A History of Arthurian Scholarship edited by Norris J. Lacy (review)

Abstract

iooarthuriana tradition suggests oral performance ofhis poems. Finally, Peter Dembowski's 'Editing Chfétien' presents a non-judgmental review ofavailable editions. In the concluding section, 'Medieval Reception and Influence,' I would particularly like to single out Annie Combes's chaptet entitled 'The Continuations ofthe Conte du Graal, ' which gives the clearest and best introduction that I know to the four Continuations. Michelle Szkilnik's 'Medieval Translations and Adaptations ofChfétien's Works ' demonstrates how the medieval translators and adaptets tended 'to motivate situations more thoroughly and to clarifywhat remained ambiguous and obscure in the original work ' (202). The lare Emmanuele Baumgartner's concluding chaptef, 'Chfétien's Medieval Influence: From the Grail Quest to the Joy of the Court,' traces with het accustomed insight and clarity the 'reuse and repackaging' (219) of romance motifs, structures and characters originally used by the mastef. All in all, this is a wonderful collection of essays that amply justifies its title, A Companion to Chrétien de Troyes. I feel that the volume can compete nicely with Jean Frappier's Chrétien de Troyes: l'homme et l'oeuvre, which for nearly halfa century has been the best basic introduction to Chfétien (Paris 1957; rev. 1968; English ttans. by R. Cormier, 1982). However, unless it is reissued in paperback, its price is likely to limit somewhat its appeal. All of the essays are written without excessive jargon and will be easily accessible to members ofthe tafget audience. The numerous footnotes and ample selective bibliography will encourage further exploration of many ofthe questions raised. WILLIAM KIBLER University ofTexas-Austin norris j. lacy, ed., A History ofArthurian Scholarship. Cambridge: D. S. Brewer, 2006. Pp. 285. isbn: 1 84384 069 3. $85.00. NorrisJ. Lacy, who is the architect ofsuch vital Arthurian works as TheNewArthurian Encyclopedia and the fust complete translation ofthe Lancelot-Grail Cycle, has once again assembled a stellar team of scholafs to produce this outstanding history of Arthurian scholarship. The scope of the volume is ambitious. As the editof writes, it sets out to survey the scholarship relating to 'the origins of the Arthurian legend, Grail sources, editing and all the majotArthurian literatures ofthe Middle Ages, from the frustraringly enigmatic Welsh texts to the rich Continental tradition and back to the insular. We also treat modern Arthuriana in English, medieval and modern art, film and translation' (ix). This excellent collection ofessays is generally successful in achieving its ambitious aim. The only flaw is that a few of the essays fall short of a complete treatment of their subjects. Tony Hunt's essay on 'Editing Arthuriana,' for instance, offers a very good survey of important developments in the editing of German and French Arthutian texts. It might, however, have given more attention to English texts, which ate treated in only two paragraphs, the longer ofwhich is devoted entirely to Malory. The essay might have acknowledged the significance, for example, of Sir Walter Scott's edition ofSir Tristrem, which set the pattern for subsequent editions REVIEWS1Ol ofMiddle English rexrs; or ofFrederic Madden's collection ofGawain romances. In addition, one would expect some mention of the Eafly English Text Society as well as the TEAMS Middle English Texts Series, which has to date provided excellent new editions of nineteen Middle English Arthurian romances. Similarly, Jeanne Fox-Friedman's essay on 'Modern Arthurian Art' treats well some of the major books on modern Arthurian art and the scholafship on some Vicrorian (particularly Pre-Raphaelite) art but is wanting when it comes to othef nineteenth- and twentieth-century artists. There is no discussion of scholarship on major modern figures like Gusrave Doré, Aubrey Beardsley, Arthur Rackham, Russell Flint, and DavidJones; nor is there a discussion ofthe ways in which modern artists have treated major works like Malory's Morte d'Arthur and Sir Gawain and the Green Knight. In both of these cases, the omissions may be due in part to the amorphous and wide-ranging nature ofthe subject as well as the primary interests ofthe authors—just as my selection ofthese items for comment reflects some ofmy own interests. Other omissions in the volume are intentional. The editor wisely acknowledges and explains certain omissions and choices, such...