What’s the appeal of Arthur, King of the Britons? A few years ago, in a post about irony and democracy, I mentioned in passing that I’ve never been much interested in his stories, and I largely blamed my strong adolescent attachment to Monty Python and the Holy Grail. My favorite scene in that movie was when Dennis the Peasant questioned his authority: “Look, strange women lying on their backs in ponds handing out swords… that’s no basis for a system of government.” I much preferred that honest analysis to the tragic utopian dreaminess of Arthurian magic – and the playful irony throughout the movie was just plain fun.
But it probably predates that. My mom had a considerable personal library of British history, but it was almost all on either prehistoric Britain (what we used to call “Celtic”) or England under the Plantagenets and Tudors. She skipped over the centuries of Roman rule, the reigns of Alfred the Great and his fellow Anglo-Saxons, and the Norman conquest. And that would include wherever in there the legendary Arthur supposedly fit. I’m not sure why, but she did have a cynical streak.
So I’ve generally avoided Arthur, except, as noted, for the Monty Python parody, and some minimal exposure to Disney’s version of The Sword in the Stone. I did watch a fascinating PBS show a few months ago, though, that shed some light on who the historic Arthur might have been.
The Romans ended their occupation of Britain in 410 A.D., and supposedly the communities they’d founded instantly collapsed. At least two early medieval documents (although not that early) mention a warrior (not a king) named Arthur who then stepped up to defend Britain against the Saxons, who’d been hired by the Romans as mercenaries and who often wanted to bring their families over from Germany and settle permanently.
The PBS show, an episode of Secrets of the Dead, presented one archaeologist’s theory that the second most populous Roman city (modern-day Cirencester, about halfway between Oxford and Wales) was far enough from the Channel that its residents held out for quite some time. They were even still building new Roman-style villas with mosaic floorings after 410. They also had an amphitheater that was repurposed into a military base, with a new circular structure inside (possibly the inspiration for the Round Table myth?). This warrior, Arthur, may have been based there, and after he worked with rulers throughout England (as shown by some unusual uniformity in military artifacts), there was peace between the Britons and the Saxon newcomers for maybe twenty years.
And I find that very cool. Obviously my objection isn’t to the history of that era. I presumably had thousands of ancestors living through those years. So why have I been avoiding Arthur?
I know why I couldn’t get very far in The Mists of Avalon, although I’d been a great fan of Marion Zimmer Bradley’s Darkover books before the revelations about her home life. Its feminist revisionary treatment of the Arthur story seemed to be hammering readers over the head with the message, “WOMEN ARE MISTREATED! MEN ARE BAD!” My apologies to any of my readers who got farther in the book than I did and who may have discovered wonderful nuance – it just wasn’t there early enough for me.
When it comes down to it, I suspect my real objection to the stories about the legendary Arthur is that his earnest attempts to create a responsible and responsive government were overshadowed by the problems of his love life – the story of Queen Guinevere and her extramarital love for the dashing Sir Lancelot.
And that brings me to this weekend. Our dear friend Ashley is appearing in a local performance of Camelot – specifically, the small-cast version. I had definitely been looking forward to seeing it, and to discovering whether I’m familiar with more than two of the songs. The very catchy “Camelot” theme song has been in my head, off and on, for weeks, and I’ve also often been humming the song that opens the second half, “If Ever I Would Leave You.” (I have to admit, though, that my brain keeps confusing the latter song with “Some Enchanted Evening” – I think there’s a hint of melodic inversion between the two.)
Not only do I find all of Ashley’s acting and singing performances quite entertaining (she was a fabulous June Carter Cash in their production of Ring of Fire), it also seemed it was high time for me to make my peace with King Arthur.
And of course it was grand fun. The love between Arthur and Guenevere rang true, as did the different sort of love between Guenevere and Lancelot, and yet a third form of love between Arthur and Lancelot. Mordred, who appears out of the blue in the second half, was excellent, his malice overturning all the work the other three had done to create a more civilized society. He led the knights in singing “Fie on Goodness,” a true highlight.
I was especially delighted to learn that one major theme echoed my own long-standing interest in the problems caused by the ideal of “purity.” Lancelot was its standard-bearer, insisting on his purity of heart and perfection of body, but it also turned out that the very laws Arthur had had written to replace brute force as the guiding power of the land were much too “pure.” The moral of the story: Make sure whatever laws you create are aligned with your principles! These laws knew nothing of the compassion and mercy that were Arthur’s own guiding values.
By the end, it was clear – ideals are good, perfectionism is bad. As Rebecca Solnit has so often pointed out, many Americans have been using perfectionism as an excuse to stay on the sidelines and as the basis for complaining about politicians who have to work within the reality of our times.
And that brings me to the insight I wanted to share with all of you. Irony can be great fun, but it too often goes hand in hand with cynicism. Earnestness, irony’s opposite, can seem naïve – but it means we care. That’s something I learned as a young adult, that choosing earnestness over irony can be the more productive and mature path. Given how prominent the nastiest forms of irony have become in public life, I hope that we’ll also have earnest leaders, inspired by ideals but able to work with what we’ve got. Just like Arthur!
And now that I’m more fond of Arthur (at least the Lerner & Loewe version, which was heavily inspired by the T.H. White version), I can turn my attention to Twain’s version. By coincidence, the March 2026 assignment in my husband’s online book club is A Connecticut Yankee in King Arthur’s Court. I suspect that Twain will also have things to say about the romanticism of chivalry, in his case probably comparing it with the virtues of American ingenuity. From our perspective, they’re both a bit outdated – but that’s not Arthur’s fault. I’ll keep reminding myself of his vision: egalitarian, communitarian, committed, principled.
If you live within a reasonable distance of downtown Eugene, Oregon, consider checking out Camelot: Small Cast Version at the Actors Cabaret. The show ends next weekend, so don’t delay!
Photo credit:
“Fie on Goodness” – Actors Cabaret Facebook post: https://www.facebook.com/actorscabaretofeugene/posts/pfbid0yUqdUqyPBmDBUHPP3GGbiEU31R2nX3ukAikHV5uMBPTeV6TYx3wv3RWgES2w6KPDl









