King Arthur is probably the best known of all British mythological figures. He is a character from deep time celebrated across the world in literature, art and film as a doomed hero, energetically fighting the forces of evil. Most historians believe that the prototype for Arthur was a warlord living in the ruins of post-Roman Britain, but few can today agree on precisely who that was.
Over the centuries, the legend of King Arthur has been endlessly rewritten and reshaped. New layers have been added to the tale. The story repeated in modern times includes courtly love, chivalry and religion – and characters such as Lancelot and Guinevere, whose relationship was famously immortalised in Thomas Malory’s 1485 book Le Morte D'Arthur. The 2017 cinematic outing, King Arthur: Legend of the Sword, is only the most recent reimagining.
But before the addition of the Holy Grail, Camelot and the Round Table, the first full account of Arthur the man appeared in the Historia Regum Brianniae (the History of the Kings of Britain) a book written by Geoffrey of Monmouth in around 1136.
We know next to nothing about Geoffrey, but he claimed to have begun writing the Historia at the request of Walter, archdeacon of Oxford, who persuaded him to translate an ancient book “written in the British tongue”. Many have concluded, as Geoffrey failed to name his primary source and it has never been firmly identified, that he simply made it all up in a fit of patriotism.
Whatever the origin of the Historia, however, it was a roaring success, providing the British with an heroic mythology – a national epic to rival anything written by the English or Normans.
As a piece of literature, Geoffrey’s book is arguably the most important work in the European tradition. It lays the ground for not just for the whole Arthurian Cycle, but also for the tales surrounding legendary sites such as Stonehenge and Tintagel and characters such as the various kings: Cole, Lear and Cymbeline (the latter two immortalised by Shakespeare).
As a piece of history, however, it is universally derided, containing much that is clearly fictitious, such as wizards, magic and dragons.
If we want to gain a better understanding of who King Arthur was, however, we cannot afford to be so picky. It is Geoffrey of Monmouth who first supplies the life-story of the great king, from conception to mortal wounding on the battlefield, so we cannot dismiss him entirely out of hand.
A full and forensic examination of the Historia Regum Britanniae, has demonstrated that Geoffrey’s account was no simple work of make-believe. On the contrary, sufficient evidence now exists to suggest that his text was, in fact, compiled from a variety of early British sources, including oral folklore, king-lists, dynastic tables and bardic praise poems, some of which date back to the first century BC.
In creating a single, unified account, Geoffrey exercised a significant degree of editorial control over this material, massaging data and smoothing out chronological inconsistencies.
Once you accept that Geoffrey’s book is not a single narrative, but a mass of unrelated stories threaded together, individual elements can successfully be identified and reinstated to their correct time and place. This has significant repercussions for Arthur. In this revised context, it is clear that he simply cannot have existed.
Arthur, in the Historia, is the ultimate composite figure. There is nothing in his story that is truly original. In fact, there are five discrete characters discernible within the great Arthurian mix. Once you detach their stories from the narrative, there is simply nothing left for Arthur.