"Mervayllous Werkys of Yron Underground": Unearthing an Arthurian Bard
Editor's Introduction
To justify the necessity of a newsletter devoted exclusively to Sir Thomas Malory may at first seem unwarranted. Surely, Malory has secured a prominent place in the ever growing forest of Arthuriana, and yet, despite the popularity of the Arthurian myth and the outpouring of scholarly books on this knight prisoner, there are no newsletters, journals, or even web pages which explore the various nuances of Malory's life and times. (In all fairness, Luminarium does have an informative site on Malory, but he is only one of a handful of distinguished medieval authors who are covered). Why this is so remains a mystery. How can the last great interpreter of the Arthurian tradition be so visibly invisible in the Arthurian landscape?

This newsletter hopes to correct this oversight, and even though its beginnings are like Arthur's, humble and obscure, it is the editor's devout wish that A Ful Noble Knyght provides a forum for avid Malorians, Arthurian enthusiasts, or simply for those discerning readers who have a taste for brave knights, proud steeds, and heroic valor-- in short, for those who enjoy medieval romance and the chivalric tradition.

It is my hope that A Ful Noble Knyght will appeal both to popular and scholarly tastes. The newsletter will be a compilation of short essays, close critical readings, book reviews, notes, queries, and poems on any aspect of Sir Thomas' life and art. I invite readers to send inquiries and to submit any topic of their choice for possible inclusion in future issues. Whether our newsletter captures the hearts and minds of the few or of the many, perhaps Merlin's advice to the young king serves as a fitting incentive to our own endeavours: "Fere not, but come oute boldly and speke with hem; and spare hem not, but ansuere them as their kynge and chyvetayn, for ye shal overcome hem all, whether they wille or nylle."

King Arthur's Crusaders: Sir Robert Malory and the Knights Hospitaller
by Marc Ricciardi, Ph.D.

C.S. Lewis, in his seminal essay on the Morte, dismisses the common critical complaint that Malory strips the Arthurian myth of all of its magic, mystery, and supernaturalism: "The more seriously you take the story the more you want to tie everything up.... Neglect of these points, whether in writer or reader, means that the whole thing is merely conventional or playful. Multiplication of marvels goes with the same attitude. Those who love them, as alone they can be loved, for their suggestiveness, their quality, will not increase their number. Two enchanters, two ghosts, two ferlies are always half as impressive as one. Every supposedly naturalistic change that Malory made in the story might proceed from a far fuller belief and a more profound delight in it than the French authors had ever known" (12-13).

Lewis' reply is, as always, subtle and ingenious, and yet he does call attention to a point of contention for most students of Malory. The French romances are replete with knight-errants undertaking fantastic and marvelous exploits, whereas the Morte portrays Arthurian knights as traditional fifteenth century noblemen engaging in jousts, combat, and hunting.

Larry D. Benson effectively addresses the parallels between Malory's conception of Arthurian chivalry and fifteenth century chivalry in general, attributing such a close resemblance between the two to Malory's preoccupation with practical chivalry, with chivalry as a code and rule of life rather than as a literary motif.

Benson's comparison is sound, yet P.J.C. Field makes the compelling argument that Malory's source for such inspiration was his uncle, Sir Robert Malory, Prior of the Hospital of St. John of Jerusalem in England from 1432 to 1440. Sir Robert typified the devout crusader, organizing the Hospitallers when the Sultan of Egypt threatened Rhodes. Yet the question still remains what, if any, is the relationship between Sir Robert and the Knights of the Table Round?

Field maintains that a close reading of the Morte reveals Malory's shift of emphasis from the incredible to the credible, from the impossible to the possible, especially in areas of combat. Malory altered the Arthurian myth so that the story "suggested ideals of man and society more in accord with the ideas of the military orders than is usual in his sources or in romance in general-- in, for instance, his apparent indifference to ceremony and conspicuous consumption, his dislike of courtly love, and his presentation of knighthood itself as an 'order' with a moral purpose and a religious justification" (81).

Field, himself a military man, having served for a time in the Royal Air Force, aptly points out that Arthur's war against evil is in effect the equivalent of a Holy War. Giants, ogres, and monsters do not threaten the kingdom as much as Islam, "a hostile power on the edge of the Arthurian world" (82). Field points out that in the Book of Sir Tristram, Malory is more concerned with Tristram's response to a "genuine papal summons to go on crusade to Jerusalem" (82), than he is with his hero's romantic amours with Isolde.

Yet, the Crusader knights do not simply seek the destruction of their foes but their salvation as well as evinced in Malory's incessant preoccupation with the inevitable conversion of the good Saracen knight, Sir Palomides, an episode not in Malory's sources. And, although the ending of the Morte is considered by many critics to be tragic, heralding the death of an age, nonetheless, the chivalric and crusading spirit lives on. Malory adds to the retum of Arthur the promise that he would one day recapture the Holy Cross. Even after the king's departure to Avalon, his knights do not spend the remainder of their days in a monastery, as they do in the French sources, but continue to fight the good fight, "crusading to the Holy Land, where they 'dyd many bataylles upon the myscreantes or Turkes', and there, in the last words of [Malory's] book, 'dyed upon a Good Fryday for Goddes sake"' (82).

What Malory leaves us with then is a religious ideal of knighthood which moves beyond the secular appropriation of honor, worship, and feats of arms. Whatever influence Sir Robert Malory had upon his nephew, one thing is certain, the tone and mood of this "joyous" book, to use Caxton's expression, is reminiscent of the epistolary discourse of another "servaunt of Jesu": "Therefore take the whole armor of God, that you may be able to withstand in the evil day, and having done all, to stand" (Ephesians 6:13).

Works Cited

Benson, Larry D. Malory’s Morte D ' Arthur. Harvard: Harvard University Press, 1976.

Field, P.J.C. The Life and Times of Sir Thomas Malory. Cambridge: D.S. Brewer, 1993.

Lewis, C S. "The English Prose Morte." Essays on Malory. Ed. J.A.W. Bennett.Oxford: Clarendon Press, 1963.7-28.

Malory, Sir Thomas. Malory: Works. Ed. Eugene Vinaver. Oxford: Oxford University Press, 1971.

"Salew Me Unto My Lorde": Sir Galahad's Farewell to His Father in The Tale of the Sankgreal and in the Queste del Saint Graal
by Marc Ricciardi, Ph.D.

There is a tradition behind Malory criticism which delegates Malory to the status of a "mere" translator, of an "unskilled" adapter of the Arthurian tradition. Whereas it is uncontestably true that Malory relied upon certain French and English sources in the creation of the Morte, omitting and elaborating upon passages of his choice, it is equally true that he added much to the myth which was not originally there, if not in content than in tone. These changes should not suggest as it has in the past, that Malory either misunderstood or failed to appreciate the full significance of his sources.

William Matthews best sums up Malory's artistic contribution to the Arthurian cycle, while also lending some insight into the nuances of the creative process itself: "Malory was a translator who abbreviated and adapted and sometimes added small details--occasionally even short stories. He is not to be judged solely by his changes; however, he must be judged by his work as a whole.He is responsible for what he chose to translate as for what he chose to add. He is not to be stripped of what is holy and gentle simply because he found it in the French. Nor is he to be judged by any small gathering of scattered phrases that may or may not reflect a materialistic outlook. Far outshining the grey cloud of all such small, unemphasized details is his reiterated nostalgia for decencies no longer observed, and his idealism in two lovely tales that are related in none of his known sources: the tale of Gareth, which is nothing but gentle, and the tale of Sir Urry, which seems nothing but holy" (49).

With holiness in mind, let us now tum to Malory's Tale of the Sankgreal, a tale which perhaps, more than others, is almost a direct transliteration of the Queste del Saint Graal. Yet, Malory, as usual, brings his own discerning imagination to his reading, making his Tale something more than what it is in the Queste. Critics such as Stephen C. Atkinson, Mary Hynnes-Berry, Sandra Ness Ihle, Dhira B. Mahoney, and Charles Moorman, have dealt extensively with the differences between these two works, differences which we shall address in future issues of the newsletter.

One scene, however, deserves particular note, Galahad's farewell to his father Launcelot. In the Queste, before Galahad is taken up into heaven, he tells Sir Bors: "'Bors, as soon as you see Sir Launcelot, my father, greet him from me"' (283). Malory's version reads: "'My fayre lorde, salew me unto my lorde sir Launcelot, my fadir, and as sone as ye se hym bydde hym remembir of this worlde unstable"' (607). Malory's version is not only more reverential in tone, but captures the filial affection of a son towards his father. "Salew me unto my lord" is more telling than "see." Malory, however, includes a line not in the Queste: "’…as soon as ye se hym bydde him remember of this world unstable."'

Some have argued that Malory's Tale is more religious than his French counterpart, and Malory's inclusion of this line confirms that assertion. It is not enough for Malory to have Galahad say goodbye, but he must also reiterate the predominant theme of both the Tale and the Morte-- the transcience of life. In this respect, Malory, as translator, accentuates and redefines his source, as Matthews suggests, capturing not only a tenderness of feeling on the part of Galahad not evident in the Queste, but adding to the pathos of his fond farewell the sad consolation that all things are passing.

In this one, seemingly minor, addition, Malory has not only enhanced the human drama but preserved the religious ambience. To be able to lament the loss of time, while resigning oneself to the hope of Eternity, is no small feat. And if this alone does not earn Malory a unique place as a great religious writer, then perhaps, we too, must bid this world a fond farewell.

Works Cited

Malory, Sir Thomas. Malory: Works. Ed. Eugene Vinaver. New York: Oxford, 1971.

Matthews, William. The ill-framed Knight: A Skeptical Inquiry into the Identiiy of Sir Thomas Malory.
Berkeley: University of California Press, 1966.

The Quest of the Holy Grail. Trans. P.M. Matarasso. Penguin: New York, 1969.

Gentle Guides and GoodDiscipline: A Malory Bibliography
Here is an annotated listing of critical studies on Malory which I consider to be both informative and engaging. Although the list is by no means definitive, I have chosen those works which offer the most inclusive assessment of the Morte, rather than a strictly thematic approach. I provide a brief synopsis of the author's primary concerns and of his particular vision of the man and his times.

Bennet, J.A.W., ed. Essays on Malory.Oxford: Clarendon Press, 1963.
This collection of essays from such distinguished scholars as C.S. Lewis and D.S. Brewer, to name a few, commemorates the discovery of the Winchester manuscript and heralds the birth of modern scholarship on Malory. The editorial debate as to whether the Caxton or Winchester version of the Morte is closer to the author's original intentions occupies a necessary and prominent place in these interrelated series of essays.

Benson, Larry D. Malory’s Morte D 'Arthur. Cambridge: Harvard University Press, 1976.
This book is a smorgasborg of information about the Morte, especially in relationship to the chivalric and romance tradition of the fifteenth century. By making a correlation between knighthood in life and in literature, Benson bridges the gap between fact and fiction, proving not only that life imitates art, but that myth and history are inextricably intertwined.

Field, P.J.C. Romance and Chronicle: A Study of Malory’s Prose Style. London: Barrie and Jenkins, 1971.
Field's study of Malory's authorial techniques is the first serious account of Malory's status as a skilled artist. By exploring Malory’s use of description, dialogue and narration, Field presents a rich and complex portrait of Sir Thomas' literary sensibilities and aesthetical principles. Unlike other studies which consider the Morte a "happy accident," Field sees Malory as both a skilled and sometimes not so skilled craftsman who never assumes a position of false superiority over his characters, and who never sacrifices the truth of human experience for the sake of literary convention.

Hodges, Margaret. Knight Prisoner: The Tale of Sir Thomas Malory and His King Arthur. New York: Ferrar, Straus and Giroux, 1976.
At first glance, it appears as if Hodges had a young readership in mind when she wrote this historically fictive account of the life and times of Sir Thomas Malory, but upon closer investigation, Hodge's book is perhaps the most imaginative and satisfying interpretation of the Malorian myth in the biographical genre so far.

Lambert, Mark. Malory: Style and Vision in the Morte Darthur. New Haven: Yale University Press, 1975. Lambert effectively develops Field's argument that Malory is a sophisticated writer, yet Lambert takes this theme one step further. By making a correlation between character and prose style, Lambert maintains that the Malorian hero can be best understood by noting what Malory chooses to omit from his sources. For Lambert, Malory, ultimately, is more concerned about his hero as knight than as man, and it is only in relationship to the chivalric ideal that the reader can comprehend Malory's writing methodology.

Lumiansky, R.M., ed. Malory’s Originality: A Critical Study of Le Morte Darthur. Baltimore: Johns Hopkins Press, 1964. This is a ground breaking work since it challenges Eugene Vinaver's prevailing assumption that Malory composed eight separate tales rather than one unified work. Also, it maintains that Malory was not merely translating, but modifying and improving upon his sources in such a way so as to redefine the romance tradition. Each essay in this collection connects each tale to that which precedes and follows it, illustrating Malory's unified vision of his mighty world, from it heroic conception to its tragic demise.

Matthews, William. The ill Framed Knight: A Skeptical Inquiry into the Identity of Sir Thomas Malory. University of California Press: Berkeley, 1966. Although Matthews' biography challenges the traditional identity of Sir Thomas Malory as the knight from Newbold Revel, Warwickshire in favor of the Yorkshire knight of Studley and Hutton, Matthews brings to his study an imaginative richness and an acute awareness of the issues involved in the authorship debate. Of all the "scholarly" biographies, Matthews is the most entertaining, even if his conclusions are somewhat suspect, employing a lively prose style and a subtle sense of humor as he boldly outlines the ribald career of the knight from Newbold Revel.

McCarthy, Terence. An Introduction to Malory. Cambridge: D.S. Brewer, 1994.
McCarthy addresses all of the potential difficulties a reader may encounter when reading the Morte, paying particular attention to those peculiar values which inform and sustain the world of chivalry. By drawing from each tale those characteristics which make it unique-- chivalry and shame, love and license-- and by indulging a bit in reader/response criticism, McCarthy lends insight into Malory's code of conduct. However, his insistence that Malory's moral assumptions are alien to our own, threatens to reduce the Morte into a self-contained amoral work of fiction. Aside from this, McCarthy's study is a solid introduction to the man and his mind.

Reiss, Edmund. Sir Thomas Malory. New York: Twayne, 1966.
Perhaps the best introduction to Malory. Reiss not only explores the subtleties of each tale, but outlines them in such a way as to give the reader a sense of the background of Malory scholarship. His understanding of the critical issues involved in each tale make this an indispensible guide and companion to the Arthurian world for both newcomers and seasoned veterans alike.

Vinaver, Eugene. Malory. Oxford: Clarendon Press, 1929.
Vinaver is, in may ways, the father of Malory scholarship. His name deserves to stand by that of Caxton's as the first modern editor of Malory's works. Although his assessment of Malory's accomplishments is overly critical, overemphasizing his supposed misunderstanding of the chivalric tradition, Vinaver provides his readers with an excellent source study of the Morte.

A Brief Observation on the Primary Text:
Although the Caxton edition of Malory's Morte may be the one most readily available in bookstores, Vinaver's edition is clearly the superior text. In future issues of the Newsletter, We will be addressing the differences between the two, but for now, it is best to say that Vinaver offers a more readable version. Even if you do not subscribe to his much contested position that Malory wrote eight separate tales rather than one work, his division of the Morte into eight books, in keeping with the editorial practice of the Winchester Manuscript, along with his inclusion of additional subtitles, make for a more comprehensible and reader friendly text. Caxton's chapter divisions are at times awkwardly and inappropriately placed, especially when they intrude upon the middle of a narrative action. For the beginner and seasoned reader alike, Vinaver serves as an essential starting point in the Arthurian landscape.

Editorial Board: Patricia Gabel, Margaret McDermott, Marc Ricciardi
© Marc Ricciardi 1999