Commencing with the Welsh Peredur and Chrétien de Troyes’s Conte du Graal, this chapter traces the material dissemination of Grail romances across Northern Europe from the late twelfth century through to c.1550. Comparing and contrasting print and manuscript traditions from a book historical perspective, the geographical coverage includes France, England, Wales, Germany and the Low Countries, as well as Northern European territories into which Grail literature appears not to have entered, such as Sweden and Norway. In addition to setting out a clear chronology of Grail text dissemination and publication, the study shows how the proliferation (or not) of Grail book production over time offers insights into the cultural and sociopolitical contexts in which the literary motif of the Grail could be employed to greatest effect.

This chapter selectively draws on medieval and post-medieval Arthurian material to consider how, across time, children figure as the subjects of, and the audience for, Arthurian literature. Viewed in the context of medieval education, French romances use accounts of childhood and of enfances (knights’ youthful exploits) to explore ethical and narrative concerns, while some of their central tropes resurface in the Morte Darthur, which is relatively more diffident about childhood and youth per se, to illuminate important aspects of Malory’s art. The chapter outlines some of the culturally influential Anglophone Morte-inspired Arthuriads written for children from the nineteenth century onwards and Arthurian treatments in other child-focused texts, including fantasy writing, novels set in the fifteenth century and in Roman Britain, and Grail-inspired young adult fiction. Arthurian children’s literature, constituted by extraordinary conversations between writers across time and genre, cumulatively exemplifies the nature and creative power of Arthurian intertextuality.

This chapter surveys the history of Arthur, his court and his legacy in comics and gaming. While these media sometimes tell part or the whole story of Arthur, more often they produce sequels that borrow from the tradition or integrate Arthur into other fictional worlds (or both).

By 1230, with the Lancelot-Graal Cycle, the contours of the Arthurian universe and the chronology of events leading from the invention of the Grail to the disappearance of the emblematic king were given their first definitive form. However, in French, other medieval works continue to use the same characters and events to recount what happens after, before or elsewhere. With the Prose Tristan, the Cycle of Guiron le Courtois and Prophéties de Merlin, Arthurian prose romance enters a new phase, characterised by complex rewriting and a multiplication of versions and particular redactions. This chapter offers an assessment of the three works, taking into account the most recent critical debate.

The emergence of vernacular French prose at the dawn of the thirteenth century gave rise to a new form of Arthurian romance. Prose allowed the development of lengthy cycles of interconnected romances that functioned autonomously while also forming an overarching story. The most popular of these cycles, the Vulgate or Lancelot-Grail Cycle, became the canonical version of the Arthurian narrative for the rest of the medieval period, influencing subsequent texts in the French-speaking world (Guiron le Courtois, the Prose Tristan, etc.) and beyond (the Middle Dutch Lancelot Compilation, Thomas Malory’s Morte Darthur, etc.). This chapter details the circumstances that made the Vulgate Cycle possible, its inner workings and dynamics, popularity, audience and legacy. It ends with a survey of the Post-Vulgate texts that were composed shortly after the initial cycle and examines the hypothesis of a ‘Post-Vulgate Cycle’ that may have connected them.

The twentieth century saw a considerable number of rewritings and adaptations of the Arthurian legend, in as many styles and purposes as there were writers, cultures and national heroes. Two main and sometimes paradoxical tendencies appeared: a quest for a supposedly deeper historical knowledge, and a need to popularise Arthurian themes. As Nazis launched their own quest for the Holy Grail, a subsequent need to re-enchant the world was expressed throughout the century. By adapting medieval texts to insist on their modernity for a contemporary readership, authors, artists and creators insisted on the universal aspects of the Matter of Britain, using it to emphasise the disillusionment in our modern Western societies, or on the contrary to expose the alleged wonders of an immutable human nature. The twentieth century confirmed this wide malleability, as Continental Europe regularly found in King Arthur a symbol of its own preoccupations.

This chapter examines various ways in which Arthur and Arthurian legend have been visualised between 1500 and 1800; not confined to manuscripts, it offers a cross-medium account of the legend’s visual representation, including physical installations, engravings, antiquarian juvenilia, as well as architecture and applied art. It examines the ways in which these visualisations present their narratives and how the figures are defined. This chapter also explores how Arthurian figures are identified and located within history, notably by devices including heraldry and architecture, and how these devices are employed to afford various senses of the antique, status and significance.

The vast Prose Brut tradition, derived as it is from Galfridian pseudo-history, but with the continuations found in the Anglo-Norman, Latin and then Middle English chronicles, benefits from the integration of Arthurian pseudo-history and some elements of romance into the history of the ‘English nation’. It becomes the bestselling English history in the Middle Ages, attesting to the enormous popularity of Arthur’s reign not just among those interested in the chivalric ethos and courtly love, but in how the land was governed through the centuries. The Prose Brut was copied anonymously for the vast majority of the extant corpus across the three languages of medieval England, but even more importantly, was owned and read by a cross-section in society, enjoyed among the middle classes, and clearly produced, at least in part, commercially. It was one of the first texts printed by William Caxton and went through seventeen editions in the first few decades of the printing press in England.

In Central and Eastern Europe Arthurian literature was associated with chivalric values. Already present in the byliny tradition of the Kievan Rus’, Arthurian elements cannot be traced to a specific origin/text. The fourteenth-century Old Czech Tristan, also known as Tristan a Izalda, derived from specific German Arthurian texts. This was also the case with the Old Czech Tandariuš (Tandariàš a Floribella). The Tristan tradition appears in Bulgarian (or Bulgarian-Macedonian-Serbian) songs. The sixteenth-century Belarusian Tristan had Italian sources. Polish literature includes only short references to the Arthurian tradition. The so-called Artus Courts (curiae regis Artus) became highly popular in the Hanza towns of the late Middle Ages and the Renaissance, and they showed that Arthurianism still stood for high moral values at the time.

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, 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. 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.

This chapter explores the earliest insular texts featuring the prophet Merlin, and his Welsh original, Myrddin. From the uses of the name ‘Myrddin’ as a prophetic authority in early Welsh prophecy, to the appearance of ‘Merlin’ in Latin histories and hagiographies in the twelfth century, this chapter details the early literary life of the foremost prophet of the Arthurian tradition. It acknowledges the development of the Arthurian Merlin as the product of multiple, and potentially multidirectional, lines of influence between insular languages, centring on two related figures first conflated by Geoffrey of Monmouth: a northern wild man prophesying in the Caledonian Forest a generation after the age of Arthur, and the child prophet from Carmarthen who interprets the mystery of the red and white dragons in the age before. This is read in relation to wider insular traditions concerning prophecies of national deliverance, and early Welsh references to the prophet ‘Myrdidn’, whose own early legendary biography remains obscure.

This chapter examines a range of Arthurian poems in alliterative verse, including Awntyrs off Arthur, Sir Gawain and the Green Knight and the Alliterative Morte Arthure. It argues that while the works are diverse in tone and content, there is a consistent thematic preoccupation with the relationship between Arthur and his nephew Gawain. Through a close reading of the presentation of the characters, it suggests that the alliterative poems – despite their differing treatments – display a certain anxiety about King Arthur. By implicit comparison with Gawain, elements of Arthur’s character are often found wanting.

This chapter examines the evolution of scholarship devoted to medieval Arthurian literature, concentrating on that in Old French, with occasional reference to Arthuriana in other languages. It begins with the rise of Romance philology and the publication of the first scholarly editions in the latter part of the nineteenth century, and traces trends in Arthurian studies down to the present day. The development of Arthurian scholarship mirrors that in other disciplines. While certain major scholars can be seen to guide and influence particular types of study, others produce work ‘outside of the box’ which contributes to the basis on which modern scholarship builds. The chapter also underlines the danger of reinventing the wheel if earlier studies are not taken into account. The study of medieval Arthurian literature at the end of the first quarter of the twenty-first century is now seeking direction.

Shortly after Geoffrey of Monmouth completed Historia regum Britanniae, abbreviated adaptations began to appear in chronicles. Not many Continental chroniclers, outside of Brittany and Spain, considered it historically valid, but short accounts about Arthur appeared in Continental universal chronicles. In Britain, it was adapted into Anglo-Norman and English by Wace and Laʒamon, and abbreviated versions appeared as the introductory sections of chronicles that told of pre- and post-Conquest Britain. This context gave it historical authenticity. From the time of Edward I, Arthur began to be considered English rather than British since the part of Britain he lived in was Logres, which corresponded to England.  Arthur’s subjugation of Scotland in HRB appeared to justify English attempts to conquer Scotland and caused many Scottish chroniclers to develop their own version of the story in which the true heir to the throne was Arthur’s nephew, the Scot Modred.

Tennyson is the dominant figure in English-language versions of the Arthur story in this period, but this chapter focuses on the tradition outside of the Idylls. By the early days of Queen Victoria’s reign the Arthurian legend was not as fixed as it would be by the end of the century. Malory’s version of the story was not as dominant as Tennyson would make it. This chapter traces the way the legend was presented by such writers as Reginald Heber, Edward Bulwer Lytton, the young William Morris, R. S. Hawker and Algernon Swinburne. The chapter also considers the way in which Arthur was evaluated as a possible historical figure, looking at Arthurian scholarship as it developed through the century in the hands of such figures as Sharon Turner through to Frederick Furnivall and Thomas Wright, to Jessie L. Weston. It concludes by looking at the entry of the legend into versions for children, with a brief nod to the future of Arthur in the cinema.

This chapter discusses a multiplicity of Arthurs, all mirroring the complexity of contemporary Africa and the Middle East. Arthur is a familiar presence here in advertisements, video games, children’s books and popular films, but he is rarely found elsewhere. Interestingly, both Chaka and Saladin are sometimes positioned as local counters to Arthur, but later Arthurian references are more likely to be comic or satirical, except for allusions to the Grail legend. References to the latter are characteristic of Nashid Uruk, for instance, and it has been argued that Doris Lessing’s work also reveals a sustained pattern of Grail imagery. Other representations of Arthur are almost entirely negative, linking him to autocratic rule, class elitism, gender imbalance and armed violence; however, awareness of Sir Moriaen, the Moorish knight, seems to be resurging and this may at last allow the tales to move out of the oppressive shadow cast by European imperialism.

Due to the national seclusion policy (1639–1854), the Japanese came to know Arthurian works at the end of the nineteenth century; and such sudden contact led to a peculiar reception of the legend.  This chapter investigates how Japanese people have enjoyed Arthurian works roughly in three periods: around 1900, when non-medieval European materials by Alfred Tennyson, Wilhelm Richard Wagner and Joseph Bédier were popular; during the twentieth century, when American authors such as Thomas Bulfinch and Mark Twain became influential; and in the twenty-first century, when female King Arthurs prevail because of a Japanese game series entitled Fate.  As a result, Excalibur and other Arthurian motifs are ubiquitous in Japanese pop culture these days, via games, comic books, juvenile novels and stage performances.