A BIBLIOGRAPHY OF MODERN ARTHURIANA15002000

The legend of Arthur has been a source of fascination for writers and artists inEnglish since the fifteenth century, when Thomas Malory drew together for thefirst time in English a variety of Arthurian stories from a number of sources toform the Morte Darthur. It increased in popularity during the Victorian era,when after Tennyson's treatment of the legend, not only authors and drama-tists, but painters, musicians, and film-makers found a source of inspiration inthe Arthurian material.

This interdisciplinary, annotated bibliography lists the Arthurian legend inmodern English-language fiction, from 1500 to 2000, including literary texts,film, television, music, visual art, and games. It will prove an invaluable sourceof reference for students of literary and visual arts, general readers, collectors,librarians, and cultural historians indeed, by anyone interested in the historyof the ways in which Camelot has figured in post-medieval English-speakingcultures.

ANN F. HOWEY is Assistant Professor at Brock University, CanadaSTEPHEN R. REIMER is Associate Professor at the University of Alberta, Canada

A Bibliography of Modern Arthuriana15002000

Compiled by

Ann F. HoweyStephen R. Reimer

D. S. BREWER

Ann F. Howey, Stephen R. Reimer 2006

All rights reserved. Except as permitted under current legislationno part of this work may be photocopied, stored in a retrieval system,

published, performed in public, adapted, broadcast,transmitted, recorded or reproduced in any form or by any means,

without the prior permission of the copyright owner

First published 2006D. S. Brewer, Cambridge

ISBN 1 84384 068 5

D. S. Brewer is an imprint of Boydell & Brewer LtdPO Box 9, Woodbridge, Suffolk IP12 3DF, UK

and of Boydell & Brewer Inc,668 Mt Hope Avenue, Rochester, NY 14620, USA

website: www.boydellandbrewer.com

A CIP catalogue record for this book is availablefrom the British Library

This publication is printed on acid-free paper

Printed in Great Britain byBiddles Ltd, Kings Lynn

Contents

Acknowledgements vii

Abbreviations viii

Introduction ix

Sources Used in Compiling the Bibliography xiv

A. Literature 1

B. Comic Books and Graphic Novels 489

C. Film, Television, and Radio 497

D. Music 529

E. Games 595

F. Fine Art and Graphic Design 606

General Index 719

Arthurian Characters and Themes 757

Acknowledgements

A project of this size is the work of many years, and one accumulates many debts, whichwe are pleased to acknowledge. We are very grateful for the support of family andfriends, who enthusiastically brought new items to our attention, and valiantly enduredas true companions during screenings of movies (good and bad). We are grateful forfinancial assistance from the University of Albertas Support for the Advancement ofScholarship fund. We also gratefully acknowledge the Bulletin of Bibliography, whichpublished two precursors to this project (Reimer, The Arthurian Legends in Contem-porary English Literature, 19451981, and Howey and Reimer, The ArthurianLegends in Contemporary English Literature, 19811996). We are also grateful to thelibrarians and staff of the libraries of the University of Alberta, the University ofToronto, British Library, Bodleian Library, Edmonton Public Library (Alberta, Canada),Elgin Public Library (Ontario, Canada), Mississauga Public Library, and Toronto PublicLibrary (including the Merrill Collection), and especially the staff of the Inter-LibraryLoans Office at the University of Alberta. The Department of English at the Universityof Alberta supported the project by providing us with a series of graduate research assis-tants, and we are especially grateful to them, for they have helped in so many ways toproduce whatever merits this bibliography has. We also are very grateful to the anony-mous reader who reviewed the manuscript for the publisher, and who caught manyerrors and infelicities, as well as making a number of more substantial contributions.The faults that remain, of course, are solely our responsibility.

Ann F. Howey and Stephen R. ReimerJune 2006

Abbreviations

B&W Black-and-whiteABC American Broadcasting Companies (U.S. TV network)BBC British Broadcasting Corporation (British Radio and TV network)CBC Canadian Broadcasting Corporating (Canadian Radio and TV network)CBS Columbia Broadcasting System (U.S. TV network)CIA Central Intelligence AgencyEETS Early English Text SocietyESTC English Short Title Catalogue (see list of secondary sources)HBO Home Box Office (U.S. TV network)HTV HTV is an affiliate of ITV (British TV network)IMDB Internet Movie Database (see list of secondary sources)ITV Independent Television (British TV network)JEGP Journal of English and Germanic PhilologyNAL National Art Library (London)NBC National Broadcasting Company (U.S. TV network)OCLC Online Computer Library Center (see list of secondary sources)PEN An international authors associationPBS Public Broadcasting System (U.S. TV network)RAF Royal Air ForceRCMP Royal Canadian Mounted PoliceRFC Royal Flying CorpsRptd. ReprintedSAS Special Air ServiceSig. Signature (leaf of an unpaginated book)STC (P&R) Short-Title Catalogue by Pollard and Redgrave (see list of secondary

sources under Pollard)STC (Wing) Short-Title Catalogue by Wing (see list of secondary sources under

Wing)TEAMS The Consortium for the Teaching of the Middle AgesTLS Times Literary SupplementUCLA University of California at Los AngelesUIP United International PicturesUPA UPA (United Film Productions) StudiosWMAQ Call letters of a radio and television station in Chicago (NBC affiliate)WQED Call letters of a radio and television station in Pittsburgh (PBS)YTV Youth Television (Canadian TV network)

Introduction

Introduction

In the 1470s, Thomas Malory drew together a variety of Arthurian stories fromnumerous sources and languages. Since Caxtons publication of Malorys text in 1485,the Arthurian legend in the English-speaking world has experienced sometimes neglectand mockery, sometimes interest and re-imagination. In particular, the proliferation ofArthurian publications in the nineteenth and twentieth centuries has elicited muchcomment and debate among scholars of the field. Arthur and Guenevere have drawnincreasing numbers of characters into their sphere of influence, and increasing numbersof authors, dramatists, painters, musicians, and film-makers have paid homage to thelegendary king and queen. Our intention in this bibliography is to list as comprehen-sively as we can the uses of the Arthurian legend in modern English-language fiction(broadly understood, as explained below), from 1500 to 2000.

We have chosen to focus on the fictional representations of Arthur and his court. Ofcourse, the boundaries between fiction and non-fiction can be blurry. Generally, ifauthors have presented their work as non-fiction, we have taken them at their word andomitted them; Arthurian self-help books, for instance, are not included, nor arecommentaries on Arthurian traditions. These may be contributions to a body of knowl-edge or to Arthurian scholarship, but imaginative reworkings of the legend are the focusof this bibliography. We have made occasional exceptions to this rule: for works suchas those that purport to be accounts of true past-life experiences, for example that webelieve will be taken as fiction by many readers and which could themselves become thebasis for further fictional works by others; or for works that use a fictional framework conversations between Merlin and Arthur, for example to introduce non-fictionalmaterial.

Though limiting ourselves to fiction, we have interpreted that term quite broadly:in addition to novels, short stories, poems, and drama, we include musical dramas,music (songs or instrumental works), film, television, games, art (including book illus-trations), and some comics. Given the limitations of the library resources to which wehave access, the Comics section is limited to series or graphic novels with sustainedArthurian content or reputation, and to comic book versions of Arthurian works inother media. For fuller listings of appearances of Arthurian characters in otherwisenon-Arthurian comics, we recommend Michael Torregrossas Camelot 3000 andBeyond: An Annotated Listing of Arthurian Comic Books Published in the UnitedStates, c.19801998 in Arthuriana 9.1 (Spring 1999): 67109 and the Camelot in FourColors website at .

The focus on English-language items is also deliberately restrictive. Being ourselvesstudents of English literature, our main competence and interests are in fiction in thatlanguage. Certainly writers in other languages have found the Arthurian legends evoca-tive, but our primary focus is upon what, since Malory gathered the stories into English,English-language authors and artists have done with it. As a result, works originallypublished in other languages have not been included, nor have English translations ofsuch works.

In seeking to list modern Arthuriana, we have chosen 1500 as a convenient startingplace, essentially using the various publications of Malory by Caxton and de Worde asthe dividing line between the medieval and modern uses of the legend. Modern editionsor translations of medieval works have not been included; for example, Ernest RhysThe Tale of Balin and Balan that appears in his The Garden of Romance (1897) reprintsMalorys tale, and so is omitted. On the other hand, retellings of medieval stories bymodern authors have been included; the distinction between translation andretelling is based on the degree to which the modern author is contributing imagina-tively to the story. Generally works that have changed the medium of the original (a filmversion of a medieval tale, or a play based on Malory) are considered retellings, since thenew medium will demand certain choices and changes by its author, no matter howmuch he or she may wish to remain faithful to the original.

Whether or not a work has been published has also been a major consideration indetermining its appropriateness for inclusion; our bibliography in general is limited topublished works. We therefore exclude plays that have been performed but notpublished, and self-published works such as books from vanity presses or Arthurianstories on personal websites. We cannot, given the resources at our disposal, hope tocover comprehensively unpublished material or vanity publishing, and so we have notattempted to do so. Further, some of this material could be classified as ephemera, notintended to have the sort of permanent existence that inclusion in a bibliography wouldrequire. Our general criterion to determine whether a work is published has beenwhether or not it is available in a library, museum, or archive; a work that has beenarchived and is accessible to the public we take as published, while a work which hasnever been made accessible through a library or museum we have excluded as privateor ephemeral.

Thus understood, English-language fictional representations of the Arthurian legendafter Malory are the subject of our bibliography. But the last term to be defined isperhaps the most difficult. Just what counts as Arthurian?

First, it is interesting to note the way in which the kings name comes to represent aplethora of characters, places, items, and events. Some characters, such as Guenevere,Merlin, or Lancelot, or objects like Excalibur, are so closely associated with the legendaryking that their presence alone more or less guarantees Arthurian status. Others, likeTaliesin or the Grail, have a long and independent tradition (pre- or post-medieval)apart from Arthur. Not every Grail carries with it Arthurian associations: sometimes itis solely the cup of the Last Supper, as in Thomas Costains The Silver Chalice (1953)which we omit for that reason; sometimes it is simply a generic symbol for a personaldesire. And any name can be used with no Arthurian meaning intended: sometimes aRound Table is just a circular piece of furniture (much to the frustration of theArthurian bibliographer who has made the effort to track the item down).

Prophecies of Merlin provide plentiful examples of this phenomenon. In the seven-teenth century, William Lilly published an annual almanac, for which he adopted thename of Merlinus Anglicus; later, the series was continued by Henry Coley, asMerlinus Anglicus Junior. Other similar almanacs appeared, attributed to EnglandsMerlin or The Royall Merlin; in the 1770s, another series of almanacs appeared underthe name Merlinus Liberatus. Despite the use of the name Merlin, these are worksconcerned with the prognostication of current events (the weather for the next fourseasons, the phases of the moon, the movements of the planets, current political events);they have nothing essential to do with Arthurs Merlin or with Arthurian literature.Merlin is used in these cases merely as a nom de plume for a modern prophet,without implying that these prophecies were uttered in ancient times by the real

x A Bibliography of Modern Arthuriana, 15002000

Merlin. Since these make no contribution to Arthurian literature, we have not includedthem in the bibliography, but anyone interested can find them listed in Wings ShortTitle Catalogue (A1435CA1451, A2305A, A1879A1919A, L2214, L2221, and M1751)and in the English Short Title Catalogue. On the other hand, collections of modernprophecies whose source is declared or implied to be the Arthurian Merlin are includedhere.

The Mabinogion provides a slightly different example. (Note that we use the titleMabinogion for the twelve medieval Welsh tales which were so designated by LadyCharlotte Guest; we are aware that Mabinogion is not a real Welsh word, and that onlythe first four of those twelve tales are legitimately branches of the Mabinogi; our useof the term will refer to the Guest collection and its derivatives, without implying thatGuest used the term correctly.) We are interested only in modern retellings or rewritingsof the explicitly Arthurian items within that collection, of which there are six: 1)Kilhwch and Olwen; 2) The Dream of Rhonabwy; 3) The Lady of the Fountain; 4)Peredur the Son of Evrawc; 5) Geraint the Son of Erbin; 6) Taliesin, which is set inKing Arthurs time (this tale is not included in many of the later versions of theMabinogion, but it is in Guest, and it is there explicitly Arthurian).

Secondly, there are great numbers of works in which Arthurian names are droppedrather casually; many otherwise non-Arthurian works might once describe a hero as aLancelot or a Galahad. Such works are not included; our bibliography limits itself toworks in which the use of the legend is substantial. Obviously, retellings and rewritingsof the legend, in whole or in part, represent substantial uses of the legend and areincluded. In addition, we include works whose use of Arthurian allusions contributessignificantly to meaning or effect, either through the placement of such allusions at keymoments (titles, for example), or through an extended pattern of allusions. Such allu-sions speak to the continuing power and presence of the legend. Authors confidently useArthurian material as a reference point, certain of their audiences recognition andunderstanding, and a whole constellation of meanings might be suggested by the nameof a single Arthurian character. Other works may be said to have substantial Arthuriancontent even where no Arthurian name appears: a story, for instance, of a modern lovetriangle which employs a plot structure parallel to the stories of Guenevere or of Iseultwill be Arthurian by our criteria, though we exclude those works (like the Harry Potterseries) where the parallels are to romance forms generally, rather than specific Arthu-rian stories. Sometimes such allusions to the tradition are clear and straightforward;sometimes the meaning would seem not to agree with the knowledge of the informedArthurian reader (the romance title Dad Galahad comes to mind, where the expecta-tions of romance novels would seem to contradict traditional characterizations ofGalahads sexual purity). But even those examples of (potential) miscommunication areinteresting, indicating as they do the evolving associations of various elements of thelegend, or the contradictory associations created by different strands of the tradition.For each of our entries, then, the annotations explain the nature and extent of theArthurian content in the work.

The annotations vary in length, for we did not set word limits on descriptions ofitems; our intention in all cases is to describe as accurately as possible, not simply thework in itself, but its contribution to and use of the Arthurian tradition. We thereforeconstructed annotations in as much detail as their interest and Arthurian contentwarranted. One consequence of this method needs to be noted: some works requiredmore explanation of that content and its significance (particularly if there has been ahistory of scholarly debate about that content) than the more straight-forward itemswhere the Arthurian content is well-known or obvious. Our goal was to provide such

Introduction xi

descriptions from the item itself, not from library catalogue information or othersources; in some instances, however, it was impossible to view items ourselves, and inthose situations we denote a work as not seen (or heard or viewed, in the case ofmusic or films) by ending the bibliographical description of the work with an asteriskwithin parentheses.

Each entry consists of three major sections: a bibliographical description; reprintinformation; and annotation. In general, the bibliographical description is based upona) the first appearance in print or b) the first appearance in book form (as for lyricswhich might have appeared first in a newspaper but were then reprinted in a collectionof the authors works). However, we also include smaller sections of larger works thatare printed later (a chapter of a novel which is then republished as a short story in ananthology, for example). Major reprints are indicated in the relevant section. We are notattempting to give the complete publishing history of any work, though we occasionallyoffer notes towards such a history. With many of the more important canonical works(Tennysons Idylls, for example), a full bibliographic history of even a single text can be amajor project in its own right.

Our goal, then, is to provide a separate entry for each Arthurian work. In the case ofpoems and songs, we give separate entries for each one in a collection, even if there areseveral, unless they fill the collection and create a unified larger work or series. (Forexample, William Morris The Defence of Guenevere is treated as a work separatefrom the other Arthurian poems in the collection of the same name, whereas FrankDaveys King of Swords is a series of poems that together form a work; the songs that fillone of the albums of Medwyn Goodall provide another example of short pieces togethercreating an Arthurian work.) Pre-published sections of a longer work have a separateentry, in case a searcher only knows of that pre-published form, as do the excerptsdiscussed above.

Because of this choice to provide separate entries for individual poems, short stories,songs, or illustrations, there is some repetition of bibliographic information. Believingthat many of our readers will be using this volume as a reference work, we preferred tokeep this repetition; readers looking for details of that single poem they are seeking, forexample, will find all bibliographic information immediately, instead of pursuing shortforms or cross-references. We trust that those who read through multiple entries willforgive the duplication.

We have divided the bibliography into the following sections: Literature; ComicBooks and Graphic Novels; Film, Television, and Radio; Music; Games; and Fine Artand Graphic Design. Literature is used here to designate all forms of primarilyverbal art, whether intended to be read, staged, or heard; this section, then, includesnot only poetry, novels, short fiction, and plays, but also audiobooks. These works arelisted alphabetically by authors last name, and subsequently by title if the author hasmultiple works; if no author is named, we have alphabetized by the title of the work.(For the sake of consistency and for ease of pursuing information in library searches, wehave standardized authors names according to the naming conventions of the Libraryof Congress; we also list anonymous works by title to avoid a long, cumbersome groupat the beginning of the section.) The Comics section includes serials and graphicnovels with original Arthurian stories, as well as comic-book adaptations of literarytexts, films, or television shows; they are listed alphabetically by title. Film, Television,and Radio includes works where the visual and audio component, technologicallymediated, is primary; they are listed alphabetically according to title, although we haveprovided cross-references for the names of directors and major stars. Music includessongs (with or without words), musical dramas (where the music is a major part of the

xii A Bibliography of Modern Arthuriana, 15002000

production), and orchestral and instrumental works; these are listed alphabetically bycomposers last name, or, in the case of many popular songs, by performer (orperforming group); again, cross-references are provided to facilitate searches bysongwriters names. The Games section includes computer games, board games, andpuzzle books; they are listed alphabetically by title. Finally, Fine Art and GraphicDesign includes artworks and book illustrations, and these are listed alphabetically bythe artists name.

This bibliography then is intended for the use of general readers, students of literaryand visual arts, collectors, librarians, and cultural historians. Arthurian studies are, bytheir very nature, interdisciplinary, though in the past they have been perceived to beprimarily within the domain of literary studies; our bibliography is intended, amongother things, to show how far the traditional idea of a bibliography needs to be stretchedin order to deal with something like the Arthurian legend as a modern culturalphenomenon.

Introduction xiii

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Shefrin, Jill, and Dana Tenny. Told to the Children: An Exhibition of Juvenile Abridge-ments, Including Editions of Aesops Fables, King Arthur, Robin Hood, Chaucer, Shake-speare, Spenser, Fielding and Dickens, at the Osborne Collection of Early ChildrensBooks, Nov. 20, 1992 to Feb. 12, 1993. Toronto: Toronto Public Library, 1992.

Shepherd, Kristen Adelle. Marie Spartali Stillman: A Study of the Life and Career of aPre-Raphaelite Artist. M.A. thesis. Washington: George Washington University,1998.

Simeone, Nigel. An Exotic Tristan in Boston: the First Performance of MessiaensTurangalla-Symphonie. In King Arthur in Music. Ed. Richard Barber. ArthurianStudies 52. Cambridge: D. S. Brewer, 2002. 10525.

Sklar, Elizabeth S., and Donald L. Hoffman, ed. King Arthur in Popular Culture. FwdAlan Lupack. Jefferson, NC: McFarland and Co., 2002.

Slocum, Sally K., ed. Popular Arthurian Traditions. Bowling Green, OH: Bowling GreenState University Popular Press, 1992.

Smirke, Edward. On the Hall and Round Table at Winchester. In Proceedings of the[2nd] Annual Meeting of the Archaeological Institute of Great Britain and Ireland atWinchester, September, MDCCCXLV. London: Archaeological Institute, 1846. 4467(of a section of Architectural Notes).

Smith, Jeanette C. The Role of Women in Contemporary Arthurian Fantasy. Extrapo-lation 35.2 (Summer 1994): 13044.

Snyder, Christopher. The World of King Arthur. London: Thames and Hudson, 2000.Spalding, Frances. Magnificent Dreams: Burne-Jones and the Late Victorians. Oxford:

Phaidon, 1978.Spearing, A. C. Classical Antiquity in Chaucers Chivalric Romances: Malory,

Tennyson, and Elaine of Astolat. In Chivalry, Knighthood, and War in the MiddleAges. Ed. Susan J. Ridyard. Sewanee Mediaeval Studies 9. Sewanee, TN: University ofthe South Press, 1999. 5373.

Spencer, Isobel. Walter Crane. London: Studio Vista, 1975.Spindler, Robert. Die Arthursage in der viktorianischen Dichtung. In Britannica:

Max Frster zum sechzigsten Geburtstage, 1869 * 8 Mrz * 1929. Leipzig: BerhardTauchnitz, 1929. 24966.

Spivack, Charlotte. Merlin: A Thousand Heroes with One Face. Lewiston, NY; Queenston,ON; and Lampeter, Dyfed: Edwin Mellen Press, 1994.

Spivack, Charlotte. Merlin Redivivus: The Celtic Wizard in Modern Literature. TheCentennial Review 22 (1978): 16479.

Staines, David. King Arthur in Victorian Fiction. In The Worlds of Victorian Fiction.Ed. Jerome H. Buckley. Cambridge, MA: Harvard University Press, 1975. 26793.

Starr, Nathan C[omfort]. King Arthur Today: The Arthurian Legend in English and Amer-ican Literature, 19011953. Gainesville: University of Florida Press, 1954.

xxvi A Bibliography of Modern Arthuriana, 15002000

Steinbeck, John. A Life in Letters. Ed. Elaine Steinbeck and Robert Wallsten. London:Heinemann, 1975.

Stewart, H. Alan. Camelot in Four Colors: A Survey of the Arthurian Legend inComics. .

Stewart, H. Alan. King Arthur in the Comics. Avalon to Camelot 2 (1986): 1214.Suriano, Gregory R. The Pre-Raphaelite Illustrators: The Published Graphic Art of the

English Pre-Raphaelites and their Associates, with Critical Biographical Essays andIllustrated Catalogues of the Artists Engraved Works. London: British Library; NewCastle, DE: Oak Knoll Press, 2000.

Tanner, William E., ed. The Arthurian Myth of Quest and Magic: A Festschrift in Honor ofLavon B. Fulwiler. Dallas: Caxtons Modern Arts, 1993.

Taylor, Beverly, and Elisabeth Brewer. Arthurian Literature since 1800: A ChronologicalList. In The Return of King Arthur: British and American Literature since 1800. Arthu-rian Studies 9. Cambridge: D. S. Brewer, 1983. 32464.

Taylor, G. L., intro. Centenary Exhibition of Works by Eleanor Fortescue-Brickdale.Oxford: Ashmolean Museum, 1972.

Ten Bensel, E[lise] van der Ven. The Character of King Arthur in English Literature.Amsterdam: H. J. Paris, 1925.

Tennyson, Alfred Tennyson, Baron. Some Poems by Alfred Lord Tennyson, with Illustra-tions by W. Holman Hunt, J. E. Millais and Dante Gabriel Rossetti, Printed from theOriginal Wood Blocks Cut for the MDCCCLXVI Edition, with Photogravures fromSome of the Original Drawings Now First Reproduced, with a Preface . . . Treating of theIllustrators of the Sixties, and an Introduction. Illus. W. Holman Hunt, J. E. Millais,and Dante Gabriel Rossetti. Pref. Joseph Pennell. Intro. W. Holman Hunt. London:Freemantle and Co., 1901.

Tennyson, Halam Tennyson, Baron. Alfred Lord Tennyson: A Memoir. London:Macmillan, 1897.

Thomas, Jill L. Paintings, Drawings, and Prints, by William Russell Flint, R.A.(18801969): A Major Gift to the Smart Gallery by Julius and Harriet S. Hyman andMichael S. Hyman; An Exhibition Arranged by Jill L. Thomas, MayJuly, 1977. Miscel-laneous Publications of the David and Alfred Smart Gallery 2. Chicago: David andAlfred Smart Gallery, University of Chicago, 1977.

Thompson, Raymond H. The Return from Avalon: A Study of the Arthurian Legend inModern Fiction. Contributions to the Study of Science Fiction and Fantasy 14.Westport, CT: Greenwood Press, 1985.

Torregrossa, Michael. Camelot 3000 and Beyond: An Annotated Listing of ArthurianComic Books Published in the United States, c.19801998. Arthuriana 9.1 (Spring1999): 67109. A revised and expanded version is available online as part of theCamelot Project website: .

Tyzack, Charles R. P. King Arthurs Tomb: The Versions of D. G. Rossetti and WilliamMorris Compared. Trivium (Lampeter) 8 (1973): 12732.

Van Doren, Mark. Edwin Arlington Robinson. New York: Literary Guild of America,1927.

[Wade, Christopher.] Exhibition of the Works of Sir William Russell Flint, R.A., P.P.R.W.S.London: The Associated Galleries of Christopher Wade and Frost and Reed, [1979].

Walker, R[ainforth] A[rmitage]. Le Morte Darthur with Beardsley Illustrations: ABibliographical Essay. Bedford: Published by the author, 1945.

Walsdorf, John J. William Morris in Private Press and Limited Editions: A Descriptive

Sources Used in Compiling the Bibliography xxvii

Bibliography of Books By and About William Morris, 18911981. Fwd Sir BasilBlackwell. Phoenix: Oryx Press, 1983.

Ward, Barry J. King Arthur in Traditional Music. Keystone Folklore ns 2 (1983): 2333.Waugh, Evelyn. A Little Learning: The First Volume of an Autobiography. London:

Chapman and Hall, 1964.Warner, Sylvia Townsend. T. H. White: A Biography. London: Jonathan Cape, with

Chatto and Windus, 1967.Watson, Derek. Wagner: Tristan and Isolde and Parsifal. In King Arthur in Music. Ed.

Richard Barber. Arthurian Studies 52. Cambridge: D. S. Brewer, 2002. 2334.Whitaker, Muriel A. I. Flat Blasphemies: Beardsleys Illustrations for Malorys Morte

Darthur. Mosaic 8 (1975): 6775.Whitaker, Muriel A. I. The Legends of King Arthur in Art. Arthurian Studies 22.

Cambridge: D. S. Brewer, 1990.Whitaker, Muriel A. I. The Womans Eye: Four Modern Arthurian Illustrators. In

Arthurian Women: A Casebook. Ed. Thelma S. Fenster. Arthurian Characters andThemes 3; Garland Reference Library of the Humanities 1499. New York andLondon: Garland Publishing, 1996. 26386.

White, Colin. The Enchanted World of Jessie M. King. Edinburgh: Canongate, 1989.Whiting, B. J. Historical Novels 19481949. Speculum 25 (1950): 10422.Wildman, Mary. Twentieth-Century Arthurian Literature: An Annotated Bibliog-

raphy. Arthurian Literature 2 ([1982]): 12762. With a supplement by RonanCoghlan and Toshiyuki Takamiya in Arthurian Literature 3 ([1983]): 12636; anothersupplement: in Arthurian Literature 4 (1985 [for 1984]): 172; by A. H. W. Smith inArthurian Literature 10 (1990): 13560; by A. H. W. Smith in Arthurian Literature 13(1995): 15787.

Wildman, S. G. The Black Horseman: Some English Inns and King Arthur. London: JohnBaker, 1971.

Wildman, Stephen, and John Christian. Edward Burne-Jones: Victorian Artist-Dreamer.New York: Metropolitan Museum of Art / Harry N. Abrams, 1998.

Williams, Gwyn A. Excalibur: The Search for Arthur. London: BBC Books, 1994.Williamson, Ian. Harold Hitchcock: A Romantic Symbol in Surrealism. Fwd. Christopher

Wright. New York: Walker and Co., 1982.Wilmut, Roger. The Goon Show Companion: A History and Goonography. London:

Robson Books, 1976.Windling, Terri. Pathways through Enchanted Lands: The Art of Alan Lee. Realms of

Fantasy 4 (Jan. 1998): 6671.Wing, Donald G. Short-title Catalogue of Books Printed in England, Scotland, Ireland,

Wales, and British America and of English Books Printed in Other Countries,16411700. 2nd edn. Ed. Timothy J. Crist, John J. Morrison and Carolyn W. Nelson,et al. 3 vols. New York: Modern Language Association of America, 19721988.

Wolff, Lucien. Tristan und Yseult dans la posie anglaise au XIXe sicle. Annales deBretagne 40 (1932): 11352.

Wood, Christopher. The Pre-Raphaelites. London: Weidenfeld and Nicolson, 1981.[Wood Ballads (collection of Anthony Wood, now in the Bodleian Library, Oxford).]

Accessible online at the Bodleian Library website: .

Woodall, Natalie Joy. Women are knights-errant to the last: Nineteenth-CenturyWomen Writers Reinvent the Medieval Literary Damsel. In Reinventing the MiddleAges and the Renaissance: Constructions of the Medieval and Early Modern Periods. Ed.William F. Gentrup. Arizona Studies in the Middle Ages and the Renaissance 1.

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Turnhout, Belgium: Brepols Publishers, for the Arizona Center for Medieval andRenaissance Studies, Arizona State University, 1998.

Wroot, Herbert E. Pre-Raphaelite Windows at Bradford. The Studio 72 [296] (15 Nov.1917): 6973.

Wlcker, Richard Paul. Die Arthursage in der englischen Literatur. Leipzig: A. Edelmann,1895.

Sources Used in Compiling the Bibliography xxix

A. Literature

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

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

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

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

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

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

A-6 The Accolade of the Soul. Excalibur: The Chronicle of the Fellowship of the RoundTable 2.4 (July 1933): 14849.An anonymous poem, in eleven quatrains, in which a young man keeps vigil and prays forstrength; in the morning he is answered with a voice from heaven, which declares that Theblessed vision of the Holy Grail / Is for the pure in heart, but other knights of God may alsoattain grace through long and faithful service. (On the journal Excalibur, see the entry underGlasscock, Frederick T.: Excalibur.)

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

A-8 Ackerman, Felicia. Flourish Your Heart in This World. In Clones and Clones:Facts and Fantasies about Human Cloning. Ed. Martha Nussbaum and Cass Sunstein.New York: W. W. Norton, 1998. 31031.This short story is set in the near future and is about a hospice nurse and her favourite patientwho is dying of hepatitis. The title is a quotation from Malory, and the two characters talk aboutMalorys text a few times during the story; it is used as the characters reflect upon decisions toaccept fate or strive to change their lives, and it also provides a model for feelings of love andbetrayal.

A-9 Adams, Oscar Fay. Post-Laureate Idyls. Post-Laureate Idyls and Other Poems.Boston, MA: D. Lothrop and Co., 1886. 987.Adams Idyls are parodies of Tennysons, combining Arthurian characters and incidents withnursery rhymes like Miss Muffett, Old King Cole, and Jack and Jill; some follow Tennysons poemsvery closely while others have little to do with the Arthurian world. The Rape of the Tarts hasIseult as the Queen baking pastry; At the Palace of King Lot casts Lot as the king counting hismoney while the queen eats bread and honey; Sir Evergreen is a story told to Arthurs ambas-sador about a huge knight on a quest for strawberries; Thomas and Vivien has the wily Vivienspying on Tom the pipers son; The Vision of Sir Lamoracke occurs at the end of the Grail Questand ends with a familiar riddle about travelling to St Ives; Dagonet sings songs to Arthur in TheReturn from the Quest; The Maids Alarm, one of the poems most faithful to Tennyson,rewrites Tennysons Guinevere and Miss Muffett; The Water Carriers tells the story of Elaineof Astolats brothers life after Camlann, and that of his children Jack and Gill; The Passing of theSages has Sir Sagramour retelling the story of the wise men of Gotham; the last idyl,Constantius and Helena, is pre-Arthurian and rewrites the Old King Cole nursery rhyme.

A-10 Adams, Oscar Fay. Post-Laureate Idylls, Second Series. Sicut Patribus and OtherVerse. Boston, MA: Printed for the author, 1906. 83121.The second series of Tennysonian parodies includes The Pleading of Dagonet, The Vision ofSir Lionel, The Pleasaunce of Maid Marian (based on the story of Tristan and Iseult), andGawain and Marjorie.

A-11 The Adventures of Sir Lancelot, Adapted from the Television Film Series StarringWilliam Russell. Adapt. by John Paton. London: L. T. A. Robinson, 1957.A novelization of episodes from the television series starring William Russell, and produced byHannah Weinstein and Sapphire Film Productions for the Incorporated Television ProgrammeCo. Lancelot and his squire Brian have a variety of adventures. One or two are based on tradi-tional Arthurian characters and episodes, such as Gueneveres abduction and Lancelots rescue of

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

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

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

A-14 Ahern, Jerry, and Sharon Ahern. Siege Perilous. In Grails: Quests, Visitationsand Other Occurrences. Ed. Richard Gilliam, Martin H. Greenberg, and Edward E.Kramer. Atlanta, GA: Unnameable Press, 1992.Rptd: Grails: Visitations of the Night. Ed. Richard Gilliam, Martin H. Greenberg, andEdward E. Kramer. New York: ROC, 1994. 191212.A priest is sent to contend with neo-Nazi sympathizers who are trying to steal the Grail from aJesuit priest. The Arthurian allusions cluster towards the beginning of the story, when the protag-onist is first asked what he knows about the Grail. The protagonist gives the codename SiegePerilous to the mission to which he has been assigned.

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

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

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

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

A. Literature 3

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

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

A-21 Alden, Ken. The Figure in Darkness. In The Chronicles of the Holy Grail. Ed.Mike Ashley. London: Raven Books / Robinson Publishing, 1996. 195207.Sir Bors is the hero of this short story, which tells of one of the tests from which he must learn inorder to find the Grail. The figure mentioned in the title is both the person in the monksprophecy and Bors himself.

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

A-23 Alford, Henry. The Ballad of Glastonbury. The Poetical Works of Henry Alford.Boston, MA: Ticknor, Reed, and Fields, 1853. 3243.This poem of thirty-three eight-line stanzas begins with the speaker viewing Glastonbury Tornear Nether Stowey. He asks for a vision of the history of the place, and the majority of the poempresents vignettes of different moments in Glastonburys history. Eleven stanzas describe Josephof Arimatheas arrival in Britain. Three stanzas recount the death of Arthur and his being broughtto Avalon, here identified with Glastonbury.

A-24 Allison, John Drummond. After Lyonesse. The Yellow Night: Poems 1940414243. Illus. David Haughton. London: Fortune Press, 1944. 11.Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press,1978. 7.A poem of thirty-two lines of blank verse, in which The Serf surveys the carnage of Camlann andthen despoils the bodies of the dead; Arthur and Merlin are mentioned. This poem is a grimcommentary on the ideals of chivalry and the reality of war.

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

4 A Bibliography of Modern Arthuriana, 15002000

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

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

A-27 Allison, John Drummond. Ireland in Arthurs Time. In Poetry from Oxford inWartime. Ed. William Bell. London: Fortune Press, 1945. 11.Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press,1978. 6263.This poem (of five seven-line stanzas) reflects on the fate of a number of Irish warriors who aredefeated by Arthurian knights, and compares them to the speakers own generation of warriors.

A-28 Allison, John Drummond. King Brandegoris. The Poems of Drummond Allison.Ed. Michael Sharp. Oxford: Whiteknights Press, 1978. 7778.This poem is a dramatic monologue spoken by Brandegoris (a minor king in Malory) as he viewshis desolate kingdom; the editors notes to the poem compare him to the Fisher King.

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

A-30 Allison, John Drummond. Not Their Cruelty or Economic Motive. In EightOxford Poets. Ed. Michael Meyer and Sidney Keyes. London: George Routledge andSons, 1941. 57.Rptd: The Yellow Night: Poems 1940414243. Illus. David Haughton. London: FortunePress, 1944. 9. The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press,1978. 4.This four-stanza poem comments on the rise and fall of ambitious men; Arthurs end ismentioned, along with those of several other legendary figures.

A-31 Allison, John Drummond. The Queens Maying. The Yellow Night: Poems1940414243. Illus. David Haughton. London: Fortune Press, 1944. 16.Rptd: The Poems of Drummond Allison. Ed. Michael Sharp. Oxford: Whiteknights Press,1978. 13.The Queen sings, in three six-line stanzas, of love and Maying, but the speaker doubts that theseason stops hate or dying. Meliagraunce is mentioned as now out of fashion.

A-32 Allison, John Drummond. The Remnant. In Eight Oxford Poets. Ed. MichaelMeyer and Sidney Keyes. London: George Routledge and Sons, 1941. 58