Unfolding in three sections, the book first focuses on the tragic love triangles in Malory’s Le Morte Darthur, and so on Rossetti’s portrayal of Guinevere and La Belle Yseult. Next, it considers the value of female mediating presences and inter-gender unity in the Grail Quest. The third set of chapters addresses Rossetti’s view of chivalric paternalism and romantic rescue. For reasons of complementation and contrast, this last section also includes an analysis of the painter-poet’s contribution to the stained glass series on the legend of Saint George and the dragon.
I. Tragic Amorous Relationships in the Context of Arthurian Experience
I.Tragic Amorous Relationships in the Context of Arthurian Experience
I.1An Assessment of Guinevere’s Responsibility for the Rise and Fall of Camelot
Approaching Guinevere reveals itself as a matter of perspective. Her figure, just like those of other Arthurian characters, has been chiselled by a variety of authors along a time span comprising more than nine hundred years. Owing to their particular circumstances and motivations, her defining features have fluctuated along a transformational process still operative in the second half of the twentieth century, especially – though not exclusively – in movies such as Joshua Logan’s Camelot (1967), John Boorman’s Excalibur (1981) or Jerry Zucker’s First Knight (1995). This state of affairs has fostered a certain degree of ‘confidence’ or ‘familiarity’ in the modern mind, leading many to connect her with a set of characteristics which may have not prevailed in foregoing readings or which could entail a different set of implications depending on a given socio-political and religious context. Present-day dialogues about the Arthurian myth somewhat reflect the revivalist spirit pervading those from the nineteenth, late-fifteenth or mid-twelfth centuries: as such, each of these gazes down the stream of time required pondering over the interaction between past and present while also carrying out a revision of the legend, together with its crucial elements and main agents.
Understandably enough, Rossetti’s Guinevere is the product of an individual conscience and belongs to a precise synchrony. Nonetheless, in order to gain further insight into her representation in the works...
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