A-697, A-708, A-836, A-923, A-1014, A-1025, A-1129, A-1130, A-1172, A-1380,

771

A-1473, A-1474, A-1783, A-2846, A-2908, A-2918, F-59 Rowena: A-1025, A-1183, A-1710, A-2241, A-2348, A-2638 Sagramore: A-9, A-1935, A-2482, C-41 Sans Loy: F-139 Sarras: A-749, A-1435, A-1525, A-2059, A-2127, A-2146, A-2425, A-2586, A-2833, A-2931, F-16 Scudamore: F-363 Shalott: A-545, A-571, A-1121, A-2608, D-304, D-442 Shalott, Lady of: see Elaine of Astolat / Lady of Shalott Siege Perilous: A-14, A-98, A-158, A-207, A-210, A-219, A-247, A-351, A-409, A-521, A-572, A-576, A-663, A-689, A-698, A-766, A-770, A-855, A-907, A-946, A-959, A-1042, A-1275, A-1311, A-1315, A-1326, A-1600, A-1632, A-1636, A-1860, A-1867, A-2117, A-2216, A-2278, A-2307, A-2487, A-2581, A-2833, A-2889, A-2891, F-3, F-16 Stonehenge: A-120, A-138, A-207, A-233, A-342, A-347, A-720, A-757, A-763, A-768, A-945, A-956, A-1076, A-1178, A-1181, A-1288, A-1362, A-1408, A-1416, A-1596, A-1610, A-1703, A-1823, A-1857, A-2020, A-2086, A-2093, A-2266, A-2792, A-2908, A-2923, B-53, C-29, D-10 Sword in the stone: A-17, A-19, A-37, A-54, A-55, A-69, A-70, A-72, A-73, A-98, A-117, A-122, A-124, A-128, A-138, A-149, A-153, A-201, A-203, A-207, A-213, A-223, A-240, A-253, A-257, A-266, A-283, A-307, A-310, A-350, A-351, A-395, A-476, A-478, A-511, A-520, A-521, A-541, A-569, A-576, A-600, A-637, A-652, A-657, A-663, A-667, A-684, A-689, A-692, A-699, A-700, A-733, A-734, A-735, A-754, A-760, A-763, A-767, A-770, A-771, A-776, A-848, A-855, A-861, A-867, A-895, A-906, A-907, A-956, A-959, A-973, A-1000, A-1013, A-1017, A-1054, A-1055, A-1065, A-1100, A-1145, A-1173, A-1175, A-1216, A-1226, A-1242, A-1253, A-1315, A-1326, A-1343, A-1364, A-1365, A-1370, A-1373, A-1379, A-1408, A-1409, A-1412, A-1416, A-1453, A-1473, A-1516, A-1530, A-1595, A-1606, A-1634, A-1636, A-1638, A-1641, A-1646, A-1664, A-1665, A-1773, A-1774, A-1776, A-1807, A-1857, A-1865, A-1867, A-1887, A-1953, A-1979, A-1980, A-1996, A-2019, A-2026, A-2087, A-2108, A-2112, A-2170, A-2174, A-2225, A-2238, A-2245, A-2250, A-2263, A-2283, A-2304,

772

Arthurian Characters and Themes

A-2307, A-2340, A-2358, A-2391, A-2393, A-2491, A-2494, A-2522, A-2555, A-2563, A-2591, A-2628, A-2656, A-2683, A-2689, A-2735, A-2743, A-2752, A-2780, A-2834, A-2898, A-2929, A-2931, A-2953, A-2966, A-2981, A-2989, B-53, C-23, C-29, C-115, C-125, C-126, C-140, C-164, D-8, D-10, D-11, D-13, D-66, E-33, F-477, F-577, F-645 Taliesin: A-48, A-77, A-145, A-199, A-208, A-216, A-217, A-220, A-282, A-283, A-329, A-436, A-464, A-607, A-612, A-615, A-698, A-700, A-703, A-705, A-755, A-756, A-757, A-802, A-812, A-884, A-991, A-1061, A-1067, A-1104, A-1137, A-1216, A-1217, A-1266, A-1267, A-1305, A-1306, A-1307, A-1414, A-1435, A-1471, A-1524, A-1611, A-1613, A-1735, A-1770, A-1811, A-1820, A-1847, A-1869, A-1940, A-1950, A-2022, A-2172, A-2349, A-2439, A-2451, A-2481, A-2507, A-2509, A-2646, A-2651, A-2748, A-2795, A-2796, A-2798, A-2799, A-2800, A-2801, A-2804, A-2883, A-2886, A-2889, A-2890, A-2891, A-2892, A-2893, A-2894, A-2895, A-2896, A-2909, A-2927, D-86, D-310, D-469, F-372 Tintagel: A-44, A-50, A-53, A-70, A-82, A-128, A-167, A-311, A-344, A-351, A-380, A-394, A-395, A-405, A-422, A-453, A-466, A-484, A-511, A-551, A-576, A-579, A-593, A-603, A-620, A-628, A-663, A-698, A-730, A-731, A-741, A-753, A-791, A-792, A-855, A-905, A-956, A-964, A-969, A-1019, A-1041, A-1054, A-1093, A-1164, A-1175, A-1194, A-1214, A-1263, A-1326, A-1343, A-1393, A-1395, A-1436, A-1551, A-1616, A-1683, A-1689, A-1737, A-1779, A-1804, A-1823, A-1832, A-1848, A-1850, A-1889, A-2001, A-2098, A-2119, A-2217, A-2261, A-2262, A-2329, A-2335, A-2336, A-2378, A-2380, A-2383, A-2414, A-2545, A-2587, A-2668, A-2670, A-2703, A-2712, A-2734, A-2756, A-2881, A-2953, A-3001, C-188, D-8, D-268, E-83, F-298, F-428 Tom Thumb: A-519, A-534, A-793, A-794, A-795, A-796, A-1154, A-1191, A-1232, A-1882, A-1998, A-2136, A-2674, A-2675, A-2676, A-2677, A-2802, A-2880, A-2995, C-77, C-150, C-183, C-184, D-19, D-144, D-224, D-336, F-74 Tor: A-25, A-1129, A-1784, A-2114, A-2374, A-2487, A-2488, A-2692 Tristan: A-15, A-25, A-44, A-53, A-67, A-82, A-86, A-103, A-105, A-106, A-107, A-108,

A-109, A-110, A-115, A-118, A-126, A-149, A-165, A-173, A-185, A-245, A-262, A-265, A-277, A-286, A-298, A-301, A-318, A-334, A-342, A-355, A-364, A-371, A-378, A-381, A-382, A-405, A-422, A-437, A-453, A-475, A-476, A-478, A-507, A-512, A-553, A-561, A-579, A-624, A-634, A-646, A-650, A-705, A-706, A-712, A-730, A-731, A-744, A-747, A-753, A-759, A-766, A-791, A-792, A-799, A-814, A-836, A-837, A-853, A-854, A-887, A-890, A-917, A-939, A-964, A-969, A-978, A-985, A-1005, A-1017, A-1019, A-1021, A-1023, A-1042, A-1045, A-1051, A-1055, A-1056, A-1060, A-1071, A-1093, A-1099, A-1123, A-1130, A-1156, A-1157, A-1159, A-1160, A-1168, A-1193, A-1194, A-1195, A-1196, A-1197, A-1198, A-1199, A-1200, A-1201, A-1202, A-1203, A-1204, A-1205, A-1206, A-1207, A-1208, A-1209, A-1214, A-1221, A-1234, A-1245, A-1270, A-1301, A-1320, A-1345, A-1362, A-1407, A-1420, A-1429, A-1442, A-1446, A-1450, A-1464, A-1479, A-1483, A-1489, A-1490, A-1491, A-1511, A-1533, A-1538, A-1547, A-1557, A-1558, A-1571, A-1578, A-1584, A-1589, A-1590, A-1591, A-1603, A-1616, A-1617, A-1632, A-1644, A-1647, A-1683, A-1700, A-1704, A-1714, A-1717, A-1723, A-1737, A-1768, A-1769, A-1810, A-1823, A-1824, A-1832, A-1889, A-1916, A-1917, A-1963, A-1964, A-1970, A-2001, A-2014, A-2044, A-2061, A-2063, A-2084, A-2092, A-2095, A-2098, A-2110, A-2111, A-2119, A-2120, A-2124, A-2139, A-2142, A-2154, A-2194, A-2217, A-2270, A-2301, A-2302, A-2329, A-2359, A-2374, A-2375, A-2379, A-2380, A-2381, A-2382, A-2383, A-2390, A-2396, A-2399, A-2459, A-2513, A-2514, A-2515, A-2524, A-2532, A-2535, A-2537, A-2538, A-2544, A-2545, A-2548, A-2549, A-2565, A-2567, A-2568, A-2572, A-2584, A-2594, A-2605, A-2638, A-2642, A-2650, A-2655, A-2670, A-2671, A-2686, A-2691, A-2702, A-2703, A-2711, A-2718, A-2723, A-2728, A-2729, A-2730, A-2731, A-2733, A-2745, A-2756, A-2757, A-2758, A-2763, A-2769, A-2779, A-2784, A-2786, A-2807, A-2830, A-2838, A-2842, A-2858, A-2881, A-2889, A-2907, A-2916, A-2918, A-2922, A-2953, A-2974, A-3001, C-106, C-185, D-9, D-85, D-286, D-302, E-14, E-83, F-34, F-43, F-78, F-81, F-95, F-96, F-97, F-109, F-110, F-176, F-179, F-180, F-183, F-224, F-314, F-344, F-368, F-402, F-404, F-412, F-428, F-429,

Arthurian Characters and Themes F-430, F-467, F-472, F-483, F-526, F-528, F-575, F-579, F-590 Tristan and Iseult, Love of: A-9, A-15, A-44, A-53, A-67, A-81, A-82, A-103, A-104, A-105, A-107, A-108, A-109, A-115, A-118, A-165, A-173, A-207, A-245, A-265, A-286, A-318, A-334, A-405, A-422, A-437, A-453, A-476, A-507, A-553, A-579, A-624, A-634, A-678, A-705, A-706, A-712, A-730, A-731, A-747, A-753, A-779, A-791, A-792, A-853, A-887, A-890, A-917, A-969, A-978, A-985, A-1019, A-1021, A-1051, A-1056, A-1071, A-1093, A-1130, A-1143, A-1156, A-1157, A-1160, A-1193, A-1194, A-1195, A-1196, A-1197, A-1198, A-1199, A-1200, A-1201, A-1202, A-1203, A-1204, A-1205, A-1206, A-1207, A-1208, A-1209, A-1214, A-1254, A-1270, A-1301, A-1407, A-1420, A-1429, A-1442, A-1446, A-1483, A-1489, A-1490, A-1491, A-1511, A-1533, A-1538, A-1547, A-1557, A-1558, A-1571, A-1584, A-1589, A-1590, A-1591, A-1616, A-1617, A-1683, A-1716, A-1717, A-1737, A-1769, A-1824, A-1832, A-1889, A-1964, A-1970, A-2001, A-2028, A-2061, A-2084, A-2098, A-2110, A-2119, A-2120, A-2139, A-2142, A-2154, A-2217, A-2270, A-2301, A-2302, A-2329, A-2359, A-2380, A-2381, A-2383, A-2390, A-2396, A-2459, A-2513, A-2514, A-2515, A-2524, A-2532, A-2535, A-2537, A-2545, A-2547, A-2548, A-2549, A-2565, A-2567, A-2568, A-2587, A-2605, A-2615, A-2650, A-2670, A-2671, A-2691, A-2703, A-2718, A-2723, A-2730, A-2731, A-2733, A-2756, A-2757, A-2763, A-2769, A-2784, A-2786, A-2842, A-2858, A-2881, A-2891, A-2916, A-2953, A-3001, D-9, D-286, F-43, F-467 Tristan healed: A-265, A-453, A-705, A-747, A-753, A-887, A-969, A-1019, A-1021, A-1632, A-1683, A-1832, A-2001, A-2270, A-2301, A-2524, A-2565, A-2567, A-2650, A-2703, A-2756, A-2763, A-2769, A-2784, A-2881, D-286, F-467 Tristan in disguise: A-109, A-453, A-634, A-1490, A-2001, A-2301, A-2703, A-2881, D-302 Tristan slays Marhault: A-44, A-82, A-265, A-453, A-705, A-747, A-753, A-969, A-1590, A-1616, A-1632, A-1683, A-1832, A-2001, A-2120, A-2217, A-2270, A-2301, A-2302, A-2329, A-2524, A-2565, A-2567, A-2650, A-2670, A-2703, A-2756, A-2763, A-2769, A-2784, D-286, F-467 Turquine: A-471, A-521, A-636, A-690, A-824, A-1005, A-1017, A-1054, A-1119,

773

A-1129, A-1434, A-2367, A-2584, A-2783, F-138 Una: A-1763, A-2428, A-2429, A-2430, A-2431, A-2432, A-2433, A-2434, A-2435, F-139, F-140, F-151, F-187, F-204, F-229, F-324, F-326, F-363, F-436, F-466, F-608, F-609, F-610, F-635, F-642, F-647 Urien: A-59, A-74, A-77, A-98, A-201, A-207, A-223, A-307, A-326, A-350, A-419, A-734, A-802, A-1053, A-1071, A-1267, A-1550, A-1712, A-2021, A-2112, A-2468, A-2482, A-2591, A-2965 Uther: A-70, A-71, A-88, A-138, A-149, A-156, A-178, A-179, A-207, A-217, A-230, A-253, A-310, A-331, A-342, A-343, A-369, A-414, A-464, A-505, A-516, A-565, A-588, A-604, A-623, A-628, A-675, A-699, A-700, A-705, A-753, A-754, A-757, A-829, A-855, A-1003, A-1008, A-1029, A-1030, A-1031, A-1032, A-1033, A-1034, A-1036, A-1037, A-1053, A-1067, A-1076, A-1113, A-1130, A-1141, A-1142, A-1159, A-1173, A-1183, A-1226, A-1231, A-1258, A-1273, A-1298, A-1354, A-1426, A-1469, A-1550, A-1579, A-1632, A-1644, A-1645, A-1646, A-1650, A-1703, A-1712, A-1728, A-1731, A-1748, A-1867, A-1944, A-2026, A-2086, A-2093, A-2174, A-2176, A-2222, A-2241, A-2266, A-2383, A-2410, A-2414, A-2439, A-2444, A-2465, A-2466, A-2467, A-2482, A-2656, A-2689, A-2780, A-2787, A-2814, A-2815, A-2834, A-2870, A-2873, A-2894, A-2908, A-2926, A-2987, A-3008, B-53, C-126, D-10, D-11, D-13, D-84, F-371 Valiant, Prince: A-637, A-2239, B-46, C-141, D-170, F-480 Vivian: A-1, A-22, A-41, A-50, A-53, A-63, A-78, A-98, A-216, A-217, A-308, A-312, A-313, A-316, A-331, A-336, A-342, A-380, A-394, A-395, A-396, A-397, A-408, A-435, A-526, A-527, A-528, A-557, A-559, A-560, A-694, A-706, A-760, A-782, A-871, A-878, A-912, A-992, A-997, A-1017, A-1078, A-1090, A-1105, A-1167, A-1344, A-1370, A-1528, A-1618, A-1663, A-1812, A-1867, A-2027, A-2032, A-2109, A-2116, A-2214, A-2239, A-2310, A-2339, A-2391, A-2394, A-2396, A-2457, A-2460, A-2490, A-2493, A-2573, A-2574, A-2576, A-2577, A-2600, A-2601, A-2621, A-2626, A-2634, A-2715, A-2805, A-2822, A-2931, A-2932, A-2975, A-2982, A-2983, A-2995, C-139, D-8, D-229

774

Arthurian Characters and Themes

Vortigern: A-2, A-3, A-70, A-77, A-87, A-138, A-179, A-208, A-299, A-339, A-359, A-505, A-628, A-640, A-661, A-675, A-680, A-681, A-685, A-702, A-757, A-786, A-879, A-912, A-956, A-991, A-1003, A-1017, A-1025, A-1053, A-1076, A-1097, A-1142, A-1183, A-1305, A-1326, A-1354, A-1416, A-1460, A-1546, A-1632, A-1705, A-1710, A-1728, A-1732, A-1777, A-1867, A-2086, A-2240, A-2241, A-2266, A-2348, A-2465, A-2466, A-2467, A-2481, A-2517, A-2638, A-2700, A-2701, A-2721, A-2746, A-2750, A-2787, A-2915, A-2923, A-2953, A-2987, B-53, C-48, C-111, C-115, F-222, F-371 Vortigern usurps throne: A-2, A-299, A-505, A-685, A-757, A-786, A-1053, A-1054, A-1183, A-1305, A-1354, A-1355, A-1416, A-1710, A-2241, A-2517, A-2787, A-2923, B-53 Vortigern’s tower and Merlin’s blood: A-70, A-138, A-299, A-702, A-912, A-1076, A-1097, A-1416, A-1460, A-1546, A-1777, A-1857, A-1966, A-2116, A-2241, A-2266, A-2348, A-2481, A-2746, A-2787, A-2915, A-2983, A-2987, C-111 Wasteland: A-21, A-207, A-383, A-487, A-576, A-696, A-716, A-1475, A-1524, A-1877, A-1945, A-2060, A-2131, A-2284, A-2293, A-2439, B-56, D-308, E-64, F-6, F-12 Wedding of Sir Gawain and Dame Ragnell, The: A-144, A-952, A-1290, A-1297, A-1559, A-1616, A-1829, A-1961, A-2109, A-2232, A-2704, D-307

“What women want” quest: A-149, A-599, A-695, A-1027, A-1415, A-1559, A-1679, A-1693, A-1961, A-2166, A-2315, A-2658, A-2857, A-2906 “When good King Arthur ruled this land”: A-2837, D-410 White hart: A-93, A-663, A-1784, A-1871, A-2259, A-2664 Wizard of Alderley Edge: A-457, A-875, A-876, A-2231, A-2824, A-2948, D-115 Ysbaddaden: A-206, A-474, A-631, A-855, A-1175, A-1176, A-1241, A-1613, A-2395, A-2403, A-2481, A-2662, A-2744, A-2747, A-2911, A-2925, C-175, D-134, F-372 Yvain: A-26, A-59, A-74, A-77, A-162, A-175, A-206, A-474, A-588, A-632, A-633, A-700, A-705, A-722, A-802, A-956, A-980, A-1012, A-1017, A-1023, A-1070, A-1071, A-1146, A-1162, A-1215, A-1241, A-1256, A-1286, A-1287, A-1288, A-1297, A-1592, A-1596, A-1611, A-1645, A-1648, A-1756, A-1833, A-2109, A-2137, A-2179, A-2259, A-2921, C-175, F-372, F-553 Yvain and the Fountain: A-206, A-474, A-633, A-777, A-1012, A-1023, A-1070, A-1146, A-1241, A-1256, A-1648, A-2816, A-2921, C-175 Yvain travels with lion: A-26, A-206, A-474, A-633, A-1146, A-1648, A-1756, A-2921