0 best films about King Arthur Which is odd, considering there's enough action, romance and magic to forge a British genre equivalent to the Western, exploring.
Tapestry showing Arthur as one of the, wearing a often attributed to him (c. 1385) King Arthur is a legendary leader who, according to medieval histories and, led the defence of Britain against invaders in the late 5th and early 6th centuries AD. The details of Arthur's story are mainly composed of and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the, the, and the writings of. Arthur's name also occurs in early poetic sources such as. Arthur is a central figure in the legends making up the.
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The legendary Arthur developed as a figure of international interest largely through the popularity of 's fanciful and imaginative 12th-century ( History of the Kings of Britain). In some and tales and poems that date from before this work, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh,.
How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version; Geoffrey's often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over,,, and. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father, the wizard, Arthur's wife, the sword, Arthur's conception at, his final battle against at, and final rest in. The 12th-century French writer, who added and the to the story, began the genre of Arthurian romance that became a significant strand of. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various.
Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media. Statue of King Arthur at the in, designed by and cast by (1520s) The historical basis for the King Arthur legend has long been debated by scholars. One school of thought, citing entries in the ( History of the Britons) and ( Welsh Annals), sees Arthur as a genuine historical figure, a leader who fought against the invading some time in the late 5th to early 6th century. The Historia Brittonum, a 9th-century historical compilation attributed in some late manuscripts to a Welsh cleric called, contains the first datable mention of King Arthur, listing twelve battles that Arthur fought.
These culminate in the, where he is said to have single-handedly killed 960 men. Recent studies, however, question the reliability of the Historia Brittonum. The other text that seems to support the case for Arthur's historical existence is the 10th-century Annales Cambriae, which also link Arthur with the Battle of Badon.
The Annales date this battle to 516–518, and also mention the, in which Arthur and (Mordred) were both killed, dated to 537–539. These details have often been used to bolster confidence in the Historia's account and to confirm that Arthur really did fight at Badon. Problems have been identified, however, with using this source to support the Historia Brittonum's account. The latest research shows that the Annales Cambriae was based on a chronicle begun in the late 8th century in. Additionally, the complex textual history of the Annales Cambriae precludes any certainty that the Arthurian annals were added to it even that early. They were more likely added at some point in the 10th century and may never have existed in any earlier set of annals.
The Badon entry probably derived from the Historia Brittonum. This lack of convincing early evidence is the reason many recent historians exclude Arthur from their accounts of. In the view of historian, 'at this stage of the enquiry, one can only say that there may well have been an historical Arthur [but.] the historian can as yet say nothing of value about him'. These modern admissions of ignorance are a relatively recent trend; earlier generations of historians were less sceptical. The historian made the putative reign of Arthur the organising principle of his history of sub-Roman Britain and, The Age of Arthur (1973). Even so, he found little to say about a historical Arthur.
The 10th-century (from a copy c. 1100) Partly in reaction to such theories, another school of thought emerged which argued that Arthur had no historical existence at all. Morris's Age of Arthur prompted the archaeologist to observe that 'no figure on the borderline of history and mythology has wasted more of the historian's time'. ' 6th-century polemic ( On the Ruin and Conquest of Britain), written within living memory of Badon, mentions the battle but does not mention Arthur. Arthur is not mentioned in the or named in any surviving manuscript written between 400 and 820. He is absent from 's early-8th-century, another major early source for post-Roman history that mentions Badon. The historian David Dumville has written: 'I think we can dispose of him [Arthur] quite briefly.
He owes his place in our history books to a 'no smoke without fire' school of thought. The fact of the matter is that there is no historical evidence about Arthur; we must reject him from our histories and, above all, from the titles of our books.' Some scholars argue that Arthur was originally a fictional hero of folklore—or even a half-forgotten —who became credited with real deeds in the distant past. They cite parallels with figures such as the, who may be totemic horse-gods that later became historicised.
Bede ascribed to these legendary figures a historical role in the 5th-century Anglo-Saxon conquest of eastern Britain. It is not even certain that Arthur was considered a king in the early texts. Neither the Historia nor the Annales calls him ' rex': the former calls him instead ' bellorum' (leader of battles) and ' miles' (soldier). Historical documents for the post-Roman period are scarce, so a definitive answer to the question of Arthur's historical existence is unlikely. Since the 12th century, but archaeology can confidently reveal names only through inscriptions found in secure. The so-called ', discovered in 1998 among the ruins at in in securely dated 6th-century contexts, created a brief stir but proved irrelevant. Other inscriptional evidence for Arthur, including the, is tainted with the suggestion of forgery.
Although several historical figures have been proposed as the basis for Arthur, no convincing evidence for these identifications has emerged. A facsimile page of, one of the most famous early Welsh texts featuring Arthur (c. 1275) The earliest literary references to Arthur come from Welsh and Breton sources.
There have been few attempts to define the nature and character of Arthur in the pre- tradition as a whole, rather than in a single text or text/story-type. A 2007 academic survey that does attempt this by Thomas Green identifies three key strands to the portrayal of Arthur in this earliest material. The first is that he was a peerless warrior who functioned as the monster-hunting protector of Britain from all internal and external threats. Some of these are human threats, such as the Saxons he fights in the Historia Brittonum, but the majority are supernatural, including giant, destructive,,,, and. The second is that the pre-Galfridian Arthur was a figure of folklore (particularly or folklore) and localised magical wonder-tales, the leader of a band of superhuman heroes who live in the wilds of the landscape.
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The third and final strand is that the early Welsh Arthur had a close connection with the Welsh Otherworld. On the one hand, he launches assaults on Otherworldly fortresses in search of treasure and frees their prisoners. On the other, his warband in the earliest sources includes former pagan gods, and his wife and his possessions are clearly Otherworldly in origin. One of the most famous Welsh poetic references to Arthur comes in the collection of heroic death-songs known as ( The Gododdin), attributed to 6th-century poet. One stanza praises the bravery of a warrior who slew 300 enemies, but says that despite this, 'he was no Arthur' – that is, his feats cannot compare to the valour of Arthur. Y Gododdin is known only from a 13th-century manuscript, so it is impossible to determine whether this passage is original or a later interpolation, but John Koch's view that the passage dates from a 7th-century or earlier version is regarded as unproven; 9th- or 10th-century dates are often proposed for it. Several poems attributed to, a poet said to have lived in the 6th century, also refer to Arthur, although these all probably date from between the 8th and 12th centuries.
They include 'Kadeir Teyrnon' ('The Chair of the Prince'), which refers to 'Arthur the Blessed'; ' ('The Spoils of Annwn'), which recounts an expedition of Arthur to the Otherworld; and 'Marwnat vthyr pen[dragon]' ('The Elegy of Uther Pen[dragon]'), which refers to Arthur's valour and is suggestive of a father-son relationship for Arthur and Uther that pre-dates Geoffrey of Monmouth. Entering Arthur's court in the Welsh tale ' (1881) Other early Welsh Arthurian texts include a poem found in the, ' ('What man is the gatekeeper?' This takes the form of a dialogue between Arthur and the gatekeeper of a fortress he wishes to enter, in which Arthur recounts the names and deeds of himself and his men, notably (Kay) and (Bedivere). The Welsh prose tale (c. 1100), included in the modern collection, has a much longer list of more than 200 of Arthur's men, though Cei and Bedwyr again take a central place. The story as a whole tells of Arthur helping his kinsman win the hand of, daughter of Chief-Giant, by completing a series of apparently impossible tasks, including the hunt for the great semi-divine boar. The 9th-century Historia Brittonum also refers to this tale, with the boar there named Troy(n)t.
Finally, Arthur is mentioned numerous times in the, a collection of short summaries of Welsh tradition and legend which are classified into groups of three linked characters or episodes to assist recall. The later manuscripts of the Triads are partly derivative from Geoffrey of Monmouth and later continental traditions, but the earliest ones show no such influence and are usually agreed to refer to pre-existing Welsh traditions. Even in these, however, Arthur's court has started to embody legendary Britain as a whole, with 'Arthur's Court' sometimes substituted for 'The Island of Britain' in the formula 'Three XXX of the Island of Britain'. While it is not clear from the Historia Brittonum and the Annales Cambriae that Arthur was even considered a king, by the time Culhwch and Olwen and the Triads were written he had become Penteyrnedd yr Ynys hon, 'Chief of the Lords of this Island', the overlord of Wales, Cornwall and the North. In addition to these pre-Galfridian Welsh poems and tales, Arthur appears in some other early Latin texts besides the Historia Brittonum and the Annales Cambriae. In particular, Arthur features in a number of well-known vitae (') of post-Roman, none of which are now generally considered to be reliable historical sources (the earliest probably dates from the 11th century).
According to the Life of Saint, written in the early 12th century by, Arthur is said to have killed Gildas' brother Hueil and to have rescued his wife from Glastonbury. In the Life of Saint, written around 1100 or a little before by Lifris of Llancarfan, the saint gives protection to a man who killed three of Arthur's soldiers, and Arthur demands a herd of cattle as for his men. Cadoc delivers them as demanded, but when Arthur takes possession of the animals, they turn into bundles of ferns. Similar incidents are described in the medieval biographies of,, and Eufflam, probably written around the 12th century.
A less obviously legendary account of Arthur appears in the, which is often claimed to date from the early 11th century (although the earliest manuscript of this text dates from the 15th century). Also important are the references to Arthur in 's De Gestis Regum Anglorum and Herman's De Miraculis Sanctae Mariae Laudensis, which together provide the first certain evidence for a belief that Arthur was not actually dead and would at some point, a theme that is often revisited in post-Galfridian folklore. Geoffrey of Monmouth. A crude illustration from a 15th-century Welsh language version of Geoffrey of Monmouth’s Historia Regum Britanniae The first narrative account of Arthur's life is found in 's Latin work ( History of the Kings of Britain), completed c. This work is an imaginative and fanciful account of British kings from the legendary Trojan exile to the 7th-century Welsh king.
Geoffrey places Arthur in the same post-Roman period as do and. He incorporates Arthur's father,, his magician advisor, and the story of Arthur's conception, in which Uther, disguised as his enemy by Merlin's magic, sleeps with Gorlois's wife at, and she conceives Arthur. On Uther's death, the fifteen-year-old Arthur succeeds him as King of Britain and fights a series of battles, similar to those in the Historia Brittonum, culminating in the Battle of Bath. He then defeats the and before creating an Arthurian empire through his conquests of Ireland, and the. After twelve years of peace, Arthur sets out to expand his empire once more, taking control of, and. Gaul is still held by the when it is conquered, and Arthur's victory naturally leads to a further confrontation between his empire and Rome's.
Arthur and his warriors, including (Kay), (Bedivere) and (Gawain), defeat the Roman emperor in Gaul but, as he prepares to march on Rome, Arthur hears that his nephew (Mordred)—whom he had left in charge of Britain—has married his wife (Guinevere) and seized the throne. Arthur returns to Britain and defeats and kills Modredus on the river Camblam in Cornwall, but he is mortally wounded. He hands the crown to his kinsman and is taken to the isle of to be healed of his wounds, never to be seen again. Arthur's advisor (c.
1300) How much of this narrative was Geoffrey's own invention is open to debate. Certainly, Geoffrey seems to have made use of the list of Arthur's twelve battles against the Saxons found in the 9th-century Historia Brittonum, along with the battle of Camlann from the Annales Cambriae and the idea that Arthur was.
Arthur's personal status as the king of all Britain would also seem to be borrowed from pre-Galfridian tradition, being found in Culhwch and Olwen, the, and the. Finally, Geoffrey borrowed many of the names for Arthur's possessions,, and companions from the pre-Galfridian Welsh tradition, including Kaius (Cei), Beduerus (Bedwyr), Guenhuuara (Gwenhwyfar), Uther (Uthyr) and perhaps also Caliburnus (Caledfwlch), the latter becoming in subsequent Arthurian tales. However, while names, key events, and titles may have been borrowed, Brynley Roberts has argued that 'the Arthurian section is Geoffrey's literary creation and it owes nothing to prior narrative.'
So, for instance, the Welsh Medraut is made the villainous Modredus by Geoffrey, but there is no trace of such a negative character for this figure in Welsh sources until the 16th century. There have been relatively few modern attempts to challenge this notion that the Historia Regum Britanniae is primarily Geoffrey's own work, with scholarly opinion often echoing 's late-12th-century comment that Geoffrey 'made up' his narrative, perhaps through an 'inordinate love of lying'.
Is one dissenter from this view, believing that Geoffrey's narrative is partially derived from a lost source telling of the deeds of a 5th-century British king named, this figure being the original Arthur, although historians and Celticists have been reluctant to follow Ashe in his conclusions. Whatever his sources may have been, the immense popularity of Geoffrey's Historia Regum Britanniae cannot be denied. Well over 200 manuscript copies of Geoffrey's Latin work are known to have survived, and this does not include translations into other languages.
Thus, for example, around 60 manuscripts are extant containing Welsh-language versions of the Historia, the earliest of which were created in the 13th century; the old notion that some of these Welsh versions actually underlie Geoffrey's Historia, advanced by antiquarians such as the 18th-century Lewis Morris, has long since been discounted in academic circles. As a result of this popularity, Geoffrey's Historia Regum Britanniae was enormously influential on the later medieval development of the Arthurian legend. While it was by no means the only creative force behind Arthurian romance, many of its elements were borrowed and developed (e.g., Merlin and the final fate of Arthur), and it provided the historical framework into which the romancers' tales of magical and wonderful adventures were inserted. Romance traditions.
Arthur (top centre) in an illustration to ' (late 14th century) The development of the medieval Arthurian cycle and the character of the 'Arthur of romance' culminated in, 's retelling of the entire legend in a single work in English in the late 15th century. Malory based his book—originally titled The Whole Book of King Arthur and of His Noble Knights of the Round Table—on the various previous romance versions, in particular the Vulgate Cycle, and appears to have aimed at creating a comprehensive and authoritative collection of Arthurian stories. Perhaps as a result of this, and the fact that Le Morte D'Arthur was one of the earliest printed books in England, published by in 1485, most later Arthurian works are derivative of Malory's. Decline, revival, and the modern legend Post-medieval literature The end of the Middle Ages brought with it a waning of interest in King Arthur. Although Malory's English version of the great French romances was popular, there were increasing attacks upon the truthfulness of the historical framework of the Arthurian romances – established since Geoffrey of Monmouth's time – and thus the legitimacy of the whole. So, for example, the 16th-century humanist scholar famously rejected the claim that Arthur was the ruler of a post-Roman empire, found throughout the post-Galfridian medieval 'chronicle tradition', to the horror of Welsh and English antiquarians.
Social changes associated with the end of the medieval period and the also conspired to rob the character of Arthur and his associated legend of some of their power to enthrall audiences, with the result that 1634 saw the last printing of Malory's Le Morte d'Arthur for nearly 200 years. King Arthur and the Arthurian legend were not entirely abandoned, but until the early 19th century the material was taken less seriously and was often used simply as a vehicle for allegories of 17th- and 18th-century politics. Thus 's epics Prince Arthur (1695) and King Arthur (1697) feature Arthur as an allegory for the struggles of against. Similarly, the most popular Arthurian tale throughout this period seems to have been that of, which was told first through and later through the political plays of; although the action is clearly set in Arthurian Britain, the treatment is humorous and Arthur appears as a primarily comedic version of his romance character. 's is still performed, largely thanks to 's music, though seldom unabridged. Tennyson and the revival. 's illustration of for 's (1868) In the early 19th century,,, and the reawakened interest in Arthur and the medieval romances.
A new code of ethics for 19th-century gentlemen was shaped around the ideals embodied in the 'Arthur of romance'. This renewed interest first made itself felt in 1816, when Malory's Le Morte d'Arthur was reprinted for the first time since 1634.
Initially, the medieval Arthurian legends were of particular interest to poets, inspiring, for example, to write 'The Egyptian Maid' (1835), an allegory of the. Pre-eminent among these was, whose first Arthurian poem ' was published in 1832. Arthur himself played a minor role in some of these works, following in the medieval romance tradition. Tennyson's Arthurian work reached its peak of popularity with, however, which reworked the entire narrative of Arthur's life for the.
It was first published in 1859 and sold 10,000 copies within the first week. In the Idylls, Arthur became a symbol of ideal manhood who ultimately failed, through human weakness, to establish a perfect kingdom on earth. Tennyson's works prompted a large number of imitators, generated considerable public interest in the legends of Arthur and the character himself, and brought Malory's tales to a wider audience. Indeed, the first modernisation of Malory's great compilation of Arthur's tales was published in 1862, shortly after Idylls appeared, and there were six further editions and five competitors before the century ended.
This interest in the 'Arthur of romance' and his associated stories continued through the 19th century and into the 20th, and influenced poets such as and artists including. Even the humorous tale of, which had been the primary manifestation of Arthur's legend in the 18th century, was rewritten after the publication of Idylls. While Tom maintained his small stature and remained a figure of comic relief, his story now included more elements from the medieval Arthurian romances and Arthur is treated more seriously and historically in these new versions. The revived Arthurian romance also proved influential in the United States, with such books as Sidney Lanier's The Boy's King Arthur (1880) reaching wide audiences and providing inspiration for 's satiric (1889). Although the 'Arthur of romance' was sometimes central to these new Arthurian works (as he was in Burne-Jones's 'The Sleep of Arthur in Avalon', 1881-1898), on other occasions he reverted to his medieval status and is either marginalized or even missing entirely, with Arthurian operas providing a notable instance of the latter. Furthermore, the revival of interest in Arthur and the Arthurian tales did not continue unabated. By the end of the 19th century, it was confined mainly to Pre-Raphaelite imitators, and it could not avoid being affected by, which damaged the reputation of chivalry and thus interest in its medieval manifestations and Arthur as chivalric role model.
The romance tradition did, however, remain sufficiently powerful to persuade, and to compose Arthurian plays, and alludes to the Arthur myth (but not Arthur) in his poem, which mentions the. Modern legend. See also: In the latter half of the 20th century, the influence of the romance tradition of Arthur continued, through novels such as 's (1958) and 's (1982) in addition to comic strips such as (from 1937 onward). Tennyson had reworked the romance tales of Arthur to suit and comment upon the issues of his day, and the same is often the case with modern treatments too. Bradley's tale, for example, takes a approach to Arthur and his legend, in contrast to the narratives of Arthur found in medieval materials, and American authors often rework the story of Arthur to be more consistent with values such as equality and democracy.
The romance Arthur has become popular in film and theatre as well. White's novel was adapted into the stage musical (1960) and 's animated film (1963); Camelot, with its focus on the love of Lancelot and Guinevere and the cuckolding of Arthur, was itself made into a in 1967. The romance tradition of Arthur is particularly evident and, according to critics, successfully handled in 's (1974), 's (1978) and perhaps 's fantasy film (1981); it is also the main source of the material used in the Arthurian spoof (1975). The Death of Arthur, by John Garrick (1862) Re-tellings and re-imaginings of the romance tradition are not the only important aspect of the modern legend of King Arthur. Attempts to portray Arthur as a genuine historical figure of c. 500, stripping away the 'romance', have also emerged. As Taylor and Brewer have noted, this return to the medieval 'chronicle tradition' of and the is a recent trend which became dominant in Arthurian literature in the years following the outbreak of the, when Arthur's legendary resistance to Germanic invaders struck a chord in Britain.
's series of radio plays, The Saviours (1942), used a historical Arthur to embody the spirit of heroic resistance against desperate odds, and play The Long Sunset (1955) saw Arthur rallying Romano-British resistance against the Germanic invaders. This trend towards placing Arthur in a historical setting is also apparent in and published during this period. In recent years the portrayal of Arthur as a real hero of the 5th century has also made its way into film versions of the Arthurian legend, most notably the TV series' (1972–73), (2008–12), (1979), and (2011) and the feature films (2004), (2007) and (2017).
Arthur has also been used as a model for modern-day behaviour. In the 1930s, the Order of the Fellowship of the Knights of the Round Table was formed in Britain to promote Christian ideals and Arthurian notions of medieval chivalry. In the United States, hundreds of thousands of boys and girls joined Arthurian youth groups, such as the Knights of King Arthur, in which Arthur and his legends were promoted as wholesome exemplars. However, Arthur's diffusion within contemporary culture goes beyond such obviously Arthurian endeavours, with Arthurian names being regularly attached to objects, buildings, and places. Lacy has observed, 'The popular notion of Arthur appears to be limited, not surprisingly, to a few motifs and names, but there can be no doubt of the extent to which a legend born many centuries ago is profoundly embedded in modern culture at every level.' Find more about King Arthurat Wikipedia's • from Wikimedia Commons • from Wikiquote • from Wikisource • from Wikidata • •.
Blaenau Gwent Borough County Council. Archived from on 12 May 2008. Retrieved 22 May 2008..
An excellent site detailing Welsh Arthurian folklore. • Green, Caitlin... A detailed and comprehensive academic site, which includes numerous scholarly articles. The only academic journal solely concerned with the Arthurian Legend; a good selection of resources and links.
Provides texts and translations (of varying quality) of Welsh medieval sources, many of which mention Arthur. • Green, Thomas (October 2012).. The Heroic Age (15)..
Provides valuable bibliographies and freely downloadable versions of Arthurian texts. An online peer-reviewed journal that includes regular Arthurian articles; see especially the first issue. Legendary titles Preceded by Succeeded.
By: Matt Fasce The Basics The Story The Story The Story References to this allusion include. Love triangles Secret/Forbidden love Destruction/demise caused by love Betrayal by close friends King Arthur- Legendary King of Camelot Head of the Knights of the Round Table Removed Excalibur from the Stone Queen Guinevere- Wife of King Arthur Queen of Camelot Sir Lancelot Son of the Lady of the Lake From France King Arthur's best Knight and most trusted friend. Lancelot was heartbroken because he loved the Guinevere, but she was married to Arthur, who was not only his Lord but also his close friend. After some time, Lancelot confessed his love to the Queen. To his surprise, Guinevere admitted that she, too, was in love with him.
The two began a secret love affair that lasted for years without the King knowing. The Legend of King Arthur, Queen Guinevere, and Sir Lancelot When Lancelot first came to King Arthur's court, Arthur was impressed with his character and his bravery. He joined the Knights of the Round Table and quickly became the King's most trusted and noble knight.
But, when Lancelot laid eyes on the Queen, he fell in love. The King eventually found out what was going on between his wife and his Knight.
In some versions of the story, he sentenced Guinevere to live out the rest of her life locked up in a convent, but in others he sentenced her to death for adultery. As for Lancelot, he fled the kingdom and returned to his homeland of France and took leadership there. King Arthur waged war on France, which divided his Knights and ultimately led to the downfall of his kingdom as well as his own death. The major theme of this legend is that lost love and betrayal ultimately lead to one's downfall. Literary Allusions All the King's Men by: Robert Penn Warren- Love triangle between Anne, Jack, and Willie.
Jack and Willie represent a close relationship much like that of Lancelot and Arthur. Anne's relationship with Willie is what provokes Adam to kill Willie, leading to his demise and his loss of his kingdom, i.e. His political career. The Picture of Dorian Gray by: Oscar Wilde Wicked: The Life and Times of the Wicked Witch of the West by: Gregory Maguire Love triangle between Elphaba, Fieyro, and Sarima. Fieyro and Sarima were married, but he fell in love with Elphaba. Fieyro died in order to protect Elphaba, which sends her into a downward spiral which causes her to give up her mission and life's work.
Works Cited 'A Medieval Love Affair.' A Medieval Love Affair. 'The Legendary King Arthur| King Arthur & The Knights of the Round Table.' The Legendary King Arthur| King Arthur & The Knights of the Round Table.