This chapter addresses Arthurian romance and its transition from manuscript to print in the Renaissance, in its four European heartlands, France, Germany, Iberia and Italy. The first printed editions appear in the last decades of the sixteenth century, and seem to have met with success, with printer-publishers capitalising on the popularity of Arthuriana in manuscript: extending or condensing, resurrecting more obscure romances and adapting them to new tastes, modernising language – but also furnishing, in the face of moralists’ disapproval, alluring prefaces which stress their educational and moral value, and their importance as records of ancestry and hence for the revival of ancestral chivalry. Increasingly, however, publishers look to novelty, turning to new heroes like Amadis de Gaule, or Perceforest, or new adventures for familiar heroes, witness Maugin’s Nouveau Tristan. Ultimately, however, Arthurian romances come to seem trivial, or morally suspect, or simply outdated – and they are largely discarded by printers.

This chapter demonstrates the importance of comparative analysis of the choice, placing and treatment of illustrations in the text. Here I list the eight surviving sets of the Lancelot-Grail made in the same cultural contexts. I analyse a pair of copies of the Estoire del saint Graal attributable to Metz in the late thirteenth/early fourteenth century, comparing them with MS Royal 14 E.III, the most fully illustrated surviving copy. Both Metz manuscripts show special interest in the end of the story and the tomb of King Lancelot, ancestor of Lancelot du Lac, and one of them shows particular interest in depictions of the Grail.  Perhaps it was commissioned by a member of the clergy or by a devout lay person. In this period we have few names of patrons or makers and conclusions must be based on what is in each manuscript and the pictorial choices made there.

The first reliable accounts concerning King Arthur reached the Iberian peninsula in the twelfth century, but they did not become popular until the fourteenth century. From then on, the success of the texts was reflected in translations, retellings and imitations. The political particularities of the peninsula changed over time as the cultural references shifted from Al-Andalus to Castile: while in the early stages a classical tradition survived along with some Oriental influences from the Arabs, in the thirteenth century there was an increase in the French influence, which lasted into the fourteenth century and then gave way to the influence coming from Italy thanks to the expansion of the kingdom of Aragon in the Mediterranean. At the beginning of the sixteenth century, Rodríguez de Montalvo’s Amadís de Gaula (1508) revived the model.

This chapter provides an overview of the proliferation of Arthurian texts produced in North America, from an 1807 pamphlet to the poetry, drama, children’s literature and prose fiction of the turn of the century. It situates the legend’s development in Canada and the United States in relation to the Arthurian revival in England, specifically Tennyson’s poetry. In doing so, it identifies some of the common stories adapted (the Grail quest, the love triangles) and the different approaches of Canadian and American authors, whether claiming continuity with, or separation from, the English tradition. The chapter ends with analysis of the American Arthurian novel with the most lasting influence: Mark Twain’s A Connecticut Yankee in King Arthur’s Court (1889).

The literary tradition where Arthur first appeared belongs to Welsh language, the immediate descendent of the Brittonic Celtic language spoken across most of the island of Britain before the subsequent arrivals of the Romans, then the Angles, Saxons and Jutes,1 and the Normans. At the turn of the sixth century, which marks the moment associated with the Arthur of history, the landscape and cultural outlook of Wales and northern Britain offered an anchor to what were probably oral stories in circulation. The earliest surviving Welsh Arthurian poems and narratives furnished the essence and the pathways for the later transmission and adaptation of the legends into other languages and territories throughout the Middle Ages and beyond.2 The Cambridge History of Arthurian Literature and Culture (henceforth CHALC) acknowledges the longue durée of Arthuriana, from the origins of the Arthurian story to an exploration of its impressive reach across medieval Europe, then into the global world.

Lancelot is the sole Arthurian romance by Chrétien de Troyes not to have been directly adapted in German. However, the integration of elements of Lancelot material bears witness to an indirect reaction on the part of German Arthurian romance to the provocative and virulent narrative tradition surrounding the Knight of the Cart. From reminiscences of the abduction of the queen in the early narratives, this chapter turns to the radical reinvention of Lancelot as a serial monogamist who works to uphold social order and consolidate Arthurian rule in Ulrich von Zatzikhoven’s Lanzelet. It further discusses the remodelling of the fairy upbringing motif in Lanzelet and the anonymous Wigamur. Finally, the remarkable treatment of Guinevere’s abduction in Heinrich von dem Türlin’s Diu Crône is considered in connection with the problematic relationship of the German Arthurian tradition with the otherworld.

Arthurian tourist sites create what Stijn Reijnders, adapting Pierre Nora’s concept of lieux mémoire, calls lieux d’imagination: places that may or may not have their origins in history, but are compelling precisely because they join the real with a desired imaginary. We offer a tour of Tintagel Castle and Glastonbury Abbey in the UK, surveying the development of these sites from Geoffrey of Monmouth’s Historia Regum Britanniae (c.1136) through the nineteenth-century Medieval Revival to today’s New Age religions and media tourism. We argue that Arthurian places are continually co-produced in processes far from finished; moreover, diverse groups have their own investments in such places – and are sometimes in conflict with each other. Thus we conclude with a discussion of two Arthurian sites outside the UK that exemplify how Arthuricity flourishes in unlikely places: the Excalibur Hotel and Casino, and Wewelsburg Castle, Himmler’s homage to the knights of the Round Table.

This chapter introduces Arthurian translations and adaptations originating in medieval Scandinavia, from the earliest translation of Geoffrey of Monmouth to a late ballad version of the story of Tristan and Isolde. It considers the translations of Marie de France’s Arthurian and Tristan-related works and the three romances of Chrétien de Troyes that made their way into Old Norwegian. The chapter demonstrates how this material had impact on the pre-existing Old Norse literary system, introducing new emotional expression into the saga repertoire, and providing popular motifs that were adopted in later indigenous romances.

Commencing with the allegorical adaptations and politicisations of Arthurian settings that arose in the wake of the 1688 Revolution, this chapter examines several discrete modes of literary Arthurianism across the long eighteenth century. As Britain formed around them, eighteenth-century English-language writers adapted the character of Arthur to new aesthetic tastes and modified the Arthurian story to suit emergent modes of story-telling, reshaping the vales of the Arthurian myth according to their own cultural and political concerns. The chapter explores the ways in which Arthur was increasingly embroiled in contested debates about English nationhood and English/British national identity whilst also tracing the evolution of the Arthurian legends into a wider Arthurian ‘mythos’ in which the overarching culture, settings, structures, symbols and themes of the Arthurian world became as significant as the individual figures and narratives featured within them.

Anglophone Arthurian films (including television) continually restage the triumphant break from the medieval that serves as the constitutive myth of origin for modernity.  The divinely appointed absolute monarch (Arthur) returns, but only to figure a sovereignty invested in the people.  Medieval Arthurian narratives explore the nature and exercise of political authority, providing ideological legitimacy for political institutions and defining the individual’s obligations within those institutions.  This chapter examines how modern Anglophone film and television remediate Arthurian legends, projecting contemporary notions of sovereignty back onto the Middle Ages.

This chapter will explore, for the first time, the existence, development and characteristics of a Latin American corpus of contemporary Arthurian literature (nineteenth to twenty-first century), written both in Spanish and Portuguese. So far, the collection and study of texts from the Latin-speaking nations of North, Central and South America (Latin America) has remained unexplored. This chapter will show that this area has suffered from unjust neglect; there is, therefore, an urgency to fill this gap in Arthurian studies. Arthur, Merlin and Isolde are found in the tropical lands of Mexico or the great plains of central Brazil, and their stories were added to local motifs; they add new meanings for different communities of readers. Latin American children and younger readers were equally fond of Arthur – as much as young readers elsewhere.

The early nineteenth-century literary revival of the Arthurian legends inaugurated a corresponding resurgence in the visual arts. New printings of historic romances and verse by contemporary poets, notably Alfred Tennyson, furnished artists with Arthurian subjects and stimulated popular demand for their work. Arthurian artworks proliferated everywhere from the Palace of Westminster to the walls of the Royal Academy to the pages of illustrated books. Under Dante Gabriel Rossetti’s leadership, the second generation of Pre-Raphaelites gave fresh forms to Arthurian narratives, imbuing them with melancholy and Romantic passion. In the latter half of the century, the trend spread from Great Britain to America and Canada, where artists introduced Arthurian figures into North American landscapes. In Europe, French, German and Belgian artists drew inspiration from Wagner’s Arthurian operas. The revival persisted into the 1920s, when post-war shifts in artistic and cultural values brought the long florescence of Arthurian art to a close.

This chapter addresses the complex theme of the penetration of the Arthurian subject in Italy through the circulation of manuscripts; the various forms that characterised this specific reception, ranging from narrative works adhering to French models to more autonomous reworkings, such as compilations (Rustichello da Pisa) and the cantari in octaves, truly anticipated the great epic poems of Boiardo and Ariosto. For a long time these texts, especially the vernacular versions, have been known among scholars by virtue of their linguistic relevance as the earliest witnesses in Italian literary prose, but it should not be forgotten that they saw the light thanks to the intensive Italian production and transcription of manuscripts in their original language. This phenomenon characterised most of the manuscript tradition of Arthurian romances in Italy (Tristan en prose, Guiron le Courtois cycle), and imposes today the use of refined and complex codicological, historical and palaeographical analyses.