Reviews laura COONER LAMBDiN and Robert Thomas LAMBDiN, Camelot in the Nineteenth Century: Arthurian Characters in the Poems ofTennyson, Arnold, Morris, andSwinburne. Contributions to the Study of World Literature Number 97. Westport, CT, and London: Greenwood Press, 2000. Pp. xiii, 157. isbn: 0-313-31124-2. $49.95. This volume looks at the four most notable Arthurian poets ofthe Victorian era, all of whom, the authors contend, used the Arthurian legend as 'a veneer for social criticism' (p. 143), although their attitudes and objectives differed sharply. Tennyson and Arnold supported a more conservative agenda, whereas Morris and Swinburne rebelled at least to some extent against conventional social mores. This argument will not come as a surprise to anyone with even a passing familiarity with Victorian literature. Indeed, the strength of this book lies not in its originality, but in its solid summary of prior scholarship on individual works. A good example can be found in the Lambdins' description of Tennyson's Idylls ofthe King. 'The Idylls can. ..be seen as an outcry against modern life, ...a work that mirrors contemporary problems caused by the juxtaposition ofVictorian self-confidence with the equally powerful Victorian deep despair__The age was complex and paradoxical, sometimes optimistic and sometimes melancholy, and Tennyson's Idylh reflects this perfectly' This section provides a concise account ofthe critical consensus regarding the broad meaning ofTennyson's work and sums up some relevant aspects ofVictorian culture as well. On more specific points, however, the Lambdins encounter some difficulties. The first chapter, which attempts to survey pre-nineteenth-century Arthurian literature, is marred by serious errors that seem collectively to suggest an ignorance ofbasic British medieval history. The authors claims that the real King Arthur was 'a Welsh guerrilla fighter who defended the English' (p. 1). If by 'English' they mean Anglo-Saxons, an historical Arthur was hardly likely to have been their ally, and in fact the earliest references to him in Welsh tradition depict him as fighting on the British side against the Saxon invaders. The most egregious mistake, however, occurs when the Lambdins state that Geoffrey of Monmouth 'intended Arthur's Roman expedition to reflect Henry Vs conquest of France' (p. 2). If this were the case, Geoffrey must have been remarkably prescient, for his Historia Regttm Britanniae was published in the 1130s, almost three hundred years before Henry V prevailed at Agincourt. Such errors are perhaps forgivable, given that this is a literary study rather than an historical one. More problematic, however, is the schizophrenia the authors display in selecting a theme. The title of the book suggests that its focus will be on a ARTHURIANA 11.2 (2??1) 78 REVIEWS79 comparison ofthe four poets' treatment ofArthurian characters, and the chapters on Tennyson and Arnold are duly divided into sections focusing on individual characters. The chapters on Morris and Swinburne, however, break with this format and are divided instead into sections dealing with individual poems. The Lambdins also state in the introduction that they will focus specifically upon the themes of love and death, but these motifs are not always thoroughly explored, and the authors offer almost no explicit comparison of how Tennyson, Arnold, Morris and Swinburne treat them. Camelot in the Nineteenth Century is best suited to the reader seeking a general introduction to the most prominent wotks of nineteenth-century Arthurian poetry. Its strength lies in its breadth and its combination of previous scholarship into a single volume. Those seeking bold new ideas, however, should look elsewhere. Although the Lambdins allude to more recent scholarship emphasizing the political and national aspects ofArthurian litetature in the Victorian era, they fail to integrate it into their work in any substantive way, and in fact dismiss it outright in their discussion of the IdylL· ofthe King. 'Tennyson's approach was both pluralistic and domestic, centering on individuals and localized narratives more than on issues of national identity and fate' (p. 15). The authors are thus left to argue that Tennyson and Arnold were more socially conservative than Morris and Swinburne, news that will hardly come as a shock to scholars ofVictorian Britain. STEPHANIE BARCZEWSKI Clemson University james LOWDER, ed., The Doom ofCamelot. Oakland, CA: Green Knight Publishing...