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Lancelot en prose #3
The Death of King Arthur
A 13th-century French version of the Camelot legend, written by an unknown author. It depicts a Round Table diminished in strength after the Quest for the Holy Grail. Whispers of Queen Guinevere's infidelity distress King Arthur, leaving him no match for the machinations of Sir Mordred.
240 pages, Paperback
First published January 1, 1237
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Anonymous
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* They are officially published under that name
* They are traditional stories not attributed to a specific author
* They are religious texts not generally attributed to a specific author
Books whose authorship is merely uncertain should be attributed to Unknown.
See also: Anonymous
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Displaying 1 - 30 of 83 reviews
February 9, 2017
¡Ay! Dios, ¡si yo tuviera en mi compañía a aquellos que solía tener, no temería a todo el mundo si estuviera contra mí!
Antes que nada, una pequeña advertencia: este es el final de uno de los ciclos (el más completo) de las historias artúricas y conviene leer los anteriores para tener una perspectiva más entera del mismo. Como sólo leí este, probablemente mucho de lo que diga tenga una objeción o alguna respuesta en las otras partes (ya sean de este mismo ciclo o libros aledaños), así que me atendré a comentar brevemente y con cuidado.
Esto empieza cuando la búsqueda del Santo Grial ya terminó y Arturo y los caballeros se disponen a participar en un torneo, para no perder la costumbre de la batalla. Cuando se preparan para partir hacia Wincester, el lugar de la contienda, un sobrino de Arturo le advierte que Lanzarote (quien quería ir de incógnito al torneo) estaba frecuentando a la reina Ginebra otra vez y por eso prefería quedarse en el castillo. Así y todo, Arturo irá a Wincester.
Esa situación de informantes maliciosos del rey (porque no todos lo hacen por fidelidad, sino por conveniencia), sospechas, intrigas y pasiones incontrolables guía todo el texto. Habrá unas cuantas traiciones, unas cuantas peleas típicas de caballería (muy bien descriptas, por cierto: parecían de película) y tramas que pueden sostenerse por sí solas, como la de la dama de Escalot.
¿Qué me gustó de La muerte del rey Arturo ? La mística. Mientras leía se me venían a la mente las incontables versiones de la leyenda y no importa la variación o el formato (recordé, incluso, un dibujo animado centrado en los caballeros de la Mesa Redonda que veía cuando era niña): las aventuras de Arturo son únicas e involucran elementos tan asombrosos como, por ejemplo, el destino de la espada después de que él muere. Gracias al título, puedo decir eso libremente. Me gustaron personajes como Boores y Morgana que, dentro de la proliferación de nombres, fueron muy útiles a la trama y la mención a Tristán (de Tristán e Iseo ), cuya historia guarda paralelos con esta.
Lo que no me agradó y me hizo difícil la lectura es el estiramiento del engaño para que se descubra lo más tarde posible, al estilo de una telenovela. El mecanismo queda en evidencia y pierde la gracia. Además de eso, cada vez que se resuelve algún conflicto, inmediatamente surge otro (como un invasor o un caballero que se rebela, por ejemplo) que le da más cuerda. Eso provoca también que los personajes cambien súbitamente de ideas o de personalidad. Pasan muchísimas cosas y cuesta acordarse de todas ellas en detalle. Supongo que se subsana con una relectura, si es que se soporta su peso de nuevo.
No es un libro malo y vale totalmente la pena, pero hay que tenerle paciencia a los giros inesperados. Lamentablemente, me causaron más cansancio que sorpresa.
Antes que nada, una pequeña advertencia: este es el final de uno de los ciclos (el más completo) de las historias artúricas y conviene leer los anteriores para tener una perspectiva más entera del mismo. Como sólo leí este, probablemente mucho de lo que diga tenga una objeción o alguna respuesta en las otras partes (ya sean de este mismo ciclo o libros aledaños), así que me atendré a comentar brevemente y con cuidado.
Esto empieza cuando la búsqueda del Santo Grial ya terminó y Arturo y los caballeros se disponen a participar en un torneo, para no perder la costumbre de la batalla. Cuando se preparan para partir hacia Wincester, el lugar de la contienda, un sobrino de Arturo le advierte que Lanzarote (quien quería ir de incógnito al torneo) estaba frecuentando a la reina Ginebra otra vez y por eso prefería quedarse en el castillo. Así y todo, Arturo irá a Wincester.
Esa situación de informantes maliciosos del rey (porque no todos lo hacen por fidelidad, sino por conveniencia), sospechas, intrigas y pasiones incontrolables guía todo el texto. Habrá unas cuantas traiciones, unas cuantas peleas típicas de caballería (muy bien descriptas, por cierto: parecían de película) y tramas que pueden sostenerse por sí solas, como la de la dama de Escalot.
¿Qué me gustó de La muerte del rey Arturo ? La mística. Mientras leía se me venían a la mente las incontables versiones de la leyenda y no importa la variación o el formato (recordé, incluso, un dibujo animado centrado en los caballeros de la Mesa Redonda que veía cuando era niña): las aventuras de Arturo son únicas e involucran elementos tan asombrosos como, por ejemplo, el destino de la espada después de que él muere. Gracias al título, puedo decir eso libremente. Me gustaron personajes como Boores y Morgana que, dentro de la proliferación de nombres, fueron muy útiles a la trama y la mención a Tristán (de Tristán e Iseo ), cuya historia guarda paralelos con esta.
Lo que no me agradó y me hizo difícil la lectura es el estiramiento del engaño para que se descubra lo más tarde posible, al estilo de una telenovela. El mecanismo queda en evidencia y pierde la gracia. Además de eso, cada vez que se resuelve algún conflicto, inmediatamente surge otro (como un invasor o un caballero que se rebela, por ejemplo) que le da más cuerda. Eso provoca también que los personajes cambien súbitamente de ideas o de personalidad. Pasan muchísimas cosas y cuesta acordarse de todas ellas en detalle. Supongo que se subsana con una relectura, si es que se soporta su peso de nuevo.
No es un libro malo y vale totalmente la pena, pero hay que tenerle paciencia a los giros inesperados. Lamentablemente, me causaron más cansancio que sorpresa.
March 7, 2018
The Death of King Arthur is a surprisingly modern version of the whole Matter of Britain cycle. Although it was written in the early 13th century, it dwells on the problems of kingship more than on the mythic elements of magicians, giants, witches, Holy Grails. Those elements it takes as a given rather than as a plot element of the story as it unfolds. Merlin is mentioned only once. The only mythic element in real time is when Excalibur is thrown into the lake, and a hand comes up from the water, grasps it, and takes it down.
Lancelot is the real hero of the story. He is guilty as charged of adultery with the queen, Guinevere. Although Arthur is understandably upset and strikes back at his greatest knight, Lancelot in turn is still loyal to Arthur and saves his life once or twice, which makes Arthur think. There's something about being able to handle several contradictory ideas at one time which is very modern.
Toward the end of the book, the anonymous author reveals that Lancelot's age is 55, Gawain is 76, and Arthur is 92. And Guinevere is in her 50s. Certainly not the picture I had in my mind!
The Death of King Arthur is without a doubt the best of the Arthurian stories -- and there are many competing versions, ranging from Geoffrey of Monmouth to Wace to Layamon to Chretien de Troyes to the anonymous French authors and finally to Sir Thomas Mallory.
Lancelot is the real hero of the story. He is guilty as charged of adultery with the queen, Guinevere. Although Arthur is understandably upset and strikes back at his greatest knight, Lancelot in turn is still loyal to Arthur and saves his life once or twice, which makes Arthur think. There's something about being able to handle several contradictory ideas at one time which is very modern.
Toward the end of the book, the anonymous author reveals that Lancelot's age is 55, Gawain is 76, and Arthur is 92. And Guinevere is in her 50s. Certainly not the picture I had in my mind!
The Death of King Arthur is without a doubt the best of the Arthurian stories -- and there are many competing versions, ranging from Geoffrey of Monmouth to Wace to Layamon to Chretien de Troyes to the anonymous French authors and finally to Sir Thomas Mallory.
December 29, 2020
I was surprised to find this book on a reading list for medieval French literature. King Arthur belong to British folklore, no? As I did some digging, I found that the tales from Geoffrey of Monmouth’s The History of the Kings of Britain (which incidentally was written in Latin, not English) traveled the channel into French literature, to be taken up by writers such as Chrétien de Troyes. It was at this point that the warrior king reclaiming Britain from the barbarism of the Picts and the Scots succumbed to the pressures of the French courtly love tradition and became the tragic, somewhat weak-willed king of the later tales. It was the French who added characters such as Lancelot and elements such as the quest for the grail.
This particular volume, written anonymously in the 13th century is significant because it is the first prose telling of the Arthurian tales. All previous versions had been in verse. This book covers only the fourth section of the story, beginning after the knights’ return from the quest for the grail. It serves as a sequel to other volumes written by Chrétien de Troyes.
The tale itself was familiar to me, but nonetheless enjoyable. Tournaments, secrets, wounded knights, scorned lovers, fire, battles, and tragedy. I’ve never particularly cared for Lancelot as a character and prefer versions where Arthur is the hero of the story, as opposed to this one in which Lancelot takes the pedestal of heroism throughout. Overall I found it to be an engaging read, and particularly enjoyed the sections about the Lady of Shalott, the poem by Tennyson being one of my favorites.
This particular volume, written anonymously in the 13th century is significant because it is the first prose telling of the Arthurian tales. All previous versions had been in verse. This book covers only the fourth section of the story, beginning after the knights’ return from the quest for the grail. It serves as a sequel to other volumes written by Chrétien de Troyes.
The tale itself was familiar to me, but nonetheless enjoyable. Tournaments, secrets, wounded knights, scorned lovers, fire, battles, and tragedy. I’ve never particularly cared for Lancelot as a character and prefer versions where Arthur is the hero of the story, as opposed to this one in which Lancelot takes the pedestal of heroism throughout. Overall I found it to be an engaging read, and particularly enjoyed the sections about the Lady of Shalott, the poem by Tennyson being one of my favorites.
September 29, 2019
The audio narration was frightfully boring. After about three hours I took it out to pasture and "shotgunned" the library CDs out of their misery. ;)
MY GRADE: D+
MY GRADE: D+
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November 16, 2023Cavallers! Damisel·les! Batalles! Amors deshonestos! Homes que en comptes d'arreglar els seus problemes parlant, ho fan amb espases! M'ho he passat pipa
September 30, 2023
The Death of King Arthur is the final work in the Lancelot-Grail cycle, also known as the Prose Lancelot. Like the prior writings, its authorship was originally attributed to Walter Map, but today it is known he was dead before these works were written. As with many of the works in Arthurian lore, its real author is unknown.
Although shorter than most Arthurian legends, The Death of King Arthur is a sort of magnum opus, a titan of a work that sees a shift from the fantastical toward the psychological, from the heroic to the tragic, from the glory days of chivalry and adventure, to days of woe and sorrow. Its depictions of drama and the relationships among knights is realistic, the stakes are the highest they have ever been. Once the seeds of tragedy have been planted, very quickly the entire world of the book is taken over by loss, death, horror, misfortune.
Percival and Galahad are dead, the quest for the holy grail has been completed, and the adventures or enchantments of the kingdom of Logres have come to an end. Things have normalized in Arthur’s kingdom. While a gloom hangs over everything in the wake of two of the greatest knights’ deaths, there is a sense of tranquility too that gives great calm to the kingdom. Tournaments and hunting are the favorite pastimes of knights and Arthur. Lancelot dominates at these tournaments, but celebration and merriment is had by all.
Lancelot’s decision to wear the sleeve of a young maiden on his lance during a tournament causes ripples, with word eventually making its way back to Guinevere.
A wound Lancelot receives in a tournament from Bors keeps Lancelot from competing in subsequent tournaments, and Arthur’s stay at his sister Morgan’s castle, where Lancelot was kept in the past, earlier in the prose Lancelot, reveals the secret of Guinevere’s and the knight’s affair. The walls of Lancelot’s old quarters are painted with images and words, by Lancelot himself, describing his exploits and his love for the queen. Morgan makes it clear to the king what has been going on.
Lancelot is later shunned by the queen after she hears of what she assumes is dishonor, sending Lancelot and his kinsmen away from Camelot. Arthur is enflamed by the dishonor done to him, and the girl rejected by Lancelot surrenders herself up to death.
Through a knight’s treachery aimed at Gawain but misguided, the queen accidentally poisons and kills a beloved knight of the round table. The knight’s brother challenges her for justice, awaiting either a champion to defend her, or the death penalty to be served.
A tragic sequence of events and tension soon splinter the knights, and Arthur’s realm is split in loyalties. What was once a grand kingdom, a unified brotherhood of knights, is now a boiling cauldron that will spill over into war. Gawain’s brothers cannot even take the same side, as two reveal the dishonor to Arthur and take his side in bringing Lancelot down, and Gawain and another take the side of Lancelot. It’s a brilliantly orchestrated drama of incredible stakes, with a somber, gloomy overtone that never lets up, quietly reminding us this is the end of an age.
The loyalties become complicated further after Lancelot and Guinevere are caught in the act, and the queen is led to her execution by fire. In a daring rescue by Lancelot and his kinsmen, many of Arthur’s knights are killed, including all three of Gawain’s brothers, even those who did not wish to oppose Lancelot. One brilliance of this story is its realistic complexity and drama, drawing on conflicting emotions and the awful nature of this rapidly growing struggle. Soon Lancelot and his men are besieged by Arthur at the Joyous Garde, the castle Lancelot liberated earlier in the Prose Lancelot, once known as the Dolorous Garde. Gawain has vowed to avenge his brothers with the taking of Lancelot’s head. It’s unsettling the amount of disruption and chaos that has been unleashed in Logres. When Lancelot surrenders the queen he flees with his men to Gaul, where he is later attacked by Arthur.
After reading through all the Arthurian lore chronologically, watching the characters grow into formidable heroes, coming into their own as distinct entities within the canon, being immersed in a universe of splendor and enchantment in which the one constant is the love and comraderie among Arthur’s knights, this book presents an oppressive shift in tone and character. We can only helplessly watch as all the glory of the kingdom comes unraveled in a masterfully written sequence of events that make it hard to align ourselves with any side, as everyone in the story seems to be justified in acting and feeling as they do. It’s difficult to figure out whose lot in this tragedy is the worst. Lancelot, Guinevere, Arthur, Gawain… Each experiences compounding tragedy and loss as the story unravels. We simultaneously sympathize with two sides as they try to destroy each other, making it all the more gut wrenching.
Mordred is left behind to watch over Logres as Arthur goes to attack Lancelot. His treachery puts the queen in danger. Over in Gaul, Lancelot and Gawain finally duel to bring the conflict to an end, and this harrowing battle is presented masterfully, like so much else in the story. As the tides turn for each, each blow and strike hurts the audience as much as it hurts the knight. In the middle of their fight, as Gawain’s strength flows back into him at noon, the narrator takes a minor detour into Gawain’s childhood to explain where this power comes from — the hour of his baptism. This flashback makes the battle more depressing, seeing the innocent, happy child Gawain juxtaposed against the bloodied, thrashed adult Gawain, on the verge of death, battered by his most beloved comrade in arms, after a long chain of personal loss.
After this battle, Arthur hears that the Romans are sacking his lands. This harkens back to Geoffrey of Monmouth’s mythos, and after Arthur strikes the emperor dead, not before losing some of his own glorious knights, he hears the news of Mordred’s treason.
So begins the end of Arthur, the destruction of the Round Table, the fall of Logres. The brilliance of composition never ceases, and after each tragic climax that we think cannot possibly be topped, it is topped, and the tragedies are heaped upon one another, the violence and drama grow more intense, the emotional toll on once unshakeable paragons of courage is excruciating. The orchestration of the most significant battles to ever occur in Arthurian lore is a show of genius, incredible pacing, peerless sadness, and dynamic, enthralling narration. The battalions of Mordred’s men are each led by the king of a land, Scotland, or Wales, or Saxony, and Arthur’s men, trekking long across the country after a week of battle against Lancelot, are drained and weakened, but driven as ever to go up against the treasonous hordes, in hopes of saving their once glorious kingdom.
There are universes to explore within each knight’s tribulations over the course of this story. All are complex and made more effective when read after having worked through so many other works of Arthurian literature. There is despair, but there is redemption, and there is the recognition of folly when it is too late, and there is love and honor toward one’s enemy, as well as hatred toward one’s kin, and vengeance, and remorse, and every glory or victory is paired with disaster and profound loss. Death is indiscriminate, and all the beloved figures of these legends will meet their end, some in blood and violence, some in illness, some in old age. No one comes through this piece of high art unaffected, unchanged, and most do not come out alive at all.
A timeless work of an unnamed master storyteller.
Although shorter than most Arthurian legends, The Death of King Arthur is a sort of magnum opus, a titan of a work that sees a shift from the fantastical toward the psychological, from the heroic to the tragic, from the glory days of chivalry and adventure, to days of woe and sorrow. Its depictions of drama and the relationships among knights is realistic, the stakes are the highest they have ever been. Once the seeds of tragedy have been planted, very quickly the entire world of the book is taken over by loss, death, horror, misfortune.
Percival and Galahad are dead, the quest for the holy grail has been completed, and the adventures or enchantments of the kingdom of Logres have come to an end. Things have normalized in Arthur’s kingdom. While a gloom hangs over everything in the wake of two of the greatest knights’ deaths, there is a sense of tranquility too that gives great calm to the kingdom. Tournaments and hunting are the favorite pastimes of knights and Arthur. Lancelot dominates at these tournaments, but celebration and merriment is had by all.
Lancelot’s decision to wear the sleeve of a young maiden on his lance during a tournament causes ripples, with word eventually making its way back to Guinevere.
A wound Lancelot receives in a tournament from Bors keeps Lancelot from competing in subsequent tournaments, and Arthur’s stay at his sister Morgan’s castle, where Lancelot was kept in the past, earlier in the prose Lancelot, reveals the secret of Guinevere’s and the knight’s affair. The walls of Lancelot’s old quarters are painted with images and words, by Lancelot himself, describing his exploits and his love for the queen. Morgan makes it clear to the king what has been going on.
Lancelot is later shunned by the queen after she hears of what she assumes is dishonor, sending Lancelot and his kinsmen away from Camelot. Arthur is enflamed by the dishonor done to him, and the girl rejected by Lancelot surrenders herself up to death.
Through a knight’s treachery aimed at Gawain but misguided, the queen accidentally poisons and kills a beloved knight of the round table. The knight’s brother challenges her for justice, awaiting either a champion to defend her, or the death penalty to be served.
A tragic sequence of events and tension soon splinter the knights, and Arthur’s realm is split in loyalties. What was once a grand kingdom, a unified brotherhood of knights, is now a boiling cauldron that will spill over into war. Gawain’s brothers cannot even take the same side, as two reveal the dishonor to Arthur and take his side in bringing Lancelot down, and Gawain and another take the side of Lancelot. It’s a brilliantly orchestrated drama of incredible stakes, with a somber, gloomy overtone that never lets up, quietly reminding us this is the end of an age.
The loyalties become complicated further after Lancelot and Guinevere are caught in the act, and the queen is led to her execution by fire. In a daring rescue by Lancelot and his kinsmen, many of Arthur’s knights are killed, including all three of Gawain’s brothers, even those who did not wish to oppose Lancelot. One brilliance of this story is its realistic complexity and drama, drawing on conflicting emotions and the awful nature of this rapidly growing struggle. Soon Lancelot and his men are besieged by Arthur at the Joyous Garde, the castle Lancelot liberated earlier in the Prose Lancelot, once known as the Dolorous Garde. Gawain has vowed to avenge his brothers with the taking of Lancelot’s head. It’s unsettling the amount of disruption and chaos that has been unleashed in Logres. When Lancelot surrenders the queen he flees with his men to Gaul, where he is later attacked by Arthur.
After reading through all the Arthurian lore chronologically, watching the characters grow into formidable heroes, coming into their own as distinct entities within the canon, being immersed in a universe of splendor and enchantment in which the one constant is the love and comraderie among Arthur’s knights, this book presents an oppressive shift in tone and character. We can only helplessly watch as all the glory of the kingdom comes unraveled in a masterfully written sequence of events that make it hard to align ourselves with any side, as everyone in the story seems to be justified in acting and feeling as they do. It’s difficult to figure out whose lot in this tragedy is the worst. Lancelot, Guinevere, Arthur, Gawain… Each experiences compounding tragedy and loss as the story unravels. We simultaneously sympathize with two sides as they try to destroy each other, making it all the more gut wrenching.
Mordred is left behind to watch over Logres as Arthur goes to attack Lancelot. His treachery puts the queen in danger. Over in Gaul, Lancelot and Gawain finally duel to bring the conflict to an end, and this harrowing battle is presented masterfully, like so much else in the story. As the tides turn for each, each blow and strike hurts the audience as much as it hurts the knight. In the middle of their fight, as Gawain’s strength flows back into him at noon, the narrator takes a minor detour into Gawain’s childhood to explain where this power comes from — the hour of his baptism. This flashback makes the battle more depressing, seeing the innocent, happy child Gawain juxtaposed against the bloodied, thrashed adult Gawain, on the verge of death, battered by his most beloved comrade in arms, after a long chain of personal loss.
After this battle, Arthur hears that the Romans are sacking his lands. This harkens back to Geoffrey of Monmouth’s mythos, and after Arthur strikes the emperor dead, not before losing some of his own glorious knights, he hears the news of Mordred’s treason.
So begins the end of Arthur, the destruction of the Round Table, the fall of Logres. The brilliance of composition never ceases, and after each tragic climax that we think cannot possibly be topped, it is topped, and the tragedies are heaped upon one another, the violence and drama grow more intense, the emotional toll on once unshakeable paragons of courage is excruciating. The orchestration of the most significant battles to ever occur in Arthurian lore is a show of genius, incredible pacing, peerless sadness, and dynamic, enthralling narration. The battalions of Mordred’s men are each led by the king of a land, Scotland, or Wales, or Saxony, and Arthur’s men, trekking long across the country after a week of battle against Lancelot, are drained and weakened, but driven as ever to go up against the treasonous hordes, in hopes of saving their once glorious kingdom.
There are universes to explore within each knight’s tribulations over the course of this story. All are complex and made more effective when read after having worked through so many other works of Arthurian literature. There is despair, but there is redemption, and there is the recognition of folly when it is too late, and there is love and honor toward one’s enemy, as well as hatred toward one’s kin, and vengeance, and remorse, and every glory or victory is paired with disaster and profound loss. Death is indiscriminate, and all the beloved figures of these legends will meet their end, some in blood and violence, some in illness, some in old age. No one comes through this piece of high art unaffected, unchanged, and most do not come out alive at all.
A timeless work of an unnamed master storyteller.
February 6, 2009
Okay, so here's the thing:
1) This review here may contain what you may consider spoilers. But since I think most people have known how the popular legends of King Arthur end anyway, I don't consider what I write as really spoilery.
2) This was written centuries ago. So even if you have the (modern?) conviction that knights are brutal, fierce creatures, no need to ask why the knights portrayed using the high-medieval approach swoon half-to-death because their beloved ones passed away, or why men kiss each other's mouths etc.
This book is the last part of the Vulgate Cycle, Arthurian legends as written by unknown author(s) that hid their identity behind one Walter Map. Which was impossible because Map has died before the first part of the cycle (the Lancelot prose) was written.
What is amazing to me about this prose is how rich the characters are. Many of us tend to simplify the Arthurian legends as: 'Arthur, the king guided by Merlin, and his queen, Guinevere, who committed adulterous act with Lancelot' - an ordinary love-triangle and high fantasy story.
But The Death of King Arthur of the Vulgate Cycle is none like that. The webs that tangle the characters are so complicated, and supernatural elements were largely kept out of it.
I'd like to focus more on Gawain. Many modern adaptations tend to 'forget' or give less importance to this character, once so loved and held with high esteem by authors and readers alike, shifting the focus more on Mordred, since apparently we need to have a blatantly evil character, an archenemy, to hate or to explain and understand. But Gawain, and his other brothers besides Mordred, are important elements of the older myths. It was Gawain's wrath on the death of his brothers in the hands of Lancelot and his kin that drove him to push King Arthur to wage a war against Lancelot, thus leaving Camelot in the care of Mordred - who took the chance to usurp the throne and, at least he hoped to do so, Guinevere.
Gawain loved his uncle, his brothers, and also Lancelot; even when his own brother Agravaine started to blow the news about Lancelot/Guinevere affair, he wouldn't have it; he believed in Lancelot so much that he begged his uncle not to pay heed to such vicious rumour. Even when he knew that the news was nothing but the truth.
(You may disagree with Gawain here. What does 'being loyal to Arthur' here mean? Is it like what Agravaine believed, revealing Lancelot and Guinevere's adultery to the King? Or hiding them like Gawain and Gaheriet - also known as Gaheris - did?)
But then came a chaotic event when Lancelot tried to rescue Guinevere from punishment. His cousins killed Agravaine and Gareth (Gawain's third younger brother), and Lancelot himself accidentally slay Gaheriet. This drove not only Gawain mad, but also Arthur, since he loved his nephews so much. Thus the war between Lancelot and Arthur began.
(As for Lancelot, the medieval logic may once more escaped me, but I don't understand why he still thought that he hadn't wronged Arthur so much that he deserved the war, although he had slept with the queen. Somebody help explain this to me please.)
All in all, this Vulgate version of the Death King of Arthur is a monumental reading for all Arthurian enthusiasts and scholars. And the translation made me enjoy the reading even more, so I recommend this version to readers.
1) This review here may contain what you may consider spoilers. But since I think most people have known how the popular legends of King Arthur end anyway, I don't consider what I write as really spoilery.
2) This was written centuries ago. So even if you have the (modern?) conviction that knights are brutal, fierce creatures, no need to ask why the knights portrayed using the high-medieval approach swoon half-to-death because their beloved ones passed away, or why men kiss each other's mouths etc.
This book is the last part of the Vulgate Cycle, Arthurian legends as written by unknown author(s) that hid their identity behind one Walter Map. Which was impossible because Map has died before the first part of the cycle (the Lancelot prose) was written.
What is amazing to me about this prose is how rich the characters are. Many of us tend to simplify the Arthurian legends as: 'Arthur, the king guided by Merlin, and his queen, Guinevere, who committed adulterous act with Lancelot' - an ordinary love-triangle and high fantasy story.
But The Death of King Arthur of the Vulgate Cycle is none like that. The webs that tangle the characters are so complicated, and supernatural elements were largely kept out of it.
I'd like to focus more on Gawain. Many modern adaptations tend to 'forget' or give less importance to this character, once so loved and held with high esteem by authors and readers alike, shifting the focus more on Mordred, since apparently we need to have a blatantly evil character, an archenemy, to hate or to explain and understand. But Gawain, and his other brothers besides Mordred, are important elements of the older myths. It was Gawain's wrath on the death of his brothers in the hands of Lancelot and his kin that drove him to push King Arthur to wage a war against Lancelot, thus leaving Camelot in the care of Mordred - who took the chance to usurp the throne and, at least he hoped to do so, Guinevere.
Gawain loved his uncle, his brothers, and also Lancelot; even when his own brother Agravaine started to blow the news about Lancelot/Guinevere affair, he wouldn't have it; he believed in Lancelot so much that he begged his uncle not to pay heed to such vicious rumour. Even when he knew that the news was nothing but the truth.
(You may disagree with Gawain here. What does 'being loyal to Arthur' here mean? Is it like what Agravaine believed, revealing Lancelot and Guinevere's adultery to the King? Or hiding them like Gawain and Gaheriet - also known as Gaheris - did?)
But then came a chaotic event when Lancelot tried to rescue Guinevere from punishment. His cousins killed Agravaine and Gareth (Gawain's third younger brother), and Lancelot himself accidentally slay Gaheriet. This drove not only Gawain mad, but also Arthur, since he loved his nephews so much. Thus the war between Lancelot and Arthur began.
(As for Lancelot, the medieval logic may once more escaped me, but I don't understand why he still thought that he hadn't wronged Arthur so much that he deserved the war, although he had slept with the queen. Somebody help explain this to me please.)
All in all, this Vulgate version of the Death King of Arthur is a monumental reading for all Arthurian enthusiasts and scholars. And the translation made me enjoy the reading even more, so I recommend this version to readers.
August 24, 2021
This is really like a 4.5-4.8, but I rounded up. I read this for my First Year Seminar Days and Knights of the Round Table and I really liked it. I found myself not minding that I had to read one hundred pages in one sitting because it was a page-turner. I was surprised that the best part of the book its not its finale when King Arthur dies, but all the drama leading up to it. I guess that makes sense because, despite the misleading title, this story is about Lancelot. I really liked Lancelot's character too. I really enjoyed reading about the love triangle and all the duels/wars it eventually caused.
Here are some more things that I think are interesting/surprising about this book:
- The number of times people accidentally kill each other. Like Arthur kills a butler by hugging him too hard.
- I suspected Arthur was a bit older, but he's like wayyy older... He's 92! And fighting battles to the death!! Also Guinevere is in her 50s and so is Lancelot, so I feel like Arthur shoulda saw this coming from a mile away but ¯\_(ツ)_/¯
Anyway, this led to me fan-casting which actors would be best in these roles. For King Arthur: Christopher Plummer or Harry Belafonte. Guinevere: Salma Hayek, Halle Berry, Viola Davis, Catherine Zeta-Jones, or Gong Li. Lancelot: Denzel Washington, Keanu Reeves, or Daniel Dae Kim.
I may have worked on this list for about an hour until I realized I still had 50 pages to go and class is tomorrow :')
To summarize, this is a book that I was required to read that I would definitely (probably) read in my leisure time!
February 22, 2024
Que boniques que són les històries de cavallers, amb els seus clixés i situacions esperades, personatges poc aprofundits psicològicament, històries repetitives... però continuen sent boniques, agradables i la base de la nostra tradició cultural. Un encert per part de tothom qui ha fet possible tenir aquesta edició, en especial la traductora, que ha sabut traslladar-la al català modern amb una llengua àgil, amena i molt ben treballada.
I tan interessant com la narració, hi ha el postfaci, un aprofundit i alhora assequible estudi sobre l'obra, la transmissió i la influència a les lletres catalanes. Així com una reflexió sobre com s'ha traduït el text. Només em queda dir una cosa, i és que després de 'Galvany i el cavaller verd', espero que traductora i editora siguin com Artús a Avalon, pendents que retornin.
I tan interessant com la narració, hi ha el postfaci, un aprofundit i alhora assequible estudi sobre l'obra, la transmissió i la influència a les lletres catalanes. Així com una reflexió sobre com s'ha traduït el text. Només em queda dir una cosa, i és que després de 'Galvany i el cavaller verd', espero que traductora i editora siguin com Artús a Avalon, pendents que retornin.
November 15, 2022
it was meh
December 2, 2025
I’m very glad this was translated into modern English. Very interesting
July 21, 2010
This book is a translation of a part of the Vulgate Cycle, unfortunately a bit from the end. I really want to read that from the beginning, but this translation picks up after the end of the Grail quest. It's easy enough to follow, for me, but then, I know the story inside out. It's a much less fantastical narrative than some -- there's only one major bit of magic I can think of, and that's the hand of the Lady of the Lake catching Excalibur when Arthur has it thrown into the water at the end of his life. I disagree with the introduction's assertion that the other romances are silly and that this is more valuable for the lack of magic, but this is more realistic than other texts.
It helps that I know and love the characters already, but I liked their portrayals here and the various deaths made me sad. It's an easy enough translation to read, it seems pretty clear, and overall I thought it was pretty enjoyable.
It helps that I know and love the characters already, but I liked their portrayals here and the various deaths made me sad. It's an easy enough translation to read, it seems pretty clear, and overall I thought it was pretty enjoyable.
July 23, 2015
One of the better prose versions of the story of Arthur (in terms of the prose itself, at least), so it's a pity the author was so mawkishly sympathetic to Lancelot and Guenivere.
I mean, really. This supposed 'best knight' cuckolds his King, almost gets the Queen executed, and incites a war that spells the end of Llogres, while protesting he's done nothing wrong. And we're supposed to like him? Very frustrating.
I mean, really. This supposed 'best knight' cuckolds his King, almost gets the Queen executed, and incites a war that spells the end of Llogres, while protesting he's done nothing wrong. And we're supposed to like him? Very frustrating.
January 1, 2018
The gold standard of Arthurian literature. All the favorites, all being seduced by magic and bewitched for sex! Happens once, OK, but this seems to be an every day occurrence. No personal responsibility if you are under a spell.
Best quote: “Here lies King Arthur, the once and future King”
This translation attributed to Sir Thomas Morley
3 CDs
Best quote: “Here lies King Arthur, the once and future King”
This translation attributed to Sir Thomas Morley
3 CDs
May 12, 2024
No em digueu res durant uns quants dies perquè estaré fent un gran dol per Artús i Lançalot i Galvany i Ginebra.
January 30, 2022
probably my favorite morte narrative alongside the stanzaic morte.
it's just, these characters are so human you know? beyond the family feuds, invasions and usurpations, there are these characters who have mixed feelings, love and adoration, hate and anger toward each other and when all is over and ruined, you can't help but ask how preventable it all was if any one character did one thing different than how it played out. that's the beauty and the tragedy of the morte stories for me and this one truly delivers.
it's just, these characters are so human you know? beyond the family feuds, invasions and usurpations, there are these characters who have mixed feelings, love and adoration, hate and anger toward each other and when all is over and ruined, you can't help but ask how preventable it all was if any one character did one thing different than how it played out. that's the beauty and the tragedy of the morte stories for me and this one truly delivers.
November 12, 2021
'Ah! God, has any mortal man ever seen such great suffering? Ah! battle, how many orphans and widows you have made in this country and others. Ah! day, why did you ever dawn if you were to reduce the kingdom of Great Britain to such great poverty when its heirs, who are lying here dead and destroyed in such suffering, were so renowned for prowess? Ah! God, what more can you take away from us? We can see all our friends lying dead before us.'
I really need to start speaking just like this.
I really need to start speaking just like this.
June 19, 2025
buddy read, 1/? national epics.
- wtf was that ending????
- huh????
-pardon?? excuse me???
- so many of these quotes out of context would work great for a gay porno/gay love story movie
- i mean just wtf was that ending once again???
- it took me so long to finish this book just for this.
- wtf was that ending????
- huh????
-pardon?? excuse me???
- so many of these quotes out of context would work great for a gay porno/gay love story movie
- i mean just wtf was that ending once again???
- it took me so long to finish this book just for this.
April 24, 2022
this whole book was a series of I literally love you! but I have to kill you because *stupid reason* (and I really enjoyed that)
March 31, 2024
Un bon contacte amb la literatura medieval. Entretingut i perfectament entenedor gràcies a la traducció de Badia.
January 16, 2019
Un gran final para una gran historia épica. Me ha gustado el final misterioso para el rey Arturo, aunque es triste pensar que no volverá a cabalgar por una traición. Me gusta la historia de amor entre Lanzarote y Ginebra, un arquetipo del amor cortés.
January 4, 2011
'I shall quite certainly fight him,' said the king, 'even if I have to die as a result, because I should be a coward if I did not defend my land against a traitor.'
This book should of been called "The story of Lancelot, oh and King Arthur is there as well" because even when the book says it is moving on to tell a story about King Arthur or Sir Gawaine or Mordred it is always about Lancelot.
This book was originally in French and is from the thirteenth-century so I was extremely excited to read such an old version of the Arthurian legend. The book starts out after the Quest for the Holy Grail and immediately jumps into the talk of Lancelot and Queen Gueneveres adulterous betrayl. Boring, boring, boring.
I had expected so much more from this book considering it led me to believe it was about Arthur and not Lancelot. The lack of Morgan and Merlin really bothered me and the way the story would jump around was rather annoying.
I did enjoy the moments we got with Sir Gawain, because he is without a doubt the best Knight from Arthurian legend. A quote I really liked was in the first few pages:
'My Lord,' said Sir Gawain, 'you obviously wish to be certain of my great misfortune, and I shall tell you, because I see that I must. I can tell you in truth that I killed eighteen by my own hand, not because I was a better knight than any of the others, but since misfortune affected me more than any of my companions. Indeed, it did not come about through my chivalry, but through my sin. You have made me reveal my shame.'
Gawain's death was sad and made me cry so much and I thought I would cry reading Arthurs, but it was so boring and not at all climactic! It should of been the high point of the book, but instead it isn't
This book should of been called "The story of Lancelot, oh and King Arthur is there as well" because even when the book says it is moving on to tell a story about King Arthur or Sir Gawaine or Mordred it is always about Lancelot.
This book was originally in French and is from the thirteenth-century so I was extremely excited to read such an old version of the Arthurian legend. The book starts out after the Quest for the Holy Grail and immediately jumps into the talk of Lancelot and Queen Gueneveres adulterous betrayl. Boring, boring, boring.
I had expected so much more from this book considering it led me to believe it was about Arthur and not Lancelot. The lack of Morgan and Merlin really bothered me and the way the story would jump around was rather annoying.
I did enjoy the moments we got with Sir Gawain, because he is without a doubt the best Knight from Arthurian legend. A quote I really liked was in the first few pages:
'My Lord,' said Sir Gawain, 'you obviously wish to be certain of my great misfortune, and I shall tell you, because I see that I must. I can tell you in truth that I killed eighteen by my own hand, not because I was a better knight than any of the others, but since misfortune affected me more than any of my companions. Indeed, it did not come about through my chivalry, but through my sin. You have made me reveal my shame.'
Gawain's death was sad and made me cry so much and I thought I would cry reading Arthurs, but it was so boring and not at all climactic! It should of been the high point of the book, but instead it isn't
October 30, 2007
I actually really loved this book! It was truly a pleasure to read and I really felt I'd got a vacation from my generally burdensome reading load, even though this was valuable in an academic sense, as well. The style flowed well, with a subtle and touching blend of action, romance, suspense, philosophy and everything else that makes our hearts beat and know that we're ALIVE! I especially appreciated the age of chivalry after some of the other eras I'd studied...!
September 10, 2014
This is an incredibly frustrating book. On one hand you have a classic tale, on the other one of the most driest narrations ever. It is very linear and possibly revolves around an oral tradition, and gives a very odd view of the world: how many soldiers were killed is unrecorded, any rank less than knight is not important.
November 23, 2018
I'm in a bit of an odd position with the Arthurian original sources I read. I'm forever referring back to the Boorman 'Excalibur' movie as a reference (which I still love, and has set the tone for all future Arthurian stories for the rest of my life), and I'm dancing around Malory's 'Le Morte D'Arthur' which has been sitting on my shelves for a very long time. I guess, in order (in my mind) to fully appreciate Malory's famous work, I feel like I should be doing my homework i.e reading more original sources and commentaries, which I am slowly doing.
This story, according to introduction, is the third romance in the Vulgate cycle, which I am reading horribly out of order. Having read the second part, 'The Quest for the Holy Grail' somewhat recently, and having recently obtained a copy of the first part 'Lancelot of the Lake' but not actually read yet, I seem now in a position to follow up, at some stage with 'Lancelot' in order to complete the basic French Romantic cycle familiar to Malory. As anyone familiar with Arthurian texts, there are many more narratives pre- and post- Malory to follow up on, a decent selection of which I have in the wings.
The introduction also lays out, in quick order, the tone of this romance, in as much as it tells us right from the outset that there will be 'none of that absurd fantasy that fills most French romances of the period', that in this romance, 'the turning points are dictated by human psychology instead of otherworldly events.' For that warning, I was rather appreciative, as I would likely have been far more disappointed with this version had I gone in otherwise uninformed. As stated, I am very fond of the Boorman 'Excalibur' movie which is drenched in the supernatural, heavy in allegory and symbolism and oozing in magic and 'otherworldly events'. I do expect the supernatural world to mirror the world of Arthur and the Holy Grail, and I do expect the Death of Arthur and the end of the Knights of the Round Table to have spiritual and mythic resonance. And I am quite fond of 'The absurd fantasy' that is associated with Arthurian tales. There is precious little of any of that present in this version of the Death of Arthur. Alas.
Despite all of that, it does come across as a fine tale, with many of the usual suspects (Merlin, apart from one mention, is otherwise absent, as one would expect given the warning in the intrduction). I was struck by the event that set the entire story in motion, triggered by a knight called Avarlan and his attempt to poison Sir Gawain. The poisoned fruit is intercepted unknowingly by Guinevere and handed on to another knight, who died, seemingly at the hands of the queen. A tragic series of events unfold from this, resulting in the tragic end for Arthur and the Knights of the Round Table, all teased out admirably from this one event. Yet the knight in question, Avarlan, is neither mentioned previous to or after this pivotal event. As an agent of the destruction of all that is good and noble, he is otherwise an inconsequential character, which rather reduces the downfall of Arthur to almost a random event, rather than as machinations from an important character (yes, such as Morgana in the Boorman movie, I know, I should stop comparing). Perhaps this is what was meant by 'none of that absurd fantasy' being present in this romance, including, seemingly, Fate.
Apart from my gripe about Avarlan, as stated, the consequences from this one action are teased out masterfully and alarmingly, with each step making sense in the context of the story, until Arthur's nobleness ends up being his weakness at the end, with his refusal to ask for Lancelot's help leading up to the final battle. Every step is well argued or justified from the character's point of view, made the more tragic gived we all know what's looming. A few little exchanges between characters come across as a bit odd or less than knightly, but otherwise each character well represents their station, such as it was at the time.
All in all, a fine Arthurian read, even if the 'fantasy' is largely absent.
This story, according to introduction, is the third romance in the Vulgate cycle, which I am reading horribly out of order. Having read the second part, 'The Quest for the Holy Grail' somewhat recently, and having recently obtained a copy of the first part 'Lancelot of the Lake' but not actually read yet, I seem now in a position to follow up, at some stage with 'Lancelot' in order to complete the basic French Romantic cycle familiar to Malory. As anyone familiar with Arthurian texts, there are many more narratives pre- and post- Malory to follow up on, a decent selection of which I have in the wings.
The introduction also lays out, in quick order, the tone of this romance, in as much as it tells us right from the outset that there will be 'none of that absurd fantasy that fills most French romances of the period', that in this romance, 'the turning points are dictated by human psychology instead of otherworldly events.' For that warning, I was rather appreciative, as I would likely have been far more disappointed with this version had I gone in otherwise uninformed. As stated, I am very fond of the Boorman 'Excalibur' movie which is drenched in the supernatural, heavy in allegory and symbolism and oozing in magic and 'otherworldly events'. I do expect the supernatural world to mirror the world of Arthur and the Holy Grail, and I do expect the Death of Arthur and the end of the Knights of the Round Table to have spiritual and mythic resonance. And I am quite fond of 'The absurd fantasy' that is associated with Arthurian tales. There is precious little of any of that present in this version of the Death of Arthur. Alas.
Despite all of that, it does come across as a fine tale, with many of the usual suspects (Merlin, apart from one mention, is otherwise absent, as one would expect given the warning in the intrduction). I was struck by the event that set the entire story in motion, triggered by a knight called Avarlan and his attempt to poison Sir Gawain. The poisoned fruit is intercepted unknowingly by Guinevere and handed on to another knight, who died, seemingly at the hands of the queen. A tragic series of events unfold from this, resulting in the tragic end for Arthur and the Knights of the Round Table, all teased out admirably from this one event. Yet the knight in question, Avarlan, is neither mentioned previous to or after this pivotal event. As an agent of the destruction of all that is good and noble, he is otherwise an inconsequential character, which rather reduces the downfall of Arthur to almost a random event, rather than as machinations from an important character (yes, such as Morgana in the Boorman movie, I know, I should stop comparing). Perhaps this is what was meant by 'none of that absurd fantasy' being present in this romance, including, seemingly, Fate.
Apart from my gripe about Avarlan, as stated, the consequences from this one action are teased out masterfully and alarmingly, with each step making sense in the context of the story, until Arthur's nobleness ends up being his weakness at the end, with his refusal to ask for Lancelot's help leading up to the final battle. Every step is well argued or justified from the character's point of view, made the more tragic gived we all know what's looming. A few little exchanges between characters come across as a bit odd or less than knightly, but otherwise each character well represents their station, such as it was at the time.
All in all, a fine Arthurian read, even if the 'fantasy' is largely absent.
June 1, 2023
My first read in the Lancelot-Graal (Pseudo-Map) cycle, this work was the main element of my college syllabus this semester; studying the original text in depth along with Patrick Moran's commentary (ed. Jean Frappier, Paris, Droz, 2020) laid plain the mechanism that animates the Arthurian world. In a rigorously "post-apocalyptic" epoch, the search for marvels and transcendence, represented by the Holy Grail and making up the main intrigue of the Lancelot and the Queste, has now exhausted all possible outroads into the unknown. Abandoned by Providence and under the equally steady and mutable hand of Fortune, Arthurian civilisation falls prey to the internal contradictions which had laid dormant in the collective culture of such virtuous characters as Lancelot, Arthur and Gauvain. Lancelot's unfailing loyalty to his lord inevitably clashes with his love for Guenievre, once modest and properly courtly, but which deviates to become, in the endless search for intensity (or flight from stability) which drives the knightly court, mere adultery, in the process tearing apart the king and his best thane, despite the unblemished brilliance of both their hearts. La Mort le roi Artu depicts the inevitable catastrophe which arises when a civilisation founded on a centrifugal movement into the physical and spiritual unknown reaches the summit of its glory, exhausting earthly wonders; the eternal restlessness on which is built Arthur's world, the adventurous spirit of its personae, turns against its people like an ingrowing talon. Those we saw love and defend each other, becoming ideals of chivalry and honour, turn against their comrades despite the purity of all hearts (but one); weakened by the limits of the grounds such a society is built on, it is brought down on itself and returns to a primal state of uncertainty... Though the ending is undoubtedly tragic, and draws new tears at each new reading, this is nonetheless tempered by the sheer necessity of an end. Arthur's death was announced by the very title, his mortality was self-evident; and this collapse of an entire civilisation is, in a way, the only true means to return to a world where wonders and challenges may arise again. It's easy to see the parallels between this story and human life as it manifests itself in the 21st century; science having either dispersed or corrupted the awesome ghosts of spirituality, we seem to aspire endlessly to a progress which never comes, and society reeks of a stale and brackish status quo. Meanwhile, the famed ecological "limits to growth" are now knocking, already boding ill for our consumerist world.
July 7, 2019
This is not the place to come for heroes. There are no likeable characters here. The worst is the vain, shallow, manipulative Guinevere, then we have a self-deluded Lancelot, a King Arthur who is a classic weak leader - vacillating and excessive by turns, a Gawain who doesn't know when to stop, and a collection of knights who avoid confronting the truth out of physical fear dressed up as policy. All in all it sounds like modern politics. Our narrator stitches together several themes with a fair degree of success, though you feel he understandably gets bored of Guinevere by the end. Afflicted by the medieval obsession with courtly love (a contemptible concept if you ask me, which is probably why I'd never have made a good medievalist), he at times attempts to turn his readers in favour of Guinevere and Lancelot. I don't think there's any irony intended here which is a shame. This is not a tale of magic and that realism adds to the gloom - the only exception is Gawain's waxing strong with the sun (which is only put in to do him down vis a vis Lancelot. The author also introduces a strange time limit to the two's duel for the same purpose) and a cameo appearance by one of Merlin's prophecies. If there is a lesson to learnt from the tale, it is maybe that of the corrupting nature of pride. Arthur is shown a vision where he is on the top of the Wheel of Fortune and cast down. All the major characters exhibit pride and arrogance and all suffer, almost invariably fatally, for it. I have no medieval French so I can't comment on the fidelity of the translation, but it reads well and has some nice turns of phrase which I hope come from the original. If you like studies in jealousy, hatred and how politics can collapse this is a good read - I found it life affirming, but then I'm a pessimist. If you like Arthur and his knights heroic and bold, then this isn't the book for you.
August 5, 2021
Mi reseña completa en https://www.instagram.com/p/CSLD14IlS6l/
Este volumen, el último de las crónicas artúricas, relata los años finales del mítico rey concentrándose en sus batallas y conflictos.
👩❤️👨A pesar del título, el verdadero protagonista de la historia es Lancelot del Lago y los problemas que provocan su romance adúltero con la reina Ginebra.
🗣 El estilo del relato, que hoy podría considerarse del género caballeresco, en ese entonces pertenecía a la literatura oral. Es fácil imaginar a los trovadores, yendo de corte en corte, recitando las aventuras de estos hombres y convirtiendo a varios nombres de los nombres mencionados, como Galván, Merlín y Morgana, en parte de la memoria colectiva del pueblo inglés.
🗡En lo personal, sólo conocía los primeros años de Arturo por las películas que se centran en su búsqueda de la espada Excalibur. En este caso, encontramos a un rey al final de su vida, un poco ciego a lo que pasa a su alrededor y fácilmente manipulable. Del otro lado, tenemos a Lancelot, el invencible primer caballero quien, a pesar de amar al rey, no vacila en plantarle una bonita ornamenta en cada ocasión que se le presenta. Finalmente, en el medio del triángulo la reina Ginebra quien, al igual que Helena de Troya, desata muerte y dolor.
Este volumen, el último de las crónicas artúricas, relata los años finales del mítico rey concentrándose en sus batallas y conflictos.
👩❤️👨A pesar del título, el verdadero protagonista de la historia es Lancelot del Lago y los problemas que provocan su romance adúltero con la reina Ginebra.
🗣 El estilo del relato, que hoy podría considerarse del género caballeresco, en ese entonces pertenecía a la literatura oral. Es fácil imaginar a los trovadores, yendo de corte en corte, recitando las aventuras de estos hombres y convirtiendo a varios nombres de los nombres mencionados, como Galván, Merlín y Morgana, en parte de la memoria colectiva del pueblo inglés.
🗡En lo personal, sólo conocía los primeros años de Arturo por las películas que se centran en su búsqueda de la espada Excalibur. En este caso, encontramos a un rey al final de su vida, un poco ciego a lo que pasa a su alrededor y fácilmente manipulable. Del otro lado, tenemos a Lancelot, el invencible primer caballero quien, a pesar de amar al rey, no vacila en plantarle una bonita ornamenta en cada ocasión que se le presenta. Finalmente, en el medio del triángulo la reina Ginebra quien, al igual que Helena de Troya, desata muerte y dolor.
January 28, 2023
the tail end of the 13c vulgate cycle and a clear major influence on malory. likely written by a different author than the previous vulgate sections of the prose lancelot (the grail quest, lancelot's rise, etc). while i haven't read those (yet), they, and this one, get re-written in malory, of which this segment is probably the best, as it contains a human element to the stories. we don't get tournament tedium here, but theres actual emotions in the characters and some attempt at suspense in the pacing and plotting of how the pieces fit together. the prose style is incredibly basic and does feel like its written with an audience of medieval peasants in mind, but overall i think its an easier read the malory. the solo combat fight with the roman emperor is here, whereas malory puts it at the very beginning during arthur's rise to power, and i think almost makes sense here, even though it is still a bit ridiculous
January 28, 2024
Meravellós document històric. Cal Carré ens regala la millor traducció de Lola Badia amb notes al peu de pàgina i un postfaci per tal d'entendre d'on ve aquest escrit i quin és el seu context.
Els catalans som tant extranys que comencem pel final, com ve diu el títol, per la mort del rei Artús. Que quedi ben clar que Artús no és un Déu sinó un home més, de carn i ossos i mortal. I alerta, el narrador ens fa spoilers tota l'estona però no patiu que avisa i tot.
Em sembla un text entranyable que ens mostra com era la noblesa del segle XIII preocupats per l'honor, l'amor i la guerra. Aquest text és un culebrot que ni la Riera ni Pasión de Gavilanes! Ens l'explica un tal Galter Map amb el propòsit de fer de cronista de totes les gestes de la cort del mític rei Artús.
El recomano molt. És un divertiment continu. Batalles, justes, donzelles bellíssimes, traïcions per tot arreu... Què més es pot demanar!??
Els catalans som tant extranys que comencem pel final, com ve diu el títol, per la mort del rei Artús. Que quedi ben clar que Artús no és un Déu sinó un home més, de carn i ossos i mortal. I alerta, el narrador ens fa spoilers tota l'estona però no patiu que avisa i tot.
Em sembla un text entranyable que ens mostra com era la noblesa del segle XIII preocupats per l'honor, l'amor i la guerra. Aquest text és un culebrot que ni la Riera ni Pasión de Gavilanes! Ens l'explica un tal Galter Map amb el propòsit de fer de cronista de totes les gestes de la cort del mític rei Artús.
El recomano molt. És un divertiment continu. Batalles, justes, donzelles bellíssimes, traïcions per tot arreu... Què més es pot demanar!??
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