ADVERTISEMENT TO THE PRESENT EDITION. THE Introduction to the first edition of this volume inIcluded an account of the Text in the various editions of Sir Thomas Malory's 'Morte Darthur,' and an attempt to estimate the character and worth of his book. The publication of Dr. Sommer's edition of the Text and Prolegomena, demands that I should complete my bibliography by an account of this important work; and it enables me, by help of this learned writer's new information, to confirm, while enlarging, my former criticism. I have, therefore, revised and re-written the two first sections of the Introduction. The Essay on Chivalry remains, but for a few verbal changes, as it was first printed. SUTTON COURT, November, 1891. CONTENTS. Origin of the Book.-Its claim to be called a poem.-Epic in plan.— Malory's use of the old romances.-His History and Geography.-- Camelot.-Glastonbury.-Almesbury.—Joyous Gard.—The Sangreal. -Influence on our language, letters, life.-Morality of the Book.— Spenser, Milton, Tennyson.-Malory, Caxton § 2. THE TEXT AND ITS SEVERAL EDITIONS. The edition of Caxton, 1485.-Those of Wynkyn de Worde, 1498 and 1529.-Of Copland, 1557.-Of East, without date.-Of Stansby, 1634.-Editions of 1816.-Southey's edition of 1817.-Discovery of interpolations in that edition.—Mr. Wright's editions, 1858 and 1866. -Character and object of the present edition. - Abridgements. – PAGE INTRODUCTION. I. THE AUTHORSHIP AND Matter of the BOOK. ORIGIN OF THE BOOK. We owe this our English Epic of Le Morte Darthur to Sir Thomas Malory, and to William Caxton the first English printer. Caxton's Preface shows (what indeed would have been certain from his appeal to the 'Knights of England' at the end of 'The Order of Chivalry') that however strongly he, 'William Caxton, simple person,' may have been urged to undertake the work by divers gentlemen of this realm of England,' he was not less moved by his own love and reverence for 'the noble acts of chivalry,' and his deep sense of his duty and responsibility in printing what he believed would be for the instruction and profit of his readers, ‘ of whatever estate or degree.' But to Sir Thomas Malory he gives all the honour of having provided him with the copy which he printed. And ever since, for more than four hundred years, successive generations have approved the fitness of Caxton's choice. For it is Malory's book, and not the older forms of King Arthur's story which we still read for enjoyment, and for the illustration of which scholars edit those earlier books. Only a true poem, the offspring of genius, could have so held, and be still holding its ground, age after age. It may be said that it is chiefly with boys, and with men who have formed the taste by their boyish reading, that the book is so popular. But is not this so with the Iliad too? Men of mature intellect and taste read and re-read the Iliad with ever new discoveries, appreciation, and enjoyment; but it may be questioned whether there are many, or even any, of them who did not begin those studies at school, and learn to love Homer before they knew that he was worthy of their love. And they who have given most of such reading, in youth and in manhood, to Malory's Morte Darthur will be the most able and ready to recognise its claim to the character of an Epic poem. MALORY A POET. Malory wrote in prose, but he had 'the vision and the faculty divine' of the poet, though 'wanting the accomplishment of verse'; and, great as that want is, we may apply Milton's test of 'simple, sensuous, and passionate,' and we shall find no right to these names more real than is Malory's. Every incident, the descrip tion of every event, is simple,' that is to say, complete in itself, while making a part of the whole story. The story is sensuous,' like that of Homer, and as every true poem must be, it is a living succession of concrete images and pictures, not of abstractions or generalized arguments and reasonings. These are the characteristics of the book, from its opening story of Igraine, which 'befell in the days of Uther Pendragon,' down to the death of the last four remaining knights who 'went into the Holy Land, there as Jesus Christ was quick and dead,' and there did many battles upon the miscreants or Turks, and there they died on a Good Friday for God's sake.' And for 'passion,' for that emotion which the poet first feels in a special manner, and then awakens in his hearers, though they could not have originated it in themselves, with the adventures of the Round Table and the San Greal, or the deaths of Arthur, of Guenever, and of Launcelot, we may compare the wrath of Achilles, its cause and its consequences, or the leave-taking of Hector and Andromache. It would, indeed, be hard to find anywhere a pathos greater than that of Malory's description of the death or 'passing' of Arthur, the penitence of Guenever, and her parting with Launcelot, or the lament of Launcelot over the King and Queen, and of Sir Ector over Launcelot himself. The first is too long to quote, but may say that Malory has re-cast the old story, and all the poetry is his own. I give the two last : 'Truly, said Sir Launcelot, I trust I do not displease God, for He knoweth mine intent, for my sorrow was not, nor is not, for any rejoicing of sin, but my sorrow may never have end. For when I remember of her beauty, and of her noblesse, that was both with her king and with her; so when I saw his corpse and her corpse so lie together, truly mine heart would not serve to sustain my careful body. Also when I remember me, how by my default, mine orgule, and my pride, that they were both laid full low, that were peerless that ever was living of christian people, wit you well, said Sir Launcelot, this remembered, of their kindness and mine unkindness, sank so to my heart, that I might not sustain myself.' And again : Ah, Launcelot, he said, thou were head of all christian knights; and now I dare say, said Sir Ector, thou Sir Launcelot, there thou liest, that thou were never matched of earthly knight's hand; and thou were the courtiest knight that ever bare shield; and thou were the truest friend to thy lover that ever bestrode horse; and thou were the truest lover of a sinful man that ever loved woman; and thou were the kindest man that ever strake with sword; and thou were the goodliest person ever came among press of knights; and thou was the meekest man and the gentlest that ever ate in hall among ladies; and thou were the sternest knight to thy mortal foe that ever put spear in the rest 1.' 1'A braver soldier never couched lance, First part of Henry VI. iii. 2. |