MYRDDIN, THE MOST FAMOUS WIZARD IN LITERATURE

The Grandma is reading about Merlin, the most famous wizard in the universal literature and one of the most important characters in the Arthurian Cycle.

Merlin, in Welsh Myrddin, is a legendary figure best known as the wizard featured in Arthurian legend and medieval Welsh poetry.

 

The standard depiction of the character first appears in Geoffrey of Monmouth's Historia Regum Britanniae, written c. 1136, and is based on an amalgamation of previous historical and legendary figures.

Geoffrey combined existing stories of Myrddin Wyllt, Merlinus Caledonensis, a North Brythonic prophet and madman with no connection to King Arthur, with tales of the Romano-British war leader Ambrosius Aurelianus to form the composite figure he called Merlin Ambrosius in Welsh, Myrddin Emrys.

Geoffrey's rendering of the character was immediately popular, especially in Wales. Later writers expanded the account to produce a fuller image of the wizard.

Merlin's traditional biography casts him as a cambion: born of a mortal woman, sired by an incubus, the non-human from whom he inherits his supernatural powers and abilities. Merlin matures to an ascendant sagehood and engineers the birth of Arthur through magic and intrigue. Later authors have Merlin serve as the king's advisor and mentor to the knights until he is bewitched and imprisoned by the Lady of the Lake. He is popularly said to be buried in the magical forest of Brocéliande.

More information: Britannica

The name Merlin is derived from the Welsh Myrddin, the name of the bard Myrddin Wyllt, one of the chief sources for the later legendary figure. Geoffrey of Monmouth Latinised the name to Merlinus in his works.
 

Clas Myrddin or Merlin's Enclosure is an early name for Great Britain stated in the Third Series of Welsh Triads. It's suggested that the Welsh name Myrddin was derived from the toponym Caerfyrddin, the Welsh name for the town known in English as Carmarthen.

This contrasts with the popular folk etymology that the town was named for the bard. The name Carmarthen is derived from the town's previous Roman name Moridunum, in turn derived from Celtic Brittonic moridunon, sea fortress.

Geoffrey's composite Merlin is based primarily on Myrddin Wyllt, also called Merlinus Caledonensis, and Aurelius Ambrosius, a mostly fictionalised version of the historical war leader Ambrosius Aurelianus. The former had nothing to do with King Arthur: in British poetry he was a bard driven mad after witnessing the horrors of war, who fled civilization to become a wild man of the wood in the 6th century.

Geoffrey had this individual in mind when he wrote his earliest surviving work, the Prophetiae Merlini, Prophecies of Merlin, which he claimed were the actual words of the legendary madman.

More information: Ancient Origins

Geoffrey's Prophetiae do not reveal much about Merlin's background. He included the prophet in his next work Historia Regum Britanniae, supplementing the characterisation by attributing to him stories about Aurelius Ambrosius, taken from Nennius' Historia Brittonum. According to Nennius, Ambrosius was discovered when the British king Vortigern was trying to erect a tower.

The tower always collapsed before completion, and his wise men told him that the only solution was to sprinkle the foundation with the blood of a child born without a father. Ambrosius was rumoured to be such a child but, when brought before the king, he revealed the real reason for the tower's collapse: below the foundation was a lake containing two dragons who fought a battle representing the struggle between the invading Saxons and the native Celtic Britons, which suggested that the tower would never stand under the leadership of Vortigern, but only under that of Ambrosius.

This is why Ambrosius is given the kingdom or the tower: he tells Vortigern to go elsewhere and says I will stay here. The tower is metaphorically the kingdom, which is the notional ability to beat the Saxons.

Geoffrey retells this story in Historia Regum Britanniæ with some embellishments, and gives the fatherless child the name of the prophetic bard Merlin. He keeps this new figure separate from Aurelius Ambrosius and, with regard to his changing of the original Nennian character, he states that Ambrosius was also called Merlin, that is, Ambrosius Merlinus. He goes on to add new episodes that tie Merlin into the story of King Arthur and his predecessors, such as bringing the stones for Stonehenge from the Preseli Hills in south-west Wales and Ireland.

Geoffrey's account of Merlin Ambrosius' early life in the Historia Regum Britanniae is based on the story of Ambrosius in the Historia Brittonum. He adds his own embellishments to the tale, which he sets in Carmarthen, Wales in Welsh Caerfyrddin. While Nennius' Ambrosius eventually reveals himself to be the son of a Roman consul, Geoffrey's Merlin is begotten on a king's daughter by an incubus demon. 

 More information: ThoughtCo

The name of Merlin's mother is not usually stated, but is given as Adhan in the oldest version of the Prose Brut. The story of Vortigern's tower is essentially the same; the underground dragons, one white and one red, represent the Saxons and the Britons, and their final battle is a portent of things to come. At this point Geoffrey inserts a long section of Merlin's prophecies, taken from his earlier Prophetiae Merlini. 

He tells only two further tales of the character. In the first, Merlin creates Stonehenge as a burial place for Aurelius Ambrosius. In the second, Merlin's magic enables the British king Uther Pendragon to enter into Tintagel in disguise and father his son Arthur with his enemy's wife, Igraine. These episodes appear in many later adaptations of Geoffrey's account. As Lewis Thorpe notes, Merlin disappears from the narrative after this; he does not tutor and advise Arthur as in later versions.

Geoffrey dealt with Merlin again in his third work Vita Merlini. He based the Vita on stories of the original 6th-century Myrddin, set long after his time frame for the life of Merlin Ambrosius. He tries to assert that the characters are the same with references to King Arthur and his death, as told in the Historia Regum Britanniae. In this story, Merlin survives Arthur.

Several decades later, the poet Robert de Boron retold this material in his poem Merlin. Only a few lines of the poem have survived, but a prose retelling became popular and was later incorporated into chivalric romances. In Robert's account, as in Geoffrey's Historia, Merlin is begotten by a demon on a virgin as an intended Antichrist. 

This plot is thwarted when the expectant mother informs her confessor Blase or Blaise of her predicament; they immediately baptize the boy at birth, thus freeing him from the power of Satan and his intended destiny. The demonic legacy invests Merlin with a preternatural knowledge of the past and present, which is supplemented by God, who gives the boy a prophetic knowledge of the future.  

More information: The Guardian

 

 

Camelot isn't built on magic, 

but on people, on their faith.

Merlin

QUEEN GUINEVERE, THE ADULTERY IN THE MIDDLE AGE

Today, The Grandma wants to talk about Guinevere, one of the main characters of the Arthurian saga.

Guinevere, often written as Guenevere or Gwenevere, is the wife of King Arthur in Arthurian legend. She first appears as Guanhumara in Geoffrey of Monmouth's Historia Regum Britanniae, a pseudo-historical chronicle of British history written circa 1136.

In medieval romances, one of the most prominent story arcs is Queen Guinevere's tragic love affair with her husband's chief knight, Lancelot. This story first appeared in Chrétien de Troyes's Lancelot, the Knight of the Cart and became a motif in Arthurian literature, starting with the Lancelot-Grail of the early 13th century and carrying through the Post-Vulgate Cycle and Thomas Malory's Le Morte d'Arthur.

Guinevere and Lancelot's betrayal of Arthur preceded his eventual defeat at the Battle of Camlann by Mordred.

The original Welsh form of the name Gwenhwyfar or Gwenhwyvar, which seems to be cognate with the Irish name Findabair, can be translated as The White Enchantress or The White Fay/Ghost, from Proto-Celtic.

Geoffrey of Monmouth rendered her name as Guanhumara in Latin, though there are many spelling variations found in the various manuscripts of his Historia Regum Britanniae. The name is given as Guennuuar in Caradoc's Vita Gildae, while Gerald of Wales refers to her as Wenneuereia. In the 15th-century Middle Cornish play Bewnans Ke, she was called Gwynnever. A cognate name in Modern English is Jennifer, from Cornish.

 

More information: King Arthur Knights 

In Geoffrey of Monmouth's Historia Regum Britanniae, she is described as one of the great beauties of Britain, descended from a noble Roman family and educated under Cador, Duke of Cornwall.

In one of the Welsh Triads, there are three Gwenhwyfars married to King Arthur. The first is the daughter of Cywryd of Gwent, the second of Gwythyr ap Greidawl, and the third of (G)ogrfan Gawr the Giant. In a variant of another Welsh Triad, the daughter of Gogfran Gawr is mentioned. Two other Triads mention Gwenhwyfar's contention with her sister Gwenhwyfach, which was believed to be the cause of the Battle of Camlann. In the mid-late 12th-century Welsh folktale Culhwch and Olwen, she is mentioned alongside Gwenhwyfach.

Guinevere is childless in most stories, two exceptions being Perlesvaus and the Alliterative Morte Arthure. In the latter text, Guinevere willingly becomes Mordred's consort and bears him two sons, though this is implied rather than stated in the text. There were mentions of Arthur's sons in the Welsh Triads, though their exact parentage is not clear.

Other family relations are equally obscure. A half-sister and a brother play the antagonistic roles in the Lancelot–Grail and the German romance Diu Crône respectively, but neither character is mentioned elsewhere.

 

More information: Arthurian Legend

Welsh tradition remembers the queen's sister Gwenhyvach and records the enmity between them. While later literature almost always named Leodegrance as Guinevere's father, her mother was usually unmentioned, although she was sometimes said to be dead; this is the case in the Middle English romance The Awntyrs off Arthure, The Adventures of Arthur, in which the ghost of Guinevere's mother appears to her daughter and Gawain in Inglewood Forest. Other works name cousins of note, though these do not usually appear in more than one place.

Guinevere has been portrayed as everything from a weak and opportunistic traitor to a fatally flawed but noble and virtuous lady. In Chrétien de Troyes's Yvain, the Knight of the Lion, she is praised for her intelligence, friendliness, and gentility, while in Marie de France's Lanval, and Thomas Chestre's Middle English version, Sir Launfal, she is a vindictive adulteress, disliked by the protagonist and all well-bred knights.

 

Early chronicles tend to portray her inauspiciously or hardly at all, while later authors use her good and bad qualities to construct a deeper character who played a larger role. 

The works of Chrétien were some of the first to elaborate on the character Guinevere beyond simply the wife of Arthur. This was likely due to Chrétien's audience at the time, the court of Marie of France, Countess of Champagne, which was composed of courtly ladies who played highly social roles.

More information: Early British Kingdoms

 

 

Respect is to be earned.

It cannot be bought with blood.

Queen Guinevere

THE BREAKING OF THE ROUND TABLE, THE END IS NEAR

Today, The Grandma is still ill. She has a terrible cold, and she has continued reading about King Arthur and The Round Table.

The Round Table is King Arthur's famed table in the Arthurian legend, around which he and his knights congregate. As its name suggests, it has no head, implying that everyone who sits there has equal status. The table was first described in 1155 by Wace, who relied on previous depictions of Arthur's fabulous retinue. 

The symbolism of the Round Table developed over time; by the close of the 12th century it had come to represent the chivalric order associated with Arthur's court, the Knights of the Round Table.

Though the Round Table itself is not mentioned, the concept of Arthur havinga marvelous court made up of many prominent warriors is much older. 

Geoffrey of Monmouth says that after establishing peace throughout Britain, Arthur increased his personal entourage by inviting very distinguished men from far-distant kingdoms to join it. The code of chivalry so important in later romance figures in as well, as Geoffrey says Arthur established such a code of courtliness in his household that he inspired peoples living far away to imitate him.

Long before Geoffrey, Arthur's court was well known to Welsh storytellers; in the romance Culhwch and Olwen, written around 1100, the protagonist Culhwch invokes the names of 225 individuals affiliated with Arthur

More information: King Arthur's Knights

In fact, the fame of Arthur's entourage became so prominent in Welsh tradition that in the later additions to the Welsh Triads, the formula tying named individuals to Arthur's Court in the triad titles began to supersede the older Island of Britain formula.

Though the code of chivalry crucial to later continental romances dealing with the Round Table is mostly absent from the earlier Welsh material, some passages of Culhwch and Olwen seem to prefigure it, for instance when Arthur explains the ethos of his court, saying [w]e are nobles as long as we are sought out: the greater the bounty we may give, the greater our nobility, fame and honour.

Though no Round Table appears in the early Welsh texts, Arthur is associated with various items of household furniture.

The earliest of these is Saint Carannog's mystical floating altar in that saint's 12th century Vita; in the story Arthur has found the altar and attempts unsuccessfully to use it for a table, and returns it to Carannog in exchange for the saint ridding the land of a meddlesome dragon. Arthur's household furniture figures into local topographical folklore throughout Britain as early as the early 12th century, with various landmarks being named Arthur's Seat, Arthur's Oven, and Arthur's Bed-chamber.

A henge at Eamont Bridge near Penrith, Cumbria is known as King Arthur's Round Table. The still-visible Roman amphitheatre at Caerleon has been associated with the Round Table and has been suggested as a possible source for the legend.

More information: Britannica

Following archaeological discoveries at the Roman ruins in Chester, some writers suggested that the Chester Roman Amphitheatre was the true prototype of the Round Table, but the English Heritage Commission, acting as consultants to a History Channel documentary in which the claim was made, declared that there was no archaeological basis to the story.

The Round Table first appeared in Wace's Roman de Brut, a Norman language adaptation of Geoffrey of Monmouth's Historia Regum Britanniae finished in 1155. Wace says Arthur created the Round Table to prevent quarrels among his barons, none of whom would accept a lower place than the others. Layamon added to the story when he adapted Wace's work into the Middle English Brut in the early 13th century, saying that the quarrel between Arthur's vassals led to violence at a Yuletide feast. 

In response a Cornish carpenter built an enormous but easily transportable Round Table to prevent further dispute. Wace claims he was not the source of the Round Table; both he and Layamon credited it instead to the Bretons.

Some scholars have doubted this claim, while others believe it may be true. There is some similarity between the chroniclers' description of the Round Table and a custom recorded in Celtic stories, in which warriors sit in a circle around the king or lead warrior, in some cases feuding over the order of precedence as in Layamon. There is a possibility that Wace, contrary to his own claims, derived Arthur's round table not from any Breton source, but rather from medieval biographies of Charlemagne, notably Einhard's Vita Caroli and Notker the Stammerer's De Carolo Magno, in which the king is said to have possessed a round table decorated with a map of Rome.

More information: Ancient Fortresses

The Round Table takes on new dimensions in the romances of the late 12th and early 13th century, where it becomes a symbol of the famed order of chivalry which flourishes under Arthur. In Robert de Boron's Merlin, written around the 1190s, the wizard Merlin creates the Round Table in imitation of the table of the Last Supper and of Joseph of Arimathea's Holy Grail table.

This table, here made for Arthur's father Uther Pendragon rather than Arthur himself, has twelve seats and one empty place to mark the betrayal of Judas. This seat must remain empty until the coming of the knight who will achieve the Grail.

The Didot Perceval, a prose continuation of Robert's work, takes up the story, and the knight Percival sits in the seat and initiates the Grail quest. The prose cycles of the 13th century, the Lancelot-Grail cycle and the Post-Vulgate Cycle, further adapt the chivalric attributes of the Round Table. Here it is the perfect knight Galahad, rather than Percival, who assumes the empty seat, now called the Siege Perilous.  

Galahad's arrival marks the start of the Grail quest as well as the end of the Arthurian era. In these works the Round Table is kept by King Leodegrance of Cameliard after Uther's death; Arthur inherits it when he marries Leodegrance's daughter Guinevere. Other versions treat the Round Table differently, for instance Arthurian works from Italy often distinguish between the Old Table of Uther's time and Arthur's New Table.

The artifact known as the Winchester Round Table, a large tabletop hanging in Winchester Castle bearing the names of various knights of Arthur's court, was probably created for a Round Table tournament. The current paintwork is late; it was done by order of Henry VIII of England for Holy Roman Emperor Charles V's 1522 state visit, and depicts Henry himself sitting in Arthur's seat above a Tudor rose. 

The table itself is considerably older; dendrochronology calculates the date of construction to 1250–1280, during the reign of Edward I, using timber from store felled over a period of years. Edward was an Arthurian enthusiast who attended at least five Round Tables and hosted one himself in 1299, which may have been the occasion for the creation of the Winchester Round Table. Martin Biddle, from an examination of Edward's financial accounts, links it instead with a tournament Edward held near Winchester on April 20, 1290, to mark the betrothal of one of his daughters.

More information: Study

 

 

Knights! The gift of freedom is yours by right. 

But the home we seek resides not in some distant land. 

It's in us! And in our actions on this day! 

If this be our destiny, then so be it. 

But let history remember that as free men, 

we chose to make it so. 

King Arthur

CAMELOT & KING ARTHUR, THE MIDDLE AGE FAKE NEWS

Today, The Grandma continues reading about Camelot and the Arthurian world.

Camelot has become a permanent fixture in modern interpretations of the Arthurian legend. 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 legend.

Modern stories 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 visions of a High Middle Ages palace.

Some writers of the realist strain of modern Arthurian fiction have attempted a more sensible Camelot. Inspired by Alcock's Cadbury-Camelot excavation, some authors such as Marion Zimmer Bradley and Mary Stewart place their Camelots in that place and describe it accordingly.

More information: Live Science

King Arthur (in Welsh Brenin Arthur, in Cornish Arthur Gernow, in Breton Roue Arzhur) was a legendary Celtic Briton who, according to medieval histories and romances, was leader of the Celtic Britons in battles against Saxon invaders of Britain in the late 5th and early 6th centuries.

Details of Arthur's story are mainly composed of Welsh mythology, English folklore and literary invention, and most historians of the period do not think that he was a historical figure.

Arthur is first recorded in sources which date to 300 years after he is supposed to have lived, the Annales Cambriae and the Historia Brittonum. His name also occurs in early poetic sources such as Y Gododdin.

Arthur is a central figure in the legends making up the Matter of Britain. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain).

In some Welsh and Breton tales and poems that date from before this work, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh otherworld Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown.

Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established a vast empire. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the magician Merlin, Arthur's wife Guinevere, the sword Excalibur, Arthur's conception at Tintagel, his final battle against Mordred at Camlann, and final rest in Avalon.

The 12th-century French writer Chrétien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table.

Arthurian literature thrived during the Middle Ages but waned in the centuries that followed, until it experienced a major resurgence in the 19th century. 

In the 21st century, the legend continues to have prominence, not only in literature but also in adaptations for theatre, film, television, comics and other media.

More information: Historic UK

Arthur! We will have Arthur!
By God’s will he is our King! 

God save King Arthur!

Anonymous

CAMELOT, CREATING FAKE NEWS IN THE MIDDLE AGE

Today, The Grandma has been reading about King Arthur, the Knights of the Round Table and their realm of Camelot.

Camelot is a castle and court associated with the legendary King Arthur.

Absent in the early Arthurian material, Camelot first appeared in 12th-century French romances and, since the Lancelot-Grail cycle, eventually came to be described as the fantastic capital of Arthur's realm and a symbol of the Arthurian world.

The stories locate it somewhere in Great Britain and sometimes associate it with real cities, though more usually its precise location is not revealed. Most scholars regard it as being entirely fictional, its unspecified geography being perfect for chivalric romance writers. Nevertheless, arguments about the location of the real Camelot have occurred since the 15th century and continue today in popular works and for tourism purposes.

The name's derivation is uncertain. It has numerous different spellings in medieval French Arthurian romances, including Camaalot, Camalot, Chamalot, Camehelot (sometimes read as Camchilot), Camaaloth, Caamalot, Camahaloth, Camaelot, Kamaalot, Kamaaloth, Kaamalot, Kamahaloth, Kameloth, Kamaelot, Kamelot, Kaamelot, Cameloth, and Gamalaot.

Camelot has become a permanent fixture in modern interpretations of the Arthurian legend. 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 legend.

Modern stories 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 visions of a High Middle Ages palace.

Some writers of the realist strain of modern Arthurian fiction have attempted a more sensible Camelot. Inspired by Alcock's Cadbury-Camelot excavation, some authors such as Marion Zimmer Bradley and Mary Stewart place their Camelots in that place and describe it accordingly.

More information: Live Science

King Arthur (in Welsh Brenin Arthur, in Cornish Arthur Gernow, in Breton Roue Arzhur) was a legendary Celtic Briton who, according to medieval histories and romances, was leader of the Celtic Britons in battles against Saxon invaders of Britain in the late 5th and early 6th centuries.

Details of Arthur's story are mainly composed of Welsh mythology, English folklore and literary invention, and most historians of the period do not think that he was a historical figure.

Arthur is first recorded in sources which date to 300 years after he is supposed to have lived, the Annales Cambriae and the Historia Brittonum. His name also occurs in early poetic sources such as Y Gododdin.

Arthur is a central figure in the legends making up the Matter of Britain. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain).

In some Welsh and Breton tales and poems that date from before this work, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh otherworld Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown.

Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version, Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established a vast empire. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the magician Merlin, Arthur's wife Guinevere, the sword Excalibur, Arthur's conception at Tintagel, his final battle against Mordred at Camlann, and final rest in Avalon.

The 12th-century French writer Chrétien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table.

Arthurian literature thrived during the Middle Ages but waned in the centuries that followed, until it experienced a major resurgence in the 19th century. 

In the 21st century, the legend continues to have prominence, not only in literature but also in adaptations for theatre, film, television, comics and other media.

More information: Historic UK

Arthur! We will have Arthur!
By God’s will he is our King! God save King Arthur!

Anonymous

THE BREAKING OF THE ROUND TABLE, THE END IS NEAR

The Grandma in La Rambla, Barcelona

Today, The Grandma has decided to homage Barcelona, her city. Barcelona is a place with centuries of existence built by its people with love, respect, comprehension and tolerance.

The Catalan capital is an open-mind city which welcomes new comers, visitors and tourists and shares with them its amazing architecture and its wonderful people. Because a place is the reflex of its architecture, history and population, you can be sure Barcelona is one of the most beautiful places to live around the world. Nobody will break our lifestyle and nobody will come from other countries to say us how we have to live, how we have to think, how we have to speak, how we have to feel or how we must mourn our dead.

Barcelona is a free city without owners. Barcelona is the result of sharing cultures with respect and tolerance and nobody is going to change this, nobody, even if you are a mercenary or you are a cynic king from a foreign country.

One year later, we remember you and we never forget you because we don't need anything more than our memories and our hearts to keep your memory forever.

Today, The Grandma is resting at home. She's preparing her new activities for next months and it means lots of hours of work. Before organizing her future, The Grandma has studied a new lesson of her Intermediate Language Practice manual (Chapter 51).

More information: Story Nory 

The Round Table is King Arthur's famed table in the Arthurian legend, around which he and his knights congregate. As its name suggests, it has no head, implying that everyone who sits there has equal status. The table was first described in 1155 by Wace, who relied on previous depictions of Arthur's fabulous retinue. The symbolism of the Round Table developed over time; by the close of the 12th century it had come to represent the chivalric order associated with Arthur's court, the Knights of the Round Table.

King Arthur and the Knights of the Round Table

Though the Round Table itself is not mentioned, the concept of Arthur havinga marvelous court made up of many prominent warriors is much older. 

Geoffrey of Monmouth says that after establishing peace throughout Britain, Arthur increased his personal entourage by inviting very distinguished men from far-distant kingdoms to join it. The code of chivalry so important in later romance figures in as well, as Geoffrey says Arthur established such a code of courtliness in his household that he inspired peoples living far away to imitate him.

Long before Geoffrey, Arthur's court was well known to Welsh storytellers; in the romance Culhwch and Olwen, written around 1100, the protagonist Culhwch invokes the names of 225 individuals affiliated with Arthur

More information: King Arthur's Knights

In fact, the fame of Arthur's entourage became so prominent in Welsh tradition that in the later additions to the Welsh Triads, the formula tying named individuals to Arthur's Court in the triad titles began to supersede the older Island of Britain formula.

Though the code of chivalry crucial to later continental romances dealing with the Round Table is mostly absent from the earlier Welsh material, some passages of Culhwch and Olwen seem to prefigure it, for instance when Arthur explains the ethos of his court, saying [w]e are nobles as long as we are sought out: the greater the bounty we may give, the greater our nobility, fame and honour.

King Arthur and the Knights of the Round Table

Though no Round Table appears in the early Welsh texts, Arthur is associated with various items of household furniture.

The earliest of these is Saint Carannog's mystical floating altar in that saint's 12th century Vita; in the story Arthur has found the altar and attempts unsuccessfully to use it for a table, and returns it to Carannog in exchange for the saint ridding the land of a meddlesome dragon. Arthur's household furniture figures into local topographical folklore throughout Britain as early as the early 12th century, with various landmarks being named Arthur's Seat, Arthur's Oven, and Arthur's Bed-chamber.

A henge at Eamont Bridge near Penrith, Cumbria is known as King Arthur's Round Table. The still-visible Roman amphitheatre at Caerleon has been associated with the Round Table and has been suggested as a possible source for the legend.

More information: Britannica

Following archaeological discoveries at the Roman ruins in Chester, some writers suggested that the Chester Roman Amphitheatre was the true prototype of the Round Table, but the English Heritage Commission, acting as consultants to a History Channel documentary in which the claim was made, declared that there was no archaeological basis to the story.

The Round Table first appeared in Wace's Roman de Brut, a Norman language adaptation of Geoffrey of Monmouth's Historia Regum Britanniae finished in 1155. Wace says Arthur created the Round Table to prevent quarrels among his barons, none of whom would accept a lower place than the others. Layamon added to the story when he adapted Wace's work into the Middle English Brut in the early 13th century, saying that the quarrel between Arthur's vassals led to violence at a Yuletide feast. 

The Knights of the Round Table Tapestry

In response a Cornish carpenter built an enormous but easily transportable Round Table to prevent further dispute. Wace claims he was not the source of the Round Table; both he and Layamon credited it instead to the Bretons.

Some scholars have doubted this claim, while others believe it may be true. There is some similarity between the chroniclers' description of the Round Table and a custom recorded in Celtic stories, in which warriors sit in a circle around the king or lead warrior, in some cases feuding over the order of precedence as in Layamon. There is a possibility that Wace, contrary to his own claims, derived Arthur's round table not from any Breton source, but rather from medieval biographies of Charlemagne, notably Einhard's Vita Caroli and Notker the Stammerer's De Carolo Magno, in which the king is said to have possessed a round table decorated with a map of Rome.

More information: Ancient Fortresses

The Round Table takes on new dimensions in the romances of the late 12th and early 13th century, where it becomes a symbol of the famed order of chivalry which flourishes under Arthur. In Robert de Boron's Merlin, written around the 1190s, the wizard Merlin creates the Round Table in imitation of the table of the Last Supper and of Joseph of Arimathea's Holy Grail table.

This table, here made for Arthur's father Uther Pendragon rather than Arthur himself, has twelve seats and one empty place to mark the betrayal of Judas. This seat must remain empty until the coming of the knight who will achieve the Grail.

The Round Table at Winchester

The Didot Perceval, a prose continuation of Robert's work, takes up the story, and the knight Percival sits in the seat and initiates the Grail quest. The prose cycles of the 13th century, the Lancelot-Grail cycle and the Post-Vulgate Cycle, further adapt the chivalric attributes of the Round Table. Here it is the perfect knight Galahad, rather than Percival, who assumes the empty seat, now called the Siege Perilous.  

Galahad's arrival marks the start of the Grail quest as well as the end of the Arthurian era. In these works the Round Table is kept by King Leodegrance of Cameliard after Uther's death; Arthur inherits it when he marries Leodegrance's daughter Guinevere. Other versions treat the Round Table differently, for instance Arthurian works from Italy often distinguish between the Old Table of Uther's time and Arthur's New Table.

The artifact known as the Winchester Round Table, a large tabletop hanging in Winchester Castle bearing the names of various knights of Arthur's court, was probably created for a Round Table tournament. The current paintwork is late; it was done by order of Henry VIII of England for Holy Roman Emperor Charles V's 1522 state visit, and depicts Henry himself sitting in Arthur's seat above a Tudor rose. 

The table itself is considerably older; dendrochronology calculates the date of construction to 1250–1280, during the reign of Edward I, using timber from store felled over a period of years. Edward was an Arthurian enthusiast who attended at least five Round Tables and hosted one himself in 1299, which may have been the occasion for the creation of the Winchester Round Table. Martin Biddle, from an examination of Edward's financial accounts, links it instead with a tournament Edward held near Winchester on April 20, 1290, to mark the betrothal of one of his daughters.

More information: Study

Knights! The gift of freedom is yours by right. 

But the home we seek resides not in some distant land. 

It's in us! And in our actions on this day! 

If this be our destiny, then so be it. 

But let history remember that as free men, we chose to make it so. 

King Arthur

QUEEN GUINEVERE, ADULTERY IN THE MIDDLE AGE

Queen Guinevere

Today, The Grandma has studied a new lesson of her Intermediate Language Practice manual (Chapter 43). She's sad because she has received some tragic news about a closer person who has passed away. Life is strange some times and you have no words to explain how you feel when you receive some terrible news like this.

It's difficult to say something and because of this, The Grandma evokates a beautiful quote that says Rose is a rose is a rose is a rose. The line is from Gertrude Stein's poem Sacred Emily, written in 1913 and published in 1922, in Geography and Plays.

More information: Verbs followeb by -ing or Infinitive 2

Guinevere, often written as Guenevere or Gwenevere, is the wife of King Arthur in Arthurian legend. She first appears as Guanhumara in Geoffrey of Monmouth's Historia Regum Britanniae, a pseudo-historical chronicle of British history written circa 1136.

In medieval romances, one of the most prominent story arcs is Queen Guinevere's tragic love affair with her husband's chief knight, Lancelot. This story first appeared in Chrétien de Troyes's Lancelot, the Knight of the Cart and became a motif in Arthurian literature, starting with the Lancelot-Grail of the early 13th century and carrying through the Post-Vulgate Cycle and Thomas Malory's Le Morte d'Arthur.

Queen Guinevere

Guinevere and Lancelot's betrayal of Arthur preceded his eventual defeat at the Battle of Camlann by Mordred.

The original Welsh form of the name Gwenhwyfar or Gwenhwyvar, which seems to be cognate with the Irish name Findabair, can be translated as The White Enchantress or The White Fay/Ghost, from Proto-Celtic.

Geoffrey of Monmouth rendered her name as Guanhumara in Latin, though there are many spelling variations found in the various manuscripts of his Historia Regum Britanniae. The name is given as Guennuuar in Caradoc's Vita Gildae, while Gerald of Wales refers to her as Wenneuereia. In the 15th-century Middle Cornish play Bewnans Ke, she was called Gwynnever. A cognate name in Modern English is Jennifer, from Cornish.

In Geoffrey of Monmouth's Historia Regum Britanniae, she is described as one of the great beauties of Britain, descended from a noble Roman family and educated under Cador, Duke of Cornwall.

More information: King Arthur Knights

In one of the Welsh Triads, there are three Gwenhwyfars married to King Arthur. The first is the daughter of Cywryd of Gwent, the second of Gwythyr ap Greidawl, and the third of (G)ogrfan Gawr the Giant. In a variant of another Welsh Triad, the daughter of Gogfran Gawr is mentioned. Two other Triads mention Gwenhwyfar's contention with her sister Gwenhwyfach, which was believed to be the cause of the Battle of Camlann. In the mid-late 12th-century Welsh folktale Culhwch and Olwen, she is mentioned alongside Gwenhwyfach.

Queen Guinevere

Guinevere is childless in most stories, two exceptions being Perlesvaus and the Alliterative Morte Arthure. In the latter text, Guinevere willingly becomes Mordred's consort and bears him two sons, though this is implied rather than stated in the text. There were mentions of Arthur's sons in the Welsh Triads, though their exact parentage is not clear.

Other family relations are equally obscure. A half-sister and a brother play the antagonistic roles in the Lancelot–Grail and the German romance Diu Crône respectively, but neither character is mentioned elsewhere.

Welsh tradition remembers the queen's sister Gwenhyvach and records the enmity between them. While later literature almost always named Leodegrance as Guinevere's father, her mother was usually unmentioned, although she was sometimes said to be dead; this is the case in the Middle English romance The Awntyrs off Arthure, The Adventures of Arthur, in which the ghost of Guinevere's mother appears to her daughter and Gawain in Inglewood Forest. Other works name cousins of note, though these do not usually appear in more than one place.

Guinevere has been portrayed as everything from a weak and opportunistic traitor to a fatally flawed but noble and virtuous lady. In Chrétien de Troyes's Yvain, the Knight of the Lion, she is praised for her intelligence, friendliness, and gentility, while in Marie de France's Lanval, and Thomas Chestre's Middle English version, Sir Launfal, she is a vindictive adulteress, disliked by the protagonist and all well-bred knights. 

More information: Arthurian Legend

Early chronicles tend to portray her inauspiciously or hardly at all, while later authors use her good and bad qualities to construct a deeper character who played a larger role. 

The works of Chrétien were some of the first to elaborate on the character Guinevere beyond simply the wife of Arthur. This was likely due to Chrétien's audience at the time, the court of Marie of France, Countess of Champagne, which was composed of courtly ladies who played highly social roles.

More information: Early British Kingdoms

Respect is to be earned.

It cannot be bought with blood.

Queen Guinevere

THE BEANS, FADOS & BRITISH LEGENDS IN LISBON

I must ride with my Beans to defend what was, 

and the dream of what could be.

Excalibur, Thomas Malory

The Beans, King Arthur & The Round Table Knights

Today, The Beans have enjoyed another wonderful day together. It's very difficult for The Grandma to write a post today because although she knows that it's the end of a season, it's also the beginning of another one full of hope, effort and common help in the distance.

The Grandma has tried  to share her knowledge with The Beans during some months and she's very happy with the effort and commitment demonstrated by all of them. Listening to old stories, remembering personal memories, talking about literature, history or music, she has tried to cheer them to start again in the wonderful adventure of learning. 

Download King Arthur and the Knights of the Round Table

Without temporal goals and without pressure only with the idea of enjoying every moment and giving the best of everyone; without the obligation of demonstrating anything, only with the intention of having an open mind to discover new cultures, countries and stories, The Beans have demonstrated that they are ready to confront whatever they want if they have the strong idea of doing it and the most important, that they are not alone in this difficult and long way to find a success route that determinates the closer future. 

It's very important to trust in yourself to be ready to get over the difficulties but it's also very important to know and reaffirm that you are doing this travel rounded by your special family, fourteen different people with different characters, points of views and origins  but with the same objective: learning new things every day and enjoying every moment, because it's not important where they come from but where they are going to arrive. 

One day, a Bean will come, and the sword will rise... again.

Excalibur, Thomas Malory

Every member of the family has offered her/his colour to a multicultural family that has been able to work very hard every day. Every one of them is important and necessary because The Beans are a sum of all of them and they have left his/her footstep in this wonderful family that is called to do something fantastic in the closer future. Teamwork is the secret of their success, feeling important as a part of a totality and being missed when you're not with them, this family has shined a light in every colour of our hearts.
 

That's no way to say goodbye

The Grandma is sad and staying in Lisbon is a good way to try to change this sadness to joy. She loves fado and admires Mísia, one of her favourite female singers. They have a lot of things in common: both of them are adult, both of them have a life full of incredible stories, both of them have common Catalan origins and both of them like poetry and literature. The most importance difference between them is that Mísia has one of the most incredible voices around the world, and The Grandma has big ears to listen to her fados.

More information: Ancient

Some people say that The Beans don't exist and all is a legend although all the legends have a true base. These same people explain that this legend has been transmitted from generation to generation in an oral way across the Via Rubricatus towns with different versions talking about different families with different surnames: The Collins, The Addams, The Holmes, The Poppins, The Bonds or recently, The Beans.

Princess Leia and R2D2

All the versions of this legend have points in common, a reduced number of people who worked very strong to find something they thought they have lost: trust in themselves and force to continue fighting; an old woman with an undetermined age over the 90's, very rich, who loved explaining old-fashioned stories and was a fan of the Middle-Age, -especially Ramon Llull and King Arthur novels- and contemporany fiction like Star Wars films and The X Files Series; and who tries to follow their teachings. 

From Ramon Llull, she learnt to think and question things without believing in official versions; from King Arthur, the value of the Round Table: honour, courage, loyalty, teamwork and enough imagination to create their own universe to protect themselves from the enemy; from Star Wars, she learnt to fight against the dark forces; and from The X Files to not give up searching the truth.

This is not the end, this is the beginning of a new season because the best is always ready to arrive.

Ask ev'ry person if he's heard the story;

And tell it strong and clear if he has not:
That once there was a fleeting wisp of glory
Called The Beans Family.
The Beans! The Beans!

Camelot, Alan Jay Lerne

Fado is a music genre that can be traced to the 1820s in Lisbon, Portugal, but probably has much earlier origins. Fado historian and scholar Rui Vieira Nery states that the only reliable information on the history of Fado was orally transmitted and goes back to the 1820s and 1830s at best. But even that information was frequently modified within the generational transmission process that made it reach us today.

Although the origins are difficult to trace, today fado is commonly regarded as simply a form of song which can be about anything, but must follow a certain traditional structure. In popular belief, fado is a form of music characterized by mournful tunes and lyrics, often about the sea or the life of the poor, and infused with a sentiment of resignation, fatefulness and melancholia. This is loosely captured by the Portuguese word saudade, or longing, symbolizing a feeling of loss, a permanent, irreparable loss and its consequent lifelong damage. 

More information: Mísia Official Website

This connection to the music of a historic Portuguese urban and maritime proletariat: sailors, dock workers, port traders and other working-class people in general, can also be found in Brazilian modinha and Indonesian kroncong, although all these music genres subsequently developed their own independent traditions.

On 27 November 2011, fado was added to the UNESCO Intangible Cultural Heritage Lists. It is one of two Portuguese music traditions part of the lists, the other being Cante Alentejano.

More information: UNESCO

Try not to become a man of success, 

but rather try to become a man of value. 

Albert Einstein