(Painting of King Arthur by N.C. Wyeth (1882–1945), from Sir Thomas Mallory, [Public Domain] via Creative Commons
In 12th-century Britain, a
peculiar churchman, historian and teacher named Geoffrey of Monmouth launched
the mystical tale of King Arthur and the magician Merlin on its path to world
acclaim with the debut of his book, The
History of the Kings of Britain. Though the adventures of King Arthur and
his chivalrous knights were eventually accepted and admired in Britain, the
road to acceptance was rough. Geoffrey of Monmouth’s writing was initially widely
criticized in the British scholarly world, but it found quick admirers in
medieval French literature and poetry. Later, the tales of King Arthur
sluggishly crept back to Britain, only becoming truly mainstream after the 16th
century with the help of literary masters such as Shakespeare, Wordsworth and
Tennyson.
Why was Geoffrey of Monmouth
such a controversial figure? From what little is known about him, you would
think of the man as the trustworthy sort. Geoffrey of Monmouth was likely a
Welshman who earned his living as a teacher. He also was thought to have been
bishop-elect of St. Asaph, but mainly resided in either Oxford or London.
Geoffrey was a man of learning, and as such, he wrote his book in Latin.
Geoffrey’s writing had charm, yet, he was also a humble man who often described
his own writing as plain and simplistic.
The controversy that clouded
around The History of the Kings of
Britain can be explained by looking at the content of Geoffrey’s text, the
way the content was presented and the title attached to the book. In regard to
content, it is helpful to liken Geoffrey’s The
History of the Kings of Britain, to Virgil’s The Aeneid and Homer’s The Iliad
and The Odyssey. All of these
texts are dramatic, fantastical stories featuring heavy doses of oral
tradition, folklore and religion. Though they are largely fictional, they are
placed in historical settings, often using historical names. Geoffrey’s ties to
mythology and folklore were made clear when the first king he covered in his
book turned out to be Brutus—the grandson of the Trojan, Aeneas, a character
written about by the ancient poets, Homer and Virgil.
Despite the clear
mythological status of much of Geoffrey’s content, he chose to frame the text
as if it were an ancient British work that he translated into Latin. Furthermore,
the tone he used when he addressed the supposed translation conveys no sense of
doubt in its historical accuracy. If Geoffrey’s work was truly a translation of
a text written by an ancient Briton, he would have been wise to include a
warning that the book should be read with caution when used as a source for
history.
That takes us to another
major controversial problem with Geoffrey of Monmouth’s work—the title. As
Geoffrey’s book (or translation) was largely about mythology and folklore, the
use of the title, The History of the
Kings of Britain, caused the text to be filed away as a faulty history book
rather than a compelling collection of British myths and folk stories. Geoffrey
of Monmouth’s work would have received a much better reception if he had titled
it Mythological Kings of Britain or The History of British Mythology.
Nevertheless, the book was released and was heavily criticized by Geoffrey’s
scholarly peers.
Though it would take
centuries for the stories of King Arthur to find literary acceptance in England,
French writers quickly began to enjoy Geoffrey’s work. In the late 12th
century, the poet Marie de France (who lived in England) wrote of Arthurian
tales in her Lais. Across the English
Channel, Marie’s contemporary, Chrétien de Troyes further romanticized the
Arthurian genre of writing, adding the well-known character, Lancelot. The
tales of King Arthur even inspired the Bavarian knight-poet, Wolfram von
Eschenbach (another contemporary of Marie de France and Chrétien de Troyes),
who wrote his own Arthurian poems.
It took a long, long time for
Britain to have an explosion of Arthurian literature. Before the 16th century,
there were few significant works (only around one per century) in Britain that
mentioned King Arthur favorably. Besides critics and chroniclers, only Layamon’s Brut (1200 CE), Sir Gawayne and
the Green Knight (from the 1360s) and Thomas Malory’s Morte d’Arthur (1469) come to mind. After the mid-16th century,
however, the number of British authors who wrote about King Arthur drastically
began to increase. From the 16th to the 19th century, authors and poets such as
Thomas Sackville, Thomas Norton, William Warner, Thomas Hughes, Edmund Spenser,
William Shakespeare, Michael Drayton, John Milton, John Dryden, Sir Richard
Blackmore, William Wordsworth and Alfred Tennyson all wrote about King Arthur
and the magician, Merlin.
So, even though Geoffrey of
Monmouth is not remembered as a great historian, his legacy remains intact. The
myth, folklore and legend of King Arthur and Merlin, recorded in Geoffrey of
Monmouth’s The History of the Kings of Britain,
survived relentless peer review to inspire authors and poets and entertainers
to this very day.
Source:
- The History of the Kings of Britain by Geoffrey of Monmouth, translated by Lewis Thorpe. New York: Penguin Classics, 1966.
Ah but there could be a lot more history in there than is supposed. British history has been sidelined through the Saxon bias ;-)
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