King Arthur: Pagan or Christian?

by Edileide Brito

Arthurian Legend emerges from Celtic folklore, probably Arthur was a Celtic King or a warlord ruling a Celtic territory. Supposing who Arthur has existed in fact, around 5th or 6th century,certainly was a period where the society was quite influenced to rule in a Catholic mind. Knowing that all the Arthurian Lore consisted in oral tradition, monks passed to register this orally tradition through the writings, arising the tales. Eventually Roman Catholic writers, the only writers permitted, finally started writing the history of pre-Christian Europe. However, as Catholics under the full official censorship and 'nihil obstat' (nothing offensive to the Church), the bowdlerized versions contained obvious omissions and revisionist histories (nothing lasted about Pagan Solstice celebrations even though there are hundreds of Solstice monuments in Europe, for instance) and only strained glimpses into the real pre-Christian history. About 1160 AD, the Catholic French writer, Chretian de Troyes, wrote a series of romantic Christian morality plays and grabbed the name of Pagan King Arthur and other 500 AD Pagan characters, put them into medieval clothes and castles and gave them Christian attitudes. This is the first of the modern romantic/Christian Arthurian tales. Following the same de Troyes/Christian romance formula, many other Catholic writers wrote romantic tales with Arthurian or Arthurian like elements in titular or background format. The most notable in English is Sir Thomas Mallory's Le Morte d'Arthur (1485) which based his work in two sources: A Welsh source and other French, inspired in Vulgate Cycle whose creator was Chretièn de Troyes.The Arthurian tales have continuing background in Celtic and Pagan elements. The constant white horse is the Celtic horse/Goddess Epona, revered also by Pagan Romans, and used as a modern symbol by many corporations. The sword Excalibur, stuck in a boulder, will only be released when the Earth Goddess/Mother gives permission, represents a Pagan tradition. Excaliber must be returned to the "lady", and is finally thrown into a lake, was caught by the "Lady of the Lake" and disappeared below. The practice to throw weapons in the lake was common among the Celts, and regarded a rite in Pagan Society. Llyn Cerrig Bach is a lake in the northwest of the island of Anglesey, Wales. Its main claim to fame is the large hoard of Iron Age materials discovered there in 1942, apparently placed in the lake as votive offerings. These finds are considered to be one of the most important collections of La Tène metalwork discovered in the British Isles.The intensity of these mythologies are very broad and make us to think about the concept of religion and in the myths and gods that these people believed, providing from their politheism, a pagan society kept a direct relation with their myths and gods and they were always presented during their festivals, ritualistic ceremonies, in the hunt, in the agriculture, in the nature and in particular life. The gods and their myths became timeless and they are alive and presentified in the beliefs and all the folklore that compound the British Tradition.

Myth: manifestation of sacred

The myth is a narrative that says like the things they happened for the first time in the world. For Lévi-Strauss (1989), whenever the man thinks, he produces myth. This also is the opinion of Bachelard (1994), for whom the science must be psycanalized, divested of the thought first, since this one is always replete of the myths of the scientist, of his culture, of his time.
The sacred one is thought how an anthropological reality, in so far as all the societies seem to have developed this type of notion. What we understand for anthropological, is what we glimpse how such, from what it is defined by the anthropological theories as being " specifically human If we were understanding the human phenomenon how natural, in the same way that supposedly there was a predisposition for the affectionate life, we would have it also for the religious experience, in so far as the religions would send us for the reconnection with this primordial feeling. In this perspective, the sacred one would be a category beforehand, because innate, originating from the human spirit.
Against the theory of the aprioristic inatism of Kant as for the categories of the understanding, the Sociological French School, with Durkheim (1989), presents the sociological hypothesis. In this perspective the feeling of the sacred one would originate in the social life itself. What the religious man would adore through his religion would be the society itself, his values, his world vision. So, we would have the tendency to send for the field of the sacred one, everything that we find important for the social reproduction.
In this way, for Durkheim, the feeling and the attitudes for with the sacred one would not be applied only to the religious objects, but also to any other sphere of the social life, just like the civic, familiar, loving or political sphere.
While approaching the sacred of the point of phenomenologycal view Rudolf Otto (1985), defines it how being the feeling of " terrible and fascinating mystery ". Without being able to locate the origin of this feeling, it defines it that I eat beforehand, but, not innate. It distinguishes three cognitive kinds of apprehension of the sacred one: the appraisers (followers); the prophets (producers of religion) and the personificadores, which bring near the condition of children of the divinity.
The tremendum is the tremendous one, the Almighty, the energy; the misterium is the qualitatively different one (when the totally different one was survived how), and the fascinans. The word sacred already would be a nun because it suggests the indescribable thing and the perfection - you do not conceptualize terms - surpassing the rational connotations and ethics, presenting - if like something objective and extern to me. Without being able to be defined done not even not even taught; it must be evoked or woken in the feeling and described by analogy or metaphor
The characteristics of the sacred one are summarized in the word numinous. The object for which the numinous addresses is the mysterium tremendum, the existence of terror before the power of the different one and of the fascinating one, the feeling of creature before the creator.
The numinous (the sacred one), is, before all, an interpretation and evaluation of what exists in the exclusively religious power. Treat complex category, since it passes by several powers, just like the ethics and the aesthetics, but it guards an irrational differential because not accessible to the understanding conceptual, in this sense the sacred one is indescribable. In agreement with Otto, the religion is not sold out in expressed you ration out or in the act of showing the relation of his elements up to decipher it.
The lively element in all the religions is the idea of quite absolute one, which is the sacred one and the saint as final result of the schematization and of the ethics saturation of an original and specific feeling, which Otto calls of numinous saying: I talk about a numinous category like a special category of interpretation and of evaluation, a state of soul that is shown when this category is applied, i.e. every time an object is conceived how numinous.
It is not possible to understand what it is this state of soul, without being attracting attention of the listener for the possibility of this feeling, when the point it think in his intimate life where he appears and becomes conscious.
For Rudolf Otto (1985), the sacred one is a category been composed of rational elements and you do not ration out, in both cases, it is a category beforehand. The rational ideas do not come from any sensitive perception, exist in the pure reason, there are an original predisposition of the spirit. You do not ration the elements out that it is anything more deep than the pure reason (there are the depths of the soul).
Support in Kant, for whom all our knowledge begins with the experience, but it does not proceed only from it. In the empirical knowledge he distinguishes the knowledge received through our impressions and what our faculty of knowledge produces, asked by sensitive impressions. The numinous appears of the fountain of knowledge more deep than it exists in the soul and that it appears thanks to the sensitive experiences, which are the exciting objects
For Otto, on trial of which the fountain of the numinous is the knowledge it is beforehand that we find in him the latent state, the convictions and the feelings that allow inferences. These convictions are not sensitive perceptions, but interpretations and strange evaluations to the data supplied by the perception.
The pure concepts of the understanding and the ideas and moral and esthetic evaluations show that it exists it hides in the soul a fountain of representations and of feelings independent of all sensitive experience. In the spiritual world, the fact first is a thinking spirit. The man is the presupposition to understand the creation and the humanity in you
The spirit that is developed in the world supposes the absolute spirit like basis of his possibility (power and act). This fountain is a latent arrangement of the human spirit. To be updated need spirits arranged the religion, this arrangement becomes an impulse and search. The predisposition that the human reason loads in you becomes an internal impulse, religious feeling, and through his productions the man takes conscience of you himself. The demonstration of the sacred one would be the real reaffirmation of eternal truth.
What would be the difference between myth and religion? Of the angle of the creation of onthologics reality, there is no difference, visa what the myth and the feeling of the healthy sacred one fountains of knowledge able to provoke the demonstration of the being. Meantime the religion is the institucionalização of the feeling of consecrated, what it teases in routines and dogmas commemorated in ritual aiming to remember and to fix the mythical primordial event.
For Mircea Eliade (1992), the sacred one and the layman they designate two kinds of being in the world. When the sacred one was shown it reveals the kinds of the being and of the divinity characterized by classes of hierophanies (apparitions of the sacred) uranian (celestial), aquatic, vegetable or anthropomorphic. When the sacred historicize was shown itself, in other words, cultural-partner is expressed in accordance with the characteristics, historical, of the society in which it is shown.
Victor Turner (1974), while proposing that the society is analysed while ritual process indicates that the social life is done by processes of homogeneização and differentiation, given dynamism by passages of a low situation for higher other one. Being that the quality differ what allows the passage concerns the attributes acquired in situations preliminary verdicts, just like the " rites of passage ", since they are done from iniciatic experience, apprenticeships that take the neophyte to the recognition of dependence regarding the fountain of sacred power, giving him the experience of humility and of absence of model of social differentiation, in that type of feeling of integration with all, favored shears communitas.
The sacred one and the layman designate mental social and affectionate sceneries; imaginary social designating two existential situations, two correlated forms of human relationship. So, it is not the case of looking for the social thing aiming the monk reducing his dimensions: the understanding does not come from the pure exercise of desqualification it from the religious perspective, or from the defense of the reincrease in value of the religion like global project, but from the understanding as for his form of " being in the world. "

My Fair Guinevere

Guinevere from the moon and dreams
Running toward to the winds seeking for someone
Waiting for someone
Lady of the dreams who flies upstairs the highest castles
Lady who asleeps between the medieval shadows and flute sounds.
Lady of the flame hair who burns the wheat-tree, who keeps the hearts,
Swing the letters and teases the poetry.

My Guinevere

Wake up, with Guineveres image

And in a gust throw me to the past.

--Where, between little streets and fairies being,

flutes and wars, live that lady?

A nostalgic song whisper in the castle;

from stones of fire, medieval burnt.

In a wound fight between good and evil;

Im wandering to seek the missing link.

Call for Guinevere, the queen

Ask for some people, one by one.

Nothing, about her, nobody knows, however.

Back to the present, covered in a thick mist

And i see her, ahead me, lovely:

That's Guinevere, my queen, just mine

"Merlin: Priest of Nature" by Jean Markale

In it he discusses whether Merlin was a fictional character or a real person. There is historical evidence to prove that Myrddin did live in the lowlands of Scotland during the sixth century and he wrote some interesting poetry:The "Dialogue between Myrddin and Taliesin", "The Birches", "The Apple Trees", "The Song of the Swine" and "The Song of Yscolan" are to be found in The Black Book of Carmarthen. This is the oldest Welsh manuscript, dating to the end of the twelfth century. The "Dialogue between Myrddin and his sister, Gwendydd" appears in The Red Book of Hergest, a fourteenth century manuscript.

Poetry fragments:

Seven score noble warriors went toward the shadows.

In the forest of Kelyddon they have found death.

Since I, Myrddin, am first after Taliesin,

let my prophecy be shared by us both.

Blessed be the silver birch of the valley of the Gwywhose branches fall one against the other.

It will be there at the battle of Arderyd,

when the herds will bellow at the Mochwyford,

when lances and cries will burst forth at Dyganwg,

when Edwin will spread his domination over Mon,

when pale and agile young men,dressed in red,

will come to meet the troops...Black is your horse,

black your cloak, black your face,

black yourself,yes, all black. Is it you, Yscolan?

I am Yscolan the scholar.

My weak reason is clouded over.

Is it irreparable, to have offended the master?

I have burned a church, slain a school's cows,

hurled the Book in the waves.

My penance is heavy indeed...

My only brother, do not be angry with me.

Since the battle of Arderyd I have been sick.

I seek only to know and I commend you to God.

I too, I commend youto the lord of all creatures,

white Gwendydd, refuge of poetry...

I will not receive communion from excommunicated monks whose cloaks fall to their hips.

Let God himself give it to me.

I shall commend my blameless brother to the high City.

May God look after Myrddin.

I shall commend my sisterwho is above reproach to the high City.

May God look after Gwendydd.

To the man who speaks from his tomb,

it has been told that within seven years the horse of Eurdein,

the Man of the north, will die.

I have drunk wine in a shining goblet with the chieftains of the cruel war.

My name is Myrddin, son of Morvryn.

I have drunk wine in a cupwith the chieftains of devouring war.

Myrddin is my glorious name...

Sweet apple tree, you of the lovely branches putting forth vigorous buds on all sides,

I will predict in the presence of the master of Marchothat one Wednesday,

in the valley of Muchwaythere will be bloodand joy for the men of Lloegr whose tears will be red.

Sweet apple tree with yellow reflections,

you who grow on a hill above the moor,

I will predict a war within Britain to defend our borders against the men of Ywerddon.

Seven ships will come by the great water,

and seven hundred men by sea to fight us.

them, none will return to his homefor seven,

empty-handed after defeat.

Sweet apple tree of lush foliage,

I have fought beneath you to please a maiden,

shield on shoulder and sword on hip.

I have slept alone in the forest of Kelyddon.

Listen, little pig, why do you think of sleep?

Lend your ear to the sweet song of birds.

Kings will come across the sea on Mondayand the Kymry will be blessed.

Sweet apple tree that grows in the clearing,

the nobles of Rydderch's court do not see you though they trample the earth at your feet.

To their eyes the faces of heroes are terrible.

Gwendydd no longer loves me and comesno more to see me.

I am hateful to Gwassawg, one of Rydderch's faithful, for I have slain his son and his daughter.

May merciless death come to me...

Since Gwenddolen, no prince does me honor.

I have neither joy nor a woman's company.

At the battle of Arderyd

I received a gold torque,

and now she who is white as a swan scorns me.

Listen, little pig: on Thursday joy will come to the Kymry and their powerful troops who will defend Kymmynawd with great strokes of the sword

They will make a great massacre of Saxons with their lances of ash.

They will use their heads to play at bowls.

I predict the truth without disguising it:

I predict that a child will grow up

who today is hidden in the south.

Listen, little pig:

I have trouble sleeping so shaken am I by my sorrows.

For fourteen years I have suffered so much that now my appearance is wretched.

What does it matter to Rydderch, celebrating tonight,

that I spent last night without sleeping,

snow up to my knees and needles of ice in my hair,

sad fate...Listen, little pig: is the mountain not green?

My coat is thin.

There is no rest for me.

My face is pale.

Gwendydd comes no more to see me.

When the men of Brynych come to these shores with their armies,

the Kymry will conquer and the day will shine.

Listen, little pig:

it is not my designto listen to the water birds make a great din.

My hair is sparse,

my clothing not warm,

the vale is my loft, but I have no grain.

My summer harvest gives small satisfaction.

Since the battle of Arderyd I can feel nothing,

not if the sky fell and the sea overflowed.

Mythical and Literary permanences in King Arthur

The search for an understanding between Myth and Literature is certified by a closed and complex relation, in which it emphasises the symbolic mythical entities significant relation with other concurrent events of the conscience process, where the human thought and the language initiate a euphoric state in which image and entity, the ideal and the real, coexist. It is the intention paper to elucidate theoretical traces of the problematic interrelation between Myth and Literature, in order to search, analyze and to question for the character of "identity", in the romanesque speech, of King Arthur, the myth. This myth that consecrates the facts of the Breton King comes to endorse that, even though centuries have passed, the myth is itself being rewritten and retaken in different scores and translations, and yet it still presents dynamism without losing its main bias towards the spoken word. However, the spoken word corresponds to the myth, a set with the narrative speech, having the ability to rescue it from the past and to bring it to the present, in revisited form, so that it can be analysed and reflected upon. All myth can be established in facts and based on reality, however, it is irrelevant to affirm if in fact a historical King Arthur, as a warlike leader Celts, ever existed, or that he defended Britain from the invasions of Romans and Saxons. However, it is pertinent to confirm that for literature the language is not true nor false, it starts to be one singularity of the truth. If you reinsert the subject in the structure of its parole and significant activities (conscientious and unconscious), and inside of a historical and social context, it is to force a redefinition, not only of the subject, but also of history. Literature starts to exert a double character, bringing myths of intentional way, therefore, is it this that defines the mythical subject called, humanist, universal and time-less subject. Being thus, the Arthurian myth is an amalgam of many different impulses of creativity story, emanating from re-memorable tales of an enigmatic people called Celt .

King Arthur: A demistifying perspective from legend to the myth

SESSÃO DE COMUNICAÇÕES "REVERBERAÇÕES MÍTICAS"

Título: A perspectiva desmitificadora: da lenda ao mito do Rei Arthur
Autor: Edileide Brito
Vínculo: Professora de literaturas britânica e norte-americana na Faculdade Uniesp-Birigui; Programa de Pós-Graduação em Letras – UNESP-São José do Rio Preto
E-mail: lady_britain@yahoo.co.uk

Resumo: Buscar uma identidade fiel para o Rei Arthur, é atestar para algo complicado, porém fascinante, que nos remete a adentrar em um universo complexo. Contudo, provar tal façanha, seria provavelmente impossível, mas deixemos que a nossa imaginação transforme este rei, ou líder, naquilo que desejamos ser, um homem ideal próximo da perfeição. O fascínio por este rei medieval ou líder guerreiro, tem despertado a curiosidade de pesquisadores, historiadores, literários e leitores, durante todos estes séculos que se passaram, fazendo com que a imagem deste suposto Rei se eternizasse, sendo assim, cumprindo a profecia que Sir Thomas Malory escreveu, ao afirmar em sua obra "Le Morte D'Arthur", "Rei Arthur foi rei e sempre será rei". É irrelevante implicar a existência de um Arthur histórico, mas, provavelmente ele possa ter vivido entre os séculos V e VI d.C., destacando-se como um grande líder guerreiro celta, no qual defendia os bretões, contra as invasões dos saxões. Quanto aos romances de cavalaria, descenderam diretamente das canções de gesta, originárias dos povos germânicos, que rapidamente se propagaram por toda a Europa. Em se tratando das novelas de cavalaria, constituem-se de longas narrativas em prosa, cuja temática era reverenciar os feitos heróicos e ostentar as virtudes de um personagem principal, na maioria das vezes, um guerreiro que se destacava dos demais, através da coragem, da habilidade em manusear as armas, da honra e da justiça. Aparentemente, tais romances assemelham-se aos antigos poemas épicos da Antiguidade Clássica, porém, diferem por um caráter individualista, contrapondo-se ao coletivo das epopéias gregas e romanas. Enquanto os clássicos identificavam o herói como um ícone da comunidade em que estava inserido, representando os ideais e crenças de um povo, os autores nas canções de gesta atribuíam aos heróis alguma fraqueza, discordâncias que abrangessem determinadas circunstâncias sociais, tais características antecederam o futuro arquétipo do herói romântico, um personagem que busca valores autênticos em uma sociedade degradada. Assim, a despeito dessas discrepâncias, o mote das narrativas compreende sempre as batalhas, aventuras fantásticas, dragões, e outras criaturas sobrenaturais.

Palavras-chave: Rei Arthur , lenda , mito , literatura

Abstract: The search for a real King Arthur and subsequent identification has approached something very complicated, sending us to a, fascinating, and complex universe. Neverthless, proving the hypotheses either way is some sort of achievement, that would probably be considered impossible. However, let us through our imagination, consider the changes to this Arthur into an ideal man, perfect in accord with our wishes and hopes (or maybe dreams and fantasies). Therefore, this medieval King or battle leader, has fascinated, our curiosity and raised some complex and serious questions for researchers, historians, literary scholars and readers, since earliest centuries, and has become the everlasting image of King Arthur, and inkeeping Sir Thomas Malory's prophecy that asserted and is documented that: "King Arthur was a king and he will be a king".However, some implications about a historic Arthur are irrelevant, but, it is probable, that he could had lived between fifth and sixth centuries A.D.; this could place him as a great celtic battle leader, who defended the Ancient Britons, agaisnt Saxon invaders.The chivalrous knight novels had their beginning, through the Medieval Gestae Songs originateded from the Vikings and Germanic tribal people, that swiftly spread all over the continent of Europe. Medieval knight novels, are those composed of long texts of prose, and whichever theme appreciates and shows off brave virtuous heroes; where the main character, such as a great warrior or king brings out the qualities required; courage, honor, justice and the skill to use every sort of weapon. Apparently, those novels, seem to align with the oldest epic poems of the Classic Age, but maybe they are different, because of the focus on a single character, rather than against the collective greek and roman epics.Whilst classic authors identified a hero as a community icon, representing all ideals and beliefs of collectivity, some authors in famous medieval gestae songs, ascribed for their heroes, a kind of weakeness; arguments that take turns on social circunstances, some features, preceding an archetypal future for the romantic hero, a character who searches for a kind of authenticy value in a degraded society. And despite of some circunstances, the theme in texts of medieval knights are always battles, fantastic adventures, dragons, and other sort of supernatural creatures.

Key-words: King Arthur , legend , myth , literature

Unveiling the signs

No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend's or of thine own were: any man's death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bells tolls; it tolls for thee... John Donne



Abstract



The historical concept that is given in the novel, For whom the Bell Tolls (1940) is that of a tendentious inspiration based in the classic-old essence that the characters compose a saga that is vivified for a historical tradition of the past. This sets itself in the warlike scenery that composes the Spanish Civil War (1936-1939) and lead up to the World War II (1939-1945), which has been perpetuated in our minds eye through constant exposure during our lives from the media rather than the literary angle. Whereas the author has in respect of the self assurance that understanding all the past life, as much of objective form, as in the individual's memory, and individual-description development, or rather, from a distinguished history, a pre-acquired transformation, whose periods of training are presented in detail. However, they do not remain hidden ahead of our eyes, but they have been seen in a much more accurate definition of what the 'old poetry' was able to represent, in the temporal being, and in the history of the previous life of the man. Thus, when referring to, the "bells" "being heard", it does not require the focus of an ideal reader, however, much more, a receiver capable of absorbing the limits of the "looking" in order to discern what the "bells" in the speech are trying to convey and emphasize. Therefore the "bells" cannot be considered the same thing for all, because they are carved out in words for each individual reader/receiver's interpretation of discovering their own understanding and meaning of "for whom the bell tolls".

Key-words: naive ; bells ; allegory ; war ; unveiling ; dessacralization

http://www.nead.uncnet.br/2007/revistas/letras/9/93.pdf

Gwynhwfar

The Myth of Arthur

by Edileide Brito

“King Arthur was a king and he allways will be a king”

Le Morte D’Arthur, Sir Thomas Malory

The saga of King Arthur and his Knights of Round Table, which, presents itself the junction of medieval tales, gathering in only book Le Morte D'Arthur [Arthur’s Death] by Sir Thomas Malory, dating from fifteenth century, and was written around 1469-1470 and published in 1485 for the first English Printer-Press by Sir Willian Caxton (1422?-1491), and it has being the first book printed in England and it was printed posthumous the writer.


Myth and Literature
The myth and literature are interrelationed to share themselves a sort of structure of narrative, that widening the own narrative, the characteres, images and thematics.That relation is only in similarity and it isn’t the same in identity. However, the demistify of myth about the King Arthur’s idealize identity shall be accepted in plan of speech, whilst a mythical and legendery subject and nor consequently, like a metamorphosead “entity” in empiric plan, which seeks for a national identity.The formal treatment implies a less development myth occurrence, explict and supported for literacy purposes.The actions are more arbitrary, motivated in a plain way and more enigmatics inside a continous axis, making a substract of ruptures that mould them, along the time and age.That contrast should be watched and compared to exist in bible texts and in the development in gender of tale.Within the roots of myth, the oldest way in oral literature, they could be lost in pre-history, this way, any asks and answers are speculative. (Vickery, 1982, p.67)


Arthur’ s myth
However, the demistify of myth about the King Arthur’s idealize identity shall be accepted in plan of speech, whilst a mythical and legendery subject and nor consequently, like a metamorphosead “entity” in empiric plan, which seeks for a national identity.So, to considerer a real existence to King Arthur it shall be complicated, because Arthur wasn’t just a king and he just was called king during twelfth century A.D. by Geoffrey of Monmouth in his fabulous story about Historia Regum Britanniae [History of British Kings], like that, old registers in a reference to King Arthur, have identified him just for a first name and have never revealed yet a surname;In century tenth we have the transfiguration about comandant and warlike Arthur as King of England in the Welsh epic Four branches of the Mabnogion.In the Welsh tale Kilhwch and Olwen, has established a sort of transistion in the position of Arthur, mentioning it as King:

Horses shall I have, and chivalry; and my lord and kinsman Arthur will obtain for me all these things. And I shall gain thy daughter, and thou shalt lose thy life”. (Guest, p.82, 1997)
In the The dream of Rhonabwy Arthur is called as Emperor:

I was one of the messengers between Arthur and Medrawd his nephew, at the battle of Camlan; and I was then a reckless youth, and through my desire for battle, I kindled strife between them, and stirred up wrath, when I was sent by Arthur the Emperor to reason with Medrawd, and to show him, that he was his foster-father and his uncle, and to seek for peace, lest the sons of the Kings of the Island of Britain, and of the nobles, should be slain. (Guest, p.96, 1997)
Has seen that in previous writtings about Arthur, where he was not mentioned as a king, but he has pointed as a powerful warlike celtic leader.The myth is one speaks:... but no any speaks... however, are necessary special conditions for that language transoforms itself into myth;... the myth is a communication system, a message. Here it is why it could not be object, a concept or an idea: it is a significative way, a form… since the myth is one speaks, everything can constitute a myth, since that he is susceptible to be judged by a speech. The myth is not defined for the object of its message, but for the way as it pronounces it: the myth has formal limits, however not substantial. (Barthes,p. 199, 2006)

King Arthur