» » The Acts of King Arthur and His Noble Knights, from the Winchester Manuscripts of Thomas Malory and Other Sources

Free eBook The Acts of King Arthur and His Noble Knights, from the Winchester Manuscripts of Thomas Malory and Other Sources download

by John Steinbeck

Free eBook The Acts of King Arthur and His Noble Knights, from the Winchester Manuscripts of Thomas Malory and Other Sources download ISBN: 0345273893
Author: John Steinbeck
Publisher: Del Rey; First Edition edition (December 12, 1977)
Language: English
Pages: 451
Category: Imaginative Literature
Subcategory: Classics
Size MP3: 1688 mb
Size FLAC: 1691 mb
Rating: 4.1
Format: lrf txt rtf lit


The Acts of King Arthur and His Noble Knights.

The Acts of King Arthur and His Noble Knights. The Acts of King Arthur and His Noble Knights (1976) is John Steinbeck's retelling of the Arthurian legend, based on the Winchester Manuscript text of Sir Thomas Malory's Le Morte d'Arthur. He began his adaptation in November 1956. Steinbeck had long been a lover of the Arthurian legends.

That his book was immediately successful there is no doubt, but how in the world could Caxton have known that? . Dr. Vinaver was of great help to me and offered any help he could give and opened his files and his bibliography to me. He was very much excited by my approach to the subject, saying it was the first new approach in many years. I went also to Winchester College to see the manuscript of the Morte which was only discovered in 1936, having been lost since it was written by priestly scribes in the fifteenth century.

JOHN STEINBECK WROTE The Acts of King Arthur and His Noble Knights from the Winchester Manuscript of Malory's tales. His work is more than redaction, since John added to the original stories. The Birth, Life and Acts of King Arthur, of his Noble Knights of the Round Table, their marvelous enquests and adventures, the achieving of the San Greal and in the end Le Morte Darthur with the Dolorous Death and Departing out of this World of them All.

The first book John Steinbeck read as a child was the Caxton "Morte d'Arthur," and he considered it one of the most challenging tasks of his career to modernize the stories of King Arthur. These stories are alive even in those of us who have not read them

The first book John Steinbeck read as a child was the Caxton "Morte d'Arthur," and he considered it one of the most challenging tasks of his career to modernize the stories of King Arthur. These stories are alive even in those of us who have not read them. And, in our day, we are perhaps impatient with the words and the stately rhythms of Malory. I wanted to set the stories down in meaning as they were written, leaving out nothing and adding nothing

Steinbeck stopped working on The Acts of King Arthur sometime in late 1959, just as he seemed to hit his stride. Nine years later, he died.

Steinbeck stopped working on The Acts of King Arthur sometime in late 1959, just as he seemed to hit his stride. Why did he lose interest in the book? His correspondence with Ms. Otis and Mr. Horton indicates that he had difficulty finding a unifying theme or focal point for the story.

Читать бесплатно книгу The acts of King Arthur and his noble knights. From the winchester manuscripts Thomas Malory and other sources (Steinbeck . и другие произведения в разделе Каталог. Доступны электронные, печатные и аудиокниги, музыкальные произведения, фильмы. На сайте вы можете найти издание, заказать доставку или забронировать. Возможна доставка в удобную библиотеку.

His enthusiasm for Arthur is apparent in the work. Lancelot du Lac, alternatively also written as Launcelot and other spellings, is one of the Knights of the Round Table in the Arthurian legend. The book was left unfinished at his death, and ends with the death of chivalry in Arthur's purest knight, Lancelot of the Lake. Malory's actual title for the work was The Whole Book of King Arthur and His Noble Knights of the Round Table, but after Malory's death the publisher changed the title to that commonly known today, which originally only referred to the final volume of the work. Steinbeck took a "living approach" to the retelling of Malory's work.

John Steinbeck's first posthumously published work, The Acts of King Arthur and His . This book by Sir Thomas Malory was the first book that John Steinbeck ever loved

John Steinbeck's first posthumously published work, The Acts of King Arthur and His Noble Knights is a reinterpretation of the Arthurian legend, based on the Winchester Manuscript text of Sir Thomas Malory's Le Morte d'Arthur. This book by Sir Thomas Malory was the first book that John Steinbeck ever loved. In the latter half of the 1950s, having already won lasting fame as the author of Of Mice and Men, The Grapes of Wrath, and East of Eden, Steinbeck was seized by a powerful urge to return to his first great inspiration.

Steinbeck attempts to recreate for the modern reader a rhythm and tone that matches Malory's in these six tales from Morte d'Arthur
User reviews
Whiteflame
Here is John Steinbeck's unfinished but beautifully told cycle of King Arthur, with letters to his researcher and editor. Whatever discouraged the great American author from finishing this work is not clear. He retells the stories of Arthur and the knights of the round table from Mallory's La Morte d'Arthur, but with the freshness and frankness that vintage Steinbeck, including his reverence for the stories and lives of the people. Perhaps this is what bothered Steinbeck during the process. He was hoping for something new, and yet began to feel (as we see in his letters to his editor) that he was just writing in the "same old way".

John Steinbeck's correspondence with his researcher (Chase Horton) and with his literary agent (Elizabeth Otis), written between 1957 and 1959 for the most part, is an important feature of this volume. Here we understand the process and the method of this soon-to-be-nominiated Nobel Laureate. Of equal interest is the forward by the youthful Christopher Paolini, who sees Steinbeck's work as falling into the realm of fantasy literature, or the beginnings of it. I don't think social-activist author from Salinas Valley would have become a fantasy author, but he was ever a lover of folk culture and popular traditions (cf. "The Pearl", "The Virgin of Guadalupe"). His letters to his editor and researcher demonstrate his seriousness in honoring the traditions while bringing them to speak to new, American generations.

Did Steinbeck find the task overwhelming? His letters hint of this. He worked seriously right through the Autumn of 1959 and into the start of 1960. What we don't see in the book (and which we have no way of substantiating) is that in 1960, when John F. Kennedy was elected President of the United States, the media and the White House compared the new presidency to a new Camelot (à la Lerner and Lowe musical hit). Could this have banalized or politicized the Arthurian legend in a way that Steinbeck did not want to touch it? I do not know... but knowing Steinbeck's work and works, I am willing to speculate that the glamour and glitter of the New Camelot will have been off-putting to the author of "Grapes of Wrath" and "East of Eden". America was changing, and he knew it. While the evidence of this books shows him in Somerset in 1959, we know very well that in 1960 John Steinbeck left his home and set off with is pet poodle Charlie to re-discover America (cf. "Travels with Charlie"). He was not happy with what he found, and maybe this new, glamorized, superficial America had something to do with his putting down his much cherished project on the Arthurian legends. American culture was degenerating, he felt, and he considered this a national tragedy (cf. "Winter of our Discontent").

Steinbeck fan that I am, I am sorry that he did not complete his project to re-present the Arthurian legend, but I am very grateful that the editors have released his work for us to read and enjoy.
Usanner
At one stray moment in "Acts Of King Arthur And His Noble Knights", a lazy knight named Sir Lyonel is pressured to join his uncle Lancelot on a quest. In casual conversation, he catches a glimpse of Lancelot's heroic nature, staring unblinking in the face of doom.

"...suddenly Sir Lyonel knew why Lancelot would gallop down the centuries, spear in rest, gathering men's hearts on his lance head like tilting rings."

In "Acts Of King Arthur", written in the 1950s but unpublished until 1976, John Steinbeck tries to do the same for us, explaining the world of Arthurian legend so as to make us understand its singular appeal in an age of TV cowboys and atomic bombs.

Steinbeck largely succeeds, though not without difficulty. His "Acts" is a scattershot collection of stories that gathers steam only after leaving behind Arthur himself and most of the best-known elements of his storyline to delve into the marrow of lesser tales. There, Steinbeck grasps the opportunity to marry his own modern sensibilities to the centuries-old legends he retells.

In the book's final and finest chapter, Lancelot is confronted by a jealous knight who catches him up in a tree without his sword. Building a fire, he tells Lancelot to come down and get what's coming to him. Lancelot asks how the knight can scruple to slay an unarmed foe.

"I will recover from my shame before you grow a new head, my friend," the caitiff knight replies.

Lancelot manages to get out of this hazard, only to discover another kind when old friend Sir Kay, managing Camelot's larder and tasked with feeding every passing knight, tells him how miserable the job has made him, worn down by "the nibbling of numbers."

It's a dynamic way to read of Camelot's glory, dealing with such out-of-time concerns in a recognizably Arthurian way, but it took time for Steinbeck to reach this level of fluency. As an appendix of Steinbeck's correspondence during this project reveals, he found it hard work recrafting the stories of his middle-English sources without losing the beauty of its poetry, which had attracted him as a young boy.

Only the chapter on Lancelot, and the one before it featuring three quests carried out by Sir Gawain, Sir Ewain, and Sir Marhalt, manage to pull this off completely. On their own the two chapters provide brilliant reading of pure fantasy and escape, not to mention more than half of the book's sizable page count.

Elsewhere, a seemingly more tentative Steinbeck plows through the story of the Sword and the Stone, rushes the wizard Merlin to his untimely doom, and barely pauses long enough to allow his title character to pick up his fabled sword Excalibur. It's decent storytelling, just not that enthralling. Arthur is seen as a bumbler and, in one instance, quite brutal, something Steinbeck had in his source texts and was determined to keep in. It's hard at times to think why Steinbeck would think such a character would carry our enthusiasm, a problem he deals with by shuffling Arthur to the sidelines for most of the book.

Yet as "Acts" moves along to its two closing chapters, it, like Sir Lyonel, finds that enthusiasm, prying out the child in many an older, cynical reader and transporting him or her to a place of wide-eyed wonder and enchantment. It's a shame Steinbeck never finished what he started, but what he creates here is no less special for its unpolished beauty.
Ungall
The fascinating thing about this particular edition is that it consists of two different but equally fascinating elements: first, an unfinished novel; and, second, the author's correspondence on how the novel was researched and constructed. The unfinished novel is a modern retelling of Sir Thomas Malory's 15th Century Le Morte d'Arthur, the classic English-language version of the legends of the Round Table. This has flashes of brilliance, but, according to the nature of an unfinished novel, needed a lot more work. The opening chapters, which are on an epic scale, are solid, but Steinbeck only really finds his voice in the later chapters, where the scale is romantic and more intimate. The writer's humanity and a sly sense of humour begin to creep in. When the work stops abruptly, for reasons not entirely clear, one is left wondering how the work might have progressed, especially if he has revisited the early chapters in the style of the later ones. Yet for anyone with literary inclinations, it is when one compares this work-in-progress with the correspondence that the true value of this edition is revealed: it is a rare opportunity to see the details of how a first-division professional writer goes about his job. This is not typical Steinbeck - his heroes here are rich and active, not poor and passive - but he deserves respect for taking himself out of his comfort zone. Even those who have mixed feelings about his better known work - perhaps as a result of being beaten over the head by his "worthiness" - may find themselves wishing he had completed this novel.