thumb’s illustration of Camelot from “Idylls of the King”, 1868.
Camelot
is the most famous castle and court associated with the legendary King Arthur. Absent in the early Arthurian material, Camelot first appeared in 12th-century French romances and eventually came to be described as the fantastic capital of Arthur's realm and a symbol of the fabulous Arthurian world. The stories locate it somewhere in Britain and sometimes associate it with real cities, though more usually its precise location is not revealed. Most modern scholars regard it as being entirely fictional, its geography being perfect for romance writers; Arthurian scholar Norris J. Lacy commented that "Camelot, located no where in particular, can be anywhere". [1] Nevertheless arguments about the location of the "real Camelot" have occurred since the 15th century and continue to rage today in popular works and for tourism purposes.
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Early appearances
The castle is mentioned for the first time in
Chrétien de Troyes' poem
Lancelot, the Knight of the Cart
, dating to the 1170s, though it is not mentioned in all the manuscripts.
It is mentioned in passing, and is not described:
A un jor d'une Acenssion / Fu venuz de vers Carlion / Li rois Artus et tenu ot / Cort molt riche a Camaalot / Si riche com au jor estut.
[3]
Upon a certain Ascension Day King Arthur had come from Caerleon, and had held a very magnificent court at Camelot as was fitting on such a day. [4]
Nothing in Chrétien's poem suggests the level of importance Camelot would have in later romances. For Chrétien, Arthur's chief court was in
Caerleon in
Wales; this was the king's primary base in
Geoffrey of Monmouth's
Historia Regum Britanniae
and subsequent literature.
Chrétien depicts Arthur, like a typical medieval monarch, holding court at a number of cities and castles. It is not until the 13th-century French prose romances, including the
Lancelot-Grail and the
Post-Vulgate Cycle, that Camelot began to supersede Caerleon, and even then, many descriptive details applied to Camelot derive from Geoffrey's earlier grand depiction of the Welsh town.
Most Arthurian romances of this period produced in English or Welsh did not follow this trend; Camelot was referred to infrequently, and usually in translations from French. One exception is
Sir Gawain and the Green Knight
, which locates Arthur's court Camylot";
[5] however, in Britain Arthur's court was generally located at Caerleon, or at
Carlisle, which is usually identified with the "Carduel" of the French romances.
[6] It was not until the late 15th century that
Thomas Malory created the image of Camelot most familiar to English speakers today in his
Le Morte d'Arthur
, a work based mostly on the French romances. He firmly identifies Camelot with
Winchester, an identification that remained popular over the centuries, though it was rejected by Malory's own editor,
William Caxton, who preferred a Welsh location.
[7]
Etymology
The name's derivation is also unknown. Some have suggested it is similar enough to other
Iron Age and
Romano-British place names such as
Camulodunum to suggest some historicity; that particular locale was the first capital of
Roman Britain and would have significance in
Romano-British culture. Indeed
John Morris, the English historian who specialized in the study of the institutions of the
Roman Empire and the history of
Sub-Roman Britain, suggested in his book
The Age of Arthur
that as the descendants of Romanized Britons looked back to a golden age of peace and prosperity under Rome, the name "Camelot" of Arthurian legend may have referred to the capital of
Britannia (
Camulodunum - modern
Colchester) in Roman times. If historical the first part of it,
Cam,
could also reflect the Celtic word meaning "crooked" which is commonly used in place names as seen in
Camlann. Given Chrétien's known tendency to create new stories and characters, being the first to mention the hero
Lancelot and his love affair with Queen
Guinevere for example, the name might also be entirely invented.
Description in the romances
The romances depict the city of Camelot as standing along a river, downstream from
Astolat. It is surrounded by plains and forests, and its magnificent cathedral,
St. Stephen's, is the religious centre for Arthur's
Knights of the Round Table. There Arthur and Guinevere are married and there are the tombs of many kings and knights. In a mighty castle stands the
Round Table; it is here that
Galahad conquers the
Siege Perilous, and where the knights see a vision of the
Holy Grail and swear to find it. Jousts are held in a meadow outside the city. In the
Palamedes
and other works, the castle is eventually destroyed by King
Mark of Cornwall after the loss of Arthur at the
Battle of Camlann.
However maddening to later scholars searching for Camelot's location, its imprecise geography serves the romances well, as Camelot becomes less a literal place than a powerful symbol of Arthur's court and universe.
The romancers' versions of Camelot drew on earlier descriptions of Arthur's fabulous court. From Geoffrey's grand description of Caerleon, Camelot gains its impressive architecture, its many churches and the chivalry and courtesy of its inhabitants.
Geoffrey's description in turn drew on an already established tradition in Welsh oral tradition of the grandeur of Arthur's court. The tale
Culhwch and Olwen
, associated with the
Mabinogion
and perhaps written in the 11th century, draws a dramatic picture of Arthur's hall and his many powerful warriors who go from there on great adventures, placing it in
Celliwig, an uncertain locale in
Cornwall. Although the court at Celliwig is the most prominent in remaining early Welsh manuscripts, the various versions of the
Welsh Triads agree in giving Arthur multiple courts, one in each of the areas inhabited by the
Britons:
Cornwall,
Wales and the
Old North. This perhaps reflects the influence of widespread oral traditions common by 800 which are recorded in various place names and features such as
Arthur's Seat indicating Arthur was a hero known and associated with many locations across Brittonic areas of Britain as well as
Brittany. Even at this stage Arthur could not be tied to one location.
[8] Many other places are listed as a location where Arthur holds court in the later romances, Carlisle and
London perhaps being the most prominent.
Identifications
The romancers versions of Camelot draw on earlier traditions of Arthur's fabulous court. The Celliwig of
Culhwch and Olwen
appears in the
Welsh Triads as well; interestingly, this early Welsh material places Wales' greatest leader outside its national boundaries. Geoffrey's description of
Caerleon is probably based on his personal familiarity with the town and its impressive Roman ruins; it is less clear that Caerleon was associated with Arthur before Geoffrey. The later French romances make much of "Carduel," a northern city based on the real
Carlisle.
Malory's identification of Camelot as
Winchester was probably partially inspired by the latter city's history. It had been the capital of
Wessex under
Alfred the Great, and boasted the
Winchester Round Table, an artifact constructed in the 13th century but widely believed to be the original by Malory's time. Malory's editor Caxton rejects the association, saying Camelot was in Wales and that its ruins could still be seen; this is a likely reference to the Roman ruins at
Caerwent.
Malory associated other Arthurian locations with modern places, for instance locating
Astolat at
Guildford.
In 1542
John Leland reported the locals around
Cadbury Castle in
Somerset considered it to be the original Camelot. This theory, which was repeated by later antiquaries, is bolstered, or may have derived from, Cadbury's proximity to the River Cam and towns
Queen Camel and
West Camel, and remained popular enough to help inspire a large scale archaeological dig in the 20th century.
These excavations, led by archaeologist
Leslie Alcock from 1966-70, were titled "Cadbury-Camelot," and won much media attention, even being mentioned in the film of the musical
Camelot
.
The dig revealed by far the largest known fortification of the period, with Mediterranean artifacts (representing extensive trade) and Saxon artifacts.
The use of the name Camelot and the support of
Geoffrey Ashe helped ensure much publicity for the finds, but Alcock himself later grew embarrassed by the supposed Arthurian connection to the site. Following the arguments of
David Dumville, Alcock felt the site was too late and too uncertain to be a tenable Camelot. Modern archaeologists follow him in rejecting the name, calling it instead Cadbury Castle hill fort.
[9] Despite this, Cadbury remains widely associated with Camelot.
The fact there were two towns in Roman Britain named
Camulodunum,
Colchester in
Essex, and
Slack in
West Yorkshire, deriving from the Celtic god
Camulos has led to the suggestion they originated the name. However, the
Essex Camulodunum was located well within territory usually thought to have been conquered early in the 5th century by
Saxons, so it is unlikely to have been the location of any "true" Camelot. The town was definitely known as Colchester as early as the
Anglo-Saxon Chronicle
in 917.
[10] Even Colchester Museum argues strongly regarding the historical Arthur: "it would be impossible and inconceivable to link him to the Colchester area, or to Essex more generally" pointing out that the connection between the name Camuloduum and Colchester was unknown till the 18th century.
[11] Other places in Britain with names related to "Camel" have also been suggested, such as
Camelford in Cornwall, located down the
River Camel from where Geoffrey places
Camlann, the scene of Arthur's final battle. The area's connections with Camelot and Camlann are merely speculative.
Later uses
Camelot has become a permanent fixture in interpretations of the Arthurian legend. Modern versions typically retain Camelot's lack of precise location and its status as a symbol of the Arthurian world, though they typically transform the castle itself into romantically lavish vision of a
High Middle Ages palace.
It lends its name to the 1960 musical
Camelot
by
Alan Jay Lerner and
Frederick Loewe, which is based on
T. H. White's literary version of the legend,
The Once and Future King
. The musical was adapted into a 1967
film of the same name, which starred
Richard Harris as Arthur, and which featured the Castle of
Coca, Segovia as fittingly opulent Camelot. The symbolism of Camelot so impressed
Alfred, Lord Tennyson that he wrote up a prose sketch on the castle as one of his earliest attempts to treat the Arthurian legend.
[12] Some writers of the "realist" strain of modern Arthurian fiction have attempted a more sensible Camelot; inspired by Alcock's Cadbury-Camelot excavation, writers
Marion Zimmer Bradley,
Mary Stewart, and Catherine Christian place their Camelots in that city and describe it accordingly.
See also
- Sites and places associated with Arthurian legend
Notes
- Lacy, Norris J. (1991). "Camelot". In Norris J. Lacy (Ed.), ''The New Arthurian Encyclopedia'', pp. 66–67. New York: Garland. ISBN 0-8240-4377-4.
- "Camelot". From the Camelot Project. Retrieved October 9, 2008.
- Lancelot Ou Le Chevalier De La Charette
- ''Lancelot'', vv. 31-32.
- ''Sir Gawain and the Green Knight'', line 37.
- Ashley, pp. 612-3.
- Malory, ''Le Morte d'Arthur'', p. xvii.
- Ashe, Geoffrey (1991). "Topography and Local Legends". In Norris J. Lacy (Ed.), ''The New Arthurian Encyclopedia'', pp. 455–458. New York: Garland. ISBN 0-8240-4377-4.
- Alcock, Stenvenson, & Musson, C. R.
- Place Names
- Official Response to linking Arthur and Colchester
- Staines, David (1991). "Alfred, Lord Tennyson". In Norris J. Lacy (Ed.), ''The New Arthurian Encyclopedia'', pp. 446–449. New York: Garland. ISBN 0-8240-4377-4.
References
- Lacy, Norris J. (1991). "Camelot". In Norris J. Lacy (Ed.), ''The New Arthurian Encyclopedia'', pp. 66–67. New York: Garland. ISBN 0-8240-4377-4.
- "Camelot". From the Camelot Project. Retrieved October 9, 2008.
- Lancelot Ou Le Chevalier De La Charette
- ''Lancelot'', vv. 31-32.
- ''Sir Gawain and the Green Knight'', line 37.
- Ashley, pp. 612-3.
- Malory, ''Le Morte d'Arthur'', p. xvii.
- Ashe, Geoffrey (1991). "Topography and Local Legends". In Norris J. Lacy (Ed.), ''The New Arthurian Encyclopedia'', pp. 455–458. New York: Garland. ISBN 0-8240-4377-4.
- Alcock, Stenvenson, & Musson, C. R.
- Place Names
- Official Response to linking Arthur and Colchester
- Staines, David (1991). "Alfred, Lord Tennyson". In Norris J. Lacy (Ed.), ''The New Arthurian Encyclopedia'', pp. 446–449. New York: Garland. ISBN 0-8240-4377-4.